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1
McLEOD, KEMBREW. "‘*1/2’ a critique of rock criticism in North America." Popular Music 20, no. 1 (January 2001): 47–60. http://dx.doi.org/10.1017/s0261143001001301.
Abstract:
As a particular type of gatekeeper, rock critics play a significant role in shaping the representations of artists for an admittedly small, but influential, population, as well as establishing an artist's place in music history. In Sound Effects, Simon Frith (1983) maintains that rock critics are ‘opinion leaders’ and are the ‘ideological gatekeepers’ of the community for which they write. Additionally, I argue that rock critics function as Gramscian ‘organic intellectuals’ who articulate the ideas held by the population of which they are a part (Gramsci 1971, pp. 5-14). The community that rock critics represent and speak for is made up of an overlapping network that comprises those connected with college radio, record collectors, local music scene participants, musicians and various record company employees, among others. Frith (1996, p. 18) argues in Performing Rites that if ‘social relations are constituted in cultural practice, then our sense of identity and difference is established in the process of discrimination’. By understanding the ways in which evaluations are made within the communities that rock critics are a part of, we can gain a better understanding of the communities themselves. Because there are no sustained scholarly writings that examine rock criticism in North America from a historical, sociological or communicative perspective, it is important to begin examining the profession of the rock critic, as well as the discourse generated by rock criticism.
2
Weisethaunet, Hans, and Ulf Lindberg. "Authenticity Revisited: The Rock Critic and the Changing Real." Popular Music and Society 33, no. 4 (October 2010): 465–85. http://dx.doi.org/10.1080/03007761003694225.
3
Mayer, David. "The Orient on the Victorian Stage. By Edward Ziter. Cambridge: Cambridge University Press, 2003; pp. ix + 235, 20 illustrations. £45 or $75 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 331–33. http://dx.doi.org/10.1017/s0040557405310209.
Abstract:
On 5 January 1813, an anonymous London theatre critic, reviewing Covent Garden's Harlequin and the Red Dwarf; or, The Adamantine Rock for The Times, enthused over the pantomime's oriental (i.e., Middle Eastern) subject matter, insisting that:
4
Zheng, Jian Ming, Feng Yu Ren, and Lie Xian Tang. "Geomechanics Research with Critical Depth Prediction and Surface Subsidence Range Controlling." Advanced Materials Research 952 (May 2014): 155–60. http://dx.doi.org/10.4028/www.scientific.net/amr.952.155.
Abstract:
Traditional subsidence range prediction by stagger angle doesn’t adapt to production situation in deep mining, the angle is usually large. Analyze the lateral support force of the moving bulk solid in the subsidence pit based on maintaining sidewall rock stability of subsidence pit. While bulk solid thickness of subsidence pit is not less than critical bulk solid column, the active pressure and passive pressure of bulk solid prevent the scaling of sidewall rock together. By analyzing the measured data of subsidence range of Xishimen mine, the height of critic bulk solid column relates to stability of rock, sidewall angle of goaf, internal friction angle, and rock loose coefficient. In deep mining, that filling subsidence pit with waste rock can lower the critical depth and control surface subsidence range.
5
Liu, Yong Sheng, Jian Guo Peng, Jing Hua Zhang, and Li Xin Fu. "Mechanism of Water Inflow of Subsea Tunnel Induced by Blasting Excavation." Applied Mechanics and Materials 353-356 (August 2013): 1566–71. http://dx.doi.org/10.4028/www.scientific.net/amm.353-356.1566.
Abstract:
Water inflow was the main damage during blasting excavation of subsea tunnel, disturbance due to blasting could also induce water inflow. Based on the blasting mechanism of water-bearing fractured rock-mass, stress state and breaking-down process of the fracture was analyzed, which was affected by dynamic stress field (blasting effect) and static stress field (water and in-situ stress). With the affect of overlapping dynamic and static stress field, the calculation formula of the critical inner water pressure in water inflow was presented. At last, using these formulas, critic water press and radial extent were calculated of water-bearing fractured rock-mass in Xiamen subsea tunnel.
6
Mitchell, Tony. "Mixing pop and politics: rock music in Czechoslovakia before and after the Velvet Revolution." Popular Music 11, no. 2 (May 1992): 187–203. http://dx.doi.org/10.1017/s0261143000004992.
Abstract:
Rock and pop music in the USSR and eastern Europe has become an area of increasing interest to both the western mass media and cultural studies since glasnost, perestroika, the collapse of the Eastern bloc Communist regimes and the constitution of new western-styled democratic governments. This is largely because rock music has represented probably the most widespread vehicle of youth rebellion, resistance and independence behind the Iron Curtain, both in terms of providing an enhanced political context for the often banned sounds of British and American rock, and in the development of home-grown musics built on western foundations but resonating within their own highly charged political contexts. As the East German critic Peter Wicke has claimed,Because of the intrinsic characteristics of the circumstances within which rock music is produced and consumed, this cultural medium became, in the GDR, the most suitable vehicle for forms of cultural and political resistance that could not be controlled by the state. (Wicke 1991, p. 1)
7
Zhu, Feng, Haowei Song, Bingxiang Huang, Binxin Hu, Siqi Li, Guangdong Song, Hua Zhang, Tongyu Liu, and Fuwu Ma. "Research and Application of Rock Burst Hazard Assessment of the Working Face Based on the CF-TOPSIS Method." Shock and Vibration 2023 (June 22, 2023): 1–11. http://dx.doi.org/10.1155/2023/5546795.
Abstract:
Coal mining activities have intensified, and underground mining depths have increased, posing significant challenges for mitigating rock burst hazard. To address this issue, this paper proposes an improved comprehensive weighting prediction (CF-TOPSIS) method that predicts weight and grade indices for rock burst evaluation. The study introduces a novel variable coefficient method to optimize the conflict response problem and employs correlation forward and other techniques to minimize errors caused by large data differences. Based on these, the CRITIC objective weight algorithm model is established, and FAHP is used to optimize weighting factors to make the index weight of rock burst more reasonable, thus enhancing the accuracy of hazard assessment for working faces. Results from engineering examples show that the prediction results combined with field drill cutting methods and microseismic monitoring data verify the accuracy of the proposed method, indicating its feasibility and effectiveness in predicting rock burst hazard in underground coal mines.
8
Li, Jing Long, Chao Yuan, Bo Zhang, and Bin Sui. "Evaluation and Application of Surrounding Rock Stability Based on the Improved Weighting Multidimensional Cloud Model." Advances in Civil Engineering 2021 (July 6, 2021): 1–9. http://dx.doi.org/10.1155/2021/5557477.
Abstract:
Aiming at the uncertainty in the existing tunnel surrounding rock stability evaluation methods and the inability to make scientific explanations in the process of determining the weights of multiple evaluation indicators, this paper combines subjective weighting based on the nonlinear characteristics of the surrounding rock stability evaluation criteria. Based on the advantages of the method AHP and the objective weighting method CRITIC, a comprehensive weighting method with multiple evaluation indicators is proposed, which is integrated with the multidimensional normal cloud model to establish a surrounding rock stability evaluation method for the improved weighted multidimensional cloud model and accurately obtain the safety level of tunnel surrounding rock construction. The multidimensional cloud model based on improved weighting not only solves the two major problems of randomness and ambiguity in surrounding rock stability evaluation but also fully considers the influence of the information contained in each evaluation factor on the results. The surrounding rock stability evaluation method in this paper is applied to the tunnel construction of the Beijing-Shanghai Expressway and Jinan Expressway connecting line construction project, and the evaluation results have a scientific guiding role for construction risk control.
9
Simões Pires, Arthur Freire, and Fábio Cruz. "A WAY WITH WORDS: um estudo barthesiano sobre Carry Fire." Revista Observatório 4, no. 6 (October 8, 2018): 985–1006. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n6p985.
