Category Archives: Popular music

The improbable rise of Run the Jewels

In the history of rap music, the success of Killer Mike (Michael Render), a Black man from Atlanta, Georgia, and El-P (Jaime Meline), a white man from Brooklyn, New York, seems implausible. Yet, they’ve defied all odds, turning what should have been the twilight of their careers into the peak of their success. As the powerhouse duo Run the Jewels, El-P and Killer Mike have headlined global festivals, become action figures and Marvel comic characters, led a worldwide countercultural movement, and played significant roles in the last two U.S. presidential elections.

Their journey evokes a modern-day buddy movie. Filled with twists and triumphs, it mirrors the massive shifts in the music industry over the last 25 years–from the peak of the CD era to its decline and the rise of streaming platforms–and reflects the evolution of pop culture and its sociopolitical climate. From the surge of Afrofuturism and the fall of the Twin Towers to the emergence of the Black Lives Matter movement and Colin Kaepernick’s protest, these pivotal moments shaped how their growing friendship turned Killer Mike and El-P from underground solo acts into globally recognized icons.

Killer Mike (left) and El-P perform on NPR’s Tiny Desk.

RTJ album cover artwork.

Listen to the 10th anniversary edition of Run the Jewels’ first album here.

Killer Mike, the 39-year-old rapper and entrepreneur, commands attention with his powerful presence, blending raw talent with a unique perspective that sets him apart. His verses seamlessly navigate detailed street narratives, intense battle raps, sharp punchlines, and passionate political commentary. Killer Mike first gained widespread recognition as a protégé of Outkast, the iconic Atlanta rap duo that paved the way for Southern hip hop to earn international respect. As a member of the Dungeon Family, he got his big break with a standout feature on Snappin’ and trappin’, a track from OutKast’s 2000 album Stankonia. After a series of solo releases and mixtapes, he expanded his creative reach, contributing music and voicing a character on Frisky dingo, an animated series that marked the beginning of his collaboration with Cartoon Network’s Adult Swim. In 2012, Killer Mike dropped R.A.P. music, a fiery album that brought together his commanding presence with the menacing beats of El-P, a seasoned veteran of New York City’s independent hip hop scene.

El-P (left) and Killer Mike (right) perform during the 2019 All Points East Festival at Victoria Park in London. Photo by Robin Little.

El-P first made his mark as part of Company Flow, a group of sharp-tongued, anti-establishment lyricists who approached their tracks with the same rebellious energy as graffiti artists tagging subway cars. As the flagship act of Rawkus Records, a powerhouse of independent hip hop in the mid-1990s, Company Flow’s 1996 album Funcrusher plus became a cornerstone of underground hip hop. By the end of the decade, El-P, alongside his manager Amaechi Uzoigwe, launched the Definitive Jux label, with the intent to release Company Flow’s second album. However, before the project could come to fruition, the group split up. Despite this, the unfinished material was eventually reworked and became the foundation for El-P’s solo breakout, marking the start of his career as a solo artist and producer.

Official RTJ action figures.

The unexpected collaboration between underground hip hop giants El-P and Killer Mike turned out to be a perfect fit. In 2013, the duo reunited to launch Run the Jewels, revamping the gritty, hard-hitting style of late-1980s and early-1990s hip hop legends like Ice Cube and EPMD. Through their groundbreaking releases, Killer Mike and El-P firmly established themselves as dominant forces in modern music, becoming influential voices in the soundscape of contemporary rap.

This according to Kill your masters: Run the Jewels and the world that made them by Jaap Van der Doelen (Athens: University of Georgia Press, 2024; RILM Abstracts of Music Literature 2024-15629).

Watch Run the Jewels perform on NPR’s Tiny Desk concerts here.

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Filed under Humor, Mass media, Music industry, Performers, Politics, Popular music

A new model for Italian music production

RCA Italiana, established in Rome in 1951 as a subsidiary of the Radio Corporation of America, became one of the most influential Italian record labels of the 20th century. Its foundation was supported not only by the Vatican but also by funding from the 1948 European Recovery Program–better known as the Marshall Plan. Under the leadership of Ennio Melis, RCA earned a prominent role in Italian popular music, and from 1962 onward, some of the most iconic figures in Italian music recorded at its expansive studios on Via Tiburtina, as well as the more intimate Cenacolo studios. Artists such as Ennio Morricone, Gianni Morandi, Patty Pravo, Francesco De Gregori, and Antonello Venditti all passed through its doors. However, after its peak in the early 1960s and into the mid-1970s, RCA faced a significant decline, partly due to the bankruptcy of its parent company and shifts in the global market. The 1980s saw the company’s final fall, culminating in its sale to Bertelsmann Music Group (BMG) in 1986. Despite its decline, the RCA brand—once a symbol of the golden age of the Italian recording industry—still exists today under the Sony Music catalog.

