Musical Press Punk 1970s to Present Day Essay - 2203 Words

Examine the development of the music press from the 1970’s to the present day compare and contrast the changes which have come into play with the developments of online magazine format. The music press and journalists are often seen as an important link between artists/bands and consumers. Reviewers and journalists have played an historical role in many upcoming bands lives and are recognized by the music industry as having a key part in the promotion of bands and artists. However, the music press has also been known to play a part in the promotion of popular music with wider political, social and cultural concerns. An example of this is Punk music. Many argue that the birth of punk music came when the then â€Å"newly formed Sex†¦show more content†¦Little did they know, their style of playing was to be embraced as an iconic and inspirational platform for others and also expanded the definition of music. Punk journalism and bands were not only based around music. The image of punk was also a very huge part of the scene. Taking influence from the foundations of Glam Rock, fans and artists started incorporating the styles of artists like David Bowie and the New York Dolls into their outfits. Glam rock also influenced other genres such as hard rock hair metal and punk rock. The first known punk scene was formed in the mid ‘70s in New York. Artists such as the Talking Heads, Blondie and the Ramones were making a name for themselves at a club called CBGB, also known as the home of underground rock. While the New York punk scene was getting off its feet, the London punk scene was just beginning. Punk in England has political and economic roots where as American punk scenes were all about bands rebelling against the boring, generic songs they heard on the radio everyday. The economy in the United Kingdom was in a terrible shape and unemployment was at an all-time high. Englands younger population were angry, unruly and jobless. Many young artists in the 1970s has strong opinions on the state of the countries political and economic climate and being unemployed they had a lot of spare time. Music fans wereShow MoreRelated Political Advocacy in Anarchist Punk Music Essay3584 Words   |  15 PagesPolitical Advocacy in Anarchist Punk Music Anarchist political advocacy has been a driving force in punk music since its emergence in the 1970s. Although the basic philosophy has remained unchanged, punks have significantly altered the ways they espouse their beliefs, over time becoming more militant and directly confrontational with those that hold power. 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The Molding Hand of Oppression Forming an Identity in Persepolis Free Essays

