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blue-beat

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Journal Articles
Journal of Popular Music Studies. 2019; 31395–118 doi: https://doi.org/10.1525/jpms.2019.313010
Published: 03 September 2019
...Sean Lorre Retrospectively referred to as blue beat, “Jamaican rhythm and blues” (JA-R&B) was one of many R&B styles performed and consumed in the UK during the early 1960s. Despite the genre’s importance to African-Caribbean migrant communities, urban subcultures, and, eventually...
Journal Articles
Journal of Popular Music Studies. 2020; 32110–25 doi: https://doi.org/10.1525/jpms.2020.32.1.10
Published: 01 March 2020
... them with mentors and experiences and to watch a vision coalesce. I also do all kinds of consulting and production. I produced the Roots Gospel Americana blues record for an artist named Sean Michel last year. I still perform concerts every so often with my wife and our band, The Wayside, and I...
Journal Articles
Journal of Popular Music Studies. 2019; 31495–120 doi: https://doi.org/10.1525/jpms.2019.31.4.95
Published: 01 December 2019
... representative of a Southern Anglo American history and identity. From about 1954 to 1958, white artists from the South, such as Elvis Presley, Carl Perkins, Jerry Lee Lewis, Johnny Burnette, and Buddy Holly, developed and popularized a particular style of rock ‘n’ roll by blending rhythm & blues elements...
Journal Articles
Journal of Popular Music Studies. 2019; 314121–141 doi: https://doi.org/10.1525/jpms.2019.31.4.121
Published: 01 December 2019
... for traditional white power include familiar artistic identities within country music, including white trash, redneck, and blue collar identities. Within country music studies, Barbara Ching notes these can morph into “a deliberate display of burlesque abjection,” 20 and Nadine Hubbs calls...
Journal Articles
Journal of Popular Music Studies. 2019; 31451–66 doi: https://doi.org/10.1525/jpms.2019.31.4.51
Published: 01 December 2019
..., they tended to abandon the habanera in favor of a four-beat measure and more subtle syncopations ( Link and Wendland, 2016 , pp. 46–49; Kohan, 2010 , pp. 26–30). These musical innovations—occurring just as Louis Armstrong, Duke Ellington, Fletcher Henderson, and others were revolutionizing jazz—were...
Journal Articles
Journal of Popular Music Studies. 2019; 314142–160 doi: https://doi.org/10.1525/jpms.2019.31.4.142
Published: 01 December 2019
... across in his fans' colorful language about him. These traits include his long phrasing and breath control, pitch bending, sliding between pitches, and lagging behind the beat more so than other singers of the era. Sinatra historian Will Friedwald writes, “That use of long notes, which established...
Journal Articles
Journal of Popular Music Studies. 2019; 31416–31 doi: https://doi.org/10.1525/jpms.2019.31.4.16
Published: 01 December 2019
... roots of a culture. For example, the colors blue and red come from gang culture. There are people who have died because of these colors. There are reasons behind why and how people braid their hair. We need to understand this. We need to know the history of blackface. We need to learn the legacies of...
Journal Articles
Journal of Popular Music Studies. 2019; 313145–150 doi: https://doi.org/10.1525/jpms.2019.313012
Published: 03 September 2019
...-1979; Life and Death on the New York Dance Floor, 1980-1983 (Durham: Duke University Press, 2004 and 2016). 12. Sedgwick, Tendencies , 6. 13. Walter Hughes, “In the Empire of the Beat,” in Microphone Fiends: Youth, Music, Culture , eds. Tricia Rose and Andrew Ross (New York: Routledge...
Journal Articles
Journal of Popular Music Studies. 2019; 31311–28 doi: https://doi.org/10.1525/jpms.2019.313004
Published: 03 September 2019
... because of the success of the Pop Conference that Eric has helped to nurture. I don’t know if any of you are familiar with Samuel Delany’s Time Square Red, Time Square Blue . It’s this great book that’s about Time Square, but it’s also about sociability in a very broad sense. And he develops these...
Journal Articles
Journal of Popular Music Studies. 2019; 312165–174 doi: https://doi.org/10.1525/jpms.2019.312013
Published: 02 June 2019
... (Durham & London: Duke University Press, 2017), 9. See also Fred Moten, In The Break: The Aesthetics of the Black Radical Tradition (Minneapolis: University of Minnesota Press 2003), 1−24. 22. LeRoi Jones (Amiri Baraka), Blues People: Negro Music in White America (New York: Harper Perennial...
