SOUTH·SEA·ISLAND MAGIC Bill Sevesi and the Auckland Music Scene

Perfect Beat ◽  
2015 ◽  
Vol 4 (1) ◽  
pp. 19-46
Author(s):  
SAM SAMPSON
Keyword(s):  
Author(s):  
Ingars Gusāns

The aim of the study is to describe metal music albums of the year 2018 from the genre, textual and artistic aspects, looking for the common and diverse in the Latvian metal music world. It is recognised that there is still no unified collection of Latvian rock and metal music resources, and that makes the researcher’s work more interesting. Even though only ten metal albums came out in 2018, their metal styles are quite wide-ranging from symphonic metal and through thrash, groove, industrial metal to classic heavy metal, which is also played in an acoustic format. Album designs, in the author’s opinion, are classic but qualitative and do not damage the first impression, especially designs of those albums that were released on physical media. Because physical media is becoming an exclusive case, the trend continues to sell albums only in digital format (at least at first); this has been done by the bands “Revelation Attic”, “Yomi”, “Seira”, “NUVO”. Perhaps knowing that Latvia is too small to live on music only, as well as wishing to expand their audience and be noticed abroad, the 5 of the albums in question are recorded in English. The debuts of several newly formed bands (“Seira”, “Revelation Attic”, “Māra”) confirm the unlost interest in metal music and also show the attempts of these groups to build their way to Latvian and the world metal music scene, which manifests in their search for a strange sound (“NUVO”) or a strong female vocal use (“Oceanpath”, “Seira”, “Māra”). In general, Latvian metal music representatives continue the world’s metal music traditions, where it is extremely difficult to surprise because the number of existing bands is so large that it is almost impossible to be original, while the population of the planet is so big that many bands can access the listener so that each band also searches for its audience, both online and in concerts.


2021 ◽  
Vol 56 (6) ◽  
pp. 777-781
Author(s):  
Belén del Valle Vera ◽  
José Carmona-Marquez ◽  
Claudio Vidal-Giné ◽  
Fermín Fernández-Calderón

2020 ◽  
Vol 11 (2) ◽  
pp. 195-218 ◽  
Author(s):  
Nina L. Cole

This article sets forth a performance studies framework for subcultural research: scenarios of style. This embodied epistemology brings together Diana Taylor’s scenario paradigm with interdisciplinary perspectives on style to provide a means for researchers to explore the ways in which style is constitutive of subcultural life. Twenty-five years of involvement in Los Angeles’s vintage Jamaican music scene and four years of fieldwork – comprised of participant observation, oral history interviews and archival research – undergird my theorization. To communicate individual agency and subcultural traditions of style, this article explores a single case study situated within my larger research setting. Because scenarios of style supports embodied, situated understandings of knowledge and is contextually adaptable, this article posits its broader relevancy for fashion studies research.


2021 ◽  
pp. 32-45
Author(s):  
MARFUA KHAMIDOVA

This article is about the origins of the national opera that was born in Uzbekistan in the first half of the twentieth century. It also tells about the studio training of production and performing personnel for the national music scene within the framework of the Moscow, Baku studios, the Uzbek Opera Studio at the Moscow State Conservatory; about the first experiments of staging musical plays in the Uyghur Drama Troupe, the Concert and Ethnographic Troupe of M. Kari-Yakubov and further in the State Uzbek Musical Theater.


Sexualities ◽  
2017 ◽  
Vol 21 (3) ◽  
pp. 350-363
Author(s):  
Anthea Skinner

The international disability music scene is a thriving musical subculture consisting of performers self-identifying as disabled who use their performances to explore experiences of living with disability. As a genre predominantly written by, about and for people with disabilities, it provides a space for discourse about life with disability which is largely unmediated by governmental policy, political correctness or able-bodied facilitators. As such, it is a medium through which people with disability are free to express opinions about sex and romance rarely seen in mainstream media. This article examines the ways in which the topics of sexuality and romance are explored within disability music culture. It will focus on four case study songs, I Love My Body (1988) by Johnny Crescendo, Vagina Ain’t Handicapped (2011) by Laura Martinez, Def Deaf Girls (2012) by Sean Forbes and No Goodbyes (2012) by Rory Burnside and Rohan Brooks from Rudely Interrupted. These four songs will be used to explore the themes of body image, cultural expectations of the disabled body, the benefits of dating fellow members of the disability community and relationships. This article also draws on the author’s own experience as a person with disability and a musician in a band that regularly performs on the disability music scene.


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