Place-bound attributes in music scenes. Evolution of the independent electronica music scene in Brisbane since the mid-1980s

Continuum ◽  
2021 ◽  
pp. 1-14
Author(s):  
Sébastien Darchen ◽  
Damien Charrieras ◽  
John Willsteed
Keyword(s):  
2018 ◽  
Vol 55 (1) ◽  
pp. 144-160 ◽  
Author(s):  
Ben Green

The application of memory studies to music scenes has so far had a material focus, favouring places and objects. This article critically examines the role of an iconic event in scene identity, through a case study of the ‘Cybernana’ music festival, hosted by Brisbane community radio station 4ZZZfm in 1996 and marked by what has been characterised, alternately, as an audience riot and a police riot. Based on ethnographic research and analysis of cultural texts it is shown that, against official findings and wider disinterest, there exists an intergenerational counter-memory of Cybernana as an iconic event, within a politicised narrative that defines both the radio station and the local music scene. The factors involved in constructing this iconicity are considered, including the role of media. This mediated, cultural memory provides a narrative frame for individual experiences, through which people locate themselves within the scene and reaffirm its collective identity.


Author(s):  
Magdalena Fürnkranz

The historical development of Viennese rock and pop music started with rock ’n’ roll in the 1950s, continued with beat music and the “dialect wave” in the late 1960s, punk in the 1980s, the popular Viennese electronic music scene in the 1990s, and is currently enjoying a renaissance of the “dialect wave.” Artists like the Rosée Sisters, Austria’s first all-female rock band founded in 1962, Topsy Girl, A-Gen 53, or SV Damenkraft were active in local music scenes. In retrospect, they are considered as exceptions in the historiography of Austrian popular music. This chapter discusses several feminist and queer artists and collectives in Austria, their position in popular culture, and in historical and geographical contexts. The author concentrates primarily on all-female bands, LGBTIQ+ artists, and queerpop projects to illustrate diverse approaches to music, feminism, and their position within the pop and rock music scenes in Vienna.


2012 ◽  
Vol 2 (2) ◽  
pp. 1-20
Author(s):  
Jordi Nofre

Abstract: During the last years of the Spanish fascist regime, two politically contrary music scenes emerged in Barcelona. While Catalanist folk music emerged for political freedom, Spanished rock’n’roll, punk, and heavy scenes emerged in the working-class suburbs of Barcelona, denouncing bad conditions of everyday urban life. The great success of this last music scene in Barcelona in the 1980s led to the then nationalist, conservative government of Catalonia to promote a new socially and politically sanitized music scene in response to such class-based contestation. This study aims to explore how a new Catalan(ist) pop-rock scene was created to socially and culturally sanitize the working-class suburbs of Barcelona along the decades of the 1980s and 1990s.


Author(s):  
Beatriz Polivanov

Women occupy few professional roles in electronic music scenes worldwide. In Brazil, and particularly in the city of São Paulo, female collectives have been playing an important role in raising awareness and trying to change this scenario in recent years. In order to do so, they appropriate social media as communication tools, which become relevant digital resources. Mamba Negra was founded in 2013, and was initially organized by Carolina Schutzer and Laura Diaz. They are part of a cultural movement that seeks to occupy São Paulo’s underused public spaces for festivities that embrace especially the female, queer, and black communities. Their name is that of a dangerous snake from Africa (Dendroaspis polylepis). Their considerable number of supporters is concentrated on their Facebook fan page, which had more than 38,000 followers as of April 11, 2019. The page was created on August 27, 2013. Since its origin, the page aims at sharing multimedia content related to the collective’s activities, such as events (mostly performances and parties), their online radio show, and photos and videos from specific artists. Bandida Coletivo is a collective of female DJs, event and music producers, photographers, and graphic artists that was created in 2016 with the aim of building safe spaces for women within the electronic music scene, not only to experiment with their art, but also to obtain more visibility and professional participation in events. Their name can be translated as “Female Bandit Collective,” and they are especially addressed to an audience of women from the outskirts of São Paulo. Their Instagram profile, @bandidacoletivo, is their preferred outlet in social media. It was created in December 2016 and had almost 2,400 followers as of April 24, 2019. It is filled with pictures and videos from different events they promote, such as parties and workshops, and their DJs’ performances.


