scholarly journals Beatle Boots and Lennon Glasses - 1960s fashion in Pop Music

2021 ◽  
Vol 3 (3) ◽  
pp. 53-71
Author(s):  
Kathrin Engelskircher
Keyword(s):  
Border Crossing ◽  
Strong Impact ◽  
Pop Music ◽  
Specific Kind ◽  
Music Scene ◽  
Strongly Connected ◽  
New Perspective ◽  
The 1960S ◽  
Media Channels ◽  
Interesting Development

Fashion is a phenomenon strongly connected with music. Artists are aware of what they wear on stage and in public spaces and how they present themselves via social media channels. In this way, they do not only create a certain image of themselves through this self-staging strategy, but they also show their affiliation to a certain scene. In the 1960s a specific kind of music was developed which was, therefore, also characterised by a particular way of dressing and style to the current music scene which owes its strong impact to the current music scene. The Beatles as the maybe most influential band of the 1960s with a very interesting development regarding their own fashion serve as a model for the style of the Spanish-Chilean, Germany-based band The Recalls. Their specific kind of appropriation actualises, transforms and recontextualises as a translational act the fashion of The Beatles in a postmodern way. This approach underlines the chance of establishing a transcultural dialogue and tries to develop a new perspective on other border-crossing phenomena.

Race, Self-Invention, and Dusty Springfield’s Voice

2021 ◽  
pp. 139-166
Author(s):  
Alexandra M. Apolloni
Keyword(s):  
African American ◽  
White Women ◽  
Pop Music ◽  
Black Artists ◽  
Music Scene ◽  
Tv Program ◽  
The 1960S

In the 1960s, Dusty Springfield’s voice earned her frequent comparisons to African American vocalists. This chapter argues that Springfield’s vocal sound reveals how racialized listening processes operate. It shows how the historical reception of Black singers in Britain, assumptions about how white women sounded, and a pop music scene that cultivated excitement through engagement with racial otherness moved listeners to hear her voice in racialized terms. The chapter begins with discussion of how Springfield’s story of vocal transformation has been told by her biographers. Then, it consider two key collaborations between Springfield and Black artists: the “Sound of Motown,” a special episode of the TV program Ready Steady Go!, and her 1969 album, Dusty in Memphis. Although separated only by five years, the two performances in question construct Springfield’s relationship to race and identity much differently, responding, in part, to political, cultural, and musical changes that occurred during the intervening years.

"Nécessité d'une orientation esthétique": Techniques of Development in the Music of Boulez

2019 ◽  
Vol 6 (1) ◽  
pp. 87-129
Author(s):  
Catherine Losada
Keyword(s):  
Significant Influence ◽  
Major Change ◽  
Compositional Process ◽  
Base Materials ◽  
Compositional Approach ◽  
The Creation ◽  
Open Work ◽  
Additional Level ◽  
New Perspective ◽  
The 1960S

The latter part of the 1950s saw a major change in Boulez's compositional approach: Instead of creating extensive pre-compositional sketches, he increasingly reused previously composed materials as the basis for new works. The shifting aesthetics that characterized this period had a significant influence on Boulez. His works from the late 1950s explore the ideas of mobility embedded in the open work. Balancing the concept of mobility with the ideals of control that form the basis of his compositional ideology led to an economy of means and an associated emphasis on the concept of development in his compositional process. Both facilitated the creation of new works from a more limited array of base materials.<br/> Tracing the concept of development in a sample of Boulez's sketches and works from the late 1950s through the 1960s, this essay presents a preliminary typology of recurring pitch and temporal developmental techniques. By taking a bird's-eye view, I add an additional level of interpretation, emphasizing their formal function, association with aspects of middleground structure and studying their implications in terms of perception. In this way, I present a new perspective on the association between these techniques and the practice of derivation from a limited amount of material that characterizes these works.

scholarly journals Džon i Žaklina Kenedi: politika, kultura i „nova granica“ odevanja

2016 ◽  
Vol 10 (4) ◽  
pp. 857
Author(s):  
Simona Čupić
Keyword(s):  
Political Affiliation ◽  
Social Changes ◽  
Specific Kind ◽  
The Public ◽  
Contemporary Politics ◽  
Internal Politics ◽  
Art And Culture ◽  
History Of ◽  
The 1960S ◽  
The Cold War

