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Elegendo como corpus a turnê Us + Them do músico Roger Waters, que passou pelo Brasil, em 2018, acumulando polêmicas em torno de seu posicionamento político, este artigo analisa os tensionamentos entre o ethos roqueiro e as especificidades dos grandes espetáculos na contemporaneidade. A partir destas discussões, propomos que a ruptura causada pelas performances de Roger Waters nos 22 dias em que esteve no Brasil visibilizou diversas disputas, negociações e reconfigurações nos afetos entre seus fãs. Analisando as rasuras performatizadas em ambientes digitais geradas pelos shows de Roger Waters no Brasil, localizamos uma crise em relação à ideia de ethos roqueiro e às expectativas em relação aos grandes shows de música.

Among the many music festivals, rock festivals “large format” offer a privileged field to observe the relationship between people and festive forms of the cultural offer. Based on the results of a long-term research on audiences at the Eurockéennes de Belfort festival, this article pointing out the spaces where the festive activity take place, and also its variations and conditions. For this, we focus on both the first and continuing practices, and also the relationships that festival-goers have with each other. This article is also an opportunity to know what is happening about party in today’s festival. Whether it’s a party event designed to make party in itself or whether it’s a space where the party happened and where everyone comes to party for himself.

O artigo aborda a explosão do rock no contexto mais amplo das convulsões políticas e das mudanças culturais dos anos 1960. A enorme popularidade do rock incluiu, no mundo inteiro, vastos contingentes com aspirações diversificadas e arrebatou corações e mentes daqueles que o sentiam como a trilha sonora da mudança, assim como os que não haviam sido tocados conscientemente por novos rumos para a sociedade. O texto estabelece conexões entre as esferas da música popular e os ímpetos transformadores das ruas através do conceito de “afinidades eletivas”, encontrado na obra de Max Weber, que esclarece os elementos convergentes e análogos observados em cada um desses domínios apesar de serem aparentemente fenômenos dissociados.

Effects produced by music and sex are similar insofar as they make us feel the present moment intensely (Frith 1996): this is probably the reason why our discourses frequently borrow vocabulary from the sexual lexical field when we want to name instants where our musical perception is most stimulated. The word “climax” is a transparent example, since it can literally refer to an orgasm, but is also used to talk about the intensity peak of a piece of music. This metaphor comes with unfortunate restrictions, in this case, the viewing of a climax as the equivalent of one standardized representation of male pleasure – the single orgasm. Yet, to see a musical climax as an intensity peak preceded by a crescendo and followed by an immediate fallout has its limits. It is generally relevant in tonal, classical music, but this outline loses its accuracy when it comes to other genre families, like rock music, which progresses step by step, and does not necessarily include one precise identifiable peak. This article focuses on a post-rock corpus and shows the importance of a more flexible use of the notion of climax in musicology. The studied climaxes, shaped as long sections instead of one-time peaks, illustrate how musical analysis can benefit from alternative templates, namely those of multiple and sustained orgasms. Using these two models as formal references, and relying on Brad Osborn’s work (2013), which evidenced the role of terminal climactic sections in recent rock music, this paper stresses the internal crescendos of the climactic sections often – but not exclusively – heard in post-rock. Their form, instrumentation, harmonic strategies, use of technology and performance highlight the main characteristics of these expanded climaxes: an extended temporality, replicability and reduced teleology.

In questo articolo analizzerò un corpus di testi narrativi italiani ambientati in Italia nella seconda metà degli anni Settanta. Il mio obiettivo è mostrare che la rappresentazione dell’atto di ascoltare ‘popular music’, talvolta anche di suonare o scrivere canzoni, fa parte del più generale dissenso dei giovani protagonisti nei confronti del sistema sociopolitico di quegli anni. Nel primo paragrafo riassumerò le premesse metodologiche e culturali di questo studio, prestando particolare attenzione al dibattito musicale degli anni Settanta, che tende a schierarsi dalla parte del cantautorato politico contro la musica pop. Nei paragrafi successivi affronterò le varie articolazioni del rapporto tra le rappresentazioni del dissenso e i riferimenti musicali, specialmente ai cantautori italiani e a Bob Dylan, in Porci con le ali di Rocco e Antonia (1976), Boccalone di Enrico Palandri (1979), Altri libertini di Pier Vittorio Tondelli (1980) e altre opere che hanno segnato l’ascesa della nuova narrativa italiana fra la fine degli anni Settanta e l’inizio degli anni Ottanta. Nell’Appendice esaminerò brevemente due romanzi degli anni Zero – Occidente per principianti by Nicola Lagioia (2004) and Piove all’insù by Luca Rastello (2006) – suggerendo che i riferimenti letterari a Bob Dylan e alla ‘popular music’ hanno perso la loro lineare connessione con il dissenso.

