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Listen, whitey!: The sights and sounds of Black power, 1965-1975. Seattle, Wash: Fantagraphics, 2012.
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Love, Nancy S. Trendy Fascism: White Power Music and the Future of Democracy. State University of New York Press, 2017.
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Reichsrock : the international web of white-power and Neo-Nazi hate music. Rutgers University Press, 2017.
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Reichsrock: The International Web of White-Power and Neo-Nazi Hate Music. Rutgers University Press, 2016.
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Publishers, Vintage. Notebook Hippie Peace Love White: Dot Dotted Grid Funny Diary Journal 60er 70er Lover School Gift for Men & Women Woodstock Rock'n'roll Music Festival Flower Power Positive Vibes Retro Vintage. Independently Published, 2019.
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Lines, David. “While My Guitar Gently Weeps”. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.22.
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The popularity of guitar has ensured that it has become a significant aspect of music in leisure. This chapter explores and reflects on the author’s personal leisure guitar experiences through six autoethnographic meditations. Themes from the meditations include tacit experiences, closeness, community, curiosity, and ethical dimensions associated with leisure guitar culture. These themes suggest an embodied view of music and a social connectedness with a living music culture. Using a Foucaultian lens, these themes are critically positioned alongside the experience of the neoliberal, schooled musical subject, who encounters expressions of power and subjectification in narrow, limiting terms. The chapter concludes by suggesting that the reflective process of autoethnography, an awareness and sensitivity of the body, and explorations of emergent subject positions are critical for a reconstituted music education and that leisure and music education can be envisaged together as synchronic forms of musical action.
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Good booty: Love and sex, black & white, body and soul in American music / Ann Powers. 2017.
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Cohen, Mary L., and Jennie Henley. Music-Making Behind Bars. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.11.
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Approaches to incarceration and community music vary widely. This chapter examines music-making in US and UK prison contexts, suggesting new insights into the values, applications, and meanings of community music. Contrasting approaches towards imprisonment exist not only across the globe, but also within particular countries. In the United States, a wide range of practices within the contexts of imprisonment occur, such as differences in incarceration rates between whites and people of color, sentence lengths, use of capital punishment, voting rights, and quality of legal representation. Inmates’ opportunities for self-expression are restricted. Research and practice in music-making in prisons suggest that community music approaches within prisons provide a means towards desistance, improved self-esteem, social support and a sense of accomplishment. Music-making within the complex power dynamics of prison contexts emphasizes the importance of the welcome and hospitality within our understanding of community music.
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Bonini Baraldi, Filippo. Roma Music and Emotion. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190096786.001.0001.
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By combining long-term field research with hypotheses from the cognitive sciences, this book proposes a groundbreaking anthropological theory on the emotional power of music. It hig hlights a human tendency to engage in empathic relations through and with the musical artifacts, veritable “sonic agents” for which we can feel pity, compassion, or sympathy. The theory originates from a detailed ethnography of the musical life of a small Roma community of Transylvania (Romania), where Filippo Bonini Baraldi lived several years, seeking an answer to intriguing questions such as: Why do the Roma cry while playing music? What lies behind their ability to move their customers? What happens when instrumental music and wailing voices come together at funerals? Through the analysis of numerous weddings, funeral wakes, community celebrations, and intimate family gatherings, the author shows that music and weeping go hand in hand, revealing fundamental tensions between unity and division, life and death, the self and others—tensions that the Roma enhance, overemphasize, and perceive as central to their identity. In addition to improving our understanding of a community still shrouded in stereotypes, this book is an important contribution for research on musical emotion, which thus far has focused almost exclusively on western classical music.
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Condry, Ian. Japanese Rappers, 9/11, and Soft Power. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040832.003.0025.
