ABSTRACT

Five days after the Ghost Ship fire killed 36 people in Oakland, CA, a group of 4-Chan users calling themselves the Right Wing Safety Squad began a campaign to shut down similar do-it-yourself venues that they saw as “hotbeds of liberal radicalism and degeneracy.” This essay argues that these venues were targeted not simply because of their politics but because the embodied practices of music-making that occur there—performing, dancing, singing along, applauding, and having fun—have the potential to create community across perceived differences. These kinds of communal connections are a threat to alt-right ideologies that leverage difference to keep people frightened of one another. Taking cues from cultural rhetorics, I embrace my identity as an old scene kid in order to share my relationship with underground music scenes, tell the story of the alt-right’s campaign, and discuss the significant role music-making practices play in creating underground communities

摘要

在幽灵船起火后五天杀害36人在加州奥克兰一组4赞自称“右翼安全小队”的用户发起了一项运动，以关闭类似的自己动手做的场所，他们将这些场所视为“自由主义激进主义和堕落的温床”。本文认为，这些场所之所以成为目标，不仅是因为其政治原因，而且还因为那里发生的音乐制作的具体实践（表演，跳舞，唱歌，鼓掌和娱乐）具有创造跨各种差异的社区的潜力。这些公共联系对利用差异使人们感到恐惧的另类权利意识形态构成了威胁。借鉴文化修辞学的线索，我拥抱自己作为老场景孩子的身份，以便与地下音乐场景分享我的关系，讲述另类右翼运动的故事，