Ruby Instructor Bachman Writing Across the Arts (Porter 80A-21) 2 November 2012 (1278 words) The Molding Hand of Oppression: Forming an Identity in Persepolis Every person is unique. However, there are many similar parts that go into creating every person’s identity. Of course, there is the biology, the genetics. We will write a custom essay sample on The Molding Hand of Oppression: Forming an Identity in Persepolis or any similar topic only for you Order Now Then there are outside forces, the nurturing of a person. When trying to form an identity, there are numerous outside factors that contribute, such as gender, culture, and environment. For Marji, the protagonist of the Persepolis series, being an Iranian woman is absolutely a factor that featured prominently in the shaping of her personality. She was not allowed to experiment with her identity by her clothing or style, because the government controlled what women were allowed to wear. She had to have some sort of connection with religion, because the government forced the religion upon its subjects. She also experienced hardships, like the death of family members, because of war against the tyrannical government. Growing up under the oppressive hand of the Iranian government has formed Marji’s strong identity. Clothing, a big form of self-expression, was predetermined for Marji, so that she had a few options of how to proceed. The first thing Marji introduces in the story is the veil, which is a headscarf that women are required to wear for public decency. Marji does not like the veil since she does not understand why she has to wear it. When Marji is young, she says, â€Å"I really didn’t know what to think about the veil, deep down I was very religious† (Persepolis 1, 7). Since she is so young, she is unaware of the real point of the veil. It is forced on because the government wants to hide the potential power women have. Later, Marji finds out that the restricted clothing has constrained her freedom by not allowing her to express a part of her individuality. After her parents come back from a trip to Istanbul, Turkey, she gets gifts such as 1983 Nike Shoes, a denim jacket, a Michael Jackson button, and posters. She puts on her new shoes and her new jacket with the new button on it to go out and buy some music tapes. However, the guardians of the revolution, the women’s branch who arrest women who are improperly veiled, catch Marji. She luckily gets away. Through this experience, she realizes that she does not even have a minimal amount of freedom to show her individuality as a rebel. Clothing allows people to express their individuality, but forcing women to wear the veil not only prevents women from showing their own personality but also eliminates their freedom. If a woman wears a veil, then all the women will look just the same, and there is no opportunity for individuality there. Marji travels to Europe, and while there, she is finally able to express herself and experiment with her personality. When Marji becomes sixteen, she tries new stuff, coating her hair with gel, adding a thick line of eyeliner, and using safety pins as earrings (Persepolis 2, 36). As you see in the panels, she experiments with her hairstyles, which would not even be seen under the oppressive Iranian regime. Each new style is in a completely separate panel, showing the time passing between each event (McCloud 101). It takes time to develop an identity. She is allowed to express herself in Europe, and because of this, she is able to develop her personality in a way that she could not have been able to if she had been back in Iran. The government keeps Iranian women on a tight leash, so the lack of expression through clothing that Marji experiences in Iran, and the amount of expression she experiments with outside of her country, helped her develop as a person. Iran has a very strong connection between religion and state, which is reflected in Marji’s spirituality. Marji says herself that she was born with a religion, and she believes her path is to be a prophet. Religion becomes a part of her character. Because she wants to be a prophet when she is ten, God sometimes appears and becomes her companion. Whenever Marji is having a personal conflict, God appears to help her work through it. For example, Marji takes a long bath in the water tub to feel like to be in a cell filled with water, when God appears to her. She is trying to experience what it feels like to be tortured, like her captured relatives and countrymen. God just randomly appears to her to ask, â€Å"What are you doing? † (Persepolis 1, 25). In that panel, The main color is white. White is a color like purity and spirituality, which makes sense, because God is in it. However, in the next panel, the background is entirely black. This panel does not have God in it. Instead, it is just Marji almost connecting to the pains of her grandfather. So the simplicity of the black background helps show the beginning of her internal conflict (McCloud 192). Marji is learning about how cruel the government truly is, and even God cannot help her understand why. Because Iran was very connected to religion, she always has a spirituality about her. The government forced a certain religion on Marji. Even though she did not always believe in that religion, she was still shaped by her conversations with God. Even though God doesn’t appear later on, believing in a religion as a child was able to lay the foundation for a spirituality that would last her the rest of her life. Living through war is very difficult. Because of war, many of Marji’s families and her neighbors met death. Satrapi’s graphic style, which is mainly composed of black and white, depicts violent moments with a simple description. For instance, when Satrapi depicts the bombing of her neighbors, the black and white frames, along with the gutters, portrays how terrified Marji feels (Persepolis 1, 142). For example, there is a panel where Marji is covering her eyes. Then it cuts to a panel that is just completely black. It shows just how emotional the scene is (McCloud 150). Because Satrapi’s style is so simple, drawing the character to explain the horrible emotions would be out of style. It is much more expressive just to keep the panel completely black. Since those dreadful incidents happened to her when she was young, she grew up as a strong-hearted and caring Iranian who knew the difficulties of war and came out stronger for it. Even though she disagrees with the lack of freedoms in her country, she is very proud to be an Iranian woman. She actually says this when some students were talking at a restaurant and were not respecting her. She stood up and said to them, â€Å"You are going to shut up or I am going to make you! I AM IRANIAN AND PROUD OF IT† (Persepolis 2, 43). The war and demonstrations due to the revolution has built her a strong identity as an Iranian. Marji is definitely shaped by her outside environment. The fact that she is Iranian during such difficult times is absolutely a big environmental factor. Not being able to wear whatever she wants limits her self-expression, so she has to work around that. The government forces a religion on her. She is also thrown into the middle of a war. All of these things should limit how her identity grows. But despite all the obstacles that being Iranian created for her, in the end, she still has a very strong connection with her Iranian culture. She obviously connects as an Iranian woman. Her own culture suppresses her, and in doing so, makes her stronger. Works Cited Satrapi, Marjane. Persepolis: The Story of a Childhood. New York: Pantheon, 2003. Print. Satrapi, Marjane. Persepolis 2: The Story of a Return. New York: Pantheon, 2004. Print. McCloud, Scott. Understanding Comics. Northampton, MA: Kitchen Sink, 1993. Print. How to cite The Molding Hand of Oppression: Forming an Identity in Persepolis, Essay examples

Why Humor free essay sample

I have always loved the echo of laughter. When I was a little girl with an eyepatch and Dora haircut, I used humor as an outlet. Now, as a young adult entering the real world with a semi-better haircut and Harry Potter glasses; I find myself grasping to a comical release. I have never been the popular girl and I don’t think I will ever be, but that’s what makes me, me. I’m not here to complain about my struggles, or my family’s because let’s face it; we all have them, it’s called life. I’ve gained my sense of humor from these conflicts : not knowing what to order off of Chick Fil As menu, dropping the bar of soap square on my toe, worrying about money, or struggles out of my control, such as losing a loved one. This past December, my Grandpa died from Congestive Heart Failure. We will write a custom essay sample on Why Humor? or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page As an artist, my world was uprooted and my emotions turned array. My Grandpa, although you’ll never get to meet him, was the most stubborn man I have ever had the pleasure of knowing. He had a huge head, probably the size of a basketball. I have the honor of having this same giant head. He also used to dye his hair jet black and dry it in the oven. He was pretty old school, stubborn as hell, but boy, did that man know how to laugh. When he passed away, I found thousands of family photos stashed away in his closet, and every photo had one thing in common : his smile. At a time when I felt darkness envelop my heart, I was forced to remember how he would want me to live, deeply and simply, with laughter following me everywhere I go. He lived off of the simplicities in life and prospered in a country he came to at my age. He taught me that life isn’t about the struggle, it’s about the raw nature of happiness and embracing your big head. As I embark on the next chapter of conflicts, otherwise known as my college education, I take with me the only thing I’ve ever known, laughter.