title = author Robert Christgau's Autobiography: Rock Music, Racial Practice, and One Black Man's Problematic Relationship with White Women PLUS ARE YOU ANTI-SEMANTIC? GO TO THE JSTOR to FIND OUT (during COVID)! 'Given the essay's nuts-and-bolts attitude' - C

author = Robert Christgau's Autobiography: Rock Music, Racial Practice, and One Black Man's Problematic Relationship with White Women

PLUS  ARE YOU ANTI-SEMANTIC?  GO TO THE JSTOR Like Old Time Rock and Roll (during the time of COVID)

'Given the essay's nuts-and-bolts attitude'  = C

@article{10.34042/claj.61.4.0218, ISSN = {00078549}, URL = {https://www.jstor.org/stable/10.34042/claj.61.4.0218}, author = {Arthur Saint-Aubin}, journal = {CLA Journal}, number = {4}, pages = {218--236}, publisher = 

 

title =

Robert Christgau: Rock n' Roll Animal 1 of 4

{Chuck Berry's Autobiography: Rock Music, Racial Practice, and One Black Man's Problematic Relationship with White Women

}, volume = {61}, year = {2018} } @article{10.2307/26397500, ISSN = {00274380, 1534150X}, URL = {http://www.jstor.org/stable/26397500}, author = {Michael Ashenfelder}, journal = {Notes}, number = {3}, pages = {560--561}, publisher = {Music Library Association}, reviewed-author = {Alex Westbrook}, volume = {71}, year = {2015} } @article{10.5406/ethnomusicology.59.1.0061, ISSN = {00141836, 21567417}, URL = {https://www.jstor.org/stable/10.5406/ethnomusicology.59.1.0061}, abstract = {Abstract. This paper integrates ethnographic description of several tribute band performances and a critical reading of popular music discourse in order to explain historical consciousness and examine the role that tribute bands are playing in its development. Tribute bands both construct and partake in this new attitude that treats the events of the popular music past with historical respect and legitimacy. Focusing on rock music as a case study, this paper provides an example of how events from the past can be re-made and re-configured into “history.”}, author = {John Paul Meyers}, journal = {Ethnomusicology}, number = {1}, pages = {61--81}, publisher = {[University of Illinois Press, Society for Ethnomusicology]}, title = {Still Like That Old Time Rock and Roll: Tribute Bands and Historical Consciousness in Popular Music}, volume = {59}, year = {2015} } @article{10.2307/24550673, ISSN = {0043373X}, URL = {http://www.jstor.org/stable/24550673}, abstract = {In the 1990s, clubs in Western Europe featuring remixed Romani music began to drawn large crowds of young people. This article analyzes the production of this soundscape, often trademarked as "Balkan Beats," by a growing DJ subculture, comprised of dozens of performers on five continents. Focusing on the most famous DJ, Shantel, I explore musical marketing via issues of representation and political economy. I highlight the tenuous position of Roma in this music scene where non-Roma dominate as artists, producers, and consumers. Appropriation provides a critical lens to investigate Shantel's claims to hybridity and multiculturalism via his mythical personal history.}, author = {Carol Silverman},

 

journal = {Western Folklore}, number = {1}, pages = {5--29}, publisher = {Western States Folklore Society}, title = {DJs and the Production of "Gypsy" Music: "Balkan Beats" as Contested Commodity}, volume = {74}, year = {2015} } @article{10.2307/43959249, ISSN = {10599789, 2164926X}, URL = {http://www.jstor.org/stable/43959249}, author = {Eugenia Williamson},

 

journal = {The Baffler}, number = {29}, pages = {110--119}, publisher = {Baffler Foundation}, title = {Punk Crock: Whistling eternal yesterday}, year = {2015} } @article{10.2307/24736821, ISSN = {02611430, 14740095}, URL = {http://www.jstor.org/stable/24736821}, author = {Paula Hearsum}, journal = {Popular Music}, number = {2}, pages = {358--360}, publisher = {Cambridge University Press}, reviewed-author = {Devon Powers}, volume = {33}, year = {2014} } @article{10.2307/24736970, ISSN = {02611430, 14740095},