RCA Italiana employee testing a record plate.

Listen to Nico Fidenco‘s La voglia di ballare here. This and many other Italian pop recordings were produced at RCA Italiana.

The company was originally named Radio e Televisione Italiana SpA (RTI). Its president, Count Enrico Pietro Galeazzi Lisi, who was a special delegate of the Pope, oversaw its establishment, while the driving force behind the project was Giuseppe Antonino Biondo, a Sicilian engineer and naturalized U.S. citizen working for the American RCA. The name RCA Italiana SpA was officially adopted in July 1954, a year after the company made the somewhat controversial decision to shift its focus to record production. Initially, the U.S. multinational appeared more interested in exporting its phonographic and radio-television equipment. However, by the end of 1953, the company outlined a new program for releases on 78 rpm records, coinciding with the final wave of Marshall Plan funding. To kickstart this new direction, Biondo enlisted renowned composer and conductor Armando Trovajoli and several other prominent Italian musicians. The new catalogue marked a departure from the dominant the American RCA and its classical repertoire, helping to usher in a new era of Italian music. These recordings took shape in a variety of studios already equipped with RCA technology.

Aerial view of the RCA Italiana campus.

In June 1962, the complex of recording studios on Via Tiburtina was officially inaugurated. The facility was a flagship of the company, featuring a centralized production system inspired by the U.S. model. This system consolidated all phases of the production process–recording, mastering, pressing, and storage–into one multipurpose campus. The heart of the complex was a striking red studio building (see the first image in this post), which featured the RCA Italiana sign, prominently visible from the Raccordo Anulare, the nearby ring road. Inside, the campus housed four recording studios spread across different floors: Studio A, the largest, was designed for big orchestras; studio B, about half the size of studio A, was used for vocals, instrumental recordings, soundtracks, and film dubbing; and the smaller studios C and D were intended for more smaller productions.

Studio A control room.

Production facilities at RCA Italiana.

Additionally, there were three natural echo chambers (reverberation rooms) built underground to minimize interference from external sounds. However, vibrations from the increasingly heavy traffic on the nearby ring road rendered these chambers unusable, prompting the development of artificial reverb technology. The other building on the site contained office spaces, warehouses dedicated to pressing records, and other storage areas for the finished products. Although the album covers were printed by third-party companies, the design work was carried out on the campus, ensuring a fully integrated creative process.

This according to a newly published entry on RCA Italiana by Francesco Brusco in DEUMM Online.

Watch an documentary in Italian on the history RCA Italiana here.

RCA Italiana employees testing recordings.

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Filed under Acoustics, Europe, Mass media, Music industry, Performers, Popular music

Brian Wilson’s good vibrations

With the passing of Brian Wilson on 11 June 2025–just days before his 83rd birthday–the music world lost one of its most innovative pop composers and producers. As a songwriter, musician, and producer, Wilson co-founded the Beach Boys in 1961 and was the creative force behind the band during its formative years. He wrote, arranged, and produced most of their material during their first five years, crafting a string of 1960s pop classics. The Beach Boys became synonymous with the vibrant themes of Southern California surf culture and youthful fun. With upbeat, danceable hits like Surfin’ U.S.A. (1963), I get around (1964), Fun, fun, fun (1964), California girls (1965), Good vibrations (1966) and many others, they emerged as one of the most successful pop bands of the decade–culminating in a memorable appearance on The Ed Sullivan Show in 1964.

Watch the Beach Boys perform on The Ed Sullivan Show:

https://www.youtube.com/watch?v=QnnFwfewk9c&list=RDQnnFwfewk9c&start_radio=1

The Beach Boys’ carefree, easygoing surf music was characterized by their distinctive vocal harmonies, which quickly became their trademark. Pet sounds–by far the band’s most musically complex and experimental album–was released in 1966 and was deeply inspired by The Beatles’ 1965 album Rubber soul. Widely regarded as one of the most influential records in pop music history, Pet sounds marked a significant artistic leap for the band and for pop as a whole.

