In a post-#Me-Too/Black Lives Matter landscape, the gender- and race-politics of the Golden Age of rock have increasingly come under interrogation. Hip-hop challenging rock’s long-standing hegemony constitutes a sociological as well as a musical shift, with a production such as Andrew Lloyd Webber’s School of Rock (2015) perhaps seeming hopelessly old-fashioned in comparison with Lin-Manuel Miranda’s Hamilton from the same year. This article’s close and contextualized readings of four post-Hamilton jukebox rock musicals debate two principal issues. First, the extent to which the jukebox musical is fit for purpose: creative enough to repurpose rock’s cultural patrimony for an enriching night in the theatre. Second, how and why the curation practices of the rock musical reproduce or challenge the intersectional vectors of gendered and racial oppression, which render the genre problematic.

中文翻译：

---

摇滚音乐剧：从创作到策划（2015-2020）

在后#Me-Too/Black Lives Matter 时代，摇滚黄金时代的性别和种族政治越来越受到质疑。嘻哈挑战摇滚的长期霸权构成了社会学和音乐的转变，如安德鲁劳埃德韦伯的作品摇滚学院(2015) 与 Lin-Manuel Miranda 的相比，也许显得过时得无可救药汉密尔顿从同年。本文对四篇文章的近距离阅读和语境化阅读汉密尔顿自动点唱机摇滚音乐剧争论两个主要问题。首先，自动点唱机音乐剧符合目的的程度：足够有创意，可以重新利用摇滚的文化遗产，在剧院度过一个丰富的夜晚。其次，摇滚音乐剧的策展实践如何以及为何再现或挑战性别和种族压迫的交叉向量，这使得该流派存在问题。