We often wonder why we act a certain way in certain places and there must be a reason why? Why is that we act a certain way when we go to concerts or when we go to the library? Through a showcase of articles, we will discover the reason why we act a particular way. This is because we are entering a liminal space that has its own set of rules and boundaries where people can act out differently than the social norms because it is acceptable. We will specifically be looking at how the punks and ravers of the ‘70s entered the liminal space and what they experienced while they were in that space, along with a ritual clown from a Native American tribe. In the article, “Anarchy in the UK: ‘70s British Punk as Bakhtinian Carnival”, Peter Jones illustrates that the British punks in the ‘70s were trying to redefine themselves by covering their bodies with tattoos and piercing and symbolically wearing dog collars to showcase how society viewed them as animals. They also wrote and sung lyrics about the repressed social classes and genders at their outlandish concerts that could be compared to carnivals, seeing people with white make up faces and their eccentric fashion statements. Jones then expressed that “Carnivals brings together, unifies, weds and combines the sacred with the profane, the lofty with the low, the great with the insignificant” (3). He compared how the carnivals and the ‘70s British Punk concerts brought people of all backgrounds into one place. Also, in the social sphere they have created, they were able to have a large group of people to follow their rite-of-passage. They accepted the role of being the ‘outcasts’ or the ‘clowns’ of the society because they knew they were the ‘tricksters’ of the society by attending the c... ... middle of paper ... ...s that were set of their social group. In conclusion, since the punks were breaking the rules of society, they were able to provide “a liminal space in which observers and ritual participants may fruitfully contemplate the vagaries of life” (Van Ham 320). They were able to provide a space where people were able to express themselves and not care what society thought of them because of the sacred power that was over them when they entered their concert, their under-ground dance club, or their ritual meeting. The people felt safe from the sense of control and authority their liminal space provided them. They did not have to fear anything knowing that what they were doing was a whole different experience then what any person would feel following the social norm, which they often find monotones. The liminal space provided them the excitement they have been waiting for.
Ten minutes after lining up, I went inside the nightclub. From the door, I could hear the song and the beat of the bass so loud that my heart could feel it. Inside the nightclub, I saw people were dancing everywhere, on dancing floor, on their own seats, everywhere. They would dance and take a big gulp of their beer. Even the bartenders were dancing too, following the rhythm of the loud funky music. The rainbow rays of light moved through the club to make the mood even more exciting and funky.
In Justin Pearson's memoir, From the Graveyard of the arousal Industry, he recounts the events that occured from his early years of adolesence to the latter years of his adulthood telling the story of his unforgiving and candid life. Set in the late 1970s "Punk" rock era, From the Graveyard of the Arousal Industry offers a valuable perspective about the role culture takes in our lives, how we interact with it and how it differs from ideology.
In closing, the undoubtable influence of music, more specifically of Rock ‘n’ Roll on American society is responsible for a number of changes to the status quo. These range from sexual liberation and racial desegregation all culminating with other influences to create an intergenerational identity. Despite the desperate attempts of older generations to smother these influences, these changes ultimately shaped the years that followed, molding the country into what it is today. Along the way these changes as well as individual involvement in them has also eased the lives of many through empowerment and a feeling of community and purpose. Despite a lull and renewal Rock ‘n’ Roll continues to serve as an agent of influence and change in today’s youth culture and continues to burn in the heart of past generations of loyal fans.
a lifestyle. “Punk is not just the sound, the music, it’s a lifestyle” stated singer Billie Joe Armstrong. (Brainyquotes.com).
Raves are often thought of as a “religious experience” displaying the audience as a “dance tribe” causing these electronic dance music culture “as spiritualties of life” (St John 12). There is no denying that the rave consists of “cultures whose participants committed to an ethos most famously expressed as Peace, Love, Unity and Respect (PLUR)” (St John 3). These participants have reported life- changing experiences, transcendence, and even conveying anecdotes of “ascension and re- enchantment” (St John 3). According to Graham St. John, “ [the] rave exemplifies the cultural phenomenon of religion, particularly that which, Bastide regarded ‘instituant’ or ‘savage’ religion rather than the domesticated or ‘instituted’ forms associated with institutional religion,” (St. John 3). Essentially, the rave functions as a religious community but not in the traditional sense; the DJ is thought of as the shaman and the dance floor is the communita (St John 5). Additionally, both the “ecstatic” experiences and ritual framework of raves intensifies the sense of belonging and demonstrates communal characteristics. The ravers experience a reconnection endemic and is considered to be “tribal” by the participants (St. John 9-10). Furthermore, this tribal nature of the ravers allows them to experience a sense of connectedness and inner peace with themselves. When a raver described this feeling as stating, “The MDMA experience makes you perceive by a kind of intuition, the real essence of your being. It’s not something elaborated by your conscious or unconscious mind, it’s something you suddenly realize you know without any doubt. You know the truth because you have experienced it. Now that you know that you, me, everything is one, or God as you wi...
