American Singer Research Articles

Biracial Discrimination Recounted: A Deep Dive into The Meaning of Mariah Carey

Mariah Carey is an American singer and songwriter; whose mother is white, but her father is black. In 2020, she released The Meaning of Mariah Carey retracks Carey’s life as a biracial woman. This article explains how she is discriminated and reacts to the discrimination. The theories employed are Post-National American Studies; Blank, Dabady, and Citro’s types of discrimination; and Aguirre and Turner’s reaction to discrimination. When she was a kid, teenager, and young adult, the discrimination she endures is more intentional and explicit. The discrimination becomes subtler and more indirect, as she has cemented her status as a musical icon. The fact that she is still discriminated even after she has reached the peak of her superstardom suggests that biracial discrimination can happen to any mixed-race person, regardless of their socioeconomic class. Discrimination comes from both sides of the race. The article signifies how the discrimination faced by mixed-raced people are both similar, but also different from the experiences of other minorities.

Scientific and Theoretical Basis of the Study of Performing Arts by Kvitka Cisyk

The purpose of the article is to trace the scientific and theoretical basis of the study of the performing arts of the American singer of Ukrainian origin Kvitka Cisyk. The research methodology is based on a comprehensive analysis of scientific literature and sources in this topic, which helps to form a holistic view of the state of scientific development of the problem of Kvitka Cisyk’s performing art. The scientific novelty lies in the holistic substantiation of the scientific and theoretical foundations of the study of Kvitka Cisyk's performing art. Conclusions. Having analysed the scientific and theoretical foundations of the study, the author can state the lack of scientific research on the artistic nature of Kvitka Cisyk's performing work and her special role in Ukrainian musical culture. It has been established that scientific publications in this area are insufficient, therefore, only a few publications by researchers cover certain aspects of her biography, descriptively consider the singer's repertoire focus, sometimes touching upon the problems of the stylistic and genre palette of vocal works, architectonics and specifics of their performance. The source base of the study provides sufficient material for a scientific analysis of the creative figure of Kvitka Cisyk. The representation of Ukrainian song in the process of the singer's performance appears as a way of national self-identification, preservation, and popularisation of national art in a non-ethnic environment. All this actualises the need for a thorough study of the performing creativity of the outstanding American singer of Ukrainian origin Kvitka Cisyk, in the development of national musical culture and art. Key words: Kvitka Cisyk, vocal performance, national art, creativity, Ukrainian song.

СТРУКТУРНІ ТИПИ МУЗИКОНІМІВ У ТВОРЧОСТІ АМЕРИКАНСЬКОЇ СПІВАЧКИ ЛАНИ ДЕЛЬ РЕЙ

The article is devoted to the study of structural types of musiconyms in the works of an American singer and songwriter Lana del Rey. The branch of linguistics that deals with the study of proper names, their origin, structure and usage is known as onomastics. Onomastics serves to reveal and understand these phenomena as well as their influence on language and culture. There exist such concept as musiconym in onomastics. Musiconyms are a class of artionyms. They are proper names of musical compositions, which include onyms to designate proper names of songs, proper names of instrumental musical works, proper names of collections of songs or instrumental music. In this article, the research focuses on identifying the structural types of musiconyms in Lana Del Rey’s works and distinguishing their role in the perception of the author’s songs. To achieve this goal, the following will be analyzed: the concept of «musiconym», its structural types and musiconyms of an American songwriter Lana del Rey. The elements of the structural method (component analysis) were used in the research, which made it possible to define a structural classification of musiconyms. The main method of the study was one of the methods of structural analysis (component analysis), which made it possible to develop a structural classification of musiconyms, which was divided into three groups: proper names of songs, proper names of instrumental works, proper names of collections of musical works. In terms of structure, proper names of songs (musiconyms) were classified into the following structural types: a) one-component simple non-derivative and derivative onymes: Love, Cherry, Carmen; b) composites per se: Ultraviolence, Honeymoon, Westbound; c) two-component and multi-component word combinations: Lust for Life, Young and Beautiful, Born to Die, Dark Paradise. We see the prospect of the study in analyzing English musiconyms in other singers’ works and also distinguishing structural and lexical-semantic classification of musical works in lingua-cultural aspect.

“A woman left lonely”: pariah femininity and the posthumous career of Janis Joplin

ABSTRACT American singer Janis Joplin (1943–1970) is famed for her impressively raw vocals, intense performance style, and as a pioneering woman in rock. She is perhaps equally well-known for her hedonistic philosophy and her tragic death from a heroin overdose when she was 27. Using newspaper coverage of significant events in Joplin’s career as well as biographies and documentaries, an overall arc can be traced which demonstrates the changing reception of her music and career across time. Especially important is the narrative woven around Joplin’s life which situates her behaviours as a result of loneliness and vulnerability. This over-simplistic reframing of Joplin’s hedonistic attitude, appetite for sex, alcohol, and drugs, and raspy vocals merely as the actions of a troubled soul is a reductive account of a complex situation: it removes Joplin’s agency. This article argues that this provides a way of retrospectively neutralizing the threat of transgressive womanhood—Joplin deviated from an idealized femininity and this can be retrospectively reframed or rationalized by commentators; a “deviant” woman poses less of a threat to the dominant gender order if she is not perceived to have been in control of her actions.

