The Poetry of Punk
The Poetry of Punk

Author: Gerfried Ambrosch

Publisher: Routledge

Published: 2018-05-15

Total Pages: 346

ISBN-13: 1351384449

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Punk bands have produced an abundance of poetic texts, some crude, some elaborate, in the form of song lyrics. These lyrics are an ideal means by which to trace the developments and explain the conflicts and schisms that have shaped, and continue to shape, punk culture. They can be described as the community’s collective ‘poetic voice,’ and they come in many different forms. Their themes range from romantic love to emotional distress to radical politics. Some songs are intended to entertain, some to express strong feelings, some to provoke, some to spread awareness, and some to foment unrest. Most have an element of confrontation, of kicking against the pricks. Socially and epistemologically, they play a central role in the scene’s internal discourse, shaping communities and individual identities. The Poetry of Punk is an investigation into the Anglophone punk culture, specifically in the UK and the US, where punk originated in the mid-1970s, its focus being on the song lyrics written and performed by punk rock and hardcore artists.

Poetic Features of Punk Rock Lyrics
Poetic Features of Punk Rock Lyrics

Author: Sebastian Heinrichs

Publisher: GRIN Verlag

Published: 2007-08-24

Total Pages: 37

ISBN-13: 3638744396

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Seminar paper from the year 2005 in the subject American Studies - Literature, grade: 1,3, Bielefeld University, 21 entries in the bibliography, language: English, abstract: Punk rock and the punk movement had a powerful impact on society and pop music. People influenced by it regarded crudeness and simplicity as a chance to express themselves, the constraints of conventions that demanded conformity and accuracy left behind. While breaking with those traditions concerning music, life style and attitude was at first the main motivation in the late 1970s, the movement emerged for many people to a force propagating virtues like equality, justice and social responsibility. The mixture of music always forcing attention and the prevalent notion of urgency in the lyrics proved a perfect basis for a countless number of artists to express vigorously protest, feelings ranging from despair to joy or just their personal perception of their environment. Along the history of American poetry the poems showed exactly those features, offering a channel to express oneself. The way poets express themselves just changed. It required centuries and many different stages to develop for example from the puritan style and fixed rhyme pattern of Anne Bradstreet's works to the flowing free verse of Walt Whitman expressing a fervent patriotism, which is again a great contrast to Allen Ginsberg's beat poetry, which features a very critical attitude towards America. Regarding the Native Americans' poetry, which deals in many cases with the balance between humans and their environment or appears in the form of vocables, as an additional facet, these developments illustrate how wide the range of style has already been when comparing it to later forms of poetry, and that always a breaking with conventions, accompanied by enthusiastic adherents on the one hand and sceptics on the other hand, took place. Analyzing a selection of punk rock lyrics by American artists I want to show that they posse

