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Leather Jackets for flowers: the death of hippie and the birth of punk in the long, late 1960s
The Sixties ( IF 0.4 ) Pub Date : 2019-01-02 , DOI: 10.1080/17541328.2019.1603930
Kevin Mattson 1
Affiliation  

ABSTRACT This article locates the roots of “punk rock” in the “hippie” counterculture of Detroit, circa 1967–1970. It opens with an intellectual biography of John Sinclair, emphasizing how he developed the principle of Do-It-Yourself (DIY) in his work with the Detroit Artists Workshop and then his management of the band, the MC5. The article then explores the role of the audience in the MC5’s shows and how institutions – including performance spaces and local magazines – helped create a local scene that anchored artists and that became distinct from that found in San Francisco. But the MC5’s rise in popularity brought the band in contact with the “hip capitalism” of Danny Fields and Elektra Records. In releasing the band’s first album, a great deal of controversy opened. The article then turns to the “little brother band” of the MC5, the Stooges. It focuses on the ways Iggy Pop, lead singer of the band, attacked the traditions of macho rock stars who stole the “blues” from African American musicians. Pop too is treated as an intellectual, developing ideas about performance art – especially learning from the Theater of the Ridiculous and the Cockettes. Finally, the article explains how Lester Bangs developed the idea of “punk rock” in the pages of Creem magazine. He attacked the “baroque” feeling of so much late 1960s “prog rock” and then contrasted that with the performances of Iggy Pop, in which he saw “punk rock” emerging in 1969–1970.

中文翻译:

花的皮夹克:嬉皮士的死亡和朋克的诞生在漫长的 1960 年代后期

摘要 本文在大约 1967-1970 年间底特律的“嬉皮士”反主流文化中定位了“朋克摇滚”的根源。它以约翰·辛克莱 (John Sinclair) 的智慧传记开头,强调了他如何在与底特律艺术家工作室合作的过程中发展自己动手 (DIY) 的原则,然后管理乐队 MC5。然后,文章探讨了观众在 MC5 节目中的角色,以及机构(包括表演空间和当地杂志)如何帮助创造一个以艺术家为中心的当地场景,并与旧金山的场景截然不同。但是 MC5 的流行让乐队接触到了 Danny Fields 和 Elektra Records 的“时尚资本主义”。在发行乐队的第一张专辑时,引发了很大的争议。然后文章转向了 MC5 的“小兄弟乐队”,Stooges。它侧重于乐队主唱 Iggy Pop 攻击从非裔美国音乐家那里偷走“蓝调”的男子气概摇滚明星的传统的方式。流行音乐也被视为一种知识分子,对表演艺术的想法不断发展——尤其是从荒谬剧院和小鸡那里学习。最后,文章解释了 Lester Bangs 如何在 Creem 杂志的页面中发展出“朋克摇滚”的想法。他抨击了 1960 年代后期“前卫摇滚”的“巴洛克”感觉,然后将其与 Iggy Pop 的表演进行了对比,他看到“朋克摇滚”在 1969 年至 1970 年间兴起。发展关于表演艺术的想法——尤其是从荒谬剧院和小鸡那里学习。最后,文章解释了 Lester Bangs 如何在 Creem 杂志的页面中发展出“朋克摇滚”的想法。他抨击了 1960 年代后期“前卫摇滚”的“巴洛克”感觉,然后将其与 Iggy Pop 的表演进行了对比,他看到“朋克摇滚”在 1969 年至 1970 年间兴起。发展关于表演艺术的想法——尤其是从荒谬剧院和小鸡那里学习。最后,文章解释了 Lester Bangs 如何在 Creem 杂志的页面中发展出“朋克摇滚”的想法。他抨击了 1960 年代后期“前卫摇滚”的“巴洛克”感觉,然后将其与 Iggy Pop 的表演进行了对比,他看到“朋克摇滚”在 1969 年至 1970 年间兴起。
更新日期:2019-01-02
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