35 research outputs found

    Seeing the way: visual sociology and the distance runner's perspective

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    Employing visual and autoethnographic data from a two‐year research project on distance runners, this article seeks to examine the activity of seeing in relation to the activity of distance running. One of its methodological aims is to develop the linkage between visual and autoethnographic data in combining an observation‐based narrative and sociological analysis with photographs. This combination aims to convey to the reader not only some of the specific subcultural knowledge and particular ways of seeing, but also something of the runner's embodied feelings and experience of momentum en route. Via the combination of narrative and photographs we seek a more effective way of communicating just how distance runners see and experience their training terrain. The importance of subjecting mundane everyday practices to detailed sociological analysis has been highlighted by many sociologists, including those of an ethnomethodological perspective. Indeed, without the competence of social actors in accomplishing these mundane, routine understandings and practices, it is argued, there would in fact be no social order

    Stories we could tell: words to American popular music

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    How has the history of rock ‘n’ roll been told? Has it become formulaic? Or remained, like the music itself, open to outside influences? Who have been the genre’s primary historians? What common frameworks or sets of assumptions have music history narratives shared? And, most importantly, what is the cost of failing to question such assumptions? "Stories We Could Tell:Putting Words to American Popular Music" identifies eight typical strategies used when critics and historians write about American popular music, and subjects each to forensic analysis. This posthumous book is a unique work of cultural historiography that analyses, catalogues, and contextualizes music writing in order to afford the reader new perspectives on the field of cultural production, and offer new ways of thinking about, and writing about, popular music

    Popular Music and Race

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    Michael Bertrand, moderato

    Did Wigan have a Northern Soul?

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    After the British marketing of Detroit’s take on electronic dance music in 1988, with the compilation Techno! The New Sound of Detroit, techno music has been interwoven with a particular representation of this North American city. Resonating internationally with other electronic dance music scenes, a unique mythology of Detroit techno draws new audiences to what was the capital of the Fordist automobile industry. Opening the discussion with Movement, the electronic festival central to Detroit’s annual Techno Week, we argue that Detroit and its citizens activate techno music to promote the renaissance of this once powerful industrial metropolis. Techno, and its associated cultural capital, act as value producers in the context of macro-economic urban regeneration processes within the local history and African-American futurist music aesthetics. From Detroit in the current era we trace back key issues, such as the mythology of Detroit as the “Techno City” and its DJ-producers, contrasting politics in Detroit’s techno scenes, and the appropriation of abandoned industrial spaces. Finally, the chapter addresses a dialogue of emerging techno music producers with the aesthetics of house music in Midwestern American industrial metropolis, Chicago. It is argued that techno dance music has articulated the technoculture since the late 1980s: in other words, it signifies lived experience of culture dominated by information and communication technologies in a city that had partly morphed into a post-industrial ruin
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