The paper investigates the “90s cult movies” compilation soundtracks of Enza Negroni’s “Jack Frusciante è uscito dal gruppo” (1996) and Davide Ferrario’s “Tutti giù per terra” (1997), both produced ...by Consorzio Produttori Indipendenti. It explores the relation between Generation X and 90s Italian films – a type of cinema that Vito Zagarrio defines «in transition» (2000), «with ambiguous forms and surfaces» (2002: 34) – through songs in the films as “Nuotando nell’aria” (Marlene Kuntz, 1994) and “A tratti” (C.S.I., 1994), which constitute the generational key and reestablish a three-dimensional realm, going beyond the image and “embodying” the characters’ “coming-of-age”. The paper investigates the ‘90s cult movies’ compilation soundtracks of Enza Negroni’s Jack Frusciante è uscito dal gruppo (1996) and Davide Ferrario’s Tutti giù per terra (1997), both produced by Consorzio Produttori Indipendenti. It explores the relation between Generation X and 90s Italian films – a type of cinema that Vito Zagarrio defines «in transition» (2000), «with ambiguous forms and surfaces» (2002: 34) – through songs in the films as “Nuotando nell’aria” (Marlene Kuntz, 1994) and “A tratti” (CSI, 1994), which constitute the generational key and reestablish a three-dimensional realm, going beyond the image and “embodying” the characters’ “coming-of-age”.
In one of the numerous negative reviews, Michael Hann described singer-songwriter Morrissey’s debut novella, List of the Lost (2015), as “an unpolished turd of a book, the stale excrement of ...Morrissey’s imagination,” yet from a queer perspective, it is pioneering. This article explores Morrissey’s innovative engagement with Gothic horror, building on his explorations of the mode during his musical career. Throughout the novella, Morrissey subverts numerous Gothic staples, from curative maternity and reproductive futurity to monstrously fragmented subjectivity to condemnations of Catholicism – the latter of which he retains, though to entirely different ends to his Protestant literary ancestors. Through such devices, Morrissey participates in Teresa Goddu’s concept of ‘haunting back,’ turning hostile Gothic tropes on their head to carve out a new space for queer experience within the mode – historically conservative as often as it is transgressive – and reveals the true specter of society to be not difference, but its suppression.
Este texto deriva da pesquisa O timbre como afeto no rock independente brasileiro: uma abordagem semiótica, na qual objetivamos entender como o timbre, na música, é capaz de se comunicar através de ...processos afetivos, sendo compreendido como forças, intensidades, sensações que podem tanto ser potencialidades quanto a ação de um corpo sobre outro. Em particular, pretendemos refletir aqui sobre como questões referentes ao feminino e o feminismo afetam e são afetadas pelos processos de singularização de timbragens no gênero em questão. Mapeamos a obra de musicistas inseridas no circuito do rock independente brasileiro contemporâneo (2015-2020), a partir da observação de shows ao vivo, registros fonográficos e entrevistas semiestruturadas que realizamos com as artistas, passando por questões econômicas, políticas, estéticas e afetivas da música. Apoiados na filosofia da diferença de Deleuze e Guattari, reconhecemos, em seus depoimentos e na sonoridade de suas composições, um devir-mulher que se expressa nas timbragens e que rompe com normatividades de gênero. Melhor do que isso, as musicistas compõem com os equipamentos musicais uma máquina desejante que se expressa afetivamente através de timbragens singulares.
Indie rock has long presented itself as a nontraditional and unconventional genre, one that has served more as an exploratory pathway than a stable career for its postcollegiate twenty-something ...middle-class participants. In this regard indie closely parallels the developmental life stage of emerging adulthood, a label encompassing the increasingly extended road from adolescence to adulthood. Focusing special attention on the music of noted indie groups MGMT and Vampire Weekend, and the years of the Great Recession (2007-2009) in which they first emerged, this article considers the connections between indie and emerging adulthood from a variety of social, cultural, and musical-stylistic perspectives. As the examples of these groups show, indie musicians have frequently depicted the years of emerging adulthood as a liminal period of optimistic exploration tempered with great instability and ambivalence about the future.