Going Underground situates the demand for “free music” as part of a broader contestation of the terms of cultural consumption in the radical milieu of the long 1960s. At stake in the mobilizations recounted in the reflections of Action Directe-member Jean-Marc Rouillan was not just access to popular music, but the validity of the subversive meanings ascribed to cultural production under capitalism. Struggling with the system’s ability to co-opt challenges to its hegemony by putting them up for sale, activists insisted that it was they, and not promoters or other financially-interested middle men, who had the right to determine the conditions under which liberatory cultural expression such as rock‘n’roll would be consumed. The insistence that music be “free” embodied a characteristic demand of the radical moment around 1968: that culture actually matter.

Este artículo reconstruye un periodo poco explorado de la historia musical en México. El texto analiza la transformación de las relaciones de producción de la industria musical en la capital en el curso de descomposición de la contracultura, de fortalecimiento del Estado autoritario y retraimiento musical al subterráneo. Da cuenta del constreñimiento de la producción industrial, así como de los espacios en radio y televisión en relación con los músicos locales contraculturales. En ese sentido, sostiene que la reproducción viva de la música fue la principal determinación de la esfera musical, lo que incidió no sólo en el grado de autonomía creativa, sino la relación con el núcleo industrial y con la propia comunidad musicalmente imaginada.

Nas duas últimas décadas têm aumentado assustadoramente os relatos de estudantes que sofreram atos de violência dentro da escola porque exerceram a sua sexualidade, a sua ideologia ou a sua religião. Dentro das escolas ou em seus entornos temos idêntica situação. Mesmo considerando as particularidades regionais ou situacionais percebe-se que as manifestações de ódio se multiplicaram por todo o país. Temas ou slogans fascistas não estão enterrados ou banidos como se pensava. As crianças e adolescentes são, como todos e todas, sujeitos de seu tempo histórico e de seu contexto político, cultural e econômico. Cada forma de organizar nossa vida social deixa suas marcas, cria seus sintomas e liberta seus fantasmas. Em uma sociedade de classe, o desejo é capitulado pelas armadilhas do consumo e da manutenção da estrutura. Há poucas rotas de fuga e as contradições são escondidas de modo manifesto ou latente. Há de se decifrar os portais da emancipação.

Este artículo hace una revisión del contexto musical, sobre todo el rock and roll, que aparece referido y aludido en las 18 narraciones (crónicas imaginarias) de Tiempo transcurrido (1986), del escritor mexicano Juan Villoro. A través de los lineamientos teóricos y premisas sobre la narrativa breve establecidas en diversos estudios por Lauro Zavala (1993, 1994, 1999), subrayo la permanente relación entre música y literatura en las narraciones escritas por Villoro, así como sus referencias. Todo, dentro de un contexto generacional donde cada narración breve alude, refiere directamente o toma un trasfondo musical. El escenario es el mismo, año por año, desde 1968 hasta 1985: la Ciudad de México.

The majority of people prefer to go to the movies rather than to a museum. This is not surprising given the image of a high-cultured, history-based, representation-controlled museum-cemetery that pervades in the collective imaginarium. We can admit that the museum as a whole, is affected by a set of wicked problems, and one resonates pretty loud: the social exclusion. There are many forces that have facilitated the social exclusion in the museum. In this article, I would like to share the results of my research, “Rock as a place of memory,” in which I analyze how history has superseded memory through the museum ́s genealogy and propose the transformation of rock music into a place of memory as a tool to disrupt social exclusion of the museum.

