Journal of Popular Music Studies最新文献

英文中文

Lawrence Welk 劳伦斯·威尔克

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.141

Bradley Rogers

This essay explores the musical politics of Lawrence Welk, the bandleader whose television show was a mainstay of American popular culture from 1955 through 1982. I argue that Welk’s interests in gender, family, and work—both philosophically and musically—reveal the maestro as a harbinger of late twentieth-century political and cultural discourse. I focus on Welk’s transition (around 1970–1973) from his trademark champagne sound—which featured woodwinds and ornamentation—to a “Big Band Sound,” which emphasized the unison open brass. Around the same time, he stopped referring to his ensemble as “The Champagne Music Makers” and began calling them his “Musical Family.” I argue that his “Big Band Sound” was in fact a musical articulation of his “Musical Family”—and that Welk instituted both of these changes in response to what he perceived as the decline of American work ethic and sexual morality. I suggest that Welk’s champagne sound, which once signified whiteness, was now feminized and seen as emblematic of indolent hedonism. He sought to purge this feminization—and this aversion to work—precisely by adopting the more “masculine” brassy sound. I also show how he deployed family acts—and his managerial scheme of a “Family Plan”—to promote his conservative ideals about work and the family. In this way, Welk provided the sound of the Nixonian “silent majority.” I conclude by noting how three elements of Welk’s show—his fondness for mistakes, the emphasis on visual spectacle, and the erratic temporality of syndication—provide the potential for a counter-reading of his efforts.

本文探讨了乐队指挥劳伦斯·韦尔克的音乐政治，从1955年到1982年，他的电视节目是美国流行文化的支柱。我认为，韦尔克对性别、家庭和工作的兴趣——无论是在哲学上还是在音乐上——都揭示了这位大师是20世纪末政治和文化话语的先驱。我关注的是韦尔克（1970年至1973年左右）从他标志性的香槟声（以木管乐器和装饰为特色）到“大乐队声”（Big Band sound）的转变，后者强调和声开放的铜管乐。大约在同一时间，他不再把自己的乐团称为“香槟音乐制造者”，而是开始称他们为“音乐家庭”。我认为韦尔克的香槟声，曾经象征着白人，现在被女性化了，被视为懒惰享乐主义的象征。他试图通过采用更“男性化”的黄铜音来清除这种女性化——以及对工作的厌恶。我还展示了他如何运用家庭行为——以及他“家庭计划”的管理方案——来宣传他对工作和家庭的保守理想。通过这种方式，韦尔克提供了尼克松式的“沉默的大多数”的声音。最后，我注意到韦尔克的表演中的三个元素——他对错误的喜爱、对视觉奇观的强调以及辛迪加的不稳定的时间性——为反解读他的努力提供了潜力。

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引用次数: 1

Said the Hooker to the Thief 妓女对小偷说

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.10

M. Grier

引用次数: 0

Rhyme, Reason, Rogue 韵律，理性，无赖

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.44

Ayo Adeduntan

Popular culture is often othered in conservative theses as inferior and [or because it is] foreign. Scholarship and views on popular music in Nigeria have been sometimes inattentive to the extent that the popular musical forms have gone to entrench themselves as recognizable local forms. This article compares older popular forms that are now canonized—such as jùjú and highlife—with Nigerian Yoruba hip hop to show the peculiar historical factors that justify the latter’s cultural heterodoxy. The dominant hip hop morality that emerged is defiantly divergent from the earlier stress on formal education and legitimate industry. Importantly, hip hop performance in Yoruba has evolved a protocol of social criticism that first presents itself as acquiescent and/or reprobate. Also, existing conceptualization of hip hop acts as hidden [or even public] transcripts is complicated by the novel strategy of mimicry now found in the Yoruba form.

