Spasticus: Popular Music and Disability

你好，在正常的土地你可能不理解我的故事或理解当我爬过去你的窗口给我幸运的眼神你可以读我的身体，但你永远不会读我的书。我是痉挛症痉挛症自闭症痉挛症伊恩·杜里，《痉挛性自闭症》（1981年）流行音乐的不可控制性从最早的时候起就一直是一个持续的特征。从埃尔维斯·普雷斯利的《浑身颤抖》（1956年）或约翰尼·基德和海盗的《浑身颤抖》（1960年），歌曲讲述了无法控制的神经震颤，作为身体症状，将性吸引和舞蹈的狂喜混为一谈，是从摇滚乐开始的。开场白是流行音乐一直是关于身体的转变或过度的，以及那些--一直都有“大量的摇晃”--阅读残疾人身体背景下的摇晃是对流行音乐研究和文化残疾研究的新见解的起点。我的目标是通过观察流行音乐的竞技场来拓宽文化残疾研究的范围，通过对残疾人在流行音乐中的地位的持续分析，为我们理解流行音乐研究做出贡献。我试图通过残疾人表演研究来理解流行音乐、摇滚乐和爵士乐，但我也想找出那些无用的、短暂的、肤浅的流行美学可以带来对残疾人文化和社会表现的理解。科林巴恩斯提醒我们，残疾人文化和艺术发展中不应忽视的一个因素是残疾人与“娱乐”业之间的关系。从历史上看，有感知障碍或“异常”的人为非残疾大多数人提供了重要的娱乐来源。这种娱乐形式从19世纪的畸形表演到21世纪的表演艺术，现在对每一种都有广泛的学术研究。因此，文化残疾研究确实已经开始发展。然而，仍然没有详细的关于残疾和流行音乐研究的批判性、历史性或理论性工作。该项目的名称来自1981年英国歌手伊恩·杜里（Ian Dury）（脊髓灰质炎幸存者和明显残疾的表演者）发布的单曲，以纪念联合国国际残疾人年。《自闭症痉挛症》仍然是一位主要流行艺术家对残疾文化的最高姿态和最具争议的直接干预。然而，正如残疾文化研究更普遍地告诉我们的那样，当我们开始在流行音乐中寻找残疾的那一刻，我们就发现它无处不在;流行音乐是一种极其不现代的文化形态和实践。章节探讨了非凡的音乐家谁是脊髓灰质炎幸存者，明显残疾的表演者，音乐家与听力障碍和耳聋的地方作为一种职业危害，盲人音乐家和认知障碍集群。在AHRC的支持下，这本专著的目标是在2011年出版，部分是为了纪念Dury单曲发行30周年。

Hello to you out there in Normal Land You may not comprehend my tale or understand As I crawl past your window give me lucky looks You can read my body but you'll never read my books. I'm Spasticus, I'm Spasticus, I'm Spasticus Autisticus! Ian Dury, 'Spasticus Autisticus' (1981) The uncontrollability of the pop body has been a persistent feature since its earliest days. From Elvis Presley's 'All shook up' (1956) or Johnny Kidd and the Pirates' 'Shaking all over' (1960), songs about uncontrollable neurological tremors, as physical symptoms conflating the ecstasy of sexual attraction and of dance, are heard from rock and roll on. The opening argument is that popular music has always been about corporeal transformation or excess and the display of those -- there has always been 'a whole lot of shaking going on' -- and reading that shakiness in the context of the disabled body is the starting point for fresh insights into both popular music studies and cultural disability studies.My aims are to widen the scope of cultural disability studies by looking at the arena of popular music, and to contribute to our understanding of popular music studies via a sustained analysis of the place of disability within it. I seek to understand pop, rock and jazz through disability performance studies, but I also want to find out what the trashy, ephemeral, superficial aesthetic of pop can bring to the understanding of the cultural and social performance of disability. Colin Barnes reminds us that an 'element in the development of disability culture and the arts that should not be overlooked is the relationship between disabled people and the 'entertainment' industry. Historically, people with perceived impairments or 'abnormalities' have provided an important source of entertainment for the non-disabled majority'. Such entertainment ranges from 19th century freakshows to 21st century performance art, and there are now extended academic studies of each of these. So cultural disability studies has indeed begun to develop. What there still is not though is detailed critical, historical or theoretical work on disability and popular music studies. The project takes its title from a single released by the chart-topping English singer Ian Dury (a polio survivor and visibly disabled performer) in 1981, to mark the UN International Year of Disabled Persons. 'Spasticus Autisticus' remains debatably the highest profile and most controversial direct intervention from a major pop artist to disability culture. Yet -- as disability cultural studies has taught us more generally -- the moment we begin to look for disability in popular music, we find it everywhere; pop is a profoundly dismodern cultural formation and practice. Chapters explore the extraordinary cluster of musicians who were polio survivors, visibly disabled performers, musicians with hearing impairments and the place of deafness as an occupational hazard, blind musicians, and cognitive impairment. With the AHRC's support, the aim is for this monograph to appear in 2011, in part to mark the 30th anniversary of Dury's single.