From #BlackLivesMatter to Black Liberation by Keeanga-Yamahtta Taylor

By Keeanga-Yamahtta Taylor

The eruption of mass protests within the wake of the police murders of Michael Brown in Ferguson, Missouri and Eric Garner in big apple urban have challenged the impunity with which officials of the legislation perform violence opposed to Black humans and punctured the semblance of a postracial the US. The Black Lives subject circulate has woke up a brand new new release of activists.

In this stirring and insightful research, activist and student Keeanga-Yamahtta Taylor surveys the old and modern ravages of racism and patience of structural inequality similar to mass incarceration and Black unemployment. during this context, she argues that this new fight opposed to police violence holds the capability to reignite a broader push for Black liberation.

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38.  2. 39. Adrian Thrills, ‘Up Slit Creek’, NME, 8 September 1979. 40. Toynbee, Making Popular Music, pp. ix–x. 41. Ray Gosling, ‘Dream Boy’, New Left Review 1, no. 3 (May–June 1960), 30–34. 42.  26. 43.  25. 44. Toynbee, Making Popular Music, pp. xi–xii. 45.  56–60. 46.  178. 47.  324–325. 48.  180. 49.  325. 50. Jon Savage, England’s Dreaming: Sex Pistols and Punk Rock, 2nd ed.  43. 51.  7–8. 52. See, for example, Steve Taylor, ‘The Popular Press or How to Roll Your Own Records’, Time Out, 2 February 1979; Paul Morley and Adrian Thrills, ‘Independent Discs’, NME, 1 September 1979, p.

95 To draw on such elements, then, often invokes or unsettles particular connotations, as we will see in the following chapters in relation to post-punk’s expansive musical experiment. Music, in contrast to the linear flow of the novel, entails experiencing various signifying elements simultaneously as well as sequentially. 96 We should note, too, that popular music with lyrics actually com- POST-PUNK AND THE POLITICS OF POSTWAR POPULAR MUSIC 27 bines both processes. When analysing songs, it is necessary to investigate not only the significance of placing certain musical elements in synchronicity with one another but also their interaction with the accompanying lyrics.

173.  163.  145–146. ITV’s serialisation of Brideshead Revisited and the ‘nominal’ radicalism of postmodernist art came in for particular stick. See, for example, Jason Toynbee, Making Popular Music: Musicians, Creativity and Institutions (London: Arnold, 2000), pp. x–xii; Keith Negus, Popular Music in Theory (Cambridge: Polity, 1996), p.  151; David Hesmondhalgh, ‘Post-Punk’s Attempt to Democratise the Music Industry: The Success and Failure of Rough Trade’, Popular Music 16, no. 3 (October 1997), 255–274.

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