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Contorting the color line

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TitleInfo
Title
Contorting the color line
SubTitle
race in New York City underground music and culture, 1978-1981
Name (type = personal)
NamePart (type = family)
Rzigalinski
NamePart (type = given)
Christopher M.
NamePart (type = date)
1986-
DisplayForm
Christopher M. Rzigalinski
Role
RoleTerm (authority = RULIB)
author
Name (type = personal)
NamePart (type = family)
Josephson
NamePart (type = given)
Jyl
DisplayForm
Jyl Josephson
Affiliation
Advisory Committee
Role
RoleTerm (authority = RULIB)
chair
Name (type = personal)
NamePart (type = family)
Krasovic
NamePart (type = given)
Mark
DisplayForm
Mark Krasovic
Affiliation
Advisory Committee
Role
RoleTerm (authority = RULIB)
internal member
Name (type = corporate)
NamePart
Rutgers University
Role
RoleTerm (authority = RULIB)
degree grantor
Name (type = corporate)
NamePart
Graduate School - Newark
Role
RoleTerm (authority = RULIB)
school
TypeOfResource
Text
Genre (authority = marcgt)
theses
OriginInfo
DateCreated (encoding = w3cdtf); (qualifier = exact)
2014
DateOther (qualifier = exact); (type = degree)
2015-01
CopyrightDate (encoding = w3cdtf); (qualifier = exact)
2014
Place
PlaceTerm (type = code)
xx
Language
LanguageTerm (authority = ISO639-2b); (type = code)
eng
Abstract (type = abstract)
In “Contorting the Color Line: Race in New York City Underground Music and Culture, 1978-1981,” I use a performance studies framework to argue that the changes in attitudes toward race in Manhattan’s underground music scenes during that period set the template for multicultural pop music in the 1980s. I begin by unpacking several performances in both the song and video for Blondie’s “Rapture” (1981) including instrumentation, vocalization, lyrical re-presentation and allusion, discourse, dance, negotiation of identity through fashion, the act of community building, and ideological organization. I work backward, using the “Rapture” template to examine the No Wave, mutant disco, punk funk, and hip hop scenes as points of cultural contact where black and white artists formed spaces of what Mark Chou and Roland Bleiker refer to as prefigurative politics: “a genre of activism that is small in scale and limited in impact but nevertheless can show the way toward a more democratic political community.” In these spaces artists exchanged cultural expressions and formed relationships in a growing Manhattan club scene that promoted interracial mixing and expanded social boundaries by bringing white downtown rockers and black uptown hip hoppers into closer proximity. Their collaborative relationships resulted in musical hybrids that appealed to both races and set the tone for a pastiche style of music making that became popular among mainstream audiences at the end of the 20th century.
Subject (authority = RUETD)
Topic
American Studies
Subject (authority = ETD-LCSH)
Topic
Punk rock music--New York (State)--New York
Subject (authority = ETD-LCSH)
Topic
Subculture--New York (State)--New York--History
Subject (authority = ETD-LCSH)
Topic
Ethnicity in music
RelatedItem (type = host)
TitleInfo
Title
Rutgers University Electronic Theses and Dissertations
Identifier (type = RULIB)
ETD
Identifier
ETD_6071
PhysicalDescription
Form (authority = gmd)
electronic resource
InternetMediaType
application/pdf
InternetMediaType
text/xml
Extent
1 online resource (iv, 104 p.)
Note (type = degree)
M.A.
Note (type = bibliography)
Includes bibliographical references
Note (type = vita)
Includes vita
Note (type = statement of responsibility)
by Christopher M. Rzigalinski
RelatedItem (type = host)
TitleInfo
Title
Graduate School - Newark Electronic Theses and Dissertations
Identifier (type = local)
rucore10002600001
Location
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NjNbRU
Identifier (type = doi)
doi:10.7282/T3W37Z1W
Genre (authority = ExL-Esploro)
ETD graduate
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Rights

RightsDeclaration (ID = rulibRdec0006)
The author owns the copyright to this work.
RightsHolder (type = personal)
Name
FamilyName
Rzigalinski
GivenName
Christopher
MiddleName
M.
Role
Copyright Holder
RightsEvent
Type
Permission or license
DateTime (encoding = w3cdtf); (qualifier = exact); (point = start)
2014-12-16 08:53:44
AssociatedEntity
Name
Christopher Rzigalinski
Role
Copyright holder
Affiliation
Rutgers University. Graduate School - Newark
AssociatedObject
Type
License
Name
Author Agreement License
Detail
I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
Copyright
Status
Copyright protected
Availability
Status
Open
Reason
Permission or license
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Technical

RULTechMD (ID = TECHNICAL1)
ContentModel
ETD
OperatingSystem (VERSION = 5.1)
windows xp
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