The Screamers: Pop Ambition, Punk Nihilism, and Queer Futurities.
In this paper, I explore the synth-punk band the Screamers and the uncertain futures they represent. After describing punk rock briefly and situating the Screamers in the Los Angeles punk scene of the late 1970s, I analyze the futurity connoted by their use of synthesizers. I discuss the band's desi...
| Published in: | Canadian Review of American Studies Vol. 50; no. 3; pp. 428 - 453 |
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| Format: | Article |
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University of Toronto Press
Winter2020
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=147475646&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 147475646 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00077720 CRA jtl: Canadian Review of American Studies issn: 00077720 maglogo: Y pubinfo: dt: Winter2020 vid: 50 iid: 3 pid: 678 pub: University of Toronto Press artinfo: ui: 147475646 10.3138/cras-2020-002 ppf: 428 ppct: 25 formats: fmt: – @attributes: type: T – @attributes: type: P size: 296KB tig: atl: The Screamers: Pop Ambition, Punk Nihilism, and Queer Futurities. aug: au: Brown, Peter Robert su: Screamers (Performer) Punk rock music Electronica music New wave music Queer theory Nihilism Los Angeles (Calif.) sug: subj: Los Angeles (Calif.) Screamers (Performer) Punk rock music Electronica music New wave music Queer theory Nihilism keyword: futurity Los Angeles new wave nihilism punk rock queer theory the Screamers futurité nihilisme théorie queer The Screamers ab: In this paper, I explore the synth-punk band the Screamers and the uncertain futures they represent. After describing punk rock briefly and situating the Screamers in the Los Angeles punk scene of the late 1970s, I analyze the futurity connoted by their use of synthesizers. I discuss the band's desire for a future in music and examine the American recording industry's hostility to punk, preferring the safer sounds of new wave. In the conclusion, I consider the purported nihilism of early punk by contextualizing punk's negativity within debates about queer futurities as well as within what Mark Fisher calls "lost futures." Dans cet article, j'explore le groupe de musique synth-punk The Screamers et les futurs incertains qu'ils représentent. Après une description brève du punk rock et une mise en place des Screamers sur la scène punk rock de Los Angeles de la fin des années 1970, j'analyse la futurité connotée par leur utilisation des synthétiseurs. Je discute du désire du groupe d'avoir un avenir en musique et j'examine l'hostilité de l'industrie du disque américaine envers le punk, laquelle a préféré la sécurité de la new wave. Dans la conclusion, je réfléchis sur le prétendu nihilisme du punk à ses débuts en contextualisant la négativité du punk au sein des débats sur les futurités queers ainsi qu'au sein de ce que Mark Fisher nomme les « avenirs perdus ». pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Canadian Review of American Studies is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Canadian Review of American Studies holder: University of Toronto Press dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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