Abstract:
Neste trabalho, apresentamos um estudo acerca de duas críticas exibidas pelos portais de notícia UOL (representado pelo blog Omelete) e The Guardian (representado pelo jornal dominical The Observer) sobre o álbum Carry Fire, do cantor inglês de rock Robert Plant. Lançando mão de uma postura crítica, histórica e dialética, adotamos como marcos teórico-metodológicos os pressupostos de Roland Barthes (1964, 1993). O objeto de trabalho é o jornalismo e seu ethos, através do subgênero de cultura. A partir de sua manifestação e do cabedal teórico selecionado analisamos o cumprimento, ou não, da proposição jornalística.
PALAVRAS-CHAVE: Rock; Fait Divers; Crítica Musical; Jornalismo Cultural; Robert Plant.
ABSTRACT
In this work, we introduce a study about two critics displayed by the news portal UOL (represented by Omelete blog) and The Guardian (represented by Sunday’s paper The Observer) regarding the album Carry Fire, by the british rock singer Robert Plant. Taking a critical, historical and dialectical posture, we adopt as theoretical-methodological frameworks the assumptions of Roland Barthes (1964, 1993). The object of work is journalism and its ethos, through the subgenre of culture, starting from its manifestation and from selected theoretical background, we analyze the fulfillment, or not, of the journalistic proposal.
KEYWORDS: Rock; Fait Divers; musical critic; cultural journalism; Robert Plant.
RESUMEN
En este trabajo, presentamos un estudio sobre dos críticas presentadas por los portales de noticias UOL (representado por el blog Omelete) y The Guardian (representado por el diario dominical The Observer) sobre el álbum Carry Fire, del cantante inglés de rock Robert Plant. A partir de una postura crítica, histórica y dialéctica, adoptamos como marcos teórico-metodológicos los presupuestos de Roland Barthes (1964, 1993). El objeto de trabajo es el periodismo y su ethos, a través del subgénero de cultura. A partir de su manifestación y del cuero teórico seleccionado analizamos el cumplimiento, o no, de la proposición periodística.
PALABRAS-CLAVE: Rock; Fait Divers; crítica musical; periodismo cultural; Robert Plant.
10
BLAKE, CASEY NELSON. "ROCK AS EXPERIENCE." Modern Intellectual History 14, no. 1 (February 16, 2016): 293–308. http://dx.doi.org/10.1017/s147924431500044x.
Abstract:
Readers dismayed by the appearance of a review essay on hipsters, hippies, and rock music in the pages of Modern Intellectual History should take a deep breath (you may inhale) and consider the following passage from John Dewey's 1934 Art as Experience: Any idea that ignores the necessary role of intelligence in production of works of art is based upon identification of thinking with use of one special kind of material, verbal signs and words. To think effectively in terms of relations of qualities is as severe a demand upon thought as to think in terms of symbols, verbal and mathematical. Indeed, since words are equally manipulated in mechanical ways, the production of a work of genuine art probably demands more intelligence than does most of the so-called thinking that goes on among those who pride themselves on being “intellectuals.”It's impossible to know what Dewey would have thought had he lived beyond his ninety-two years and confronted the rock music and counterculture of the 1960s and early 1970s. Would he have found “intelligence” at work in “acid rock” or hippie culture? Or would he have reacted as rock critic Greil Marcus did in the famous opening line of his review of Bob Dylan's 1970 Self Portrait album: “What is this shit?” I’d like to think he’d have given the music a listen, if not at the Fillmore then perhaps on his home stereo. After all, Dewey had this to say about music: “Music, having sound as its medium, thus necessarily expresses in a concentrated way the shocks and instabilities, the conflicts and resolutions, that are the dramatic changes enacted upon the more enduring background of nature and human life.” If any music expressed the shocks, instabilities, and conflicts of its day—and did so “in a concentrated way”—it was rock ’n’ roll. In fact, sonic culture had a privileged place in Dewey's aesthetics as an expression of the emotional life of individuals and communities. “Generically speaking, what is seen stirs emotion indirectly, through interpretation and allied idea. Sound agitates directly, as a commotion of the organism itself.” A philosopher who refused to sever sensory experience from cognition might well have considered whether somewhere in the commotion of rock culture there was also thinking. The question for historians committed to that proposition today is how and where to locate thinking in all the feedback.
11
Sun, Wenbin, Hongqiang Liu, Zhenbo Cao, Hui Yang, and Jingjing Li. "Mechanism Analysis of Floor Water Inrush Based on Criteria Importance though Intercrieria Correlation." Water 15, no. 2 (January 5, 2023): 232. http://dx.doi.org/10.3390/w15020232.
Abstract:
Floor water inrush has always been an important problem affecting coal mine safety. The water inrush from the deep coal seam floor is the final manifestation of the water inrush channel formed by the expansion and penetration of rock mass cracks under the combined action of a high ground temperature, high ground stress, high karst water pressure and strong mining disturbance. The fault is a structurally weak plane developed in the complete rock layer, which can be regarded as a permeable channel with good permeability. In order to explore the location of confined water from the fault to rock stratum caused by the tensile fracture of a fault during floor water inrush, floor water inrush is regarded as the result of the joint action of water pressure and mining stress. The COMSOL Multiphysics numerical simulation software was used to simulate the advancing process of the working face of the coal seam with a fault structure. Different fault dip models were established for comparative analysis. The objective weight CRITIC based on data volatility was used to analyze the water pressure and principal stress near the fault. The results show that the uplift strength of highly confined water increases with the increase in the fault dip angle, and the weight of water pressure near the fault has a certain relationship with the location of the water body entering the rock stratum from the fault.
12
Bao, Guangtuo, Kepeng Hou, and Huafen Sun. "Rock Burst Intensity-Grade Prediction Based on Comprehensive Weighting Method and Bayesian Optimization Algorithm–Improved-Support Vector Machine Model." Sustainability 15, no. 22 (November 13, 2023): 15880. http://dx.doi.org/10.3390/su152215880.
Abstract:
In order to accurately judge the tendency of rock burst disaster and effectively guide the prevention and control of rock burst disaster, a rock burst intensity-grade prediction model based on the comprehensive weighting of prediction indicators and Bayesian optimization algorithm–improved-support vector machine (BOA-SVM) is proposed for the first time. According to the main factors affecting the occurrence and intensity of rock burst, the rock stress coefficient (σθ/σc), brittleness coefficient (σc/σt) and elastic energy index (Wet) are selected to construct the rock burst prediction indicator system. On the basis of the research of other scholars, according to the main performance and characteristics of rock burst, rock burst is divided into four intensity levels. The collected and sorted 120 sets of rock burst case data at home and abroad are taken as learning samples, and the T-SNE algorithm is used to perform dimensionality-reduction visualization processing on the sample data, visually display the distribution of samples of different grades, evaluate the representativeness of the sample data and prejudge the feasibility of the machine learning algorithm to distinguish different rock burst intensity levels. The combined improved analytic hierarchy process (IAHP) and Delphi method determine the subjective weight of the indicators; the combined entropy weight method and CRITIC method determine the objective weight of the indicator, and use the harmonic mean criterion of information theory to synthesize the subjective weight and objective weight of the indicator to obtain the comprehensive weight of the indicators. After weighted prediction indicators, a rock burst intensity-grade prediction model is constructed based on the support vector machine, and the hyperparameters of three types of support vector machines are improved by using the Bayesian optimization algorithm. Then, the prediction accuracy of different models is calculated by the random cross-validation method, and the feasibility and effectiveness of the rock burst intensity-grade prediction model is verified. In order to evaluate the generalization and engineering applicability of the proposed model, 20 groups of rock burst case data from the Maluping mine and Daxiangling tunnel are introduced to predict the rock burst intensity grade. The results show that the accuracy of the rock burst intensity-grade prediction model based on comprehensive weighting and BOA-SVM is as high as 93.30%, which is of higher accuracy and better effect than the ordinary model, and can provide warning information with a higher fault tolerance rate, which provides a new way of thinking for rock burst intensity-grade prediction.
