{"title":"Jim Morrison: The Genius of an Unsung FilmmakerBy Fabrizio Federico. Independently Published. 2023. 331 pp. ISBN: 979-8388916341","authors":"Dwaipayan Roy","doi":"10.1111/jacc.13602","DOIUrl":"https://doi.org/10.1111/jacc.13602","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"77-78"},"PeriodicalIF":0.1,"publicationDate":"2024-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144299925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Drawn to history: The portrayal of museums in animated sitcoms","authors":"Michael Scott Van Wagenen","doi":"10.1111/jacc.13596","DOIUrl":"https://doi.org/10.1111/jacc.13596","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"47 4","pages":"316-328"},"PeriodicalIF":0.1,"publicationDate":"2024-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143253089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The spires still point to heaven: Cincinnati's religious landscape, 1788–1873 By Matthew Smith, Philadelphia, PA: Temple University Press. 2023. pp. 259. ISBN: 9781439922958","authors":"Mark Sullivan","doi":"10.1111/jacc.13597","DOIUrl":"https://doi.org/10.1111/jacc.13597","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 1","pages":"38"},"PeriodicalIF":0.1,"publicationDate":"2024-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143581969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Cinema of Barbara Stanwyck: Twenty-Six Short Essays on a Working StarBy Catherine Russell, Urbana, IL: University of Illinois Press. 2023. pp. 347. ISBN: 978-0252087172","authors":"Daniel P. Murphy","doi":"10.1111/jacc.13601","DOIUrl":"https://doi.org/10.1111/jacc.13601","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 2","pages":"75-76"},"PeriodicalIF":0.1,"publicationDate":"2024-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144300413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Liminal Spaces in Children's and Young Adult Literature: Stories From the In BetweenBy Mark I. West, Lanham, MD: Lexington Books. 2024. 216 pp. ISBN: 978-1-66693-887-6","authors":"Kirsten Møllegaard","doi":"10.1111/jacc.13600","DOIUrl":"https://doi.org/10.1111/jacc.13600","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 1","pages":"41-42"},"PeriodicalIF":0.1,"publicationDate":"2024-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143582054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
<p>With the success of the <i>Black Panther</i> movies (2018 and 2022) and extended franchise, and the high-profile exhibit and publication of the National Museum of African American History and Culture, titled <i>Afrofuturism: A History of Black Futures</i> (Strait & Conwill, <span>2023</span>), academics working within the large and diverse field of Afrofuturism must feel their work is finally coming to be understood by the general public. A movement with ties to visual art, design, fashion, architecture, film, music, theater, literature, dance, and grassroots organizing, Afrofuturism has flourished as an international phenomenon, with scholars now acknowledging a third stage in its long development (Anderson, <span>2023</span>, pp. 59–60).