Pub Date : 2022-12-17DOI: 10.1080/03007766.2022.2156761
John McGrath
ABSTRACT What I term “the return to craft” is a distillation of a pervasive phenomenon – the nostalgic, folk esthetic of contemporary Western society that has arisen partly in response to the Covid-19 pandemic but also to neoliberalism and climate change. It arises as a reaction to turmoil, offering the comfort of an imagined past, a tangible tactility, and a reconnection with the “old ways,” with nature, and the wild. In this paper, I explore the return to craft as a societal search for foundations via a case-study of its most commercially successful lockdown output, Taylor Swift’s folklore (2020).
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Pub Date : 2022-11-15DOI: 10.1080/03007766.2022.2148350
John Littlejohn
{"title":"Peter Gabriel: Global Citizen","authors":"John Littlejohn","doi":"10.1080/03007766.2022.2148350","DOIUrl":"https://doi.org/10.1080/03007766.2022.2148350","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43091083","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 : 2022-10-06DOI: 10.1080/03007766.2022.2132064
Kellie D. Hay, Rebekah Farrugia
ABSTRACT This article theorizes affect, aesthetics, and black inner life through an analysis of two hip hop music videos: Rapsody’s “The Man” and Mama Sol and The N.U.T.S.’s “Manhood.” The authors deploy Quashie’s notion of “the quiet interior” and Rose’s concept of “(inter)personal justice” to examine the aesthetics through which hip hop fatherhood is forged. Scrutinizing the dynamics of inner life, the article showcases the social construction of fatherhood in complex, urban formations. The authors conclude that these two hip hop videos exemplify the ways in which intimate spaces on public display can create sites of political rupture and cultural recovery.
{"title":"Black Fatherhood, Hip Hop, and Inner Life: Reading Rapsody’s “The Man” and Mama Sol and the N.U.T.S.’s “Manhood”","authors":"Kellie D. Hay, Rebekah Farrugia","doi":"10.1080/03007766.2022.2132064","DOIUrl":"https://doi.org/10.1080/03007766.2022.2132064","url":null,"abstract":"ABSTRACT This article theorizes affect, aesthetics, and black inner life through an analysis of two hip hop music videos: Rapsody’s “The Man” and Mama Sol and The N.U.T.S.’s “Manhood.” The authors deploy Quashie’s notion of “the quiet interior” and Rose’s concept of “(inter)personal justice” to examine the aesthetics through which hip hop fatherhood is forged. Scrutinizing the dynamics of inner life, the article showcases the social construction of fatherhood in complex, urban formations. The authors conclude that these two hip hop videos exemplify the ways in which intimate spaces on public display can create sites of political rupture and cultural recovery.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44375575","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 : 2022-09-28DOI: 10.1080/03007766.2022.2129257
Pat O’Grady
ABSTRACT Studies have suggested that consumers of recorded music favor portability over high fidelity. In recent years, wireless technologies – such as Bluetooth headphones and speakers – have become a popular way to listen to music. The technology can be contextualized within “ubiquitous listening,” which describes how music is, for many listeners, not a standalone activity. This article examines wireless headphones and speakers to consider how “ubiquitous listening” practices shape our desires for portability and fidelity. The article proposes the term “everyday fidelity” to describe how listeners might seek out distinct levels of fidelity based on their activities at one point in time.
{"title":"“Everyday Fidelity”: Analyzing Sound Quality in Ubiquitous Listening Practices","authors":"Pat O’Grady","doi":"10.1080/03007766.2022.2129257","DOIUrl":"https://doi.org/10.1080/03007766.2022.2129257","url":null,"abstract":"ABSTRACT Studies have suggested that consumers of recorded music favor portability over high fidelity. In recent years, wireless technologies – such as Bluetooth headphones and speakers – have become a popular way to listen to music. The technology can be contextualized within “ubiquitous listening,” which describes how music is, for many listeners, not a standalone activity. This article examines wireless headphones and speakers to consider how “ubiquitous listening” practices shape our desires for portability and fidelity. The article proposes the term “everyday fidelity” to describe how listeners might seek out distinct levels of fidelity based on their activities at one point in time.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43386784","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 : 2022-09-18DOI: 10.1080/03007766.2022.2121350
John Kimsey
ABSTRACT Sung by convicts and recorded in 1959 at Mississippi’s Parchman Farm penitentiary, the work song “Po Lazarus” keynoted 2000ʹs award-winning soundtrack O Brother, Where Art Thou? and, thus recontextualized, helped spark a folk revival. Like its protagonist, “Po Lazarus” has been “messed with” – captured, preserved, aestheticized, commercialized. It’s also been allegorized: explicitly by African-American ministers and implicitly by the soundtrack, which limns the circular journey of high Romanticism, a trope originating with Plotinus and Augustine. Moreover, the soundtrack evokes the Manichean allegory of European colonialism, working to simultaneously critique and reproduce the racialized imaginary of Southern vernacular culture.