13
Zhao, Yakun, Jianhong Chen, Shan Yang, and Zhe Liu. "Game Theory and an Improved Maximum Entropy-Attribute Measure Interval Model for Predicting Rockburst Intensity." Mathematics 10, no. 15 (July 22, 2022): 2551. http://dx.doi.org/10.3390/math10152551.
Abstract:
To improve the accuracy of predicting rockburst intensity, game theory and an improved maximum entropy-attribute measure interval model were established. First, by studying the mechanism of rockburst and typical cases, rock uniaxial compressive strength σc, rock compression-tension ratio σc/σt, rock shear compression ratio σθ/σc, rock elastic deformation coefficient Wet, and rock integrity coefficient were selected as indexes for predicting rockburst intensity. Second, by combining the maximum entropy principle with the attribute measure interval and using the minimum distance Di−k between sample and class as the guide, the entropy solution of the attribute measure was obtained, which eliminates the greyness and ambiguity of the rockburst indexes to the maximum extent. Third, using the compromise coefficient to integrate the comprehensive attribute measure, which avoids the ambiguity about the number of attribute measure intervals. Fourth, from the essence of measurement theory, the Euclidean distance formula was used to improve the attribute identification mode, which overcomes the effect of the confidence coefficient taking on the results. Moreover, in order to balance the shortcomings of the subjective weights of the Analytic Hierarchy Process and the objective weights of the CRITIC method, game theory was used for the combined weights, which balances experts’ experience and the amount of data information. Finally, 20 sets of typical cases for rockburst in the world were selected as samples. On the one hand, the reasonableness of the combined weights of indexes was analyzed; on the other hand, the results of this paper’s model were compared with the three analytical models for predicting rockburst, and this paper’s model had the lowest number of misjudged samples and an accuracy rate of 80%, which was better than other models, verifying the accuracy and applicability.
14
Backman, Sofi, Daniel Lindmark, Kenneth Bodin, Martin Servin, Joakim Mörk, and Håkan Löfgren. "Continuous Control of an Underground Loader Using Deep Reinforcement Learning." Machines 9, no. 10 (September 27, 2021): 216. http://dx.doi.org/10.3390/machines9100216.
Abstract:
The reinforcement learning control of an underground loader was investigated in a simulated environment by using a multi-agent deep neural network approach. At the start of each loading cycle, one agent selects the dig position from a depth camera image of a pile of fragmented rock. A second agent is responsible for continuous control of the vehicle, with the goal of filling the bucket at the selected loading point while avoiding collisions, getting stuck, or losing ground traction. This relies on motion and force sensors, as well as on a camera and lidar. Using a soft actor–critic algorithm, the agents learn policies for efficient bucket filling over many subsequent loading cycles, with a clear ability to adapt to the changing environment. The best results—on average, 75% of the max capacity—were obtained when including a penalty for energy usage in the reward.
15
Xiao, Lele, Fan Li, Chao Niu, Gelian Dai, Qian Qiao, and Chengsen Lin. "Evaluation of Water Inrush Hazard in Coal Seam Roof Based on the AHP-CRITIC Composite Weighted Method." Energies 16, no. 1 (December 22, 2022): 114. http://dx.doi.org/10.3390/en16010114.
Abstract:
The more complex the hydrogeological conditions of a mine, the more likely the coal seam is to experience water inrush during the mining process, and the greater the degree of the water inrush hazard. The scientific and reasonable prediction of water inrush in mines with complex hydrogeological conditions is of great significance to the safe and efficient operation of coal mines. Taking the roof water inrush problem of the No. 3 lower coal seam in the Jisan Coal Mine as the research object, the factors affecting the roof water inrush of the coal seam were comprehensively considered from three aspects: the aquifer property, the mining fracture development and the geological structure. The evaluation index system was constructed by selecting 10 factors, including the aquifer depth and thickness, core recovery rate, brittle–plastic rock thickness ratio, number of water-resisting layers, development height of the water-conducting fracture zone, fault density, frequency density, scale index and variation coefficient of the coal seam floor dip angle. At the same time, based on the dual influence of subjective and objective weighting, the scientific and reasonable weight of each factor was ensured. The AHP-CRITIC composite weighting method was used to calculate the comprehensive weight of each factor. Finally, the roof water inrush risk prediction model was constructed. According to the prediction results, the study area was divided into a low-risk area, medium-risk area and high-risk area. Compared with the actual situation, the prediction results were basically consistent with the actual situation, and the prediction results can provide the basis for the prevention and control of water in a coal mine.
16
Garofalo, Reebee. "How autonomous is relative: popular music, the social formation and cultural struggle." Popular Music 6, no. 1 (January 1987): 77–92. http://dx.doi.org/10.1017/s0261143000006620.
Abstract:
Writing about popular music in 1977 from what I would describe as a ‘classical’ Marxist perspective, Steve Chapple and I proclaimed unequivocally that:The position of the music as an increasingly important cultural commodity within a consumer economy weakened any of the explicit anti-materialist content of the music.… Musicians and the creative personnel within the industry were integrated into an entertainment business now firmly part of the American corporate structure. (Chapple and Garofalo 1977, p. 300)In 1981, four short years later, British sociologist and music critic Simon Frith described the structure and functioning of the music industry in much the same terms that Chappie and I had put forth, but his analysis shifted the emphasis considerably. Declared Frith:Cultural commodities may support the contemporary power of capital, but they have their civilising moments, and even as the most effortless background music, rock is a source of vigour and exhilaration and of good feelings that are as necessary for the next morning's political struggle as for the next day's work. My argument is that rock fun is as much a quality of the music's use as of its form. (Frith 1981, pp. 264–5)Attempting to avoid what he saw as an economically reductive position, Frith de-emphasised the role of monopoly corporations in controlling the marketplace and shaping popular culture. In the tradition of ‘cultural’ Marxism, he focused instead, and somewhat optimistically, on the power of the consumer to reappropriate the music in unintended ways, to ‘resignify’ its meaning, if you will.
17
Timashova, Olga Vladimirovna. "A. F. Pisemskiy as a Critic. The Article on the «Hidden Rock» by M. V. Avdeev and Pisemskiy’s Views on the «Woman Question»." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 13, no. 2 (2013): 69–73. http://dx.doi.org/10.18500/1817-7115-2013-13-2-69-73.
18
Jackson, Virginia. "Historical Poetics and the Dream of Interpretation: A Response to Paul Fry." Modern Language Quarterly 81, no. 3 (September 1, 2020): 289–318. http://dx.doi.org/10.1215/00267929-8351520.
Abstract:
Abstract As a response to Paul Fry’s essay “The New Metacriticisms and the Fate of Interpretation,” this essay asks a few questions: (1) Isn’t “metacriticism” what the twentieth century meant by literary criticism? (2) Why is modern literary criticism so defensive when it comes to lyric poetry? (3) What happens when the historical situation of a lyric literalizes apostrophic address? The answer to the first of these questions is yes. The answer to the second question depends on the critic, but this essay points out that defenses of lyric began in the early nineteenth century, so modern lyric theory continues a long tradition. The white male supremacist foundation of those defenses informs definitions of lyric poetry as utterance overheard, as solitary self-address. Fry is right that historical poetics attempts to rock that two-hundred-year-old foundation. The answer to the third question is that many poets have also rocked that foundation over those two centuries. The essay ends by interpreting an apostrophic ode written and published by George Moses Horton in 1828. Horton’s enslavement in North Carolina literalized the figurative situation of address that has come to define lyric reading.