Toast Hawaii

Toast Hawaii

The Boycott Movement Against the American Singer Manufacturing Company in İzmir and its Neighbourhood (1910-1911)

Bu çalışmanın amacı 1910-1911 yıllarında İzmir ve havalisinde Amerikan Singer Manufacturing Company’e (SMC) karşı başlayan boykotu irdelemek olarak tanımlanır. Çalışmada Singer boykotu çerçevesinde yabancılara yönelen tepki ve bunun İzmir ve çevresindeki etkileri de incelendi. Osmanlı Devleti’nde ilk boykot 1908’de Bosna-Hersek’in Avusturya tarafından ilhakı sebebiyle başladı. Bilahare Girit meselesinden dolayı 1910-1911’de Yunan boykotu ortaya çıktı. Yunan boykotunun bir uzantısı olarak 1910’da Aydın vilayetinde, Amerikan SMC’ye karşı da bir boykot zuhur etti. Boykotun sebebi şirketin çalışanlarının büyük bölümünün Yunanlı olmasıydı. İzmir Boykotaj Cemiyeti, şirketin Yunan uyruklu çalışanlarının işten çıkarılmasını istedi. SMC, Osmanlı topraklarındaki işlerinin aksayacağı gerekçesiyle çalışanlarını korudu. Neticede İzmir ve havalisinde ve bilahare Ayvalık’ta şirkete karşı boykot başladı. Boykot, Amerikan Sefareti ile Osmanlı bürokratik makamları arasında gerginliğe yol açtı. SMC’ye yönelik boykot Amerika’ya bir tepki olmaktan daha ziyade Yunan boykotu çerçevesinde değerlendirilmelidir. Çalışmanın temel kaynaklarını Cumhurbaşkanlığı Devlet Arşivleri Başkanlığı Osmanlı Arşivi belgeleri ve dönemin süreli yayınları oluşturmuştur.

Prosumer activism: The case of Britney Spears’ Brazilian fandom

The key argument of this article is that fan communities create, in their own way, a kind of prosumer media activism. Through a netnographic approach, I analyze aspects of fan labor and value creation, self-organization and entrepreneurship, agency and exploitation in an online discussion forum about the American singer Britney Spears in Brazil. Based on this case study on social networking, I develop the argument that it is possible to see digital fandom as a stage for a commodified cyberactivism, in which some social actors in the role of prosumers, on the one hand, exercise their freedom and find, more than gratification, ways to project themselves individually in society. But, on the other hand, they are subject to exploitative relationships, such as unpaid work, to promote the personality whose concrete relationship with their lives often does not go beyond media practices.

Changing the Subject

This article examines Lynn Nottage's 2011 satirical play By the Way, Meet Vera Stark, which stages the life and legacy of the fictional Vera Stark, a Black maid and struggling actress during Hollywood's golden age. Nottage's play is inspired, in part, by the career of African American actress, singer, and dancer Theresa Harris. A tale of Black women's cinematic representation and social erasure, Nottage's fabrication of film history extends beyond the staged plot to also include a digital archive documenting Vera's celebrity and career. This article explores how Nottage's play and paratexts fabulate a speculative fiction and archive about Black women's media histories, staging what I call a phantom cinema, an amalgam of real and imagined film histories that haunt, trouble, and work with and against cinema histories to creatively illuminate archival gaps in visual culture and the public imagination.

Leslie Uggams, Sing Along with Mitch (1961–64), and the Reverberations of Minstrelsy

AbstractIn his television program Sing Along with Mitch (1961–1964), Mitch Miller employed the talents of African American singer Leslie Uggams in ways that explicitly countered the legacy of minstrelsy. Although the program can be criticized as reactionary on other grounds, the fact that Sing Along with Mitch presented older, white viewers with a nostalgic vision of American identity realized through collective song amplified the impact of Uggams's performances. The program was well-received by Black viewers, and suited the dominant integrationist philosophy of the early 1960s. However, surviving correspondence indicates that some viewers persisted in perceiving Uggams through a lens clouded by minstrel stereotypes. This article documents and analyzes the ways in which these viewers continued to see and hear Uggams as a minstrel performer despite her presentation as a consummate professional and fully integrated member of the Sing Along “family.”

