Always Showing Up Late to the Wrong Party: Criminology’s Posthumous Dalliance with Rock Music

INTRODUCTION . The relevance of the research is due to the growing competition between territories for the attention of tourists and the redistribution of tourist flows, in particular within the framework of the emerging trend towards the intensification of domestic tourism. An overview of various points of view on the promotion of the territory's brand through events, as well as on the development of event tourism, is presented. Promoting the brand of a territory through event events is not only an urgent trend today, but also an urgent necessity for regions, small towns and rural areas. MATERIALS AND METHODS . The theoretical basis of the research was the development of foreign and domestic experts on the problem of branding places and territories, as well as existing generalizations of the best practices of branding territories. The study is based on an analysis of events implemented in the Tambov Region aimed at attracting tourists, as well as policy documents on the strategy for the development of regional tourism. The focus is on media resources dedicated to events in the region, as well as the calendar of events in the Tambov region for 2025. RESULTS AND DISCUSSION . The study demonstrated that the dynamic development of the territory's brand can be carried out through vivid events that are attractive to tourists. A special role in the event promotion of the territory is assigned to brand events, which in the Tambov Region in recent years could include the Pokrovskaya Fair and the Chernozem Rock Music Festival, currently the Lilac Night, Arakush, Vishnevarovo, and Atmanovskie Kulaks festivals and festivals and so on . From a research perspective, brand events should be considered as sub-brands of the territory. CONCLUSION . The unified calendar of events in the Tambov region is designed to facilitate timely informing potential participants about events and planning trips. The events themselves, along with attracting tourists to the region, act as informational occasions and a source of word of mouth, contributing to increased brand awareness of the events.

This article reframes African postcolonial cultural history through the lens of popular music, examining how 1970s Zambian rock musicians contested and reimagined Kenneth Kaunda’s Humanism. Whereas existing scholarship on Humanism emphasizes its political and philosophical dimensions, this study reveals how ideology was performed and negotiated through sound, style, and stage. Moving beyond recent reissue and nostalgia-driven accounts, this article situates Zamrock within the politics of postcolonial Zambia as a form of cultural resistance and cosmopolitan creativity. It demonstrates that debates over musical style and cultural authenticity were central, rather than peripheral, to Zambia’s negotiation of postcolonial modernity. By redefining cosmopolitanism from below as a participatory and diasporic process embodied in performance, it restores Zambian musicians to the center of global rock history. Zamrock thus emerges as a critical, hybrid expression of postcolonial identity and agency.

The article discusses the commemoration of Polish rock music in museums. The study aims to outline the purposes of the museum’s narrative memorializing rock music, in which history and heritage intersect with collective memory and nostalgia. The paper identifies different contexts of narrative: historical, artistic, political, social, and commercial, and the significance of these museums for host cities.

ABSTRACT This article examines the tensions between Peruvian rock musicians and the celebrity industry at the end of the 1960s. Examining celebrity magazines and supplements, it argues that Peruvian rock musicians physically sustained their art through live concerts to avoid being commodified as noncontroversial aspirational figures. Through a cultural history approach, it explores the relation between Peruvian cultural industries and the Nueva Ola, a label used to define young music artists as celebrities; the impact of live performances in the rock culture of the late sixties; and the challenges of print editors to present rock musicians as aspirational figures.

On 24 February 2022, Russia invaded Ukraine. The Ukrainian population has suffered from Russian attacks on civilians, hospitals and schools. In the media, we have seen the Ukrainians as a singing nation. Songs are sung in bomb shelters and by soldiers, in the streets to celebrate victories and in memorials for the dead victims. This article discusses how certain songs can find a special place in the nation’s collective memory as comfort, protest and a catalyst for emotions. A search for war songs that are sung by children and adolescents and posted on social media shows that there are a number of popular war songs, from the national anthem and traditional folk songs to more recent pop and rock songs. “Oi u luzi chervona kalyna” seems to be the most popular and important war song in Ukraine and has been posted on social media in several versions. The article analyses this Ukrainian war song as a multimodal expression, in which the artist's appearance, clothing, colours, gestures, body language expression and singing voice, timbre, pitch, melody, rhythm, instruments, arrangement, movement and dance – all of these expressions are carriers of meaning, and together they contribute to the totality (Machin 2010, 2). Furthermore, using examples from social media of Ukrainian children and young people singing “Oi u luzi chervona kalyna”, the article discusses how the younger generation can build national identity and process the trauma of war in the nation’s collective memory by singing this song and sharing their performances on social media. The analysis is rooted in Martin Clayton’s (2009) theory of the functions of music, recent studies on neuroscience and music (Levitin 2008; Brean & Skeie 2019), and the concept of collective memory (Assmann 2006).