Pet sounds cover art.

Wilson also produced singles for other artists, including The Honeys, a female vocal trio that featured his wife, Marilyn, and Glen Campbell. His production style was heavily influenced by Phil Spector; he frequently worked at Gold Star Studios and employed many of the same session musicians Spector used during the 1960s. Wilson recorded all the backing tracks for the Beach Boys’ hits live, without overdubbing, often adding vocals afterward. Due to deafness in one ear, he worked exclusively in mono.

Wilson in the mid-1970s, performing on piano.
Wilson with a goat on the photoshoot for the Pet sounds album cover.

In 1964, Wilson withdrew from live performances to focus on songwriting and studio work. From the late 1960s onward, he also battled depression and substance abuse, eventually stepping away from the music industry entirely for a time. Despite these challenges, he recorded eleven solo albums between 1988 and 2021 and published his autobiography, I am Brian Wilson: A memoir, in 2016. In 2021, Rolling Stone magazine ranked the Beach Boys’ song God only knows at number 11 on its list of the 500 Greatest Songs of All Time.

This according to the entry on Brian Wilson by William Ruhlmann in the Encyclopedia of recorded sound (2005, find it in RILM Music Encyclopedias) and a recently published short obituary in MGG Online.

Related Bibliolore posts:

https://bibliolore.org/2018/08/06/psychedelic-vegetables/

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Filed under Performers, Popular music

Black Sabbath and Joy Division channel the sounds of industrialized England

Scholars have long drawn connections between urban life and specific music genres, especially heavy metal. The British bands Black Sabbath and Joy Division serve as compelling case studies, exemplifying how their music emerged as a reflection of the bleak, industrial landscapes of 1960s and 1970s England. Despite belonging to different genres, both bands share a profound commonality: their sound was forged by—and evocative of—the desolation of these environments. This influence is particularly evident through key musical elements, including an unusually bass-heavy sonic palette, repetitive and continuous textures, austere arrangements, rigid song structures, and lyrical themes steeped in urban alienation.

Though separated by roughly a decade, Black Sabbath and Joy Division each aligned loosely with the dominant musical movements of their time. Black Sabbath emerged from the late 1960s blues rock scene, while Joy Division was a product of the post-punk wave of the late 1970s. Despite the differing genres, both bands distinguished themselves through striking originality and enduring influence. Their impact can be traced to two key sources: a strong sense of group synergy and their ability to channel shared urban-industrial experiences into music. In this sense, their music evokes a soundscape of similarly bleak and oppressive environments.

Black Sabbath in 1970. From left to right: Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward.

A defining similarity between Black Sabbath and Joy Division lies in the pervasive darkness and heaviness of both their sound and lyrical content. This shared aesthetic reflects a fascination with bleak and nihilistic themes–ranging from personal alienation and psychological turmoil to pressing social concerns such as war and drug addiction, particularly prominent in Black Sabbath’s music. This sonic and thematic weight can be traced directly to the oppressive industrial environments that shaped each band’s identity. Black Sabbath’s members, for instance, were raised in Aston, a war-scarred inner-city district of Birmingham marked by factories, soot-covered terrace houses, smoking chimneys, and remnants of World War II bomb sites. Such surroundings weren’t just the backdrop of their lives; they seeped into the music, transforming lived experience into powerful soundscapes of urban despair.

Joy Division in Manchester, 1979. Photo credit: Kevin Cummins

Joy Division’s origins closely mirrored those of Black Sabbath, shaped by similarly stark surroundings. Bassist Peter Hook and guitarist Bernard Sumner–the band’s central creative forces–grew up in Salford, a working class area near Manchester, during the 1960s and 1970s. Sumner vividly described his neighborhood as “a potted version of the entire, industrialized northwest,” listing iron works, copper works, cloth-finishing factories, paint and chemical plants, cotton mills, sawmills, and brass foundries—all within walking distance of his home. Despite a strong sense of community fostered by tightly packed terraced houses that fronted directly onto the street, the neighborhood was shadowed by frequent violence and a culture that emphasized emotional stoicism and cold, hardened masculinity.

A Manchester cotton mill, early 20th century.

