One of the main ways I try to think about the political implications of improvisations is through Rancière. I won’t go into all of it here, but part of what this involves is linking up Rancière’s political thought with affect theory. I do this not only because Rancière’s politics make sense with the kind of … Continue reading RANCIÈRE AND AFFECT
I’m giving a lecture on The Ophelias next week for an entire hour. I am really excited about this, not only because I will be able to try out some new ideas for the first time in public, but also because I’ll get to talk about many of my favorite things: feminist rock, music history, … Continue reading BIG FEELINGS, QUEER PHENOMENOLOGY, AND THE OPHELIAS
I am curious to know when and how extended chords1 appear in rock music, specifically from the 90s onward. Chord extensions are certainly not unheard-of in rock, but nor are they standard or even common, depending on what sub-genre we’re talking about.2 And that’s the curiosity that I have: when, where, and why do extended … Continue reading A VERY PRELIMINARY IDEA
“In melodrama, the soundtrack is the supreme genre of ineloquence, or eloquence beyond words: it’s what tells you that you are really most at home in yourself when you are bathed by emotions you can always recognize, and that whatever dissonance you sense is not the real, but an accident that you have to clean … Continue reading HGTV 2
is an entire channel devoted to cruel optimism. What’s interesting to me is how neatly its form of cruelty fits into a seemingly prescribed genre of American mythology about home-ownership and upward mobility. As these notions become increasingly fanciful for more and more Americans, the teary-eyed “reveal” of HGTV becomes increasingly uncanny. What I would … Continue reading HGTV
