matrices-of-love-and-theft-joan-baez-imitates-bob-dylan.pdf (472.12 kB)
Matrices of ‘Love and theft’: Joan Baez imitates Bob Dylan
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 HaddonThis 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 MusicISSN
1478-5730Publisher
Cambridge University PressExternal DOI
Page range
1-31Department affiliated with
- Music Publications
Full text available
- Yes
Peer reviewed?
- Yes
Legacy Posted Date
2021-01-26First Open Access (FOA) Date
2021-05-04First Compliant Deposit (FCD) Date
2021-01-26Usage metrics
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