Songs for Ordinary People: Popular Music and Class in Post-Socialist Czech Society.
This article aims to illuminate the links between culture and class in the post-socialist years in the Czech Republic. To this end, it considers the reception of two music acts—the country folk duo Bratři Nedvědi in the 1990s and the "nationalist rock" band Ortel in the 2010s—and discusses the label...
| Publicado en: | Communist & Post-Communist Studies Vol. 55; no. 2; pp. 84 - 104 |
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| Formato: | Artículo |
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University of California Press
Jun2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=170031330&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 170031330 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 0967067X PCS jtl: Communist & Post-Communist Studies issn: 0967067X maglogo: N pubinfo: dt: Jun2022 vid: 55 iid: 2 pid: 414 pub: University of California Press artinfo: ui: 170031330 10.1525/j.postcomstud.2022.55.2.84 ppf: 84 ppct: 20 formats: tig: atl: Songs for Ordinary People: Popular Music and Class in Post-Socialist Czech Society. aug: au: Daniel, Ondřej affil: Department of Media Studies, Metropolitan University Prague, Prague–Strasnice, Czechia su: Czech Republic Popular music Political affiliation Elite (Social sciences) Social classes Working class Socialist societies Rock groups sug: subj: Popular music Political affiliation Elite (Social sciences) Social classes Working class Socialist societies Czech Republic Political Organizations Musical Groups and Artists Rock groups keyword: class popular music post-socialism class popular music post-socialism ab: This article aims to illuminate the links between culture and class in the post-socialist years in the Czech Republic. To this end, it considers the reception of two music acts—the country folk duo Bratři Nedvědi in the 1990s and the "nationalist rock" band Ortel in the 2010s—and discusses the labeling of their fans based on their social class profiles. My analysis draws on mainstream Czech media coverage of these acts, materials reflecting fans' perspectives, and broader scholarly debates about the links between music consumption and social class. One similarity between these bands lay in their decision to forsake their original subcultural fans for a more mainstream audience. A second commonality relates to the dismissal of their mainstream fans by cultural elites, who saw them as backward and out of step with the norms of liberal democracy and Western capitalism. These critics often described these types of Czech music as lowbrow and regressive. Meanwhile, the two bands continued to insist that they were making songs for "ordinary people" rather than elites: their fan bases, while not homogenous, remained largely working class. This study considers key intersections between class, age, ethnicity, and gender in Czech post-socialist society. I argue that certain kinds of local musical taste reflect class differences, which are further shaped by age, gender, and political orientation. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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