Politics in Black and White: Race and Power in Los Angeles

1994 ◽  
Vol 25 (1) ◽  
pp. 104
Author(s):  
Kevin Allen Leonard ◽  
Raphael J. Sonenshein
Keyword(s):  
Los Angeles ◽  
White Race ◽  
Black And White

Politics in Black and White: Race and Power in Los Angeles.

1994 ◽  
Vol 81 (2) ◽  
pp. 820
Author(s):  
Albert S. Broussard ◽  
Raphael J. Sonenshein
Keyword(s):  
Los Angeles ◽  
White Race ◽  
Black And White

Politics in Black and White: Race and Power in Los Angeles.

1994 ◽  
Vol 109 (1) ◽  
pp. 207
Author(s):  
Charles S. Bullock ◽  
Raphael J. Sonenshein
Keyword(s):  
Los Angeles ◽  
White Race ◽  
Black And White

Politics in Black and White: Race and Power in Los Angeles.

1994 ◽  
Vol 23 (4) ◽  
pp. 481
Author(s):  
Melvin L. Oliver ◽  
Raphael J. Sonenshein
Keyword(s):  
Los Angeles ◽  
White Race ◽  
Black And White

Politics in Black and White: Race and Power in Los Angeles.

1994 ◽  
Vol 99 (5) ◽  
pp. 1774
Author(s):  
Howard N. Rabinowitz ◽  
Raphael J. Sonenshein
Keyword(s):  
Los Angeles ◽  
White Race ◽  
Black And White

Ensaio sobre o campo artístico contemporâneo. Johnny Rotten VS John Lydon = KO

2020 ◽  
Vol 3 (3) ◽  
pp. 120-128
Author(s):  
Ondina Pires
Keyword(s):  
Los Angeles ◽  
Public Image ◽  
Left Wing ◽  
Black And White ◽  
The United Kingdom ◽  
American President ◽  
Political Views ◽  
Sex Pistols ◽  
Points Of View ◽  
Cultural Gaps

One of the figures that stood out the most in the British punk counterculture scene, from 1976 to 1978, was the charismatic vocalist of Sex Pistols, Johnny Rotten, who shouted "Anarchy in the United Kingdom" or "There is no Future". As soon as the musical project devised by the late Malcom McLaren ended in 1978, Johnny Rotten returns to his baptismal name, John Lydon, and starts the experimental musical project Public Image Ltd, better known as PIL.Meanwhile, after about forty-one years of PIL's existence, John Lydon, residing in Los Angeles, USA, in 2020, made public his opinions about former American President Donald Trump, which were a reason for scandal and shock, especially among punk aficionados, most of whom are anti-racists and of left-wing political tendencies.Through this text and the caricatures we can observe a decadent trajectory of a musician who, apparently, is located in the antipodes of 1977. However, this turning point is legitimized by the political and cultural “gaps” of Democracy, a system that is always in danger precisely for its openness to different political views and to the continuous dialogue between ideological forces, often opposed. By using an “anarchy-fascism” dialectic, the author's points of view, based on films, songs and thinkers, evolve throughout her analysis. The aim is to open doors for broader analyzes in relation to democracy that do not contemplate the “black and white” view of the majorities in relation to current politics.

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