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Journal Article
Social Text (2013) 31 (3 (116)): 111–122.
Published: 01 September 2013
...Debra Rae Cohen; Michael Coyle Attention to pop ideology is inevitably limited where it doesn’t take formal questions into consideration. However, the question of form in a pop record is itself complicated, because form here doesn’t simply mean song form: it also involves negotiations...
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Published: 01 September 2018
Figure 3 The steeply rising prevalence of the terms protest song , protest music , and protest singer from 1920 through 2000, from nearly none before 1940 until the terms became common in the later 1960s. Source: Google Books Ngram Viewer.
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Journal Article
Social Text (2013) 31 (3 (116)): 123–134.
Published: 01 September 2013
...Jack Halberstam In this essay, I track a history of punk that I associate with wild vocalization within a history of black aesthetics. Building upon the work of Fred Moten, Jayna Brown, and Tavia Nyong’o, this essay returns to some eccentric moments in punk musical production—songs by Rhoda Dakar...
Journal Article
Social Text (2018) 36 (3 (136)): 25–45.
Published: 01 September 2018
...Figure 3 The steeply rising prevalence of the terms protest song , protest music , and protest singer from 1920 through 2000, from nearly none before 1940 until the terms became common in the later 1960s. Source: Google Books Ngram Viewer. ...
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Journal Article
Social Text (2013) 31 (1 (114)): 21–41.
Published: 01 March 2013
... world is grounded, especially as hip hop emerges through the transmutation of the state’s terroristic repression of black revolution in the 1960s and 1970s into the sexualized violence of the present prison industrial complex. Using a reading of Lil’ Wayne and his song “Mrs. Officer,” I argue...
Journal Article
Social Text (2024) 42 (2 (159)): 75–87.
Published: 01 June 2024
... (photographer and drummer of The Gynecologists). The women of DISBAND approached the song format fluidly, combining hymn, anthem, cheer, and protest movement (stomping, chanting, clapping) with rapid‐fire improvisation. DISBAND's songs reflected the members’ personal and collective political concerns, often...
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Journal Article
Social Text (2008) 26 (1 (94)): 3–28.
Published: 01 March 2008
...Ricardo L. Ortíz “On (Our) American Ground” traces the relevant genealogies, and itineraries, of a song and a site whose various symbolic and practical constructions have helped to determine what a transnational American historical past can allow us to imagine of a postnational American future...
Journal Article
Social Text (2012) 30 (4 (113)): 25–53.
Published: 01 December 2012
.... It examines in particular the Tunisian rap scene and the crucial role that El Général’s song “Rais Lebled” played in capturing and articulating the mass discontent Tunisians had with Ben Ali’s authoritarian regime. This essay concludes that rap music (along with other forms of artistic creativity) helped...
Journal Article
Social Text (2013) 31 (3 (116)): 57–73.
Published: 01 September 2013
... that establishes cantina time—as musically represented by the spatiality of Girl in a Coma’s music video and Piñata Protest’s song “Cantina”—an afterlife of punk emerges. The reorganization of space-time occurs through the re-assemblage of instruments such as the Tex-Mex button accordion, Spanglish, and cantinera...
Journal Article
Social Text (2015) 33 (3 (124)): 75–113.
Published: 01 September 2015
... compelling. This article follows Bowie's lead through an assemblage of material—songs, performances, film, and images, as well as historical and theoretical texts—to demonstrate how Bowie's cultural reading of Mick Jagger as mother resonates with the concerns of recent scholarship on race and psychoanalysis...
Journal Article
Social Text (2017) 35 (4): 1–31.
Published: 01 December 2017
... the Eurocentric, heteronormative, capitalist, rationalist clock-bound time that prevails in the modern West (what I call “Western Standard Time”). To bear out (and sound out) madtime, this essay reveals those radical temporalities in black expressive cultures, most especially black music. Sampling songs from...
Journal Article
Social Text (2004) 22 (4 (81)): 91–112.
Published: 01 December 2004
... switched cassettes on an old tape player and started playing a
bandiri tape. As he did so, one customer started to hum along, recognizing
the Indian fi lm tune on which the song was based, but not knowing the
words of this Hausa variation. Bandiri singers are Hausa musicians who
take Indian fi lm...
Journal Article
Social Text (2017) 35 (1 (130)): 59–78.
Published: 01 March 2017
... dreams Inuit youth have of their dead friends and linking these to some Inuit songs and poetry collected by explorers of the early twentieth century, I want to think about the possibility of “sending” our voices to the absent/dead and the way they, the dead, send their voices to us...
Journal Article
Social Text (2008) 26 (2 (95)): 113–133.
Published: 01 June 2008
... that America remains possessed by the idea of witchcraft. Duke University Press 2008 Witchcraft
Rosalind Morris
For Jim, and for Tony
Frank Sinatra, it seems safe to say, did not understand witchcraft. Sure,
he made the song “Witchcraft” famous, transforming a terrifying idea...
Journal Article
Social Text (2013) 31 (3 (116)): 75–93.
Published: 01 September 2013
..., electronica,
dubstep, hyperdub — as they have mutated into what Michael Veal, in his
book Dub: Soundscapes and Shattered Songs in Jamaican Reggae, has called
a “multiplicity of new, studio-based soundscape genres.”1 Punk also had
Social Text 116 • Vol. 31...
Journal Article
Social Text (2017) 35 (4): 33–51.
Published: 01 December 2017
... queerness and industrial as politically palpable sonic aesthetics of antiassimilationist sexual expression. The driving sample in “Waiting for Mommie” comes from Chic’s “Le Freak” on C’est Chic (1978), specifically Bernard Edwards’s bass line during the extended bridge section of the song. Rooted...
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Journal Article
Social Text (2013) 31 (3 (116)): 147–158.
Published: 01 September 2013
... middle-class
suburbs, or in rural hinterlands. Punk learned from this fluidity as it
appropriated metropolitan mystique and alienation in the self-image and
street lyricism of the New York Dolls or the Ramones, or in songs like the
Jam’s “In the City” and “A Bomb in Wardour Street” (1978...
Journal Article
Social Text (2010) 28 (1 (102)): 107–124.
Published: 01 March 2010
... years old. Beginning
with a gospel setting of the scene backed by a piano, the song unravels as
a sustained plea for mercy in the face of an angry, vengeful, and unpre-
dictable lover — a call to prevent a potential crime of passion. It is tragic...
Journal Article
Social Text (2004) 22 (4 (81)): 65–89.
Published: 01 December 2004
...
yeh patloon Englistaani my trousers English, if you please
sar pe laal topi Russi on my head, red Russian hat
phir bhi dil hai Hindustaani . . . my heart’s Indian for all that . . .
This song runs through Salman Rushdie’s novel The Satanic Verses as
the theme song...
Journal Article
Social Text (2008) 26 (3 (96)): 59–78.
Published: 01 September 2008
... the existential properties of those technologies of
reproduction and the very repetitive quality of breathing rhythms, which
through Byzantine techniques of prayer enter the composition of a song.8
In other words, I will argue that there is a structural fit...
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