Journal Articles
Journal of Popular Music Studies. 2019; 312187–190 doi: https://doi.org/10.1525/jpms.2019.312017
Published: 02 June 2019
... Seeger’s father, Charles) and hundreds more. The second folk music revival, in the 1940s, 1950s, and 1960s, took its impetus from two of the Weavers, Lee Hays and Pete Seeger. In the 1940s, they formed the Almanac Singers, devoted to folk, labor unions, peace, and beat-Hitler songs. They also remodeled...
Journal Articles
Journal of Popular Music Studies. 2019; 31237–50 doi: https://doi.org/10.1525/jpms.2019.312006
Published: 02 June 2019
... called “Pass the Gat” and “Punks Jump Up to Get Beat Down” on their second album, In God We Trust. 11. As Tricia Rose notes, however, these rappers have never gone platinum, while many acts who offer albums that “satisfy larger society’s stereotypes about fantasies about black youth and ghetto...
Journal Articles
Journal of Popular Music Studies. 2019; 311157–174 doi: https://doi.org/10.1525/jpms.2019.311012
Published: 01 March 2019
... Bessie Smith, Billie Holiday, and Nina Simone: Sound Motion, Blues Spirit, and African Memory . New York : Routledge , 2007 . Brooks, Daphne A. “Nina Simone’s Triple Play.” Callaloo 34 , no. 1 (Winter 2011 ): 176 - 97 . Brun-Lambert, David . Nina Simone: The Biography . London...
Journal Articles
Journal of Popular Music Studies. 2019; 31165–86 doi: https://doi.org/10.1525/jpms.2019.311008
Published: 01 March 2019
.... 51. Ed Morales, The Latin Beat: The Rhythms and Roots of Latin Music from Bossa Nova to Salsa and Beyond (Cambridge, MA: Da Capo Press, 2003), 66−67. 52. Indeed, there would be more rioting in the Bronx in 1976 during the blackout across the city. 53. The difference between Bad Bunny’s...
Journal Articles
Journal of Popular Music Studies. 2019; 31115–28 doi: https://doi.org/10.1525/jpms.2019.311003
Published: 01 March 2019
... about the soul. We all called upon this energy; the audience called upon it. Cris just happened to be the person who came in on the horse with the songs, with the perfect voice. And so this was destiny. I think about the witches who were burned at the stake and all the women who were beat up, not...
Journal Articles
Journal of Popular Music Studies. 2018; 30411–70 doi: https://doi.org/10.1525/jpms.2018.300403
Published: 04 December 2018
... uncertain future ( Figure 24 ). The berimbau strikes every four hi-hat ticks, and the alternating (e.g. low-high) pattern of the berimbau takes eight beats to cycle, but Quavo’s incantation spans across the end and beginning of two eight-beat groups, fusing them into a longer sixteen-beat cycle. The...
Journal Articles
Journal of Popular Music Studies. 2018; 304161–176 doi: https://doi.org/10.1525/jpms.2018.300411
Published: 04 December 2018
...,” The Cambridge Companion to Pop and Rock , 2001, 243. 4. Travis Gosa, Hip hop, authenticity, and style shifting in the 2016 presidential election,” Journal of Popular Music Studies , 29 no. 3, 2017; Erik Nielson, “My president is black, my lambo’s blue: The Obamafication of rap?” Journal of...
Journal Articles
Journal of Popular Music Studies. 2018; 304177–190 doi: https://doi.org/10.1525/jpms.2018.300412
Published: 04 December 2018
...-colonialism do not reflect the way that all people think about their relationship to the land. 9. John Mowitt, Percussion: Drumming, Beating, Striking, (Durham, NC: Duke University Press, 2002). 10. Jennifer Lynn Stoever, The Sonic Color Line: Race & The Cultural Politics of Listening . (New...
Journal Articles
Journal of Popular Music Studies. 2018; 30475–94 doi: https://doi.org/10.1525/jpms.2018.300405
Published: 04 December 2018
... old school or just call me old, but I can’t hear Bieber’s mush-mouthed mimicry without longing for Chapman’s full-throated lyricism—for hers and the rest of the polyphonic butch voices that made my teenage heart beat fast enough that it could fly away. TAYLOR BLACK For my part in this...
Journal Articles
Journal of Popular Music Studies. 2018; 304143–160 doi: https://doi.org/10.1525/jpms.2018.300410
Published: 04 December 2018
...”) to Tuvan throat-singing (“Criptomelodie infantili”) and the American talking blues of John Lee Hooker (“Boom Boom”) 29 , and incorporated them into his own unique program of research and improvisation that enriched his performances with Area. In the course of his studies from 1976 to 1979...