The sound of the suburbs: noise from out of nowhere?
From hip hop’s urban violence and anti-police messages to earlier examples, for example the Jam’s ‘In the City’ there has been an abiding pop fascination with urban imagery in pop and denigration of the suburb, as seen on the Sex Pistols’ track ‘Satellite’ in which Rotten snarls ‘I don’t like where...
- Autores:
- Tipo de recurso:
- Part of book
- Fecha de publicación:
- 2013
- Institución:
- Universidad de Bogotá Jorge Tadeo Lozano
- Repositorio:
- Expeditio: repositorio UTadeo
- Idioma:
- eng
- OAI Identifier:
- oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/16051
- Acceso en línea:
- https://www.bloomsburycollections.com/book/making-sense-of-suburbia-through-popular-culture/ch3-the-sound-of-the-suburbs
http://hdl.handle.net/20.500.12010/16051
http://dx.doi.org/10.5040/9781472544759.ch-003
- Palabra clave:
- Th e Sound of the Suburbs
Out of Nowhere
Cultura popular
Suburbios
Vida suburbana
- Rights
- License
- Abierto (Texto Completo)
id |
UTADEO2_55e43fdec8b39df890efa39ed2362daf |
---|---|
oai_identifier_str |
oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/16051 |
network_acronym_str |
UTADEO2 |
network_name_str |
Expeditio: repositorio UTadeo |
repository_id_str |
|
dc.title.spa.fl_str_mv |
The sound of the suburbs: noise from out of nowhere? |
title |
The sound of the suburbs: noise from out of nowhere? |
spellingShingle |
The sound of the suburbs: noise from out of nowhere? Th e Sound of the Suburbs Out of Nowhere Cultura popular Suburbios Vida suburbana |
title_short |
The sound of the suburbs: noise from out of nowhere? |
title_full |
The sound of the suburbs: noise from out of nowhere? |
title_fullStr |
The sound of the suburbs: noise from out of nowhere? |
title_full_unstemmed |
The sound of the suburbs: noise from out of nowhere? |
title_sort |
The sound of the suburbs: noise from out of nowhere? |
dc.subject.spa.fl_str_mv |
Th e Sound of the Suburbs Out of Nowhere |
topic |
Th e Sound of the Suburbs Out of Nowhere Cultura popular Suburbios Vida suburbana |
dc.subject.lemb.spa.fl_str_mv |
Cultura popular Suburbios Vida suburbana |
description |
From hip hop’s urban violence and anti-police messages to earlier examples, for example the Jam’s ‘In the City’ there has been an abiding pop fascination with urban imagery in pop and denigration of the suburb, as seen on the Sex Pistols’ track ‘Satellite’ in which Rotten snarls ‘I don’t like where you come from/It’s just a satellite of London.’ Nonetheless there is a rich vein of pop documenting post-war suburbia on both sides of the Atlantic dating from 1960s beat combos, through 1970s punk via Th e Pet Shop Boys in the 1980s with their single ‘Suburbia’ and 1990s grunge up to the award-winning 2010 album by Canadian indie outfi t Arcade Fire Th e Suburbs . In tone these have oscillated between a commiseration of suburban drudgery and a celebration of the periphery and its possibilities. Pop has long had a centrality in post-war youth culture off ering escape routes to its practitioners and to its listeners, alternatives to their routine surroundings in the form of emotional escapism. Th e suburbs have not only been spaces where pop music is listened, to or consumed but it has also been the inspiration and locale in which much pop was created or produced. Pop’s practitioners frequently have been drawn from suburban locations which have provided much impetus to pop’s messages and meanings. It has both refl ected the suburban surroundings of its creators and provided a soundtrack for its suburban listeners whose lives were played out in box bedrooms at the edges of cities. Th e signifi cance of place and its relationship to popular music at large is a growing area of academic enquiry. Socio-spatial interest in pop soundtracks appears to have intensifi ed in an era of increased globalization within the music industry: perhaps because of the inescapable pull of such tendencies. Studies concentrating on the signifi cance of the ‘local’ usually in music-making have included those of Bennett ( 2000 ), Finnegan ( 1989 ) and Forn ä s and Lindberg ( 1995 ) but each concentrated on their own locales rather looking at the broader category of suburbia. Th is chapter attempts to address this imbalance by looking at the fi eld of suburban pop and how music has refl ected multiple suburbias and how in tone it has shift ed from optimism to ennui. |
publishDate |
2013 |
dc.date.created.none.fl_str_mv |
2013 |
dc.date.accessioned.none.fl_str_mv |
2020-11-25T20:33:56Z |
dc.date.available.none.fl_str_mv |
2020-11-25T20:33:56Z |
dc.type.coar.spa.fl_str_mv |
http://purl.org/coar/resource_type/c_3248 |
format |
http://purl.org/coar/resource_type/c_3248 |
dc.identifier.isbn.none.fl_str_mv |
978-17-809-3223-1 |
dc.identifier.other.none.fl_str_mv |
https://www.bloomsburycollections.com/book/making-sense-of-suburbia-through-popular-culture/ch3-the-sound-of-the-suburbs |
dc.identifier.uri.none.fl_str_mv |
http://hdl.handle.net/20.500.12010/16051 |
dc.identifier.doi.none.fl_str_mv |
http://dx.doi.org/10.5040/9781472544759.ch-003 |
identifier_str_mv |
978-17-809-3223-1 |
url |
