Pub Date : 2022-04-13DOI: 10.1080/03007766.2022.2062097
James Martens
{"title":"Raving upon Thames: An Untold Story of Sixties London","authors":"James Martens","doi":"10.1080/03007766.2022.2062097","DOIUrl":"https://doi.org/10.1080/03007766.2022.2062097","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"520 - 522"},"PeriodicalIF":0.5,"publicationDate":"2022-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48904964","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 : 2022-03-03DOI: 10.1080/03007766.2022.2049148
B. Cooper
{"title":"Aretha","authors":"B. Cooper","doi":"10.1080/03007766.2022.2049148","DOIUrl":"https://doi.org/10.1080/03007766.2022.2049148","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43200104","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 : 2022-02-24DOI: 10.1080/03007766.2022.2045162
Rasheedah A. Jenkins
ABSTRACT The field of folklore in general, but specifically, Africana folklore studies can be enriched by greater analyses of Black female contributions. In this article, I position folk music as the primary interest and chosen location to acknowledge Black women’s participation from beyond the margins. My inquiry reveals folk music as a lens into the myriad ways Black women have translated vernacular traditions to deconstruct the master narrative and interrogate societal norms. Specifically, this article examines how Tracy Chapman appropriated the folk esthetic as a strategic discursive space for politically conscious creative expression.
{"title":"Talkin’ Bout a Revolution(ary): The Music and Politics of Tracy Chapman","authors":"Rasheedah A. Jenkins","doi":"10.1080/03007766.2022.2045162","DOIUrl":"https://doi.org/10.1080/03007766.2022.2045162","url":null,"abstract":"ABSTRACT The field of folklore in general, but specifically, Africana folklore studies can be enriched by greater analyses of Black female contributions. In this article, I position folk music as the primary interest and chosen location to acknowledge Black women’s participation from beyond the margins. My inquiry reveals folk music as a lens into the myriad ways Black women have translated vernacular traditions to deconstruct the master narrative and interrogate societal norms. Specifically, this article examines how Tracy Chapman appropriated the folk esthetic as a strategic discursive space for politically conscious creative expression.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"341 - 357"},"PeriodicalIF":0.5,"publicationDate":"2022-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45277663","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 : 2022-02-02DOI: 10.1080/03007766.2022.2034336
D. Biron
{"title":"What Is Popular Music? What Is an Album? A Review of Two Recordings","authors":"D. Biron","doi":"10.1080/03007766.2022.2034336","DOIUrl":"https://doi.org/10.1080/03007766.2022.2034336","url":null,"abstract":"","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"527 - 529"},"PeriodicalIF":0.5,"publicationDate":"2022-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49433196","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 : 2022-01-27DOI: 10.1080/03007766.2021.2004353
Maria Kouvarou
ABSTRACT This article discusses hip-hop with lyrics in the Greek Cypriot Dialect as an underground voice of implicit dissent that becomes gradually noticeable in the Republic of Cyprus. By providing an overview of the complex linguistic situation of the country, it argues that the insistence of the hip-hop artists to “say it” in the linguistic idiom of their everyday communication can be seen as a (re)claiming of the public sphere. Habermas’ public sphere, and communication theories, along with ideas from language ideologies, provide the conceptual lenses by which hip-hop in the Greek Cypriot Dialect is looked at here.
{"title":"(Re)claiming the Public Sphere: Greek Cypriot Dialect Hip-Hop and the Right to Say It in One’s Own Language","authors":"Maria Kouvarou","doi":"10.1080/03007766.2021.2004353","DOIUrl":"https://doi.org/10.1080/03007766.2021.2004353","url":null,"abstract":"ABSTRACT This article discusses hip-hop with lyrics in the Greek Cypriot Dialect as an underground voice of implicit dissent that becomes gradually noticeable in the Republic of Cyprus. By providing an overview of the complex linguistic situation of the country, it argues that the insistence of the hip-hop artists to “say it” in the linguistic idiom of their everyday communication can be seen as a (re)claiming of the public sphere. Habermas’ public sphere, and communication theories, along with ideas from language ideologies, provide the conceptual lenses by which hip-hop in the Greek Cypriot Dialect is looked at here.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"221 - 238"},"PeriodicalIF":0.5,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45195633","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 : 2022-01-19DOI: 10.1080/03007766.2022.2026923
Arnt Maasø, H. Spilker
ABSTRACT Why does music listening in streaming services seem tied to a superstar economy despite the plenitude of digital music? This article explores what we label the streaming paradox: the way in which plenitude at the outset produces narrowness as the outcome. Based on dissection of the interfaces of streaming services, interviews with stakeholders, and analyses of user data, the article introduces six key gatekeeping mechanisms (and concepts) at work in the platforms. These mechanisms are combined effects of algorithmic coding, interface design, and human curation and choices and serve as explanations for the streaming paradox.
