Vis enkel innførsel

dc.contributor.authorHansen, Kai Arne
dc.contributor.authorBickford, Tyler
dc.date.accessioned2024-05-21T13:10:27Z
dc.date.available2024-05-21T13:10:27Z
dc.date.created2023-08-01T12:02:32Z
dc.date.issued2023
dc.identifier.citationPopular Music. 2023, 42 (2), 123-142en_US
dc.identifier.issn0261-1430
dc.identifier.urihttps://hdl.handle.net/11250/3130983
dc.descriptionThis is an Open Access article, distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives licence (http://creativecommons.org/licenses/by-nc-nd/4.0), which permits non-commercial re-use, distribution, and reproduction in any medium, provided that no alterations are made and the original article is properly cited. The written permission of Cambridge University Press must be obtained prior to any commercial use and/or adaptation of the article.en_US
dc.description.abstractNandi Bushell (b. 2010) is a British-Zulu drummer and multi-instrumentalist whose early career has garnered much attention from audiences and the international music press. In this article, we investigate the case of Bushell as a point of entry for understanding children's participation in mainstream popular music culture and the broader public sphere. We explore Bushell's social media presence, creative output and public reception in relation to three interrelated themes: (1) the functioning of social media and the music press as arenas for the (re)negotiation of ideas about child prodigy; (2) child musicians’ political activism; and (3) the role of adult ‘mentor-fans’ in sponsoring girls’ participation in rock culture. In grappling with the complexities of these themes, we place a particular emphasis on querying how dominant conceptions of girlhood inform the press coverage of Bushell's music and social media output, as well as on examining her highly visible relationships with established male rock artists serving as mentors, fans and industry brokers. Ultimately, the article sheds new light on how notions of girlhood as a cultural identity are negotiated by young artists and their (often adult) audiences in relation to musical genre boundaries.en_US
dc.language.isoengen_US
dc.publisherCambridge University Pressen_US
dc.rightsAttribution-NonCommercial-NoDerivatives 4.0 Internasjonal*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/deed.no*
dc.titleNegotiating girlhood in rock music: Nandi Bushell, prodigy discourse and adult mentor-fansen_US
dc.typePeer revieweden_US
dc.typeJournal articleen_US
dc.description.versionpublishedVersionen_US
dc.rights.holder© The Author(s), 2023.en_US
dc.source.pagenumber123-142en_US
dc.source.volume42en_US
dc.source.journalPopular Musicen_US
dc.source.issue2en_US
dc.identifier.doi10.1017/S0261143023000338
dc.identifier.cristin2164238
cristin.ispublishedtrue
cristin.fulltextoriginal
cristin.qualitycode2


Tilhørende fil(er)

Thumbnail

Denne innførselen finnes i følgende samling(er)

Vis enkel innførsel

Attribution-NonCommercial-NoDerivatives 4.0 Internasjonal
Med mindre annet er angitt, så er denne innførselen lisensiert som Attribution-NonCommercial-NoDerivatives 4.0 Internasjonal