This study investigates the impact of learning English through songs on vocabulary acquisition, pronunciation, and listening comprehension. Music has long been recognized as a powerful tool in language learning, combining rhythm, melody, and meaningful content to enhance cognitive and affective processes. Twenty English as a Foreign Language (EFL) learners participated in a four-week intervention involving structured activities, including guided listening, lyric analysis, shadowing, and comprehension tasks. A curated playlist of pop, acoustic, soft rock, and indie songs was used, selected for clear pronunciation, repetitive structures, and appropriate lexical content. Pre- and post-tests measured vocabulary knowledge, pronunciation accuracy, and listening comprehension, while qualitative feedback captured learners’ perceptions and motivation. Results indicated significant improvements: vocabulary scores increased by 32%, pronunciation by 22%, and listening comprehension by 28%. Pop songs yielded the greatest gains in vocabulary and listening, while acoustic and soft rock songs enhanced prosodic features. Learners reported increased engagement, reduced anxiety, and enhanced motivation, highlighting the affective benefits of music-based learning. These findings support the integration of songs into language instruction as an effective, enjoyable, and culturally enriching approach. Music not only reinforces linguistic skills but also fosters fluency, confidence, and long-term retention, offering a holistic strategy for English language acquisition.

Rock Music and Masculinity in Ireland, 1970–85

In the center of the author's attention is one of the most important vocal methods - the fry, widely used both in professional music of academic tradition, as well as in various genres of pop-music, rock or jazz. The author studies the physiological aspects of the given method, explains how the sound is emitted when fry is applied. Some exercises that can be useful for developing the skills of correct fry execution are proposed. The specifics of application of this method is studied on the basis on the compositions sang by Louis Armstrong, Prince, Britney Spears, Shakira, as well as the soloist of the national rock band Infected Rain. So the author demonstrates that the fry technique is a component of any contemporary vocalist's arsenal

ABSTRACT This article analyzes the “dark aesthetic” in late Soviet and post-Soviet rock through Kino and Molchat Doma. In Kino’s late-Soviet songs “Mama, We Are All Gravely Ill” and “Good Night,” repetition, ambiguity, and emotional restraint conveyed disaffection amid ideological stagnation. Molchat Doma inherits and reshapes this aesthetic within a platform-driven media environment where melancholia circulates as stylized mood on TikTok. Drawing on affect theory, hauntology, and digital media analysis, the study situates both bands within a continuum of disaffection, showing how the dark aesthetic endures as a mutable form of critique across shifting contexts.

The paper deals with the symbolic struggles over cultural hegemony in contemporary Serbia. Two rock albums, Одбрана и последњи дани by Idoli (1982), and a compilation Песме изнад истока и запада (2001) have been chosen as case studies. The narratives and discourses contained, as well as those induced by the records, are identified and analysed. Both albums engage with Orthodox Christian motifs and themes. The different socio-political contexts in which they appeared shaped the meanings, together with cultural and political effects they helped produce.

The article is devoted to the soundtrack of the film The Lovers’ Romance (1974) by Andrei Konchalovsky. It studies the genre and stylistic genesis of the songs and compositions written by Alexander Gradsky, reveals the role of music in the plot of the film, and traces the signs of a rock opera in its musical and dramaturgical solution. Based on the extensive discussion of the film in the mid-1970s, the author examines the reasons for the difficult acceptance of its musical and dramaturgical features by both ordinary viewers and the professional community. It is hypothesised that most viewers, having succumbed to the supposed socialist realism of the plot, were unable to decode the true content of many of the songs in which religious, dissident and escapist motifs appear. The real subject of the film is the drama of disappointment of an ‘ordinary’ Soviet man in the ideals of collective existence, which is also manifested in the soundtrack. In particular, in the contrast between Gradsky’s explosive, dramatic, modern music and the Soviet retro-pop of the 1930s and 1960s which nobody listens to despite it being on TV and radio. In many ways, The Lovers’ Romance anticipated and foreshadowed the leitmotifs of perestroika films about rock musicians, but its sophisticated play with socialist realism did not let it enter the pantheon of the Soviet ‘rock cinema’.

In this article, the song-poetic text is analyzed as a multimodal artwork characterized by several unique stylistic traits manifested not solely in its verbal dimension but equally prominently in its non-verbal aspect. The authors examine the “rock” genre as one possessing the most extensive range of stylistic variation across both verbal and non-verbal components. We explore how these elements interrelate in English and Russian-language song-poetic texts within the framework of the “rock” genre. Our focus lies on uncovering correlations between these components and analyzing the functional interaction of their constituent elements, which collectively shape the genre’s textual paradigm. Through comparative analysis, we identify shared and divergent characteristics in English and Russian rock song-poetic texts, considering key aspects of both verbal (such as metaphor, parcelling, gradation, rhetorical questions, epiphora, and antitheses) and non-verbal elements (including introductions, verses, pre-choruses, choruses, and instrumental solos). These findings reveal how the integration of these elements contributes to the formation of a polycodified model specific to the rock genre in each respective linguocultural context. Ultimately, the authors argue state the inherent correlation between verbal and non-verbal components defines the distinctiveness of this model in English and Russian.

