| Papers [1-15] of 17 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "SLC PUNK": |
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"SLC Punk", 2002.
A look at the issues of punk politics versus mainstream American ideology in the film "SLC Punk".
1,825 words (approx. 7.3 pages), 4 sources, APA, $ 58.95
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Abstract
The paper examines the film "SLC Punk", with the atmosphere of America in the 1980s, in the middle of the Reagan administration, used as a setting for the film. The paper looks at how the film deals with the issues of punk politics versus mainstream American ideology and the battle between staying true to one?s beliefs and selling out to the system. The paper looks at these issues in the context of a specific scene from the film which depicts the interaction of punks at a party. It also introduces the movement called punk rock, an often misunderstood and much maligned group.
From the Paper
"Beyond the text of this scene, we have the editing as a vessel for the message of punk?s rebellious nature. The scene is made to look like one continuous pan across the room, but it is in fact 8 jump cuts. Every time the camera stops on a subject there is a jump cut, as if the camera was stopped, moved a foot or two to one side, and restarted. Some of these are smooth and barely noticeable, while others like the 3 distinct shots of Steveo at the end of the scene, are very obvious and slightly disorienting. So what does this have to do with punk? Is this just not bad editing, or perhaps simply shot to look different? Perhaps, but this kind of editing stands against every standard filmic convention, much like punk stands against ideological conventions. This is not the only scene in the film in which there are prominent jump cuts. Like punk, the editing was done to subvert conventions, to create it?s own aesthetic that was unique. Unfortunately, also like punk, the defiance of convention becomes very systematic by the end, and ends up becoming an institution in itself."
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The Punk Movement, 2002.
An overview of the development of the punk movement including music, attitude and appearance.
900 words (approx. 3.6 pages), 6 sources, $ 35.95
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Abstract
This paper addresses the history of the punk movement. The punk movement is examined in terms of attitude, social dress, and its music. This paper traces the punk movement from rock & roll through pre- punk to the manifestation of punk itself.
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Punk as a Deviant Subculture, 2007.
An analysis of the characteristics of punk that may be considered deviant.
2,947 words (approx. 11.8 pages), 15 sources, APA, $ 87.95
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Abstract
This paper begins with a brief look at the history of punk music and its formation as a subculture. It then addresses individual aspects of punk subculture and offers explanations as to why these characteristics may be considered 'deviant', as opposed to 'normal'. It addresses the norms, values and revolutionary nature of punk culture in light of the strain theory of deviance and the appearance, style and behaviour of punks from a labelling perspective of deviance. Through this analysis, the paper examines why punk subculture has generated a consistent social reaction for the last three decades that has led to its classification as a 'deviant' subculture.
Table of Contents:
History of Punk Music
Strain Theory
Labelling Theory
Labelling Theory and Punk Style
From the Paper
"The labelling theory proposes that no act is inherently deviant. In applying this premise to punk fashion, it can be argued that punk fashion itself was not deviant. However, as has been explored by Becker, it is argued that things become deviant only when it is labelled as such. Whilst punk may pride itself on its values of free will and autonomy from the status quo, many theorists argue that the punk subculture could not possibly exist without the status quo (Traber 2001, p. 33). This is because if there were no status quo, there would be no one to label punk subculture as 'deviant'. Whilst the punk style was revolutionary when it first appeared, even as early as the 1980s punk style had filtered into the mainstream. Black clothes, leather, and the signature Doc Marten shoes all became integrated into the mainstream fashion (Cox 1994, p. 10). This is a clear example of the ability held by some to label and define others as deviant. When punk clothing and fashion first emerged it was generally at large classed as deviant. However, the filtering of punk fashion into mainstream culture put a whole new interpretation to punk style. This example illustrates the power of the dominant culture to change labels to suit its own needs, and as such determine what is classed as 'normal' and 'deviant'."
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"A Clockwork Orange": The Original Punk, 2006.