2020 ◽  
Vol 46 (2) ◽  
pp. 138-152
Author(s):  
Amanda Brandellero ◽  
Robert C. Kloosterman

It was not so much Amsterdam, the cultural capital, but The Hague which had the most vibrant Beat music scene in the Netherlands in the 1960s. Part of the explanation for this lies in the presence of a sizeable group of youngsters who were born in the former colony the Dutch East Indies and who were already well acquainted with contemporary American popular music. This laid the foundation for the city's musical effervescence that contributed to placing it firmly on the map of the country's popular music history. We analyse the social and networked dimensions of this local music scene by departing from Howard Becker's concept of art worlds and relating this to concrete places where key actors could meet. We show how abstract agglomeration economies touched down in The Hague and, to be more precise, in a selected set of venues and clubs. We thus present a micro geography of innovative relational spaces where musicians, managers, gatekeepers and a motley crew of hangers-on met, exchanged knowledge, inspired and pushed each other to become (in cases even internationally) successful artists.


2017 ◽  
Vol 12 (2) ◽  
pp. 208-223 ◽  
Author(s):  
Silvia Tarassi

The analysis of popular music scenes has traditionally focused upon grass-roots music-making practices, without considering how these practices are rooted in the organizational and economic dynamics that characterize today’s cultural economy. This article suggests the need to look at music production in music scenes as a more professionalized activity which requires entrepreneurial skills and economic sustainability. Drawing on the findings of a six-month fieldwork study of the music scene of Milan, this article will attempt to re-conceptualize our understanding of music scenes and to explain how the desire to make a living through music requires the members of a scene to be engaged to a significant degree in multi-tasking and multi-jobbing, which allows them to survive in a risky, precarious environment.


Author(s):  
Jeremy Peters

Detroit’s Black Bottom and Paradise Valley were African-American neighborhoods that housed a vibrant and active popular music scene between World War I and the 1960s. They were home to a dense network of music venues, many of which were owned or managed by African-Americans. Urban renewal projects during the late-1950s destroyed much of the heart of these places. Unfortunately, discussion of this activity is largely missing from the academic literature on placemaking, cultural entrepreneurship, and music scenes in Detroit. To address this gap, I propose a solution that marries discussion of these neighborhoods with a method to measure and compare entrepreneurial activity in a music scene using venue density as a construct.


Author(s):  
Jeremy Kerr

Underground music refers to genres which are not mass disseminated in the same way as mainstream styles, often due to their abrasive and lo-fi aesthetic. In large cultural centres, such as Toronto, underground music listeners develop their own communities and infrastructure – the framework of musical scenes – and seek out likeminded music fans both locally and virtually. Scholars such as Will Straw, Sarah Cohen and Holly Kruse have all developed theories concerning the development and definition of musical scenes which, while helpful, do not sufficiently examine how scenes are created and interact beyond geographically shared space. To address this gap, I have developed a theory which posits all musical scenes can be placed in one of two categories: local scenes, which are based around a specific locality and the infrastructure available for local scene participants, or super-local scenes, which are not bound by any one locality and can consist of multiple local scenes as well as independent participants. This presentation defines the Toronto underground scene as a super-local scene comprised of several smaller music scenes in the GTA. I will analyze the interactions between these local scenes, as well as with non-local participants, touring international acts, the mass media and the city authorities in order to model the structure of the super-local Toronto underground music scene. I suggest this framework will be useful to other scholars, even those outside of musicology, who are studying similar types of communities.


Perfect Beat ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 19-46
Author(s):  
SAM SAMPSON
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document