ABSTRACT
In the 77 pages of his analysis of 'Yankee Doodle', Oscar Sonneck points out that this air had little sign of dwindling in popularity. Experiencing musical events is about a participatory situation, albeit often passive, whereby the listener is positioned as voyeur. Vulnerability, confirmed as much off-stage as on-stage, discloses countless confessionals; it is a prerequisite of stardom to appear to bare all. The anti-star aspect of punk would metamorphose into a performer with a literary consciousness, inflamed by style and delivery. Musically, the texture in 'Going Underground' is dominated by a dirty, scratchy sound, shaped by brash guitar lines, with a harsh treble frequency and a pounding bass part played with a plectrum that creates a raw grind. Loaded with insinuation, 'Going Underground' is about resistance, its musical heritage being in the cultural movement of the 1960s and 1970s, inspired by French existentialists such as Albert Camus and Jean-Paul Sartre.