19
Díaz, D., A. Maksymowicz, G. Vargas, E. Vera, E. Contreras-Reyes, and S. Rebolledo. "Exploring the shallow structure of the San Ramón thrust fault in Santiago, Chile (∼33.5° S), using active seismic and electric methods." Solid Earth Discussions 6, no. 1 (January 28, 2014): 339–75. http://dx.doi.org/10.5194/sed-6-339-2014.
Abstract:
Abstract. The crustal-scale west-vergent San Ramón thrust fault system at the foot of the main Andean Cordillera in central Chile is a geologically active structure with Quaternary manifestations of complex surface rupture along fault segments in the eastern border of Santiago city. From the comparison of geophysical and geological observations, we assessed the subsurface structure pattern affecting sedimentary cover and rock-substratum topography across fault scarps, which is critic for evaluating structural modeling and associated seismic hazard along this kind of faults. We performed seismic profiles with an average length of 250 m, using an array of twenty-four geophones (GEODE), and 25 shots per profile, supporting high-resolution seismic tomography for interpreting impedance changes associated to deformed sedimentary cover. The recorded traveltime refractions and reflections were jointly inverted by using a 2-D tomographic approach, which resulted in variations across the scarp axis in both velocities and reflections interpreted as the sedimentary cover-rock substratum topography. Seismic anisotropy observed from tomographic profiles is consistent with sediment deformation triggered by west-vergent thrust tectonics along the fault. Electrical soundings crossing two fault scarps supported subsurface resistivity tomographic profiles, which revealed systematic differences between lower resistivity values in the hanging wall with respect to the footwall of the geological structure, clearly limited by well-defined east-dipping resistivity boundaries. The latter can be interpreted in terms of structurally driven fluid content-change between the hanging wall and the footwall of a permeability boundary associated with the San Ramón fault. The overall results are consistent with a west-vergent thrust structure dipping ∼55° E at subsurface levels in piedmont sediments, with local complexities being probably associated to fault surface rupture propagation, fault-splay and fault segment transfer zones.
20
Guo, Linning, Kepeng Hou, Huafen Sun, and Yong Yang. "Stability Evaluation of the Goaf Based on Combination Weighting and Cloud Model." Advances in Civil Engineering 2024 (February 29, 2024): 1–19. http://dx.doi.org/10.1155/2024/3884586.
Abstract:
Goaf has become one of the most significant sources of hazard affecting the safety of metal and nonmetal mines. Evaluation of goaf stability is of paramount importance for mine safety production. First, 13 indices such as rock mass structure, geological structure, and goaf volume are selected based on engineering experience and literature review to assess the stability of goaf. These indices are classified according to the characteristics of each factor, and a stability evaluation system for underground mine goaf is constructed. Second, the analytic hierarchy process method based on group decision theory is utilized to calculate the subjective weight of each index. Additionally, the CRITIC method is used to calculate the objective weight of each index. Finally, game theory is used to combine the subjective and objective weights, thereby improving the accuracy of the index weight. The stability grade of the goaf is calculated using the normal cloud model. The FLAC3D numerical simulation is used to analyze the stability of the goaf and verify the accuracy of the model. The abovementioned model is utilized for assessing the stability of the goaf in the Duimenshan mine section. The results indicate that 90% of the goaf area is in a stable or relatively stable condition, while the remaining 10% is unstable. The evaluation outcomes were compared with FLAC3D numerical simulations, highlighting a scientific and reliable method with an accuracy rate of 90%.
21
Schmude, Klaus. "The Sites of Kirchhellen and Weeze, Lower Rhine Bay/Germany, with an Elder Acheulean: starting points for research into the problems of recognizing stone-artefacts in pebble-accumulations of fluviatil terraces." E&G Quaternary Science Journal 46, no. 1 (January 1, 1996): 120–31. http://dx.doi.org/10.3285/eg.46.1.09.
Abstract:
Abstract. The continuing critic by part of the prehistorians, including the principal rejection of pieces found in and on fluvial terraces without additional archaeological documents, which docs include Kirchhellen and Weeze, caused the author to continue research and he began to study situations, where geofacts are produced, which could be mistaken for archaic artefacts. Results up to now seem to indicate a better suited approach to this problem, as explained in the following part. To postulate criteria, in this case enabling to distinguish between arte- and geofacts,an extensive fundamental study of the origin of geofacts and the context should have been undertaken, to form a basis from which to draw conclusions and then to establish criteria. This is missing in our case. The author's report describes observations, which seem to point in a direction enabling a better understanding of the problem. The statements, that the existence of artefacts in fluvial terraces is higly improbable and that it is not possible, if they exist, to separate them from geofacts in pebble accumulations, is contrasted by numerous archaeological sites with a wealth of artefacts, the latter even excavated in thousands from fluvial terraces in the mediterranean area. The production of geofacts as a natural process is much to complex to postulate simple criteria, as they are used now. The pattern of natural damages differs from rock to rock, frequently very strong. Experience gained with flint silex, in Germany or elsewhere, cannot be generalized and used on other rocks: on one site archaic looking geofacts, made perhaps on limestone, may exist in hundreds together with isolated anthropogene similar artefacts on quartzite. The research into a possible archaeological site in an elder fluvial terrace demands to study the flow of material for a longer distance of the river, as well as the tributaries and to take into account numerous complex aspects, which influence the production of geofacts in the case involved. As many collections as possible of artefacts from the Elder Paleolithic have to be studied, besides extensive field work on terraces in different areas plus experimental knapping: these are basic conditions to gain the necessary knowledge, and this expressly over long periods, preferably many years. The final aim is the possession of a wealth of detailed, personal knowledge of boths: the artefacts involved as well as the geofact-forms in general: then as a next step the special geofact-forms of the area involved in new research. The pieces found in Kirch hellen and Weeze are reconsidered in view of the above mentioned observations and groups are created: a. one group of artefacts; b. one group which comprises pieces from a zone of passage. There are still questions open: for instance is the geology of Kirchhellen object of new studies, but also questions with respect to the general problem artefacts/geofacts might be further clarified and this may help with the classification of certain pieces.
22
Fathoni, M. fathoni, Ibnu Akbar, Suhaeli Robbi Awaludin, Gustin Rainaldi, and Slamet Riadi Jaelani. "Critical Discourse Analysis In The Lyrics of A Song Entitled”Polisi Dan Bajingan By Iwan Fals." Journal of Scientific Research, Education, and Technology (JSRET) 2, no. 3 (July 24, 2023): 1112–17. http://dx.doi.org/10.58526/jsret.v2i3.203.
Abstract:
In analyzing a song lyrics means aiming to understand and express the overall meaning of the lyrics of a song as a whole, because a song is not only for entertainment, but also expressing feeling, message, and character building. this study using qualitative methods about the object of research .The researcher emloys the Critical Discourse Analysis (CDA) as the framework of the research. The type of CDA that has been used is based on the Van Dijk theory. The theory is formulated in three stages, which were text , socio cognition and context. The stage of text itself is divided into three, namely macrostructure,superstructure, and macrostructure. The step of research is begun by collecting all song lyrics by Iwan Fals from his song entitled “ Polisi dan Bajingan”. Further, the next step is choosing the song lyrics needed for research.but, in this research the writer find one level to be analyzed, that is macrostructure. One of figures song writer and singer who has composed and published some inspirited songs is Iwan Fals. He is a singer, musician, songwriter, and critic. His musical style is pop, rock, country, and folk pop and the lyrics he creates tell a lot about the dark times in the era of 1970 to 1980 in the political field. In his career he has created approximately 31 albums. Iwan Fals is included in the list of the immortals: 25 greatest Indonesian artists of all time by Rolling Stone Indonesia magazine. In his song, he photographed the social atmosphere of Indonesian life in the late 1970s until now the life of the world in general and life itself. For example the song "Letter To The People's Representatives, aunt Lisa, noon opposite the palace and many more.