Music has long been at the forefront of social activism and some genres have built their global reputation as a weapon of resistance and empowerment. When these genres spread into a country like China and gain considerable popularity, the world celebrates the decline of the authoritarian system and sees them as threats to ideological hegemony. However, centralized control of musical activities is more than manufacturing standardized propaganda products. In mainland China, the system also operates to generate “out of control” phenomena, to channel people’s desires to act beyond restrictions. This article focuses on the rise of Chinese rock, a happening that has been interpreted in the existing body of scholarly literature as successful rebellion and as indicating the democratic nature of China’s popular music culture. After a reflexive discussion on the limits of prevalent data-collection methods in the study of Chinese popular music, this article reveals the state’s leading role in the promotion of Cui Jian, who is globally renowned as the Father of Chinese Rock. This article challenges a prevalent understanding in the existing body of literature on Chinese popular music, that is, Cui Jian and his rock songs were subversive and banned in the 1980s. It examines how a state-led music reform was turned into the people's choice and into the outcome of a successful rebellion.

ABSTRACT This study explores the history of rock music in Kosovo in the period of political troubles, focusing on the context of Albanian-Serbian political conflicts. The article, aims to reveal how the protagonists of rock music in Kosovo, through musical lyrics, expressed their resistance to power and contributed to the creation of a new culture that supported a change in the mentality of Albanian society at the time studied. The article begins with an overview of the history of this period, highlighting the 1980s as the beginning of social and political changes in Kosovo. It is further elaborated how, through lyrics, Albanian rock musicians tried to raise the consciousness of their audience and form a new identity, promoting values of freedom, resistance, and social change. In addition to creating music, these artists also influenced the formation of a mass society that supported their vision to create a new culture, thus influencing the mind-set of the Albanian population of the time.

Rapper Francis Magalona’s 1995 song “Kaleidoscope World” is a very meaningful song that appeals to listeners of all ages in the Philippines. The song has many level of significance that make it a timeless work of music, even though it was released as an anthem of solidarity, resiliency, and cultural pride (Barret, 2023). The song went on to win the 1996 NU 107 Rock Award for Song of the Year and the 1996 Awit Award for Best Produced Record of the Year. The song was used in several Magalona memorials following her passing, including a paid audio-visual performance (Lo, 2009). Kaleidoscope World tells the story of diversity and life in general. Francis M’s 1995 album, Freeman, demonstrated his legitimacy in both hip-hop and rock genres. It included the renowned track “Three Stars and a Sun,” which became a symbol of local rock and Filipino music, highlighting patriotism and the safeguarding of the nation (Libre, 2017). Despite the song’s widespread popularity and cultural significance, there remains a need for a deeper critical analysis of “Kaleidoscope World” to uncover the underlying discourses and narratives embedded within its lyrics. “Kaleidoscope World” by Filipino artist Francis Magalona is a powerful song that embodies the complexities of human existence. The song is a reflection on the complexities of life, highlighting the importance of social commentary in popular music. According to Oriangel (2023), Magalona’s contributions to Filipino hip-hop and social consciousness have made him a celebrated artist in the genre. His song serves as a powerful medium for expressing these complexities. The pioneer of Pinoy rap music, he significantly influenced Philippine artists and fans worldwide. His authentic, original, and relatable music remains celebrated and remembered today, leaving a lasting cultural legacy in the Philippines and beyond. Based from Putri and Triyono (2018), a song is a medium for expressing thoughts or critical analysis, with songwriters creating unique meanings for their audience. Each songwriter’s style is influenced by language proficiency and background. Good songwriters pay attention to language and creativity, often using figurative language for aesthetic purposes in their lyrics. Critical Discourse Analysis (CDA) was used to analyse Magalona’s “Kaleidoscope World” and its discursive strategies to convey societal messages and challenge norms. CDA examines how Magalona uses language to construct meaning and potentially influence listeners’ perceptions of the world, highlighting the intricate interplay between language, power, and ideology within texts. The objective on this study was to identify the underlying themes present in the song “Kaleidoscope World” and examine the lyrics to uncover social, cultural, and philosophical messages conveyed by Francis Magalona.

