Tongue - Making sense of Beijing underground rock, 1997-2004

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Tongue - Making sense of Beijing underground rock, 1997-2004, master thesis

Author: Jereon Groenewegen

Publication on his website, download the pdf and with his permission at Rock in China

Published on March 15th, 2005


Table of Content

1 Introduction

1.1 What PAINTER (Un)means

1.2 Music As Performance

1.3 Music’s Multiple Meanings

1.4 Performance As Game

1.5 Institutions and Community

1.6 Defining As Confining and the Habitus of the Researcher

1.7 THEY’RE COMING

1.8 Method: The Drawing and Crossing of Boundaries


2 Beats and Screams: Views of Chinese rock

2.1 Rockers As Intellectuals

2.2 The Battleground of Ideology

2.3 The Politics of Pleasure

2.4 1989, and Then?

2.5 (Un)meaning


3 Whose Tongue: Community (Un)meaning

3.1 The Underground As Cultural Product

3.2 The Ones of Us: The Underground Rock Community

3.3 The History of Underground Rock

3.4 Tongue and Early Underground Rock 1997-1999

3.5 Tongue and High Underground Rock 1999-2001

3.6 Underground Rock’s Great Audience

3.7 Resonating Vibes

3.8 Underground Ethics

3.9 Tongue and Late Underground Rock 2001-2004

3.10 Beijing Rocks and The Declaration of Tree Village

3.11 Critiquing the Underground

3.12 Whose Tongue


4 Meaning and Unmeaning in PAINTER

4.1 Who Am I?

4.2 Rhythm and Structure

4.3 Noise

4.4 Tongue Noise

4.5 Red Brainwash

4.6 PAINTER

4.7 This Is Not Asking Too Much: Making Sense of PAINTER

4.8 The Xinjiang Hood


5 Play: Concluding remarks

5.1 The Bacchae, Carnival, Woodstock, Midi Festival

5.2 The Circles of PAINTER

5.3 Mock or Shock: Tongue Style

5.4 It’s All in Your Mouth


Glossary of Chinese Names

Works Cited

Appendix I: Biography of Tongue

Appendix II : Discography and (Translated) Lyrics of Tongue

Appendix III : The Declaration of Tree Village (Drafted by Yan Jun)

Appendix IV : If Tommorrow Comes (Written by Yan Jun)