Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.4
Adrian De Leon
{"title":"The Filipino National Anthem","authors":"Adrian De Leon","doi":"10.1525/jpms.2023.35.4.4","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.4.4","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" 7","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138618755","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}
Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.140
Corey J. Miles
{"title":"Review: For the Culture: Hip-Hop and the Fight for Social Justice, edited by Lakeyta M. Bonnette-Bailey and Adolphus G. Belk, Jr.","authors":"Corey J. Miles","doi":"10.1525/jpms.2023.35.4.140","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.4.140","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" 29","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138620986","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}
Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.14
Morgan Bimm, Kate Galloway, Amy Skjerseth
{"title":"Special Issue Introduction","authors":"Morgan Bimm, Kate Galloway, Amy Skjerseth","doi":"10.1525/jpms.2023.35.4.14","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.4.14","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"8 2","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138624736","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}
Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.130
Christine Capetola
{"title":"Review: The Politics of Vibration: Music as a Cosmopolitical Practice, by Marcus Boon","authors":"Christine Capetola","doi":"10.1525/jpms.2023.35.4.130","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.4.130","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"42 2","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138626431","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}
Pub Date : 2023-09-05eCollection Date: 2023-01-01DOI: 10.3389/fopht.2023.1229748
Ethan Waisberg, Joshua Ong, Nasif Zaman, Phani Paladugu, Sharif Amit Kamran, Alireza Tavakkoli, Andrew G Lee
{"title":"The spaceflight contrast sensitivity hypothesis and its role to investigate the pathophysiology of spaceflight-associated neuro-ocular syndrome.","authors":"Ethan Waisberg, Joshua Ong, Nasif Zaman, Phani Paladugu, Sharif Amit Kamran, Alireza Tavakkoli, Andrew G Lee","doi":"10.3389/fopht.2023.1229748","DOIUrl":"10.3389/fopht.2023.1229748","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"22 1","pages":"1229748"},"PeriodicalIF":0.0,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11182303/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85247468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.138
Lucy March
{"title":"Review: Virtual Music: Sound, Music, and Image in the Digital Era, by Shara Rambarran","authors":"Lucy March","doi":"10.1525/jpms.2023.35.3.138","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.3.138","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44778844","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}
Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.128
Anjeline de Dios
{"title":"Review: Manifest Technique: Hip Hop, Empire, and Visionary Filipino American Culture, by Mark R. Villegas","authors":"Anjeline de Dios","doi":"10.1525/jpms.2023.35.3.128","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.3.128","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41424645","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}
Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.61
L. Kehrer
For the past decade, queer and trans rappers have been the dominant force in New Orleans bounce, a dance-centric hip hop genre specific to that city. Inspired by the language of bounce rappers themselves, such as Sissy Nobby, who self-identify as gay and reclaim a once pejorative term to openly express their sexual and gender identities through their performances, music journalist Alison Fensterstock coined the term “sissy bounce” to describe this current phenomenon. Since the genre first developed in the early 1990s, dancing, or “shaking” as it is called locally, has gone hand-in-hand with the music. More recently, bounce dance styles, including twerking, have drawn mainstream attention, fueled in part by controversial performances such as those by Miley Cyrus. “Twerking” is now part of the national vocabulary, but is largely misunderstood, especially its distinctly queer iterations. Drawing on interviews and fieldwork conducted in New Orleans, this article illustrates the ways in which gendered shaking styles have been adapted among its queer and trans participants and its role as kinetic community response to trauma inflicted by Hurricane Katrina. It demonstrates that shaking is an example of both a racialized and gendered performance and a performative act in which gender and racial identity are co-constructed. Finally, it considers the implications of twerking’s exposure on a national stage and how New Orleans bounce artists have reacted. Bounce music and dance are interconnected forms of expression; considering them together helps us to better understand the relationship between sound and gesture in hip hop.