{"title":"“Go Out and Bring Me Lazarus”: O Brother, Allegory, and a Work Song’s Circuitous Journey","authors":"John Kimsey","doi":"10.1080/03007766.2022.2121350","DOIUrl":"https://doi.org/10.1080/03007766.2022.2121350","url":null,"abstract":"ABSTRACT Sung by convicts and recorded in 1959 at Mississippi’s Parchman Farm penitentiary, the work song “Po Lazarus” keynoted 2000ʹs award-winning soundtrack O Brother, Where Art Thou? and, thus recontextualized, helped spark a folk revival. Like its protagonist, “Po Lazarus” has been “messed with” – captured, preserved, aestheticized, commercialized. It’s also been allegorized: explicitly by African-American ministers and implicitly by the soundtrack, which limns the circular journey of high Romanticism, a trope originating with Plotinus and Augustine. Moreover, the soundtrack evokes the Manichean allegory of European colonialism, working to simultaneously critique and reproduce the racialized imaginary of Southern vernacular culture.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43409124","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 : 2022-09-02DOI: 10.1080/03007766.2022.2117977
Mina Khanlarzadeh
ABSTRACT This paper examines how female Lālehzari performers of the 1950s–70s rejected conventional femininity through their performances of female masculinity in their music and in some of the song-and-dance scenes of the commercial cinema. It argues that by performing eshgh ast, a kind of camp, these artists lampooned the dominant culture’s binary gender system and their fans’ claims over masculinity, ultimately making gender more capacious and women’s performative possibilities more diverse in the Lālehzari music scene. Ultimately, the paper demonstrates that these gender outlaws and their audiences developed their own homegrown, urban modernity beyond state discourses of Westernization.
{"title":"“More Champion than the Champions”: Female Masculinity in Lālehzari Music and Filmfarsi","authors":"Mina Khanlarzadeh","doi":"10.1080/03007766.2022.2117977","DOIUrl":"https://doi.org/10.1080/03007766.2022.2117977","url":null,"abstract":"ABSTRACT This paper examines how female Lālehzari performers of the 1950s–70s rejected conventional femininity through their performances of female masculinity in their music and in some of the song-and-dance scenes of the commercial cinema. It argues that by performing eshgh ast, a kind of camp, these artists lampooned the dominant culture’s binary gender system and their fans’ claims over masculinity, ultimately making gender more capacious and women’s performative possibilities more diverse in the Lālehzari music scene. Ultimately, the paper demonstrates that these gender outlaws and their audiences developed their own homegrown, urban modernity beyond state discourses of Westernization.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47894828","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 : 2022-08-30DOI: 10.1080/03007766.2022.2117010
Young-hui Kim
ABSTRACT T’ongkit’a music grew out of the 1960s Korean youth culture, which was centered on elite university students. Previous studies on t'ongkit’a music often highlight its political and social consciousness, but even in its heyday, t’ongkit’a music’s relationship with political activism was limited and accidental. Though it should not be overlooked that the youth’s music was a new mode of social and aesthetic interaction and communication, its political values and effects are rather a later invention of the progressive popular music researchers
{"title":"Revisiting the South Korean Youth Culture and T’ongkit’a Music","authors":"Young-hui Kim","doi":"10.1080/03007766.2022.2117010","DOIUrl":"https://doi.org/10.1080/03007766.2022.2117010","url":null,"abstract":"ABSTRACT T’ongkit’a music grew out of the 1960s Korean youth culture, which was centered on elite university students. Previous studies on t'ongkit’a music often highlight its political and social consciousness, but even in its heyday, t’ongkit’a music’s relationship with political activism was limited and accidental. Though it should not be overlooked that the youth’s music was a new mode of social and aesthetic interaction and communication, its political values and effects are rather a later invention of the progressive popular music researchers","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-08-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43092331","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 : 2022-08-23DOI: 10.1080/03007766.2022.2114155
Jan Herbst, M. Mynett
ABSTRACT Metal music studies defines “heaviness” as the genre’s sonic signature but has rarely explored the sonics or the related discourse. This study analyzes message boards to determine how music producers and musicians use the “heavy” metaphor in their discussions. Practitioners’ strategies employed to achieve heaviness are scrutinized to learn about what considerations influence their decisions. The findings suggest that while heaviness is based on a core set of musical features, it is open to appropriation, modification, and development. Heaviness has become a suitable impetus for the genre’s evolution and iconically represents what metal music stands for to its community.