The primal, bass-heavy, riff-driven sound of both Black Sabbath and Joy Division mirrors the industrial landscapes from which they emerged. Factories, conveyor belts, trains, and constant traffic created a dense low-frequency soundscape–a persistent rumble and thunder that saturated the environment. Although high-pitched noises occur in such settings, they are typically brief and peripheral, sharply contrasting with the ever-present bass tones. The absence of natural high-frequency sounds–such as birdsong or rustling leaves–further contributes to the sonic bleakness, depriving the environment of melodic brightness. This acoustic scarcity is echoed in the music: both bands emphasize low-end frequencies and a limited melodic range, effectively channeling the oppressive atmosphere of industrial life and amplifying the emotional starkness at the core of their sound.

This according to “Channelling the darkness: Group flow and environmental expression in the music of Black Sabbath and Joy Division” by Steve M. Taylor (Metal music studies 7/1[2021] 85–102; RILM Abstracts of Music Literature, 2021-4270).

Black Sabbath played their final concert last week on 5 July 2025 at Villa Park in Aston, Birmingham, England. They are widely considered the pioneers of contemporary heavy metal.

Below, Black Sabbath performs Electric funeral on their farewell tour. The next video features Joy Division performing Transmission in September 1979.

Related Bibliolore posts:

https://bibliolore.org/2018/04/16/black-sabbath-and-nietzsche/

https://bibliolore.org/2023/10/24/metal-blade-records-pioneering-la-heavy-music-label/

https://bibliolore.org/2009/12/28/advanced-musicology/

https://bibliolore.org/2012/03/23/punk-post-punk/

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Filed under Europe, Geography, Labor, Performers, Popular music, Sound, Space

Extra Fancy’s visceral queercore as discursive space

In 1996, Atlantic Records released—and almost immediately abandoned—a queercore album that boldly asserted a fiercely aggressive, macho gay male identity. Extra Fancy’s Sinnerman tackled themes such as sadomasochism, violent retaliation against gay-bashing, and life with HIV, all filtered through a punk-driven sonic intensity that matched the raw aggression of its lyrics. Although the band’s work was overtly queer in content, only lead singer Brian Grillo was openly gay. Grillo’s commanding physicality, including his muscular frame, butch attire, shaved head, and confrontational stage presence, projected a radical gay male persona steeped in anger and defiance. His gravelly vocal delivery evoked the hardcore and alternative masculinity of Henry Rollins, Kurt Cobain, and Eddie Vedder–as he performed shirtless, pounding a fifty-gallon oil drum, owning the stage with visceral bravado. Nearly a decade later, Extra Fancy received near-iconic status in David Ciminelli and Ken Knox’s book Homocore: The loud and raucous rise of queer rock, even as the authors noted that Grillo “never had a desire to be anything other than a performer who rocked—regardless of his sexual orientation”.

Brian Grillo poses with an oil drum.
Extra Fancy poses with fans. Photo: Extra Fancy Facebook page.

The surge of gay and lesbian visibility in 1990s popular culture revealed the limited discursive space within which queer identity was permitted to exist in mainstream U.S. society–a homonormative framework that Extra Fancy vehemently resisted. Brian Grillo’s representation of gay male identity served as a radical rejection of this structure. The band’s title track, Sinnerman, is a reinterpretation of the traditional gospel song Sinner man, originally recorded by The Weavers in the late 1950s and later popularized by Nina Simone’s iconic 1960s rendition. Once emblematic of the liberationist Christian ethos that fueled the civil rights movement, the song was repurposed by Extra Fancy to subvert more dogmatic religious narratives and to spotlight systemic inequality through a distinctly queer lens.

Sinnerman cover art.

The “queer” in queercore signals identities that exist outside rigid heteronormative constructs, yet it does not imply a unified or cohesive community. As Jack Halberstam notes, “In mainstream gay, lesbian, and trans communities in the United States, battles rage about what group occupies the more transgressive or aggrieved position.” Queercore music often seeks to challenge binary understandings of gender and sexuality; however, the multiplicity of identities encompassed by the term makes it difficult–if not impossible–for any band or collective to serve as a definitive representative. This complexity is reflected in the musical output of the most celebrated queercore acts, whose styles are as varied as the identities they seek to express.

This according to “The erotics of an oil drum: Queercore, gay macho, and the defiant sexuality of Extra Fancy’s Sinnerman” by Kevin Schwandt (Women & music: A journal of gender and culture 13 [2009] 76–87; RILM Abstracts of Music Literature, 2009-13027).

