Public consciousness, political conscience and memory in Latin American nueva canción

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Popular music and/as event: subjectivity, love and fidelity in the aftermath of rock ’n’ roll

This article concerns the usefulness of attaching a philosophy of the event to popular music studies. I am attempting to think about the ways that rock ’n’ roll functions as a musical revolution that becomes subjected to a narrative of loss accompanying the belief that the revolution has floundered, or even disappeared completely. In order to think about what this narrative of loss might entail I have found myself going back to the emergence of rock ’n’ roll, to what we might term its ‘event’, and then working towards the present to take stock of the current situation. The article is divided into three parts. Part One attempts to think of the emergence of rock ’n’ roll and its attendant discourse alongside Alain Badiou’s notion of event, looking at ways in which listening subjects are formed. Part Two continues the discussion of listening subjectivity while shifting the focus to objects associated with phonography. Part Three attends to a number of difficulties encountered in the Badiouian project and asks to what extent rock music might be thought of as a lost cause. All three parts deal with notions of subjectivity, love and fidelit

The choreography of longing: songs, screens and space in Carlos Saura’s 'Fados'

Carlos Saura’s 2007 film Fados follows the director’s earlier works Flamenco (1995) and Tango (1998) by showing musicians performing a vernacular music genre while accompanied by dancers. This approach to Portugal’s ‘national music’ attracted consternation from fans of the genre due to the fact that, unlike flamenco and tango, fado does not have an associated dance form. For some commentators, Saura also took liberties by including a number of musicians from outside Portugal (including Spain, Africa and Latin America) and mixing traditional fado forms with other music genres (including rock, hip hop and Cape Verdean morna). Despite these potential distractions, Saura seems keen to depict the history of fado from its tangled roots to its present position as an urban folk music par excellence, a music that both evokes and inhabits the contemporary Portuguese city (in particular, the city of Lisbon). Through evocative use of light and shadow, Saura offers up a series of highly ‘photographic’ scenes in which fado’s poetics of urban haunting are made prominent. Therefore, rather than critiquing the director for his ‘inauthentic’ depiction of fado, I respond to Saura’s provocation by considering his film as a strategy for setting fado’s poetics of time, space and history in a new light. Taking a cue from the use of choreography and urban tableaux in the film, I offer a spatial reading of Fados that draws upon the work of Michel de Certeau and Henri Lefebvre. I argue that the film makes visible a ‘production of space’ that complements existing fado mythography

The same distant places: Bob Dylan's poetics of place and displacement

This article explores the emphasis in Bob Dylan's work on memory, place, and displacement. It rehearses some key issues raised by recent theorists who have been interested in the connections between these themes before proceeding to discuss tropes of displacement in Dylan's work. Topics covered include the importance of the city and its projection of the rural, the theme of moving on and its association with accumulated experience, and the ability of Dylan continually to reinvent himself. The article closes with a reflection on the album Time Out of Mind as a distillation of themes of place and displacement that can be found throughout Dylan's work and argues that the work presents a poetics of displacement that cannot shed the pull of place and the desire for homely permanence

Nina Simone

Since her death in 2003, Nina Simone has continued to be revered as a cultural icon and role model for scores of fans and fellow musicians. Much of her fame derives from her association with the civil rights movement, for which she wrote such classic songs as ‘Mississippi Goddam’, ‘Four Women’ and ‘Young, Gifted and Black’. The defiance and affirmation of such anthems was accompanied by an equal dedication to songs of melancholy, yearning and spiritual questing. Placing Simone and her music firmly within the socio-historical context of the 1960s, this book also argues for the importance of considering the artist’s entire career and for paying greater attention to her music than is often the case in biographical accounts. Simone defied musical categories even as she fought against social ones and the result is a body of work that draws upon classical and jazz music, country blues, French chanson, gospel, protest songs, pop and rock tunes, turning genres and styles inside out in pursuit of what Simone called “black classical music”. The book begins with a focus on the early part of Simone’s career and a discussion of genre and style. Connecting its analysis to a discussion of social categorization (with particular regard to race), it argues that Simone's defiance of stylistic boundaries can be seen as a political act. From here, the focus shifts to Simone’s self-written protest material, connecting it to her increasing involvement in the struggle for civil rights. The book also provides an in-depth account of Simone's 'possession' of material by writers such as Leonard Cohen, Bob Dylan, Sandy Denny and Judy Collins, while exploring the relationship between the personal and the political. In considering material from the Simone's lesser-known work from the 1970s to the 1990s, the study proposes a theory of the “late voice” in which issues of age, experience and memory are emphasised. The book concludes with a discussion of Simone's ongoing legacy

