Pub Date : 2022-09-26DOI: 10.1017/S0261143022000514
Elodie A. Roy
used, discussed and brought to life. Original and ambitious, rich in its diversity of perspectives and objects, this edited volume constitutes an undeniable contribution to the historiography of recorded sound. However, given the global ambition of this industry, more dialogue with previous works could provide information on the national or local specificities of certain developments as well as on their links with other territories and situations. Such perspectives would also point out the resistance to such dynamics, and the scales of circulation, transformation and negotiation that brought together ideas, objects, agents and practices in the early years of sound recording. One may also regret the sometimes list-like effect of certain fashionable concepts such as intersectionality, empire, colonialism, gender, multimediality or mobility, which appear more programmatic than necessary. Nonetheless, these reservations are only a call to continue the good work along the lines outlined in this stimulating volume.
{"title":"Record Cultures: The Transformation of the U.S. Recording Industry. By Kyle Barnett. Ann Arbor: University of Michigan Press, 2020. 320 pp. ISBN 978-0-472-03877-0.","authors":"Elodie A. Roy","doi":"10.1017/S0261143022000514","DOIUrl":"https://doi.org/10.1017/S0261143022000514","url":null,"abstract":"used, discussed and brought to life. Original and ambitious, rich in its diversity of perspectives and objects, this edited volume constitutes an undeniable contribution to the historiography of recorded sound. However, given the global ambition of this industry, more dialogue with previous works could provide information on the national or local specificities of certain developments as well as on their links with other territories and situations. Such perspectives would also point out the resistance to such dynamics, and the scales of circulation, transformation and negotiation that brought together ideas, objects, agents and practices in the early years of sound recording. One may also regret the sometimes list-like effect of certain fashionable concepts such as intersectionality, empire, colonialism, gender, multimediality or mobility, which appear more programmatic than necessary. Nonetheless, these reservations are only a call to continue the good work along the lines outlined in this stimulating volume.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"566 - 568"},"PeriodicalIF":0.4,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41859855","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 : 2022-09-26DOI: 10.1017/s0261143022000502
Oliver Lovesey
{"title":"Scary Monsters. Monstrosity, Masculinity and Popular Music. By Mark Duffett and Jon Hackett. New York: Bloomsbury Academic, 2021. ISBN 978-1-501-31337-0","authors":"Oliver Lovesey","doi":"10.1017/s0261143022000502","DOIUrl":"https://doi.org/10.1017/s0261143022000502","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"411 - 413"},"PeriodicalIF":0.4,"publicationDate":"2022-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43798847","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 : 2022-09-20DOI: 10.1017/S026114302200037X
Adam Guld
{"title":"Emo – How Fans Defined a Subculture. By Judith May Fathallah. Iowa: University of Iowa Press, 2020. 214 pp. ISBN 978-1-609-38724-2","authors":"Adam Guld","doi":"10.1017/S026114302200037X","DOIUrl":"https://doi.org/10.1017/S026114302200037X","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"407 - 409"},"PeriodicalIF":0.4,"publicationDate":"2022-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46290054","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 : 2022-07-04DOI: 10.1017/s0261143022000368
Olivia R. Lucas
{"title":"How Music Empowers: Listening to Modern Rap and Metal. By Steven Gamble. Routledge, 2021. 188 pp. ISBN 978-0-367-33955-5","authors":"Olivia R. Lucas","doi":"10.1017/s0261143022000368","DOIUrl":"https://doi.org/10.1017/s0261143022000368","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"405 - 407"},"PeriodicalIF":0.4,"publicationDate":"2022-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47693540","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 : 2022-05-01DOI: 10.1017/s0261143022000319
A. Potts
Paul Hegarty’s new book, Annihilating Noise, is a noisy text. Over the course of the 16 essays that make up its four parts, noise is observed as existing almost everywhere, discussed in the context of ecology, materiality, economics, politics, and music. The scope of this text is important. It is not easy to say something interesting about noise anymore, nor is it easy to make interesting noises. In both theory and practice, noise has been frenziedly mined leaving very little of worth left.1 However, despite this, Hegarty makes an important contribution to the field, and this is largely thanks to his generative understanding of noise, which allows him to hear and observe noises where others might not. In his 2007 book Noise/Music: A History, Hegarty developed an idea of noise based on the interwoven notions of negativity and failure. Noise, Hegarty told us, ‘can never be positively, definitively and timelessly located’ (2007, p. ix), which is to say, wherever noise is, it is always in opposition to what is acceptable and wanted; this is the basis of negativity. The notion of failure captures the dialectical dynamics of noise – where what was once unwanted becomes, over time, wanted – as well as a Bataillean dualism – where the transgressive potential of noise is perpetually conditioned and frustrated by its dependence on the limit. These two ideas are retained, and are central, in Annihilating Noise. At one point, Hegarty clarifies the notion of negativity as a response to previous criticisms of it: ‘Noise is a negativity [. . .] and people are uncertain about this, because they say they like noise’ (p. 63). Hegarty goes on to explain how the meaning of negativity is not about badness, but instead the way in which noise, firstly, does