Related Bibliolore posts:

https://bibliolore.org/2018/05/17/queercore-and-all-girl-bands/

https://bibliolore.org/2021/12/23/queer-musicology-an-annotated-bibliography/

https://bibliolore.org/2023/06/26/drag-lip-syncing-and-haptic-aurality/

https://bibliolore.org/2020/02/27/queering-bruce-springsteen/

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Filed under Gender and sexuality, Performers, Politics, Popular music, Voice

Francis Bebey globalizes African music

The Cameroonian composer, writer, sculptor, and musicologist Francis Bebey was widely recognized as one of Africa’s foremost songwriters. His talent, however, reached far beyond music. Bebey earned a B.S. in mathematics from a college in Douala and later pursued further education at the Sorbonne in Paris, where he was deeply influenced by classical guitarist Andrés Segovia. He studied broadcasting at the Studio-école de la Radiodiffusion Outre-Mer in Paris and at New York University. Although known mostly for his literary work, Bebey was also an accomplished classical guitarist and composer. His musical journey began in his youth with a band in Cameroon, where he composed original music noted for its poetic lyrics and emotive vocal delivery. By 1967, he had recorded several pieces and performed in major cultural hubs, including New York City, Paris, and across Africa. His style was notably experimental, blending elements of Latin American, Western, and African musical traditions with rolling synthesizer patterns looped over drum machines. Among his most acclaimed recordings are Akwaaba (1985), Amaya (1987), and Dibiye (1998).

Akwaaba (1985) cover art.
Amaya (1987) cover art.

Francis Bebey toured extensively across the United States, Canada, Europe, and Africa, offering solo recitals and lecture concerts. His repertoire was a blend of African folk songs and original compositions, often rooted in traditional African musical elements. Among his most acclaimed works are The Ashanti doll is sleeping (1967), Black tears (1963)–a wordless poem dedicated to the participants of the March on Washington, D.C.–The Poet’s virile prayer (1973), which features text by Aimé Césaire, and Concert for an old mask (1965).

La Condition Masculine
Bebey and his son, Patrick, perform Esok am and Mon secret.

Bebey was also a distinguished literary figure, leaving behind a diverse body of work that includes poetry, short stories, novels, and essays. His first novel, Le fils d’Agatha Moudio (Agatha Moudio’s son, 1971), published in 1967, was widely acclaimed as a masterful work of burlesque and was awarded the Grand Prix Littéraire de l’Afrique Noire. In 1968, he released Embarras et cie: Nouvelles et poèmes, a collection of nine short stories, each paired with a poem. Bebey noted that his extensive experience as a radio broadcaster significantly shaped his storytelling style, which he wrote with listeners, rather than readers, in mind. His later literary works include La poupée Ashanti (1973, The Ashanti doll) and Le roi Albert d’Effidi (1973). Bebey also contributed a book on broadcasting in Africa and two important texts on African music, most notably Musique de l’Afrique (1969). By 1972, he had joined UNESCO in Paris as the head of the music department, where he continued to champion African music traditions–traveling extensively, primarily in Africa, studying, recording, and filming musicians across the continent. In a 1982 interview, Bebey explained, “What I’m aiming to do is to use Western technology to invigorate African music and spread its message internationally.”

This according to the entry on Francis Bebey by Eileen Southern in the Biographical dictionary of Afro-American and African musicians (1982). Find it in RILM Music Encyclopedias.

Bebey’s book Musique de l’Afrique was published in 1969.

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Filed under Africa, Ethnomusicology, Europe, Musicologists, Performers, Popular music, World music

The Chilean guitarrón

The guitarrón, an instrument of central Chile, is known as one of the most complex stringed instruments in the Americas due to its unique string arrangement and quantity. Shaped like a guitar, the guitarrón features a total of 25 strings–21 arranged in five courses, with an additional four strings positioned along the sides. The guitarrón is customarily used to accompany sung poetry in décimas, a Spanish stanza form consisting of ten lines.

The cover of Hugo Arévalo’s album El guitarrón y el canto a lo pueta (1970).

In performance, the guitarrón is held similarly to a guitar, with the left hand muting the strings along the neck and the right hand plucking them over the body. The instrument’s position can vary from horizontal to vertical, depending on the musician’s preference and their proximity to other performers. Guitarrón players, known as guitarroneros, are often also proficient guitarists, capable of executing a wide range of strumming techniques–though these are never applied to the guitarrón. Instead, the instrument is played exclusively with plucking techniques. Occasionally, one or two notes are struck rapidly with the index finger as an ornamental flourish, but traditional guitar strumming is avoided. When guitarrón repertoire is performed on guitar, musicians typically imitate the plucked pizzicato style.