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This essay focuses on Japanese rappers but also explores arguably anti-American sentiments in popular culture otherwise seen as American. Condry is interested in the way Japanese rappers can be very provocative while simultaneously not being easily categorized as either “pro-Japanese” or “anti-American.” Instead he finds that they struggle to define an ethical politics across national boundaries. This essay exemplifies the ways that popular culture can be a vehicle for soft power, but makes a point of showing that it would be a mistake to view the spread of U.S. popular culture styles in itself as an effective national tool in world politics. Condry includes examples from Japanese rap musicians’ portrayals of 9/11 and the Iraq War. They may love hip-hop music and culture but still view U.S. government policies with skepticism. Provocatively, the essay asks how the analysis of soft power might be transformed if, instead of focusing on how American or Japanese soft power could be heightened, we instead asked how transnational goals of human rights, environmental protection, and fair trade (among others) could be made more “attractive” to the world as a whole.
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Byl, Julia. Music, Convert, and Subject in the North Sumatran Mission Field. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.6.
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This case study on the Toba Batak of Northern Sumatra focuses on a model 19th-century German missionary, whose success in the almost complete conversion of the Toba was predicated on a politics of selective tolerance, in which certain local codes and practices were encouraged, while others were identified for replacement with Christian practices and emblems. Through a discussion of the musical tensions involved in this process of selective exchange, Byl explores the ways in which the first missionaries negotiated identities that encompassed both their benevolent Christian convictions and their roles as effective agents of colonial power. For their part, Toba responses to the politics of missionization have also been complex and shot through with contradictions: as an institution, the church stood as a structure bolstering their defiant confrontation of Muslim Indonesia, while internally its implementation is remembered in terms of colonial policies and alliances.
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McPherson, Gary E., and Graham F. Welch, eds. The Oxford Handbook of Music Education, Volume 1. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199730810.001.0001.
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Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.
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Volmar, Axel. Experiencing High Fidelity. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.19.
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This chapter focuses on the shifting conceptions of how to listen to music in the age of sound recording. I start with reviewing Adorno’s concerns regarding a regression of listening and contrast these with new listening practices in the first half of the twentieth century. I show, then, how hi-fi enthusiasts in the Cold War era linked ideals of sophisticated music listening to recorded music and technical expertise. While the self-image of the cultivated yet technologically aware domestic listener greatly revalued the experience of skillful music listening, I show how societal change rendered normative ideals of listening increasingly unattractive late in the century. Relying on recent sound studies research and various historical sources, I offer a critical discussion of conceptions of skillful music listening and put this debate in the context of shifting self-conceptions among the middle classes as well as the power struggles this section of society faced.
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Power, Timothy. Musical Persuasion in Early Greece. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780195386844.003.0008.
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This chapter on archaic and classical Greek music finds the political dimensions of musical expression to be paramount. Music, according to Power, presents a synesthetic form of communication—verse, instruments, often dance and, in Athenian drama, prose dialogue—of unrivalled modal complexity that reinforced the popular impact of this art form. Solon and other politicians used music, while Pindar and other poets introduced political motifs into performances of their works. In Power’s view, the generally accepted notion that early Greece was a “song culture”—differing in this respect from ancient Mesopotamia with its scribal culture, or from imperial Rome with its predilection for monuments and public spaces—should not lead to overemphasizing private life and personal communication as opposed to the political forms of expression developed by Solon, Pindar, and others.
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Gough, Peter, and Peggy Seeger. “Spit, Baling Wire, Mirrors” and the WPA. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039041.003.0005.
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This chapter focuses on the Musical Projects in Colorado, Utah, Oregon and Washington. The intermountain states of Colorado and Utah and the Pacific northwestern states of Oregon and Washington all maintained Federal Music Project (FMP) programs. These FMP programs strove, to varying degrees, to integrate indigenous themes and folksong into their musical repertoire. While none experienced the confrontations with the federal or regional administrations that Arizona or New Mexico did, or the unceasing internal squabbling of California, all demonstrated a desire for agency and autonomy in their musical productions. These programs also reflected the regional and musical complexion of their individual states. Indeed, the goals of the individual programs and the resultant power plays between local, state, and national administrations—as well as the subsequent compromises and adjustments—determined the direction of Federal Music in each of these projects.
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Walker, Elsie. Hearing Haneke. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.001.0001.