The offer of Polish radio stations is relatively extensive. Polish radio market offers many radio stations with diversified music profiles. This collection also includes rock radio stations. In this paper, the main aim was to prove that rock radio stations in Poland have a special tastemaking and educational function, both by presenting varied subgenres of rock music and by demonstrating history and curosities of rock genre. In addition, they inform users about the most important, current music events. Their news shows are full of miscellaneous informations. Morning shows in those radio stations have an ‘easy-going’ form and contain many humorous elements aimed at making the audience laugh and feel better. The article is also dedicated to the history of rock music the etymology of word rock and the problems associated with defining this genre. Moreover, there were demonstrated selected, historically important rock radio stations and the current structure of rock radio stations in Poland. What is more, this paper contains part about most popular rock radio stations – Antyradio and Eska Rock, which were analyzed in terms of music, programmes and other broadcasts aired on these stations.

Created in 1959 by William S. Burroughs and Brion Gysin, the cut-up technique rests on cutting and assembling scraps of texts from various sources. Burroughs employed it notably in the “Nova trilogy” (The Soft Machine, 1961; The Ticket That Exploded, 1962; Nova Express, 1964). Initially condemned, the cut-up technique inspired many rock musicians and infiltrated mainstream popular culture from the 1970s onward. Therefore, the present article will examine the terms of the “rock posterity” of an experimental writing technique.

Una exploración de la relación existente entre el medio cinematográfico y tres nombres clave de la historia del rock. La filmografía inicial de The Rolling Stones, ligada a cineastas con vocación de vanguardia como Jean-Luc Godard, Robert Frank o los hermanos Maysles; la posibilidad de un cine según los preceptos del punk y su aplicación a una de las bandas emblemáticas del movimiento en Inglaterra: The Clash; y la singularidad que ha caracterizado cada una de las apariciones en el cine del australiano Nick Cave, tanto en su vertiente de cantante como en la de guionista. El texto contiene extractos de “Sueños eléctricos. 50 películas fundamentales de la cultura rock”, que el autor presentó en la Universidad de Cádiz, en el marco del programa Tutores del Rock.

In 12th century French literature, the rock is a sign of the divine : Béroul’s description of Tristan’s leap into the other-world of the Morrois (in Le Roman de Tristan by Béroul) as well as Marie de France’s depiction of Bisclavret’s metamorphosis into a wolf (in the lai Bisclavret) require an adequate scenery for a supernatural act in need of legitimization. The presence of a cliff in the first context and of a stone cavity in the second serve in both cases as indications of God’s secret will, manifesting itself in the proximity of a chapel. Our paper focuses on the literary representations of the sacred in connection to the image of the rock as a symbol of resurrection.

The Tom Robinson Band had a distinctive approach to political rock music, in their brief career at the end of the nineteen seventies. Neither underground counter-culture nor stadium charity rock, they tried to encourage grassroots involvement in politics as well as to spread their ideas widely, through the pop charts if necessary. This article takes the band as an example to pose the wider question “What Can Political Rock do?”, and develops an approach which puts the concept of the participatory nature of popular music at the centre of the analysis. One of Tom Robinson’s songs was named by Time Out as one of “a hundred songs which changed history”: our article attempts to show why and how this might be the case.

El seminario ‘A 300 quilómetros a la redonda’, organizado por la Universidad de Cádiz en el marco del Proyecto Atalaya y del programa Tutores del Rock, tenía el objetivo de romper con varias de las inercias que arrastra el periodismo musical español desde tiempo inmemorial programando seis conferencias que iban desde una revisión de la historia del rock en clave feminista, hasta un recorrido por las músicas urbanas modernas de la vecina Marruecos, pasando por ponencias que constatasen cómo la cultura negra empezó a influir en la andaluza hace ya cinco siglos. Palabras clave: Proyecto Atalaya, Programa Tutores del Rock, periodismo musical, Rock, música Urbana, España, Marruecos. Machismo, racism, classism and cosmopalletism, the four horsemen of music journalism Abstract: The seminar ‘300 kilometre radius’, organised by the University of Cadiz as part of the Atalaya Project and the Rock Tutors programme, aimed to put an end to the inertia that has always surrounded Spanish musical journalism by scheduling six conferences ranging from a review of the history of rock from a feminist perspective to discovering modern urban music from neighbouring Morocco, as well as talks which showed how, as long as five centuries ago, black culture began to influence Andalusia. Keywords: Proyecto Atalaya, Programa Tutores del Rock, periodismo musical, Rock, música urbana, España, Marruecos. Artículo recibido: 16/03/2016. Artículo aceptado: 17/04/2016.

