Abstract
Editorial| September 03 2019 Editors’ Note Eric Weisbard, Eric Weisbard Search for other works by this author on: This Site PubMed Google Scholar Robin James Robin James Search for other works by this author on: This Site PubMed Google Scholar Journal of Popular Music Studies (2019) 31 (3): 1–2. https://doi.org/10.1525/jpms.2019.313001 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Eric Weisbard, Robin James; Editors’ Note. Journal of Popular Music Studies 3 September 2019; 31 (3): 1–2. doi: https://doi.org/10.1525/jpms.2019.313001 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search Scholars are institutionally motivated revisionists, but our era’s interest in vaunting the underrepresented has fueled that fire. So, too, however, has the political drift right, raising questions about popular culture efficacy that have constrained old school rock and roll ballyhoo about music producing meaningful change. Both sentiments find voice in this issue. Norma Coates, elsewhere the subject of a Leah Branstetter “from the vaults” look at her early 2000s manifesto on women as “low Other” of rock, reviews Jenn Pelly’s book on the Raincoats, asking: “Who gets to be a part of history and why, and in what capacity and to what extent?” Gina Arnold, thinking about the recent film Cold War, finds in it a “poignant indication of the limits of popular music to change, to heal, and ultimately shape people’s life experiences.” And in the most close-to-home version of Field Notes yet, a discussion from the annual... You do not currently have access to this content.
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