{"title":"The Streaming Paradox: Untangling the Hybrid Gatekeeping Mechanisms of Music Streaming","authors":"Arnt Maasø, H. Spilker","doi":"10.1080/03007766.2022.2026923","DOIUrl":"https://doi.org/10.1080/03007766.2022.2026923","url":null,"abstract":"ABSTRACT Why does music listening in streaming services seem tied to a superstar economy despite the plenitude of digital music? This article explores what we label the streaming paradox: the way in which plenitude at the outset produces narrowness as the outcome. Based on dissection of the interfaces of streaming services, interviews with stakeholders, and analyses of user data, the article introduces six key gatekeeping mechanisms (and concepts) at work in the platforms. These mechanisms are combined effects of algorithmic coding, interface design, and human curation and choices and serve as explanations for the streaming paradox.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"300 - 316"},"PeriodicalIF":0.5,"publicationDate":"2022-01-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44799320","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 : 2022-01-03DOI: 10.1080/03007766.2021.2010028
A. deWaard, Brian Fauteux, Brianne Selman
ABSTRACT This article illustrates the precarious position of Canadian independent musicians in the streaming era. In the first section, we articulate the sound of the Canadian music industry from above, providing a macro-level political economy, looking at multinational conglomerates, streaming technology, financialization, consolidation, and inequality. In sections two and three, we listen to the sound from below using ethnographic methods, relaying the experiences of independent musicians within an increasingly precarious industry. Based on feedback from the musicians we interviewed, we conclude by providing a series of recommendations and ideas to foster a more equitable, community-based music culture.
{"title":"Independent Canadian Music in the Streaming Age: The Sound from above (Critical Political Economy) and below (Ethnography of Musicians)","authors":"A. deWaard, Brian Fauteux, Brianne Selman","doi":"10.1080/03007766.2021.2010028","DOIUrl":"https://doi.org/10.1080/03007766.2021.2010028","url":null,"abstract":"ABSTRACT This article illustrates the precarious position of Canadian independent musicians in the streaming era. In the first section, we articulate the sound of the Canadian music industry from above, providing a macro-level political economy, looking at multinational conglomerates, streaming technology, financialization, consolidation, and inequality. In sections two and three, we listen to the sound from below using ethnographic methods, relaying the experiences of independent musicians within an increasingly precarious industry. Based on feedback from the musicians we interviewed, we conclude by providing a series of recommendations and ideas to foster a more equitable, community-based music culture.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"251 - 278"},"PeriodicalIF":0.5,"publicationDate":"2022-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47925472","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 : 2021-12-29DOI: 10.1080/03007766.2022.2021609
Thomas M. Kitts
recording company executives, and fellow Memphis music scholars. Both prickly and profound, the author’s observations are grounded in years of rubbing elbows with black and white Memphians. Truth resonates in his writing. It is the rough-and-tumble truth of the old Beale Street barkeeps rather than the polished, glamorous truth of Chamber of Commerce con men. This is not just a paean to the magical music of Memphis. It is a salute to the hard labor, sweat, luck (good and bad), and personal convictions that allowed black and white men to produce truly memorable music. Out of political mayhem, racial strife, broken banking agreements, and untimely deaths a group of integrated performers and record label executives produced a treasury of unforgettable tunes. From “Last Night” to “Green Onions,” from “Memphis Blues” to “Please Accept My Love,” and from “Blues Power” to “In the Midnight Hour,” Memphis provided the world with a brilliant new soundscape. The river city gained international “Respect” – and wisely urged each listener to “Respect Yourself.”
