Ryan Shaffer. Music, Youth and International Links in Post-War British Fascism: The Transformation of Extremism. Palgrave Studies in the History of Subcultures and Popular Music. New York: Palgrave Macmillan, 2017. Pp. 351. $109.00 (cloth).

2020 ◽  
Vol 59 (1) ◽  
pp. 217-218
Author(s):  
Stephen Dorril
Keyword(s):  
New York ◽  
Popular Music ◽  
History Of ◽  
Post War

scholarly journals A Review of Taylor Mac's 24-Decade History of Popular Music Marathon

1969 ◽  
Vol 1 (2) ◽  
Author(s):  
Sean F. Edgecomb
Keyword(s):  
New York ◽  
Popular Music ◽  
Critical Review ◽  
Audience Participation ◽  
History Of

This review considers Taylor Mac's 24-Decade History of Popular Music Marathon which took place at St. Ann's Warehouse in Brooklyn, New York from October 8 to October 9, 2016. Using Jacques Derrida's theory of "l'avenir," best translated as the "unexpected visitor" I analyze a variety of the components found in the performance including, queer dramaturgy, song selection, choreography, audience participation and costumes. My critical review examines the concert which pulled liberally from the American songbook, using popular music from 1776 to 2016 in an attempt to collectively exorcise the specters of the patriarchy and exonerate the oppressed in what Mac deemed a “radical faerie ritual.”

Losing the local: Sydney and the Oz Rock tradition

Popular Music ◽  
2000 ◽  
Vol 19 (1) ◽  
pp. 31-49 ◽  
Author(s):  
Shane Homan
Keyword(s):  
New York ◽  
Popular Music ◽  
Music Performance ◽  
Detailed Examination ◽  
Rock And Roll ◽  
Urban Landscapes ◽  
Live Music ◽  
History Of ◽  
Insight Into

In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recent studies have focused upon the places and spaces of popular music performance. In particular, analyses of British live music contexts have examined the role of urban landscapes in facilitating production/consumption environments. Building upon Simon Frith's (1983) initial exploration of the synthesis of leisure/work ideologies and popular music, Ruth Finnegan's detailed examination of amateur music practices in Milton Keynes (1989) and Sara Cohen's account of the Liverpool scene (1991) reveal the benefits of engaging in detailed micro-studies of the local. Paul Chevigny's history of the governance of New York City jazz venues (1991) similarly provides a rich insight into performance contexts and the importance of hitherto unnoticed city ordinances in influencing the production of live music.

scholarly journals 2·5×6 metres of space: Japanese music coffeehouses and experimental practices of listening

Popular Music ◽  
2007 ◽  
Vol 27 (1) ◽  
pp. 15-34 ◽  
Author(s):  
DAVID NOVAK
Keyword(s):  
Popular Music ◽  
Experimental Music ◽  
Musical Style ◽  
Technological Mediation ◽  
Local Practices ◽  
History Of ◽  
Cultural Marginality ◽  
Post War ◽  
Ethnographic History

AbstractThis article describes a specific history of technological mediation in the circulation of popular music by examining local practices of listening to recordings in Japanese kissaten (often shortened to kissa and meaning, loosely, ‘coffeehouse’). In postwar music kissaten, Japanese listeners were socialised to recordings of foreign music through new modes of hyper-attentive listening. While jazz kissa (though famous as crucibles for radical pro-democracy politics and the explosion of modern urban cool in post-war Japanese cities) encouraged local listeners to develop musical appreciation through the stylistic classification of distant recorded sources, later experimental music kissa helped forge unique local performance scenes by disturbing received modes of generic classification in favour of ‘Noise’. I recount the emergence of a genre called ‘Noise’ in the story of a 1970s Kyoto ‘free’ kissa Drugstore, whose countercultural clientele came to represent ‘Noise’ as a new musical style in its transnational circulation during the 1990s. This ethnographic history presents the music kissa as a complicated translocal site that articulates the cultural marginality of Japanese popular music reception in an uneven global production; but which also helps to develop virtuosic experimental practices of listening through which imported recordings are recontextualised, renamed and recreated.

