20世纪90年代谁的叛逆是朋克?

David G. Pearson
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引用次数: 0

摘要

虽然朋克在美国通常与白人、男性、郊区青年联系在一起,但20世纪90年代见证了女性和拉丁美洲人在美国朋克乐队中的声音参与急剧增加。全是拉丁裔的西班牙语乐队Los Crudos在芝加哥墨西哥人占多数的皮尔森社区打造了一个朋克场景,并以其凶猛的硬核朋克音乐和毫无歉意的拉丁裔身份主张吸引了美国乃至全世界的朋克场景。全女子乐队Spitboy以及Anti-Product等女歌手组成的乐队挑战朋克圈内外的父权制,将朋克音乐的愤怒和能量与她们自己的压迫和赋权经历融合在一起。拉丁裔、女性和LGBTQ人群越来越多地参与到美国朋克中,引发了从支持到反对的反应,并引发了关于朋克价值观团结和平等的理想和现实的辩论。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Whose Rebellion was Punk in the 1990s?
While punk in the United States is often associated with white, male, suburban youth, the 1990s witnessed a dramatic increase in the vocal participation of women and Latinos in US punk bands. The all-Latino, Spanish-language band Los Crudos built a punk scene in the Chicago majority-Mexican neighborhood of Pilsen and went on to captivate the punk scene in the United States and internationally with their ferocious hardcore punk music and unapologetic assertion of Latino identity. The all-women band Spitboy as well as bands with women vocalists such as Anti-Product challenged patriarchy inside and outside the punk scene and fused the anger and energy of punk music with their own experiences of oppression and empowerment. The increasing and assertive participation of Latinos, women, and LGBTQ people in US punk generated responses ranging from supportive to hostile and sparked debate over the ideals and realties of punk values of unity and equality.
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