STAGE IMAGES OF ROCK MUSICIANS AND THEIR INFLUENCE ON THE FORMATION OF MODERN TRENDS IN CLOTHING DESIGN

The purpose of the article is to reveal the influence of stage images of rock musicians on fashion design trends formation. Research methodology: the authors of the article use methods of source study analysis to determine the level of scientific development of the issue, comparative historical analysis to identify the characteristic features of images of musicians and catwalk models of clothing collections of famous designers, and theoretical generalization to draw conclusions. The scientific novelty of the work is to highlight the influence of stage images of musicians on the formation of modern trends in fashion design. The analysis of genre affiliation reveals stylistic differences of the stage costume of popular musicians of the USA and Europe. Some stylistic characteristics of the artists’ stage clothing could be traced in the collections of famous fashion brands of the 21st century, such as Balenciaga, Philipp Plein, Vetements, Alexander Wang, Alexander McQueen, and others. Conclusions. The research reveals the main stylistic features of the stage costume of hard rock and heavy metal musicians. Stage images of artists were innovative and widely used in fashion design of the 20th and early 21st century. The active influence of musicians on fashion trends began in the 60s and 70s of the twentieth century, which coincided with the development of stage costume design and the significant spread of media technology. Hard rock and heavy metal performers created and popularized such a style direction as “grunge”, which is one of the leading musical trends in 2020–2021. Designers of the 21st century borrowed many details, visual and stylistic features, and even concepts for brands from popular hard and heavy artists of the 1970s–1990s. Stage images of rock musicians have a significant impact on the development of fashion and design.

The Demonization of a Rock Musician’s Image in Western Cinema

In this article, attention is mainly focused on the images of musicians with supernormal abilities in Western cinema, their recognizable external and behavioral features, which are largely a clichéd perception of one or another stylistic of rock music. Why do the images of rock musicians fit so well into the visual structure? First of all, this is the high potential of the represented stories for multilevel decryption. The interest of mass culture in the field of rock music is characterized by many criteria, and not least of all associated with the carnival, mystical elements of concert activity; detective elements, and existential twists and turns. The clichéd motives of protest do not coincide with everyday life or do not directly correlate with it, but it is precisely the struggle that becomes in demand among the audience. It is symptomatic that rock musicians appear in many films in the images of Others, endowed with superpowers. Different myths are intertwined, and transformations and demonic forces are initially regarded as something unrighteous, but it is to the au- dience’s judgment that options are presented in assessing the Others and their fate. The author examines in detail a number of characters of rock musicians who appear in many films in the images of Others, supreme beings. This kind of character assumes the individual assessments of ethical principles inherent to this or that superhero.

POETRY OF VELIMIR KHLEBNIKOV IN THE WORKS OF THE BAND “AUKTYON”. ON THE EXAMPLE OF THE ALBUM “ZHILETS VERSHIN”

The article establishes and for the first time describes in detail the dialogue relationship of the Leningrad rock band “Auktyon” and the avantgarde poet Aleksei Khvostenko (1940–2004) with the poetic heritage of Velimir Khlebnikov (1885–1922). The author notes the closeness of the poetry of a major figure of the Russian avant-garde of the turn of the 19th and 20th centuries with the poets and musicians of the underground of the second half of the 20th century. The research is based on the analysis of the reception of Velimir Khlebnikov’s poetry in the album “Zhilets vershin” (The summits dweller) (1995). The author defines the levels of the poetic dialogue of rock musicians with the work of the futurist and describes the structural and informative changes that the original texts have undergone in comparison with their existence in the musical creativity of the band “Auktyon”. The formation of the album in rock culture determines the specifics of the dialogue, mainly it is the correlation of the texts of other poets in the album and their transformation. The group of Khlebnikov’s lyrical works, which were selected and reworked by Khvostenko for the album, are considered from the point of view of their chronological sequence and the deployment of the lyrical plot. The author identifies the changes that the original texts have undergone and analyzed such cycle-forming connections of the album “Zhilets vershin” as the composition, title and chronotope.

