Peter Robert Brown
Biographic Data
| ID | 5513019 |
|---|---|
| NAME | Peter Robert Brown |
| GIVEN NAMES | Peter Robert |
| FAMILY NAME | Brown |
| SIGNATURE | BROWN P R |
| AFFILIATIONS | Mount Allison University |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2020 |
| H-INDEX | 1 |
The Center at the Margins: American Exceptionalism in California Punk, ca. 1977-1983
Focusing on the theme of American exceptionalism, this essay explores the interplay between center and margin in punk rock produced in California in the late 1970s and early 1980s. After brief accounts of both punk and exceptionalism, the article surveys instances of exceptionalist rhetoric in lyrics by punk bands from Los Angeles and San Francisco and argues that, although some punks uncritically reproduced the pernicious ideology of exceptional…
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 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, …
Meet the Mekons: Popular Music, Art, and Cultural Critique
The article offers an overview and analysis of the work of the Mekons; however, instead of relating the history of the band, I explicate specific texts: the 1993 song "Too Personal" and the artwork for the album on which it appears, I ♥ Mekons. My "readings" lead to explorations of the group's critique of late modernity, and I examine the Mekons' views of history, their criticisms of consumerism, their use of intertextuality, and their blending o…
Strange Notes from the LA Punk Underground: The Durability of Darby Crash and the Germs
This essay examines the durability of Darby Crash, lead singer of the Germs, one of Los Angeles's earliest punk bands. Crash committed suicide in 1980, but he and the Germs continue to fascinate those familiar with their music and story. This ongoing interest is the result of numerous factors, including the Germs' music, Crash's disturbing worldview and charisma, and our more general obsession with celebrity and death. After offering a brief acco…
Strange Notes from the LA Punk Underground: The Durability of Darby Crash and the Germs
This essay examines the durability of Darby Crash, lead singer of the Germs, one of Los Angeles's earliest punk bands. Crash committed suicide in 1980, but he and the Germs continue to fascinate those familiar with their music and story. This ongoing interest is the result of numerous factors, including the Germs' music, Crash's disturbing worldview and charisma, and our more general obsession with celebrity and death. After offering a brief acco…
Strange Notes from the LA Punk Underground: The Durability of Darby Crash and the Germs
This essay examines the durability of Darby Crash, lead singer of the Germs, one of Los Angeles's earliest punk bands. Crash committed suicide in 1980, but he and the Germs continue to fascinate those familiar with their music and story. This ongoing interest is the result of numerous factors, including the Germs' music, Crash's disturbing worldview and charisma, and our more general obsession with celebrity and death. After offering a brief acco…
Meet the Mekons: Popular Music, Art, and Cultural Critique
The article offers an overview and analysis of the work of the Mekons; however, instead of relating the history of the band, I explicate specific texts: the 1993 song "Too Personal" and the artwork for the album on which it appears, I ♥ Mekons. My "readings" lead to explorations of the group's critique of late modernity, and I examine the Mekons' views of history, their criticisms of consumerism, their use of intertextuality, and their blending o…
The Center at the Margins: American Exceptionalism in California Punk, ca. 1977-1983
Focusing on the theme of American exceptionalism, this essay explores the interplay between center and margin in punk rock produced in California in the late 1970s and early 1980s. After brief accounts of both punk and exceptionalism, the article surveys instances of exceptionalist rhetoric in lyrics by punk bands from Los Angeles and San Francisco and argues that, although some punks uncritically reproduced the pernicious ideology of exceptional…
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 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, …
Art (4 works) · Art history (4 works) · Literature (4 works) · Music History and Culture (4 works) · Philosophy (4 works) · Philosophy (3 works) · Punk (3 works) · Aesthetics (2 works) · American Political and Social Dynamics (2 works) · Epistemology (2 works)