Pub Date : 2023-03-01DOI: 10.1525/jpms.2023.35.1.4
Myoung-Sun Song
{"title":"Hip Hop Mun Ikjeom","authors":"Myoung-Sun Song","doi":"10.1525/jpms.2023.35.1.4","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.4","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49450234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1525/jpms.2023.35.1.67
Justin Patch
Music has been a part of US presidential contests since George Washington first campaigned across the newly independent nation. In time, the country grew, the voting public was augmented, and new technologies and industries were invented. In the midst of these changes, both small and profound, music remained constant, but its role and uses underwent transformation. This article examines three advertisements in Presidential campaigns during the mass media age, from 1960 to the present, where music culture was an essential element of the message. These examples, a pro-Civil Rights ad featuring Harry Belafonte for John F. Kennedy in 1960, Will.i.am’s “Yes, We Can” for Barack Obama in 2008, and a tweet by Dan Scavino, Trump’s social media coordinator in 2020, all differ in their media platform, content and relationship to voters. Each analysis centers the socio-economic changes that accompanied each period and examines the relationship between the production of knowledge in industrial and post-industrial capitalism. These ads, their content, appeal, and codes are read through theories of industrial and post-industrial epistemology. Here, music serves as an entry into understanding the effect that economic change has on cultural production and reception. Music is a necessary feature of campaigns, but as the production and reception of knowledge change, so does the use of music by campaigns. The efficacy of these three ads depends on different relationships among campaigns, voters, and cultural products, and this relationship is always affected by dominant modes of production.
自从乔治·华盛顿首次在这个新独立的国家竞选以来，音乐就一直是美国总统竞选的一部分。随着时间的推移，这个国家壮大了，有投票权的公众增加了，新技术和新产业被发明了出来。在这些或小或深的变化中，音乐保持不变，但它的作用和用途发生了变化。本文考察了从1960年到现在，在大众传媒时代的总统竞选中的三个广告，其中音乐文化是信息的基本要素。这些例子包括:1960年，哈里·贝拉方特(Harry Belafonte)为约翰·肯尼迪(John F. Kennedy)拍摄的支持民权的广告;am在2008年为巴拉克•奥巴马(Barack Obama)发布的“Yes, We Can”，以及特朗普在2020年的社交媒体协调员丹•斯卡维诺(Dan Scavino)发布的推文，在媒体平台、内容以及与选民的关系上都有所不同。每种分析都以每个时期的社会经济变化为中心，并考察了工业资本主义和后工业资本主义知识生产之间的关系。这些广告，它们的内容，吸引力和代码都是通过工业和后工业认识论理论来解读的。在这里，音乐作为理解经济变化对文化生产和接受的影响的入口。音乐是战役的必要特征，但随着知识的生产和接受的变化，战役对音乐的使用也在变化。这三种广告的效果取决于运动、选民和文化产品之间的不同关系，而这种关系总是受到主导生产方式的影响。
{"title":"The Changing Political Economy of Music in Presidential Campaigns","authors":"Justin Patch","doi":"10.1525/jpms.2023.35.1.67","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.67","url":null,"abstract":"Music has been a part of US presidential contests since George Washington first campaigned across the newly independent nation. In time, the country grew, the voting public was augmented, and new technologies and industries were invented. In the midst of these changes, both small and profound, music remained constant, but its role and uses underwent transformation. This article examines three advertisements in Presidential campaigns during the mass media age, from 1960 to the present, where music culture was an essential element of the message. These examples, a pro-Civil Rights ad featuring Harry Belafonte for John F. Kennedy in 1960, Will.i.am’s “Yes, We Can” for Barack Obama in 2008, and a tweet by Dan Scavino, Trump’s social media coordinator in 2020, all differ in their media platform, content and relationship to voters. Each analysis centers the socio-economic changes that accompanied each period and examines the relationship between the production of knowledge in industrial and post-industrial capitalism. These ads, their content, appeal, and codes are read through theories of industrial and post-industrial epistemology. Here, music serves as an entry into understanding the effect that economic change has on cultural production and reception. Music is a necessary feature of campaigns, but as the production and reception of knowledge change, so does the use of music by campaigns. The efficacy of these three ads depends on different relationships among campaigns, voters, and cultural products, and this relationship is always affected by dominant modes of production.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43996024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1525/jpms.2023.35.1.139
Eric J. Lott
{"title":"Review: “Turn Me Loose White Man” Or: Appropriating Culture: How to Listen to American Music, 1900-1960, by Allen Lowe","authors":"Eric J. Lott","doi":"10.1525/jpms.2023.35.1.139","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.139","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41717309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1525/jpms.2023.35.1.85
Carmen Torre Pérez
This article examines the culturally complex context of the 1980s in Cuba through the little-known figure of the frikis, an underground culture linked to rock and metal music that flourished at a time of growing discontent with the country’s political regime. The revolutionary government marginalized frikis because of their interest in Anglo-American culture and because their social and aesthetic practices did not align with their vision of the ideal revolutionary citizen. Frikis were officially considered social parasites, hedonistic and indifferent in their attitude towards mainstream society, but their behavior and practices were, more than just parasitic or careless, rather thoughtful choices. They built their scene as a social alternative to the establishment that would allow them to express socio-political and cultural interests different from those stipulated by the government, and their rise in the 1980s can be seen as an early manifestation of the post-socialist subjectivities that would develop after the Soviet Bloc collapsed. Through the analysis of ethnographic interviews and short stories, this article explores the creative strategies frikis used to build a shared identity, protest, and survive in the face of State repression, becoming socio-cultural antecedents for other underground cultures, such as punk, which would flourish in a post-Soviet context.