</p><p>The foundations of Afrofuturism lie in the efforts and aspirations of African, African American, and other African diasporic actors. And yet in the realm of African American popular music, there was a special window in time when a diasporic Japanese illustrator based in Los Angeles, California—Nagaoka Shusei—worked to create some of the most iconic and well-loved album covers in the Afrofuturist pantheon (including the two LPs described in the epigraphs). This article examines in detail his contributions to such Afrofuturist visual culture, primarily through the lens of his album cover work with the African American super group Earth, Wind & Fire. Central to this artistic endeavor was the special relationship Nagaoka nurtured and maintained throughout his life with Earth, Wind & Fire's founder, Maurice White. In combination with the lyrics, themes, costumes, choreography, and, of course, the music, Nagaoka's art would complete White's vision for his band. Their collaboration was also appreciated in a special way among Earth, Wind & Fire's Japanese fan base.</p><p>Space and fantasy were passions in Nagaoka Shusei's visual universe, the two terms and images coming together in a way that would permanently bind together Nagaoka with Earth, Wind & Fire. It is a story of Japanese and African American synergies, sympathies, and respect between two individuals with a shared view of humanity, one that embraced difference and looked past the artificial boundaries of race and nationality. It also serves as an example of imagination as expressed through the medium of science fiction and technology that speaks to the potential of alternative, positive presents and futures for all oppressed diasporic peoples.</p><p>Nagaoka Shusei (Nagaoka Sh<span></span><math> <semantics> <mrow> <mover> <mi>u</mi> <mo>¯</mo> </mover> </mrow> </semantics></math>sei長岡秀星; family name, given name)<sup>2</sup> came into the world during one of the most tumultuous periods between his birth country of Japan and his adopted home of the United States. His relationship
搬到首都不到一个月，他就已经找到了一份插画师的工作；1958年，23岁的他已经完全独立，成为一名商业艺术家。在他职业生涯的早期阶段，他的工作主要是为儿童和妇女杂志、广告、科学和冒险套件和出版物（汽车、发动机、战斗机等）签订合同。1963年，长冈结了婚；个人地位的改变发生在他的主题开始向未来的交通工具、宇宙飞船、船只、建筑物等百科全书和男孩杂志发展的时候。这也标志着他对手绘细节和精确度的关注进一步提高（Nagaoka, 2016, p. 31）。最终，正是长冈对科幻题材的兴趣和倾向吸引了更广泛的专业人士。1966年，《朝日周刊》邀请永冈为他们的“未来建筑”专题画插图，因为他为其他出版物创作了大量科幻插图。这一形象令人印象深刻，足以引起传奇建筑师丹下贤三的注意，他曾负责设计1970年即将举行的大阪世博会。Tange邀请Nagaoka作为三个主要展馆的设计团队的一员。这个项目让Nagaoka工作了3年，在此期间，他开始建立一个强大的专业网络（Nagaoka, 1982, p. 45, 2016, p. 31）。然而，当长冈的职业生涯本应在他的祖国蓬勃发展时，一系列因素导致他做出了移民美国的艰难决定。这种心态的部分原因是他在世博会上的同事们认为，通过进入更大、更国际化的市场，长冈将能够扩展他的艺术和世界观。长冈精确的画法和越来越大胆的配色也招致了日本一些知名评论家的批评，其中一些人认为他的风格对日本人来说“不熟悉”，缺乏民族特色。他还觉得当时日本的艺术界是孤立的，他可能很快就会被困住或归类(Nagaoka, 1981b, p. 8；渡边，1985年，第73、74页)。1969年，在最后一次象征性的推动下，长冈的嫂子的母亲给长冈取了一个新名字，从原来的“shu¯z o¯”改为“shu¯z o¯”。意思是“杰出/美丽的第三”——指的是他是第三个儿子——是“杰出/美丽的明星”。她告诉长冈，这个名字可以用于未来与外国或外太空有关的工作；她几乎不知道她的观点会变得多么有先见之明（Nagaoka, 2016, p. 31）。经过深思熟虑，长冈选择了洛杉矶开始他的新生活。由于签证问题，他最初无法带上妻子和儿子，于1970年7月抵达美国。抵达后，他决定成立一家公司，为他提供作为新移民和崭露头角的商业艺术家所需的智力、经济和情感支持。虽然他立即感受到对亚洲社区挥之不去的偏见和歧视（与第二次世界大战和越南有关），但那个月他奇迹般地找到了他的第一份插画工作。带着野心和希望，他来到他认为是当地文化中心的《洛杉矶时报》（Los Angeles Times）。据长冈回忆，他被安排去看该报的周刊《西方》，这是《纽约时报》的周末增刊。韦斯特的工作人员都很年轻，政治进步，穿着随意（比如破牛仔裤），想听听洛杉矶少数族裔社区的意见。当时的广告总监迈克·索尔兹伯里（Mike Salisbury）对长冈的作品印象深刻，当场邀请他担任下周的封面。会议的主题是洛杉矶机场的未来；1970年8月9日，一架未来超音速喷气式飞机的震撼画面问世，标题为“洛杉矶国际机场带来明天”(Nagaoka, 1982，第41页；渡边，1985，第74页)。此后不久，长冈获得了资金，开设了Design Maru（）工作室；他选择了maru（圆圈）这个词来识别他的种族，因为这个词是从日本国旗的日本名称“日之丸”（Hinomaru）中提取出来的。他们和另外五个人一起为他工作（并与他一起生活），走上街头，每天向多达20名客户展示长冈的样品。 与此同时，纽约、法国和其他国家的公司开始打电话给他，这些公司注意到他为《西方》设计的封面，并向他提供了工作机会（Nagaoka, 2016, p. 32）。在本地和国际上，这最初导致了商业设计和科学和机械插图，由于他的详细风格被认为比精密仪器更准确，比照片更清晰（Watanabe, 1985, p. 75）。在整个20世纪70年代和80年代，长冈继续为西方世界的一些顶级公司工作，赢得了多个奖项。到1972年底，长冈在洛杉矶已经有了稳固的客户，名声也越来越好。