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To Whom Do U2 Appeal?
... Eileen Hogan (2016) also measured the practices of fans in her ethnographic study of music scenes in Cork city. Elsewhere, Gary Sinclair's (2014) investigation into the Irish heavy metal scene demonstrates a significant shift; firstly, it is a move away from a narrative in popular music studies of Ireland that focuses on traditional music, successful rock artists (Bradby and Torode, 1984), or music of the diaspora (Campbell, 2011). Furthermore, he places fandom at the centre of his inquiry. ...
This article focuses on the position of the fan in Irish alternative music cultures through their connections with media texts. In particular, it examines the emergence of Irish punk music fanzines. By assessing the role of these publications in distributing valuable information within a shared taste community, it demonstrates that this process needs to be considered as a fan practice. What is evident is that fans within such communities (or 'scenes') can occupy several roles simultaneously-writer, promoter, musician, and facilitator of information. Furthermore, this work touches on the links between the rough texture of punk/DIY music, its participatory culture, and the corresponding application of the same aesthetics to fanzine production. This analysis draws on over thirty-five years of archive material, as well as valued contributions from fanzine writers, to prove that DIY production is not just about opposition to a dominant culture, but that it is a fulcrum for pleasure for its participants.
... The new meaning of 'Sunday Bloody Sunday' turns out to be as exclusive as the old one, though now on a world, rather than a local, sectarian scale". (20) ...
This blog is about how the Irish backgrounds of John Lennon and Paul McCartney inspired them to write political protest songs in the wake of Bloody Sunday on 30 January 1972. https://www.willymaley.scot/2022/01/30/the-beatles-and-bloody-sunday/
... Analysis of the text of the song suggests the latter (Bradby and Torode 1984). The refrain of the opening verses, 'We can be as one tonight', appears to appeal to a limitless audience. ...
This article explores popular-musical invocations of the Northern Ireland conflict (1968–1998), focussing specifically on the period between the IRA hunger strike of 1981 and the British Government's Broadcasting Act in 1988. Whilst most songs addressed to the ‘Troubles’ were marked by (lyrical) abstraction and (political) non-alignment, this period witnessed a series of efforts that issued upfront and partisan views. The article explores two such instances – by That Petrol Emotion and Easterhouse – addressing each band's respective views as well as the specific performance strategies that they deployed in staging their interventions. Drawing on original interviews that the author has conducted with the musicians – alongside extensive archival research of print and audio/visual media – the article explores the bands’ songs in conjunction with salient ancillary media (such as record sleeves, videos and interviews), yielding a more nuanced account of popular music's engagement with the ‘Troubles’ than has been offered in existing work (which often assumes the form of broad surveys).
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