A Flamenco Tale in Edinburgh: Recreating Home

A Flamenco Tale in Edinburgh: Recreating Home

The Impoliteness Strategies of Eminem's Song

ABSTRACT
 Eminem is a famous American singer. He is one of the greatest Rapper in the world. With over 47.4 million albums and 107.5 million singles sold in America and 220 million records globally. Eminem is declared one of the best and one of the most influential writers in the history of music industry. But Eminem music was very controversial. Eminem’s songs are controversial and full of dirty lyric. And in this world, Eminem is perhaps the most successful musician who is able to use dirty lyric or impolite utterance to hypnosis his listener. This research investigated the impoliteness in the Eminem songs title Kill You, Marshall Mathers and Kim. This research used a qualitative descriptive method. The researcher used the theory of impoliteness from Culpeper (1996) to analyze Eminem’s songs. This research investigated what kinds of impoliteness strategies used by Eminem in his songs and what is the most frequently impoliteness strategies used by Eminem in his songs. The researcher took three of Eminem songs to be analyzed title Kill you, Marsahall Mathers and Kim. The research results that have been found include the following. The total number of impoliteness found is 42 data. In Kill You song are bald on record (1) data 2,38 %. Accusation (1) data 2,38 %.Taboo word (2) data 4,7% . Sarcasm (5) data 11,9 % . Ridicule (1) data 2,38 % . In Kim song are taboo word (1) data 2,38 % . Ridicule (2) data 4,7 %. Sarcasm (2) data 4,7 %. In Marshall Mathers song are sarcasm (3) data 7,14 %. Ridicule (6) data 14,2 %. Taboo word (4) data 9,5 %. Bald on record (1) data 2,38 %. Sarcasm (1) data 2,38 %. There were (2) data 4,7 % of bald on record. That was (10) data 23,8 % of sarcasm. Threat (1) data 2,38%.Taboo word (7) data 16 %.Ridicule (8) data 19 %.Accusation (1) data 2,38 %.The total impoliteness strategies found were (42)data 100 %. Based on data analysis, there are three impoliteness strategies used, namely bald on record, negative impoliteness and sarcasm. The theory of impoliteness that is the most frequently used by Eminem in his songs is sarcasm.

Reformulating the Riot Grrrl Movement: Space and Sisterhood in Kathleen Hanna’s Lyrics

Music has become a crucial domain to discuss issues such as gender, identities and equality. With this study I aim at carrying out a feminist critical discourse analysis of the lyrics by American singer and songwriter Kathleen Hanna (1968-), a pioneer within the underground punk culture and head figure of the Riot Grrrl movement. Covering relevant issues related to women’s conditions, Hanna’s lyrics put gender issues at the forefront and become a significant means to claim feminism in the underground. In this study I pay attention to the instances in which Hanna’s lyrics in Bikini Kill and Le Tigre exhibit a reading of sisterhood and space and by doing so, I will discuss women’s invisibility in underground music and broaden the social and cultural understanding of this music

Metaphor as the crucial stylistic technique in the works of American singer Taylor Swift

Metaphor as the crucial stylistic technique in the works of American singer Taylor Swift

An Analysis of Pronunciation Errors Made By Indonesian Singers in Singing English Song on Youtube

This research was aimed to know the errors of pronunciation made by Indonesian singers in singing English song on YouTube. The subjects are singers in the age range of 18 to 25 years old. The researcher found 4 Indonesian singers on YouTube which are famous and have a good voice. This research used qualitative method. To collect the data, the researcher searched an American singer on Google, then found a good song and the lyrics on YouTube. Listen to the original music several times and then try to find the Indonesian singers who covered the same song, the last is listen to their singing and analyze it. The researcher found 14 words that were mispronounced by the Indonesian singers on their YouTube channel. There were 8 consonants, they were /θ/,/ð/, /dӡ/, /d/, /v/, /c/, /s/, /p/, and 2 vowels that mispronounced by them, They were /ɪ/, and /æ/. There were several causes that affect their pronunciation. In this research, the researcher hopes that this research can make the singers, students, teachers, etc, to improve their pronunciation skill.

Exemplifying the Language Change of Jennifer Lopez

This paper investigates American singer and actress Jennifer Lopez’s use of the sociolinguistic variables (ing), PRICE, and TRAP through a longitudinal study of readily available interviews over the course of 16 years. The study is an example of the same speaker of English showing lifespan change in one variable (TRAP), and age-grading in two others ((ing) and PRICE). The findings show that different variables can pattern differently, and that social context plays an important role in these linguistic developments.