THE LIFE STYLE IN ROCK-CULTURE

The concept of Life style is Important category of modern cultural antropology. Among many styles of modern Russian culture we can highlight the life style that is characteristic of rock-culture. Methodology of the research is founded on the participant observation and participant narrative inreview. As a result of the research we can name features of this life style. The structure elements of the rock-life style are the degree of unity of style, attitude to deviations, appearance, border between private and public spheres, free time, kind and focus of communications, the main values. The main feature of rock-life style is its unstructured and inseparability from other styles, tolerance towards. One from specific expression of the rock-life style is tendency to deviant practices. The chief among them is drinking. Subjects of rock-culture often make only declarations of such position, but not everybody realise it in practice. Rock-musicians associate drinking with the transition from one role to another. Tendency to deviations entails relativism in appearance. Appearance symbols become irrelevant. Democracy remains the only requirement for appearance. The relativism in external forms of expression entails enternal ambivalence. Disregard for borders between public and private spheres or work amd free time is formed. The main instrument of this process is radical creative attitude to reality. The creation becomes ethical imperative of rock-culture. This fact entails constructive content of free time and the rejection from dysfunctional practices and dysfunctional communications. Ultimatly, disregard for external symbols, ante-fashion strategies, filling free time with creative activity, versatile communications, permanent carnival of everyday life, routinization of holiday, deviant practices, radical creative attitude to reality form concept that is dominant of the life style in the rock-culture. This is the value of freedom with its derived practices. We talk about different dimensions of freedom. This is freedom of expression, freedom of creativity, freedom from dysfunctional conditions and srereotypes in ethics and morals. Besides it, we can talk about individualization. This feature is the method transformation of the system of social stratification. Rock-musicians and representatives of their circle are boycotting «normal» system of social relations. They create their own society where the main criterias of social stetus become creative potential and charisma.

COMBINATION OF EMOJI AND TEXT IN MUSICIANS’ TWITTER POSTS

<p>ABSTRACT<br />This research aims to understand the status relation and the way the text and emoji interact in musicians’ twitter posts. This research focuses on the musicians’ twitter posts containing promotion, which also include emoji and text. This research is in a form of a descriptive qualitative which uses the multimodality theory through the generalized image-text relation of Radan Martinec and Andrew Salway. Findings shows that the musicians tend to position the emoji subordinately to text. In terms of logico-semantic relation, the extension relation occurs more than the exemplification relation and enhancement relation. The emoji mostly provides additional information, which cannot be transferred with the text, such as expression and feeling. It is also used to symbolize the event they promote in the post, such as guitar emoji () in a concert promotion. The religious musicians tend to use emoji to provide information about themselves, such as feeling and expression. While, the rock musicians use the emoji more to put information about the event, such as the place and how many days left until the event begins.</p>

John Lennon's Plastic Ono Band as ‘first-person music’: notes on the politics of self-expression in rock music since 1970

In late 1970, John Lennon began promoting his first post-Beatles solo album, Plastic Ono Band, which he described as ‘first-person music’ to Rolling Stone editor Jann Wenner. This essay situates the album and two of Lennon's promotional interviews within an emergent politics of individualism in order to explore how self-expression became an aesthetic practice and critical value in rock music. The album's reception and promotion help reveal how key political values – on individualism, rebellion and self-expression – began to be newly articulated to certain kinds of rock musicians after 1970. By understanding that process of articulation, popular music scholars may consider the contradictory political consequences of the broader valorisation of ‘first-person music’ since the 1970s.

Introduction

The book’s introduction first discusses why looking back at cinematic rock stars is useful for understanding a present context in which stardom seems to matter little to the industrial work of Hollywood. It then provides a summary of the industrial and media context in which rock stardom became significant for commercial filmmaking, distinguishes the category of “rock stars” from prior popular music stars who transitioned to screen, and articulates a theory of media power with regard to rock stardom that explains how such stars produce commercially valuable performances of difference and protest (particularly through performances of race and gender). The introduction ends with a methodological overview that explains how the book’s select case studies indicate different arrangements of power in rock musicians’ relationships to changing media contexts over their extensive onscreen careers.