珍珠果酱(和垃圾摇滚亚文化)三十年,1991-2021

IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY
Stefano Marino
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引用次数: 0

摘要

在这篇评论文章中,我把注意力集中在所谓的垃圾亚文化上,它最初源于20世纪80年代末和90年代初西雅图场景的音乐风格,特别是摇滚乐队珍珠果酱,有时被强调为“垃圾幸存者”,也是唯一一支完好无损地活过90年代的西雅图主要乐队。Pearl jam于2017年入选摇滚名人堂,并承诺在2021年庆祝他们传奇的首张专辑《Ten》问世30周年,同时也是《No Code》问世25周年,这是他们迄今为止第四张、最具实验性、或许也是最具“哲学”的作品,毫无疑问,他们已经成为有史以来最好的摇滚乐队之一。从对珍珠果酱音乐的总体分析开始,在我的评论文章中,我随后研究了乐队艺术作品的一些方面,这些方面允许以原创的方式将流行音乐与社会批评联系起来,包括一些关于政治承诺的问题,与文化工业的批评关系,还有女权主义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Thirty Years of Pearl Jam (and Grunge Subculture), 1991–2021
abstract:In this review article, I focus my attention on the so-called grunge subculture, originally derived from the musical style of the Seattle scene of the late 1980s and early 1990s, and in particular on the rock band Pearl Jam, sometimes emphatically defined as the “grunge survivors” and as the only major Seattle band to survive the ’90s intact. Pearl Jam—inducted into the Rock and Roll Hall of Fame in 2017, and committed in 2021 to celebrate the thirtieth anniversary of Ten, their legendary debut album, and also the twenty-fifth anniversary of No Code, their fourth, most experimental, and perhaps most “philosophical” work so far—have undoubtedly established themselves as one of the best rock bands of all times. Starting from a general analysis of the music of Pearl Jam, in my review article I subsequently take into examination some aspects of the band's artistic work that allow to connect in an original way popular music and social criticism, including some questions concerning political commitment, the critical relation with the culture industry, and also feminism.
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来源期刊
Journal of Asia-Pacific Pop Culture
Journal of Asia-Pacific Pop Culture HUMANITIES, MULTIDISCIPLINARY-
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