在保守的观点中，流行文化常常被认为是低劣的，或者因为它是外来的。在尼日利亚，关于流行音乐的学术和观点有时被忽视，以至于流行音乐形式已经成为可识别的地方形式。这篇文章将现在被推崇的老式流行形式(如jùjú和high - life)与尼日利亚约鲁巴嘻哈进行了比较，以显示证明后者的文化异端的特殊历史因素。出现的占主导地位的嘻哈道德与早期对正规教育和合法产业的强调截然不同。重要的是，在约鲁巴，嘻哈表演已经发展出一种社会批评的协议，首先表现为默许和/或谴责。此外，现有的hip - hop行为的概念是隐藏的[甚至是公开的]转录，现在在约鲁巴形式中发现的新的模仿策略使其复杂化。

引用次数: 3

Rock Trolls and Recovery Rock Trolls与恢复

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.29

K. Grover

引用次数: 0

Review: To Live and Defy in LA: How Gangsta Rap Changed America, by Felicia Angeja Viator 书评:《在洛杉矶生活和反抗:黑帮说唱如何改变美国》，作者:Felicia Angeja Viator

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2022-03-01 DOI: 10.1525/jpms.2022.34.1.172

J. McNally

引用次数: 0

[Regulatory role and related mechanism of skin gamma-delta T cell subsets in wound re-epithelialization]. [皮肤γ-δ T 细胞亚群在伤口再上皮化中的调控作用及相关机制]。

3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2022-02-20 DOI: 10.3760/cma.j.cn501120-20211210-00411

W F He

Re-epithelialization is one of the core links that determines the healing process of skin wounds. The proliferation and differentiation of epidermal stem cells to form new epidermal tissue is the histological basis of re-epithelialization, and the smooth progress of the cell differentiation process of epidermal stem cells-precursor cells-terminal cells is the cytological basis for the continuous formation of new epidermal tissue. The proliferation of stem cells and their differentiation into precursor cells are the determinants of the proliferative potential of newly formed epidermal tissue, while the expansion and differentiation of precursor cells into terminal cells are key factors determining the rate of new epidermal tissue formation. The tissue microenvironment plays a key regulatory role in the process of wound re-epithelialization, and cell growth factor and inflammatory mediators are the two main components of tissue microenvironment, which play regulatory role in different aspects of proliferation and differentiation of epidermal stem cells, jointly promoting the smooth progress of wound re-epithelialization As an important part of skin immune system, the subsets of gamma-delta (γδ) T cells play crucial role in dynamically shaping early wound microenvironment via secreting different cell growth factors and inflammatory factors. From the prospective of immune microenvironment of wound, this paper discusses the role of skin γδ T cells in maintaining the balance of stem cell proliferation and differentiation and regulating wound re-epithelialization, providing a new direction for the prevention and treatment of refractory wound.

再上皮化是决定皮肤伤口愈合过程的核心环节之一。表皮干细胞增殖分化形成新的表皮组织是再上皮化的组织学基础，表皮干细胞-前体细胞-末端细胞的细胞分化过程的顺利进行是新表皮组织不断形成的细胞学基础。干细胞的增殖及其向前驱细胞的分化是新形成的表皮组织增殖潜力的决定因素，而前驱细胞向末端细胞的扩增和分化则是决定新表皮组织形成速度的关键因素。作为皮肤免疫系统的重要组成部分，γ-δ（γδ）T 细胞亚群通过分泌不同的细胞生长因子和炎症因子，在动态塑造早期伤口微环境中发挥着关键作用。本文从伤口免疫微环境的角度，探讨了皮肤γδ T 细胞在维持干细胞增殖和分化平衡、调控伤口再上皮化中的作用，为难治性伤口的预防和治疗提供了新的方向。

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引用次数: 0

Jotería Listening Jotería听力

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2021-12-01 DOI: 10.1525/jpms.2021.33.4.126

Eddy Francisco Alvarez

This essay is a mapping of Latinx queer listening practices and spaces, such as bars and restaurants, as forms of resistance to gentrification in the Silver Lake neighborhood of Los Angeles. Using a framework called “joteria listening,” and following the route of a performance event and ritual called LA Queer Posada in 2011, the author charts a sonic trail composed of sounds, songs, and memories of places and people in Silver Lake displaced by gentrification and historical erasure. Drawing from sound studies, performance studies and joteria studies, and using oral histories, interviews, archival sources, and ethnography, this essay offers innovative ways to think of queer Latinx sound and space as it adds layers to the palimpsestic map of Silver Lake and beyond. While listening to urban hauntings, sounds of loss, celebration and resistance, it offers new ways of remembering, performing and imagining community, futurity, and a more just world.