not exist independently but only in comparison with a generally ordered thing (‘meaning, or music, or normativity’, p. 63), and secondly, how noise has to be thought of as the ‘negative thing we (some we that represents us all, and with the power to define the we that is us all) sought to exclude’ (p. 63). Negativity and failure, then, give noise its generative potential in this text: ‘[i]t never attributes thingness to noise, outside of an instant that will inevitably be subsumed, so that noise is always happening as potential, but almost never there’ (p. 241). These notions thus give noise a cultural, political and historical shape in Hegarty’s conceptualisation, making noise and its manifestations diffuse. Throughout Annihilating Noise, Hegarty makes a consistent effort to think beyond marginal spaces that have already been recognised by theory, to give voice to a more radical noise. He does this in ‘Part One: Ungrounding’ by drawing on Georges Bataille’s dark ecology and ‘extreme metaphysics’ (p. 24) to counter ideas of a harmonious nature that he feels have run rampant in sound studies. However, the most interesting discussion of these outside spaces is when he addresses what he calls black noise and the gender
{"title":"Annihilating Noise. By Paul Hegarty. New York: Bloomsbury, 2021. 288 pp. ISBN 978-1-5013-3544-0","authors":"A. Potts","doi":"10.1017/s0261143022000319","DOIUrl":"https://doi.org/10.1017/s0261143022000319","url":null,"abstract":"Paul Hegarty’s new book, Annihilating Noise, is a noisy text. Over the course of the 16 essays that make up its four parts, noise is observed as existing almost everywhere, discussed in the context of ecology, materiality, economics, politics, and music. The scope of this text is important. It is not easy to say something interesting about noise anymore, nor is it easy to make interesting noises. In both theory and practice, noise has been frenziedly mined leaving very little of worth left.1 However, despite this, Hegarty makes an important contribution to the field, and this is largely thanks to his generative understanding of noise, which allows him to hear and observe noises where others might not. In his 2007 book Noise/Music: A History, Hegarty developed an idea of noise based on the interwoven notions of negativity and failure. Noise, Hegarty told us, ‘can never be positively, definitively and timelessly located’ (2007, p. ix), which is to say, wherever noise is, it is always in opposition to what is acceptable and wanted; this is the basis of negativity. The notion of failure captures the dialectical dynamics of noise – where what was once unwanted becomes, over time, wanted – as well as a Bataillean dualism – where the transgressive potential of noise is perpetually conditioned and frustrated by its dependence on the limit. These two ideas are retained, and are central, in Annihilating Noise. At one point, Hegarty clarifies the notion of negativity as a response to previous criticisms of it: ‘Noise is a negativity [. . .] and people are uncertain about this, because they say they like noise’ (p. 63). Hegarty goes on to explain how the meaning of negativity is not about badness, but instead the way in which noise, firstly, does not exist independently but only in comparison with a generally ordered thing (‘meaning, or music, or normativity’, p. 63), and secondly, how noise has to be thought of as the ‘negative thing we (some we that represents us all, and with the power to define the we that is us all) sought to exclude’ (p. 63). Negativity and failure, then, give noise its generative potential in this text: ‘[i]t never attributes thingness to noise, outside of an instant that will inevitably be subsumed, so that noise is always happening as potential, but almost never there’ (p. 241). These notions thus give noise a cultural, political and historical shape in Hegarty’s conceptualisation, making noise and its manifestations diffuse. Throughout Annihilating Noise, Hegarty makes a consistent effort to think beyond marginal spaces that have already been recognised by theory, to give voice to a more radical noise. He does this in ‘Part One: Ungrounding’ by drawing on Georges Bataille’s dark ecology and ‘extreme metaphysics’ (p. 24) to counter ideas of a harmonious nature that he feels have run rampant in sound studies. However, the most interesting discussion of these outside spaces is when he addresses what he calls black noise and the gender","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"271 - 272"},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41715530","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 : 2022-05-01DOI: 10.1017/s0261143022000265
J. Gligorijevic
Abstract The multiple impacts of COVID-19 on the music-culture industry have been duly discussed in a variety of public discourses, academic and otherwise. However, there is still a dearth of studies that investigate alternative face-to-face practices of live music performance and organisation during the pandemic's significant constraints on social behaviour. The present work aims to fill this gap by offering an anthropological angle on live music practices during COVID-19. It specifically draws on fieldwork that I could carry out in the autumn of 2020 at a live music venue – ‘Palace’ in the Swiss city of St Gallen – owing to a ‘liberal’ handling of the COVID-19 crisis by the St Gallen authorities. This article documents accordingly the challenges and adjustments that Palace had to undergo during pandemic times from the perspectives of producers, musicians and audiences alike. The primary focus here is on exploring changes in the venue's management, programming, audience composition and especially the musical-aesthetic experience of the venue's pandemic-compliant gigs. Finally, the article draws on the musings of my interlocutors as to whether Palace was in their experience a place outside the pandemic, to tackle the larger question of how COVID-19 has affected people's perceptions of live gigs and urban nightlife more generally.