{"title":"“Los Frikis”","authors":"Carmen Torre Pérez","doi":"10.1525/jpms.2023.35.1.85","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.85","url":null,"abstract":"This article examines the culturally complex context of the 1980s in Cuba through the little-known figure of the frikis, an underground culture linked to rock and metal music that flourished at a time of growing discontent with the country’s political regime. The revolutionary government marginalized frikis because of their interest in Anglo-American culture and because their social and aesthetic practices did not align with their vision of the ideal revolutionary citizen. Frikis were officially considered social parasites, hedonistic and indifferent in their attitude towards mainstream society, but their behavior and practices were, more than just parasitic or careless, rather thoughtful choices. They built their scene as a social alternative to the establishment that would allow them to express socio-political and cultural interests different from those stipulated by the government, and their rise in the 1980s can be seen as an early manifestation of the post-socialist subjectivities that would develop after the Soviet Bloc collapsed. Through the analysis of ethnographic interviews and short stories, this article explores the creative strategies frikis used to build a shared identity, protest, and survive in the face of State repression, becoming socio-cultural antecedents for other underground cultures, such as punk, which would flourish in a post-Soviet context.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49434893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1525/jpms.2023.35.1.133
Sarah Dougher
{"title":"Review: Freedom Girls: Voicing Femininity in 1960s British Pop, by Alexandra M. Apolloni","authors":"Sarah Dougher","doi":"10.1525/jpms.2023.35.1.133","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.133","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49423695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1525/jpms.2022.34.4.39
Hannah N. Krasikov
Since the popularization of digital music downloading and streaming services beginning in 1999 with Napster, artists have struggled to recover financially from the decline of physical album sales. Streaming services like Spotify have been scrutinized for low royalty payments to artists—an issue that was exacerbated over the course of the coronavirus pandemic. Following the successful debut of non-fungible token (NFT) collections by musicians including Grimes, Kings of Leon, and deadmau5 early in 2021, some of the biggest mainstream reporters in music began calling NFTs the future of the music industry. The decentralized funding structure NFTs offered appeared to provide a solution for compensating artists fairly; however, in practice, NFTs have primarily only benefitted musicians of celebrity status. This article provides a brief introduction to non-fungible tokens and examines why they have appealed to musicians. Additionally, it establishes the difference between visual art NFTs and music NFTs by situating the latter within both historical and neoliberal capitalist understandings of musical value. Drawing from evidence demonstrating how NFTs have been used in practice, this essay suggests that by assetizing music, NFTs re-legitimize the undervaluing of musicians by establishing them as productive laborers in technoscientific capitalist societies.
