scholarly journals Rock bands

Geoscientist ◽  
2020 ◽  
Vol 30 (6) ◽  
pp. 27-27 ◽  
Keyword(s):  
Rock Bands

Music and Memory: The Tlatelolco Refrain

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Josh Kun
Keyword(s):  
State Violence ◽  
First Century ◽  
Student Movements ◽  
Octavio Paz ◽  
Mexican History ◽  
The Past ◽  
Rock Bands ◽  
To Come ◽  
Musical Memory ◽  
A Current

Ever since the 1968 student movements and the events surrounding the Tlatelolco massacre, Mexico City rock bands have openly engaged with the intersection of music and memory. Their songs offer audiences a medium through which to come to terms with the events of the past as a means of praising a broken world, to borrow the poet Adam Zagajewski’s phrase. Contemporary songs such as Saúl Hernández’s “Fuerte” are a twenty-first-century voicing of the ceaseless revolutionary spirit that John Gibler has called “Mexico unconquered,” a current of rebellion and social hunger for justice that runs in the veins of Mexican history. They are the latest additions to what we might think about as “the Mexico unconquered songbook”: musical critiques of impunity and state violence that are rooted in the weaponry of memory, refusing to focus solely on the present and instead making connections with the political past. What Octavio Paz described as a “swash of blood” that swept across “the international subculture of the young” during the events in Tlatelolco Plaza on October 2, 1968, now becomes a refrain of musical memory and political consciousness that extends across eras and generations. That famous phrase of Paz’s is a reminder that these most recent Mexican musical interventions, these most recent formations of a Mexican subculture of the young, maintain a historically tested relationship to blood, death, loss, and violence.

scholarly journals Cultural attributes of Russian rock: elitist or mass culture?

2021 ◽  
Vol 2 (8) ◽  
pp. 105-117
Author(s):  
Ma Weihong ◽  
Keyword(s):  
Popular Culture ◽  
Mass Culture ◽  
Political System ◽  
Modern World ◽  
The Public ◽  
Religious Issues ◽  
Rock Bands ◽  
The Difference ◽  
Rock N Roll ◽  
Cultural Niche

The article deals with identifying Russian rock culture as elitist or mass culture. The author characterizes the concepts of elitist and mass culture, explaining the difference between them, and examines the characteristics of Russian rock culture on the basis of this analysis. The author concludes that Russian rock culture is a kind of reconciliation of elite and mass culture: in the second half of the XX century the complexity of the Soviet political system and ideology determined the destiny and cultural attributes of Russian rock, making it a complex, multifaceted and eclectic phenomenon. Forced to survive, rock bands had to incorporate elements of popular music into their works and use mass media to attract the public. Having joined the ranks of commercial performances, rock 'n' roll gained more popularity, and gradually there appeared some signs of the rock culture decline. In the end, however, rock culture did not transform into mass culture, and Russian rock musicians and rock poets continued to play their music in search of a new cultural niche for themselves to express their critical attitude to reality, their denial and opposition to the processes of industrialization and urbanization, returning to the history and culture of the nation, paying attention to philosophical and religious issues and to the depth and completeness of poetic content, reconstructing Russian cultural memory, reflecting on the environmental situation in the modern world. Rock culture is still a culture of resistance, but as society continues to change, the form and content of resistance is also constantly changing, and it is because of this that rock culture has acquired a kind of humanistic foundation that is much deeper than that of popular culture, so ignoring the difference between rock culture and popular culture destroys the innate spirit and the essence of rock culture itself.

Fakebit, Fans, and 8-Bit Covers

2018 ◽  
Author(s):  
Kenneth B. McAlpine
Keyword(s):  
Social Media ◽  
Video Game ◽  
Electronic Music ◽  
Rock Bands ◽  
Production Environments

Musicians have for centuries reinterpreted and recontextualized the music of other songwriters, composers and performers, and this chapter explores how this musical reinvention has manifested itself as part of the contemporary chipscene. The chapter explores how in the early days of 8-bit gaming, game soundtracks often borrowed heavily from the popular electronic music of the time, often featuring arrangements of Jarre, Vangelis, and Yellow Magic Orchestra. The chapter also explores how, today, there are bands who take those classic video game themes and perform them as live five- or six-piece rock bands. It discusses how social media has provided a platform for the performance and distribution of video game covers and examines how, as musicians have demanded simple, self-contained production environments to develop chip music, new hardware and software synthesizers have been developed to meet that need, an approach that is known as fakebit and that highlights the value that different participants in the scene place on authenticity.