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Haneke’s films are sonically charged experiences of disturbance, desperation, grief, and many forms of violence. They are unsoftened by music, punctuated by accosting noises, shaped by painful silences, and defined by aggressive dialogue. Haneke is among the most celebrated of living auteurs: he is two-time receipt of the Palme d’Or at Cannes Film Festival (for The White Ribbon [2009] and Amour [2012]), and Academy Award winner of Best Foreign Language Film (for Amour), among numerous other awards. The radical confrontationality of his cinema makes him a most controversial, as well as revered, subject. Hearing Haneke is the first book-length study of the sound tracks that define his living legacy as an aural auteur. Hearing Haneke provides close sonic analyses of The Seventh Continent, Funny Games Code Unknown, The Piano Teacher, Caché, The White Ribbon, and Amour. The book includes several sustained theoretical approaches to film sound: including postcolonialism, feminism, genre studies, psychoanalysis, adaptation studies, and auteur theory. From these various theoretical angles, Hearing Haneke shows that the director consistently uses all aural elements (sound effects, dialogue, silences, and music) to inspire our humane understanding. He expresses faith in us to hear the pain of his characters’ worlds most actively, and hence our own more clearly. This has profound social and personal significance: for if we can hear everything better, this entails a new awareness of the “noise” we make in the world at large. Hearing Haneke will resonate for anyone interested in the power of art to inspire progressive change.
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Domínguez, Virginia R., and Jane C. Desmond, eds. Kristin Solli on Ian Condry. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040832.003.0027.
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This essay is a response to Ian Condry’s contribution in this book, Global Perspectives on the United States. Solli appreciates Condry’s analysis and ideas about music, location, and power but also extends them by discussing an example that, like Condry’s case, suggests the intricacies and paradoxes that follow in the wake of the global dissemination of U.S. popular culture. More specifically, Solli here examines jazz, a genre that has received considerable attention by scholars interested in the local/global dynamic that Condry addresses. While acknowledging that hip-hop in Japan and jazz in Norway have their important differences, Solli considers some similarities as well, especially the dynamic whereby the music gains meaning from being positioned in relation to a perceived U.S. center. Solli notes that both academic and popular discourses tend to focus on how U.S. cultural products and practices are changed and reworked by people in other places, and she asks if this move might risk recentering the U.S. even if the goal is the opposite. In the end, this essay argues that it is important to show how hip-hop in Japan, jazz in Norway, or country music in Brazil, for example, complicate simplistic models of U.S. cultural imperialism. Has the time now come to examine what is and is not localized?
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Thompson, Katrina Dyonne. Backstage. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038259.003.0005.
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This chapter examines how the practice of forcing slaves to perform continued offstage. It looks at the backstage to expose the private world of bondsmen and bondswomen. Through an analysis of slave narratives and autobiographies, it shows how slaves used the performing arts to gain agency and autonomy, create family and community bonds, and preserve homeland cultures while their own unique traditions emerged. It discusses the ways in which music and dance as well as song contributed to the development of a dual world that blacks continually straddled, one side representing entertainment and subjugation and the other symbolizing resistance and an emerging culture. The chapter reveals how blacks manipulated the negativity of the performing arts and transformed their backstage performances into an expression of power.
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Ossei-Owusu, Shaun. Barack Obama’s Anomalous Relationship with the Hip-Hop Community. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036453.003.0014.
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This chapter examines the hip-hop community's relationship with Obama. The hip-hop community was generally supportive of Obama as the first prospective black president and an imagined emblem of hope and change, while Obama acknowledged the phenomenal power of hip-hop and admitted that he is a fan of distinguished contemporary artists in the genre. Adversely, hip-hop is highly skeptical and critical of government, and Obama has voiced disdain for the negative content and misogynist messages in hip-hop music. Now that Obama is elected, how will this anomalous relationship impact the collective posture of the hip-hop community? How will he communicate and approach the hip-hop community? Will the presence of Obama and his positive messages make the typical outlier of drug dealer passé and make it cool to be informed, articulate, and befittingly ambitious?
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Shelley, Braxton D. Healing for the Soul. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566466.001.0001.