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Turnbull, Michael T. R. B. "'Celestial Fireworks' – Father Malachy's Miracle (1931)." Journal of Religious History, Literature and Culture 9, no. 1 (June 15, 2023): 125–55. http://dx.doi.org/10.16922/jrhlc.9.1.5.
Abstract:
In his satirical novel, 'Father Malachy's Miracle' (1931), Bruce Marshall (24 June 1899–18 June 1987), the Edinburgh-born author of over forty books, presents the reader with an elderly Benedictine monk, Fr Malachy Murdoch, who has been sent from his monastery in the Scottish Highlands to improve the singing and the manners on the altar of St Margaret's Church in Edinburgh – like many of the episodes in the novel, Marshall's characters, thinly-disguised, are based on 'real' people – in spite of the author's protestations to the contrary.<br/> After a chance but testy meeting with a dapper Episcopalian clergyman who challenges the monk to prove that miracles can really happen. Malachy impulsively jettisons his brief and accepts the challenge, deciding to petition God to move an adjacent dancehall of ill repute (along with its clientele) onto the windy summit of the Bass Rock, a volcanic island some twenty miles away in East Lothian. Inexplicably, the displacement immediately becomes a tourist attraction – for which Malachy is roundly admonished by a cardinal newly-arrived from Rome.<br/> He begins to grasp the wider implications of what he has done. He regrets his hasty reaction and implores God to restore the seedy dancehall to its former site beside the Church of Saint Margaret of Scotland – he is left with an abiding sense of guilt and failure. Interviewed in Rome by the literary critic Luigi Silori in 1959, Marshall confided that 'the author should not preach. This is why the clergy generally does not understand me very well – because they expect me to preach, and I don't want to do this.'<br/> So why has this comic masterpiece been almost forgotten? Recently, new research into 'Father Malachy's Miracle' has revealed just how closely Marshall's deft fictionalisation imitated real life – the thin line between fact and Marshall's fiction.
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O’Connell, Mark Joseph. "Arc’teryx and the luxury of disruption: Sustainable drivers of a fashionable brand." Luxury Studies: The In Pursuit of Luxury Journal 1, no. 2 (October 1, 2022): 161–82. http://dx.doi.org/10.1386/ipol_00012_1.
Abstract:
In Canada we struggle to recognize homegrown fashion talent, and our benchmarks for identifying quality work are based on imported luxury brands. Paradoxically, however, where we are most successful is when we are at our most Canadian. The Arc’teryx label, for example. This brand that grew from a passion for rock climbing, and whose gear subsequently expanded into luxury athleisure, has a uniquely Canadian DNA, one that actively engages with the natural world, the elements, and whose design and manufacturing directives are guided by a deep respect for sustainable principles. The goal of this research is to examine Arc’teryx to see how a successful fashion label has chosen to incorporate sustainable principles into their daily operations. The methodology for this article draws upon interviews with a key company employee, and it also examines the manufacturing model employed by Arc’teryx and how the fundamental corporate ethos drives decision-making. Theory for this article is adapted from technology and social critic Ursula Franklin’s prescient 1989 Massey College (University of Toronto) lecture series (‘The Real World of Technology’) wherein she examined the social shifts that were being catalysed by ascendant technology. Historically, Canada has been a locus of colonial imports and of raw resource export; perhaps now, the cultural values of Canada can constitute another valuable export commodity. One that is sorely needed as the fashion industry as a whole – in its current structure and practices – is massively destructive to the environment and the workers who manufacture our fashionable luxuries. For Arc’teryx, there may not be the same cachet of status-based cosseted luxury or aspirational identification with a rarefied clientele that a European haute-couture fashionable item carries. Conversely, this brand may illustrate that there is more to the ontology of luxury than just the narrow parameters of the Faubourg Saint Honoré or 5th Avenue. For Arc’teryx it is more about an athletic, holistic aesthetic, one that espouses the ‘luxury’ of a strong, healthy body that actively engages with a pristine, natural environment. Worthwhile aspirations that can have much wider implications when applied to a business model.
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Cooper, B. Lee. "Rock Journalists and Music Critics: A Selected Bibliography." Popular Music and Society 33, no. 1 (February 2010): 75–101. http://dx.doi.org/10.1080/03007760701580207.
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Dalton, Rex. "Geographer sues critics of his rock-dating methods." Nature 401, no. 6752 (September 1999): 419. http://dx.doi.org/10.1038/46655.
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KEISTER, JAY, and JEREMY L. SMITH. "Musical ambition, cultural accreditation and the nasty side of progressive rock." Popular Music 27, no. 3 (October 2008): 433–55. http://dx.doi.org/10.1017/s0261143008102227.
Abstract:
AbstractProgressive rock of the early 1970s has been demonised as a nadir in the history of rock primarily because of the ambitions of progressive rock musicians. Critics have interpreted these ambitions as attempts to elevate rock music to the level of high art in order to gain cultural accreditation from an unspecified cultural elite. This interpretation is further compounded by the common notion that progressive rock’s subject matter is dominated more by individualistic quests for spirituality than by socio-political critique, resulting in a stereotype of progressive rock as apolitical, pretentious and conventionally upwardly mobile. Critics who have propagated this stereotype – including some musicologists – have misunderstood the countercultural politics of young musicians during this era and have overlooked the highly developed musical poetics of progressive rock that were in fact highly politicised. This paper examines four of the leading progressive rock bands of the early 1970s – Emerson, Lake and Palmer, King Crimson, Genesis and Yes – and reveals the nasty side of progressive rock: a scathing criticism of rampant militarism and social conformity that runs counter to the prevailing narrative in which the genre is dismissed as an escapist fantasy with an elitist agenda.
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Alberto, Thiago Pereira, and Jonas Pilz. "A crítica de rock repaginada e despaginada. Da autoridade no jornalismo cultural à plataformização e performance de gosto." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 5, no. 3 (2022): 35–54. http://dx.doi.org/10.21747/21843805/tav5n3a2.
Abstract:
On this paper we discuss the current potentialities of rock n' roll critics, highlighting its production, reception and circulation scenarios by the platformization perspective and understanding the current criticism as a taste performance. We refuse the idea that the criticism itself became obsolete, as it has been claimed by some, and argue that, in fact, there is a repositioning process that led into the current rock critics escaping the big newspapers and magazines and having no requirement of a journalism academic degree. We present a short chronology of arts journalism, focused on culture, and rock criticism, as part of the journalism based on opinion, where the rock journalists used to claim their authorities because of their repertory and authenticity. Our main purpose here is to demonstrate that not just these values are no longer determinant for one to publish his own critics, but criticism is now less of a judgment of taste than it is a horizontally and immediatism mediation. It is not a sentence defining made by one if something is good or bad -or must be bought or not -but a sharing of taste to and by many.
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Suleiman, Elia. "The Occupation (and Life) Through an Absurdist Lens." Journal of Palestine Studies 32, no. 2 (January 1, 2003): 63–73. http://dx.doi.org/10.1525/jps.2003.32.2.63.
