Mimi Haddon – författare

DISCO! Music, Image, Dance takes an interdisciplinary approach to exploring disco's untold stories--sonic, visual, and kinetic--from its popular heyday to its many afterlives. The book attests to disco's irrepressibility in cultural practices from the 1970s to the 2020s, tracing its histories and instantiations as these traverse geographies, affects, and memories, and exploring the reaches of disco as an expansive field of music, image, and dance. Illustrating how disco shows up in multiple and surprising ways across its times and spaces, chapters track the ubiquity of disco not only in relation to music and nightlife but also fashion, film, literature, poetry, dance, performance art, digital media, museums, exercise, activism, and community. DISCO! offers an expanded and necessarily ambivalent view of the value of disco-its embrace of both the ridiculous and the sublime, and its involvement in both progressive and reactionary social tendencies. Stretching disco studies towards a more capacious logic of valuation, contributors reveal disco to be as frivolous as it is urgent, as fanciful as it is (under)grounded, as much to do with oppression as liberation. DISCO! attests to the undisciplined and inclusive attention which disco, as a tentacular global cultural phenomenon, duly deserves and requires.

DISCO! Music, Image, Dance takes an interdisciplinary approach to exploring disco's untold stories--sonic, visual, and kinetic--from its popular heyday to its many afterlives. The book attests to disco's irrepressibility in cultural practices from the 1970s to the 2020s, tracing its histories and instantiations as these traverse geographies, affects, and memories, and exploring the reaches of disco as an expansive field of music, image, and dance. Illustrating how disco shows up in multiple and surprising ways across its times and spaces, chapters track the ubiquity of disco not only in relation to music and nightlife but also fashion, film, literature, poetry, dance, performance art, digital media, museums, exercise, activism, and community. DISCO! offers an expanded and necessarily ambivalent view of the value of disco-its embrace of both the ridiculous and the sublime, and its involvement in both progressive and reactionary social tendencies. Stretching disco studies towards a more capacious logic of valuation, contributors reveal disco to be as frivolous as it is urgent, as fanciful as it is (under)grounded, as much to do with oppression as liberation. DISCO! attests to the undisciplined and inclusive attention which disco, as a tentacular global cultural phenomenon, duly deserves and requires.

DISCO! Music, Image, Dance takes an interdisciplinary approach to exploring disco's untold stories--sonic, visual, and kinetic--from its popular heyday to its many afterlives. The book attests to disco's irrepressibility in cultural practices from the 1970s to the 2020s, tracing its histories and instantiations as these traverse geographies, affects, and memories, and exploring the reaches of disco as an expansive field of music, image, and dance. Illustrating how disco shows up in multiple and surprising ways across its times and spaces, chapters track the ubiquity of disco not only in relation to music and nightlife but also fashion, film, literature, poetry, dance, performance art, digital media, museums, exercise, activism, and community. DISCO! offers an expanded and necessarily ambivalent view of the value of disco-its embrace of both the ridiculous and the sublime, and its involvement in both progressive and reactionary social tendencies. Stretching disco studies towards a more capacious logic of valuation, contributors reveal disco to be as frivolous as it is urgent, as fanciful as it is (under)grounded, as much to do with oppression as liberation. DISCO! attests to the undisciplined and inclusive attention which disco, as a tentacular global cultural phenomenon, duly deserves and requires.

DISCO! Music, Image, Dance takes an interdisciplinary approach to exploring disco's untold stories--sonic, visual, and kinetic--from its popular heyday to its many afterlives. The book attests to disco's irrepressibility in cultural practices from the 1970s to the 2020s, tracing its histories and instantiations as these traverse geographies, affects, and memories, and exploring the reaches of disco as an expansive field of music, image, and dance. Illustrating how disco shows up in multiple and surprising ways across its times and spaces, chapters track the ubiquity of disco not only in relation to music and nightlife but also fashion, film, literature, poetry, dance, performance art, digital media, museums, exercise, activism, and community. DISCO! offers an expanded and necessarily ambivalent view of the value of disco-its embrace of both the ridiculous and the sublime, and its involvement in both progressive and reactionary social tendencies. Stretching disco studies towards a more capacious logic of valuation, contributors reveal disco to be as frivolous as it is urgent, as fanciful as it is (under)grounded, as much to do with oppression as liberation. DISCO! attests to the undisciplined and inclusive attention which disco, as a tentacular global cultural phenomenon, duly deserves and requires.

