Oh Boy!: Masculinities and Popular Music by Freya Jarman-Ivens PDF

By Freya Jarman-Ivens

ISBN-10: 0415978203

ISBN-13: 9780415978200

From Muddy Waters to Mick Jagger, Elvis to Freddie Mercury, Jeff Buckley to Justin Timberlake, masculinity in renowned song has been a subject explored through performers, critics, and audiences. From the dominance of the blues singer over his "woman" to the delicate singer/songwriter, renowned track artists have followed a variety of gendered personae in a look for new different types of expression. occasionally those roles shift because the singer a while, attitudes swap, or new demanding situations at the pop scene come up; different instances, the personality hardens right into a shell-like masks that the performer struggles to flee.

Oh Boy! Masculinities and renowned Music is the 1st critical research of the way kinds of masculinity are negotiated, developed, represented and addressed throughout a number well known track texts and practices. Written by way of a bunch of the world over well-known well known tune scholars—including Sheila Whiteley, Richard Middleton, and Judith Halberstam—these essays research the concept that of masculinity in functionality and visual appeal, and the way either female and male artists have engaged with notions of masculinity in well known music.

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Extra resources for Oh Boy!: Masculinities and Popular Music

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Sexual desire represents a human quality that has long been figured as having dangerous potential. One means, then, to accumulate Negotiating Masculinity in an Indonesian Pop Song • 43 power and status is to transcend sexual urges. ”14 In a sense, then, the arena of sexual relations represents a win-win proposition for the men, who can gain status either by gratifying or denying their sexual urges. ”15 Female performers operate within the hegemonic framework of the patriarchy. Nancy Cooper’s discussion of the role of female singers in rural central Java parallels my own ideas about Sundanese ronggeng, suggesting that their primary function is to assist men in acquiring spiritual power: .

What a drag”) surely needs inverted commas, so providing the ironic connotations, whereby 24 • Sheila Whiteley “she,” (the “willing” and “playful pussy cat” of the song) are “dragged” into association with Mercury’s Queen-like persona. The audacious video heightens the connotations, suggesting an audiovisual love call to the gay community and, as such, the release of “Bohemian Rhapsody,” a signature track from Queen’s 1975 album, A Night at the Opera, provides an intriguing insight into Mercury’s private life at the time, the song’s three separate acts reflecting three separate turmoils, all, it seems, underpinned by Catholic guilt.

Women, through their attractive power, help men transform their exuberant power into constructive spiritual potency. . [Female singers], through singing, . . 16 In contrast to the win-win situation of the male participants, dance events are a lose-lose proposition for female participants—they deploy their own substantial power mainly to strengthen their male clients’ positions. Dance events provide a forum for men to gather, refine, and give evidence of their power; the female participants willingly submerge their own subjectivity in the service of this process.

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Oh Boy!: Masculinities and Popular Music by Freya Jarman-Ivens


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