Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.7en
Christina Molloy
In this article, I analyze three elements of shock rocker Alice Cooper’s musical theatrics – his vocal caricatures, his menagerie of self-reflective monsters, and his stylized choreography of mobility tools (particularly canes and crutches) – that give insight into the ways that he has navigated and expressed fluctuations in perspective on age(ing). Over the past half century, his stage persona has died on stage thousands of times—via guillotine, electric chair, hanging, or otherwise— but he has never had to get “old”. Every night, the character is reborn, revived, or reanimated: eighteen years old, even as the performer himself reaches twenty-one, thirty, and now seventy-five. This work— building especially on Mikhail Bahktin’s “grotesque”, Anne Basting’s sociology of age in theatre, and the study of opera, disability, and monsters – serves as an post-postmodern opportunity to consider unarticulated ways Classic Rock musicians contending with and re-present the genre’s founding themes through musicking.
{"title":"Welcome to My Nightmare (I Think You’re Gonna Like It): Hermeneutics of Horror in Alice Cooper’s Metamodern Menagerie of Age","authors":"Christina Molloy","doi":"10.5429/2079-3871(2024)v14i1.7en","DOIUrl":"https://doi.org/10.5429/2079-3871(2024)v14i1.7en","url":null,"abstract":"In this article, I analyze three elements of shock rocker Alice Cooper’s musical theatrics – his vocal caricatures, his menagerie of self-reflective monsters, and his stylized choreography of mobility tools (particularly canes and crutches) – that give insight into the ways that he has navigated and expressed fluctuations in perspective on age(ing). Over the past half century, his stage persona has died on stage thousands of times—via guillotine, electric chair, hanging, or otherwise— but he has never had to get “old”. Every night, the character is reborn, revived, or reanimated: eighteen years old, even as the performer himself reaches twenty-one, thirty, and now seventy-five. This work— building especially on Mikhail Bahktin’s “grotesque”, Anne Basting’s sociology of age in theatre, and the study of opera, disability, and monsters – serves as an post-postmodern opportunity to consider unarticulated ways Classic Rock musicians contending with and re-present the genre’s founding themes through musicking.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"295 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140233261","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.15en
John Vandevert
In Travis Harris’ seminal article on global Hip Hop studies
在特拉维斯-哈里斯关于全球嘻哈研究的开创性文章中
{"title":"Global Hiphopography","authors":"John Vandevert","doi":"10.5429/2079-3871(2024)v14i1.15en","DOIUrl":"https://doi.org/10.5429/2079-3871(2024)v14i1.15en","url":null,"abstract":"In Travis Harris’ seminal article on global Hip Hop studies","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"218 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140233986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-18DOI: 10.5429/2079-3871(2024)v14i1.12en
Amin Hashemi
Sonic Signatures is a compelling and multifaceted exploration of what urban soundscapes at night mean for migrants. Edited by Derek Pardue, Ailbhe Kenny, and Katie Young, the collection distinguishes itself from previous literature on cities and nighttime through its unique points of view and articulations as well as its innovative approaches and analyses to investigating the multisensorial aspects of darkness. The book addresses the limitations of recent anthropological studies of migration that focus largely on temporality and tensions by instead investigating different instances of musical “encounters” of migrants at night from across the world as represented in ten chapters and the five interludes in between them. It thus stands as an invaluable transdisciplinary and multi-modal contribution from scholars and artists to the fields of (ethno)musicology, sound studies, night-time urban studies, cultural studies and migration studies. Through “methodological experiments” and woven creative conversations from ethnomusicology, geography, philosophy and fiction, the contributors offer nuanced perspectives on the role of sound in urban environments and how it shapes human experiences and identities. The editors introduce the volume as an exploration of the complex relationship between the power of music and senses of space, memory, migration, cultural identity and belonging within the context of the nocturnal city. Overall, the collection emphasises the importance of music in both migrants’ adaptations to new environments and their resistance to cultural erasure, making a compelling case for the relevance of these themes in contemporary migration studies. The chapters explore this transformative power of sound and music by each delving into the