虽然具体情况不详，但他被邀请为华纳兄弟唱片公司制作他的第一张唱片封面，封面是Van Dyke Parks的专辑《发现美国》（1972），Van Dyke Parks是一位美国流行音乐和艺术作曲家，曾与Brian Wilson和Beach Boys合作过。这幅画以两辆越野车为特色，前面的横幅上印着好莱坞和特立尼达的目的地，它的特点是用喷枪的方法制作，这与他以前的许多技术图纸不同。现在还不清楚Nagoaka从什么时候开始喜欢喷枪作为他的主要工具；后来在1970年《西方》杂志的封面标题为“航天飞机”，也使用了喷枪技术。但当他慢慢进入唱片封面世界时，这将成为他的标志性风格。如果说1970年8月9日《West》的封面是长冈在美国的第一个重大突破，那么他为卡彭特乐队的专辑《Now and Then》（1973）绘制的插画则预示着唱片行业即将取得大规模的成功，尽管他当时没有看到这一点。这张照片描绘了卡彭特兄弟姐妹开车经过加州的家，乍一看，许多粉丝都以为这是一张照片。这是他的第一本百万销量的书（之后还会有更多）。在1974年和1975年的大部分时间里，长冈专注于偿还债务，悄悄解散公司，办理E2工作签证的文书工作，并为他在美国的家人团聚做准备。当他的妻子和两个儿子（第二个孩子在此期间出生）在1975年出生时，他已经成为了自己的实体，所有的作品现在都直接记入他的名下（而不是Design Maru）。他现在也有了一个家庭住宅，其中一个房间保留给他的工作室（托拉，1977）。这段过渡时期是否阻碍了他在专辑封面上的创作尚不得而知，不过直到第二年他才再次签约从事这类工作。1976年，长冈为三张专辑提供了封面插图：国会唱片公司发行的两张专辑，杰弗逊星舰的喷火战斗机（长冈的第二张百万销量专辑）和一张40年代的金曲合集，名为《四十年代金曲第二卷》；Grunt发行了《Flight’s Incredible Journey》。金曲合集以山姆大叔的照片为特色，而杰弗逊星舰的专辑则以亚洲为主题，封面描绘了一个骑龙的女人（封面上也有汉字——“星舰”的意思），封套描绘了一个可以理解为日本国旗的图案。然而，最重要的是，科幻元素首次进入永冈的专辑作品，在Flight的不可思议的旅程中，在封面和封底上描绘了一艘由钢琴键盘和小号零件制成的宇宙飞船。无论是为《不可思议的旅程》，还是为众多杂志和其他出版物（他在这些杂志和出版物上创作了越来越稳定的科幻和奇幻绘画作品），在接下来的一年里，一大批艺术家排队等候他的特殊艺术眼光，这极大地改变了他的职业生涯，并在封面插图的历史上留下了不可磨灭的印记。1977年，Nagaoka创作了至少14张专辑封面，这标志着他将重心转向了几乎100%的艺术封面他也开始与洛杉矶工作室的音乐家和乐队建立密切的关系，他们经常来他家看他工作（Tora, 1977）。这样的成功可以归功于两张专辑，这两张专辑成为了永冈一生中改变职业生涯的时刻，我将在这里简要讨论第一张，第二张将单独占一节。长冈的封面成为1977年最广为人知的图片之一。从美国东海岸到西海岸的唱片店橱窗里都有ELO空间站的特写，它的图像在巨大的海报上和乐队的电
{"title":"Space fantasy: Nagaoka Shusei's contributions to Afrofuturist visual culture","authors":"Nathan Hesselink","doi":"10.1111/jacc.13598","DOIUrl":"https://doi.org/10.1111/jacc.13598","url":null,"abstract":"<p>With the success of the <i>Black Panther</i> movies (2018 and 2022) and extended franchise, and the high-profile exhibit and publication of the National Museum of African American History and Culture, titled <i>Afrofuturism: A History of Black Futures</i> (Strait & Conwill, <span>2023</span>), academics working within the large and diverse field of Afrofuturism must feel their work is finally coming to be understood by the general public. A movement with ties to visual art, design, fashion, architecture, film, music, theater, literature, dance, and grassroots organizing, Afrofuturism has flourished as an international phenomenon, with scholars now acknowledging a third stage in its long development (Anderson, <span>2023</span>, pp. 59–60).</p><p>The foundations of Afrofuturism lie in the efforts and aspirations of African, African American, and other African diasporic actors. And yet in the realm of African American popular music, there was a special window in time when a diasporic Japanese illustrator based in Los Angeles, California—Nagaoka Shusei—worked to create some of the most iconic and well-loved album covers in the Afrofuturist pantheon (including the two LPs described in the epigraphs). This article examines in detail his contributions to such Afrofuturist visual culture, primarily through the lens of his album cover work with the African American super group Earth, Wind & Fire. Central to this artistic endeavor was the special relationship Nagaoka nurtured and maintained throughout his life with Earth, Wind & Fire's founder, Maurice White. In combination with the lyrics, themes, costumes, choreography, and, of course, the music, Nagaoka's art would complete White's vision for his band. Their collaboration was also appreciated in a special way among Earth, Wind & Fire's Japanese fan base.