You don’t know a person(’s taste) when you only know which genre they like: taste differences within five popular music genres based on sub-genres and sub-styles by Anne Siebrasse, Melanie Wald-Fuhrmann

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Editorial - a remark you made by Yngve Nordkvelle

“…”A remark you made” is the title of a wonderful tune by the famous jazz-rock group “Weather Report”, issued on the influential “Heavy weather” LP some 30 years ago. …”
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Dude Looks Like A Lady: Straight Camp and the Homo-social World of Hard Rock. by Jack Burton

“…To discover what this function is, and its central role in the hard rock genre's categorization as a virtual bastion of unreconstructed masculinity, we must begin by sketching a brief history of its musical roots.…”
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Interview with Lenny Kaye by Cristina Garrigós, Roberto Soler

“…In it, we discussed the New York scene of the 70s, music, literature, drugs, politics, and many other things.…”
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Dropkick Murphys vs. Scott Walker: Unpacking Populist Ideological Discourse in Digital Space by Connor D. Wilcox

“…On January 24, 2015, the folk punk band Dropkick Murphys penned a tweet to former Wisconsin Governor Scott Walker that read “please stop using our music in any way…We literally hate you!!!” Within hours, thousands of users interacted with the post and a contentious mediated discussion materialized. …”
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Terpsichorean Architecture: Guest Editor’s Introduction by Tony Mitchell

“…Choreographer Siobhan Davies speaks of the dancer building ‘an inner architecture with volume, texture and rhythm, which allows you to slice up space … Classical ballet and classical architecture share proportion, grandeur, and the idea of being at the centre of the universe … Light and acoustics are very important in dance and architecture: we have to consider how we introduce light to form and how we hear ourselves live in that form.’ …”
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The Wonder of Delays by Alexandra T. Vazquez

“…By creating the complex badass ensemble of Myrta Silva, Ruth Fernandez, La Calandria, and Lucecita, Fiol-Matta asks us: what if we start here? What if we begin with the presumption of women’s musical activity rather than from that shorthanded place of negation? …”
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