Abstract
Editorial| June 01 2021 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 (2021) 33 (2): 1–2. https://doi.org/10.1525/jpms.2021.33.2.1 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 1 June 2021; 33 (2): 1–2. doi: https://doi.org/10.1525/jpms.2021.33.2.1 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentJournal of Popular Music Studies Search This issue begins with a landmark voices-of-musicians Field Note, “Facilitate This! Reflections from Disabled Women in Popular Music,” written by Anthea Skinner and Jess Kapuscinski-Evans of the Australian “crip-folk trio” the Bearbrass Asylum Orchestra, part of the Disability Music Scene in Melbourne, Australia. There are utterly singular stories here. The group’s origins at a disability cabaret: “Kath had performed a strip-tease that night, but her pants had gotten caught on her prosthetic leg and she had run out of pre-recorded music while she tried to extricate herself. Over drinks after the show, we suggested that a live band could have just kept playing. ‘You’re all musicians,’ she responded, ‘Put together a band and you can play next month’s show.’” Their thoroughly punk rock take on physical challenges: “Her mucus is also the unofficial fourth member of the band and often makes unscheduled appearances at gigs.” It’s an honor to see... You do not currently have access to this content.
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