Rock and Roll

2016 ◽  
Author(s):  
Eric Weisbard
Keyword(s):  
Cultural History ◽  
Hip Hop ◽  
American Music ◽  
Rock And Roll ◽  
Cultural Ideals ◽  
Heterogeneous Rock ◽  
Group Identities ◽  
Cultural Incorporation ◽  
And Behavior ◽  
Social Empowerment

Rock and roll, a popular music craze of the mid-1950s, turned a loud, fast, and sexy set of sounds rooted in urban, black, working class, and southern America into the pop preference as well of suburban, white, young, and northern America. By the late 1960s, those fans and British counterparts made their own version, more politicized and experimental and just called rock—the summoning sound of the counterculture. Rock’s aura soon faded: it became as much entertainment staple as dissident form, with subcategories disparate as singer-songwriter, heavy metal, alternative, and “classic rock.” Where rock and roll was integrated and heterogeneous, rock was largely white and homogeneous, policing its borders. Notoriously, rock fans detonated disco records in 1979. By the 1990s, rock and roll style was hip-hop, with its youth appeal and rebelliousness; post‒baby boomer bands gave rock some last vanguard status; and suburbanites found classic rock in New Country. This century’s notions of rock and roll have blended thoroughly, from genre “mash-ups” to superstar performers almost categories unto themselves and new sounds such as EDM beats. Still, crossover moments evoke rock and roll; assertions of authenticity evoke rock. Because rock and roll, and rock, epitomize cultural ideals and group identities, their definitions have been constantly debated. Initial argument focused on challenging genteel, professional notions of musicianship and behavior. Later discourse took up cultural incorporation and social empowerment, with issues of gender and commercialism as prominent as race and artistry. Rock and roll promised one kind of revolution to the post-1945 United States; rock another. The resulting hope and confusion has never been fully sorted, with mixed consequences for American music and cultural history.

Religion and Race in American Music

2018 ◽  
Author(s):  
David W. Stowe
Keyword(s):  
Native American ◽  
African Americans ◽  
Gospel Music ◽  
American Music ◽  
Social Boundaries ◽  
Worship Music ◽  
Religious Music ◽  
European Americans ◽  
Musical Adaptations ◽  
Group Identities

Religious music functions both to create group identities and to dissolve social boundaries. Historically, American music has been characterized by racial and religious crossover. While many ethnic groups have participated in constituting American music, the most seminal crossovers have occurred between African and European Americans. Jazz was shaped largely by the interactions of Jews and African Americans. Gospel music developed from the interaction of vernacular slave spirituals, Protestant hymns, and the secular blues. Christian hymns have been thoroughly indigenized by many Native American groups. Compared to Buddhists and Jews, American Hindus and Muslims have made few musical adaptations of their worship music, but their music has been widely sampled in American popular styles. In recent decades, mainline Protestant hymnals have come to reflect the deeply multicultural reality of American sacred song.

How to Deal with Growing Racism and Discrimination against Refugees and Asylum Seekers in Europe?

2017 ◽  
Vol 41 (S1) ◽  
pp. S24-S24 ◽  
Author(s):  
L. Küey
Keyword(s):  
Asylum Seekers ◽  
Armed Conflicts ◽  
The Other ◽  
Psychosocial Characteristics ◽  
Group Identities ◽  
Almost All ◽  
And Behavior ◽  
Attitudes And Behavior ◽  
Refugees And Asylum Seekers ◽  
Health Field

The growing number of refugees and asylum seekers pouring in Europe due to wars and armed conflicts constitute a great challenge for psychiatry and the mental health field. This challenge also includes the growing racism and discrimination against refugees and asylum seekers. Discrimination could be defined as the attitudes and behavior based on the group differences. Any group acknowledged and proclaimed as ‘the other’ by prevailing zeitgeist and dominant social powers, and further dehumanized may become the subject of discrimination. In a spectrum from dislike and micro-aggression to overt violence towards the other, it exists almost in all societies in varying degrees and forms; all forms involving some practices of exclusion and rejection. Hence, almost all the same specific human physical and psychosocial characteristics that constitute the bases for in-group identities and reference systems could also become the foundations of discrimination towards the humans identified as out-groups. Added to this, othering, rising from imagined and generalized differences and used to distinguish groups of people as separate from the norm reinforces and maintains discrimination.

Room for hope: How to deal with growing racism and discrimination?