{"title":"A place outside the pandemic? An ethnographic study of live music events at St Gallen's cultural venue Palace during the COVID-19 crisis","authors":"J. Gligorijevic","doi":"10.1017/s0261143022000265","DOIUrl":"https://doi.org/10.1017/s0261143022000265","url":null,"abstract":"Abstract The multiple impacts of COVID-19 on the music-culture industry have been duly discussed in a variety of public discourses, academic and otherwise. However, there is still a dearth of studies that investigate alternative face-to-face practices of live music performance and organisation during the pandemic's significant constraints on social behaviour. The present work aims to fill this gap by offering an anthropological angle on live music practices during COVID-19. It specifically draws on fieldwork that I could carry out in the autumn of 2020 at a live music venue – ‘Palace’ in the Swiss city of St Gallen – owing to a ‘liberal’ handling of the COVID-19 crisis by the St Gallen authorities. This article documents accordingly the challenges and adjustments that Palace had to undergo during pandemic times from the perspectives of producers, musicians and audiences alike. The primary focus here is on exploring changes in the venue's management, programming, audience composition and especially the musical-aesthetic experience of the venue's pandemic-compliant gigs. Finally, the article draws on the musings of my interlocutors as to whether Palace was in their experience a place outside the pandemic, to tackle the larger question of how COVID-19 has affected people's perceptions of live gigs and urban nightlife more generally.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"216 - 237"},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43253628","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 : 2022-05-01DOI: 10.1017/S026114302200040X
S. Frith
According to the website Come writers and critics, which keeps a running list of all ‘documents related to Bob Dylan printed on paper’, by the end of 2021 (Dylan's 80th year), there were 829 books about him in English and 723 in 36 other languages (from 175 in German to one each in Bulgarian and Vietnamese).1 The list is indiscriminate in terms of the various books’ quality, originality or readability, but looking at the bibliographies of the various works I'm reviewing here, it seems that there are at least 50 Dylan books that academic Dylanologists take seriously (and many more journal articles).2 From this perspective, my four titles provide a useful cross-section of the most common academic Dylan studies in disciplinary terms: biography, literary criticism, musicology and cultural studies. I should also note that in March 2016 the George Kaiser Family Foundation bought Bob Dylan's personal archive (for $22 million according to Heylin) and gave it a permanent home in Tulsa. This has opened up significant new research possibilities. In its own words: The Bob Dylan Archive® highlights the unique artistry and worldwide cultural significance of Bob Dylan. Housed at the University of Tulsa's Helmerich Center for American Research at Gilcrease Museum, the archive includes decades of never-before-seen handwritten manuscripts, notebooks and correspondence; films, videos, photographs and artwork; memorabilia; personal documents; unrecorded song lyrics and chords. Like the writer and composer archives to be found in many university libraries, the Bob Dylan collection is accessible onsite (and by appointment) to ‘individuals with qualified research projects’, and The World of Bob Dylan is, in effect, a celebration of a new era for Dylan scholarship. Its editor, Sean Latham, is the Director of the related Institute for Bob Dylan Studies.3 However, the first book to draw on the Bob Dylan Archive systematically is Clinton Heylin's The Double Life.