自从1999年Napster开始普及数字音乐下载和流媒体服务以来，艺术家们一直在努力从实体专辑销售的下滑中恢复经济。像Spotify这样的流媒体服务因向艺术家支付的版税过低而受到严格审查，这一问题在冠状病毒大流行期间加剧了。2021年初，Grimes、Kings of Leon和deadmau5等音乐人成功推出了不可替代代币(non-fungible token, NFT)，一些音乐界的主流媒体开始将NFT称为音乐产业的未来。nft提供的分散资金结构似乎为公平补偿艺术家提供了一个解决方案;然而，在实践中，nft主要只使具有名人地位的音乐家受益。本文简要介绍了不可替代代币，并分析了它们吸引音乐家的原因。此外，它通过将后者置于历史和新自由主义资本主义对音乐价值的理解中，建立了视觉艺术nft和音乐nft之间的区别。从证明nft如何在实践中使用的证据中，本文表明，通过将音乐资产化，nft通过将音乐家确立为技术科学资本主义社会的生产劳动者，使低估音乐家的行为重新合法化。
{"title":"The NFT Boom and Bust","authors":"Hannah N. Krasikov","doi":"10.1525/jpms.2022.34.4.39","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.39","url":null,"abstract":"Since the popularization of digital music downloading and streaming services beginning in 1999 with Napster, artists have struggled to recover financially from the decline of physical album sales. Streaming services like Spotify have been scrutinized for low royalty payments to artists—an issue that was exacerbated over the course of the coronavirus pandemic. Following the successful debut of non-fungible token (NFT) collections by musicians including Grimes, Kings of Leon, and deadmau5 early in 2021, some of the biggest mainstream reporters in music began calling NFTs the future of the music industry. The decentralized funding structure NFTs offered appeared to provide a solution for compensating artists fairly; however, in practice, NFTs have primarily only benefitted musicians of celebrity status. This article provides a brief introduction to non-fungible tokens and examines why they have appealed to musicians. Additionally, it establishes the difference between visual art NFTs and music NFTs by situating the latter within both historical and neoliberal capitalist understandings of musical value. Drawing from evidence demonstrating how NFTs have been used in practice, this essay suggests that by assetizing music, NFTs re-legitimize the undervaluing of musicians by establishing them as productive laborers in technoscientific capitalist societies.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48721992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1525/jpms.2022.34.4.61
J. McNally
Given the relative paucity of scholarship on hip-hop as live experience, how can extraordinary hip-hop liveness be thought of as a zone of collective experience and feeling? How might such thought draw on existing scholarship on the ecstatic in Black performance, and on related metaphysical freedom concepts from Black cultural studies? And how can the fleeting freedoms won in these live experiences be envisaged as historically contingent? Exploring a rare archival recording featuring rappers Tricky, Krissy Kriss, and Willie Wee—made in a party in Bristol, England, in 1987—this essay proposes the idea of ‘the hip-hop moment’: a means to address the remarkable, oceanic collective experiences that sometimes unfold around brilliance in the hip-hop jam, party or concert. Analyzing this sonic artefact as durational, collectively generated, and the product of particular historic circumstances, the essay asks what might its collective paroxysm of joy have meant for the community that produced it? The essay looks to how Bristol hip-hop’s multicultural but Black-led party scene forged an outlaw cultural space around such moments during the 1980s; to the historically constrained contexts of working-class Black life in this small, largely white city during the 1970s and 1980s; and to the new possibilities hip-hop’s arrival was seen to open in the years immediately before the recording was made. The more analytic aspects are braided with extracts from interviews conducted with Krissy Kriss in Bristol in 2018, highlighting his own empirically rich view on hip-hop as a source of metaphysical freedom, collective identity, and self-affirmation.
{"title":"Inside the Hip-Hop Moment","authors":"J. McNally","doi":"10.1525/jpms.2022.34.4.61","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.61","url":null,"abstract":"Given the relative paucity of scholarship on hip-hop as live experience, how can extraordinary hip-hop liveness be thought of as a zone of collective experience and feeling? How might such thought draw on existing scholarship on the ecstatic in Black performance, and on related metaphysical freedom concepts from Black cultural studies? And how can the fleeting freedoms won in these live experiences be envisaged as historically contingent? Exploring a rare archival recording featuring rappers Tricky, Krissy Kriss, and Willie Wee—made in a party in Bristol, England, in 1987—this essay proposes the idea of ‘the hip-hop moment’: a means to address the remarkable, oceanic collective experiences that sometimes unfold around brilliance in the hip-hop jam, party or concert. Analyzing this sonic artefact as durational, collectively generated, and the product of particular historic circumstances, the essay asks what might its collective paroxysm of joy have meant for the community that produced it? The essay looks to how Bristol hip-hop’s multicultural but Black-led party scene forged an outlaw cultural space around such moments during the 1980s; to the historically constrained contexts of working-class Black life in this small, largely white city during the 1970s and 1980s; and to the new possibilities hip-hop’s arrival was seen to open in the years immediately before the recording was made. The more analytic aspects are braided with extracts from interviews conducted with Krissy Kriss in Bristol in 2018, highlighting his own empirically rich view on hip-hop as a source of metaphysical freedom, collective identity, and self-affirmation.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43087269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1525/jpms.2022.34.4.4
Loren Kajikawa, L. Onkey, Gayle Wald
{"title":"Dilla Time","authors":"Loren Kajikawa, L. Onkey, Gayle Wald","doi":"10.1525/jpms.2022.34.4.4","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.4","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44227298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1525/jpms.2022.34.4.135
Paxton Haven
{"title":"Review: Pop Masculinities: The Politics of Gender in the Twenty-First Century Popular Music, by Kai Arne Hansen","authors":"Paxton Haven","doi":"10.1525/jpms.2022.34.4.135","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.135","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44260359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.1525/jpms.2022.34.4.132
KáLyn Banks Coghill
{"title":"Review: Beyoncé in the World: Making Meaning with Queen Bey in Troubled Times, edited by Christina Baade and Kristin A. McGee","authors":"KáLyn Banks Coghill","doi":"10.1525/jpms.2022.34.4.132","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.132","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49603392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：