{"title":"The social media strategies of punk and metal bands on Instagram during the COVID-19 closures of live music venues in Melbourne","authors":"A. Marsden","doi":"10.1558/prbt.19369","DOIUrl":"https://doi.org/10.1558/prbt.19369","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47531656","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}
{"title":"The embodiment of ‘Chinese strength’: Cultural collectivism in the lyrics of epidemic songs","authors":"Wenyu Zhong, Mengyu Luo","doi":"10.1558/prbt.19331","DOIUrl":"https://doi.org/10.1558/prbt.19331","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48547018","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}
{"title":"Jealous corona: Social media, musical propaganda and public health in Vietnam","authors":"Lonán Ó Briain","doi":"10.1558/prbt.19342","DOIUrl":"https://doi.org/10.1558/prbt.19342","url":null,"abstract":"","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47074460","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}
The Jazz Social was an online virtual jazz club which started during the first shutdowns for COVID in Australia from April to July 2020, now archived as ten videos on The Jazz Social YouTube channel. It was designed as an opportunity for musicians to perform and make up lost income when gigs disappeared overnight. The venture was arguably successful for a virtual jazz club: it employed 47 musicians, paying on average $116AUD for each performance; and each gig reached an average of 340 people, a considerably larger audience than a typical face-to-face jazz performance would attract. The Jazz Social gigs also brought together geographically diverse musicians and provided a platform for them to share music and discuss their experiences. With an understanding that Australia is entering a ‘new COVID normal environment’ which may have ongoing implications for face-to-face performance practice, this Riff article reflects on what The Jazz Social has revealed about the nature of jazz performance, collaboration, community, virtuality, and the limitations and affordances of new technologies in producing knowledge through improvisation.
The Jazz Social是一家在线虚拟爵士俱乐部，在2020年4月至7月澳大利亚首次因新冠肺炎疫情而关闭期间成立，目前在The Jazz Social YouTube频道上存档为10个视频。它的设计初衷是为音乐家提供一个表演的机会，并在演出一夜之间消失时弥补收入损失。对于一个虚拟的爵士俱乐部来说，这次冒险可以说是成功的:它雇佣了47名音乐家，每场演出平均支付116澳元;每场演出平均能吸引340名观众，这比一场典型的面对面爵士演出吸引的观众要多得多。Jazz Social的演出还将来自不同地区的音乐家聚集在一起，为他们提供了一个分享音乐和讨论经验的平台。了解到澳大利亚正在进入“新冠正常环境”，这可能会对面对面的表演实践产生持续影响，这篇Riff文章反映了The Jazz Social揭示的爵士表演、合作、社区、虚拟的本质，以及新技术在通过即兴创作产生知识方面的局限性和优势。
{"title":"The Jazz Social: Jazz performance during COVID","authors":"Leigh Carriage, Toby Wren","doi":"10.1558/PRBT.19344","DOIUrl":"https://doi.org/10.1558/PRBT.19344","url":null,"abstract":"The Jazz Social was an online virtual jazz club which started during the first shutdowns for COVID in Australia from April to July 2020, now archived as ten videos on The Jazz Social YouTube channel. It was designed as an opportunity for musicians to perform and make up lost income when gigs disappeared overnight. The venture was arguably successful for a virtual jazz club: it employed 47 musicians, paying on average $116AUD for each performance; and each gig reached an average of 340 people, a considerably larger audience than a typical face-to-face jazz performance would attract. The Jazz Social gigs also brought together geographically diverse musicians and provided a platform for them to share music and discuss their experiences. With an understanding that Australia is entering a ‘new COVID normal environment’ which may have ongoing implications for face-to-face performance practice, this Riff article reflects on what The Jazz Social has revealed about the nature of jazz performance, collaboration, community, virtuality, and the limitations and affordances of new technologies in producing knowledge through improvisation.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46656828","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}
In the year of a global pandemic that brought activity to a halt for musicians around the globe, the K-pop industry proved to be an illuminating case study in how to remain vibrant despite being distanced. As a music that thrives on the Internet with its highly visual nature, K-pop has been well positioned to maintain lively audiences through diverse and innovative content amidst the lockdown environment. Indeed, high-profile group BTS flourished in the time of COVID-19, garnering the Guinness record for most viewers of a music concert live stream. At the heart of this success is an engagement with fans that continues to drive BTS’s, and K-pop’s, rise to mainstream visibility, revealing a participatory nature that remains its strength. This essay reflects on K-pop fandom at the intersection of social media activity intensified in the COVID-19 era, focusing on the case of BTS and the group’s success in building community online.
{"title":"K-pop beyond the lockdown: Fandom, participation, and experiencing community online","authors":"Hae Joo Kim","doi":"10.1558/PRBT.19303","DOIUrl":"https://doi.org/10.1558/PRBT.19303","url":null,"abstract":"In the year of a global pandemic that brought activity to a halt for musicians around the globe, the K-pop industry proved to be an illuminating case study in how to remain vibrant despite being distanced. As a music that thrives on the Internet with its highly visual nature, K-pop has been well positioned to maintain lively audiences through diverse and innovative content amidst the lockdown environment. Indeed, high-profile group BTS flourished in the time of COVID-19, garnering the Guinness record for most viewers of a music concert live stream. At the heart of this success is an engagement with fans that continues to drive BTS’s, and K-pop’s, rise to mainstream visibility, revealing a participatory nature that remains its strength. This essay reflects on K-pop fandom at the intersection of social media activity intensified in the COVID-19 era, focus\u0002ing on the case of BTS and the group’s success in building community online.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43264334","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}
The COVID-19 pandemic has affected the entertainment industry globally, yet little is known about the experiences of migrant musicians during this crisis. Drawing from interviews with Filipino musicians in Australia, this article considers the pandemic’s impacts on this migrant group and the ways in which they demonstrate resilience through their social and cultural capital. Their physical and virtual networks as well as skills in music and other ventures allow them to respond to the precarity connected with their translocal experiences as migrant musicians and skilled labour migrants during the pandemic. Nonetheless, this resilience is dependent on individuals’ particular economic, social and personal circumstances. Recognizing the case of Filipino musicians in Australia leads to a rethinking of potential policy implications on particular struggles facing migrant musicians in Australia during the pandemic crisis.
{"title":"I lost a gig ‘pero ok lang’: Filipino migrant musicians in Australia during the COVID-19 pandemic","authors":"Carljohnson G. Anacin","doi":"10.1558/prbt.19260","DOIUrl":"https://doi.org/10.1558/prbt.19260","url":null,"abstract":"The COVID-19 pandemic has affected the entertainment industry globally, yet little is known about the experiences of migrant musicians during this crisis. Drawing from interviews with Filipino musicians in Australia, this article considers the pandemic’s impacts on this migrant group and the ways in which they demonstrate resilience through their social and cultural capital. Their physical and virtual networks as well as skills in music and other ventures allow them to respond to the precarity connected with their translocal experiences as migrant musicians and skilled labour migrants during the pandemic. Nonetheless, this resilience is dependent on individuals’ particular economic, social and personal circumstances. Recognizing the case of Filipino musicians in Australia leads to a rethinking of potential policy implications on particular struggles facing migrant musicians in Australia during the pandemic crisis.","PeriodicalId":41217,"journal":{"name":"Perfect Beat","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49616849","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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