Here are a few scholarly articles found using Ebsco (available at many libraries), which address the subject or something like it - if you get them, you may want to check out the sources the articles cite for further ideas.
(I hope to have some further ideas soon - this is a subject of interest to me.)
Title: The Bush Tetras, "Too Many Creeps," and New York City.
Authors: O'Meara, Caroline Polk
Source: American Music; Summer2007, Vol. 25 Issue 2, p193-215, 23p, 2 maps, 1 bw
This article discusses the song "Too Many Creeps" by the Bush Tetras and how it captured the sound and feel of New York's Lower East Side during the 1970s and early 1980s. The song is just over four minutes on record and remains close to E for its entirety. An overview on how the song was made is presented. The author also provided an overview of the Lower Manhattan neighborhoods. The band is made up of Pat Place, Dee Pop, Laura Kennedy and Cynthia Sley. The biographies of the four members bear remarkable similarity to other participants in New York's late 1970s and early 1980s Downtown music culture.
Title:'This is Germany! It's 1933!' Appropriations and Constructions of 'Fascism' in New York Punk/Hardcore in the 1980s.
Authors: Ward, James J.1
Source:Journal of Popular Culture; Winter96, Vol. 30 Issue 3, p155-184, 30p, 6 bw
This article focuses on the re-infusion political meaning into fascism by a number of New York City punk and hardcore bands and their fans in the 1980s. Repoliticized, fascism could serve as an instrument for radical social analysis and for political/ideological mobilization. Flaunting Nazi symbols and quoting Nazi references had already been a favored mode for some pre-punk/early punk bands. Considerable critical opinion has been rendered on the meaning in the popularity of Nazi symbolism in English and U.S. punk. Either punk stood for the inversion of values, by extolling that which was still most taboo; or punk stood for the negation of all values. The anarchy punks sought to create, the anti-authority, and the preference for spontaneous--as opposed to organized--violence put them on the political left, not the right. Hardcore emerged in he early 1980s mainly in reaction to the commercialization of punk. If punk was harsh, loud and occasionally violent, hardcore went several steps further. Bands and fans together projected an alienated, encapsulated attitude and maximized the threat implicit in hardcore performances to guarantee the purity and solidarity of the experience. Semantically, the association with pornography is hardly accidental. In presentation and performance, hardcore music and hardcore films aspire identical ends which is going all the way.
Title: Scholarly monographs on rock music: a bibliographic essay.
Authors: Berger, Monica1 mberger@citytech.cuny.edu
Source: Collection Building; 2008, Vol. 27 Issue 1, p4-13, 10p
This essay covers the widest range of monographs on the topic, providing insight into not only the key scholars but also the diversity of approaches to the topic. The historical approach to the literature gives the reader a sense of how the academic discourse on rock has evolved. This essay is of interest to librarians, scholars of rock music, and others concerned with how American scholarship in the humanities and the social sciences has grown since the advent of cultural studies.
Title: GLOBALIZATION, CULTURE, AND NEIGHBORHOOD CHANGE.
Authors: Mele, Christopher1
Source: Urban Affairs Review; Sep96, Vol. 32 Issue 1, p3-22, 20p
Globalization of the production, distribution, and consumption of culture has affected the identity of locale or neighborhood. In many instances, local cultural forms, such as music and art, are appropriated for international consumer markets. The author analyzes the effect of global appropriation on urban form. The emerging global cultural economy creates new opportunities for place entrepreneurs to redevelop poor neighborhoods and challenges the traditional means of local resistance for residents and community groups.