2016 ◽  
Vol 33 (S1) ◽  
pp. S43-S43
Author(s):  
L. Küey
Keyword(s):  
The Other ◽  
Group Differences ◽  
Psychosocial Characteristics ◽  
Group Identities ◽  
History Of ◽  
The Subject ◽  
Competing Interest ◽  
Almost All ◽  
And Behavior ◽  
Attitudes And Behavior

Discrimination could be defined as the attitudes and behavior based on the group differences. Any group acknowledged and proclaimed as ‘the other’ by prevailing zeitgeist and dominant social powers, and further dehumanized may become the subject of discrimination. Moreover, internalized discrimination perpetuates this process. In a spectrum from dislike and micro-aggression to overt violence towards ‘the other’, it exists almost in all societies in varying degrees and forms; all forms involving some practices of exclusion and rejection. Hence, almost all the same human physical and psychosocial characteristics that constitute the bases for in-group identities and reference systems could also become the foundations of discrimination towards the humans identified as out-groups. Added to this, othering, arising from imagined and generalized differences and used to distinguish groups of people as separate from the norm reinforces and maintains discrimination.Accordingly, discrimination built on race, color, sex, gender, gender identity, nationality and ethnicity, religious beliefs, age, physical and mental disabilities, employment, caste and language have been the focus of a vast variety of anti-discriminatory and inclusive efforts. National acts and international legislative measures and conventions, political and public movements and campaigns, human rights movements, education programs, NGO activities are some examples of such anti-discriminatory and inclusive efforts. All these efforts have significant economic, political and psychosocial components.Albeit the widespread exercise of discrimination, peoples of the world also have a long history of searching, aiming and practicing more inclusive ways of solving conflicts of interests between in-groups and out-groups. This presentation will mainly focus on the psychosocial aspects of the anti-discriminative efforts and search a room for hope and its realistic bases for a more non-violent, egalitarian and peaceful human existence.Disclosure of interestThe author has not supplied his declaration of competing interest.

scholarly journals The History and Continuity of Kuningan Weaving

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Fendi Adiatmono ◽  
Arif Rivai
Keyword(s):  
Cultural History ◽  
Behavior Patterns ◽  
Digital Cameras ◽  
Transmission Method ◽  
The People ◽  
History Of ◽  
The Subject ◽  
The Right ◽  
And Behavior ◽  
Visual History

Human work is influenced by thinking and behavior patterns. Weaving as a result of human culture is no longer something that is considered important. Birth and development have not been comprehensively explored. Kuningan as a weaving region cannot be separated from the problem. Its development stalled during Colonial rule.This research aims to describe the development of weaving as a home industry in terms of cultural history, form of motives and management. This study aims to (1) describe the weaving motif in the Kuningan home industry; and (2) design forms of motifs that are in accordance with the history of Kuningan culture; and (3) suitable management of art applied to the Kuningan area. This research is a qualitative research where the data obtained from observations, interviews, documentation, and participant observations are presented in descriptive form. The instruments in this study were the researchers themselves with guidelines for observation, interviews, and documentation. The tools used in this study are digital cameras and writing equipment. The validity of the data from this paper is obtained by perseverance / regularity of observation and publication of research results. Analysis of the data used in the form of reduction, presentation of data, and conclusion. The results of this study indicate (1) the weaving motifs of home industry production are not in accordance with the development of other textile arts, such as batik. Then the form of the motive produced is the result of interference from outside countries; and (2) Kuningan home industry weaving is not in the right management, as evidenced by the death of the industry in the present.This research uses the theory of visual history and methods of anthropological approaches, forms of aesthetics, and symbols that are relevant to the subject and subject matter of the problem. So, the context that was built to be legitimate, text, oral and visual, both now and past has been used as a reconstruction. The contents of the study and his work aroused community sensitivity in formulating natural and human development constructions. The general objective of this research is the point of awareness, that it creates filters, balance, and makes a counter of global forces that try to make Indonesian society artificial.This research is expected to emit reference needs for public creativity in general. The written phrases are expected to be able to inspire the sensitivity of the people of Indonesia, to further dynamize the transmission method in the construction of the community.

scholarly journals How the Titles of Popular Songs have Changed over the Last 60 Years

2021 ◽  
Vol 5 (4) ◽  
pp. p140
Author(s):  
Cynthia Whissell
Keyword(s):  
Discriminant Function Analysis ◽  
Hip Hop ◽  
Polynomial Regression ◽  
Function Analysis ◽  
Rock And Roll ◽  
Popular Song ◽  
Middle Phase ◽  
Popular Songs ◽  
Medium Length ◽  
Over Time

Billboard magazine has been keeping track of the 100 hottest (most popular) songs of the year since 1958. Lists of the Hot 100 titles from 1960 to 2019 (6001 titles) were used to study the way in which popular song titles changed over time. Based on significant polynomial regression trends and significant results from a discriminant function analysis, it is concluded that there were three main phases in titles (early, middle, and late) and that these phases differ in predictable manners in terms of stylistic features such as length, abstraction, activity, and the use of the word “love”. Early phase titles are longer, more concrete, more passive, and they do not use the word “love” often; middle phase titles are of medium length, more abstract, of medium activation, and use the word “love” frequently. Titles of the last phase are shorter, more concrete, more active, and do not often employ the word love. A possible factor contributing to these differences is the rise in popularity of rock and roll and hip-hop respectively and their different periods of ascendency.

