Sabina (she/hers) grew up in California's Central Valley and graduated from Scripps College with a degree in American Studies. Sabina's research focuses on television studies, feminist media, new media, and connections to Black queer pop culture. She is interested in the roles sound, storytelling, and television play in (community) identity formation. She is also studying the concept of "feminist worldbuilding" as a way to build a serial world in television.
Protest music is and has been music that seeks to defy and redefine cultural and political norms.... more Protest music is and has been music that seeks to defy and redefine cultural and political norms. Among the issues addressed by protest music are workers’ organizing rights, prejudice along racial and gender lines, and a critique of law enforcement. Through defiance and redefinition, protest music seeks to give voice to the many excluded people in society, particularly Black and brown people, and provides a new perspective of what the world could be when these marginalized identities are included. But contemporary understandings of what protest music is suffer from race-neutral or colorblind ideas. This project begins by considering the challenges of defining protest music, with a critical eye on aesthetic entanglements of American folk and protest music from the 1960s and 70s. Colorblind conceptions of folk music from this period obscure the power and centrality that whiteness has played in the structure, the history, the legitimacy, and the presence of the musicians in the literat...
Protest music is and has been music that seeks to defy and redefine cultural and political norms.... more Protest music is and has been music that seeks to defy and redefine cultural and political norms. Among the issues addressed by protest music are workers’ organizing rights, prejudice along racial and gender lines, and a critique of law enforcement. Through defiance and redefinition, protest music seeks to give voice to the many excluded people in society, particularly Black and brown people, and provides a new perspective of what the world could be when these marginalized identities are included. But contemporary understandings of what protest music is suffer from race-neutral or colorblind ideas. This project begins by considering the challenges of defining protest music, with a critical eye on aesthetic entanglements of American folk and protest music from the 1960s and 70s. Colorblind conceptions of folk music from this period obscure the power and centrality that whiteness has played in the structure, the history, the legitimacy, and the presence of the musicians in the literat...
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