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Between the first and last words of a Black gospel song, musical sound acquires spiritual power. During this unfolding, a variety of techniques facilitate musical and physical transformation. The most important of these is a repetitive musical cycle known by names including the run, the drive, the special, and the vamp. Through its combination of reiteration and intensification, the vamp turns song lyrics into something more potent. While many musical traditions use vamps to fill space, or occupy time in preparation for another, more important event, in gospel, vamps are the main event. Why is the vamp so central to the Black gospel tradition? What work—musical, cultural, and spiritual—does the gospel vamp do? And what does the vamp reveal about the transformative power of Black gospel more broadly? This book explores the vamp’s essential place in Black gospel song, arguing that these climactic musical cycles turn worship services into transcendent events. In the following pages, the words and music of Richard Smallwood, a paradigmatic contemporary gospel composer, anchor the book’s investigation of the convergence of sound and belief in the Gospel Imagination. Smallwood’s expansive oeuvre is especially illustrative of the eclecticism and homiletic intention that characterize gospel music. Along the way, this study brings Smallwood’s songs and the ideas that frame them into conversation with many of the tradition’s exemplars: Edwin and Walter Hawkins, Twinkie Clark, Kurt Carr, Margaret Douroux, V. Michael McKay, and Judith McAllister, among others. Focusing on choral forms of gospel song, this book shows how the gospel vamp organizes expressive activity around a moment of transcendence, an instant when the song shifts to a heightened space of musical activity. This sonic escalation fuels traffic between the seen world and another, bringing believers into contact with a host of scenes from scripture, and with the divine, too.
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Lehman, Frank. Harmonious Interactions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190606398.003.0007.
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This chapter draws together theoretical and methodological threads from the rest of the book while proposing a broader analytical model, in which various tonal styles—not only pantriadicism—interact. This model is based on a conception of triadic tonality space in which three paradigmatic axes (diatonicity, centricity, and functionality) create numerous distinct and modifiable tonal styles. These distinct styles are shown to harbor persistent associations in mainstream film music. It is argued that wondrous harmony often involves motion through triadic tonality space. A cinematically well-established example of this is the chromatically modulating cadence (CMC); the role of cadences in general for organizing film time is emphasized. The dialectic between tonal idioms has been mined for its connotative power by composers wishing to portray the various wondrous affects, and a variety of examples drawn from films that dramatize the “beatific sublime” are investigated, concluding with Alfred Newman’s The Song of Bernadette.
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Obrecht, Jas. Stone Free. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647067.001.0001.
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A compelling portrait of rock's greatest guitarist at the moment of his ascendance, Stone Free is the first book to focus exclusively on the happiest and most productive period of Jimi Hendrix's life. As it begins in the fall of 1966, he's an under-sung, under-accomplished sideman struggling to survive in New York City. Nine months later, he's the toast of Swinging London, a fashion icon, and the brightest star to step off the stage at the Monterey International Pop Festival. This momentum-building, day-by-day account of this extraordinary transformation offers new details into Jimi's personality, relationships, songwriting, guitar innovations, studio sessions, and record releases. It explores the social changes sweeping the U.K., Hendrix's role in the dawning of "flower power," and the prejudice he faced while fronting the Jimi Hendrix Experience. In addition to featuring the voices of Jimi, his bandmates, and other eyewitnesses, Stone Free draws extensively from contemporary accounts published in English- and foreign-language newspapers and music magazines. This celebratory account is a must-read for Hendrix fans.
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Fulcher, Jane F. Renegotiating French Identity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190681500.001.0001.
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In light of the recent historiography of Vichy, which stresses its initial political concession, competing factions, and then escalating collaboration with the occupant, this book proposes new questions concerning the shifting nature of French cultural as well as political identity. As the occupation advanced, how did those responsible for cultural policies attempt to adapt their conceptions of French values to accord with the agenda of collaboration in all professional fields? How was French cultural identity and its relation to German culture gradually reconceived by both the occupant and by Vichy as the former played an increasingly interventionist role in music, a symbolic stake in the national self-image of both regimes? Employing the theoretical insights of Gramsci and Bourdieu into hegemony and how it is achieved and combated, this book examines the ways in which musical works were fostered or appropriated and transmitted—physically inscribed, framed, and presented during different phases of the regime as specific groups assumed power. As this study concomitantly demonstrates, we find not only accommodation but also resistance among those artists involved with Vichy’s institutions, and especially in music, where new cultural practices, strategies, and modes of communication emerged as musicians confronted the increasing loss of autonomy in their field. They were forced to assume a position along the spectrum from compliance to resistance on the basis of their perceptions, experience, and subjectivity. Some sought to maintain integrity and avoid appropriation while remaining visible, continuing subtly to innovate and incorporate alternative cultural representations proposed by the Resistance.
