“New Noise” versus the Old Sound: Manifestos and The Shape of Punk to Come
2012; Taylor & Francis; Volume: 35; Issue: 4 Linguagem: Inglês
10.1080/03007766.2011.578523
ISSN1740-1712
Autores Tópico(s)Discourse Analysis in Language Studies
ResumoAbstract Reflecting on the historical relationships between manifesto-writing and politics, art, performance, and music, this article investigates the role of the liner note manifesto included with Refused's The Shape of Punk to Come (1998), considering it to be a rhetorical text supporting songs, lyrics, and images that openly identify as counter-cultural and contribute to an aesthetic transformation of the punk genre. Because the album is situated in dominant methods of production and distribution, this article addresses power relationships between the mainstream music industry and the cultural work that attempts to challenge it. Acknowledgments Thanks to the US branch of the International Association for the Study of Popular Music for providing me with a supportive platform to present an earlier draft of this paper. Thanks also to Monika Kin Gagnon and David Madden for helpful comments and edits during various stages of the writing process. Notes [1] The tenth article in Filippo Tommaso Marinetti's 1909 The Founding and Manifesto of Futurism states: "We will destroy the museums, libraries, academies of every kind" (quoted in Apollonio 24 Apollonio, Umbro. 1973. Futurist Manifestos, Edited by: Robert Brain, Trans, Flint, R.W., Higgitt, J.C. and Tisdall, Caroline. London: Thames and Hudson. Print [Google Scholar]). [2] See Puchner (Poetry), Lyon (Fury's Hour), Somigli, Perloff, and Yanoshevsky for further information on manifesto histories. [3] In "Three Decades of Writing on Manifesto: The Making of a Genre," Galia Yanoshevsky studies the various attempts to define the genre of the manifesto through exploring scholarly work on the subject. [4] S.C.U.M. stands for "The Society for Cutting Up Men," and the manifesto was published shortly after Solanis shot Andy Warhol, whom she accused of stealing her ideas. [5] "Even though the Manifesto became the single most significant manifesto, the text that defined for many subsequent writers what a manifesto should be, Marx and Engels did not create this genre alone; the manifesto has a history or prehistory before the Manifesto" (Puchner Puchner, Martin. 2006. Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes, Princeton, NJ: Princeton UP. Print [Google Scholar], Poetry 11). [6] For example, Gendron's Gendron, Bernard. 2002. Between Montmarte and the Mudd Club: Popular Music and the Avant-Garde, Chicago: U of Chicago P. Print [Google Scholar] Between Montmarte and the Mudd Club, McNeil and McCain's McNeil, Legs and McCain, Gillian. 1996. Please Kill Me: The Uncensored Oral History of Punk, New York: Grove Press. Print [Google Scholar] Please Kill Me: The Uncensored Oral History of Punk, Marcus's Lipstick Traces: A Secret History of the Twentieth Century, and Savage's Savage, Jon. 2001. England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond, New York: St. Martin's Press. Print [Google Scholar] England's Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond are great sources for reading about this cultural and musical history. [7] I am referring to punk as a genre within the realm of popular music—produced and distributed commercially. Therefore, my focus in less on the very specific facets of punk that strictly operated with a do-it-yourself (DIY) ethos, or on other, less widely known punk or hardcore bands that had experimented with various musical and aesthetic styles during the same time period, avant-garde or otherwise. [8] Kerrang!, first published in 1981, is a hard-rock music magazine based out of the UK, which currently has a strong online component ( < http://www.kerrang.com>). [9] "The potential audience of this contractual 'we' occupies the position of either supporting or rejecting the manifesto as a representative text" (Lyon Lyon, Janet. 1999. Manifestoes: Provocations of the Modern, Ithaca: Cornell UP. Print[Crossref] , [Google Scholar], Manifestoes 24). [10] The "Cyberfeminist Manifesto" can be found at < http://www.sysx.org/gashgirl/VNS/TEXT/PINKMANI.HTM>, and the "Cyberpunk Manifesto" at < http://www.ecn.org/settorecyb/txt/cybermanifest.html>. [11] Find the rest of the manifesto at < http://www.skingraftrecords.com/bandhtmlpages/aidswolf_pg.html>.
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