Commentators are unanimous about the important role of the UK in the 1970s in the history of popular music. Black Sabbath, Led Zeppelin, David Bowie, the Sex Pistols and the Police : perhaps no other country produced as many influential artistes in this decade. Yet there has generally been a separation between « serious » historical analyses of the decade’s social history and examinations of its musical legacy. This article attempts to look at the music in connection with the history of British society. What was changing about people’s relationship to music ? What were artistes proposing to consumers, as entertainment, as philosophical or political discourse or as aesthetic rebellion ?

No presente artigo procuramos tecer algumas reflexões sobre as práticas culturais surgidas em meados dos anos 1960 e que estiveram presentes na década de 1970, como a cultura de massa e a contracultura, observando as categorias de análise produzidas pelo pensamento jo-vem do período no Brasil e no mundo, ou seja, as manifestações dos hippies e consecutivamente underground, que influenciaram e originaram o rock brasileiro da década de 1970.

Entre os extremos representados pelos artistas e a sua produção, uma série de sujeitos históricos se envolvem nas disposições estéticas de suas criações. Neste trabalho, viemos fazer uma análise da biografia de Raul Seixas, amparados por uma metodologia proposta por Pierre Bourdieu, que coloca o artista criador em primeiro plano, de forma a compreendermos como a herança social do cantor, advinda de suas relações familiares, pôde delinear especificidades em sua produção musical. Da mesma maneira, viemos pensar de que forma sujeitos históricos, como produtores musicais, marqueteiros, gravadoras, bem como rádios, televisão, e os demais meios de comunicação, puderam direcionar a produção musical do cantor a partir da consolidação de um mercado de bens simbólicos no Brasil. Desta forma, pensaremos a estruturação do campo musical brasileiro, durante as décadas de setenta, e principalmente a posição do cantor e do rock no interior deste, detectando como as formas de produções culturais legitimadas durante o período puderam hierarquizar certas produções musicais capazes de delegar as formas de arte, a elas estranhas, um espaço de inferioridade no interior desse campo. Para tal, utilizamos uma série de depoimentos do cantor, transcritos em livros, revistas e jornais, e uma série de matérias que abordem os temas ligados direta ou indiretamente a Raul Seixas, rock nacional e música popular brasileira.

Es casi imposible entender los movimientos juveniles de protesta de los años 60 sin un cierto aprecio de la importancia de la música popular de esa década. La música y las ideas de liberación y expresión personal y política estuvieron muy vinculadas. Este artículo analiza el papel de la música popular (música rock) en la contracultura de 1960. No es un ejercicio de musicología o sociología, aunque pueda invadir inadvertidamente las dos disciplinas. Adopta un acercamiento histórico explícitamente comparativo al fenómeno, utilizando estudios de caso de tres sociedades - dos en Europa occidental, más los Estados Unidos. La tesis es que a pesar de que esta música desafió a las convenciones sociales y facilitó la emancipación de sus consumidores, sus aplicaciones y su papel en los E.E.U.U, en Gran Bretaña y Francia fue practicamente disímil. A menudo, éstos fueron determinados por diferentes circunstancias y tradiciones nacionales. El texto trata también la noción de una contracultura unida y radical e intenta iluminar la naturaleza de la rebelión de la juventud en cada uno de los países que examina. Este artículo intenta sugerir que los movimientos juveniles de los años 60 para el cambio social respondían con frecuencia a los problemas locales o parroquiales en sus protestas. El 1968 representa el foco principal aquí, en parte porque permite una examinación de la intensa rebelión parisiense que explotó en ese año, pero también porque se conceptúa con frecuencia como la cúspide de la década. El 1968 es el año en que el modo de pensar optimista de los cinco anteriores comenzó a llevar a la frustración y a la desilusión._____________ABSTRACT:It is almost impossible to understand the youth protest movements of the 1960s without some appreciation of the importance of that decade’s po­pular music. This music and ideas of personal and political liberation and self-expression were close­ly linked. This article analyses the role of popular music (rock music) in the 1960s’counterculture. It is not an exercise in musicology or sociology, though it may inadvertently tread on the toes of those disciplines. It adopts an explicitly compara­tive historical approach to the phenomenon, uti­lising case studies of three contrasting societies – two in Western Europe, plus the United states. The argument here is that despite that this music challenged many social convention and helped to ‘emancipate’ its consumers, its uses and role in the USA, Britain, and France were frequently dissi­milar. Often, these were determined by differing national circumstances and traditions. The piece disputes also the notion of a united and radical counterculture and attempts to illuminate the na­ture of youth rebellion in each of the countries that it examines. This paper seeks to suggest that the 1960s’ youth-based movements for social change were frequently responding to local or parochial problems in their protests. 1968 is taken as the main focus here, partly because it permits an exa­mination of the intense Parisian revolt that broke out in that year, but also because it is frequently conceptualised as the decade’s hinge. 1968 is the year when the optimistic mind-set of the preceding five or so years started to give way to frustration and disillusionment.