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Palmer, Landon. Rock Star/Movie Star. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.001.0001.
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When midcentury Hollywood found itself struggling to compete within an expanding entertainment media landscape, certain producers and studios saw an opportunity in making films that showcased performances by rock ’n’ roll stars. Such stars eventually found cinema to be a useful space to extend their creative practices, and the motion picture and recording industries increasingly saw cinematic rock stardom as a profitable means to connect multiple media properties. This book examines how casting rock stars for film provided a tool for bridging new relationships across media industries and practices. Rock Star/Movie Star offers a new perspective on the role of stardom within the convergence of media industries. While hardly the first popular music culture to see its stars making the transition to screen, the timing of rock’s emergence and its staying power within popular culture proved fortuitous for a motion picture business searching for its place in the face of continuous technological and cultural change. At the same time, a post-star-system film industry provided a welcoming context for rock stars who have valued authenticity, creative autonomy, and personal expression. Examining stars from Elvis Presley to Madonna, this book uses illuminating archival resources to demonstrate how rock stars have often proven themselves to be prominent film workers exploring this terrain of platforms old and new—ideal media laborers whose power lies in the fact that they are rarely recognized as such.
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De Lucca, Valeria. The Politics of Princely Entertainment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.001.0001.
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The Politics of Princely Entertainment explores transformations in the politics of entertainment of the Italian aristocratic classes during the second half of the seventeenth century, a time when profound social and cultural shifts influenced the production and consumption of music. The emergence of commercial theaters in the 1630s in Venice and the great appeal that opera began to have for a large and international audience required the aristocracy to take on a new role within the complex network of agents responsible for the production not only of opera but of music in general. The increasing competition between commercial opera theaters, ruling courts, aristocratic families, and religious institutions, and the consequent professionalization of roles that previously had relied solely on patronage meant that singers, poets, and composers acquired unprecedented negotiating power. These questions are explored following the journeys and ventures of two of the most prominent patrons in seventeenth-century Italy, Prince Lorenzo Onofrio Colonna and his wife Maria Mancini. During the thirty years under examination here, 1659–1689, the Colonna were the most influential and active agents in Roman musical life: they sponsored an unprecedented number of operas, serenatas, oratorios, public ceremonies, and carnival parades while supporting the careers of the most prominent composers, librettists, musicians, and singers of the time. Following the Prince and his wife through their travels to Venice, Spain (as Viceroys of the Kingdom of Aragon), and later Naples, this book traces the journeys not only of scores and librettos, but also of the singers, composers, and librettists whose art reached these faraway corners of Europe, serving diverse social and political purposes.
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Ndaliko, Chérie Rivers, and Samuel Anderson, eds. The Art of Emergency. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692322.001.0001.
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Across Africa, artists increasingly turn to NGO sponsorship in pursuit of greater influence and funding, while simultaneously NGOs—both international and local—commission arts projects to buttress their interventions and achieve greater reach and marketability. As a result, the key values of artistic expression become “healing” and “sensitization” measured in turn by “impact” and “effectiveness.” Such rubrics obscure the aesthetic complexities of the artworks and the power dynamics that inform their production. Clashes arise as foreign NGOs import foreign aesthetic models and preconceptions about their efficacy, alongside foreign interpretations of politics, medicine, psychology, trauma, memorialization, and so on. Meanwhile, each community embraces its own aesthetic precedents, often at odds with the intentions of humanitarian agencies. The arts are a sphere in which different worldviews enter into conflict and conversation. To tackle the consequences of aid agency arts deployment, the volume assembles ten case studies from across the African continent employing multiple media including music, sculpture, photography, drama, storytelling, ritual, and protest marches. Organized under three widespread yet underanalyzed objectives for arts in emergency—demonstration, distribution, and remediation—each case offers a different disciplinary and methodological perspective on a common complication in NGO-sponsored creativity. The Art of Emergency shifts the discourse on arts activism away from fixations on message and toward diverse investigations of aesthetics and power negotiations. In doing so, this volume brings into focus the conscious and unconscious configurations of humanitarian activism, the social lives it attempts to engage, and the often fraught interactions between the two.