Jacqueline Kennedy’s style is one of the mainstays of the history of fashion and popular culture, as well as contemporary politics. John Kennedy’s way of dressing garnered much less attention. Even though, at first glance, not as interesting as the first lady’s “fashion sense”, the president’s style was no less thought-out. If, however, we view the changes in clothing as social changes and a determinant of various kinds of social differentiation: marital status, sex, occupation, religious and political affiliation, the way in which the Kennedys were presented to the public becomes more interesting – from the (carefully planned) photos and appearances to art and culture. Having in mind that the 1960s were a time when the appropriation of popular and fictional came back into modern art, and that general changes inherent in the new lifestyle, as well as a layered image of American internal politics, and the cold war map of the world, the carefully thought-out image of the presidential couple can be viewed as a specific kind of metaphor for a complicated time.

Introduction: almost nothing

2017 ◽  
Author(s):  
Anna Dezeuze
Keyword(s):  
Contemporary Art ◽  
Human Condition ◽  
Work Of Art ◽  
Art Object ◽  
New Perspective ◽  
The 1960S ◽  
Definition Of ◽  
The Human Condition

This introduction introduces the term ‘precariousness’ by contrasting it with the ‘ephemeral’. Precarious practices that explore the ‘almost nothing’ are situated in the context of studies of ‘nothingness’ and empty exhibitions in contemporary art. Such debates focus on the ‘dematerialisation’ of the art object since the 1960s, which will be addressed from a new perspective following Lawrence Alloway’s 1969 definition of ‘an expanding and disappearing’ work of art. Re-readings of the materiality of contemporary art since the 1960s are related to continental debates concerning ‘precarity’ in the 1990s, and traced back to Hannah Arendt’s 1958 remarks on The Human Condition. Two different philosophical books — Vladimir Jankélévitch’s 1957 Le Je-ne-sais-quoi et le presque rien, and Simon Critchley’s 1997 Very little, almost nothing — point to some of the questions and methods raised by the study of precarious practices.

Between Order and Justice: Investments in Africa and Corporate International Responsibility in Swedish Media in the 1960s

2019 ◽  
Vol 20 (2) ◽  
pp. 401-444 ◽  
Author(s):  
NIKOLAS GLOVER
Keyword(s):  
Public Relations ◽  
Home Country ◽  
International Study ◽  
Border Crossing ◽  
Media Representations ◽  
Business Community ◽  
Business Organizations ◽  
Policy Problem ◽  
The 1960S ◽  
Corporate Social

This article analyzes how the public relations of multinational companies was affected by the double impact of decolonization and spread of television during the 1960s. It contributes to recent theoretical conceptualizations of corporate social responsibility by adding the dimension of home country stakeholders and the border-crossing character of corporate responsibility. The analysis deals with the changing media representations in Sweden of Swedish-owned firms in Liberia and South Africa before, during, and after what has been called the “postcolonial moment” (1960–1963). In its wake, Swedish industrialists faced a new policy problem: firms in overseas markets were no longer expected to do only what was legal in the host country but also what was considered right in their home country. The analysis follows the debates concerning this issue of corporateinternationalresponsibility throughout the 1960s, and how national business organizations and executives in firms such as the Liberian-American-Swedish Mining Company publicly sought to defend the role of Swedish foreign direct investment in Africa. The business community developed various public relations strategies to engage with its critics, professionalized their media relations, and organized international study tours for unions and politicians.

Adopting imports: new images and alliances in Brazilian popular music of the 1990s

Popular Music ◽  
1999 ◽  
Vol 18 (3) ◽  
pp. 309-329 ◽  
Author(s):  
Cristina Magaldi
Keyword(s):  
Popular Music ◽  
Urban Youth ◽  
State Of The Art ◽  
Electronic Apparatus ◽  
Music Scene ◽  
Bossa Nova ◽  
The 1960S ◽  
Political Scene ◽  
Musical Styles

Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.