Photo credit: Rodrigo Pardo

The history of the Chilean guitarrón remains largely unclear. Its origins can be traced back to the Spanish guitar, rather than the more refined vihuela favored by the urban elite. The guitarrón shares the general body shape and structural features of the guitar, though with certain variations. Its development mirrors the evolution of the Spanish guitar introduced to the Americas from the 16th century onward. Early guitars of that period typically had four strings, arranged in single or double courses. By the late 16th century, the five-course guitar emerged and remained prevalent in rural regions, even after the seven-course guitar gained popularity in urban centers toward the end of the 18th century. Interestingly, the modern six-string guitar is sometimes still used as a five-course instrument, either by loosening the sixth string or tuning it in unison with the fifth.

This according to DEUMM Online’s featured article of the month by José Pérez de Arce, entitled Chilean guitarrón.

Hugo Arévalo performs on the guitarrón below. The video after it, featuring Santos Rubio on guitarrón, was made by Daniel Sheehy, the ethnomusicologist and future director and curator of Smithsonian Folkways Recordings, in 1973 during his fieldwork in Chile.

Related Bibliolore posts:

https://bibliolore.org/2024/07/30/villa-lobos-bachianas-brasileiras/

https://bibliolore.org/2020/06/04/the-chanterelle-guitar-anthology/

https://bibliolore.org/2015/07/09/classical-guitar-music-in-printed-collections/

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Filed under Instruments, Performance practice, Performers, Popular music, South America, Uncategorized, World music

Selena shines in music, fashion, and design

Although Selena Quintanilla Pérez, better known as Selena, followed in the footsteps of pioneering Tejana (Texas-Mexican) women solo singers such as Lydia Mendoza, Chelo Silva, Laura Canales, and Patsy Torres—as well as influential duos like Carmen y Laura, Las Hermanas Cantú, and Las Hermanas Gongora—she made the most significant impact in transforming both the sound of Tejano music and popular culture. Selena began singing at the age of 6, after her father, Abraham, recognized her remarkable vocal talent. Although she loved singing, performing did not come naturally to Selena. As she recalled in an interview, “I started singing when I was six and a half and we’d perform for relatives. My father would do this show-off-the-kids type of thing. I was very shy, and I hated it. I used to cry and throw my little tantrums. I didn’t want to sing in front of anybody because I was too shy.”

Selena tribute mural in Puerto Vallarta, Jalisco, Mexico.

A former member of the doo-wop band Los Dinos, Abraham served as the family’s primary musical influence and quickly involved Selena’s older siblings in her musical journey. Her brother, A.B., became the lead guitarist and producer of much of her music, while her sister, Suzette, stood out as the only prominent female drummer in contemporary Tejano music. Originally, the group performed under the name Southern Pearl and was deeply influenced by country music. Selena’s early performances took place in the family’s restaurant, Papagallo’s, where she regularly sang for customers, and one of her first live performances on television was on the local program The Johnny Canales show in Corpus Christi, Texas.

A Selena fan’s jacket.

Although Selena’s performances at local venues launched her career as a vocalist, she faced significant challenges finding audiences in larger venues. As she explained in an interview, “When we started performing . . . we struggled because when you’re a new group, no one’s going go pay money to see you, especially if you’re not with a large recording company, if you don’t have distribution, or publicity, or any promotion. You’re just there. It’s very difficult. Another problem was that I was so young and a girl. And, with a lot of promoters–and it still exists, although not as much as before–there’s the issue of machismo. They would tell my father straight to his face, ‘Not only is she too young, but there’s no way she could draw like a male artist.’ And, with that my father, the more the people shut doors on him, the more determined he becomes to prove them wrong.” By 1994, estimates of Selena’s net worth exceeded $5 million, yet she continued to live in the working class Molina neighborhood of Corpus Christi, next door to her parents.

A 1994 performance in San Antonio, Texas. Photo credit: Yvette Chavez.
Posing with her younger fans.