Popular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant-garde industrial sounds, and reggae beats, and thus is not an easily definable musical category.What Is Post-Punk? combines a close reading of the late-1970s music press discourse with musical analyses and theories of identity to unpack post-punk’s status as a genre. Mimi Haddon traces the discursive foundations of post-punk across publications such as Sounds, ZigZag, Melody Maker, the Village Voice, and NME, and presents case studies of bands including Wire, PiL, Joy Division, the Raincoats, and Pere Ubu. By positioning post-punk in relation to genres such as punk, new wave, dub, and disco, Haddon explores the boundaries of post-punk, and reveals it as a community of tastes and predilections rather than a stylistically unified whole. Haddon diversifies the discourse around post-punk, exploring both its gender and racial dynamics and its proto-industrial aesthetics to restore the historical complexity surrounding the genre’s terms and origins.

Popular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant-garde industrial sounds, and reggae beats, and thus is not an easily definable musical category.

What Is Post-Punk? combines a close reading of the late-1970s music press discourse with musical analyses and theories of identity to unpack post-punk’s status as a genre. Mimi Haddon traces the discursive foundations of post-punk across publications such as Sounds, ZigZag, Melody Maker, the Village Voice, and NME, and presents case studies of bands including Wire, PiL, Joy Division, the Raincoats, and Pere Ubu. By positioning post-punk in relation to genres such as punk, new wave, dub, and disco, Haddon explores the boundaries of post-punk, and reveals it as a community of tastes and predilections rather than a stylistically unified whole. Haddon diversifies the discourse around post-punk, exploring both its gender and racial dynamics and its proto-industrial aesthetics to restore the historical complexity surrounding the genre’s terms and origins.

Popular music in the US and UK during the late 1970s and early 1980s was wildly eclectic and experimental. “Post-punk,” as it was retroactively labeled, could include electro-pop melodies, distorted guitars, avant-garde industrial sounds, and reggae beats, and thus is not an easily definable musical category.What Is Post-Punk? combines a close reading of the late-1970s music press discourse with musical analyses and theories of identity to unpack post-punk’s status as a genre. Mimi Haddon traces the discursive foundations of post-punk across publications such as Sounds, ZigZag, Melody Maker, the Village Voice, and NME, and presents case studies of bands including Wire, PiL, Joy Division, the Raincoats, and Pere Ubu. By positioning post-punk in relation to genres such as punk, new wave, dub, and disco, Haddon explores the boundaries of post-punk, and reveals it as a community of tastes and predilections rather than a stylistically unified whole. Haddon diversifies the discourse around post-punk, exploring both its gender and racial dynamics and its proto-industrial aesthetics to restore the historical complexity surrounding the genre’s terms and origins.

A Barnes & Noble Best Book of 2024Palace Costume is a behind-the-scenes glimpse into Palace Costume & Prop Co., an exclusive Los Angeles film-industry haven of dresses, gowns, garments, accessories, props, and jewelry featured in countless movies for more than fifty years.Envisioned and curated by owner Melody Barnett, Palace Costume is a 30,000-square-foot treasure trove of over half a million pieces and a beloved and legendary collection exclusively for costumers, stylists, and designers. Barnett's journey in retro clothing is movie-worthy itself. Her first boutique in Los Angeles in the early 1970s attracted the likes of Diana Ross and Joni Mitchell and many other legends from the era. This inspired her to transition the business into a to-the-trade-only rental service enabling her to hold onto and care for these vintage gems. Since then, hundreds of classic films have featured clothing from Palace over the years, including Bonnie and Clyde, Chinatown, and The Godfather, to name just a few.Interviews by Mimi Haddon with more than a dozen Academy Award–winning costume designers are featured here with corresponding film stills that highlight the clothing and accessories they selected from Palace. Acclaimed designers such as Sandy Powell (Carol, The Aviator, Shakespeare in Love), Ruth E. Carter (Black Panther, Malcolm X, Frankie and Alice), Arianne Phillips (Once upon a Time in Hollywood, A Single Man, W.E.), Shirley Kurata (Everything Everywhere All at Once), and Mary Zophres (La La Land, Babylon, True Grit) and Mark Bridges (Boogie Nights, Licorice Pizza) each share insightful anecdotes about the importance of Palace Costume as their go-to creative resource, especially for historic period films.Los Angeles–based photographer Mimi Haddon has been artfully photographing the vintage gems at Palace Costume for many years. Over 300 of her stunning, stylized, and saturated images are featured in this visually comprehensive and delightful celebration of this one-of-a-kind archive. This inspirational look-book is sure to delight a wide audience, including vintage-clothing enthusiasts, fashionistas, costume designers, stylists, and cinephiles.