scholarly journals The Landscape of Sound in the Nineteenth and Twentieth Centuries

2004 ◽  
Vol 13 (4) ◽  
pp. 493-504 ◽  
Author(s):  
LUDOVIC TOURNÈS
Keyword(s):  
New York ◽  
Los Angeles ◽  
Popular Music ◽  
Classical Music ◽  
Interdisciplinary Approach ◽  
Cultural Analysis ◽  
Collective Identities ◽  
Avant Garde ◽  
French Music ◽  
History Of

Alain Corbin, Les cloches de la terre. Paysage sonore et culture sensible dans les campagnes au XIXe siècle (Paris: Flammarion, 1994), 359 pp., €8.69 (pb), ISBN 2080814532.Glenn Watkins, Proof through the Night. Music and the Great War (Berkeley, Los Angeles and London: University of California Press, 2003), 598 pp., $49.95 (hb), ISBN 0520231589.Jeffrey Jackson, Making Jazz French. Music and Modern Life in Interwar Paris (Durham, NC, and London: Duke University Press, 2003), 266 pp., $21.95 (pb), ISBN 0822331373.Bernard Gendron, Between Montmartre and the Mudd Club. Popular Music and the Avant-Garde (Chicago and London: University of Chicago Press, 2003), 388 pp., $55.00 (hb), ISBN 0226287351.David Looseley, Popular Music in Contemporary France (Oxford and New York: Berg, 2003), 254 pp., $25.00 (pb), ISBN 1859736319.Though undoubtedly thriving, the history of music is still a somewhat peripheral area of research which many historians dismiss as secondary. For many years publication in the subject remained the domain of two kinds of researchers, either musicologists – ‘insiders’ au fait with the technical vocabulary – or sociologists and practitioners of ‘cultural studies’ – ‘outsiders’ chiefly interested in the reception of musical phenomena and their role in the constitution of individual and collective identities. This division has become very blurred over the last few years, which have seen the emergence of a number of works with an interdisciplinary approach. But for most historians the history of music remains a largely unfamiliar theme which they struggle to include in any global social or cultural analysis. This struggle is apparent at two levels: first, the difficulty of developing guidelines to the historicity of musical events and, second, the difficulty of escaping the chronology of classical music, which is predicated on a succession of styles and composers. Based on these two points, this article will attempt to develop, through a transverse reading of certain recent works, some working hypotheses centring on the notion of a ‘landscape of sound’ or paysage sonore, as proposed some ten years ago by Alain Corbin, a notion which, it seems to me, may make a valuable contribution to rejuvenating the history of music.

scholarly journals Ludzie wobec wyzwań epoki: anglistyka w Uniwersytecie Jagiellońskim w latach 1945–1952 – zarys problematyki

2018 ◽  
Vol 17 ◽  
pp. 151-174
Author(s):  
Tomasz Pudłocki ◽  
Keyword(s):  
New York ◽  
Teaching Staff ◽  
English Department ◽  
English Studies ◽  
History Of ◽  
Funding Support ◽  
Post War ◽  
The University

This article provides a brief history of the English Department at the Jagiellonian University from 1945 to 1952. It presents the members of the staff and discusses their background and responsibilities as well as problems they faced in the new post-war reality. After the death of Prof. Roman Dyboski, the founder and first Head of the Department, and the arrest of his successor, Prof. Władysław Tarnawski, formerly affiliated with the University of Lvov, the staff were mainly of junior academic ranks, with no involvement in any serious research. Despite that and despite a perennial shortage of space and problems with logistics, the number of students enrolling in the English studies programme would increase each year making the Department grow in size and scope. Thanks to the help of the New York Kosciuszko Foundation, the Department received a collection of several thousands of books, a few young American grantees of the Foundation joined the teaching staff, and some of the outstanding academics and students (e.g. Przemysław Mroczkowski and Alfred Reszkiewicz) obtained funding support to study or conduct research abroad. For ideological reasons, however, Poland’s authorities closed the programme, which ultimately led to the closure of the Department in 1952.

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