Interlude. "But are as the angels which are in heaven" (Mark 12:25)

The American singer and songwriter Dorian Electra is a queer phenomenon. Their dandy appearance – the latest album is called Flamboyant (2017) – goes hand in hand with the criticism of toxic masculinity and gender binarism. One of their latest tracks, called and Steve, is a gay retelling of the Genesis story. It turns on the derogative phrase: It‘s Adam and Eve, not Adam and Steve that is used to imply an irreconcilable disparity between Christianity and gay love, i.e. queerness in general ...

Transnational Encounters

The text focuses on a series of transnational flows and polylocal agencies marking the art of the American folk musician and performer Sixto Rodriguez. After issuing two albums in the seventies, he was quickly forgotten in the USA but luckily not outside of it. His first album, Cold Fact (1970), became the unofficial anthem for the anti-apartheid movement in South Africa in the seventies and the performer was paradoxically ‘rediscovered’ due to a hoax with the help of enduring South-African, Botswanan, Zimbabwean, Australian and New Zealander fans and through the research of the Swedish-Algerian filmmaker Malik Bendjelloul, who made and directed Searching for Sugarman (2012), an Oscar-winning documentary film. The quest for Rodriguez’s global itineraries still goes on through his official webpage and the release of a book in 2015 with performer-activist Rodriguez becoming in the context of global discourses and Deep Maps strategy a transnational figure rather than just an American singer.

Meu quintal de casa é o mundo: Espaço, Corpo, Afeto e Dramaturgia em All About That Bass

Este texto é um ensaio teórico que parte de inquietações sobre a videoperformance All about that bass produzida pelo artista Royce Cherdan Lee, também conhecido como Chubbeyoncé Lee. A videoperformance foi inspirada pelo videoclipe original de mesmo título, da cantora norte americana Meghan Trainor. Tem por objetivos refletir questões relacionadas ao espaço, ao corpo e ao afeto enquanto dimensões dramatúrgicas em produções audiovisuais postadas na plataforma digital do YouTube, a partir de conceitos como: Exotopia; Heterotopia; Dramaturgia do Espaço; Corpomídia e Mídia Propagável; expor a compreensão dos conhecimentos, das subjetividades e das intervenções cênicas e sociais relativas a essa videoperformance para criar um texto de natureza evocativa, metonímica, subjetiva, nervosa e citatória. Para tais objetivos faz-se uso da Escrita Performativa enquanto modo de realizar a escrita. Em All about that bass o quintal, os corpos que o habitam e o afeto que geram as ações são os pontos de interesse desse ensaio.

Drone Bomb Me: cinema & warfare in The Good Kill and Eye in the Sky

ABSTRACT This paper asks how popular Hollywood cinema can provide a cognitive map of the complexities of drone warfare. Starting from observations made by Chamayou and Schuppli, who argue that drone warfare undermines the notions we generally employ to understand the political and moral implications of warfare, the essay turns to two recent blockbuster films that seek to give a realistic depiction of drone warfare, The Good Kill (Niccol, 2014) and The Eye in the Sky (Hood, 2015). Both films, the paper argues, use innovative techniques and narrative structures to evoke the sensorial impact of drone warfare. However, they culminate in narrative sequences that depict gendered scenes of heroism and empathy that undermine the goals the films had set out to achieve. The paper argues that both films’ failure is symptomatic of a structural problem inherent in all cinematic attempts at depicting drone warfare. In conclusion it turns briefly to the song “Drone Bomb Me,” by American singer Anohni, to meditate on what an alternative way would be to depict drone warfare.

Категорія часу пісенних текстів Джастіна Тімберлейка

The article deals with the specifics of time, which is one of the fundamental concepts of philosophy, logic, literature, linguistics, etc., which remains fragmentarily studied now. Following Yu. Plotnitsky, the song text is interpreted as a type of creole text. These are texts in the structure of which the means of other semiotic codes are used along with the verbal component. The object of the study is the lyrics of Justin Timberlake, and the subject is its temporal organization. The purpose of this study is to describe the use of temporary relationships in the songs of Justin Timberlake – an American singer, songwriter, composer, producer, dancer and actor, winner of four Emmys and nine Grammys. Agreeing with L. Nozdrina, temporality is presented in the article as a functional-semantic category of text, which reflects the essence of the physical and philosophical aspects of time, is realized by the varied linguistic means of time. It is noted that the texts of Justin Timberlake are characterized by almost all species of time predicative forms. The temporary system of Indefinite remains preferential, which is due to stylistics, since the lyric texts of J. Timberlake have elements of conversational style, and these texts should be understood by the general public of the recipients. The vast majority of his songs are presented using Present Simple, which is 65%, Past Simple is 20%, while Future Simple is 15%. The Continuous temporary system is not very characteristic, inside of which the use of -time forms is distributed as follows: Present Continuous – 50%, while Past Continuous – 30%, and Future Continuous – 20%. Rather, as an exception, there are cases of using the Perfect system, and generally the Perfect-Continuous system is not characteristic for these texts.