A social analysis and comparison of the Anthony Burgess novel "A Clockwork Orange" and the 1971 film version to the punk rock movement.
1,446 words (approx. 5.8 pages), 6 sources, APA, $ 47.95
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Abstract
This is a comparison and contrast paper on the work of author Anthony Burgess and the film of Stanley Kubrick in "A Clockwork Orange" to the early 1970s movement in punk rock. In the film, the main character, an anti-social "punk" named Alex, is as memorable for his unique and exaggerated appearance as he is for his horrible behavior and crimes. In particular, the paper compares the novel/film main character of Alex, to "The Sex Pistols'" Sid Vicious.
From the Paper
"A Clockwork Orange has received little, if any, credit for either ushering in, or serving as the original concept for all things "punk." Rather, that distinction has gone to the Sex Pistols; although it is easy to visualize Sid Vicious and girlfriend Nancy Spungen lounging in a drug induced and wasted way in an expensive hotel room, appropriately trashed to punk pleasure by the pair, watching Kubrick's A Clockwork Orange. However, the horror and disgust of the Burgess/Kubrick character was played out on screen, not in life, as were the misguided antics of Sid Vicious. "
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Straight Edge Punk, 2004.
A look at straight edge punk and the message it delivers.
675 words (approx. 2.7 pages), 3 sources, APA, $ 23.95
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Abstract
This paper discusses the music and message of straight edge punk. The paper explains that straight edge punk music and musicians not only encourages young people to stay away from drugs and irresponsible sex, but also encourage its followers to make choices that allow them to take responsibility for their own actions and for the effects that their actions have on the world around them. The paper explains that the movement emphasizes simplicity and a rejection of the excesses of modern life.
From the Paper
"When most people, at least most people, think about punk and other teen-based musical lifestyles they tend to think of excess - as much sex, drugs and rock-and-roll or punk or reggae or rap as possible. But some subcultural corners of youth music have actually preached a lifestyle of restraint and abstinence. This paper examines the development and ethos of straight edge punk, perhaps the most extremely restrained of these music-based subcultures. Straight edge punk not only encourages young people to stay away from drugs..."
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Defining Difference and Belonging- an Ethnography of Punk Rock, 2001.
This paper is a central Florida-based ethnography on the Punk Rock phenomenon.
7,650 words (approx. 30.6 pages), 6 sources, APA, $ 167.95
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Abstract
This paper explores the world of punk rock in central Florida. Various interviews conducted by the author are reconstructed in the paper to tease out different definitions of what the scene means to various people and age groups in this area. It also looks at a history of punk rock from its heyday in the 1970s, in Great Britain, and how its themes of belonging and acceptance still translates to some of today's youth in the 1990s.
From the Paper
"Belonging, acceptance, and repor are a major part of punk to most individuals I interviewed; however, it was by far not the only response I received. A second view, given to me by S, a worker at Sound Idea, was that one of the most appealing aspects of punk was the energy within the scene. This section focuses on that overlying energy in punk. Punk music is loud, fast, and aggressive. Shows as Sound Idea were highly participatory- audience and band members alike ran, circle pitted, and danced across as large of a space as they could seem to niche out of the crowd. Many shows were high energy and physically taxing. However, this energy was focused, and what S was more generally referring to, I believe, is the hands on approach that seems to proliferate so many punk scenes."
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Punk and Hip-Hop, 2005.
A paper looking at the close connection between the two musical genres, punk and hip-hop.
10,537 words (approx. 42.1 pages), 17 sources, MLA, $ 210.95
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Abstract
This paper takes a look at the influences that the "Slam" movement and musical artists Saul Williams and Sage Francis have had on the future of rap music and slam poetry. The paper looks at how these two artist have influenced the merging of hip-hop and slam poetry as art forms and how this art form has become a sort of musical expression of political and social ideologies that transcend racial and cultural boundaries. The paper also presents biographical information on each of the artists and explains how their backgrounds influenced their music and their philosophies about the hip-hop movement. Additionally, the paper examines the philosophy behind the merging of slam poetry and hip-hop and explains that Saul Williams and Sage Francis represent a return to the purest form of hip hop soul -- a soul which was open to the radical anti-establishment and pro-earth, pro-human ideology of punk music, the democratic influences of community, and the power of music from all directions.