The Nietzschean Self: Moral Psychology, Agency, and the Unconscious by Paul Katsafanas

Review of The Nietzschean Self: Moral Psychology, Agency, and the Unconscious by Paul Katsafana

‘You can't just say “words”’: literature and nonsense in the work of Robert Wyatt

Throughout his musical career, British musician Robert Wyatt has explored the interaction of words, language, sound and sense. His lyrical and musical delivery, by turns absurdist, infantile, angry and melancholic, deconstructs everyday phrases and invites listeners to question the borders of sense and nonsense. This chapter examines connections between Wyatt’s work and a range of literary voices, particularly those associated with nursery rhyme, nonsense verse and absurdism. A further aim is to explore the role of sense and nonsense in popular music. If one of the ways in which music differs from literature is through its ability to communicate without words, can there be a relationship between sense and nonsense in musical language that correlates with that found in literature? In what ways can musical language be said to make or not make sense? Exposure to Wyatt’s work emphasises the extent to which, as a musician, he has made use of words and vocables, even as he has occasionally distanced himself from the importance of lyrics in his music. By focussing on the literary-textual nature of Wyatt’s work, the text highlights the different demands and expectations placed on the ‘popular’ and the ‘literary’

Mapping of transcription termination within the S segment of SFTS phlebovirus facilitated the generation of NSs-deletant viruses

SFTS phlebovirus (severe fever with thrombocytopenia syndrome virus; SFTSV) is an emerging tick-borne bunyavirus that was first reported in China in 2009. Here we report the generation of a recombinant SFTSV (rHB29NSsKO) that cannot express the viral non-structural protein (NSs) upon infection of cells in culture. We show that rHB29NSsKO replication kinetics are greater in interferon (IFN)-incompetent cells and that the virus is unable to suppress IFN induced in response to viral replication. The data confirm for the first time in the context of virus infection that NSs acts as a virally encoded IFN antagonist and that NSs is dispensable for virus replication. Using 3’ RACE we mapped the 3’ -end of the N and NSs mRNAs, showing that the mRNAs terminate within the coding region of the opposite open reading frame. We show that the 3’ end of the N mRNA terminates upstream of a 5’ -GCCAGCC-3’ motif present in the viral genomic RNA. With this knowledge, and using virus-like particles, we could demonstrate that the last 36 nt of the NSs ORF were needed to ensure the efficient termination of the N mRNA and were required for recombinant virus rescue. We demonstrate it is possible to recover viruses lacking NSs, expressing just a 12 amino acid NSs peptide or viruses encoding eGFP or a NSs-eGFP fusion protein in the NSs locus. This opens the possibility for further studies of NSs and potentially the design of attenuated viruses for vaccination studies

La coreografía de la nostalgia: canciones, imágenes y lugares en “Fados”, (2007), de Carlos Saura

At the time of its release in 2007, Carlos Saura’s Fados was presented as the third in a trilogy of films about modern urban musics, following Flamenco (1995) and Tango (1998). Like those films, Fados is dedicated to a particular genre – the Portuguese music of the film’s title – and presented as a series of performances. Stylistically it is closer to Flamenco in that it dispenses with plot, narrative and characters (still important in Tango), opting instead to proceed via staged performances involving singers, instrumentalists and dancers. Like the earlier films the main ‘action’ is shot on a large sound stage which has been fitted with an assembly of partitions, screens, mirrors and theatre props to create a distinct space for each performance and to allow the interaction of live and pre-recorded material, the latter delivered via projection, still photography and recorded sound