An essential part of human expression, humor plays a role in all forms of art, and humorous and comedic aspects have always been part of popular music. For the first time, The Routledge Companion to ...Popular Music and Humor draws together scholarship exploring how the element of humor interacts with the artistic and social aspects of the musical experience. Discussing humor in popular music across eras from Tin Pan Alley to the present, and examining the role of humor in different musical genres, case studies of artists, and media forms, this volume is a groundbreaking collection that provides a go-to reference for scholars in music, popular culture, and media studies.
While most scholars, when considering humor's place in popular music, tend to focus on more "literate" forms, the contributors in this collection seek to fill in the gaps by surveying all kinds of humor, critical theories, and popular music. Across eight parts, the chapters in this collection explore topics both highbrow and lowbrow, including:
Parody and satire
Humor in rock and global music
Gender, sexuality, and politics
The music mockumentary
Novelty songs
Humor has long been a fixture of the popular music soundscape, whether on stage, in performance, on record, or on film. The Routledge Companion to Popular Music and Humor covers it all, presenting itself as the most comprehensive treatment of the topic to date.
This personal essay begins with a discussion of the Festival for Peace, an all-day rock show at Shea Stadium, NYC, August 1970. After a brief discussion of my impressions of the Festival for Peace, I ...discuss how the music of the late 1960s and early 1970s, in particular, shaped my identity and thinking for years to come, including my openness to various civil rights and political movements and my decisions to major in English, to work in education and not corporate America, to shift my research focus from American literature to popular music, and to develop courses in popular culture.
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BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
5.
Journal of the Plague Year Burns, Gary; Kitts, Thomas M.
Rock music studies,
01/02/2021, Letnik:
8, Številka:
1
Journal Article
Extensive interdisciplinary literatures have built on the seminal spatial dilemmas model, which depicts the evolution of cooperation on regular lattices, with strategies propagating locally by ...relative fitness. In this model agents may cooperate with neighbors, paying an individual cost to enhance their collective welfare, or they may exploit cooperative neighbors and diminish collective welfare. Recent research has extended the model in numerous ways, incorporating behavioral noise, implementing other network topologies or adaptive networks, and employing alternative dynamics of replication. Although the underlying dilemma arises from two distinct dimensions-the gains for exploiting cooperative partners (Greed) and the cost of cooperating with exploitative partners (Fear)-most work following from the spatial dilemmas model has argued or assumed that the dilemma can be represented with a single parameter: This research has typically examined Greed or Fear in isolation, or a composite such as the K-index of Cooperation or the ratio of the benefit to cost of cooperation. We challenge this claim on theoretical grounds-showing that embedding interaction in networks generally leads Greed and Fear to have divergent, interactive, and highly nonlinear effects on cooperation at the macro level, even when individuals respond identically to Greed and Fear. Using computational experiments, we characterize both dynamic local behavior and long run outcomes across regions of this space. We also simulate interventions to investigate changes of Greed and Fear over time, showing how model behavior changes asymmetrically as boundaries in payoff space are crossed, leading some interventions to have irreversible effects on cooperation. We then replicate our experiments on inter-organizational network data derived from links through shared directors among 2,400 large US corporations, thus demonstrating our findings for Greed and Fear on a naturally-occurring network. In closing, we discuss implications of our main findings regarding Greed and Fear for the problem of cooperation on inter-organizational networks.
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Richie Furay, leader of Poco and a member of Buffalo Springfield and Souther-Hillman-Furay Band, has had a curious career. Although a pioneer of folk rock with the Springfield and country rock with ...Poco, he never rose to superstardom the way many of his bandmates did. It is hard to understand why because he is a vibrant performer, a precise and impassioned voalist, and an evocative songwriter who celebrates simple pleasures like picnics, music, and home while exploring the complexities of love in many forms - for a spouse, a friend, and God. Too often, those unfamiliar with his catalogue dismiss Furay as a lightweight, usually based on the few songs they may know. The author suggests that a close listening would prove these songs are not "light" and that a more complete listening to his catalogue would reveal Furay's depth.
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