Poetic Features of Punk Rock Lyrics
Poetic Features of Punk Rock Lyrics

Author: Sebastian Heinrichs

Publisher: GRIN Verlag

Published: 2007-06-04

Total Pages: 17

ISBN-13: 3638743977

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Seminar paper from the year 2005 in the subject American Studies - Literature, grade: 1,3, Bielefeld University, language: English, abstract: Punk rock and the punk movement had a powerful impact on society and pop music. People influenced by it regarded crudeness and simplicity as a chance to express themselves, the constraints of conventions that demanded conformity and accuracy left behind. While breaking with those traditions concerning music, life style and attitude was at first the main motivation in the late 1970s, the movement emerged for many people to a force propagating virtues like equality, justice and social responsibility. The mixture of music always forcing attention and the prevalent notion of urgency in the lyrics proved a perfect basis for a countless number of artists to express vigorously protest, feelings ranging from despair to joy or just their personal perception of their environment. Along the history of American poetry the poems showed exactly those features, offering a channel to express oneself. The way poets express themselves just changed. It required centuries and many different stages to develop for example from the puritan style and fixed rhyme pattern of Anne Bradstreet’s works to the flowing free verse of Walt Whitman expressing a fervent patriotism, which is again a great contrast to Allen Ginsberg’s beat poetry, which features a very critical attitude towards America. Regarding the Native Americans’ poetry, which deals in many cases with the balance between humans and their environment or appears in the form of vocables, as an additional facet, these developments illustrate how wide the range of style has already been when comparing it to later forms of poetry, and that always a breaking with conventions, accompanied by enthusiastic adherents on the one hand and sceptics on the other hand, took place. Analyzing a selection of punk rock lyrics by American artists I want to show that they possess features that are typical for classical poetry, whereas the term classical poetry will represent the traditional understanding of poetry, which does not include punk rock lyrics. Intertextual elements as well as formal aspects will be pointed out and compared to similar cases in works of different poets that are supposed to serve as a kind of measuring staff, which will help to show where congruence is present and where it is not.

"Do You Have a Band?"

Author: Daniel Kane

Publisher: Columbia University Press

Published: 2017-07-25

Total Pages: 323

ISBN-13: 023154460X

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During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem. Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry. In bringing together the music and writing of Richard Hell, Patti Smith, and Jim Carroll with readings of poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno, and Dennis Cooper, Kane provides a fascinating history of this crucial period in postwar American culture and the cultural life of New York City.

Poetry at Stake
Poetry at Stake

Author: Carrie Noland

Publisher: Princeton University Press

Published: 2021-03-09

Total Pages: 277

ISBN-13: 0691227543

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Taking seriously Guillaume Apollinaire's wager that twentieth-century poets would one day "mechanize" poetry as modern industry has mechanized the world, Carrie Noland explores poetic attempts to redefine the relationship between subjective expression and mechanical reproduction, high art and the world of things. Noland builds upon close readings to construct a tradition of diverse lyricists--from Arthur Rimbaud, Blaise Cendrars, and René Char to contemporary performance artists Laurie Anderson and Patti Smith--allied in their concern with the nature of subjectivity in an age of mechanical reproduction.

Wyndham Lewis and British Art Rock
Wyndham Lewis and British Art Rock

Author: Thomas Keller

Publisher: Narr Francke Attempto Verlag

Published: 2024-02-12

Total Pages: 738

ISBN-13: 3381108530

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This study connects the idiosyncratic modernism of Wyndham Lewis, co-founder of the Vorticist art movement, with works of several artists from the British art rock tradition, among them Bryan Ferry, David Bowie, art-punk pioneers Wire and electronic pop musician John Foxx. By taking a transdisciplinary and intermedial approach to texts from two fields normally studied in isolation and staking out the elements of a shared modernist ethos, the book presents a new perspective on both fields relevant to scholars of literature, popular culture, and the visual arts alike. While the book rests on sound research from the fields of literary criticism, art history, and pop theory, the structure and writing of the book is fundamentally designed to be accessible and comprehensible to non-scholarly readers.

Music, Theology, and Justice
Music, Theology, and Justice

Author: Michael O'Connor

Publisher: Lexington Books

Published: 2017-07-31

Total Pages: 251

ISBN-13: 1498538673

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Music does not make itself. It is made by people: professionals and amateurs, singers and instrumentalists, composers and publishers, performers and audiences, entrepreneurs and consumers. In turn, making music shapes those who make it—spiritually, emotionally, physically, mentally, socially, politically, economically—for good or ill, harming and healing. This volume considers the social practice of music from a Christian point of view. Using a variety of methodological perspectives, the essays explore the ethical and doctrinal implications of music-making. The reflections are grouped according to the traditional threefold ministry of Christ: prophet, priest, and shepherd: the prophetic role of music, as a means of articulating protest against injustice, offering consolation, and embodying a harmonious order; the pastoral role of music: creating and sustaining community, building peace, fostering harmony with the whole of creation; and the priestly role of music: in service of reconciliation and restoration, for individuals and communities, offering prayers of praise and intercession to God. Using music in priestly, prophetic, and pastoral ways, Christians pray for and rehearse the coming of God’s kingdom—whether in formal worship, social protest, concert performance, interfaith sharing, or peacebuilding. Whereas temperance was of prime importance in relation to the ethics of music from antiquity to the early modern period, justice has become central to contemporary debates. This book seeks to contribute to those debates by means of Christian theological reflection on a wide range of musics: including monastic chant, death metal, protest songs, psalms and worship music, punk rock, musical drama, interfaith choral singing, Sting, and Daft Punk.