Outline
Identification: Who is Saul Williams?
Identification: Who is Sage Francis?
Francis, Williams, and the The Emergence of SLAM
The Hip Hop Evolution: Saul Williams and Sage Francis as Hip Hop
Innovators
Conclusion
From the Paper
"Most of the mainstream today, and even most of the youth in the subcultural underground, have never known that punk and hip-hop were once upon a time in a fertile de-segregating dialog. The early ethos of punk and hip hop alike arose in a violent anti-establishmentarian fury, dedicated to a higher ethos than that of their own situations. "Between the years 1979-1984, you saw the musical walls of segregation come down as artists from both genres would become familiar to both audiences. In... the early 80s you would hear Thomas Dolby's 'Blinded Me With Science', David Bowie's 'Let's Dance,' [& etc]... not only being played on urban radio, but also at popular Hip Hop night spots where playing them would help set off the party." (Davey D.) However, in the intervening years this situation changed. The interchange of ideas across racial and genre lines decayed, so that today most of the musical-scene descendants of new wave (such as the goth and new-punk scene) and hip-hop are often mutually intolerant or share in a rather guilty fashion. However, recently underground elements of these two scenes are increasingly coming together once more."
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Twentieth Century American Popular Music, 2007.
This paper analyzes the developmental history of 20th century American popular music from the earliest jazz pioneers to the latest major pop stars of 20th century American music.
2,545 words (approx. 10.2 pages), 9 sources, APA, $ 77.95
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Abstract
This paper explains that all of the musical genres, such as Ragtime, Jazz, Big Band, Blues, Country, Rock 'n' Roll, Folk, Punk, Heavy Metal, Rap and Hip Hop, are linked together into a single unified whole in American music. The author discusses the importance of the development of Rock 'n' Roll and how it crossed over successfully into many earlier forms of the Blues and Country genres. The paper stresses that the contributions of the African-American influence on American music, which is the core element to many American styles that came earlier, are crucial to the latter popularity of Rap and Hip Hop.
Table of Contents:
Introduction
Ragtime and Jazz
The Big Bands and the Blues
The Evolution of Jazz and Growing Popularity of Country Music: 1920-1950
The Rock 'n' Roll Era of the 1950s
The "Psychedelic" Rock 'n' Roll and Folk Music Movements of the 1960s
Punk and Heavy Metal: The 1970s and the 1980s
Rap and Hip Hop
Conclusion
From the Paper
"The first broadcast of the Grand Ole Opry in Nashville, Tennessee in 1925 was a crucial moment for the popularity of Country music to be introduced in American music. Often these fusion of old Bluegrass styles and Folk often helped to build the style of what became known as "Country" by the likes of the Grand Ole Opry. In this manner, Nashville became the center of this genre, helping to introduce country to a major audience. Once again, it was the radio that greatly helped to bring this music to millions of listeners across the United States."
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?Instrument: Ten Years with the Band Fugazi?, 2002.
An analysis of the film, ?Instrument: Ten Years with the Band Fugazi?, directed by Jem Cohen.
745 words (approx. 3.0 pages), 0 sources, $ 26.95
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Abstract
The paper shows that the film "Instrument: Ten Years with the Band Fugazi", directed by Jem Cohen at first seems to have no particular perspective upon its subject. It discusses however that when a viewer looks at the film more closely and carefully applies a critical cinematic eye to the filmmaking process, a solidified interpretation begins to become clear. The author of the paper shows that by not having an ostentatiously obvious ?take? on this punk band and the particular music the band has produced, the director has revealed his own moral orientation in favor of personal simplicity and a lack of hype in the production of music. He shows too that the director has chosen to focus on the band because Fugazi is one of the supreme manifestations of the punk scene, a scene that emerged as a radical movement in youth music but largely became commercialized but Fugazi stands apart in sharp contrast to all of descents into commercialization, however, and still remains pure and true to its roots. The director's own simplicity of style reflects its subject?s simplicity.