https://www.bloomsburycollections.com/book/making-sense-of-suburbia-through-popular-culture/ch3-the-sound-of-the-suburbs http://hdl.handle.net/20.500.12010/16051 http://dx.doi.org/10.5040/9781472544759.ch-003 |
dc.language.iso.spa.fl_str_mv |
eng |
language |
eng |
dc.rights.coar.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
dc.rights.local.spa.fl_str_mv |
Abierto (Texto Completo) |
dc.rights.creativecommons.none.fl_str_mv |
https://creativecommons.org/licenses/by-nc-nd/4.0/ |
rights_invalid_str_mv |
Abierto (Texto Completo) https://creativecommons.org/licenses/by-nc-nd/4.0/ http://purl.org/coar/access_right/c_abf2 |
dc.format.extent.spa.fl_str_mv |
29 páginas |
dc.format.mimetype.spa.fl_str_mv |
application/pdf |
dc.publisher.spa.fl_str_mv |
Bloomsbury Academic |
institution |
Universidad de Bogotá Jorge Tadeo Lozano |
bitstream.url.fl_str_mv |
https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16051/1/9781472544759.ch-003.pdf https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16051/2/license.txt https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16051/3/9781472544759.ch-003.pdf.jpg |
bitstream.checksum.fl_str_mv |
1f639a570f0c32032d5323316767fb58 abceeb1c943c50d3343516f9dbfc110f 7d9b31cdf747fd0edaeca06f37f23bb7 |
bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 |
repository.name.fl_str_mv |
Repositorio Institucional - Universidad Jorge Tadeo Lozano |
repository.mail.fl_str_mv |
expeditio@utadeo.edu.co |
_version_ |
1814213909943418880 |
spelling |
2020-11-25T20:33:56Z2020-11-25T20:33:56Z2013978-17-809-3223-1https://www.bloomsburycollections.com/book/making-sense-of-suburbia-through-popular-culture/ch3-the-sound-of-the-suburbshttp://hdl.handle.net/20.500.12010/16051http://dx.doi.org/10.5040/9781472544759.ch-003From hip hop’s urban violence and anti-police messages to earlier examples, for example the Jam’s ‘In the City’ there has been an abiding pop fascination with urban imagery in pop and denigration of the suburb, as seen on the Sex Pistols’ track ‘Satellite’ in which Rotten snarls ‘I don’t like where you come from/It’s just a satellite of London.’ Nonetheless there is a rich vein of pop documenting post-war suburbia on both sides of the Atlantic dating from 1960s beat combos, through 1970s punk via Th e Pet Shop Boys in the 1980s with their single ‘Suburbia’ and 1990s grunge up to the award-winning 2010 album by Canadian indie outfi t Arcade Fire Th e Suburbs . In tone these have oscillated between a commiseration of suburban drudgery and a celebration of the periphery and its possibilities. Pop has long had a centrality in post-war youth culture off ering escape routes to its practitioners and to its listeners, alternatives to their routine surroundings in the form of emotional escapism. Th e suburbs have not only been spaces where pop music is listened, to or consumed but it has also been the inspiration and locale in which much pop was created or produced. Pop’s practitioners frequently have been drawn from suburban locations which have provided much impetus to pop’s messages and meanings. It has both refl ected the suburban surroundings of its creators and provided a soundtrack for its suburban listeners whose lives were played out in box bedrooms at the edges of cities. Th e signifi cance of place and its relationship to popular music at large is a growing area of academic enquiry. Socio-spatial interest in pop soundtracks appears to have intensifi ed in an era of increased globalization within the music industry: perhaps because of the inescapable pull of such tendencies. Studies concentrating on the signifi cance of the ‘local’ usually in music-making have included those of Bennett ( 2000 ), Finnegan ( 1989 ) and Forn ä s and Lindberg ( 1995 ) but each concentrated on their own locales rather looking at the broader category of suburbia. Th is chapter attempts to address this imbalance by looking at the fi eld of suburban pop and how music has refl ected multiple suburbias and how in tone it has shift ed from optimism to ennui.29 páginasapplication/pdfengBloomsbury AcademicTh e Sound of the SuburbsOut of NowhereCultura popularSuburbiosVida suburbanaThe sound of the suburbs: noise from out of nowhere?Abierto (Texto Completo)https://creativecommons.org/licenses/by-nc-nd/4.0/http://purl.org/coar/access_right/c_abf2http://purl.org/coar/resource_type/c_3248Huq, RupaORIGINAL9781472544759.ch-003.pdf9781472544759.ch-003.pdfVer capítuloapplication/pdf475410https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16051/1/9781472544759.ch-003.pdf1f639a570f0c32032d5323316767fb58MD51open accessLICENSElicense.txtlicense.txttext/plain; charset=utf-82938https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16051/2/license.txtabceeb1c943c50d3343516f9dbfc110fMD52open accessTHUMBNAIL9781472544759.ch-003.pdf.jpg9781472544759.ch-003.pdf.jpgIM Thumbnailimage/jpeg5751https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16051/3/9781472544759.ch-003.pdf.jpg7d9b31cdf747fd0edaeca06f37f23bb7MD53open access20.500.12010/16051oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/160512021-02-24 21:47:57.165open accessRepositorio Institucional - Universidad Jorge Tadeo Lozanoexpeditio@utadeo.edu.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 |