{"title":"“Town’s Dead”: Contemporary Irish Popular Music and Dublin City","authors":"Orlaith Darling","doi":"10.1080/03007766.2023.2188629","DOIUrl":null,"url":null,"abstract":"ABSTRACT The increasing “common sense” hegemony of neoliberalism in the west and to the emergence of the internet as a dominant cultural influence have been linked to a “cultural slowdown.” For Mark Fisher and others, contemporary popular culture has lost track of the unfolding conditions of contemporary capitalism and the ability to produce anything new. Instead, it recycles old tropes and forms and is stuck in nostalgia for unlived eras. This article weighs this contention against the surge of contemporary popular music coming from Dublin, Ireland, focusing on the work of Fontaines DC, Kojaque, Pillow Queens, and For Those I Love.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"46 1","pages":"225 - 241"},"PeriodicalIF":1.3000,"publicationDate":"2023-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"POPULAR MUSIC AND SOCIETY","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/03007766.2023.2188629","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MUSIC","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACT The increasing “common sense” hegemony of neoliberalism in the west and to the emergence of the internet as a dominant cultural influence have been linked to a “cultural slowdown.” For Mark Fisher and others, contemporary popular culture has lost track of the unfolding conditions of contemporary capitalism and the ability to produce anything new. Instead, it recycles old tropes and forms and is stuck in nostalgia for unlived eras. This article weighs this contention against the surge of contemporary popular music coming from Dublin, Ireland, focusing on the work of Fontaines DC, Kojaque, Pillow Queens, and For Those I Love.
摘要新自由主义在西方日益增强的“常识性”霸权，以及互联网作为主导文化影响力的出现，都与“文化放缓”有关。对马克·费舍尔和其他人来说，当代流行文化已经失去了对当代资本主义发展状况的跟踪，也失去了创造新事物的能力。相反，它回收了旧的比喻和形式，并陷入了对未生活时代的怀旧。这篇文章将这一争论与来自爱尔兰都柏林的当代流行音乐的激增进行了权衡，重点关注枫丹DC、Kojaque、Pillow Queens和For These I Love的作品。
期刊介绍：
Popular Music and Society, founded in 1971, publishes articles, book reviews, and audio reviews on popular music of any genre, time period, or geographic location. Popular Music and Society is open to all scholarly orientations toward popular music, including (but not limited to) historical, theoretical, critical, sociological, and cultural approaches. The terms "popular" and "society" are broadly defined to accommodate a wide range of articles on the subject. Recent and forthcoming Special Issue topics include: Digital Music Delivery, Cover Songs, the Music Monopoly, Jazz, and the Kinks. Popular Music and Society is published five times per year and is a peer-reviewed academic journal supported by an international editorial board.
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