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What Is Post-Punk?

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What Is Post-Punk? What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style ........................................................................................................... 11 Genre as Social ....................................................................................................................... 20 Genre as Power ....................................................................................................................... 29 Chapter Outline ...................................................................................................................... 32 CHAPTER ONE ............................................................................................................................ 36 What is Post-Punk?: The Genealogy, Emergence, and Signification of a Name .......................... 36 Punk Splinters ......................................................................................................................... 37 New Musick vs. Power Pop .................................................................................................... 42 That Which We Call Post-Punk ............................................................................................. 51 Situating Post-Punk in the Broader Pop Field ........................................................................ 57 Present Day Belonging vs. Historical Participation ............................................................... 66 Conclusion .............................................................................................................................. 77 iv CHAPTER TWO ........................................................................................................................... 80 Dub is the New Black: Post-Punk, the Melodica, and the Politics of Appropriation .................... 80 “I’d hate to be involved with the blues” ................................................................................. 81 Dub in the UK ........................................................................................................................ 89 (Post-) Punk Meets Reggae .................................................................................................... 94 John Lydon: Reggae Connoisseur ........................................................................................ 100 Echo and the Melodica: Post-Punk Incorporates Dub .......................................................... 106 Between the Local and the Exotic ........................................................................................ 116 Conclusion ............................................................................................................................ 132 CHAPTER THREE ..................................................................................................................... 135 Post-Punk or “Death Disco”?: Rhythm, Groove, and Representations of White Masculinity .... 135 Disco Critics and Celebrants ................................................................................................ 138 “Death Disco” and Post-Punk Rhythm ................................................................................. 150 White Men Can’t Dance ....................................................................................................... 158 Narratives of Race, Madness, and Death in Other Discourses ............................................. 167 Conclusion ............................................................................................................................ 177 CHAPTER FOUR ....................................................................................................................... 180 “Is Your Finger Aching? I Can Feel You Hesitating”: Post-Punk Women and the Discourse of Punk Amateurism ............................................................................................................ 180 New Positions and Second-Wave Feminism ........................................................................ 183 The Slits ................................................................................................................................ 193 Lora Logic ............................................................................................................................ 203 v The Raincoats ....................................................................................................................... 208 Lateral Comparisons: Post-Punk’s Generic Neighbours ...................................................... 216 Conclusion ............................................................................................................................ 221 CHAPTER FIVE ......................................................................................................................... 225 Between Flesh and Machines: The Signification of Industry and Modernity ............................. 225 From Cleveland, Ohio to Sheffield, Yorkshire: Regionalism and the Meaning of “Industrial” .................................................................................................................................. 227 Hooks vs. Noise: The Semiotic and Generic Signification of the Synthesizer .................... 236 Generic No-Man’s Land ....................................................................................................... 243 Post-Punk “Art” vs. “Art Rock” ........................................................................................... 250 Conclusion ............................................................................................................................ 257 EPILOGUE .................................................................................................................................. 261 The “Post” in Post-Punk .............................................................................................................. 261 BIBLIOGRAPHY ....................................................................................................................... 267 Primary Sources .................................................................................................................... 267 Secondary Sources ................................................................................................................ 276 Selected Audio/Visual .......................................................................................................... 286 Selected Websites and Internet Media ................................................................................. 290 vi Abstract This dissertation is a genre study of the non-mainstream, Anglo-American genre of popular music known as post-punk. I analyse the music of artists such as Public Image Ltd., Joy Division, Wire, Gang of Four, and the Raincoats, focussing specifically on their incorporation of musical idioms from the genres dub-reggae and disco. I also unravel the role of women musicians within this genre, and attend to post-punk’s aesthetic connection to industrial music, industrial images, and avant-garde aesthetics. I am particularly concerned with the role played by the rock media in shaping the genre’s discourse and aesthetic criteria. I employ a multidisciplinary methodology, drawing from musicology, communication studies, theories of genre, post-colonial studies, and gender studies. The larger purpose of the dissertation is to use post-punk to explore the complex ways in which genres of music come into being and the way genres of music map onto or shape categories of social identity. vii Résumé Cette thèse présente une étude du genre post-punk, un type de musique populaire anglo- américain de niche qui a émergé à la fin des années soixante-dix. J’analyse la musique d’artistes tels que Public Image Ltd., Joy Division, Wire, Gang of Four et les Raincoats. Je me concentre en particulier sur la façon dont ces musiciens ont intégré les idiomes de la musique dub-reggae et disco. J’examine aussi le rôle que les musiciennes ont joué dans ce genre de musique, et de même que les esthétiques du genre post-punk en ce
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