Spasticus: Popular Music and Disability

你好，你在正常的土地你可能不理解我的故事或理解当我爬过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。我是斯帕斯提克斯，我是斯帕斯提克斯，我是自闭症斯帕斯提克斯！伊恩·杜瑞，《自闭症痉挛症》（1981）流行身体的不可控性从一开始就是一个持久的特征。从埃尔维斯·普雷斯利（Elvis Presley）的《All shook up》（1956年）到约翰尼·基德和海盗乐队（Johnny Kidd and the Pirates）的《Shaking All over》（1960年），从摇滚乐中可以听到关于无法控制的神经震颤的歌曲，这些身体症状将性吸引和舞蹈的狂喜结合在一起。开篇的论点是，流行音乐一直是关于身体的转变或过度，以及这些的展示——一直都有“大量的摇晃在进行”——在残疾身体的背景下解读这种摇晃，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舞台来扩大文化残疾研究的范围，并通过对其中残疾位置的持续分析来促进我们对流行音乐研究的理解。我试图通过残疾表演研究来理解流行、摇滚和爵士，但我也想知道流行的垃圾、短暂、肤浅的审美能给理解残疾的文化和社会表现带来什么。Colin Barnes提醒我们，在残疾人文化和艺术的发展中，一个不应该被忽视的因素是残疾人和“娱乐”行业之间的关系。从历史上看，被认为有缺陷或“异常”的人为大多数非残疾人士提供了重要的娱乐来源。这类娱乐活动的范围从19世纪的怪物秀到21世纪的行为艺术，现在每一种都有扩展的学术研究。因此，文化残疾研究确实已经开始发展。目前还没有关于残疾和流行音乐研究的详细的批评、历史或理论工作。这个项目的名字来自于1981年为纪念联合国国际残疾人年而发行的一首单曲，这首歌是排名榜首的英国歌手伊恩·杜利（他是一名脊髓灰质炎幸存者，也是一名明显残疾的表演者）。《自闭症痉挛》仍然是一位主要流行艺术家对残疾文化最引人注目、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时候，我们发现它无处不在；波普是一种非常反现代的文化形态和实践。章节探索音乐家的非凡集群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地方耳聋作为一种职业危害，盲人音乐家和认知障碍。在人权委员会的支持下，这本专著将于2011年出版，部分原因是为了纪念杜瑞的单曲发行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.