One of Selena’s greatest accomplishments was the remarkable success she achieved within the Tejano music genre. Not only did she open the door for a new generation of young women to enter the field, but she also expanded the reach of Tejano music to audiences it had never previously reached. While established Tejano groups like La Mafia and Mazz had built followings in northern Mexico and Mexico City, Selena y Los Dinos brought this distinct cultural sound to Puerto Rico, Central America, and across Mexico. At the time of her death, the group had scheduled tours in Chile, Brazil, and Venezuela. Unlike any Tejano artist before her, Selena both transformed the genre and brought its regional identity to a wider international stage.

Selena’s remarkable creative talents also extended into the realms of fashion and design. From a young age, she devoted herself to clothing design, often creating and sewing many of the outfits she wore during her concerts. Early sketches and drawings reveal her ambition to launch her own fashion line, which she initially named Moonchild–a reference to the Greek origin of her name. In 1992, Selena realized that dream by launching her own clothing line and opening the first Selena Etc. Boutique-Salon in Corpus Christi, Texas. She later expanded with a second boutique in San Antonio.

This according to the entry on Selena by Deborah Vargas in Latin music: Musicians, genres, and themes (2014). Find it in RILM Music Encyclopedias.

Below, Selena performs Fotos y recuerdos in 1994, a reworked version of The Pretenders song Back on the chain gang.

Related Bibliolore posts:

https://bibliolore.org/2021/04/16/selena-crosses-over/

https://bibliolore.org/2024/09/21/the-voice-of-el-pueblo/

https://bibliolore.org/2015/08/05/emma-abbott-in-the-heartland/

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Filed under Performers, Popular music, Reception, Voice

Riot grrrl zines: Translating experience into expertise

The rise of the riot grrrl movement can be traced to musicians and zine creators Tobi Vail, Allison Wolfe, Molly Neuman, and Kathleen Hanna–founders of the bands Bratmobile and Bikini Kill, respectively. From its inception, riot grrrl was ideologically rooted in the concept of a girl-led collective and actively resisted the elevation of individual figureheads. Instead, its founders encouraged young women to create their own music, art, writing, and forms of protest. This DIY ethos empowered those who had never played an instrument or written creatively to pick up guitars or pens and express themselves. Women punk enthusiasts crafted fanzines that quickly evolved into interactive platforms for radical political dialogue and genre-defying creative expression by self-identified riot grrrls, fostering a vibrant culture of subversion and solidarity.

Through their music and textual productions, riot grrrls launched a pointed critique of capitalism and consumer culture while foregrounding feminist issues such as rape, assault, and the physical and psychological abuse of women. Riot grrrl zines frequently featured confessional autofiction, satirical graphic art, exchanges between creators and readers, and discussions of gender and emerging queer theory. This loosely connected, nomadic community, typically composed of individuals between the ages of 13 and 25, often experienced marginalization and alienation from the mainstream cultures in which they lived. Zines played a critical mediating role, facilitating consciousness-raising encounters between writers and readers that transcended regional and national boundaries. These exchanges fostered a sense of intimate solidarity–or, in riot grrrl terms, “girl love”–among participants. The movement’s emphasis on revealing lived, personal experience as a marker of authenticity echoes strands of second-wave feminism, particularly those that championed realistic and autobiographical writing as key tools for feminist consciousness-raising.

As Bikini Kill’s Kathleen Hanna explains,

“In writing [zines], I have had to think a lot about how to share information without acting all bossy or being condescending. … Just cuz I’m an addict/alcoholic (what-fuckin-evah) doesn’t mean I think I can speak for everyone in terms of addiction. It seems to me that each addict functions within his/her own context in terms of race, gender, location, class, personality, access, etc. . . . So it would be ridiculous for me to try and write a ‘manifesto’ or a ‘universal account’ of how addiction works.”

Here, Hanna anticipates and pre-empts external critique that she speaks from a privileged, universalist position as a white woman. Crucially, however, this acknowledgement follows her revelation of personal experience—and indeed, her claimed expertise—regarding addiction. The culture of privilege-checking cultivated in riot grrrl zines, while rooted in a desire for accountability and inclusivity, gives rise to what Mimi Thi Nguyen (2012) describes as a “troubling politics”. In this framework, traumatic experience—when reframed as the product of systemic oppression—serves to bolster claims of authentic marginality, effectively translating lived experience into a form of expertise. This dynamic complicates the relationship between personal narrative, political authority, and identity within the riot grrrl movement.

This according to “Killing ourselves is not subversive: Riot grrrl from zine to screen and the commodification of female transgression” by Emily Spiers (Women: A cultural review 26/1-2 [2015] 1–21; RILM Abstracts with Full Text, 2015-83472).