Abstract:
Elia Suleiman, born in Nazareth in 1960, is the first Palestinian filmmaker to be selected for the "official competition" of the Cannes International Film Festival: his Divine Intervention: A Chronicle of Love and Pain was not only one of the twenty-one films out of 939 entries chosen for the fifty-fifth festival in May 2002, it also won the Jury Prize and the Interna tional Critics Prize. Suleiman had already come to the attention of the 2001 Cannes Festival, where his short Cyber Palestine was shown at the "Directors' Fortnight." Though without formal training, Suleiman has been winning prizes since his first film, a short entitled Introduction to the End of an Argument, won the award for best experimental documentary-USA in 1991. This was followed by his 1992 short Homage by Assassination, which won a Rockefeller Prize. By the time he made his first full-length movie, Chronicle of a Disappearance (which won the prize for the best first-feature at the 1996 Venice International Film Festival), his style was already well developed: a progression of sketches——witty, surreal, ironic, often devastating——and a virtual absence of narrative; in the case of Chronicle, a main character (a filmmaker called E.S., played by Suleiman himself) appears in a number of the episodes, most of which shed harsh light on life in Nazareth, but his presence seems more accidental than part of a storyline. Film critic Stanley Kaufman of the New Republic called Chronicle of a Disappearance "a film of the absurd. If Ionesco had been a Palestinian and a filmmaker, he might have made it." While his recent film, Divine Intervention, is still very much an assemblage of vignettes, it does nonetheless have a semblance of narrative: a "central character" (again, a filmmaker named E.S., again played by Suleiman) shuttles between his hometown of Nazareth, where his father, beset by business woes, has a heart attack and lies dying; his apartment in East Jerusalem, where he is working on a screenplay; and a checkpoint between East Jerusalem and Ramallah, where he holds tender but wordless meetings in a parked car with his lover, a Ramallah woman hemmed in by borders and closures. In one of the checkpoint scenes that combines the visual beauty, whimsy, humor, and satire characteristic of the film, the hero inflates a large red balloon bearing the smiling visage of Yasir Arafat and releases it, creating havoc among the soldiers. Taking advantage of the ensuing confusion, the hero and his lover manage to speed through the checkpoint, while the camera follows the balloon as it soars over the landscape toward Jerusalem, floating over the rooftops of the Old City and past the Church of the Holy Sepulcher to a light on the Dome of the Rock. When Divine Intervention won the Jury Prize at Cannes, the New York Times (27 May 2002) called it "a Keatonesque exploration of the large and small absurdities of Palestinian life under occupation." And indeed, despite the humor, moments of tenderness, and laugh-out-loud sight gags, the film presents an all-too-realistic picture, pitiless and meticulous, of the devastating impact of occupation on Palestinian society both in Israel and in the occupied territories. Suleiman is witty and light, but dead serious; allergic to preaching, propaganda , and clichéé, but highly political. The underlying grimness of the film is relieved not only by the humor but by resort to fantasy: the hero, cruising a long a highway, casually tosses an apricot pit out of his car window and a tank blows up; a stunningly beautiful woman (the hero's lover) strides through a checkpoint, mesmerizing the soldiers with her fierce beauty, and a military watchtower collapses. The most elaborate such sequence is the spectacular "Ninja scene," a violently beautiful and stylized choreography wherein the same woman is imagined as a guerrilla fighter who dispatches (seemingly bloodlessly) a whole phalanx of Israeli sharpshooters who have been firing at her effigy in a shooting range. The meaning of the images, whose connectedness one to the next is not always immediately apparent, can leave the spectator temporarily puzzled; the New York Times of 7 October 2002 called them "cinematic riddles and visual puns, delivered in elegant deadpan." The cumulative impact, however, is clear, and the images themselves linger long after the film ends. New York Times critic A. O. Scott, while noting the film's "appearance of randomness," adds that there is "an oblique, elegant sense of structure here" and that "the interlocking series of setups, punch lines and non sequiturs add up to something touching, provocative, and wonderfully strange." Divine Intervention currently is being shown throughout Europe and will be opening in the Middle East and Israel in January 2003. Shown at the New York Film Festival in October 2002, it will open commercially in the United States in January. Suleiman, in Paris for the opening of his film, was interviewed by Linda Butler, associate editor of JPS, on 26 September 2002.
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Dowd, Timothy J., Trent Ryan, Vaughn Schmutz, Dionne Parris, Ashlee Bledsoe, and Dan Semenza. "Retrospective Consecration Beyond the Mainstream: The Creation of a Progressive Rock Canon." American Behavioral Scientist 65, no. 1 (July 29, 2019): 116–39. http://dx.doi.org/10.1177/0002764219865315.
Abstract:
Based on a sample of 28,360 albums identified by an online community devoted to progressive rock, this article examines factors that shape the retrospective consecration of music that operates beyond the mainstream. Drawing on previous work on fields of cultural production, genre trajectories, and creative careers, the article produces findings that both replicate and innovate. As in previous research, critical acclaim greatly enhances the likelihood of consecration; however, it is not mainstream critics but underground critics whose opinions are most influential and most consistent with popular appeal among the progressive rock audience. Likewise, although performers from the “first wave” of progressive rock and from the United Kingdom have an advantage in getting consecrated, a more recent wave of performers in the online era see higher odds of consecration and there is neither a significant advantage for U.S.-based performers nor a significant disadvantage for performers from the margins. Findings suggest that the relationship between different types of legitimation varies across fields and that in progressive rock—a field with a high degree of aesthetic solidarity—some sources of acclaim often thought of as being in competition are actually compatible.
31
Varriale, Simone. "Reconceptualizing Aesthetic Cosmopolitanism: Evidence From the Early Consecration of Anglo-American Pop-Rock in Italy." American Behavioral Scientist 65, no. 1 (September 15, 2018): 99–115. http://dx.doi.org/10.1177/0002764218800139.
Abstract:
This article explores how foreign, recently imported cultural forms can redefine the dynamics of legitimation in national cultural fields. Drawing on archival research, the article discusses the early consecration of Anglo-American pop-rock in 1970s Italy and analyzes the articles published by three specialist music magazines. Findings reveal the emergence of a shared pop-rock canon among Italian critics, but also that this “cosmopolitan capital” was mobilized to implement competing editorial projects. Italian critics promoted both different strategies of legitimation vis-à-vis contemporary popular music and opposite views of cultural globalization as a social process. Theoretically, the article conceptualizes “aesthetic cosmopolitanism” as a symbolic resource that can be realized through competing institutional projects, rather than as a homogeneous cultural disposition.
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Schaap, Julian, and Pauwke Berkers. "De nieuwe Hendrix : Witheid als scheidslijn in de evaluatie van rockmuziek in Nederland en de Verenigde Staten1." Sociologie 14, no. 2 (March 1, 2019): 119–45. http://dx.doi.org/10.5117/soc2018.2/3.004.scha.
Abstract:
Abstract Popular music can have a function in the creation of boundaries between groups, particularly regarding race and ethnicity. Music genres such as rock or hip-hop do not only reflect ethno-racial groups, but are often structured along ethno-racial lines. Based on a quantitative and qualitative analysis of 577 rock music album reviews, this article investigates (i) to what extent ethno-racial boundaries are (re)produced and/or contested in the critical and consumer reception of rock music in the Netherlands and the United States between 2003 and 2013, (ii) to what extent professional reviewers and consumer reviewers differ from each other regarding ethno-racial classifications in their reception of rock music, and (iii) whether there is a difference between the ethno-racial context of the Netherlands and the United States. Albums by non-white artists tend to receive lower evaluations than those by white artists, particularly when reviewed by consumer critics. Although both types of reviewers often ignore talking about race ‐ echoing a colour-blind ideology, professional critics are more explicit and colour-conscious regarding non-white participation in rock music. Furthermore, five different mechanisms are employed by reviewers as part of ethno-racial boundary work: (i) ethno-racial comparisons, (ii) inter-genre comparisons, (iii) positive ethno-racial marking, (iv) negative ethno-racial marking and (v) minimization and irony.
33
Qirko, Hector. "Race and Rhythm in Rock and Roll." Southern Anthropological Society Proceedings 42, no. 1 (2013): 239–57. http://dx.doi.org/10.56702/mpmc7908/saspro4201.11.
Abstract:
This chapter argues that contrary to conventional wisdom and the views of many scholars and critics, rock and roll’s most important rhythmic elements are derived from a complex blend of African, American, and European musical traditions. There is therefore no objective support for racialized characterizations of the “beat” that often serve, however unintentionally, to perpetuate stereotypes in discussions of both the genre and American popular music more broadly.