The main goal of our approach is to analyse the social representations of alternative rock in Portugal (or, using a terminology more akin to 1980s Portugal, of the "modern music vanguard") from 1980 ...to 2010. This is part of broader research into the 30 years of modernization of the country (from the post-revolutionary period initiated in 1974 on), in which alternative rock is regarded as a significant social practice within the scope of the social, artistic and musical structuring of the country itself. We consider that alternative rock is a subject that is illuminated by Bourdieu's theory of fields, without overlooking its clear interconnection with 'art worlds' or music scenes, and the aesthetic cosmopolitanism of late modernity. The article is a pioneering work on the Portuguese sociology of culture, whose results may be the starting point of a debate to problematize the functional logic of popular music in various Anglo-Saxon settings.
This article offers a new analytical perspective on the relation between rock clubs and gentrification to illuminate broader changes in urbanism and cultural production in New York City. Although ...gentrification is central to understanding how the urban condition has changed since the 1960s, the long-term implications for popular music and its evolution within new urban populations and cultural industries have received relatively little scholarly attention. Gentrification has often been dismissed as an outside threat to music scenes. This article, in contrast, argues that gentrification needs to be understood as a broader social, economic, and cultural process in which popular music cultures have changed. The argument is developed through a case study of The Bowery Presents, a now dominant concert promoter and venue operator with offices on the Lower East Side. Based on fieldwork conducted over a three-year period and on urban sociological macro-level analysis, this article develops an analytical narrative to account for the evolution of the contemporary concert culture in the mid-size venues of The Bowery Presents on the Lower East Side and Williamsburg, Brooklyn, as a particular instance of more general dynamics of culture and commerce in contemporary cities. The narrative opens up new perspectives for theorizing live music and popular culture within processes of urban social change. The article begins by reviewing conventional approaches to rock music clubs in popular music studies and urban sociology. These approaches are further clarified through the mapping of a deep structure in how music scenes have framed the relationship between clubs and gentrification discursively. The article then examines the evolution of The Bowery Presents within the expansive process of gentrification. The focus is placed here on the cultural profile of the now dominant mid-size venue culture and on three stages in the development of the company and its field-structuring impact on rock clubs on the Lower East Side in particular. The conclusion sums up the key points and suggests that gentrification involves changing conditions of artistic creativity and performance, with implications for fundamental aspects of urban life; a point illustrated by the trajectory of Occupy Wall Street.
Writing Wrong Notes Conklin, Andrew
Music theory online,
09/2019, Letnik:
25, Številka:
3
Journal Article
Recenzirano
This article analyzes the pitch language of Tune-Yards. Like many of its peers, Tune-Yards uses chromaticism to differentiate itself from the mainstream. Unlike its fellow post-millennial ...experimental pop bands, however, Tune-Yards primarily favors loop-derived compositional techniques that generate chromatic clashes between two or more musical layers. Tune-Yards is also noteworthy for the pervasiveness and variety of chromatic clashes throughout its recorded catalog. This essay presents three of Tune-Yards’ layer-based compositional techniques —
Caught in the Looper
,
Chromatically Inflected Melody
, and
Accompaniment-Derived Chromaticism
— and examines the ways in which they interact with intonation, timbre, lyrics, and form.
This article explores the intersection of a revitalized independent music scene and competing urban visions in Toronto. After reviewing scholarly approaches to cultural scenes and their place in ...contemporary urban development, I examine how recording-industry changes in Canada impacted local musicians and contributed to an emerging "indie ethos." From this, I consider the tensions between reluctantly intermingled municipal and grassroots urban visions, as well as divergent efforts to re-project the city's cultural identity. I argue that scene participants restructured their relationships with the city and advocate for more inclusive grassroots civic engagement that reaches beyond conventional scenic boundaries.
Did New York Kill Indie Rock? Harris, Keith
Journal of popular music studies,
September 2012, Letnik:
24, Številka:
3
Journal Article
Recenzirano
Harris notes that, in the 1980's and 1990's, the indie rock scene flourished in many geographic locations throughout the United States. However, beginning in the first years of the 21st century, New ...York--more specifically, Brooklyn's Williamsburg neighborhood--became the predominant center of the indie rock hipster scene, with many regional bands transplanting themselves there. Harris argues that the Brooklyn indie scene is in decline, and regional bands are once again reasserting themselves from their hometowns.
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