Search results

Diaspora remixed in the urban jungle

/10/2019 12:00:18 generations of white British youth in the practices of all-night dancing to loudly amplified bass-heavy music and white youth taste was undergoing a major shift away from indie rock, pop and post-punk towards dance music. For this audience, rave recoded dance music, stripping it of its associations with disco, thought to be trivial, feminine and conformist by the rock audience (Dyer 1979), and replacing it with connotations of pharmacological rebellion, nocturnal adventure and utopian promise. This rock–dance rapprochement crystallised in the ‘Madchester

in It’s a London thing
A discursive history of French popular music

segmentation into an ever more complex mosaic of genres, sub-genres and tastes.26 In what became known in the 1970s as la nouvelle chanson française, for example, text song encountered pop or folk-rock in the work of a new generation of 1970s ACIs who had been brought up with both: Jean-Jacques Goldman, Renaud, Francis Cabrel and others. Another 1970s illustration was punk which, as understood in the UK or the USA, did not produce many direct disciples in France but did generate an independent, DIY record sector which in turn produced further waves of generic subdivision and

in Imagining the popular in contemporary French culture
Abstract only

extraordinarily aggressive and unpleasant. A combination of grunge, rap, funk, thrash and punk (with a little death metal thrown in), bands like Korn and Slipknot completely eschew the pomp masculinity and hyperbolic self-celebration that characterises much rap and heavy metal and instead revel in fantasies of violence against everyone and everything. The music is accompanied by the abject utterances of self-abnegation, self-loathing and disgust. Statements such as ‘All that sucks dies!’, ‘chop down the big-wigs, shoot the televisions’, ‘kill me’, ‘I feel like a wound’, ‘I

in Great Satan’s rage
Remixed Transition (1973–82)

’s labeling of the band as ‘pop’ rather than ‘rock’ is interesting since Tequila are widely considered to be the forerunners of la movida madrileña , 14 which encompassed pop rather than rock groups, in spite of the clear influence of British and US punk rock. By the time la movida pop bands Radio Futura or Alaska y los Pegamoides were in full swing, Tequila had decided to throw in the towel

in Screening songs in Hispanic and Lusophone cinema
Abstract only
Habana Blues and the framing of diasporic cubanía

’s musical underground is (mostly) legitimate, presenting a variety of contemporary Cuban music acts that run the gamut from hip-hop to punk to heavy metal. While the film infers that all of the performers shown are undiscovered artists, this is not the case. Kelvis Ochoa, for example, had been living and working in Madrid for the better part of a decade as a member of Habana Abierta and had also recorded a solo album. Additionally

in Screening songs in Hispanic and Lusophone cinema

ventriloquise nearly all the parts. 21 Jarman’s casting decisions were, as usual, governed as much by practical and financial considerations as by any sense of who would be ‘ideal’ for each role, but they had an intuitive logic which was much stronger than first appeared. To many people it seemed like a deliberate piece of iconoclasm to cast Toyah Willcox, the punk singer who had played the violent pyromaniac

in Derek Jarman
Abstract only

one of the shadows of this world’ (Minton 1979: 14). For the patronised dissident Yuri in Nina (1978), read Clarke after the suppression of Scum. For Trevor hurling a paving stone through a Job Centre window, read Clarke at his most nihilistic, disrobing at punk gigs or ending drunken nights with the attentions of the police, casualty units, attractive young women and/or bans from BBC facilities (see Kelly 1998). However, Clarke’s off-screen legend should not obscure his work. David Hare told the 2000 documentary Alan Clarke: ‘His Own Man’ (subsequently referred to

in Alan Clarke
Abstract only
Gesture under pressure

‘overplays’ the part of the smart-mouthed punk when Brendan picks a fight in the high school parking lot to get the attention of the lazy jock’s drug contacts. Once again, performance choices give audiences special access to the tough guy’s intentions, for the free-flowing, expanding qualities of Gordon-Levitt’s movements, gestures and vocal expressions signal that Brendan is ‘putting on a show’. In sequences

in Genre and performance
The Smiths and the challenge of Thatcherism

describes the demolition of areas of Manchester in the late 1960s as a political strike against workingclass people. That was not the work of the New Right. Likewise, it would be a mistake to see all of the misery catalogued in his songs as a result of Thatcherism. Many of those scenes and moods had germinated since before punk. But Thatcherism was the image of power that coincided with the start of Morrissey’s pop career. Arguably, indeed, their careers peaked simultaneously. There was a certain grim fortune in this. Thatcherism gave Morrissey a target, a vision of

in Why pamper life's complexities?
Abstract only
Childhood, sexuality and The Smiths

dominant ideologies surrounding war, marriage, education and the exploitation of developing countries by capitalist states.14 What attracted me to that scene, both at the time and today, were the lyrics and the musicality, and while I had subsequently welcomed punk’s confrontational stance (not being a fan of the excesses of ‘prog rock’), I missed that sense of musicianship. Hence my love for The Smiths. Certainly there was little in The Sex Pistols’ ‘gobbing’ and in-yer-face delivery that compares to Morrissey’s somewhat flat and introverted vocal style. His attack was

in Why pamper life's complexities?