Journal of Popular Music Studies最新文献_第9页

Review: Rock Star / Movie Star: Power and Performance in Cinematic Rock Stardom, by Landon Palmer 评论：《摇滚明星/电影明星：电影摇滚明星的力量与表演》，兰登·帕尔默著

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.143

M. Dwyer

引用次数: 0

Trouble Every Day 每天的烦恼

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-06-01 DOI: 10.1525/jpms.2022.34.2.51

P. Burke

{"title":"Trouble Every Day","authors":"P. Burke","doi":"10.1525/jpms.2022.34.2.51","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.51","url":null,"abstract":"In November and December 1966, the young, predominantly white rock audience on the Sunset Strip in Los Angeles battled police over curfew and loitering laws. Both the Strip’s protesters and their critics associated these “Sunset Strip riots” with the Watts uprising of 1965, when Black residents of South Los Angeles resisted police brutality and economic exploitation. White bohemians claimed solidarity with, or perhaps merely appropriated, the moral imperatives of Black protest, while Black critics argued that the mild oppression faced by white teenagers on the Strip was irrelevant to the serious, systemic abuses inflicted on Black communities such as Watts. Yet the Sunset Strip protests also led white activists to consider questions of privilege and authenticity and to make sincere attempts to support Black movements. Frank Zappa and the Mothers of Invention’s “Trouble Every Day” and “Plastic People,” songs that critically address Watts and the Sunset Strip, respectively, exemplify the complex interplay among political radicalism, racial identity, and musical creativity in the growing counterculture surrounding rock. In the Black Lives Matter era, when many white musicians and their audiences seek to be effective allies in Black struggles, the “Sunset Strip riots” can serve as both inspiration and cautionary tale.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42804746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Baking Bread and Burning Rainbows 烤面包和烧彩虹

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.68

Alena Gray Aniskiewicz

{"title":"Baking Bread and Burning Rainbows","authors":"Alena Gray Aniskiewicz","doi":"10.1525/jpms.2022.34.1.68","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.68","url":null,"abstract":"On her 2014 debut album, Społeczeństwo jest niemiłe (Society is Mean), Polish author Dorota Masłowska introduced audiences to Mister D., an alter ego who brought Masłowska’s trademark cutting social critique to an eclectic mix of hip-hop and pop musical tracks and videos. Analyzing the music video for “Chleb” (Bread) and the accompanying album art, as well as the stand-alone single “Tęcza” (Rainbow), this article demonstrates how Masłowska’s sampling of familiar hip-hop tropes and nationalist narratives exposes the component parts of our everyday and reveals how quotidian performances of gender, sexuality, and nationality combine in the perception of authenticity. This analysis is framed within discourses on sampling, parody, and humor in hip-hop to highlight the critical potential of her play with recognizable types and the subversive potential of “playing the part.” In her visual and verbal collage, Masłowska employs the logics of hip-hop sampling to piece together elements of extant culture and conventions alongside original material to produce a text that speaks to the present while drawing on the past. In so doing, Masłowska’s critical and recombinant performance destabilizes the very idea of the authentic, revealing its artifice and insisting on an art and nation that is open to innovation and recognizes its own construction.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41989095","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Music for Counting Votes 点票音乐

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.4

Philip Gentry

引用次数: 0

Review: Black Utopias: Speculative Life and the Music of Other Worlds, by Jayna Brown 书评:《黑人乌托邦:思辨生活和其他世界的音乐》，作者:杰娜·布朗

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.170

Amber Jamilla Musser

引用次数: 0

Functions of Expressive Timing in Hip-Hop Flow 嘻哈流中表达时间的功能

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.90

B. Duinker

{"title":"Functions of Expressive Timing in Hip-Hop Flow","authors":"B. Duinker","doi":"10.1525/jpms.2022.34.1.90","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.90","url":null,"abstract":"Expressive timing in hip-hop flow concerns the practice whereby an MC (rapper) inflects their flow rhythms on a minuscule scale not easily representable with standard musical notation—how far “ahead” or “behind” the beat they rap. Mitchell Ohriner (2019) positions expressive timing as an integral part of hip-hop flow and discusses it in detail. This paper complements his work by surveying flow timing across the broader hip-hop genre.\u0000 Three broad practices of expressive timing in flow are identified. Swung timing subdivides the tactus unequally, similar to a common jazz drum timekeeping pattern. Lagging timing refers to the patterned delay of flow rhythm in relation to the underlying instrumental or sampled beat. And conversational timing pertains to flow performances that resemble rhythmic patterns idiomatic of spoken language. Theoretical and notational concepts developed by Fernando Benadon (2006, 2009) and Ohriner (2019) are used to illustrate the extent to which a flow performance involves these approaches to expressive timing, and propose analytical methods for these approaches that highlight their functional and rhetorical appeal. Expressive timing is investigated in light of Signifyin(g) in African American music (Samuel Floyd Jr., 2002), groove-based expressive microtiming (Vijay Iyer, 2002), Afrocentric models of rhetoric (Ronald Jackson, 1995), and narrativity.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41678855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Imagined Oceans 想象中的海洋

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.118

J. Eperjesi

{"title":"Imagined Oceans","authors":"J. Eperjesi","doi":"10.1525/jpms.2022.34.1.118","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.118","url":null,"abstract":"Over the past twenty years, Black Atlantic Afrofuturism has been the dominant theoretical frame for thinking about the significance of Drexciya’s aquatically themed techno music and mythology. Yet there have been few analyses of Drexciya from the perspective of ecology, of the ocean as a marine environment. Through a semiotic analysis of Drexciya’s 1993 EP Bubble Metropolis, this paper moves the discussion of Drexciya in the direction of ecocriticism and blue cultural studies, or more broadly, the blue humanities, in order to interpret the stories it tells about an imagined ocean. What do these stories mean? Why are these stories important now? Through the production and circulation of oceanic narratives that encourage listeners to imagine, wonder about, and groove to the ocean, Drexciya’s music and mythology can be understood as a form of “pre-emptive activism,” which designates indirect activist modes that inspire people to care about places, such as an ocean, that they take for granted or ignore. By imagining oceans full of sound, Drexciya fostered a tacit form of marine environmentalism in the 1990s. With oceanic ecosystems on the edge of collapse as a result of the climate emergency, all forms of marine activism, from the direct to the indirect, have gained a new sense of urgency. We need to listen to Drexciya now more than ever.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41477596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Healing Perreo

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.38

J. Hernández

引用次数: 0

Response to Kate Grover 对Kate Grover的回应

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.35

M. Grier

引用次数: 0

Review: Crying in H Mart: A Memoir, by Michelle Zauner 评论：《在沃尔玛哭泣：回忆录》，Michelle Zauner著

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.167

Runchao Liu

引用次数: 0