URL = {http://www.jstor.org/stable/24736970}, abstract = {Between 1978 and 1984 Buddy Esquire designed over 300 hip hop flyers. His career coincided with the first flourishing of the Bronx scene, when hip hop shifted from a community-based event to a fullblown commercial phenomenon. This paper analyses Buddy Esquire's flyer design style, supported by a discussion with the flyer artist. The analysis demonstrates that Esquire's 'neo-deco' style communicates the aspiration of live hip hop to classiness by suppressing overt graffiti elements, by alluding to the nightclub culture of disco and by using the Art Deco stylings of the Jazz Age as a signifier of sophistication. The paper then moves beyond an interpretation of the flyers, searching for reflections of Buddy Esquire's aesthetic in early hip hop culture. Finally, it proposes that Buddy Esquire's flyers challenge assumptions in current hip hop scholarship regarding early hip hop's aesthetic relationship to the past (particularly the early 20th century) and its

 

self-documenting impulse.}, author = {AMANDA LALONDE}, journal = {Popular Music}, number = {1}, pages = {19--38}, publisher = {Cambridge University Press}, title = {Buddy Esquire and the early hip hop flyer}, volume = {33}, year = {2014} } @article{10.2307/43459761, ISSN = {0015119X}, URL = {http://www.jstor.org/stable/43459761}, author = {J. HOBERMAN}, journal = {Film Comment}, number = {5}, pages = {36--41}, publisher = {Temporary Publisher}, title = {ONCE UPON A TIME ...}, volume = {49}, year = {2013} } @article{10.2307/24589274, ISSN = {00263079, 21536856}, URL = {http://www.jstor.org/stable/24589274}, author = {Amy Nathan Wright}, journal = {American Studies}, number = {4}, pages = {141--169}, publisher = {Mid-America American Studies Association}, title = {Exploring the Funkadelic Aesthetic: Intertextuality and Cosmic Philosophizing in Funkadelic's Album Covers and Liner Notes}, volume = {52}, year = {2013} } @article{10.2307/23325784, ISSN = {02611430, 14740095}, URL = {http://www.jstor.org/stable/23325784}, abstract = {'The Boy with a Moon and Star on His Head' was written and recorded by Cat Stevens in 1972. This paper briefly examines the song's subject matter, before analysing its musical structure and that of the words to the song. As well as the standard pattern of end rhyme, a pattern of internal rhyme is also analysed, using tools derived from literary analysis. The words to the song are transcribed by a method which mediates between transcription of the words that make it look like a poem and the words as they appear in sheet music. Finally, the song's pattern of internal rhyme is placed into a context that includes songs as well as poems, suggesting that the song is an exception that suggests a rule for words in the singer-song at the time of the song's appearance.}, author = {DAI GRIFFITHS}, journal = {Popular Music}, number = {3}, pages = {383--400}, publisher = {Cambridge University Press}, title = {Internal rhyme in 'The Boy with a

 

Moon and Star on His Head', Cat Stevens, 1972}, volume = {31}, year = {2012} } @article{10.2307/23274333, ISSN = {01612492, 10806512}, URL = {http://www.jstor.org/stable/23274333}, author = {Greg Tate and Camille Goodison}, journal = {Callaloo}, number = {3}, pages = {621--637}, publisher = {The Johns Hopkins University Press}, title = {NEGROCITY: An Interview with Greg Tate}, volume = {35}, year = {2012} } @article{10.2307/23017620, ISSN = {10542043, 15314715}, URL = {http://www.jstor.org/stable/23017620}, abstract =

 