The Italian Socialist Party in postwar Europe: a study of its relationship with the USSR and the October Revolution from the 1940s to the 1960s

Modern Italy ◽  
2020 ◽  
pp. 1-21
Author(s):  
Jacopo Perazzoli
Keyword(s):  
Second World War ◽  
October Revolution ◽  
Socialist Party ◽  
Postwar Europe ◽  
New Perspective ◽  
Democratic Parties ◽  
The 1960S ◽  
Social Democratic Parties ◽  
The Relationship ◽  
Second World

The main goal of this article is to analyse the relationship between the Italian Socialist Party (PSI) – a party that followed a different trajectory from other Western social democratic parties following the Second World War – and the October Revolution and the USSR from the 1940s to the 1960s. In particular, given the political context of postwar Europe, it aims to use this relationship to understand the party's political and programmatic evolution from a new perspective. To this end, the article is largely based on archival investigation and on a wide examination of press sources from the period.

scholarly journals ‘Rock'n'roll was everywhere’: Youth culture history as heritage tourism on Queensland's Gold Coast

2015 ◽  
Vol 22 (2) ◽  
pp. 131-142 ◽  
Author(s):  
Christine Feldman-Barrett
Keyword(s):  
Popular Music ◽  
Urban Area ◽  
Youth Culture ◽  
Heritage Tourism ◽  
Gold Coast ◽  
Culture History ◽  
The Future ◽  
Australian City ◽  
New Perspective ◽  
The 1960S

AbstractHistorically, the Gold Coast is a ‘young’ city and urban area inextricably tied to tourism, and a reputation for sun and surf. While this is undeniably true, another lesser known narrative bound to music-driven youth culture from the 1960s to the 1980s is also part of the Gold Coast's history. With ‘heritage tourism’ linked to popular music in recent years, this article examines how the Gold Coast's youth culture history may potentially inform new tourist practices in the country's sixth largest city. Regardless of whether such heritage tourism is ever adopted by the Gold Coast's governing bodies, mapping this relationship between music, youth and place offers a new perspective on an active Australian city— one often stereotyped as a place with a penchant for erasing its past and only looking to the future.

scholarly journals John Lennon, autograph hound: The fan-musician community in Hamburg's early rock-and-roll scene, 1960–65

2010 ◽  
Vol 6 ◽  
Author(s):  
Julia Sneeringer
Keyword(s):  
Working Class ◽  
Social Space ◽  
West Germany ◽  
Rock And Roll ◽  
Lingua Franca ◽  
Economic Miracle ◽  
Music Scene ◽  
The 1960S ◽  
Opening Up

This article explores the Beat music scene in Hamburg, West Germany, in the early 1960s. This scene became famous for its role in incubating the Beatles, who played over 250 nights there in 1960–62, but this article focuses on the prominent role of fans in this scene. Here fans were welcomed by bands and club owners as cocreators of a scene that offered respite from the prevailing conformism of West Germany during the Economic Miracle. This scene, born at the confluence of commercial and subcultural impulses, was also instrumental in transforming rock and roll from a working-class niche product to a cross-class lingua franca for youth. It was also a key element in West Germany's broader processes of democratization during the 1960s, opening up social space in which the meanings of authority, respectability, and democracy itself could be questioned and reworked.

The Spatial Expansion of Language in Sound Poetry of Western and Eastern Europe

2016 ◽  
Author(s):  
Endre Szkárosi
Keyword(s):  
Twentieth Century ◽  
Comparative Study ◽  
Eastern Europe ◽  
Pop Music ◽  
Spatial Expansion ◽  
Avant Garde ◽  
Sound Poetry ◽  
The 1960S ◽  
The Given

This chapter offers an analysis of the process in which Hungarian poetry “takes back” (recuperates) the vocal and sonic dimensions of language in the second half of the twentieth century. Together with its actional parallels and consequences, this progress implicates a powerful functionalization of the performativity in poetry, which, for various reasons, was neglected in historical avant-garde poetry in Hungary. New avant-garde and experimental waves in art and influences of radical pop music were much more productive in this sense from the 1960s on, and several inspirations of Western cultural trends helped to form a particular underground scene, mainly in the 1980s. Contextualizing these phenomena, the author makes a comparative study of the main tendencies of the given period on such a field in Euro-American sound poetry experimentations (Futurism, Dada, Fluxus), while highlighting some outstanding works of Hungarian poets and groups, such as Tibor Papp, Katalin Ladik, and Konnektor.

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