From the Paper
"The film?s belief in the purity of the band is primarily reflected in the film?s unpretentious format. The director simply followed the band?s progress over the course of ten years, from backstage, to on-stage, to meetings with fans, even to the grandmother?s home of one of the band members. Rather than choosing a short period of the band?s history, the film follows a ?story? arc over an extended period of time. Thus the documentary does not attempt to create a sharp, swift narrative about the seduction or perils of fame. Rather, it features the artists from Fugazi talking about their work and playing their work through various ups and downs of concert touts and through various stabs at music distribution and creation. The perspective the artists are able to bring to their work over such an extended period of history gives the documentary an authenticity and a full reality that similar manifestations of the 'rock-u-mentary' genre lack."
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Rock Musician David Bowie, 2005.
This paper explores the music of David Bowie, especially his character Ziggy Stardust, which was a reaction to the latter half of the 1960's British rock movement.
3,330 words (approx. 13.3 pages), 4 sources, MLA, $ 95.95
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Abstract
This paper explains that the concept album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" by David Bowie, the self-made man who is famous for his fleeting construction of personas, changed the way heavy metal, hard rock, punk music, glam rock and progressive rock sounded. The author points out that David Bowie's teenage wilderness years coincided with the gold-lame era of vintage rock 'n' roll, which reached England in the late 1950s in the form of American hip-swinging, lip-curling singers giving vent to youthful frustrations in a way seen as morally threatening such as Elvis Presley's "Hound Dog", Fats Domino's "Blueberry Hill" and Little Richard. The paper states that the album represented the archetypal rise and fall of the world of pop, which recently had experienced a sense of lost with the breakup of the Beatles and, with them, the cheery innocence of the 1960's; thereby, Ziggy became for many people the missing link between American punk and tight Beatle melodies.
From the Paper
"Kenneth Pitt first entered Bowie's life when he made a suggestion to Bowie's manager that there were already too many Joneses in the entertainment world. The Bromley-raised David Jones saw the adoption of a new stage name as an opportunity to redefine his faltering career and changed his name to David Bowie, after the American Colonel James Bowie, Davy Crockett's sidekick in The Alamo. Pitt and Bowie soon paired up, and it became apparent the Bowie desired to become the "renaissance man of pop". Bowie's aspirations were to sing and dance; he wanted to be seen as an artiste rather than someone who had only just recently shed his rough and ready R&B skin."
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Generation Y Voters, 2008.
This paper is a personal essay of a Generation Y voter who intends to become an active voter in coming elections.
1,320 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper explains that the opinions of the Generation Y are important and can be expressed by voting. The paper then points out that voting is a right that not everybody always was allowed to possess; therefore, voting should be taken seriously and not for granted. The paper relates that the author of the paper registered to vote because he wants to help put the best President into office. The author underscores that someone who is indecisive, not well educated, and has never taken control of a political situation is not someone that he wants to have as his leader. The paper describes a very liberal website PunkVoter.com, which teaches "punk" fans about the policies of George Bush, Jr. The author stresses that votes by the Generation Y will play a huge factor in where this country will go in the future.
Table of Contents:
Issues
The Right Person
T-Shirts
PunkVoter.com
From the Paper
"PunkVoter.com is very informational to its members in regards to local elections and registering those to be able to vote. Down the right side of the column, the audience is persuaded to become a member of PunkVoter.com. Being a member allows PunkVoter.com to email the member information on local elections, policies, and campaigns to keep them up-to-date. It also allows the reader to register so they will be able to vote in upcoming elections."
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"Heavenly", 2001.
An insight into the musical group "Heavenly" who recorded Twee pop albums in the early 90's.