{"title":"Sonic Signatures: Music, Migration and the City at Night","authors":"Amin Hashemi","doi":"10.5429/2079-3871(2024)v14i1.12en","DOIUrl":"https://doi.org/10.5429/2079-3871(2024)v14i1.12en","url":null,"abstract":"Sonic Signatures is a compelling and multifaceted exploration of what urban soundscapes at night mean for migrants. Edited by Derek Pardue, Ailbhe Kenny, and Katie Young, the collection distinguishes itself from previous literature on cities and nighttime through its unique points of view and articulations as well as its innovative approaches and analyses to investigating the multisensorial aspects of darkness. The book addresses the limitations of recent anthropological studies of migration that focus largely on temporality and tensions by instead investigating different instances of musical “encounters” of migrants at night from across the world as represented in ten chapters and the five interludes in between them. It thus stands as an invaluable transdisciplinary and multi-modal contribution from scholars and artists to the fields of (ethno)musicology, sound studies, night-time urban studies, cultural studies and migration studies. Through “methodological experiments” and woven creative conversations from ethnomusicology, geography, philosophy and fiction, the contributors offer nuanced perspectives on the role of sound in urban environments and how it shapes human experiences and identities. The editors introduce the volume as an exploration of the complex relationship between the power of music and senses of space, memory, migration, cultural identity and belonging within the context of the nocturnal city. Overall, the collection emphasises the importance of music in both migrants’ adaptations to new environments and their resistance to cultural erasure, making a compelling case for the relevance of these themes in contemporary migration studies. The chapters explore this transformative power of sound and music by each delving into the","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"226 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140233441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.8en
Monika Schoop, Renato Aguila
The Philippines underwent one of the world’s strictest lockdowns to curb the spread of COVID-19, forcing Manila’s iconic music venue Route 196 to shut down permanently. This article inquires into the individual and collective memory-making processes in the context of Route 196’s online farewell show. Drawing on participant observation and an analysis of the show’s social media content, we examine remembering Route 196 focusing on two key processes: narrative and experience. Building on memory studies’ premise that to be made meaningful, experiences have to be narrativized (Rigney 2016), we first analyze the narrative construction of the venue as a “home” of Metro Manila’s scene, demonstrating how it variably accommodates or marginalizes individual memories. Second, we probe the role of “lived experience” (Keightley/Pickering 2012) for memory-making. We argue that social media interaction generates new experiences of the venue, which take on particular importance given the persisting absence of live music.
{"title":"#AllRoadsLeadtoRoute196: Remembering a Home of Metro Manila’s Music Scene in the Context of the COVID-19 Pandemic","authors":"Monika Schoop, Renato Aguila","doi":"10.5429/2079-3871(2023)v13i3.8en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.8en","url":null,"abstract":"The Philippines underwent one of the world’s strictest lockdowns to curb the spread of COVID-19, forcing Manila’s iconic music venue Route 196 to shut down permanently. This article inquires into the individual and collective memory-making processes in the context of Route 196’s online farewell show. Drawing on participant observation and an analysis of the show’s social media content, we examine remembering Route 196 focusing on two key processes: narrative and experience. Building on memory studies’ premise that to be made meaningful, experiences have to be narrativized (Rigney 2016), we first analyze the narrative construction of the venue as a “home” of Metro Manila’s scene, demonstrating how it variably accommodates or marginalizes individual memories. Second, we probe the role of “lived experience” (Keightley/Pickering 2012) for memory-making. We argue that social media interaction generates new experiences of the venue, which take on particular importance given the persisting absence of live music.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"44 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139002762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.4en
Lena Dražić
Turbo-folk, a popular music genre originating in 1990s’ Serbia, still enjoys an immense popularity among Viennese residents with origins in the former Yugoslavia. The pilot study outlined here attempted to determine why a 25-year-old repertoire of songs is of such central importance to many listeners in the Austrian capital. As the research showed, informants view the interaction with turbo-folk as an experience outside their everyday lives requiring a particular time and space in order to unfold. To channel and express the strong emotions elicited by turbo-folk, actors employ a variety of strategies, one of which is singing along to the music. This practice is interpreted here as a ritual aiming to process the collective trauma constituted by a double loss of home. This ritual results in the construction of a collective “Yugo” identity that at the same time enables and ensues the process in a circular manner.
