Search Results for pop

...José Esteban Muñoz Editors’ Note: We include this unpublished essay by José Esteban Muñoz in this issue of SAQ on Wildness to honor the project that we both began with José on wildness but never got to complete. The essay here was presented as a talk at the Experience Music Project (EMP) Pop...

...Alan Light Copyright © 1991 by Duke University Press 1991 Alan Light About a Salary or Reality? Rap s Recurrent Conflict In 1990, rap dominated headlines and the pop charts as never before. Large segments of the American public were introduced to rap or at least forced to confront its exis­...

... in a suburban com­ munity or small town has usually meant the death of the town square as its market place, especially the independently owned drug store, among other Mom and Pops. The small-town drug store has been replaced by the large chain store located far from downtown. The mass merchandisers, as well...

..., the foun­ dational myth of popular music.2 It lies at the heart of all distinctions that attempt to delin­ eate a boundary between the authentic and the commercial, in whatever guise that may take: rock vs. pop, black vs. white, modern vs. postmodern, art vs. commerce. The South Atlantic Quarterly 90:4...

... or anything strictly. Their potential as critical commentary on the inadequacies of real life is ignored. Instead, real life is assim­ ilated to them, and the euphoria of belief neutralizes all contrasts and all disparities. This kind of popular fiction can be understood best by setting it alongside pop art...

...Richard A. Peterson Copyright © 1995 by Duke University Press 1995 Richard A. Peterson The Dialectic of Hard-Core and Soft-Shell Country Music ^Conventional histories of twentieth-cen­ tury country music trace a virtually linear development from folk-like to commercial and pop-like music...

..., with its ‘‘modern’’ and ideology-free panorama, exhibits itself through the codes of the pop singer cult and the hedonism of urban youth. All these types of nationalism, since then, have increasingly interfused...

... granted the popular musics of other cultures is only grudgingly granted that of our own, and that even when ours is approached, rock and pop still tend to be viewed merely as illegitimate offspring of authentic musics like the blues, country, and gospel. As a classical composer and rock fan who likes...

... life, when the rage for consensus leads to pop policy. Such a relation between artist and patron is required by the egalitarian rationale, which (in cases where such issues are at odds) must sacrifice ideological and moral criteria for consensus. If con­ sensus is the court to which art must appeal...

... is currently co-editing the revised The Rolling Stone Illustrated History of Rock & Roll and The Rolling Stone Album Guide, which will be published in 1992. mark dery writes on pop culture, mass media, and the arts for the New York Times, New York, the Philadelphia Inquirer, and the Chi­ cago Tribune. His...

... to strain and warp: bolts pop out, linkages detach, and all, slowly and steadily, falls down. The metal cafeteria cabinets that have been repurposed to store medical supplies are quickly shuffled to another temporary location. Aid workers plan a workday to rebuild the failing structure. In the mean...

... prosecutions generally undermine the very social and legal consensuses upon which they are supposedly based, and ironically establish the validity of and interest in the very works they are meant to proscribe. On the other hand, there are many reasons why, for shrewd cen­ sors in the 1950s, pop cultural...

... in the United States to make a clear distinc­ tion in culture (and art) between high class and low class. It was 178 Arata Isozaki precisely this gap between high class and low class that pop art and graffiti art managed to bridge to ironical effect. In Japan, however, this distinction has traditionally...

... ^Hiirteen years ago I began my journey along the margin of America s Pop Republic. The margin isn t such a bad place, unless, The South Atlantic Quarterly 90:4, Fall 1991. Copyright © 1991 by Duke University Press, ccc 0038-2876/91 /$I_5O. 908 Jeff Calder of course, one needs to eat. Unlike many...

... of being modernists; they are succeeded by Group 1890, which reissues and also, perhaps inadvertently, certainly prematurely, closes off the modernist enter­ prise in Indian art in 1963. Thence we enter into a pop/postmodernism in which the Baroda School as well as the urban realists of Bombay become...

... rock (Naranja Mecanica, Musica D Repuesto), rock-pop, or more or less hardcore techno (Paisaje con Rio, Pulsos, Perfume de Mujer), fusion (Exodo, Estado de Animo, Libre Acceso), industrial rock (Symphony of Doom), and acoustic rock with snatches of country blues (Superavit, Extrano Corazon).5 Even...

... on manufactured goods, now trades in intangibles: brand names, junk bonds, cultural heroes, cel­ luloid myths. We sell fabulous merchandise at very high prices, confided a Disney executive in a December 1990 Fortune cover story titled Pop Culture: America s Hottest Export Goes Boom! But what we really sell...