Popular Music Volume 37 / Issue 2, May 2018
Popular Music is an international multi-disciplinary journal covering all aspects of the subject – from the formation of social group identities through popular music, to the workings of the global music industry, to how particular pieces of music are put together. The journal includes all kinds of popular music, whether rap or rai, jazz or rock, from any historical era and any geographical location. Popular Music carries articles by scholars from a variety of disciplines and theoretical perspectives. Each issue contains substantial, authoritative and influential articles, shorter topical pieces, and reviews of a wide range of books.
Azealia Banks: ‘Chasing Time’, erotics, and body politics
Kai Arne Hansen, Stan Hawkins
During the 2010s a new generation of queer hip hop artists emerged, providing an opportunity to engage with a set of politics defined by art, fashion, lyrics and music. A leading proponent of this movement was Azealia Banks, the controversial rapper, artist and actress from New York. This study instigates a critical investigation of her performance strategies in the track and video, ‘Chasing Time’ (2014), offering up various perspectives that probe into queer agency. It is suggested that techniques of sonic styling necessitate a consideration of subjectivity alongside genre and style. Employing audiovisual methods of analysis, we reflect on the relationship between gendered subjectivity and modalities of queerness as a means for demonstrating how aesthetics are staged and aligned to advanced techniques of production. It is argued that the phenomenon of eroticised agency, through hyperembodied display, is central to understanding body politics. This article opens a space for problematising issues of black female subjectivity in a genre that is traditionally relegated to the male domain.
‘He can be whatever you want him to be’: Identity and intimacy in the masked performance of Ghost
Using Swedish metal band Ghost as a primary case study, this article examines how anonymous bands mediate their identity through the use of masks. The isolation of the band members’ ‘real’ identities from their musical performance complicates traditional modes of ‘knowing’ the performer, but in turn enables the formation of a multitude of connectivities, as audiences utilise masked bodies as sites upon which to project their desires and fantasies. Such projections are integral to the ways in which masking allows performers to mobilise and sustain their connections to audiences, who themselves become complicit in the maintenance of anonymity. This article thus considers how masks might challenge established notions of popular music performance, celebrity and authenticity, particularly within heavy metal contexts, and investigates how masks, rather than de-identifying a performer, can invite intimate connections among musicians and audiences.
Live music network in Larnaca, Cyprus: from musicians to audience and back (to the venue) again
Istanbul sounding like revolution: the role of music in the Gezi Park Occupy movement
From ‘Hard Rock Hallelujah’ to ‘Ukonhauta’ in Nokialand: a socionomic perspective on the mood shift in Finland’s popular music from 2006 to 2009
Mikko Ketovuori, Matt Lampert
Listening for the hiss: lo-fi liner notes as curatorial practices
‘Does it threaten the status quo?’ Elite responses to British punk, 1976–1978
John Street, Matthew Worley, David Wilkinson
Obituary: Paul Oliver (1927–2017)
Richard Middleton, Christian O’Connell
What is Popular Music Studies Today? A review of the 19th biennial conference of the International Association for the Study of Popular Music
Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. Edited by Ian Chapman and Henry Johnson. London: Routledge, 2016. 300pp. ISBN 978-1-138-82176-7
The Art of Songwriting. By Richard West. New York: Bloomsbury, 2016. 256 pp. ISBN 978-1-4725-2781-3 – The Cambridge Companion to the Singer Songwriter. 367 pp. Edited by Katherine Williams and Justin A. Williams. Cambridge: Cambridge University Press, 2016. ISBN 978-1-107-68091-3 – The Singer-Songwriter Handbook. Edited by Katherine Williams and Justin A. Williams. 277 pp. New York: Bloomsbury, 2017. ISBN 978-1-6289-2030-7
The Bloomsbury Handbook of Religion and Popular Music. Edited by Christopher Partridge and Marcus Moberg. London: Bloomsbury, 2017. 425 pp. ISBN 978-1-4742-3733-8.
Eulàlia Febrer Coll
Men, Masculinity, Music and Emotions. Sam de Boise. Basingstoke: Palgrave Macmillan, 2015. 253 pp. ISBN 9781137436092.
Made in Korea: Studies in Popular Music. Edited by Hyunjoon Shin and Seung-Ah Lee. New York: Routledge, 2016. 262 pp., ISBN 978-1-138-79303-3
Civil Rights Music: The Soundtracks of the Civil Rights Movement By Reiland Rabaka. Lanham, MD: Lexington Books, 2016. 272 pp. ISBN 978-1498531788
Simon H. Buck
Good Vibrations: Brian Wilson and the Beach Boys in Critical Perspective. Edited by Philip Lambert. Ann Arbor, MI: University of Michigan Press, 2016. 302 pp. ISBN 978-0-472-11995-0
Free Jazz, Harmolodics and Ornette Coleman. By Stephen Rush. London: Routledge. 2017. 302 pp. ISBN 9781138122949.
Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music. By Stephen Graham. Ann Arbor, MI: University of Michigan Press, 2016. 295 pp. ISBN 978-0472119752
Music and the Broadcast Experience: Performance, Production, and Audiences. Edited by Christina L. Baade and James Deaville. New York: Oxford University Press, 2016. xv + 347 pp. ISBN 978-0-19-931471-3.
The Cambridge Companion to Film Music. Edited by Mervyn Cooke and Fiona Ford. Cambridge: Cambridge University Press, 2016. 438 pp. ISBN 9781107476493