Punk Rock and Philosophy

Häftad, Engelska, 2022

205 kr

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Beskrivning

“All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”Karl Marx might have been thinking of punk rock when he wrote these words in 1847, but he overlooked the possibility that new forms of solidity and holiness could spring into existence overnight.Punk rock was a celebration of nastiness, chaos, and defiance of convention, which quickly transcended itself and developed its own orthodoxies, shibboleths, heresies, and sectarian wars.Is punk still alive today? What has it left us with? Does punk make any artistic sense? Is punk inherently anarchist, sexist, neo-Nazi, Christian, or—perish the thought—Marxist? When all’s said and done, does punk simply suck?These obvious questions only scratch the surface of punk’s philosophical ramifications, explored in depth in this unprecedented and thoroughly nauseating volume.Thirty-two professional thinkers-for-a-living and students of rock turn their x-ray eyes on this exciting and frequently disgusting topic, and penetrate to punk’s essence, or perhaps they end up demonstrating that it has no essence. You decide.Among the nail-biting questions addressed in this book:● Can punks both reject conformity to ideals and complain that poseurs fail to confirm to the ideals of punk?● How and why can social protest take the form of arousing revulsion by displaying bodily functions and bodily abuse?● Can punk ethics be reconciled with those philosophical traditions which claim that we should strive to become the best version of ourselves?● How close is the message of Jesus of Nazareth to the message of punk?● Is punk essentially the cry of cis, white, misogynist youth culture, or is there a more wholesome appeal to irrepressibly healthy tendencies like necrophilia, coprophilia, and sadomasochism?● In its rejection of the traditional aesthetic of order and complexity, did punk point the way to “aesthetic anarchy,” based on simplicity and chaos?● By becoming commercially successful, did punk fail by its very success?● Is punk what Freddie Nietzsche was getting at in The Birth of Tragedy, when he called for Dionysian art, which venerates the raw, instinctual, and libidinous aspects of life?

Produktinformation

Utgivningsdatum:2022-10-06
Mått:152 x 228 x 22 mm
Vikt:492 g
Format:Häftad
Språk:Engelska
Serie:Pop Culture and Philosophy
Antal sidor:346
Förlag:Carus Books
ISBN:9781637700228

Utforska kategorier

Populärmusik inom Kultur

Mer om författaren

RICHARD GREENE is Professor of Philosophy and Director of the Richards Richards Institute for Ethics at Weber State University. He is the past Director of the Intercollegiate Ethics Bowl. He is the author of Spoiler Alert: It’s a Book About the Philosophy of Spoilers, and has produced twenty or so edited books on pop culture and philosophy. He also co-hosts the popular podcast I Think, Therefore I Fan.

Recensioner i media

"Punk Rock and Philosophy: Research and Destroy adds to the publisher's series Pop Culture and Philosophy with a 7th volume designed to especially appeal to pop music fans of punk rock. This audience will find the book offers thought-provoking discussions suitable for contemplation and group debate as they consider the essence of punk rock and its relationship to controversial thinking. From early punk's history and its relationship to political situations to the philosophical and ethical foundations of many of its major groups and songs, readers receive diverse essays that are compelling, passionate, contemporary links between philosophical thinking and modern musical culture."James A. Cox, Editor-in-Chief Midwest Book Review

