DIY Cultures and Underground Music Scenes

DIY Cultures and Underground Music Scenes

Bennett, Andy; Guerra, Paula

Taylor & Francis Ltd






15 a 20 dias


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Introduction Part I: Underground Music Scenes between the Local and the Translocal 1. Rethinking DIY Culture in a Post-Industrial and Global Context 2. Visibility and Conviviality in Music Scenes 3. Punk Stories 4. Between Popular and Underground Culture: An Analysis of Bucharest Urban Culture 5. The DIY as a Constitutive Resource of the Specific Punk Capital in France 6. Boys in Black, Girls in Punk: Gender Performances in the Goth and Hardcore Punk Scenes in Northern Germany Part II: Music and DIY Cultures: DIY or Die! 7. Music, Protest Politics, DIY and Identity in the Basque Country 8. Home Economics: Fusing Imaginaries in the Musical Underground of Wellington, New Zealand 9. Proud Amateurs: Deterritorialized Expertise in Contemporary Finnish DIY Micro-Labels 10. Noise Records as Noise Culture: DIY Practices, Aesthetics and Trades 11. Punk Positif: The DIY Ethic and the Politics of Value in the Indonesian Hardcore Punk Scene Part III: Art, Music and Technological Change 12. So Far, Yet So Near: The Brazilian DIY Politics of Sofar Sounds - A Collaborative Network for Live Music Audiences 13. Cassette Cultures in Berlin: Resurgence, DIY Freedom or Sellout? 14. Here Today: The Role of Ephemera in Clarifying Underground Culture 15. Birth of an Underground Music Scene? Creative Networks and (Digital) DIY Technologies in a Hungarian Context Part IV: Music Scenes, Memory and Emotional Geographies 16. The Inoperative Subculture: History, Identity and Avant-Gardism in Garage Rock 17. Collectivity and Individuality in US Free Folk Musics 18. The Independent Record Label, Ideology and Longevity: Twenty Years of Chemikal Underground Records in Glasgow 19. Verbal Sound System (1997-98): Recalling a Raver's DIY Practices in the British Free Party Counterculture 20. A Howl of the Estranged: Post-Punk and Contemporary Underground Scenes in Bulgarian Popular Music
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Young Men;Dominant Societal Expectation;DIY Culture;Industrial Music;Underground Music;Hardcore Punk Scene;Music Scene;Vice Versa;Punk;Underground Music Scenes;Culture;Mainstream Music Industry;Andy Bennett;Post-punk Scene;Paula Guerra;DIY Cultural;post-industrial;Cassette Culture;local;DIY Aesthetic;translocal;Punk Scene;cultural scenes;Punk Label;Spain;Organization Eta;Mexico;Van Den Akker;Underground Culture;Le Chien;Popular Culture;Punk Space;Bucharest Urban Culture;Garage Rock;Urban Culture;Noise Labels;punk capital;Nationalist Left;France;Goth Scene;Gender Performances;Free Radio Stations;Goth;Mile End;Mikhail Gorbachev;Graz;Electronic Body Music;cultural practitioners;Protest Politics;Identity;Basque Country;Home Economics;Wellington's musical underground;social movements;nationalism;subculture;scene;youth;bands;hybridisation;youth culture;cultural urban spaces;Musical engagement;ageing;militant capital;multiple correspondence analysis;metamodernism;domestic space;neo-liberalism;Minimalism;La Monte Young;Academy;Actor-Network Theory;Indonesia;DIY production;politics of value;political punk;art;sociology;singularity;textuality;Live Music;Music Networks;Sofar Sounds;cassettes;noise music;small-scale cultural production;recycling;fragmentation;Brisbane;ephemera;curation;fanzines;lo-fi;online scenes;network;locality;emotional geographies;memory;community;avant-garde;revivalism;collectivity;free folk;individuality;psychedelic music;Independent record labels;ideology;Scotland;Chemikal Underground;sound system;niche-rave;temporary autonomous space;access;Bulgaria;cultural memory;digital media;DIY cultural practice;popular-music studies