{"title":"What is “Heavy” in Metal? A Netnographic Analysis of Online Forums for Metal Musicians and Producers","authors":"Jan Herbst, M. Mynett","doi":"10.1080/03007766.2022.2114155","DOIUrl":"https://doi.org/10.1080/03007766.2022.2114155","url":null,"abstract":"ABSTRACT Metal music studies defines “heaviness” as the genre’s sonic signature but has rarely explored the sonics or the related discourse. This study analyzes message boards to determine how music producers and musicians use the “heavy” metaphor in their discussions. Practitioners’ strategies employed to achieve heaviness are scrutinized to learn about what considerations influence their decisions. The findings suggest that while heaviness is based on a core set of musical features, it is open to appropriation, modification, and development. Heaviness has become a suitable impetus for the genre’s evolution and iconically represents what metal music stands for to its community.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49090550","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 : 2022-08-21DOI: 10.1080/03007766.2022.2115105
Erin C. Callahan
that record albums were conceived with attention to the sequencing of tracks and with the breaks between two, sometimes four, sides of music in mind. The “potentially rich subject” of sequencing, Starr avers, “might seem a distant anachronism” (89) in the age of Spotify and YouTube. There’s little doubt, however, that everyone interested in Dylan will appreciate the “integrated, patterned listening experiences” (92) found in well-sequenced vinyl. Starr excels on this topic, extending Dylan’s skill at arrangement into compact discs as well, using “Murder Most Foul,” the finale of Rough and Rowdy Ways, to discuss Dylan’s reason for including it on a separate disc despite available space on the first disc. The book’s penultimate chapter offers thoughts on the startling changes between the studio and the multiple live versions of five Dylan songs. Starr weaves earlier themes into these readings (Dylan’s form, vocal style, instrumentation, and accompaniment, and the author’s own incompleteness of analysis), relishing the “delight, surprise, confusion, head-shaking, and disbelief” (110) Dylan has evoked on stage for more than half a century. Concluding evidence in the last chapter of Dylan’s “exceptional, and remarkably unified, creations” (111) is mined in “Visions of Johanna,” “Dear Landlord,” “Life Is Hard,” and “This Dream of You.” Listening to Bob Dylan, as soothing in tone as it is learned in detail, teaches us that Bob Dylan’s artistry is much more a matter of synchrony than we, quick to credit lyrics as Dylan’s forte, may realize. Vocal and instrumental performance, structure, arrangement – these items, and the way Dylan combines them, are explicated in a user-friendly manner that will appeal to a wide audience. For those not much past the Greatest Hits and/or more likely to download their Dylan than to mess with an LP or CD, there is much to gain from Starr’s lessons on music, sound, and delivery. For those deep into the scholarship from Shelton to Heylin and the oeuvre from Bob Dylan to the Bootleg Series, there is more than enough content to contemplate. And for those in-between, there awaits a surfeit of pleasure in learning about Bob Dylan’s supreme songwriting, performing, and composing gifts as illuminated by Larry Starr in Listening to Bob Dylan.
{"title":"Light Come Shining: The Transformations of Bob Dylan","authors":"Erin C. Callahan","doi":"10.1080/03007766.2022.2115105","DOIUrl":"https://doi.org/10.1080/03007766.2022.2115105","url":null,"abstract":"that record albums were conceived with attention to the sequencing of tracks and with the breaks between two, sometimes four, sides of music in mind. The “potentially rich subject” of sequencing, Starr avers, “might seem a distant anachronism” (89) in the age of Spotify and YouTube. There’s little doubt, however, that everyone interested in Dylan will appreciate the “integrated, patterned listening experiences” (92) found in well-sequenced vinyl. Starr excels on this topic, extending Dylan’s skill at arrangement into compact discs as well, using “Murder Most Foul,” the finale of Rough and Rowdy Ways, to discuss Dylan’s reason for including it on a separate disc despite available space on the first disc. The book’s penultimate chapter offers thoughts on the startling changes between the studio and the multiple live versions of five Dylan songs. Starr weaves earlier themes into these readings (Dylan’s form, vocal style, instrumentation, and accompaniment, and the author’s own incompleteness of analysis), relishing the “delight, surprise, confusion, head-shaking, and disbelief” (110) Dylan has evoked on stage for more than half a century. Concluding evidence in the last chapter of Dylan’s “exceptional, and remarkably unified, creations” (111) is mined in “Visions of Johanna,” “Dear Landlord,” “Life Is Hard,” and “This Dream of You.” Listening to Bob Dylan, as soothing in tone as it is learned in detail, teaches us that Bob Dylan’s artistry is much more a matter of synchrony than we, quick to credit lyrics as Dylan’s forte, may realize. Vocal and instrumental performance, structure, arrangement – these items, and the way Dylan combines them, are explicated in a user-friendly manner that will appeal to a wide audience. For those not much past the Greatest Hits and/or more likely to download their Dylan than to mess with an LP or CD, there is much to gain from Starr’s lessons on music, sound, and delivery. For those deep into the scholarship from Shelton to Heylin and the oeuvre from Bob Dylan to the Bootleg Series, there is more than enough content to contemplate. And for those in-between, there awaits a surfeit of pleasure in learning about Bob Dylan’s supreme songwriting, performing, and composing gifts as illuminated by Larry Starr in Listening to Bob Dylan.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2022-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47949393","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 : 2022-08-21DOI: 10.1080/03007766.2022.2115087
Thomas M. Kitts
to Dylan’s “new sense of self” were picking up a cross a fan threw on stage in Tucson, Arizona, in November 1978 and his involvement with the Vineyard Christian Fellowship (85). Finally, the third major event McCarron notes was Dylan’s 1987 recommitment to his songwriting and touring. After turning away from the Vineyard Christian Fellowship and his gospel-inspired songs, McCarron notes that Dylan expressed the dissatisfaction and alienation he felt with his life and career in interviews for a BBC documentary called Getting to Dylan. Subsequently, Dylan underwent a life-changing experience while in rehearsals with the Grateful Dead in San Rafael, California. When Dylan left the rehearsals frustrated with their direction, he stopped in a bar where he heard live jazz playing. McCarron quotes several interviews and Dylan’s description in Chronicles of the transitional event that restores his vitality and purpose and further establishes the pattern in his destiny script. Reminding him of Billy Eckstine, a bandleader he heard in his youth, the lead singer touched Dylan in a profound, otherworldly way. McCarron explains, “Awakened by the old jazz singer’s example, he returned to the Dead’s rehearsal hall ready to put what he learned to immediate work” (116). Dylan’s renewed sense of himself and destiny allowed him to successfully continue his scheduled tour with Tom Petty. Chapters five and six contextualize McCarron’s argument, explaining how psychobiography demonstrates the fluidity of the redemptive script Dylan returned to throughout his life and career when he felt threatened by mortality, death, and destruction created by the anxieties of his Atomic Age childhood. In each of these moments, McCarron argues, Dylan follows the same script and returns to the music he listened to in his formative years as the source of his redemption and destiny scripts. Thus, though fluid, the script creates a clear pattern and allows observers to predict how Dylan will respond to these anxieties. Ultimately, Light Come Shining: The Transformations of Bob Dylan adds an interesting approach to Dylan’s life, career, and biography. It provides new insight into some of the pivotal events in his life and the continuity of his responses to them. McCarron’s text is comprehensive, well researched, yet accessible, making it a valuable addition to any Dylanologist’s library.
1978年11月，在亚利桑那州图森市，迪伦捡起了一个歌迷扔在舞台上的十字架，并加入了葡萄园基督教团契(1985年)。最后，麦卡伦提到的第三件大事是迪伦在1987年重新投入到歌曲创作和巡演中。麦卡伦指出，在离开葡萄园基督教团契和他的福音歌曲之后，迪伦在接受BBC纪录片《走近迪伦》(Getting to Dylan)采访时表达了他对生活和事业的不满和疏远。随后，迪伦在加州圣拉斐尔与感恩而死乐队排练时经历了一次改变人生的经历。当迪伦对他们的方向感到沮丧时，他在一家酒吧停了下来，在那里他听到了现场爵士乐的演奏。麦卡伦在《过渡事件编年史》中引用了几次采访和迪伦的描述，恢复了他的活力和目标，进一步确立了他命运剧本的模式。这位主唱让迪伦想起了年轻时听过的乐队指挥比利·埃克斯廷(Billy Eckstine)，以一种深刻的、超凡脱俗的方式打动了迪伦。麦卡伦解释说:“被这位老爵士歌手的榜样唤醒，他回到了亡者乐队的排练厅，准备把他学到的东西立即付诸实践”(116)。迪伦对自己和命运的重新认识使他成功地继续了与汤姆佩蒂的预定巡演。第五章和第六章将麦卡伦的观点置于背景中，解释了当迪伦在他的生活和事业中感到死亡、死亡和毁灭的威胁时，心理传记如何展示了救赎剧本的流动性，这是他在原子时代童年的焦虑所造成的。麦卡伦认为，在每一个这样的时刻，迪伦都遵循着同样的剧本，回到他成长时期所听的音乐中，作为他救赎和命运剧本的来源。因此，尽管剧本是流畅的，但它创造了一个清晰的模式，让观察者能够预测迪伦将如何应对这些焦虑。最后，《光来闪耀:鲍勃·迪伦的转变》为迪伦的生活、事业和传记增添了有趣的视角。它提供了对他生活中一些关键事件的新见解，以及他对这些事件的反应的连续性。麦卡伦的文本内容全面，研究充分，但易于理解，使其成为任何迪伦学家图书馆的宝贵补充。
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