{"title":"The lives and work of Bob Dylan","authors":"S. Frith","doi":"10.1017/S026114302200040X","DOIUrl":"https://doi.org/10.1017/S026114302200040X","url":null,"abstract":"According to the website Come writers and critics, which keeps a running list of all ‘documents related to Bob Dylan printed on paper’, by the end of 2021 (Dylan's 80th year), there were 829 books about him in English and 723 in 36 other languages (from 175 in German to one each in Bulgarian and Vietnamese).1 The list is indiscriminate in terms of the various books’ quality, originality or readability, but looking at the bibliographies of the various works I'm reviewing here, it seems that there are at least 50 Dylan books that academic Dylanologists take seriously (and many more journal articles).2 From this perspective, my four titles provide a useful cross-section of the most common academic Dylan studies in disciplinary terms: biography, literary criticism, musicology and cultural studies. I should also note that in March 2016 the George Kaiser Family Foundation bought Bob Dylan's personal archive (for $22 million according to Heylin) and gave it a permanent home in Tulsa. This has opened up significant new research possibilities. In its own words: The Bob Dylan Archive® highlights the unique artistry and worldwide cultural significance of Bob Dylan. Housed at the University of Tulsa's Helmerich Center for American Research at Gilcrease Museum, the archive includes decades of never-before-seen handwritten manuscripts, notebooks and correspondence; films, videos, photographs and artwork; memorabilia; personal documents; unrecorded song lyrics and chords. Like the writer and composer archives to be found in many university libraries, the Bob Dylan collection is accessible onsite (and by appointment) to ‘individuals with qualified research projects’, and The World of Bob Dylan is, in effect, a celebration of a new era for Dylan scholarship. Its editor, Sean Latham, is the Director of the related Institute for Bob Dylan Studies.3 However, the first book to draw on the Bob Dylan Archive systematically is Clinton Heylin's The Double Life.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"257 - 264"},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47753195","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 : 2022-05-01DOI: 10.1017/S0261143022000046
N. Amar
Abstract The history of the Chinese punk scene in the scientific literature or in retrospective testimonies is traditionally dominated by a Beijing-centric approach, which stresses the importance of Beijing punk bands in the 1990s for the formation of this youth subculture. However, at the same time another punk scene was emerging in Wuhan, and no convincing argument has been provided to explain how, at the same time, in two Chinese cities, a punk movement appeared. Relying on ethnographic fieldwork, interviews and collection of data, this article aims to explain how in the mid-1990s young Chinese succeeded into territorialising a foreign subculture in two different Chinese cities.
{"title":"‘We come from the underground’: grounding Chinese punk in Beijing and Wuhan","authors":"N. Amar","doi":"10.1017/S0261143022000046","DOIUrl":"https://doi.org/10.1017/S0261143022000046","url":null,"abstract":"Abstract The history of the Chinese punk scene in the scientific literature or in retrospective testimonies is traditionally dominated by a Beijing-centric approach, which stresses the importance of Beijing punk bands in the 1990s for the formation of this youth subculture. However, at the same time another punk scene was emerging in Wuhan, and no convincing argument has been provided to explain how, at the same time, in two Chinese cities, a punk movement appeared. Relying on ethnographic fieldwork, interviews and collection of data, this article aims to explain how in the mid-1990s young Chinese succeeded into territorialising a foreign subculture in two different Chinese cities.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"170 - 193"},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41969895","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 : 2022-05-01DOI: 10.1017/S0261143022000034
Raquel Campos Valverde
Abstract Music sharing on social media increasingly involves ‘imagined listening’, a form of sociality based on how we think that others listen to music (as well as on our own imagining of sounds) and typically mediated by the exchange of visual prompts, such as the thumbnail images associated with a particular streaming link or recording. Drawing on ethnographic research conducted online and offline with Spanish migrants in London, I show how practices of music sharing based on imagined listening articulate specific moral economies. In these economies, users imbue the sharing of music with positive value, as something that contributes to human flourishing and balances the negative aspects of social media and the world. I also consider how users reckon with the algorithmic manipulations of social media platforms and the fleeting forms of user engagement characteristic of an online world in which there is more music than could ever be heard.
{"title":"Online musicking for humanity: the role of imagined listening and the moral economies of music sharing on social media","authors":"Raquel Campos Valverde","doi":"10.1017/S0261143022000034","DOIUrl":"https://doi.org/10.1017/S0261143022000034","url":null,"abstract":"Abstract Music sharing on social media increasingly involves ‘imagined listening’, a form of sociality based on how we think that others listen to music (as well as on our own imagining of sounds) and typically mediated by the exchange of visual prompts, such as the thumbnail images associated with a particular streaming link or recording. Drawing on ethnographic research conducted online and offline with Spanish migrants in London, I show how practices of music sharing based on imagined listening articulate specific moral economies. In these economies, users imbue the sharing of music with positive value, as something that contributes to human flourishing and balances the negative aspects of social media and the world. I also consider how users reckon with the algorithmic manipulations of social media platforms and the fleeting forms of user engagement characteristic of an online world in which there is more music than could ever be heard.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":"41 1","pages":"194 - 215"},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44991252","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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