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Series: Refiguring American Music
Published: 22 April 2016
EISBN: 978-0-8223-7514-2
... piNoise pop festival indie rock translocal scenes San Francisco Manila ...
Series: Refiguring American Music
Published: 22 April 2016
DOI: 10.1215/9780822375142-005
EISBN: 978-0-8223-7514-2
... imperialist notions of indie music overseas. This chapter moves away from indie as genre category and toward indie as genre scenes and culture to situate the piNoise pop music festival (1998–2005) at the intersection of a late twentieth-century Asian American creative class generation and a mid-1990s...
Series: Refiguring American Music
Published: 08 January 2016
DOI: 10.1215/9780822374947-010
EISBN: 978-0-8223-7494-7
... This essay offers an ethnographic entrée into Havana’s annual Hip Hop Festival as a site of overlapping and, at times, asymmetrical articulations of revolutionary internationalism at the millennial turn. The performative terrain of Cuban hip hop, Perry argues, offers a dynamic space in which...
Series: Refiguring American Music
Published: 08 January 2016
EISBN: 978-0-8223-7494-7
... and globalization, LKJ provided a contrapuntal bassline to the hegemonic global dogma of privatization. Linton Kwesi Johnson dub poetry mixtape proxy wars anti-apartheid movement This essay offers an ethnographic entrée into Havana’s annual Hip Hop Festival as a site of overlapping and, at times...
Published: 09 September 2016
EISBN: 978-0-8223-7392-6
... at the New Directors/New Films festival held at the Museum of Modern Art on 18 March 1983. A cameo appearance by Richard “Crazy Legs” Colón of the Rock Steady Crew in Flashdance suggested that breaking could cross over to a wider audience. Roxy owner Steve Haenel hired AM/PM’s Vito Bruno to help Ruza Blue...