1,018 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
This paper discusses the music and songs of the group "Heavenly", a twee pop band of the late eighties and nineties. It describes how twee pop is a form of soft-core punk rock and gives a brief history of the achievements of the band. It examines how the majority of songs on this album deal with relationships and life from the viewpoint of teenage girls by examining the lyrics to some of their songs.
From the Paper
"The majority of songs on this album deal with relationships and life from the viewpoint of teenage girls, as written by Amelia Fletcher, the key vocalist and guitar player. The other members of the band included Cathy Rogers, vocals and keyboard, Pete Momtchiloff, guitar, Rob Pursy, bass, and Matthew Fletcher, drums. The song of focus, ?Hearts and Crosses,? deals with the problem of naivety in young girls due to the illusion of the media and the harm and confusion that can result in being unprepared for the dangers of the real world. In this case, the result is a rape by an exalted boyfriend."
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Blues and Modern Music, 2002.
An examination of the influence of blues on modern music.
2,010 words (approx. 8.0 pages), 22 sources, MLA, $ 63.95
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Abstract
This paper examines how the development of blues in the first half of the 20th century paved the way for the musical styles of modern music. In order to understand these influences, it breaks them down into the five main categories of country and rockabilly, early rhythm and blues (R&B), British rock, American rock, and punk rock.
From the Paper
"Early blues has also influenced rockabilly. Rockabilly is the basic fusion of rock and roll and country blues. Around 1965 a new group was forming on the west side of Jacksonville, Florida. A pair of brothers named Lacey and Ronnie VanZant started Lynyrd Skynyrd, a roughed-up group of high school students who did their best to rebel against societies standards. Ronnie and Lacey grew up singing in the all black choir at their church as well as sitting on the porch of Shorty Medlocke's house listening to him play his raucous "swamp country" blues. They also both remember listening to the AM radio in their father's old diesel truck when they would go on trips up and down the Eastern Seaboard (American). They pooled these styles together to form the sound for which they became famous."
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"The Buddha of Suburbia", 2005.
An analysis of the theme of masculinity in the "The Buddha of Suburbia"by Hanif Kureishi.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper takes a close look at the notion of masculinity in Hanif Kureishi's acclaimed British novel, "The Buddha of Suburbia", as this masculine notion applies to the music that Kureishi invokes within his novel. It first looks at the masculine music of the early 1970s, followed by the ultra-masculine and -aggressive punk that followed, and finally to the emasculated point at which popular music ended up. It also looks at the authors views on changing and differing ideas of what is masculine.
From the Paper
"In England and in the United States, the 1970s was an era of decadence as well as innocence. Before much was known about the dangers of drugs and the perils of promiscuity, this was a time when many lived life to its fullest and most self-indulgent. The music of this time mirrored the cultural transformation of the conservative postwar years to that of the swinging 60s and 70s. This change corresponded with a lessening in the difference between the genders, one where masculine and feminine notions were blurred and toyed with, where androgyny became almost a norm, at least among the younger, hipper culture. The music of the time relayed this gender message, as well. "
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The Music of Today?s Youth, 2006.
An examination how music is affected by situations.
923 words (approx. 3.7 pages), 2 sources, MLA, $ 32.95
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Abstract
In this paper the author examines how music is affected by situations and not situations by music. He highlights Rap music as the street music of the ghetto and mainstream pop music as that of the more affluent segment of society. He then examines punk rock as sharing a defiant tone that is characteristic of rap, but considered the music of white alternative rockers.The paper concludes with observation that music can tell a story if anyone listens.
From the Paper
"While it is true that songs like "Cop Killer" contain language that is objectionable and an exhortation to violent reactions to the injustices around them, most of those who listen to rap understand the nature of the lyrics. While parents of middle class and upper middle class teens worry that they will be influenced by the sordid nature of the music, those in the black neighborhoods know that this music is a predictable response to what ghetto teens see around them every day."
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