</p><p>Space and fantasy were passions in Nagaoka Shusei's visual universe, the two terms and images coming together in a way that would permanently bind together Nagaoka with Earth, Wind & Fire. It is a story of Japanese and African American synergies, sympathies, and respect between two individuals with a shared view of humanity, one that embraced difference and looked past the artificial boundaries of race and nationality. It also serves as an example of imagination as expressed through the medium of science fiction and technology that speaks to the potential of alternative, positive presents and futures for all oppressed diasporic peoples.</p><p>Nagaoka Shusei (Nagaoka Sh<span></span><math>\u0000 <semantics>\u0000 <mrow>\u0000 <mover>\u0000 <mi>u</mi>\u0000 <mo>¯</mo>\u0000 </mover>\u0000 </mrow>\u0000 </semantics></math>sei長岡秀星; family name, given name)<sup>2</sup> came into the world during one of the most tumultuous periods between his birth country of Japan and his adopted home of the United States. His relationship ","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 1","pages":"3-22"},"PeriodicalIF":0.1,"publicationDate":"2024-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://onlinelibrary.wiley.com/doi/epdf/10.1111/jacc.13598","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143581948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Tastemakers, collectors, and patrons: Collecting American art in the long nineteenth century By Linda S. Ferber and Margaret R. Laster (Eds.), University Park, PA: The Frick Collection and Pennsylvania State University Press. 2024. pp. 222. ISBN: 978-0-271-095-240","authors":"Joy Sperling","doi":"10.1111/jacc.13599","DOIUrl":"https://doi.org/10.1111/jacc.13599","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 1","pages":"39-40"},"PeriodicalIF":0.1,"publicationDate":"2024-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143582050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Woman up: Invoking feminism in quality television By Julia Havas, Detroit: Wayne State University Press. 2022. pp. 271. ISBN: 978-0-8143-4656-3","authors":"Sandra Eckard","doi":"10.1111/jacc.13593","DOIUrl":"https://doi.org/10.1111/jacc.13593","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 1","pages":"35"},"PeriodicalIF":0.1,"publicationDate":"2024-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143581960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Private spaces in public places: Comfort stations, fitting rooms, public baths, and locker rooms in America, 1880–1930 By Laura Walikainen Rouleau, Baltimore: Johns Hopkins University Press. 2023. pp. 136. ISBN: 978-1-4214-4999-9","authors":"Kathy Merlock Jackson","doi":"10.1111/jacc.13594","DOIUrl":"https://doi.org/10.1111/jacc.13594","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 1","pages":"36"},"PeriodicalIF":0.1,"publicationDate":"2024-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143582027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Class, identity, and finding the right wine in Schitt's Creek By James Deys, Kellie Deys, Nikkie Anderson (Eds.), Lanham, MD: Lexington Books. 2024. pp. 165. ISBN: 978-1-66692-759-7","authors":"Theodore Bain","doi":"10.1111/jacc.13595","DOIUrl":"https://doi.org/10.1111/jacc.13595","url":null,"abstract":"","PeriodicalId":44809,"journal":{"name":"JOURNAL OF AMERICAN CULTURE","volume":"48 1","pages":"37"},"PeriodicalIF":0.1,"publicationDate":"2024-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143582055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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