{For over 20 years, scholar and performance artist Joanna Frueh has been a pioneering force in feminist art and criticism. In homage to Frueh's "erotic scholarship," Frueh's own writing and performances concerning relationships between women are interwoven with a biographical history of the author and the artist's own student/teacher relationship.}, author = {Maria Elena Buszek}, journal = {TDR (1988-)}, number = {2}, pages = {104--113}, publisher = {The MIT Press}, title = {Mirror, Mirror: Joanna Frueh as Fairy Stepmother}, volume = {55}, year = {2011} } @article{10.2307/41691049, ISSN = {00097004}, URL = {http://www.jstor.org/stable/41691049}, author = {Adam Nayman}, journal = {Cinéaste}, number = {3}, pages = {65--66}, publisher = {Cineaste Publishers, Inc}, reviewed-author = {Jonathan Lethem}, volume = {36}, year = {2011} }

 

@article{10.2307/40539563, ISSN = {00274380, 1534150X}, URL = {http://www.jstor.org/stable/40539563}, author = {John Clark}, journal = {Notes}, number = {3}, pages = {653--654}, publisher = {Music Library Association}, volume = {66}, year = {2010} } @article{10.2307/41690698, ISSN = {00097004}, URL = {http://www.jstor.org/stable/41690698}, author = {Zach Campbell and Robert Cashill and Mike D'Angelo and Steve Erickson and Andrew Grant and J. Hoberman and Kent Jones and Glenn Kenny and Robert Koehler and Kevie B. Lee and Karina Longworth and Adrian Martin and Adam Nayman and Theodoros Panayides and Jonathan Rosenbaum and Dan Sallitt and Richard Schickel and Campaspe and Girish Shambu and Michael Sicinski and Amy Taubin and Andrew Tracy and Stephanie Zacharek}, journal = {Cinéaste}, number = {4}, pages = {30--45}, publisher = {Cineaste Publishers, Inc}, title = {

 

FILM CRITICISM IN THE AGE OF THE INTERNET: A CRITICAL SYMPOSIUM: Caught in the Web, prient and new media writers debate the pros and cons of online, where everyone's a critic}, volume = {33}, year = {2008} } @article{10.2307/43458304, ISSN = {0015119X}, URL = {http://www.jstor.org/stable/43458304}, author = {Rob Nelson}, journal = {Film Comment}, number = {6}, pages = {19--19}, publisher = {Film Society of Lincoln Center}, title = {Stop the Presses}, volume = {43}, year = {2007} } @article{10.2307/4500338, ISSN = {02611430, 14740095}, URL = {http://www.jstor.org/stable/4500338}, abstract = {Paolo Conte is the most internationally successful of the Italian singer-songwriters who emerged in the 1960s and 1970s. He is also among the most idiosyncratic, eclectic and unusual exponents of what Franco Fabbri has defined as the canzone d'autore (author's song). Nonetheless he remains a rather arcane, cult figure in the Anglophone world - an example of what Simon Frith has called 'the unpopular popular'. A combination of apparent opposites - the provincial and the cosmopolitan - his music appropriates a global sweep of influences without being definable as 'world music'. Characteristics of both his rough, untrained singing style and wry, ironic and opaque compositions have strong affinities with US singer-songwriters like Tom Waits and Randy Newman, and he draws heavily on early American jazz influences, although he remains quintessentially Italian. This makes him difficult to categorise in the world music market.}, author = {Tony Mitchell}, journal

 

