Titlebook: Jimi Hendrix and the Cultural Politics of Popular Music; Aaron Lefkovitz Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Ji

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myopia

60s and black-transnational political-cultures.Centers HendrThis book, on Jimi Hendrix’s life, times, visual-cultural prominence, and popular music, with a particular emphasis on Hendrix’s relationships to the cultural politics of race, gender, sexuality, ethnicity, class, and nation. Hendrix, an it

AND

Jimi Hendrix, the 1960s Counterculture, and Confirmations and Critiques of US Cultural Mythologies, this chapter highlights his musical and extra-musical roles as a transnational symbol. This chapter places Hendrix, and rock music more generally, in histories of the 1960s counterculture (especially the Woodstock Festival), US exceptionalist myths, and the cultural Cold War.

vibrant

Nerve-Block

,Jimi Hendrix and Black-Transnational Popular Music’s Global Gender and Sexualized Histories,etero-normative global gender and sexual roles in rock music and beyond. Complicating his fixed hetero-normative image, this chapter notes how Hendrix made flexible the strict divisions separating male and female genders and queer and straight sexualities.

Insufficient

最后一個(gè)

,“I Don’t Want to Be a Clown Anymore”: Jimi Hendrix as Racialized Freak and Black-Transnational Iconation, Hendrix’s onstage antics, smashing and burning his guitar, playing the guitar with his teeth, with one hand, behind his back, and between his legs, had overtly sexual implications and continued US and international freak-show legacies.

令人作嘔

Book 2018ns of blackface minstrelsy, international freak show spectacles, black popular music’s global circulation, and visual-cultural racial, gender, and sexual stereotypes, while noting Hendrix’s place in 1960s countercultural, US-exceptionalist, cultural Cold War, and rock histories..

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