University of Sussex
Browse
matrices-of-love-and-theft-joan-baez-imitates-bob-dylan.pdf (472.12 kB)

Matrices of ‘Love and theft’: Joan Baez imitates Bob Dylan

Download (472.12 kB)
Version 2 2023-06-12, 09:42
Version 1 2023-06-09, 22:53
journal contribution
posted on 2023-06-12, 09:42 authored by Mimi HaddonMimi Haddon
This article uses Joan Baez's impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse converge. The article is organized in three parts. The first part addresses the musical details of Baez's acts of mimicry and their uncanny ability to summon Dylan's predecessors. The second considers mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism.

History

Publication status

  • Published

File Version

  • Published version

Journal

Twentieth-Century Music

ISSN

1478-5730

Publisher

Cambridge University Press

Page range

1-31

Department affiliated with

  • Music Publications

Full text available

  • Yes

Peer reviewed?

  • Yes

Legacy Posted Date

2021-01-26

First Open Access (FOA) Date

2021-05-04

First Compliant Deposit (FCD) Date

2021-01-26

Usage metrics

    University of Sussex (Publications)

    Categories

    No categories selected

    Licence

    Exports

    RefWorks
    BibTeX
    Ref. manager
    Endnote
    DataCite
    NLM
    DC