唱片公司高管和孟菲斯音乐学者。作者的观察既尖锐又深刻，是建立在多年来与黑人和白人孟菲斯人交往的基础上的。真理在他的作品中引起共鸣。这是比尔街老骗子的粗糙和混乱的真相，而不是商会骗子的精致和迷人的真相。这不仅仅是对孟菲斯神奇音乐的赞歌。这是对辛勤劳动、汗水、运气（好的和坏的）和个人信念的致敬，正是这些让黑人和白人创作出了真正令人难忘的音乐。出于政治混乱、种族冲突、银行协议破裂和英年早逝，一群综合表演者和唱片公司高管创作了一批令人难忘的歌曲。从《Last Night》到《Green Onions》，从《Memphis Blues》到《Please Accept My Love》，从“Blues Power”到《In the Midnight Hour》，孟菲斯为世界提供了一个辉煌的新声景。这座河城获得了国际上的“尊重”，并明智地敦促每一位听众“尊重自己”
{"title":"Ways of Hearing: Reflections on Music in 26 Pieces","authors":"Thomas M. Kitts","doi":"10.1080/03007766.2022.2021609","DOIUrl":"https://doi.org/10.1080/03007766.2022.2021609","url":null,"abstract":"recording company executives, and fellow Memphis music scholars. Both prickly and profound, the author’s observations are grounded in years of rubbing elbows with black and white Memphians. Truth resonates in his writing. It is the rough-and-tumble truth of the old Beale Street barkeeps rather than the polished, glamorous truth of Chamber of Commerce con men. This is not just a paean to the magical music of Memphis. It is a salute to the hard labor, sweat, luck (good and bad), and personal convictions that allowed black and white men to produce truly memorable music. Out of political mayhem, racial strife, broken banking agreements, and untimely deaths a group of integrated performers and record label executives produced a treasury of unforgettable tunes. From “Last Night” to “Green Onions,” from “Memphis Blues” to “Please Accept My Love,” and from “Blues Power” to “In the Midnight Hour,” Memphis provided the world with a brilliant new soundscape. The river city gained international “Respect” – and wisely urged each listener to “Respect Yourself.”","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"360 - 362"},"PeriodicalIF":0.5,"publicationDate":"2021-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49155140","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 : 2021-12-10DOI: 10.1080/03007766.2021.2010308
L. Watson
ABSTRACT This article explores how the genre of rock memoir took a new cultural and commercial turn with the publication of Springsteen’s book Born to Run (2016). It traces how the book became the foundation for a transmedia project that unfolded across several platforms (including the Broadway stage and Netflix) over the course of two years (2016–2018). This transmedia project worked to construct the twenty-first-century Springsteen as an artist and commentator whose work lies at the intersections of rock, popular literature, scripted theater, and the screen.
{"title":"Born to Run: The Transmedia Evolution of the Bruce Springsteen Memoir from Book to Stage and Screen","authors":"L. Watson","doi":"10.1080/03007766.2021.2010308","DOIUrl":"https://doi.org/10.1080/03007766.2021.2010308","url":null,"abstract":"ABSTRACT This article explores how the genre of rock memoir took a new cultural and commercial turn with the publication of Springsteen’s book Born to Run (2016). It traces how the book became the foundation for a transmedia project that unfolded across several platforms (including the Broadway stage and Netflix) over the course of two years (2016–2018). This transmedia project worked to construct the twenty-first-century Springsteen as an artist and commentator whose work lies at the intersections of rock, popular literature, scripted theater, and the screen.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"279 - 299"},"PeriodicalIF":0.5,"publicationDate":"2021-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46122453","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 : 2021-11-22DOI: 10.1080/03007766.2021.1984023
Paul Harkins, Nick Prior
ABSTRACT This article examines the concept of democratization and explains why it has been applied in unhelpful ways to the study of music. We focus on three examples to illustrate the real-world complexities involved in the adoption of new technologies that are often seen as democratic by dint of their widespread use. We argue for a close-reading of the participatory practices of socially-located actors with music-making devices – one that asks detailed questions about who is participating, how, and under what socio-economic conditions. We finish with a call to move beyond the term democratization to an application that is specific to the field of popular music.
{"title":"(Dis)locating Democratization: Music Technologies in Practice","authors":"Paul Harkins, Nick Prior","doi":"10.1080/03007766.2021.1984023","DOIUrl":"https://doi.org/10.1080/03007766.2021.1984023","url":null,"abstract":"ABSTRACT This article examines the concept of democratization and explains why it has been applied in unhelpful ways to the study of music. We focus on three examples to illustrate the real-world complexities involved in the adoption of new technologies that are often seen as democratic by dint of their widespread use. We argue for a close-reading of the participatory practices of socially-located actors with music-making devices – one that asks detailed questions about who is participating, how, and under what socio-economic conditions. We finish with a call to move beyond the term democratization to an application that is specific to the field of popular music.","PeriodicalId":46155,"journal":{"name":"POPULAR MUSIC AND SOCIETY","volume":"45 1","pages":"84 - 103"},"PeriodicalIF":0.5,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45054121","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}
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