Not Entirely Subversive: Rock Military Style from Hendrix to Destiny's Child
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Not Entirely Subversive : Rock Military Style from Hendrix to Destiny's Child. / Langkjær, Michael Alexander.
Fashions: Exploring Fashions through Culture. red. / Jacque Lynn Foltyn. Oxford : Inter-Disciplinary Press, 2012. s. 193-227 (Critical Issues).Publikation: Bidrag til bog/antologi/rapport › Bidrag til bog/antologi › Forskning
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TY - CHAP
T1 - Not Entirely Subversive
T2 - Rock Military Style from Hendrix to Destiny's Child
AU - Langkjær, Michael Alexander
PY - 2012
Y1 - 2012
N2 - Rock and pop musicians attired in military uniforms belong to our collective visual memory of the popular music scene since the 1960s. There has been a tendency to overestimate the subversive and erotic appeal of the uniformed look; subversion and fetishistic eroticism need not have been all that 'rock military style' involved. In challenging a-priori psychological or semiotic approaches, a note is made of discrepancies between what military-styled stars wished to express by their look and what their audiences assumed was its purpose. A general characterization of 'rock military style' is followed by analyses of the 1960s guitar hussar look of Jimi Hendrix and the 21st century camouflaged survivor look of Destiny's Child. Elucidation of the motivation behind their respective versions of 'rock military style' is achieved through utilization of personal statements in interviews, song lyrics, and contextual evidence linked to the histories and philosophies of Pop Art and aesthetics, current events and the cultural and social histories of particular groups. Differences and similarities between Hendrix and Destiny are noted, which include gender-specific attitudes toward the use of uniforms and military textiles as decorative devices, male status display and female empowerment, as well as anxieties about mortality.
AB - Rock and pop musicians attired in military uniforms belong to our collective visual memory of the popular music scene since the 1960s. There has been a tendency to overestimate the subversive and erotic appeal of the uniformed look; subversion and fetishistic eroticism need not have been all that 'rock military style' involved. In challenging a-priori psychological or semiotic approaches, a note is made of discrepancies between what military-styled stars wished to express by their look and what their audiences assumed was its purpose. A general characterization of 'rock military style' is followed by analyses of the 1960s guitar hussar look of Jimi Hendrix and the 21st century camouflaged survivor look of Destiny's Child. Elucidation of the motivation behind their respective versions of 'rock military style' is achieved through utilization of personal statements in interviews, song lyrics, and contextual evidence linked to the histories and philosophies of Pop Art and aesthetics, current events and the cultural and social histories of particular groups. Differences and similarities between Hendrix and Destiny are noted, which include gender-specific attitudes toward the use of uniforms and military textiles as decorative devices, male status display and female empowerment, as well as anxieties about mortality.
KW - Faculty of Humanities
KW - Uniforms
KW - Camouflage
KW - Fashion
KW - Semiotics
KW - Gender
KW - Aesthetics
KW - Empowerment
KW - Rock music
KW - Jimi Hendrix
KW - Destiny's Child
KW - Beyoncé
KW - Popular Culture
KW - 1960s
KW - 1990s-2000s
M3 - Book chapter
SN - 978-1-84888-015-3
T3 - Critical Issues
SP - 193
EP - 227
BT - Fashions
A2 - Foltyn, Jacque Lynn
PB - Inter-Disciplinary Press
CY - Oxford
ER -
ID: 35925990