{"title":"“Sissy Style”","authors":"L. Kehrer","doi":"10.1525/jpms.2023.35.3.61","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.3.61","url":null,"abstract":"For the past decade, queer and trans rappers have been the dominant force in New Orleans bounce, a dance-centric hip hop genre specific to that city. Inspired by the language of bounce rappers themselves, such as Sissy Nobby, who self-identify as gay and reclaim a once pejorative term to openly express their sexual and gender identities through their performances, music journalist Alison Fensterstock coined the term “sissy bounce” to describe this current phenomenon. Since the genre first developed in the early 1990s, dancing, or “shaking” as it is called locally, has gone hand-in-hand with the music. More recently, bounce dance styles, including twerking, have drawn mainstream attention, fueled in part by controversial performances such as those by Miley Cyrus. “Twerking” is now part of the national vocabulary, but is largely misunderstood, especially its distinctly queer iterations.\u0000 Drawing on interviews and fieldwork conducted in New Orleans, this article illustrates the ways in which gendered shaking styles have been adapted among its queer and trans participants and its role as kinetic community response to trauma inflicted by Hurricane Katrina. It demonstrates that shaking is an example of both a racialized and gendered performance and a performative act in which gender and racial identity are co-constructed. Finally, it considers the implications of twerking’s exposure on a national stage and how New Orleans bounce artists have reacted. Bounce music and dance are interconnected forms of expression; considering them together helps us to better understand the relationship between sound and gesture in hip hop.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42100802","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}
Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.141
Marquese L. McFerguson
{"title":"Review: Chronicling Stankonia: The Rise of the Hip Hop South, by Regina Bradley","authors":"Marquese L. McFerguson","doi":"10.1525/jpms.2023.35.3.141","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.3.141","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42928101","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}
Pub Date : 2023-09-01DOI: 10.1525/jpms.2023.35.3.82
D. Rasmussen
As a popular musician, Prince broke racial, gender, and socio-economic barriers and contributed to a legacy of artistic expression that advocated for individual freedom and empowerment. Nowhere else is this more evident than in Purple Rain, where Prince played with images of androgyny and race. This is particularly evident in the album, the movie, and even in the behind-the-scenes production of both projects. These were questions that Generation X was grappling with at the time, and that generations today continue to grapple with, in the struggle against a rigid hierarchical power structure. Yet this was also the same power structure of social, political, and cultural institutions that had failed as moral leaders, with issues of systemic racism, dysfunctional families, Reaganomics, gender dynamics, divorce, and problematic social and moral institutions (school, parents, etc.) affecting society. Prince’s music developed within this social context and spoke directly to Generation X. Purple Rain hit upon a theme of generational malaise and tension that is reflected in today’s current political climate as well, making Purple Rain a deeply resonant album. To explore this idea, I will look at the cultural factors behind the making of the album and the racial and gender barriers Prince had to subvert in order to get the album and accompanying film made.
{"title":"Toward A Purple Aesthetic","authors":"D. Rasmussen","doi":"10.1525/jpms.2023.35.3.82","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.3.82","url":null,"abstract":"As a popular musician, Prince broke racial, gender, and socio-economic barriers and contributed to a legacy of artistic expression that advocated for individual freedom and empowerment. Nowhere else is this more evident than in Purple Rain, where Prince played with images of androgyny and race. This is particularly evident in the album, the movie, and even in the behind-the-scenes production of both projects. These were questions that Generation X was grappling with at the time, and that generations today continue to grapple with, in the struggle against a rigid hierarchical power structure. Yet this was also the same power structure of social, political, and cultural institutions that had failed as moral leaders, with issues of systemic racism, dysfunctional families, Reaganomics, gender dynamics, divorce, and problematic social and moral institutions (school, parents, etc.) affecting society. Prince’s music developed within this social context and spoke directly to Generation X. Purple Rain hit upon a theme of generational malaise and tension that is reflected in today’s current political climate as well, making Purple Rain a deeply resonant album. To explore this idea, I will look at the cultural factors behind the making of the album and the racial and gender barriers Prince had to subvert in order to get the album and accompanying film made.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46340109","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}
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