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Steinholt, Yngvar B. "You can't rid a song of its words: notes on the hegemony of lyrics in Russian rock songs." Popular Music 22, no. 1 (January 2003): 89–108. http://dx.doi.org/10.1017/s0261143003003064.
Abstract:
From the mid-1980s, rock music emerged as the leading musical culture in the major cities of the Soviet Union. In writings and research on this ‘Soundtrack of Perestroika’, attention has been primarily paid to the words rather than the sounds. Russian rock critics and academics, as well as those who participate in Russian rock culture, persistently emphasise the literary qualities of Russian rock music and most still prefer to approach rock as a form of musical poetry - ‘Rok poèziya’. This seems out of step with the growing emphasis on an interdisciplinary approach within popular music studies. The aim of this article is to investigate and discuss some of the core arguments that underpin notions of Russian rock music's literary qualities. This may help to uncover some specific national characteristics of rock in Russia, whilst at the same time questioning the need for, and value of, a literary approach to the study of Russian rock.
35
del Val, Fernán. "‘Sing as you talk’: Politics, popular music and rock criticism in Spain (1975–1986)." Journalism 20, no. 9 (August 4, 2017): 1203–22. http://dx.doi.org/10.1177/1464884917719586.
Abstract:
The field of popular music in Spain underwent an important transformation in the years of the country’s political transition from 1975 to 1986, producing a great confluence of two music scenes: the so-called ‘Movida’ scene and the hard-rock scene. This article analyses a variety of music magazines and personal interviews with rock critics to trace how the process of legitimation in rock criticism deepened during those years. From a theoretical standpoint, this article applies ideas from the sociology of art criticism to popular music studies, Motti Regev’s work on the non-Anglophone music press and Shyon Baumann’s work on the legitimation process.
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Andry, Rafi, and Hermawati Syarif. "An analysis of Satire Delivered by Politic Observer Rocky Gerung in Indonesia Lawyer Club (ILC)." English Language and Literature 10, no. 1 (July 23, 2021): 44. http://dx.doi.org/10.24036/ell.v10i1.109411.
Abstract:
In delivering critics, the use of satire is indispensable so that the critics can be accepted or heard, because satire is very much used as a tool to convey the critics. This study aims to analyze the types and techniques of satire introduced by Abeshaus (2018) and Luke Endley (2017). The method used in this research is descriptive method. There are two problems in this study, (1) what types and (2) technique of the satire used by Rocky Gerung in his speech. The results show that in 24 techniques of satire there are 14 techniques of satire with Inflation (38.9%), Hyperbole (14.9%) and Innuendo (14.9 %) being the highest found and from 3 types of satire were found that Juvenalian (57.3%) as the dominant type. The result of this research is that Rocky Gerung tends to use critics by using Inflation with exaggerating the mistakes and circumstances. Regarding the type, the most commonly type found in this study is the Juvenalian type. Because Rocky Gerung tends to use the type of sarcasm that is harsh and reproachful
37
Mazullo, M. "Fans and Critics: Greil Marcus's Mystery Train as Rock 'n' Roll History." Musical Quarterly 81, no. 2 (January 1, 1997): 145–69. http://dx.doi.org/10.1093/mq/81.2.145.
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Brown, Andy R. "Heavy metal justice? Calibrating the economic and aesthetic accreditation of the heavy metal genre in the pages of Rolling Stone 1980–91: Part one 1980–851." Metal Music Studies 7, no. 1 (March 1, 2021): 61–84. http://dx.doi.org/10.1386/mms_00032_1.
Abstract:
Given the genre name heavy metal can be traced to a negative adjective that emerges out of 70s rock journalism and which reflects a widespread dissensus among rock critics about its value and impact on North American rock music, how are we to explain the gradual or cumulative shift away from this majority aesthetic disapprobation, in the 1980–85 period, towards a widespread economic accreditation, particularly in the pages of leading rock magazine, Rolling Stone? Is it simply a belated recognition of the longevity of the genre and its resurgent popularity with majority audiences? If so, how are we to explain the subsequent shift, clearly evident in the Rolling Stone coverage in the 1986–91 period, from economic to aesthetic approbation of selective bands, particularly those identified with a thrash metal underground, which is nevertheless seen to emerge from within the genre or to be an aesthetic development of some of its key musical features, while rejecting others? Drawing on a comprehensive survey, composed of album reviews, lead or feature articles and interviews, drawn from the Rolling Stone archive, my research reports, in Part One of this article, a definite shift in the critical reception of heavy metal to economic accreditation in the 1980–85 period, based not only on the genre’s persistence and sustained economic success but also its ability to appeal beyond its core metal audience and therefore challenge the dominant rock and pop aesthetic. For some critics this means that a selective set of popular bands, such as AC/DC, the Scorpions and Def Leppard, can be afforded a degree of aesthetic approbation, even the status of ‘artists’. But this praise also leads to the Great Metal Question: can they now seek to move beyond the musical and lyrical conventions of heavy metal in order to appeal to a wider audience beyond their core fanbase?
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HUANG, HAO. "Yaogun Yinyue: rethinking mainland Chinese rock ‘n’ roll." Popular Music 20, no. 1 (January 2001): 1–11. http://dx.doi.org/10.1017/s0261143001001271.
Abstract:
International discourse on Yaogun Yinyue (mainland Chinese rock music) has been coloured by the early identification of Chinese rock ‘n’ roll with the aborted student democracy movement of the late 1980s. This has led to a simplistic valourisation of Western representations of rock rebellion by the global mass media, characterised by a lack of awareness of changing social circumstances within the People's Republic of China over the past decade. Originally, Yaogun Yinyue did indeed share a generational root with student radicals who expressed frustration with the severely limited life choices in a Chinese Communist Party (CCP) controlled state. However, in response to the periodic political crackdowns during the post-Tiananmen massacre era, most current mainland rock musicians have consciously avoided rhetoric which might lead to unhealthy repercussions for their careers. ‘Empathetic’ Western rock critics may be disillusioned to learn that recently many Chinese rock musicians not only reject popular reifications of rock ‘n’ roll but also express vehemently anti-foreign sentiments (Barme 1996, p. 202). Historical Sino-Western antagonisms have combined with individual resentments of foreign record companies' exploitative practices to create genuine suspicion about the West as a cultural and economic hegemon. This article offers a social and historical analysis in an attempt to reframe the meanings of Chinese rock as cultural product.
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HOLMES, JESSICA A. "“The Dress-Clad, Out Loud Singer of Queer Punks”: Bradford Cox and the Performance of Disability." Journal of the Society for American Music 14, no. 3 (August 2020): 250–79. http://dx.doi.org/10.1017/s175219632000019x.
Abstract:
AbstractBradford Cox's physical appearance has mystified audiences, critics, and fans since the inception of his American indie rock band Deerhunter in the early 2000s. As the band's frontman, Cox is 6’4” with an exceptionally thin, angular frame, physical effects associated with Marfan syndrome. Yet many critics and fans do not recognize that he has a disability per se, instead speculating about possible anorexia, drug abuse, mental illness, and even his gender and sexual orientation. Through analysis of Cox's reception and creative output, I argue that the simultaneous fetishization and normalization of his body is due to its resonance with two overlapping countercultural discourses: the current idealization of thinness in indie rock as it both extends and departs from an earlier tradition of freakery and androgyny in punk. I show that Cox resists what he views as the masculine heteronormativity and performative apathy of indie rock through “freakish” sartorial reference to his androgynous punk idols PJ Harvey, Joey Ramone, and Patti Smith, an aesthetic that for Cox is vitally queer. Cox uses his solo musical output to further convey his alienation as a queer-disabled male artist: through his lyrics, album art, and specific vocal affectations and production techniques, he establishes a continuity across the visual and sonic registers of his identity to ultimately achieve a sense of belonging.
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Bourdage, Monique. ""A Young Girls Dream": Examining the Barriers Facing Female Electric Guitarists." IASPM Journal 1, no. 1 (April 8, 2010): 1–16. http://dx.doi.org/10.5429/334.
