You’ve Got to Fight for Your Right to Party? Spanish Punk Rockers and Democratic Values

Wheeler, Duncan

doi:10.1080/03007766.2016.1212626

Cited by 7 publications

(8 citation statements)

References 15 publications

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“…Probably one of the most insightful views of what La Movida was and what it meant on a social and political level can be found in the work of Wheeler (2018). This author criticizes the mythologized account of the Transition (and La Movida as a metaphor for it) as a "party", as well as the superficial readings that, by focusing on the positioning with respect to the previous dictatorial regime, overlook its dimensions of generational rejection.…”

Section: Punk: Neither Movida Nor "Llanto" Nuevo Nor Radical Rockmentioning

confidence: 99%

“…Returning to La Movida, Wheeler (2018) proposes that rather than a reaction against Francoism, it was an attempt to break with the politicisation of everyday life and puncture the division between "art" and "popular culture". Punk, which preceded La Movida, had to make do in Madrid with an existence on the margins of the latter and, although it had notable exponents and a consolidated scene, it did not achieve the prominence it had in other regions such as the Basque Country.…”

Section: Punk: Neither Movida Nor "Llanto" Nuevo Nor Radical Rockmentioning

confidence: 99%

“…Thus, the Spanish punk forefront was a far cry from the presumed proletarian roots of the British punk scene. This heuristic and ideological tendency in UK punk was both the product and the cause of the doctrine of subcultures, through which opposition and oppression were reified to vindicate popular culture (Wheeler, 2018). So, the "macarra rock" (as it was called in those years) of Spanish groups as La Banda Trapera del Río was more attuned to British punk's statement of intent.…”

Section: Punk: Neither Movida Nor "Llanto" Nuevo Nor Radical Rockmentioning

confidence: 99%

“…The Chilean reality would not be too different. Wheeler (2018) considers punk the first global pop phenomenon that Spain experienced as intensely as its European neighbours. The social context at the beginning of the 1980s provided perfect conditions for the emergence of punk in this country.…”

Section: Punk: Neither Movida Nor "Llanto" Nuevo Nor Radical Rockmentioning

confidence: 99%

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"If in London have itchy balls, everybody scratches it here".

Pavez

2022

Preprint

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The diversity of manifestations within the punk scene has been previously noted in the academic literature. Punk diversity rests as much on the social and material conditions of musical production as on the peculiarities of the dominant culture and the socio-political situation of each region at a specific historical moment. Some noticeable differences between the contexts of British and Spanish punk were the absence of differentiated youth culture in Spain, the tension between expectation, disillusionment and possibilism of the Spanish democratic transition, and the immaturity of the media and the political structures created. To a greater or lesser extent, these contexts were shared by their Latin American counterparts. With these elements in mind, this article aims to outline the place that punk music and its derivatives had within the processes of democratic transition, drawing a comparison between Spain and Chile, given the historical and political confluences between the two countries. Thus, its developments, the generational rejection dimension, and the attempts at political appropriation to which punk and its derivatives were subjected, besides some elements that might distinguish Chilean and Spanish punk from their Anglo-Saxon counterparts, are discussed.

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Section: Punk: Neither Movida Nor "Llanto" Nuevo Nor Radical Rockmentioning

confidence: 99%

Section: Punk: Neither Movida Nor "Llanto" Nuevo Nor Radical Rockmentioning

confidence: 99%

Section: Punk: Neither Movida Nor "Llanto" Nuevo Nor Radical Rockmentioning

confidence: 99%

Section: Punk: Neither Movida Nor "Llanto" Nuevo Nor Radical Rockmentioning

confidence: 99%

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"If in London have itchy balls, everybody scratches it here".

Pavez

2022

Preprint

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“…The most significant contributions to this are the special issue "Spanish Popular Music Studies" (2009) of this journal, edited by Silvia Bermúdez and Jorge Pérez, and the collective volume Made in Spain: Studies in Popular Music, coedited by Silvia Martínez and Héctor Fouce (2013). Although it is impossible to offer a comprehensive list of the scholars who have made notable contributions to this field, the work of Kiko Mora and Eduardo Viñuela (2013), Fernán del Val, Javier Noya and C. Martín Pérez Colman (2014), Celsa Alonso González (2010), Duncan Wheeler (2016Wheeler ( , 2018 and Stuart Green (2013) is also worthy of mention. Recent studies on Spanish film have addressed the significance of the soundtrack in Spanish cinema.…”

Section: Introductionmentioning

confidence: 99%

Spanish sound studies

Llano

Whittaker

2019

Journal of Spanish Cultural Studies

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Recent decades have seen a growing interest in "sound studies", a field of study that addresses the role of the auditory in culture and society. Sound studies is best understood as encompassing a broad range of critical approaches to the study of sound, a category that is considered here in both its physical and cultural dimensions. The philosophical writing of R. Murray Schafer (1994) and Walter Ong (1967), as well as the theories of musicologist Jacques Attali (1985) on the political potential of noise, provided some of the most influential early work on sound studies. Since the 1990s, scholars such as Emily Thompson (2002), Douglas Kahn (1999), Brandon LaBelle (2010) and Michael Bull and Les Back (2003) have explored the relationship between sound, architecture and modernization as means of historicizing cultural moments and crises. Researchers on sound technologies and media, such as Jonathan Sterne (2003), Rick Altman (2004) and Jacob Smith (2008), have made similarly significant contributions to the field, exploring the cultural origins and development of sound technologies. Their influence has been felt in the form of the appearance of academic journals dedicated to this field, including Sound Studies, The Journal of Sonic Studies and Sound Effects. Despite the sheer variety of disciplines and scholars that loosely belong to sound studies, they are generally unified by their shared aim to disrupt the epistemological dominance of the visual in Western culture. Bull and Back, for instance, have recently called for a "democracy of the senses" in which "no sense is privileged in relation to its counterparts" (2003, 2). As scholars make this shift, sound should not so much be studied in isolation or to the exclusion of other senses, but as a means of reinvigorating our understanding of the ways in which all the senseshearing, but also touching and feelingoperate together as a whole. Contributions to sound studies come from fields as varied as sociology, anthropology, history, visual studies, musicology, architecture, literary studies and, perhaps most significantly, geography, often simultaneously bringing together elements from more than one of these fields in surprising and productive ways. If the material properties of sound are elusive and ambiguous, as it is able to pass through borders and walls, so too are the boundaries of sound studies, making the field diverse and interdisciplinary in scope. This spatial metaphor finds its richest expression in the dialogue between sound studies and geography, an area of research has been pioneered by Susan Smith (1997), Ben Highmore (2002) and John Connell and Chris Gibson (2003). This work considers the ways that sound contributes to the production of space, thereby drawing attention to how, for instance, the sonic marks out and transforms the boundaries between public and private space.

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Post Dictatorships, Cosmopolitanism, Punk, and Post-punk in Portugal and Spain from 1974 to 1984

Guerra

Val

2021

Popular Music and Society

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You’ve Got to Fight for Your Right to Party? Spanish Punk Rockers and Democratic Values

Cited by 7 publications

References 15 publications

"If in London have itchy balls, everybody scratches it here".

"If in London have itchy balls, everybody scratches it here".

Spanish sound studies

Post Dictatorships, Cosmopolitanism, Punk, and Post-punk in Portugal and Spain from 1974 to 1984

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