Warriors of Steel: Representations of Machinery and Technology in British Heavy Metal of the 1980s

2021 ◽  
pp. 362-381
Author(s):  
A.S. Kolesnik ◽  
◽  
Keyword(s):  
Heavy Metal ◽  
Science Fiction ◽  
Cultural History ◽  
Large Scale ◽  
New Wave ◽  
Cultural Significance ◽  
History Of ◽  
The Fantastic ◽  
The Uk ◽  
And Behavior

The New Wave of British Heavy Metal is a remarkable phenomenon in British cultural history of the 1980s. Trying to identify themselves and to indicate their reaction to the social and political context in the UK, young musicians turned to the representation of fantastic worlds. The language of the “fantastic” in early British heavy metal was primarily associated with themes of mechanization, heroics, epics, mythology, fantasy and science fiction. The musical form was often emphatically epic and majestic, designed to create an audio picture to the lyrics. Visual representations — large-scale, spectacular, often theatrical live performances — played an important role in the representation of the “fantastic”. The semiotic element consisted of the signs and symbols of heavy metal (mascots, occult themes, mythological creatures, technocratic motives), which were reflected not only in the design of album covers and the metal bands names, but also in the clothes and behavior of musicians and their fans. The paper examines the specifics of the fantastic language of the New Wave of British Heavy Metal bands and, first of all, the representation of technogenic motives: how machines and robots were depicted, what techniques were used to create machine soundscapes, how this topic was played up within live performances, and finally, what cultural significance did references to machines and technology have.

Punk and the White Atlantic

Damaged ◽  
2020 ◽  
pp. 139-170
Author(s):  
Evan Rapport
Keyword(s):  
New York ◽  
Los Angeles ◽  
The United States ◽  
American Music ◽  
Rock And Roll ◽  
The United Kingdom ◽  
Starting Point ◽  
Sex Pistols ◽  
History Of ◽  
Musical Resources

Punk emerged as a fully formed and recognizable style in the mid-1970s in the United Kingdom, primarily in London, and in the United States, primarily in New York and Los Angeles. British punk musicians such as the Damned, the Clash, and the Sex Pistols during this period put together elements from American punk and its precedents, including elements that were previously heard in distinction from each other, such as the riff-based blues of the Stooges and back-to-basics rock and roll songs of the Ramones. Although this period is marked by a preoccupation with whether punk was “invented” in the US or UK, in fact, punk is a product of exchanges between musicians across the Atlantic, with much of the music continuing a long history of white people using a vocabulary of Black musical resources, including blues and reggae, to explore identity, class distinctions, and the nature of whiteness itself. These exchanges in punk are comparable to the so-called “British Invasion” of the prior decade. The discourse of making the mid-1970s UK a starting point for punk also appears to be an idea that American musicians were primarily invested in, and an idea that further dissociated punk from its basis in Black American music.

Hip-Hop’s Authentic Masculinity: A Quare Reading of Fox’s Empire

2017 ◽  
Vol 19 (3) ◽  
pp. 225-240 ◽  
Author(s):  
Nathian Shae Rodriguez
Keyword(s):  
Hip Hop ◽  
Black Masculinity ◽  
Black Culture ◽  
Music Videos ◽  
Popular Media ◽  
Media Content ◽  
Hip Hop Culture ◽  
Television Shows ◽  
Black Gay Men ◽  
And Behavior

Black masculinity in the hip-hop culture often promotes instances of homophobia, effeminophobia, and misogyny. To reify an “authentic” black masculinity, individuals within the hip-hop genre police its boundaries through discourse and behavior. This policing is evident in popular media content like songs, music videos, interviews, television shows, and film. These media depictions can, over time, cultivate the attitudes and opinions of the viewing public about homosexuals and their place within black culture, specifically in hip-hop. Through a quare lens, the study investigates how Fox’s television show Empire helps construct and maintain stereotypical representations of black gay men against the milieu of hip-hop. Empire reifies queer stereotypes and highlights conventions of black masculinity and hip-hop authenticity.

Rap Lyrics as Evidence

2017 ◽  
Vol 8 (4) ◽  
pp. 330-365 ◽  
Author(s):  
Nicholas Stoia ◽  
Kyle Adams ◽  
Kevin Drakulich
Keyword(s):  
Rap Music ◽  
American Music ◽  
Rock And Roll ◽  
Criminal Trials ◽  
African American Music ◽  
Past Behavior ◽  
Recent Scholarship ◽  
Shed Light ◽  
Rap Lyrics

Recent scholarship has shed light on the troubling use of rap lyrics in criminal trials. Prosecutors have interpreted defendants’ rap lyrics as accurate descriptions of past behavior or in some cases as real threats of violence. There are at least two problems with this practice: One concerns the interpretation of art in a legalistic context and the second involves the targeting of rap over other genres and the role of racism therein. The goal of the present work is translational, to demonstrate the relevance of music scholarship on this topic to criminologists and legal experts. We highlight the usage of lyric formulas, stock lyrical topics understood by musicians and their audiences, many of which make sense only in the context of a given genre. The popularity of particular lyric formulas at particular times appears connected to contemporaneous social conditions. In African American music, these formulas have a long history, from blues, through rock and roll, to contemporary rap music. The work illustrates this through textual analyses of lyrics identifying common formulas and connecting them to relevant social factors, in order to demonstrate that fictionalized accounts of violence form the stock-in-trade of rap and should not be interpreted literally.

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