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Giles, Paul. The Planetary Clock. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198857723.001.0001.
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The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into dialogue with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall) and cinema (Rohmer, Haneke, Tarantino), The Planetary Clock enlarges our understanding of global postmodernism for the twenty-first century.
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Pobutsky, Aldona Bialowas. Pablo Escobar and Colombian Narcoculture. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401513.001.0001.
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In the years since his death in 1993, Colombian drug lord Pablo Escobar has become a globally recognized symbol of crime, wealth, power, and masculinity. In this long-overdue exploration of Escobar’s impact on popular culture, Aldona Bialowas Pobutsky shows how his legacy inspired the development of narcoculture—television, music, literature, and fashion representing the drug-trafficking lifestyle—in Colombia and around the world. Pobutsky looks at the ways the “Escobar brand” surfaces in bars, restaurants, and clothing lines; in Colombia’s tourist industry; and in telenovelas, documentaries, and narco memoirs about his life, which in turn have generated popular interest in other drug traffickers such as Griselda Blanco and Miami’s “cocaine cowboys.” Pobutsky illustrates how the Colombian state strives to erase his memory while Escobar’s notoriety only continues to increase in popular culture through the transnational media. She argues that the image of Escobar is inextricably linked to Colombia’s internal tensions in the areas of cocaine politics, gender relations, class divisions, and political corruption and that his “brand” perpetuates the country’s reputation as a center of organized crime, to the dismay of the Colombian people. This book is a fascinating study of how the world perceives Colombia and how Colombia’s citizens understand their nation’s past and present.
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Seeman, Sonia Tamar. Sounding Roman. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199949243.001.0001.
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Sounding Roman traces the role of music performance in maintaining, shaping, and challenging ascribed social identities of Roman (“Gypsy”) groups, who constitute one of the most socially reviled and yet culturally romanticized minorities in Turkey. Roman communities have been a ubiquitous presence, contributing to social, cultural, and economic life since the Byzantine period in Anatolia up to the present. Alternately exoticized and reviled, Roman communities were valued for their occupational skills and entertainment services. Based on detailed historiographic study and twenty years of ethnographic work, this book examines the issue of cultural and musical representations for creating, maintaining, and contesting social identity practices through philosophical reflections on meaningful symbolic configurations in metaphoricity, iconicity, and mimesis paired with a sociological interrogation of unequal power relationships. Through these lenses, the book investigates the potential of musical performance to configure new social identities and open pathways for political action, while exploring the limits of cultural representation to effect meaningful social change. The book begins with historical representations of çingene as a marked ethnic and social group during the Byzantine to late Ottoman Empire. It then traces how such constructions were revised during the period of the modern Turkish Republic through the creation of a commercial musical genre, the Roman dance tune (Roman oyun havası). The book includes a companion website with illustrative texts, images, and audio examples.
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Bowman, Paul. The Invention of Martial Arts. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197540336.001.0001.
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The Invention of Martial Arts examines the media history of what we now call ‘martial arts’ and argues that martial arts is a cultural construction that was born in film, TV, and other media. It argues that ‘martial arts’ exploded into popular consciousness entirely thanks to the work of media. Of course, the book does not deny the existence of real, material histories and non-media dimensions in martial arts practices. But it thoroughly recasts the status of such histories, combining recent myth-busting findings in historical martial arts research with important insights into the discontinuous character of history, the widespread ‘invention of tradition’, the orientalism and imagined geographies that animate many ideas about history, and the frequent manipulation of history for reasons of status, cultural capital, private or public power, politics, and/or financial gain. In doing so, the book argues for the primacy of media representation as key player in the emergence and spread of martial arts, and overturns the dominant belief that ‘real practices’ are primary while representations are secondary. The book makes its case via historical analysis of the British media history of such Eastern and Western martial arts as Bartitsu, jujutsu, judo, karate, taiji, and mixed martial arts (MMA) across a range of media, from newspapers, comics, and books to cartoons, films, and TV series, as well as television adverts and music videos, focusing on often overlooked texts such as adverts for ‘Hai Karate’, the 1970s hit ‘Kung Fu Fighting’, and other mainstream and marginal media texts.
