"Do They Owe Us a Living? Of Course They Do!" Crass, Throbbing Gristle, and Anarchy and Radicalism in Early English Punk Rock

Cogan, Brian

doi:10.1353/jsr.2008.0004

Cited by 21 publications

(3 citation statements)

References 2 publications

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“…Seminal it was: after further re‐releases, Crass’ Feeding of the 5000 , a conflation of the Christian “miracle” and the number of copies the band could afford to press, went on to sell tens of thousands of copies. Like many 1970s UK punk tracks, “Do They Owe Us A Living?” is a commentary on entrenched class structures and deals with the lack of opportunity and undereducation of the lower working classes and, as Cogan () points out, “…challenged the economic policies and rightward shift in Britain at the end of the 1970s” (p. 82). There are sonic correlations to be drawn between the dominant, right‐wing politics of the era and Ignorant's working class voice: Ignorant's vocals are obscured by the percussive, distorted instrumentation and their position in the mix.…”

Section: “Do They Owe Us a Living?”mentioning

confidence: 99%

“…There is certainly no shortage of academic scholarship on Crass, with key works by George Mackay (), Brian Cogan (), and Stacy Thompson () all considering the influence of the band, their music, politics, and iconography from sociological and political perspectives. Yet in covering the sociohistorical impact of Crass—and in Mackay and Thompson's cases, also dealing with musical and sonic attributes of the band's music—Southern Studios and John Loder are surprisingly absent.…”

Section: Introductionmentioning

confidence: 99%

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Songs about fucking: John Loder's southern studios and the construction of a subversive sonic signature

Bennett

2017

Journal of Popular Music Studies

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Section: “Do They Owe Us a Living?”mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Songs about fucking: John Loder's southern studios and the construction of a subversive sonic signature

Bennett

2017

Journal of Popular Music Studies

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“…Do-It-Yourself music practices incorporate a bottom-up organizational style. Rooted specifically in punk and post-punk musical practices, a DIY practice expands definitions of what is deemed musical, incorporates new kinds of subject matter, and takes seriously the efforts of musicians who might in other schema be considered amateur (Cogan 2007). Goals of incorporating DIY music learning into the classroom include fostering a learning community in which students have the ability to make decisions about their learning, and one that embraces the diverse creative efforts of non-specialists as creators of music.…”

Section: Do-it-yourself (Diy)mentioning

confidence: 99%

Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach

Przybylski,

Niknafs

2015

IASPM Journal

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This article provides a contextualized explanation of an emerging strategy for popular music teaching and learning in higher education that the authors term Improvisatory Integrative Learning. This strategy coalesces around four themes from a Do-It-Yourself and Do-It-With-Others ethos: autonomy, play, peer learning, and peer teaching. To explicate the possibilities and pitfalls of teaching popular music in this way, the authors analyze the approaches taken in a co-taught university course integrating two perspectives: music education and ethnomusicology. The interdisciplinary collaboration became an investigative space for informal music learning approaches in a formal context, in which students improvised with creative composition. We explore not only how processes that are part and parcel of popular music learning can help improve productivity in a popular music classroom, but also the ways that improvisatory integrative learning can serve a diverse university student population by expanding interdisciplinary approaches to multiple kinds of subject matter.

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Hill

Pinto

2023

Palgrave Studies in the History of Social Movements

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This edited volume discusses the emergence and development, and in some cases also the disappearance, of social movements and activism in the Swedish 1980s. The introductory chapter gives the background and aim of the volume and discusses why the Swedish case is interesting from a European perspective. The 1980s have often been described as a decade when the radical social movements of the 1960s and 1970s lost their influence in society and instead, right-wing politics and neoliberalism gained increasingly more impact in many parts of the world. However, this image needs to be problematized, since the decade encompassed a number of social movements that opposed the political development and protested against neoliberal and conservative politics. This introductory chapter discusses the historical background to the development in Sweden and argues that the ideas of a Swedish exceptionalism and development through consensus needs to be problematized. Contentious social movements have had an important role in democratization processes of Scandinavian societies. The chapter describes the right-wing wave that took place during the 1980s but also the many protests and resistance that occurred against it. It also discusses the importance of complex and multidimensional historiographies. This is followed by a section on political development during the 1980s, both internationally and in Sweden, and what new social movements emerged during the decade. After that, we describe key concepts and theories in research on social movements that some or all contributions engage with. Finally, the common thread in the anthology’s contributions and their main content is described.

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"Do They Owe Us a Living? Of Course They Do!" Crass, Throbbing Gristle, and Anarchy and Radicalism in Early English Punk Rock

Cited by 21 publications

References 2 publications

Songs about fucking: John Loder's southern studios and the construction of a subversive sonic signature

Songs about fucking: John Loder's southern studios and the construction of a subversive sonic signature

Teaching and Learning Popular Music in Higher Education Through Interdisciplinary Collaboration: Practice What You Preach

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