Depuis le XVIIIe siècle, le rôle du chef d’orchestre se transforme continuellement, en phase avec les évolutions du monde social. Mais la figure autoritaire qu’il incarne depuis les grands chefs historiques reste gravée profondément dans l’imaginaire collectif, au risque de l’instaurer en figure idéale-typique, voire exclusive, de l’autorité musicale, susceptible d’occulter la complexité et l’hétérogénéité des formes du pouvoir qui se manifestent dans les groupes musicaux d’aujourd’hui. La problématique de la direction musicale est donc replacée ici dans une perspective psychosociale : celle des « groupes restreints » que constituent par définition les collectifs musicaux, soit des entités dynamiques dont le destin est irréductible à l’addition des individualités qui les composent. Nous rapportons les résultats d’une enquête par entretiens menée auprès de musiciens majoritairement « grands amateurs » et semi-professionnels : elle met au jour la variété des stratégies et des logiques garantissant d’une part la cohésion proprement musicale des ensembles musicaux, d’autre part la prise en main des tâches adjacentes à l’activité musicale. Parmi ces logiques, le pouvoir tout à fait singulier des textes musicaux est souligné : dès lors que ceux-ci distribuent des rôles musicaux en partie prédéfinis, pratiquer la musique en groupe signifie aussi s’inscrire dans une structure psychosociale indépendante des individualités en présence, mais non déterministe. Le texte musical se donne ainsi à voir comme un médiateur non neutre indissociable des interactions socio-musicales.

Blackface minstrelsy is a form of popular American theater that gained popularity in the first half of the 19th century. As a form of theatrical makeup, blackface consisted of mostly white performers using burnt cork to blacken their skin. If the blackface makeup practice faded away in the 1950s, the reality behind it has carried on since. On the basis of an analysis of rock music, its origins and its transatlantic circulations, I will examine the racial politics of popular music and postulate a continuity of the blackface cycle. I intend to show that what has been integrated with the commercialization of black music is black culture more than Black people themselves. Thus, White artists, such as Elvis Presley or Mick Jagger, have worn a metaphorical blackface mask while “borrowing” signs from the African-American tradition. But some Black artists who were “rediscovered” in the 1960s (Blues Revival) also had to entertain their White audience with the thrill of a so-called “racial authenticity.”

The author, a long-time collaborator of Fausto Romitelli as musical director of the Ictus Ensemble, gathers his memories to paint a picture of an eccentric and uneasy artist who struggled against his era and was eager to derail it. The use of rock music in Romitelli's works is seen as the intrusion of a "foreign agent," deeply distorting the acoustic landscape. The sonic landscape, which his generation decried, is hence inclined to subversion: glimmering imagery undermines solidity, radiant metamorphosis gives way to freefall. The production of the two recordings, dedicated by Ictus to Romitelli, is minutely detailed, marking the transgressive, jarring moment when contemporary music entered the "post-Sgt.-Pepper" era under the twin standards of Romitellian unnaturalism and electric guitar as a bridge to electronic music. [ABSTRACT FROM AUTHOR]

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Copyright of Societes is the property of De Boeck Universite and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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