{"title":"Re-enacting the Trauma: Ritualising Turbo-Folk","authors":"Lena Dražić","doi":"10.5429/2079-3871(2023)v13i3.4en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.4en","url":null,"abstract":"Turbo-folk, a popular music genre originating in 1990s’ Serbia, still enjoys an immense popularity among Viennese residents with origins in the former Yugoslavia. The pilot study outlined here attempted to determine why a 25-year-old repertoire of songs is of such central importance to many listeners in the Austrian capital. As the research showed, informants view the interaction with turbo-folk as an experience outside their everyday lives requiring a particular time and space in order to unfold. To channel and express the strong emotions elicited by turbo-folk, actors employ a variety of strategies, one of which is singing along to the music. This practice is interpreted here as a ritual aiming to process the collective trauma constituted by a double loss of home. This ritual results in the construction of a collective “Yugo” identity that at the same time enables and ensues the process in a circular manner.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138972619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.5en
Veronika Muchitsch
Recent popular discourse has claimed that music and listeners’ tastes are becoming increasingly “genrefluid” in popular music culture, and this idea has been linked to the logics of music streaming services. This article analyzes the Spotify-curated playlist Lorem, which has been presented by the company as a primary illustration of “genrefluid” music curation and listening, to investigate Spotify’s mediations of genre and identity at the intersections of media discourse, genre metadata, and curated sound. I discuss how the idea of genrefluidity links post-genre and post-identity discourses to the technocultural logics of algorithmic recommendation. At the same time, Spotify’s mediation of genre remediates earlier hegemonic associations between genre and identity in popular music culture. This article concludes that musical categorization in music streaming does not transcend genre and identity but is characterized by ambivalent mappings of genre and identity mediated by the logics of algorithmic technologies.
{"title":"“Genrefluid” Spotify Playlists and Mediations of Genre and Identity in Music Streaming","authors":"Veronika Muchitsch","doi":"10.5429/2079-3871(2023)v13i3.5en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.5en","url":null,"abstract":"Recent popular discourse has claimed that music and listeners’ tastes are becoming increasingly “genrefluid” in popular music culture, and this idea has been linked to the logics of music streaming services. This article analyzes the Spotify-curated playlist Lorem, which has been presented by the company as a primary illustration of “genrefluid” music curation and listening, to investigate Spotify’s mediations of genre and identity at the intersections of media discourse, genre metadata, and curated sound. I discuss how the idea of genrefluidity links post-genre and post-identity discourses to the technocultural logics of algorithmic recommendation. At the same time, Spotify’s mediation of genre remediates earlier hegemonic associations between genre and identity in popular music culture. This article concludes that musical categorization in music streaming does not transcend genre and identity but is characterized by ambivalent mappings of genre and identity mediated by the logics of algorithmic technologies.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138973032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.11en
Rosemary Lucy Hill
{"title":"Review: Hearing Sexism: Gender in the Sound of Popular Music. A Feminist Approach","authors":"Rosemary Lucy Hill","doi":"10.5429/2079-3871(2023)v13i3.11en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.11en","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"1989 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138973998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.9en
Jan Butler
Book review
书评
{"title":"Pop Stars on Film: Popular Culture in a Global Market","authors":"Jan Butler","doi":"10.5429/2079-3871(2023)v13i3.9en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.9en","url":null,"abstract":"Book review","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"12 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139003039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-14DOI: 10.5429/2079-3871(2023)v13i3.6en
Hammad Rashid
Live Streaming has become one of the recent phenomena for content creators. Fast internet, self isolation and monetisation through streaming platforms can be seen as a few reasons for it. A new wave of live streamers has emerged where the music production process is streamed live on platforms such as YouTube and Twitch. These sessions show the DAW screen to the audience in order for them to understand the process of music making. These live streams have now evolved into collaborative music production sessions where the audience suggests what will happen to the track next. Alongside this, singers send their vocal samples recorded using their phones live on stream which gets included in the music in real time. This paper will explore the process of collaborating via live streaming alongside how this practice has created a micro economy and a strong fanbase who are showing up daily to watch.
{"title":"Collaborative Music Production via Live Streaming","authors":"Hammad Rashid","doi":"10.5429/2079-3871(2023)v13i3.6en","DOIUrl":"https://doi.org/10.5429/2079-3871(2023)v13i3.6en","url":null,"abstract":"Live Streaming has become one of the recent phenomena for content creators. Fast internet, self isolation and monetisation through streaming platforms can be seen as a few reasons for it. A new wave of live streamers has emerged where the music production process is streamed live on platforms such as YouTube and Twitch. These sessions show the DAW screen to the audience in order for them to understand the process of music making. These live streams have now evolved into collaborative music production sessions where the audience suggests what will happen to the track next. Alongside this, singers send their vocal samples recorded using their phones live on stream which gets included in the music in real time. This paper will explore the process of collaborating via live streaming alongside how this practice has created a micro economy and a strong fanbase who are showing up daily to watch.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139001529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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