Abstract:
Critics who locate the instrument’s inaccessibility to women solely in its physical design overlook cultural reasons for the lack of great female electric guitarists. The same barriers that prevent women from succeeding in other male-dominated fields also apply to the electric guitar, such as a scarcity of role models, a lack of access to education, and the masculinization of prestigious technologies. Despite allusions to rebellion, rock ‘n’ roll often promotes traditional gender roles. This paper examines the creation of along with efforts to break down these barriers, which have included women’s music festivals, riot grrrl, and rock camps for girls.
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FEIGENBAUM, ANNA. "‘Some guy designed this room I’m standing in': marking gender in press coverage of Ani DiFranco." Popular Music 24, no. 1 (January 2005): 37–56. http://dx.doi.org/10.1017/s0261143004000285.
Abstract:
Examining ways in which gender is marked in the press coverage of self-produced, folk-rock artist and record label owner Ani DiFranco, this paper explores how language employed in rock criticism frequently functions to devalue and marginalise women artists' musicianship, influence on fans, and contribution to the rock canon. Investigating how the readerships of different publications may influence the ways in which journalists mark gender in rock criticism, this study utilises a corpus of 100 articles on Ani DiFranco published between 1993 and 2003 from print and online magazines and newspapers in Canada, the United States and the United Kingdom. Focusing on the use of inter- and intra-gender artist comparisons, adjectival gender markers and ‘metaphorical gender’ markers in artist background information, lyrical and musical analyses and descriptions of fans, this analysis maps the discursive conventions that music critics and theorists continue to rely on in reviews and profiles of women artists.
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RAVEENDRAN, PRATHIBHA, and E. SHAJI. "Hard Rock Aquifers of Trivandrum, Kerala, India: A Critical Analysis of Its Status and Prospects." INTERNATIONAL JOURNAL OF EARTH SCIENCES AND ENGINEERING 10, no. 02 (April 26, 2017): 361–66. http://dx.doi.org/10.21276/ijee.2017.10.0232.
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Burke, Patrick. "Trouble Every Day." Journal of Popular Music Studies 34, no. 2 (June 1, 2022): 51–68. http://dx.doi.org/10.1525/jpms.2022.34.2.51.
Abstract:
In November and December 1966, the young, predominantly white rock audience on the Sunset Strip in Los Angeles battled police over curfew and loitering laws. Both the Strip’s protesters and their critics associated these “Sunset Strip riots” with the Watts uprising of 1965, when Black residents of South Los Angeles resisted police brutality and economic exploitation. White bohemians claimed solidarity with, or perhaps merely appropriated, the moral imperatives of Black protest, while Black critics argued that the mild oppression faced by white teenagers on the Strip was irrelevant to the serious, systemic abuses inflicted on Black communities such as Watts. Yet the Sunset Strip protests also led white activists to consider questions of privilege and authenticity and to make sincere attempts to support Black movements. Frank Zappa and the Mothers of Invention’s “Trouble Every Day” and “Plastic People,” songs that critically address Watts and the Sunset Strip, respectively, exemplify the complex interplay among political radicalism, racial identity, and musical creativity in the growing counterculture surrounding rock. In the Black Lives Matter era, when many white musicians and their audiences seek to be effective allies in Black struggles, the “Sunset Strip riots” can serve as both inspiration and cautionary tale.
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Gray, Timothy. "Hip Americana: The Cultural Criticism of Greil Marcus." Prospects 27 (October 2002): 611–39. http://dx.doi.org/10.1017/s0361233300001356.
Abstract:
In the summer of 1976, as many in our nation were getting ready to celebrate the bicentennial and listening to AM radio shlock like “Afternoon Delight,” I persuaded my father to buy me an oversized red paperback I had been perusing at the local mall. The book was theRolling Stone Illustrated History of Rock & Roll, a landmark collaboration edited by Jim Miller. Throughout my teenage years, I would pour over its many photographs, memorize its discography sections, and take instruction and courage from its lively, opinionated writing. Looking back at theIllustrated Historya quarter of a century later, I find that its list of contributors reads like a “Who's Who” of rock criticism. Peter Guralnick, Robert Christgau, Lester Bangs, Robert Palmer, Jon Landau, and Dave Marsh are just a few of the writers who went on to make their names as critics, musicologists, and biographers. On this occasion, they managed to weave the separate strands of rhythm and blues, folk, country, and rock into a cohesive tapestry.
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Nata, Maria Alfira, Antonia Alfiayu Zigha Nanga, Lousiano Grandiroyvan Wera Moa, and Yohanes Arman. "ANALISIS KASUS ROCKY GERUNG YANG DIDUGA MELAKUKAN PENGHINAAN TERHADAP PRESIDEN JOKOWI DODO." Juris 7, no. 2 (December 26, 2023): 486–93. http://dx.doi.org/10.56301/juris.v7i2.1118.
Abstract:
This study analyzes the case of insult against President Jokowi Dodo by Rocky Gerung, an intellectual and critic of the government. This study uses a qualitative method with a case study approach, which allows the researcher to understand the phenomenon from various aspects. Qualitative data were collected from various sources, such as mass media, social media, and legal documents. This study uses the Differential Association theory and the Labelling theory to explain Rocky Gerung's behavior. The results of the study show that Rocky Gerung's statement has the potential to be considered as insulting the president personally, even though he claims to be a critique of the government's policy. Insulting the leader of the state should not be done in the space of democracy and freedom of expression. As an intellectual, Rocky Gerung should express his opinion with responsibility and respect for public institutions.
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Brennan, Matt. "“Nobody Likes Rock and Roll but the Public”:Down Beat, Genre Boundaries and the Dismissal of Rock and Roll by Jazz Critics." Popular Music and Society 36, no. 5 (December 2013): 559–77. http://dx.doi.org/10.1080/03007766.2012.718486.
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Fast, Susan. "Same As It Ever Was? Musicology Continues to Wrestle with Rock." Canadian University Music Review 21, no. 1 (March 4, 2013): 40–53. http://dx.doi.org/10.7202/1014477ar.
Abstract:
Popular music studies is approached from a number of disciplinary perspectives. Most recently, musicologists and music theorists have become interested in the analysis of popular music. This has sparked heated debates both within musicology and music theory, and outside it from sociologists and other cultural critics. The author traces some of that debate and argues for a popular music analysis that takes social meanings into account, using language that does not alienate those who are not professional musicians. It is argued that this is of paramount importance, since popular music is one of the most important means through which many people in the West shape their worlds.
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Atton, Chris. "Challenging authenticity: fakes and forgeries in rock music." Popular Music 38, no. 2 (May 2019): 204–18. http://dx.doi.org/10.1017/s0261143019000084.
Abstract:
AbstractAuthenticity is a key concept in the evaluation of rock music by critics and fans. The production of fakes challenges the means by which listeners evaluate the authentic, by questioning central notions of integrity and sincerity. This article examines the nature and motives of faking in recorded music, such as inventing imaginary groups or passing off studio recordings as live performances. In addition to a survey of types of fakes and the motives of those responsible for them, the article presents two case studies, one of the ‘fake’ American group the Residents, the other of the Unknown Deutschland series of releases, purporting to be hitherto unknown recordings of German rock groups from the 1970s. By examining the critical reception of these cases and taking into account ethical and aesthetic considerations, the article argues that the relationship between the authentic (the ‘real’) and the inauthentic (the ‘fake’) is complex. It concludes that, to judge from fans’ responses at least, the fake can be judged as possessing cultural value and may even be considered as authentic.
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Wilson, James Matthew. "From Plymouth Rock to Palo Alto: The New England literary tradition and its American critics." Christianity & Literature 64, no. 1 (December 2014): 82–110. http://dx.doi.org/10.1177/0148333114552775.