The article examines the attitude of society in the Bashkir Autonomous Soviet Socialist Republic to youth informal movements in the 1950s – the first half of the 1980s. Public opinion in modern Russian historiography is interpreted as public sentiments expressed in value judgments. A brief analysis of the literature shows that the identified topic remains poorly studied. As sources, the work uses letters from citizens, memoirs, published in periodicals and unpublished, deposited in the archive, as well as documents of the Bashkir regional committee of the Komsomol. In general, a negative attitude towards informal youth movements prevailed in the periodical press. At the same time, the genre of reviewing received letters implied the publication of opposing opinions, as a result we often have very valuable material for studying public sentiment. The article examines the public opinion of citizens using the example of attitudes towards dudes in the 1950s and early 1960s and to the rock movement in the first half of the 1980s. According to recollections, adults treated dudes with indifference, while among chil dren and teenagers they aroused interest and surprise. The behavior of the dudes was discussed at Komsomol and student meetings, and voluntary people's squads worked with them. At the same time, a certain part of the youth had a positive attitude towards the dudes. In the 1980s Many were alarmed by the disintegration of the Komsomol and the emergence of new informal movements: hippies, punks, rock groups. The authorities, in particular, did not persecute rock musicians at first, but also did not approve of their work. However, in the mid-1980s an attempt was made to condemn the activities of the DDT group, and “devastating” articles appeared in periodicals under the names of figureheads. The population of Bashkiria including young people, in the first half of the 1980s. didn’t know work well Shevchuk. Many condemned him for being “anti-Soviet,” while at the same time there were relatively “loud” voices in support of the DDT group.

ABSTRACT This article examines the role of music theory in rock musicians’ discourses about creative and other work processes. With a focus on Anglo-American and German-speaking contexts, this study analyzes various statements, descriptions, and recollections extracted from a diverse range of media sources. The findings highlight the broad variety of perspectives on the ambivalent relationship between music making and the idea of theoretical reflection. While often assessed as a hindrance or something to be neglected, music theory is sometimes considered helpful and valuable. The study also reveals alternative concepts to conventional frameworks of creating or remembering music.

This research investigates the effects of the Speech Level Singing (SLS) technique, a vocal training method, on vocal health, voice control, and performance sustainability. Developed by American vocal coach Seth Riggs, the SLS technique aims to enable singers to produce a more natural and comfortable vocal sound by minimizing strain on the vocal cords. The study evaluates previous research on the SLS technique to highlight its potential advantages over traditional methods in preserving vocal health, enhancing breath and voice control, and achieving a sustainable long-term performance. A literature review and document analysis methods were employed within this framework. The findings indicate that the SLS technique provides singers with the flexibility to produce sounds across a wide vocal range while minimizing pressure on the vocal cords, thereby supporting long-term vocal health. The study also reveals that the SLS technique makes significant contributions to improving voice quality through effective breath control and resonance. This technique facilitates the integration of the natural voice used in speech into singing, enabling singers to feel more secure in their stage performances and to reduce performance anxiety. SLS offers remarkable benefits for vocal health, particularly for singers in fields that demand intensive voice use, such as professional stage arts, musical theater, pop and rock genres. This research underscores the positive impacts of adopting modern and innovative techniques in vocal training on singers’ vocal performances and vocal health. The SLS technique stands out as an alternative method for achieving sustainable and healthy vocal performance in vocal training and inspires future studies on its applicability across various music genres.

The aims of the study is to find out the kinds of figurative language used by the One Ok Rock in their 10 songs. The source of this research data is taken from the One ok Rock album You-tube channel and this research only focuses on Figurative Language used by the One ok Rock. The writer uses a qualitative descriptive method to explain meaning of figurative language by using the theory Kennedy & Gioia (2000) the result of this research were the discovery of 3 types of language styles according the theory of Kennedy & Gioia (2000), comparative figurative language, contradictive figurative language, and correlative figurative language. From the writer research it is known that the types of figurative language writer found 93 figurative language used in One ok Rock in the 10 songs, namely personification 37%, simile 5%, metaphor 35%, hyperbole 11%, paradox 1%, irony 1%, symbolism 4%, allusion 1%, ellipsis 1%. , it means that personification and metaphor is the biggest number used in those albums, as a song that telling massage in figurative language : using personification and metaphor saying a comparative in figurative language ,while in contradictive figurative language writer found 11 % The metaphorical concept contained in this sentence can be interpreted as being too negative emotionally, such as "till the dark", this can be interpreted as something very negative and can make someone fall into a slump. Hyperbole is a bold, deliberate overstatement not intended to be taken literally. It is used as a means of emphasizing the desctruth of statement. Hyperbole is exaggerating, often in a humorous way and making a particular point. The sentence “over to you” indicates a quick movement or action, perhaps implying a strong desire or urgency “gunning for time” this phrase suggests a relentless pursuit of time that makes an exaggerated sense of emphasizing the importance of speed and efficiency. Keywords: Comparative; contradictive ; collaborative Figurative Language; Song Lyric