Published in a special issue of Popular Music, on popular music and disability, containing eight essays by scholars from Europe, USA, Australia, guest-edited by George McKay. The article then looks in detail at the work of Ian Dury, who was for a while the highest profile visibly physically disabled pop artist in Britain, and who produced a compelling body of works exploring the experiences of disability. These include Neil Young, Steve Harley, Joni Mitchell, and Israel Vibration. Drawing on medical history and disability studies, it focuses largely on the pop and rock generation of polio survivors – the children and young people from the 1940s and 1950s who were among the last to contract the disease prior to the successful introduction of mass vaccination programmes (in the West). This article looks at a remarkable cluster of popular musicians who contracted and survived poliomyelitis (‘infantile paralysis’) epidemics through the twentieth century, and ways in which they managed and, to varying extents, explored their polio-related impairments and experiences in their music. Alternative rockers with a hybrid of hip-hop, punk, and reggae who gained a strong following in the early '90s. All three parts deal with notions of subjectivity, love and fidelity. 311, the eclectic musical quintet whose unique and hypnotic blend of reggae, funk, hard rock and hip-hop reached a world audience with the success of their self-titled 1995 album, return with Transistor, their fourth release for Capricorn Records and their most fully realized and ambitious recording yet. This album sounded very odd when it was released in 2007 to the uneducated listener. Part Three attends to a number of difficulties encountered in the Badiouian project and asks to what extent rock music might be thought of as a lost cause. The 1 311 album for the true 311 fan, just above grassroots, music, and self-titled. Part Two continues the discussion of listening subjectivity while shifting the focus to objects associated with phonography. ![]() Part One attempts to think of the emergence of rock ’n’ roll and its attendant discourse alongside Alain Badiou’s notion of event, looking at ways in which listening subjects are formed. In order to think about what this narrative of loss might entail I have found myself going back to the emergence of rock ’n’ roll, to what we might term its ‘event’, and then working towards the present to take stock of the current situation. I am attempting to think about the ways that rock ’n’ roll functions as a musical revolution that becomes subjected to a narrative of loss accompanying the belief that the revolution has floundered, or even disappeared completely. ![]() This article concerns the usefulness of attaching a philosophy of the event to popular music studies.
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