Sexing the Groove: Popular Music and Gender
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Sexing the Groove discusses these issues and many more, bringing together leading music and cultural theorists to explore the relationships between popular music, gender and sexuality. The contributors, who include Mavis Beayton, Stella Bruzzi, Sara Cohen, Sean Cubitt, Keith Negus and Will Straw, debate how popular music performers, subcultures, fans and texts construct and deconstruct `masculine' and `feminine' identities. Using a wide range of case studies, from Mick Jagger to Riot Grrrls, they demonstrate that there is nothing `natural', permanent or immovable about the regime of sexual difference which governs society and culture.
Sexing the Groove also includes a comprehensive annotated bibliography for further reading and research into gender and popular music.
of ISD with satanism which had resulted in the Sharon Tate murders culminated in a panic reaction to the adverse effects of drugs. Personal survival, drugs and rock ideology generally were focused by the US broadcast licensing authorities warning radio stations that they would be subverting the government's campaign against drug abuse if they mentioned lyrics which referred, however obliquely, to dope. Was it, then, a sense of fatalism that pushed Jagger back into the role of cock rock hero?
would appear to work in a manner similar to that of pornography in that it articulates the disruptive potential of sexual passion. On the positive side, it could be argued that Jagger's sense of ambivalent sexuality opened up defmitions of gender which were to dominate much of the early 1970s and which are still prevalent today. In particular, they provide a framework within which the male performer and fan alike can fmd a range of heterosexual and homosexual expression. NOTES Frith, S. and
into racial- and gender-specific terms material that does not fall under some people's definition of blues supports Daphne Duval Harrison's assertion that 'It is idle to argue whether they were closer to vaudeville blues or jazz singing than to authentic· blues; what counts is that the audience for the recordings accepted and endorsed them as blues. '22 As we shall see, female rockabilly singers often crossed generic and racial boundaries 142 THE WILD, WILD WOMEN OF ROCKABILLY Wanda Jackson's
Feminism, 'subculture' and grrri power Marion Leonard Part IV Music, image and identity 257 14 SEDUCED BY THE SIGN An analysis of the textual links between sound and 259 image in pop videos Sheila Whitdey 15 FEELING AND FUN Romance, dance and the performing male body in the Take That videos Paul McDonald 277 16 ROLLING AND TUMBLING 295 Digital erotics and the culture of narcissism Sean Cubitt vi CONTENTS Part V Annotatedbibliography 17 SOURCES FOR FURTHER READING AND RESEARCH Index
strut their stuff? By addressing their lives and work from a principally hagiographic perspective, a fault of this essay as it is of too much secondary literature, we potentially give too much autonomy to individuals forced to work as agents of the culture industry and assume that their perseverance diminished some of its hold over them. That is a great deal to presume, but, again, George Lipsitz provides a sensible gloss on this thorny dilemma: 'These songs do not plot social revolution, but