Suffering and the Nietzschean affirmation of life in the lyrics of Bad Religion

2020 ◽  
Vol 9 (1) ◽  
pp. 41-58 ◽  
Author(s):  
Filippos Kourakis
Keyword(s):  
Friedrich Nietzsche ◽  
Punk Rock ◽  
Sense Of Purpose ◽  
The Earth ◽  
Rock Bands ◽  
Affirmation Of Life ◽  
German Philosopher ◽  
Per Se

Friedrich Nietzsche wrote that Zarathustra ‘the godless’, whose students ‘remain faithful to the earth, and […] not believe those who speak […] of otherwordly hopes’, was a proponent of a life fulfilled with meaning and creativity, in spite of all the abominable suffering and unavoidable hardships it entails. Ultimately, he wanted to ‘see as beautiful what is necessary in things’ and ‘to be only a Yes-sayer’. This article looks at how the lyrics of one of the most respected and well-known punk rock bands worldwide, Bad Religion, encapsulate the above-mentioned ideas of the German philosopher. Lyrics from several songs of the band’s discography, ranging from 1982 to 2013, are briefly discussed. The themes explored in these songs, examined in parallel with Nietzsche’s ideas, revolve around suffering, nihilism, the afterlife, amor fati, and, finally, affirming life by creating a personal sense of purpose. Whilst Bad Religion’s work is not moralistic (most thoroughly echoed in the line ‘no Bad Religion song can make your life complete’ from the song ‘No Direction’), the lyrics analysed nevertheless demonstrate that the band actively assumes a stance towards life, one which is characterized by creating a sense of purpose through personal expression, emblematized both in the punk attitude per se, as well as in the writings of Friedrich Nietzsche.

“Spit and Sing, My Yugoslavia”: New Partisans, social critique and Bosnian poetics of the patriotic

2010 ◽  
Vol 38 (2) ◽  
pp. 265-289 ◽  
Author(s):  
Dalibor Mišina
Keyword(s):  
Rock Music ◽  
Cultural Critique ◽  
Social Critique ◽  
New Wave ◽  
Cultural Resistance ◽  
Cultural Engagement ◽  
Rock Bands ◽  
Ultimate Objective ◽  
Radical Expression ◽  
Important Purpose

As “music of commitment,” in the period from the late 1970s to the late 1980s rock music in Yugoslavia had an important purpose of providing a popular-cultural outlet for the unique forms of socio-cultural critique that engaged with the realities and problems of Yugoslav society. The three “music movements” that embodied the new rock'n'roll spirit – New Wave, New Primitives, and New Partisans – used rock music to critique the country's “new socialist culture,” with the purpose of helping to eliminate the disconnect between the ideal and the reality of socialist Yugoslavia. This paper examines the New Partisans as the most radical expression of music of commitment through the works of its most important rock bands: Bijelo dugme, Plavi orkestar, and Merlin. The paper's argument is that the New Partisans’ socio-cultural engagement, animated by advocacy of Yugoslavism, was a counter-logic to the nationalist dissolution of a distinctly Yugoslav fabric of a socialist community in crisis. Thus, the movement's revolutionary “spirit of reconstruction” permeating its “poetics of the patriotic” was a mechanism of socio-cultural resistance to political, cultural and moral-ethical de-Yugoslavization of Yugoslav society. Its ultimate objective was to make the case that the only way into the future – if there was to be any – rested on strategic reanimation of the Partisan revolutionary past as the only viable socio-cultural foundation of the Yugoslav socialist community.

Complex with Dangerous Rock Engineering Geological Characteristics and their Reinforcement Technology Research

2011 ◽  
Vol 368-373 ◽  
pp. 1134-1141
Author(s):  
Jin Xiao
Keyword(s):  
Treatment Program ◽  
Comprehensive Treatment ◽  
Site Conditions ◽  
Technology Research ◽  
Geological Characteristics ◽  
Rock Band ◽  
Rock Bands ◽  
Formation Conditions ◽  
Portfolio Approach ◽  
Unstable Rock

In the southwest mountains, a lot of dangerous rock bands are widely distributed, whose formation conditions are complex, which are diverse, specially located and dangerous. How to reinforce such complex unstable rock band? In this paper, the treatment of typical dangerous rock band is taken as an example, the classification investigation and one by one evaluation is performed first, and then each block composing the complex and dangerous rock band is analyzed and calculated. According to the site conditions and calculated results of each block composing the dangerous rock, using clearing risk - repairing - reinforcement- landscaping and other technology portfolio approach, forming a comprehensive treatment program to conduct a thorough treatment for each dangerous rock, it is proved that such a reinforcement technique has good effects with the management of dangerous rock.

scholarly journals We Made This Song. The Group Song Writing Processes of Three Adolescent Rock Bands

2021 ◽  
Author(s):  
◽  
Vicki Thorpe
Keyword(s):  
Young People ◽  
Community Of Practice ◽  
Group Communication ◽  
Music Learning ◽  
The Third ◽  
Music Making ◽  
Theoretical Perspectives ◽  
Rock Bands ◽  
Working Together ◽  
Song Writing

<p>In garages, practice rooms and classrooms, young people are composing music in rock and pop bands; engaged in working together in the shared enterprise of group music making. This study aims to contribute to scholarly knowledge through describing, analysing and interpreting the collaborative compositional processes (song writing) of three teenage rock bands. A theoretical model was developed and is applied to an analysis of the compositional processes of each group. Communication within each of the bands is analysed in terms of musical, nonverbal and verbal communication. The teaching and cooperative learning that occurred within each of the bands is presented, and each band is described in terms of a community of practice. An analysis of the compositional processes reveals that the three bands employed similar methods to generate ideas and construct their songs. However, when the data are viewed from a number of other theoretical perspectives, it is clear that two of the bands composed collaboratively, working together within mutually supportive, highly focussed and respectful communities; and that the third band’s songs were the work of a single composer, achieved through the cooperation and participation of the other band members. The young people in all three bands were highly engaged in selfdirected music learning, finding meaning and identity in the process.</p>

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