this morning sucks so far.

the good part was that i slept in until 7:20am and i'm on a non-shower day so I just need to wash my face, have my shake, and throw some clothes on and GO to work and get gas and coffee. the shitty parts are that i didn't get paid on one of my contracts like i thought i would this morning. (boo). there's been a change in management and they want to meet before they want to renew my contract and pay me for all the work i've done previously (it's an hourly student contract, not a "real" contract). and then, i got an email from one of the places i submitted an abstract to to be published in an academic journal and, well, i'm too vague. boooo. i should submit my rejection via essay to the rejection compilation they're putting together. that'd be funny. so i've emailed the people putting together the text and asked for clarification as it's a teaching point. what did you think was so vague? did i need to say, "my thesis is.." blah blah. and, for fun, my abstract is below. i'm going to work. boo.

“If Music Could Cure All That Ails You”: Youth Resistance and Music in the Wake of 9/11
Submitted by: Diandra Jurkic-Walls
For “Catastrophe and the Cure”: The Politics of Post-9/11 Music

The era of the youth subculture heroically resisting subordination through “guerrilla warfare” is over. As a response to 9/11, young DIY musicians in the United States have integrated political and theoretical arguments into their music and texts by engaging with their communities through shows/performance, the internet, free-access to their music/material, and community-based projects/art rather than traditionally resisting “the man”.
The post-pop sounds and actions of such groups as YACHT, Peachcake, and Pan de Sal have shown an applied DIY punk politic and attitude. Throughout this essay I will engage with a variety of theoretical models (including post-subcultural, third-wave feminist, and DIY) to interrogate the role of these bands in creating resistance and the mobilization within post-9/11 indie-music communities. Further, I will argue that the DIY, feminist, post-subcultural approach of these bands to their lives/communities/country post-9/11 and the politics they engage with not only reframe the binaried argument of artists-as-“politicians” but also youth as resistor.
I am particularly interested in how these bands interrogate and explore the role of individualism, success, and capitalism in their texts, performances, and music. Through interviews and an examination of their textual and music-based works I hope to wrestle with their approach to community building through their politics and actions. Overall this essay will attempt to stake a claim for youth voice and the remodelling of resistance through music post-9/11.

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