Comment: Fighting for the right to party: live music after Paris Published on: 10 December 2015 Writing for The Conversation, Dr Adam Behr discusses the impact of the Paris attacks on live music. , When Zoot Sims what playing with Benny Goodman in 1962 Cold War Russia was like, following a tour beset with official and personal aggravations, he was typically sardonic: 鈥淓very gig with Benny is like playing in Russia.鈥� Sims could at least afford a wry quip. The tensions of those Cold War concerts, political or otherwise, fade to nothing against the trauma that beset the recent Eagles of Death Metal gig in Paris. That those atrocities were an assault not just on Western values, however defined, but on all civilised discourse is beyond argument. But as the fallout spreads and discussion moves to the policies and actions of nations, it鈥檚 worth dwelling briefly on an aspect of modern culture that was both at the centre of events and, understandably, swamped by their magnitude. It鈥檚 apposite that one focus of the attacks was a rock concert. Given that rock and pop are commercialised and transnational cultural forms, we tend not to regard them as particularly fragile. But economic status aside, they are still often subject to hostility from reactionaries and fundamentalists of all stripes, particularly at grassroots. The draconian reaction to stood out and drew international attention, but punks and metalheads across Asia, the Middle East and North Africa have also . Pussy Riot in Sochi, Russia, February 2014. Christian Charisius/EPA
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