The Forms of Youth
The Forms of Youth

Author: Stephanie Burt

Publisher: Columbia University Press

Published: 2007-09-04

Total Pages: 274

ISBN-13: 0231512023

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Early in the twentieth century, Americans and other English-speaking nations began to regard adolescence as a separate phase of life. Associated with uncertainty, inwardness, instability, and sexual energy, adolescence acquired its own tastes, habits, subcultures, slang, economic interests, and art forms. This new idea of adolescence became the driving force behind some of the modern era's most original poetry. Stephen Burt demonstrates how adolescence supplied the inspiration, and at times the formal principles, on which many twentieth-century poets founded their works. William Carlos Williams and his contemporaries fashioned their American verse in response to the idealization of new kinds of youth in the 1910s and 1920s. W. H. Auden's early work, Philip Larkin's verse, Thom Gunn's transatlantic poetry, and Basil Bunting's late-modernist masterpiece, Briggflatts, all track the development of adolescence in Britain as it moved from the private space of elite schools to the urban public space of sixties subcultures. The diversity of American poetry from the Second World War to the end of the sixties illuminates poets' reactions to the idea that teenagers, juvenile delinquents, hippies, and student radicals might, for better or worse, transform the nation. George Oppen, Gwendolyn Brooks, and Robert Lowell in particular built and rebuilt their sixties styles in reaction to changing concepts of youth. Contemporary poets continue to fashion new ideas of youth. Laura Kasischke and Jorie Graham focus on the discoveries of a specifically female adolescence. The Irish poet Paul Muldoon and the Australian poet John Tranter use teenage perspectives to represent a postmodernist uncertainty. Other poets have rejected traditional and modern ideas of adolescence, preferring instead to view this age as a reflection of the uncertainties and restricted tastes of the way we live now. The first comprehensive study of adolescence in twentieth-century poetry, The Forms of Youth recasts the history of how English-speaking cultures began to view this phase of life as a valuable state of consciousness, if not the very essence of a Western identity.

Poetic Song Verse
Poetic Song Verse

Author: Mike Mattison

Publisher: Univ. Press of Mississippi

Published: 2021-11-01

Total Pages: 176

ISBN-13: 1496837290

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Poetic Song Verse: Blues-Based Popular Music and Poetry invokes and critiques the relationship between blues-based popular music and poetry in the twentieth and twenty-first centuries. The volume is anchored in music from the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. Musician Mike Mattison and literary historian Ernest Suarez synthesize a wide range of writing about blues and rock—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—to examine the development of a relatively new literary genre dubbed by the authors as “poetic song verse.” They argue that poetic song verse was nurtured in the fifties and early sixties by the blues and in Beat coffee houses, and matured in the mid-to-late sixties in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, Van Morrison, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the questions asked in Poetic Song Verse are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, Mattison and Suarez engage in an extended discussion of the roots of the relationship between blues-based music and poetry and address how it developed into a distinct literary genre. Unlocking the combination of richly textured lyrics wedded to recorded music reveals a dynamism at the core of poetic song verse that can often go unrealized in what often has been considered merely popular entertainment. This volume balances historical details and analysis of particular songs with accessibility to create a lively, intelligent, and cohesive narrative that provides scholars, teachers, students, music influencers, and devoted fans with an overarching perspective on the poetic power and blues roots of this new literary genre.