James Baldwin and Ray Charles in “The Hallelujah
Based on a recent, archival discovery of the script, “But Amen is the Price” is the first
substantive writing about James Baldwin’s collaboration with Ray Charles, Cicely Tyson,
and others in a performance of musical and dramatic pieces. Titled by Baldwin, “The
Hallelujah Chorus” was performed in two shows at Carnegie Hall in New York City on 1 July
1973. The essay explores how the script and presentation of the material, at least in
Baldwin’s mind, represented a call for people to more fully involve themselves in their
own and in each other’s lives. In lyrical interludes and dramatic excerpts from his
classic work, “Sonny’s Blues,” Baldwin addressed divisions between neighbors, brothers,
and strangers, as well as people’s dissociations from themselves in contemporary American
life. In solo and ensemble songs, both instrumental and vocal, Ray Charles’s music evinced
an alternative to the tradition of Americans’ evasion of each other. Charles’s sound meant
to signify the history and possibility of people’s attainment of presence in intimate,
social, and political venues of experience. After situating the performance in Baldwin’s
personal life and public worldview at the time and detailing the structure and content of
the performance itself, “But Amen is the Price” discusses the largely negative critical
response as a symptom faced by much of Baldwin’s other work during the era, responses that
attempted to guard “aesthetics” generally—be they literary, dramatic, or musical—as
class-blind, race-neutral, and apolitical. The essay presents “The Hallelujah Chorus” as a
key moment in Baldwin’s search for a musical/literary form, a way to address, as he put
it, “the person and the people,” in open contention with the social and political
pressures of the time.
This article defends the view that Gothic Studies should encourage research on contemporary gothic youth cultures from a Cultural Studies point of view. This is justified on two grounds: research on these youth cultures is a unique chance to consider gothic as a living cultural practice and not just as textual analysis mostly disengaged from the present; on the other hand, these subcultures are currently under attack by the media and moral minorities, especially in the USA, and Gothic Studies could - maybe should - help correct this regrettable situation born of prejudice against, and ignorance about, Gothic itself. The article reviews the embarrassing position of the Gothic Studies researcher today as regards gothic youth cultures and calls for the reinforcement of the poor knowledge we have of the evolution of these cultures in the last 20 years.
Following an extended period of neglect, the early 1840s saw a dramatic revival
of interest in English church music and its history, which coincided with the
period of heightened religious sensitivity between the publication of Newman‘s
Tract 90 in early 1841 and his conversion to Roman Catholicism in October 1845.
This article examines the activities and writings of three men who made
important contributions to the reformation of the music of the English church
that took place at this time: Rev. Frederick Oakeley; Rev. John Jebb and the
painter William Dyce. It pays particular attention to the relationship between
their beliefs about and attitudes towards the English Reformation and their
musical activities, and argues that such important works as Jebb‘s monumental
Choral Service of the United Church of England and Ireland
(1843) are best understood in the context of the religious and ecclesiological
debates that were raging at that time.
This article reviews the exhibition _Gothic: Dark Glamour_, held at the Fashion Institute of Technology, New York, September 5 2008 – February 21 2009. It also considers the eponymous volume published alongside the exhibition by Valerie Steele and Jennifer Park. The exhibition was the first of international significance to identify and explore the influence of Gothic on contemporary fashion by both major label designers and small subcultural producers. The article hails the exhibition as a landmark event and investigates the various Gothic/fashion narratives it,puts forward, including veiling motifs, subcultural style, grotesque and perverse bodies, and the prevalence of British and Japanese design. The article concludes that the exhibition marks a moment in the glamorisation of the Gothic, in which it moves from being a minority to a mainstream interest.
This book discusses the emergence in London of three specific dance music
multicultures in the context of the racialised city. Focusing on rare groove,
acid house and jungle it places the emergence of these multi-racial music
cultures in the context of theories of space and the historical forces which
racialised the city in the late 20th century. Based on a wide range of original
interviews with cultural producers – DJs, promoters, producers and dancers -
undertaken over 20 years, read alongside cultural theory and contemporary
accounts, it argues that music and the practices of space around music have been
a crucial way in which racial segregation has been challenged and multiculture
has emerged in London.
This article investigates the emotive potency of horror soundtracks. The account
illuminates the potency of aural elements in horror cinema to engage spectators body
in the light of a philosophical framework of emotion, namely, the embodied appraisal
theories of emotion. The significance of aural elements in horror cinema has been
gaining recognition in film studies. Yet it still receives relatively scarce
attention in the philosophical accounts of film music and cinematic horror, which
tend to underappreciate the power of horror film sound and music in inducing
emotions. My investigation aims both to address the lacuna, and facilitate dialogue
between the two disciplines.
This essay proposes that the polyphonic and transgressive aspects of Gothic forms are influenced by music. It examines formal connections between the sonnets of Sturm und Drang poet, Friedrich Hölderlin, their musical setting by Benjamin Britten, and Susan Hill‘s novel The Bird of Night, arguing that Hill and Britten have, in common, processes of writing or musical composition which mix together disparate discursive or musical components. These inter-genre borrowings suggest that the sound and compositional practices of certain types of music allow for the expression of tensions, dualities, transformations and extreme states of mind which the Gothic novel has developed its own tropes to express.
Ripped, torn and cut offers a collection of original essays exploring the
motivations behind – and the politics within – the multitude of fanzines that
emerged in the wake of British punk from 1976. Sniffin’ Glue (1976–77),
Mark Perry’s iconic punk fanzine, was but the first of many, paving the way for
hundreds of home-made magazines to be cut and pasted in bedrooms across the UK.
From these, glimpses into provincial cultures, teenage style wars and formative
political ideas may be gleaned. An alternative history, away from the
often-condescending glare of London’s media and music industry, can be
formulated, drawn from such titles as Ripped & Torn, Brass
Lip, City Fun, Vague, Kill Your Pet Puppy, Toxic
Grafity, Hungry Beat and Hard as Nails. Here, in a
pre-internet world, we see the development of networks and the dissemination of
punk’s cultural impact as it fractured into myriad sub-scenes: industrial,
post-punk, anarcho, Oi!, indie, goth. Ripped, torn and cut brings
together academic analysis with practitioner accounts to forge a collaborative
history ‘from below’. The first book of its kind, this collection reveals the
contested nature of punk’s cultural politics by turning the pages of a vibrant