#gothic funk

[burlveneer-music]

Belfegore - Mensch Oder Gott - just saw a picture that reminded me of this album cover, so thought I’d revisit this sick track from 1983

[100-great-books]

[thecreativemillennial]

Johnny Rotten and Siouxsie Sioux

[from-light-to-blue]

my hand

Cherry-Coloured Funk

You’ll hang the hearts

Black and dull as the night

You hanged your past and start being

As you in ecstasy

Still being cried and laughed at before

Should I be sewn and hugged?

I can by not saying

Still being cried and laughed at

From light to blue

I should I be hugged and tugged down

Through this tiger’s masque?

[fallenfaiiry]

me as a funko pop 🔮🎮🧚🏻‍♀️

[3rdwaveca]

FUNK

Dont get stuck cyberpunk fashion

7

[chilicaucecritic]

Song 2 - (Blur Cover)

[cuartoretorno]

[emstefani]

SCATTERED SHARDS

Ethereal, dreamy album about to take the world by surprise. Stay tuned.

[dimidesan]

No guts, no glory, no legend, no story.

[ask-ragapom-anything]

Do either of you like gothic fashion?

//we'll circle back to this ask later- just a hint as to what got her into this funk <3333//

[thecreativemillennial]

Siouxsie sioux at Blondie's party, at Notre Dame Hall in 1977. Credit to Ray Stevenson

[psychedeliclush]

( INFORMATION AND EXAMPLES OF EACH GENRE UNDER CUT )

NO WAVE !

Artists: Sonic Youth, Swans, DNA, Mars, The Contortions

Most popular Era: Late 70s - 80s

Basic definition: No wave music is a genre that emerged in the late 1970s in New York City as a response to the prevailing punk rock scene. It is characterized by its experimental and avant-garde approach, often incorporating dissonant sounds, unconventional song structures, and a DIY ethos. No wave artists rejected traditional rock conventions, embracing chaos and noise as a means of expression. The genre often blends elements of punk, funk, jazz, and noise music, creating a raw and abrasive sound that challenges listeners' expectations.

Song examples:

GOTHIC ROCK !

Artists: Bauhaus, Siouxie and the Banshees, Christian Death, Killing Joke, Sisters of Mercy, The Cure, Specimen

Most popular Era: Late 80s

Basic definition: The gothic rock music genre is characterized by its dark and brooding sound, often incorporating elements of post-punk. With its haunting melodies, gloomy lyrics, and atmospheric production, gothic rock creates a sense of mystery and intrigue. Bands like The Cure, Siouxsie and the Banshees, and Bauhaus are considered pioneers of the genre, influencing a whole generation of musicians.

Song examples:

[androgynemj]

Academic Works on Michael Jackson: A Reading List

Books

General:

Amisu, E. (2017). The Dangerous Philosophies of Michael Jackson : His Music, His Persona, and His Artistic Afterlife. Greenwood.

Cashmore, E. (2022). The Destruction and Creation of Michael Jackson. Bloomsbury.

Race, Racial Politics, and Blackness:

Pinder, S. O. (2021). Michael Jackson and the Quandary of a Black Identity. State University of New York Press.

Manning, H. J. (2016). Michael Jackson and the Blackface Mask. Routledge.

Anthropology:

Ostaszewska, A. (2021). Michael Jackson as a Mythological Hero. Wydawnictwa Uniwersytetu Warszawskiego.

Articles/Essays

Gender and Queerness:

Izod, J. (1995). Androgyny and Stardom: Cultural Meanings of Michael Jackson. The San Francisco Jung Institute Library Journal, 14(3), 63–74.

Vogel, J. (2018). Freaks in the Reagan Era: Androgyny and the American Ideal of Manhood. In James Baldwin and the 1980s: Witnessing the Reagan Era (pp. 49–68). University of Illinois Press.

Fast, S. (2010). Difference that Exceeded Understanding: Remembering Michael Jackson (1958–2009). Popular Music & Society, 33(2), 259–266.

Fast, S. (2012). Michael Jackson’s Queer Musical Belongings. Popular Music and Society, 35(2), 281–300.

Manning, H. J. (2016). The Burden of Ambiguity. In Michael Jackson and the Blackface Mask (pp. 137-165). Routledge.

Bruhm, S. (2009). Michael Jackson’s Queer Funk. In W. Hughes & A. Smith (Ed.), Queering the Gothic (pp. 158-176). Manchester: Manchester University Press.

Race, Racial Politics, and Blackness:

Amisu, E. (2017). Recontextualizing Michael Jackson’s Blackness. In The Dangerous Philosophies of Michael Jackson : His Music, His Persona, and His Artistic Afterlife (pp. 87-94). Greenwood.

Pinder, S. O. (2021). Michael Jackson and Racial Identification. In Michael Jackson and the Quandary of a Black Identity (pp. 63-89). State University of New York Press.

Pochmara, A. & Wierzchowska, J. (2017). Nobody Knows My Name: The Masquerade of Mourning in the Early 1980s Artistic Productions of Michael Jackson and Prince. Open Cultural Studies, 1(1), 628-645.

Wallace, M. (1989). Michael Jackson, Black Modernisms, and ‘The Ecstasy of Communication’. Third Text, 3(7), 11–22.

Cultural Criticism:

Silberman, S. C. (2007). Presenting Michael Jackson™. Social Semiotics, 17(4), 417–440.

Juan, D. D. (1996). The Celebrity Freak: Michael Jackson's ‘Grotesque Glory’. In Thomson, R.G. (Ed.), Freakery: Cultural Spectacles of the Extraordinary Body (pp. 368-384). New York University Press.

Kooijman, J. (2013). We Are the World: America’s Dominance in Global Pop Culture. In Fabricating the Absolute Fake: America in Contemporary Pop Culture - Revised Edition (pp. 23–42). Amsterdam University Press.

Musicology:

Stegner-Petitjean, I. (2011). ‘The Voice in the Mirror’: Michael Jackson: From a Vocal Identity to its Double in Sound. Volume!, 8(2), 222-253.

Amisu, E. (2017). “Instrument of Nature”: The Voice of Michael Jackson. In The Dangerous Philosophies of Michael Jackson : His Music, His Persona, and His Artistic Afterlife (pp. 59-65). Greenwood.

Roberts, M. (2011). Michael Jackson’s Kingdom: Music, Race, and the Sound of the Mainstream. Journal of Popular Music Studies, 23(1), 19-39.

Amisu, E. (2017). Narrative in Michael Jackson’s ‘Bad’. In The Dangerous Philosophies of Michael Jackson : His Music, His Persona, and His Artistic Afterlife (pp. 31-39). Greenwood.

Performance Studies:

Hamera, J. (2012). The Labors of Michael Jackson: Virtuosity, Deindustrialization, and Dancing Work. PMLA/Publications of the Modern Language Association of America, 127(4), 751–765.

Media Studies:

Mercer, K. (1986). Monster Metaphors: Notes on Michael Jackson’s ‘Thriller’. Screen, 27(1), 26-43.