... music historiography rock criticism popular culture studies ...

... memory nostalgia anosmia historiography popular music ...

... Clinton. In recent years Elvis has been parsed for history by Michael Bertrand, musicology by Robert Fink, and literature by Ed Comentale. Then that, too, passed, as writers moved on to figures such as Big Mama Thornton, leaving Presley to Hollywood. music historiography rock criticism popular...

... The conclusion ends the book with a meditation on musical memory and nostalgia as they relate to popular music criticism and historiography. Subjects broached include illusory perceptions of history either falling into a rut or constantly progressing forward toward perfection; the inability...

... communities experienced after the fall of the Berlin Wall in 1989 and German reunification a year later. These public forms of violence against Black and other nonwhite people in the years around reunification are now vigorously expunged from the celebratory historiographies of techno in Berlin...

... with respect to historiography, leading to the remixing of black diasporic subjectivities, time, and history. The author focuses on Compton’s use of turntablism as both performative mode and musical metaphor for the improvising subject’s counter-discursive agency at the crossings. hip hop diaspora...

... subject’s agency with respect to historiography, leading to the remixing of black diasporic subjectivities, time, and history. The author focuses on Compton’s use of turntablism as both performative mode and musical metaphor for the improvising subject’s counter-discursive agency at the crossings. hip...

... identification and belonging: a shift that foregrounds unknown relations, unforeseeable ways of engaging a space, beyond any one authority over lives’ movement in space and time. Maïté Chénière historiography Afrofuturism sound art ...

... Maïté Chénière historiography Afrofuturism sound art ...

... body, Juba beating the flesh expresses and enhances sentience, without denying the animal. It recounts how Lydia Parrish’s and Alan Lomax’s collection of “authentic” African American music, chiefly from the Georgia Sea Islands, constitutes an official archive at the expense of the living transmission...