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Dirksen, Rebecca. After the Dance, the Drums Are Heavy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.001.0001.
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Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation’s highest office while methodically crafting a political product inherently entangled with his musical product. It provides deep historical perspective on the characteristics of carnivalesque verbal play—and the performative skill set of the artist (Sweet Micky) who dominated carnival for more than a decade—including vulgarities and polemics. It moreover demonstrates that the practice of leveraging the carnivalesque for expedient political function has precedence in Haiti’s history. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Jòj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public’s discussions of what civic participation and citizenship in Haiti can and should be. Author Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm.
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Booker, Vaughn A. Lift Every Voice and Swing. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479892327.001.0001.
Full textAbstract:
In the twentieth century, jazz professionals became race representatives who also played an important part in shaping the religious landscape of twentieth-century African American Protestantism. They wielded the power to both define their religious communities and craft novel religious voices and performances. These music celebrities released religious recordings and put on religious concerts, and they became integral to the artistry of African American religious expression. This book argues that with the emergence of new representatives in jazz, religious authority for African Americans found a place and spokespeople in popular culture beyond traditional Afro-Protestant institutions and religious life. It examines jazz musicians’ expressions of belief, practice, and unconventional positions of religious authority. It demonstrates that these jazz professionals enacted theological beliefs and religious practices that echoed, contested with, and diverged from the predominant African American religious culture. The lives and work of Cab Calloway, Duke Ellington, Ella Fitzgerald, and Mary Lou Williams anchor this book’s narrative of racial and religious representations as well as of religious beliefs and practices in the middle decades of the twentieth century. Through these African American jazz women and men, this book illuminates the significant Afro-Protestant cultural presence that informed, surrounded, and opposed their professional and personal lives while also contributing significantly to their artistry. This book’s focus on jazz musicians offers a novel rethinking of African American religious history by bringing the significant artistic dimensions of Afro-Protestant religion into focus as it impacted black popular culture in the twentieth century.
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McEachern, Patrick. North Korea. Oxford University Press, 2019. http://dx.doi.org/10.1093/wentk/9780190937997.001.0001.
Full textAbstract:
After a year of trading colorful barbs with the American president and significant achievements in North Korea’s decades-long nuclear and missile development programs, North Korean leader Kim Jong Un declared mission accomplished in November 2017. Though Kim's pronouncement appears premature, North Korea is on the verge of being able to strike the United States with nuclear weapons. South Korea has long been in the North Korean crosshairs but worries whether the United States would defend it if North Korea holds the American homeland at risk. The largely ceremonial summit between US president Donald Trump and Kim Jong Un, and the unpredictability of both parties, has not quelled these concerns and leaves more questions than answers for the two sides' negotiators to work out. The Korean Peninsula’s security situation is an intractable conflict, raising the question, “How did we get here?” In this book, former North Korea lead foreign service officer at the US embassy in Seoul Patrick McEachern unpacks the contentious and tangled relationship between the Koreas in an approachable question-and-answer format. While North Korea is famous for its militarism and nuclear program, South Korea is best known for its economic miracle, familiar to consumers as the producer of Samsung smartphones, Hyundai cars, and even K-pop music and K-beauty. Why have the two Koreas developed politically and economically in such radically different ways? What are the origins of a divided Korean Peninsula? Who rules the two Koreas? How have three generations of the authoritarian Kim dictatorship shaped North Korea? What is the history of North-South relations? Why does the North Korean government develop nuclear weapons? How do powers such as Japan, China, and Russia fit into the mix? What is it like to live in North and South Korea? This book tackles these broad topics and many more to explain what everyone needs to know about South and North Korea.