By Sheila Whiteley
Sexing the Groove discusses those concerns and plenty of extra, bringing jointly prime song and cultural theorists to discover the relationships among renowned song, gender and sexuality. The members, who comprise Mavis Beayton, Stella Bruzzi, Sara Cohen, Sean Cubitt, Keith Negus and should Straw, debate how renowned tune performers, subcultures, enthusiasts and texts build and deconstruct 'masculine' and 'feminine' identities. utilizing a variety of case reviews, from Mick Jagger to insurrection Grrrls, they display that there's not anything 'natural', everlasting or immovable concerning the regime of sexual distinction which governs society and culture.
Sexing the Groove additionally incorporates a complete annotated bibliography for extra interpreting and study into gender and renowned tune.
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Additional resources for Sexing the Groove: Popular Music and Gender
Vincentelli, Elisabeth (1994) Letter excerpted in 'Year of the Woman' Music Supplement, Village Voice 8 (I March): 24. Weisbard, Eric (1994a) Letter excerpted in 'Year of the Woman' Music Supplement, Village Voice 8 (I March): 24. Weisbard, Eric (1994b) 'Over & Out: Indie Rock Values in the Age of Alternative Million Sellers', The Village Voice Rock &. Roll Quarterly Summer: 15-19. Willis, Sharon (1993/94) 'The Fathers Watch the Boy's Room', Camera Obscura 32 (September-January): 42-73. 16 2 MEN MAKING A SCENE Rock music and the production of gender Sara Cohen INTRODUCTION In 1996 two liverpool bands, the lightning Seeds and Cast, were nominated for 'best band' and 'best new band' categories in the annual Brit Awards.
Both these transformations are meant to signal a (belated) coming of age, and the signs of this new maturity are a declining interest in policing other's tastes and the withering of the main character's commitment to anti-commercial, connoisseurist musical tastes. As it moves towards its conclusion, the novel becomes increaSingly ironic. Changes described to us (in the protagonist's own VOice) as logical adaptations to changing material or romantic circumstances are clearly, from our vantage-point as readers, an ageing male's strategies for survival in a cultural realm in which his place is no longer certain.
With the director of this fihn, as with everyone who has discussed the subject with me, there was easy and intuitive acceptance of the idea that record collecting, within AngloAmerican cultures at least, is among the more predictably male-dominated of music-related practices. The challenge, however, is to determine what might be said next. When people are pressed to account for the gendered, masculinist character of record collecting, the certainty that it is so gives way to hesitant and often contradictory explanations as to why.