Some could say dance events are just as fun sober as they are on something. Some could say substances enhance an individual’s festival experience. Either of these opinions could be right, but what remains a fact is that substances are indeed, in one way or another, deeply involved with music. It is not because of the music itself, however influential it may seem, but rather the choice of fans that has caused this. Everyone wants to have a great experience at a music festival. If they are offered a greater experience, then of course they will be open-minded. Although substances may be an experience for some, they may be the divider between life and death for others. From alcohol poisoning at Toby Keith shows and meth use at Metallica concerts, substance abuse has proven to be something widespread and dangerous throughout music festivals (Baca, par. 8). Society can make substances a taboo, say ...
The Punk Rock movement of the 1980’s was an explosion of hybrid and eccentric beats and lyrics that caught everyone’s attention, especially the young adolescents of the time period. The movement of Punk Rock took a major role in shaping the culture in the 80’s. The template for the 1980’s Punk Rock emerged from its preceptor of the 70’s Punk Rock which emerged from London. It’s loud and reckless tunes, to some sounded like noise, but to others it imposed many political standings and raised discussions of controversial topics in its lyrics. From this movements figurative and literal expressions through its bold fashion and uncensored lyrics, it definitely made a stance in the history of music and the 20th century.
Emerging from England’s punk rock scene in 1977, The Clash morphed from traditional punk beginnings into the new wave movement. Described as “a more genuine, radical, proletarian,” sector of the punk genre, it was evident the band was destined to transcend musical boundaries.1 The Clash’s trademark idiosyncrasy is their layering of cultural remarks with historical relevancy througho...
Beginning with the late 1960’s counterculture in San Francisco, music and drugs will forever be inter-linked. Hippie bands such as the Grateful Dead, the Allman Brothers, and Phish are associated with marijuana, mushrooms, and LSD. Modern electronic “rave” , or club music is associated with MDMA or Ecstasy. When one thinks of rock and roll, sex and drugs immediately come to mind. While the use of drugs is not essential for the creation or performance of all new music, it was certainly in important factor for the counterculture music of the late 1960’s. While some of the most important and influential music was made with the help of psychoactive drugs, it was often to the detriment of the artist. Janis Joplin, Jimi Hendrix, Jim Morrison, and countless other tremendously talented artists had their lives cut short due to drug use. Drugs were most often good for the music, but deadly for the music makers.
In America, we’d like to believe that our “unalienable rights” can’t be taken away from us, but the reality couldn’t be farther from the truth. A subculture of people, called Juggalos have been prosecuted only because of a misinterpretation on what being a Juggalo entails. The definition of a Juggalo depends on if you’re asking an artist, a fan, or an anti-fan, but you’ll find that they have a more positive affect on individuals and the community even though a small group of people are the complete opposite.
When one is invited to a ‘60s, ‘70s, or ‘80s decade theme party, they would expect to walk into a colorful room, perhaps with people dressed in miniskirts and tie dye, patent leather and knee-high white boots. Maybe the Beatles, Jimi Hendrix, or even Madonna would be playing in the background as peace signs are held up in pictures and phrases such as “Rad!” and “Groovy!” are flung around. However, one would not expect to walk into a decade theme party and see a simulation of a police state, with people dressed as DEA agents, young revolutionaries, drug addicts, and policemen. They wouldn’t expect play drug raids or police brutality because the ‘60s to the ‘80s were the time when the Brady family became blended and when Michelle Tanner was
Wearing shiny brogues and tonic suits”. According to Clarke’s ‘The Skinheads & the Magical Recovery of Community’ this attachment to subculture is a remnant of the past and an exaggerate, but going the trail of the song it is still a precious thing to skinheads that if you want to be a part of subculture you have to live with a certain meanings and specific order: ‘Years go passing by but we are still about. Against society and all that
Seeking Refuge The writer of the article entitled "Seeking refuge from the rhetoric" begins the article by stating factual information that he personally watched along with hundreds of journalists and witnesses the first plane load of Kosovan refugees arrive at Leeds Bradford airport. He then goes on in the article to express his own personal opinion of the events that went on to take place some months later. To sway the reader to his way of thinking he then proceeds to quote information he has found from another source to describe the conditions that surround this subject, he then quotes another article as saying that a "fight at a fairground in Dover resulted in a stream of anti-refugee rhetoric" from politicians and journalists. The writer then starts to use negative language that initial makes the reader feel that he is anti-refugee. He then uses statements made by commentators on this subject such as "Floods of refugees are swamping us" and also that this country has been "taken for a ride".
The artist I've chosen to discuss in this paper is the band Daft Punk. Daft Punk consists of Thomas Bangalter and Guy-Manuel de Homem-Christo who became friends 1987 in secondary school, and are from Paris, France. The band formed in 1992 under the name “Darlin'” with a third member, Laurent Brancowitz, who later left the group and formed the band Phoenix. Daft Punk was a large part in the growing popularity of the “house” genre of music in France in the late 1990's.
...d like “ransom notes” with the cut out letters and rugged appearance (Candi). Punks enjoyed the freedom to express themselves in any way they felt like. This direct push from conformity frightened and angered many. Although in the twenty-first century, the punk phenomena is not as eccentric as it was back in the day, the same ideals are still in the hearts of the new-born punk. Many punks today still believe in the DIY method is the best, and most hate the Big Brother like government and large corporations. Although it is hard to be a total reject of society, some still try and many more nod their heads at the trailblazers that catalyzed what it is to be a punker.