Mimi Haddon
Biographic Data
| ID | 3878436 |
|---|---|
| NAME | Mimi Haddon |
| GIVEN NAMES | Mimi |
| FAMILY NAME | Haddon |
| SIGNATURE | HADDON M |
| AFFILIATIONS | University of Sussex |
| ORCID | 0000-0002-3907-9874 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Introduction
This special issue of Popular Music and Society on gender and popular music knowledge considers feminized ways of listening to and knowing about popular music that have occupied the margins of media representations and popular music studies. By way of introduction, we consider classic and recent work on gender and popular music, the traditional confines of popular music knowledge-making, and how centering the knowledge of women and girls broadens…
Matrices of ‘Love and Theft’
This article uses Joan Baez's impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse converge. The article is organized in three parts. The first part addresses the musical details of Baez's acts of mimicry and their uncanny ability to summon Dylan's predecessors. The second considers mimicry in the context of identity, specifically race and asym…
Dub is the new black
This article examines the complex racial and national politics that surrounded British post-punk musicians' incorporation of and identification with dub-reggae in the late 1970s. I analyse this historical moment from sociological, intra-musical and discursive perspectives, reading the musical incorporation of dub-reggae by The Police, Gang of Four and Joy Division against the backdrop of the era's music press discourse. I also unpack discursive r…
No prominent works on this page.
Dub is the new black
This article examines the complex racial and national politics that surrounded British post-punk musicians' incorporation of and identification with dub-reggae in the late 1970s. I analyse this historical moment from sociological, intra-musical and discursive perspectives, reading the musical incorporation of dub-reggae by The Police, Gang of Four and Joy Division against the backdrop of the era's music press discourse. I also unpack discursive r…
Matrices of ‘Love and Theft’
This article uses Joan Baez's impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse converge. The article is organized in three parts. The first part addresses the musical details of Baez's acts of mimicry and their uncanny ability to summon Dylan's predecessors. The second considers mimicry in the context of identity, specifically race and asym…
Introduction
This special issue of Popular Music and Society on gender and popular music knowledge considers feminized ways of listening to and knowing about popular music that have occupied the margins of media representations and popular music studies. By way of introduction, we consider classic and recent work on gender and popular music, the traditional confines of popular music knowledge-making, and how centering the knowledge of women and girls broadens…
Aesthetics (3 works) · Art (3 works) · Music History and Culture (3 works) · Sociology (3 works) · Art history (2 works) · Gender Studies (2 works) · Law (2 works) · Literature (2 works) · Musical (2 works) · Political science (2 works)