In the video below, zine publishers and artists describe riot grrrl (and zines in particular) as their entry point to different forms of activism and expression in the 1990s–the video was part of the Alien she exhibition at the Yerba Buena Center for the Arts in San Francisco.

Related Bibliolore post:

https://bibliolore.org/2019/06/10/riot-grrrl-and-feminism/

https://bibliolore.org/2018/05/17/queercore-and-all-girl-bands/

https://bibliolore.org/2024/05/07/laura-jane-grace-sings-the-gender-dysphoria-blues/

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Filed under Gender and sexuality, Music magazines, Performers, Politics, Popular music, Visual art, Women's studies

Répertoire International de Littérature Musicale (RILM) introduces its latest product at the special event Sites + Sounds + Scenes

Just a reminder that on May 27, 2025, at 4:30 pm, at the CUNY Graduate Center in New York City, Répertoire International de Littérature Musicale (RILM) will unveil its latest product, the RILM Archive of Popular Music Magazines (RAPMM), at a special launch event titled Sites + Sounds + Scenes.

The RILM Archive of Popular Music Magazines (RAPMM) is a continuously expanding digital collection that currently includes over 125 independently published popular music magazines and fanzines from the late 1960s to the present. This internationally scoped archive covers a diverse range of popular music genres, from punk and rock to indie, hip hop, and country, serving as a multilingual and interdisciplinary resource for music research. By preserving rare and historically significant publications, RAPMM safeguards essential elements of cultural heritage.

In line with RILM’s global mission the content of RAPMM spans multiple languages and countries–currently from Australia, Canada, China, Colombia, Germany, Spain, the United Kingdom, and the United States. The zines in RAPMM cover a wide range of popular music genres, including punk, rock, indie music, post-punk, grunge, hip hop, women’s music, world music, psychedelia, noise, alternative music, jazz, and country music. There are articles on the history of musical movements and their relation to politics, society and social movements, underground and subcultures, stylistic shifts, and feminism; interviews with widely recognized and unknown artists at different stages of their careers; band profiles; and album reviews and history of record labels.

Watch the RAPMM trailer above.

Accessible through RILM’s Egret platform, RAPMM offers advanced browsing, searching, and translation features across desktop, mobile, and tablet devices. Additionally, the platform provides a networked research experience, linking directly to other scholarly resources such as RILM Abstracts of Music Literature and external services like the Virtual International Authority File (VIAF). RAPMM underscores RILM’s broader mission as an NGO accredited to provide advisory service to UNESCO’s Committee of Intangible Cultural Heritage. Speaking on the project’s significance, RILM Executive Director, Dr. Tina Frühauf, states:

“In alignment with UNESCO’s initiatives to protect cultural diversity, RAPMM represents a vital node in an international effort to safeguard and preserve information about the sonic history of our times. It fosters community-centered archiving practices that foreground the lived experiences and material traces of popular music magazines. By bridging the analog and the digital, the local and the global, RAPMM not only preserves endangered media artifacts but also reimagines archives as dynamic spaces of cultural memory, equity, and engagement.”

The launch event, hosted by The Barry S. Brook Center for Music Research and Documentation and RILM, is cosponsored by the American Social History Project/Center for Media and Learning. In addition to unveiling RAPMM, the event will also celebrate the release of two groundbreaking publications: Inside the Studio Spaces of Electronic Music Production: Berlin/Cairo by Dr. Matthias Pasdzierny and Gero Cacciatore, and Gear: Cultures of Audio and Music Technologies by Dr. Eliot Bates and Dr. Samantha Bennett.

Held in the William P. Kelly Skylight Room on the 9th floor of the CUNY Graduate Center, the event will feature discussions with key contributors, moderated by Finn Cohen (The Sun). A reception will follow.

Admission is free. Please RSVP to cmrd@gc.cuny.edu. The event will be live-streamed by the CUNY Graduate Center–RSVP to receive the link.

For more information, please visit https://brookcenter.gc.cuny.edu/event/sites-sounds-scenes/.

Contact:
Michael Lupo (he/him/his), Marketing & Media
RILM International Center
365 Fifth Avenue, Suite 3108  •  New York, NY 10016-4309
Michael Lupo  •  Phone 1 212 817 8601  •  www.rilm.org

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Filed under Popular music, RILM, RILM news