Innehållsförteckning

Table of ContentsPart I The Nature of Punk Rock1. Can Punk Be Mature? Rebellion, Nihilism, and LiberationThomas MeagherThis chapter addresses whether it is possible for punk to be mature (given its nature). Essential to its doing so is a particular notion of nihilism.2. The Essence of PunkTimothy M. KwiatekConsiders whether anything can satisfactorily answer the question: what is the essence of punk? Ultimately it rejects the question, and considers some worries about the very attempt (such as gatekeeping).3. The Unlikely Traditionalism of Punk Rock (or Why Sting Is More Punk than You)Brian HardingLooks at (1) punk’s initial rejection of canonized artists (The Beatles, Elvis Presley) and (2) the fact that certain bands (The Ramones, The Clash, The Sex Pistols) have subsequently been canonized. the result is a somewhat scathing attack on the notion of punk cred and its related concepts (not-selling out, not being a poser, and all that crap).4. The Spectacle of Society, The Society of Failure and the Authentication of Punk; Or, Elvis is DeadMichael StockThis chapter begins by considering the question of whether punk ultimately fails. It subsequently explores the intimate relationship between punk and failure.5. Punk as PraxisNicholas H. SmithArgues that punk is best characterized as a form of praxis. Different conceptions of praxis are considered and applied to punk.Part II Punk Values6. Post-Punk and the Struggle for AuthenticityMarkus KohlExamines the forms of authenticity that were available in post-punk (after the late 1970s and early 1980s) culture. Inward vs. outward models of authenticity are considered. The former wins out.7. The Paradox of the PoseurPeter Brian BarryThis chapter considers what the author calls “the paradox of the poseur.” The paradox of the poseur can be motivated by asking some pretty simple questions. If punk is about individual expression and the rejection of conformity, how can the poseur be a fake? Can punks both reject conformity while complaining that poseurs fail to conform?8. Doing Better—Hardcore Punk, Straight Edge and How to Live the Good LifeMolly TieExamines what punks have to say about living the good life. Takes a particularly close look at the admonitions of the Straight-Edge movement.9. To Resist Despair: The Metaphysics of PunkBailie PetersonThis paper examines the metaphysics of punk, by attempting to identify the minimal set of necessary characteristics for something being punk. This is accomplished by focusing on punk virtues.10. I Am a Poser and I Don’t CareJesse PrinzTakes a look at a different paradox of the poser: everyone how comes to punk is in some sense unoriginal (with the exception of the very first punks), so everyone pretty much is a poser. This paradox is helpful for learning about that nature of punk, and has implications for philosophical issues pertaining to personal identity.Part III The History of Philosophy and Punk11. A Punk by any Other Name would Smell as RottenGwenda-lin GrewalExamines punk as a movement. It draws parallels between punk and a number of historical philosophers—most notably Diogenes and Socrates.12. Revolting PunksChristopher M. InnesThis chapter examines punk-motivated revolt. It draws heavily on the works of Diogenes.13. The Will to Raw Power: Nietzsche, Early Punk Rock, and the Lion-ChildCasey RentmeesterThis chapter examines early punk rock (and immediate predecessors such as Iggy Pop) from a Nietzschean perspective. It turns out that there is something of a Dionysian spirit to punk.14. Title TBDRandall E. AuxierConsiders the question of whether punk rock sucks. The answer is to be found in the writings of Arthur Schopenhauer.Part IV Punk Politics15. Punk Political PhilosophyMarty SulakLooks at punk as expressing a coherent political philosophy (the realization that every regime, every ideology, every power structure is entropic by nature, and eventually becomes antithetical to life). The author uses this to elaborate on the role of punk.16. Wartime Propaganda as Punk Critique in Julian Temple’s Punk Can Take ItKaren FounierLooks at the punk film Punk Can Take It as it draws from an earlier file London Can Take It!, which was a piece of wartime propaganda. Parallels are drawn between punk music and punk film as both “call out” the promises of post-war Britain.17. Punk PoliticsJesse PrinzThis chapter raises and addresses the question “Does punk rock have an inherent political ideology? If so, what is it (Is it anarchism, nihilism, nationalism, or something else entirely)? 18. Nazi Punks F*ck Off!: The Battle for the Soul of Punk RockRyan FalcioniPunk rockers are often accused of “gatekeeping”: telling others what does and does not count as punk. One subculture of punk that throws the whole issue into a bit of chaos involves neo-Nazis. This chapter raises the (perhaps uncomfortable) question of the place of so called “Nazi Punks” in punk as a whole. 19. “Which Side Are You On?”: The Class Consciousness of PunkTiffany MontoyaRaises the question of what punk has to say about class warfare. Drawing parallels between punk’s DIY ethic and movements like Marxism, this paper explains what punk can teach us about class consciousness as a whole. Part V Punk and the Culture at Large20. Remenbering the Punk Movement: Why Erasure of Women Does a Disservice to the Movement as a WholeGeorgina H. MillsThis chapter argues that if we remember the punk movement only by the men who were a part of it, we not only do a disservice to the female artists who were part of the scene, but we undermine the features of the punk movement that are essential to it.21. Punk Rock Saves LivesR.W. Main“Punk is a celebration of the weird, rejected, othered and outcast, and often endorses the most rejected and reviled ideas and practices.” This chapter outlines how this importantly includes the LGBTQ+ community and how both cultures have been important to one another. 22. Are Punk and Christianity Compatible?Josh CangelosiThere are many bands that claim to be Christian punk bands. This—at first glance—may seem curious to some. This chapter raises the question whether Christianity and punk rock (and all that it entails) are actually compatible.23. The Deviance It Deserves: On Punk Rock, Public Harassment, and Pissing People OffJuneko J. Robinson, AKA Gitte SyndromeThere is much about punk rock that some find offensive, and to be fair, some punk lyrics are arguably offensive. However, there are also those that seem to be offended by punk rock dress or the music itself (sans lyrics). This chapter addresses the question of why that is.24. Close Your Eyes, Breathe, and Stick It to the ManSeth M. WalkerDraws a number of parallels between punk rock and Buddhism and shows that Buddhism and punk rock are not only compatible, but complimentary.25. Punk and DisgustSara M. BergstresserMany punk rock shows include shocking and controversial displays involving bodily transgression. Examines how these acts can be seen as a mechanism of protest and refusal of social norms.Part VI Aesthetics 26. Anarchy in AestheticsS. Evan KreiderRaises a fairly simple question: does punk rock (successfully) challenge the idea that art is aimed inherently at beauty?27. Rebel Girl: Riot Grrrl Punk as Feminist Aesthetic CreationPatrick D. AndersonOutlines how the Riot Grrrl movement was heavily influenced by feminist aesthetic traditions.28. The Filth and the Fury: Why Do We Listen to Such Dark Punk Songs?Greg LittmannRaises a question that borders on the line between philosophy and psychology. Many punk songs can be described as dark (or nihilistic, depressing). So, why does anyone listen to them?29. “Be Like Johnny”: The Ramones, the Philosophy of Work, and DIYGeorge A. DunnExamines the issue of how the DIY ethic of punks can teach us about the nature and value of work.Part VII Punk Ethics30. Sometimes Good Guys Don’t Wear White: DIY Virtue, Principled Hostility, and Genuine Moral GrowthLindsey J. SchwartzLooks at punk rock through the lens of virtue ethics. Argues that at the core of punk rock are some identifiable and important Aristotelian virtues.31. “Out of Step with the World”: On the Ethical Value of Cultural NonconformityGetty L. Lustila and Johan OlsthoornPunk Rock—by its very nature—has quite a bit to do and say about nonconformity. This chapter raises and addresses the question: what (if any) is the ethical value in pursuing cultural nonconformity (or cultural rebellion)?