Fluorescent Flags
Black Power, Publicity, and Counternarratives in Go-Go Street Posters in the 1980s
Bibliographic Data
| ID | 12918136 |
|---|---|
| Authors | Natalie Hopkinson (Howard University, corresponding author) |
| Year | 2019 |
| Volume | 13 |
| Issue | 3 |
| Pages | 275-294 |
| Publication date | 2019-11-25 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Communication Culture and Critique (JOURNAL) |
| Journal identifiers | ISSN: 1753-9137 • E-ISSN: 1753-9129 |
| Publisher | Oxford University Press (OUP) (PUBLISHER) |
| DOI | 10.1093/ccc/tcz058 |
| OpenAlex | W3026249613 |
| Language | EN |
| References cited | 8 |
This semiotic landscape analysis probes urban patterns of racial placement and displacement through an archive of music publicity posters. The music poster archive is a site to map the so-called “Chocolate City” of Washington, D.C., in the 1980s, explore its calendars, rhythms, textures, communication technology, history and movements of segregated black life. These posters advertising go-go music, the city's indigenous black popular music, asserted a territory of black economic, cultural and political power. They resisted the narrative of a sanitized “White City” designed for white tourists. The city's cultural entrepreneurs challenged false dominant narratives and public policies that marginalized black urban culture as dangerous and deviant. A crack-down on postering in the late 1990s was an early harbinger of gentrification
Advertising · Art · Boom · Bust · FLAGS register · Gentrification · Indigenous · Jazz · Literature · Media studies · Narrative · Political science · Politics · Popular music · Power (physics · Publicity · Semiotics · Sociology · Visual arts · White (mutation · Engineering · Music History and Culture · Public Spaces through Art · Rhetoric and Communication Studies · History · Law
| Citation velocity | historical |
|---|---|
| Highly cited | No |