{Popular Music}, number = {3}, pages = {489--496}, publisher = {Cambridge University Press}, title = {Paolo Conte: Italian 'Arthouse Exotic'}, volume = {26}, year = {2007} } @article{10.2307/4500345, ISSN = {02611430, 14740095}, URL = {http://www.jstor.org/stable/4500345}, author = {Stephen Chase}, journal = {Popular Music}, number = {3}, pages = {521--523}, publisher = {Cambridge University Press}, reviewed-author = {Kyle Gann}, volume = {26}, year = {2007} } @article{10.2307/40071655, ISSN = {07344392, 19452349}, URL = {http://www.jstor.org/stable/40071655}, author = {Caroline Polk O'Meara}, journal = {American Music}, number = {2}, pages = {193--215}, publisher = {University of Illinois Press}, title = {The Bush Tetras, "Too Many Creeps," and New York City}, volume = {25}, year = {2007} } @article{10.2307/23416143, ISSN = {08885753}, URL = {http://www.jstor.org/stable/23416143}, author = {Shirley Peterson}, journal = {Studies in Popular Culture}, number = {2}, pages = {99--115}, publisher = {Popular Culture Association in the South}, title = {Patriot Acts: Steve Earle's "Jerusalem"}, volume = {29}, year = {2007} } @article{10.2307/3877527, ISSN = {02611430, 14740095}, URL = {http://www.jstor.org/stable/3877527}, abstract = {By focusing on brief examples from four writers-journalists Anthony DeCurtis and Lester Bangs, academics Sheila Whiteley and Susan McClary - this piece is designed to inspire and/or shame readers into paying closer attention to how they use language when they describe or analyse music. An effort was made to keep the tone of the critiques informal and conversational, thus approximating the mood of the kind of session the author has found effective in more than thirty years of editing at The Village Voice, and many years of teaching writing to ambitious undergraduates as well as a class full of journalism grad students. In such sessions, the intention is always to better enable the writer to say what he or she wants to say as convincingly as possible. If ideas are called into question, that is because the editor believes them to be overly familiar, inconsistent, or already discarded by the writer's audience. What is at issue is the writing, not the writer. This is not to deny, unfortunately, that sometimes hurt feelings ensue. It should be added that the references to magic initially addressed the conference theme 'This Magic Moment'.

 Given the essay's nuts-and-bolts attitude, however, they retain a more general relevance.}, author = {Robert Christgau},

journal = {Popular Music}, number = {3}, pages = {415--421}, publisher = {Cambridge University Press}, title = {Writing about Music Is Writing First}, volume = {24}, year = {2005} } @article{10.2307/3877518, ISSN = {02611430, 14740095}, URL = {http://www.jstor.org/stable/3877518}, journal = {Popular Music}, number = {3}, pages = {i--v}, publisher = {Cambridge University Press}, title = {Front Matter}, volume = {24}, year = {2005} } @article{10.1525/jm.2005.22.2.241, ISSN = {02779269, 15338347}, URL = {http://www.jstor.org/stable/10.1525/jm.2005.22.2.241}, abstract = {

 

ABSTRACT The Beatles recorded two starkly different musical settings of John Lennon's controversial 1968 song “Revolution”: One was released as a single, the other appeared on the White Album (as “Revolution 1”). Lennon's lyrics express deep skepticism about political radicalism, and the single, with its lines “But when you talk about destruction/… you can count me out,” incited rage among critics and activists on the Left. Lennon appears less opposed to violent protest in “Revolution 1”—recorded first, though released later—where he sang “you can count me out—in.” The reception of “Revolution” reflected a focus on the words and their apparent political meanings, largely ignoring the musical differences between the two recordings of the song. Moreover, the response to “Revolution” had much to do with public perceptions of the Beatles. Their rivals the Rolling Stones, seen as a more radical alternative voice, released the equally political “Street Fighting Man” at virtually the same moment in 1968. The much more favorable public reaction to the latter had at least as much to do with the way the bands themselves were perceived as with differences between the

 

songs.}, author = {JOHN PLATOFF}, journal = {The Journal of Musicology}, number = {2}, pages = {241--267}, publisher = {University of California Press}, title = {John Lennon, “Revolution,” and the Politics of Musical Reception}, volume = {22}, year = {2005} } @article{10.2307/23540701, ISSN = {01624962, 15291456}, URL = {http://www.jstor.org/stable/23540701}, journal = {Biography}, number = {4}, pages = {882--944}, publisher = {University of Hawai'i Press}, title = {REVIEWED ELSEWHERE}, volume = {27}, year = {2004} }