这篇文章描绘了拉丁裔酷儿的倾听实践和空间，如酒吧和餐馆，作为洛杉矶银湖社区抵制绅士化的形式。作者使用一个名为“joteria listing”的框架，并遵循2011年名为LA Queer Posada的表演活动和仪式的路线，绘制了一条由声音、歌曲和银湖因绅士化和历史抹去而流离失所的地方和人的记忆组成的声音轨迹。这篇文章借鉴了声音研究、表演研究和笔记研究，并利用口述历史、采访、档案来源和民族志，为思考酷儿拉丁裔声音和空间提供了创新的方法，为银湖及其他地区的重写地图增添了层次。在聆听城市闹鬼、失落、庆祝和抵抗的声音时，它提供了记忆、表演和想象社区、未来和一个更公正的世界的新方式。

引用次数: 0

The (Ho)rror of It All 这一切的错误

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2021-12-01 DOI: 10.1525/jpms.2021.33.4.34

Zalika U. Ibaorimi

引用次数: 0

Plainly Audible 清晰可听

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2021-12-01 DOI: 10.1525/jpms.2021.33.4.104

Alison Martin

This article tells the story of the Amplified Noise Act of 2018, a bill introduced through Washington, DC’s council to discourage street musicians in DC’s Chinatown neighborhood from disturbing local residents and office workers in the area. The punitive measures proposed in the bill included a $300 fine, up to ten days in jail, and/or the seizing of the offending equipment by the Metropolitan Police Department (MPD). The public hearing, protests, and legislative maneuvering that followed encapsulate the racialized and sonic dimensions of gentrification in Washington, DC. I introduce these events through a theoretical framework that I call “intersectional listening.” Drawing on the work of Kimberlé Crenshaw and intellectual genealogies of Black feminist thought, intersectional listening attends to the sonically articulated expressions of identity that are present in processes of gentrification, producing an analysis that attends to the complexities of sound, power, and race in a changing city. Processes of gentrification amplify tensions surrounding sound, music, and noise in both public and private space, and these tensions are deeply racialized because of the ways in which Black people have long been deemed sonically unruly and unmanageable. Ultimately, this article works to decriminalize Black sound and amplify those striving to do the same.

这篇文章告诉了2018年《放大噪音法案》的故事，该法案是通过华盛顿特区议会提出的，旨在阻止华盛顿唐人街附近的街头音乐家干扰该地区的当地居民和办公室工作人员。该法案中提出的惩罚措施包括300美元的罚款、最高10天的监禁和/或伦敦警察局没收违规设备。随后的公开听证会、抗议活动和立法行动概括了华盛顿特区中产阶级化的种族化和声音层面。我通过一个我称之为“交叉倾听”的理论框架来介绍这些事件。根据KimberléCrenshaw的工作和黑人女权主义思想的知识谱系，交叉倾听关注士绅化过程中存在的身份的声音表达，产生一种关注声音复杂性的分析，权力和种族在一个不断变化的城市。绅士化的过程放大了公共和私人空间中围绕声音、音乐和噪音的紧张关系，这些紧张关系被深深地种族化，因为黑人长期以来被认为在声音上不守规矩，难以控制。最终，这篇文章致力于将黑人声音合法化，并扩大那些努力做到这一点的人。

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引用次数: 0

Review essay: Between the Material and the Ephemeral 评论文章:在物质与短暂之间

IF 0.2 3区艺术学 0 MUSIC

Journal of Popular Music Studies

Pub Date : 2021-12-01 DOI: 10.1525/jpms.2021.33.4.203

S. Waksman

引用次数: 1

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