Journal of Popular Music Studies最新文献

{"title":"Review: Getting Signed: Record Contracts, Musicians, and Power in Society, by David Arditi","authors":"Jabari Evans","doi":"10.1525/jpms.2023.35.2.116","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.2.116","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47550761","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}

{"title":"Musical Performances in Digital Audiovisualities","authors":"Simone Pereira de Sá, Juliana Freire Gutmann, Simone Evangelista","doi":"10.1525/jpms.2023.35.2.66","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.2.66","url":null,"abstract":"This study discusses modes of appropriation of television genres for the constitution of new audiovisual dynamics in a digital context, based on performatic strategies of the Brazilian funk singer Pepita, who is known for her LGBTQ+ activism. Based on a methodology that articulates studies about media genres and performance, we try to understand how television conventions and characteristics of YouTube and Instagram are appropriated for the constitution of what we call performances of empowerment. We conclude that Pepita’s movements exemplify a broader phenomenon, associated to a complex articulation between audiovisual materialities and digital platforms, and to confluences between genre conventions and their transformations.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44383650","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}

{"title":"Duet on the Theme of “Everything’s Alright” from Jesus Christ Superstar","authors":"M. Petty, J. Chambers-Letson","doi":"10.1525/jpms.2023.35.2.15","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.2.15","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47862223","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}

{"title":"Minnie Riperton’s <i>Come to My Garden</i>","authors":"Brittnay L. Proctor","doi":"10.1525/jpms.2023.35.2.6","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.2.6","url":null,"abstract":"Research Article| June 01 2023 Minnie Riperton’s Come to My Garden Brittnay L. Proctor, PhD Brittnay L. Proctor, PhD School of Media Studies, The New School Brittnay L. Proctor is a Mellon post-doctoral fellow/assistant professor of race and media in the School of Media Studies at The New School. Her research interests include black studies; black popular music, black feminist theory, sound studies, visual culture, and performance. Her work has been published in the Journal of Popular Music Studies, The Journal of Popular Culture, American Literature, Sounding Out!, Feminist Formations, Hyped on Melancholy, African American Review, Reviews in Digital Humanities, and ASAP/Journal. She is the author of Minnie Riperton’s Come to My Garden (Bloomsbury Press: 33 1/3 Series). She is also working on a second book manuscript, which draws on LP records and Compact Discs to trace the sonic and visual discourses of gender and sexuality in funk music. Search for other works by this author on: This Site PubMed Google Scholar Journal of Popular Music Studies (2023) 35 (2): 6–9. https://doi.org/10.1525/jpms.2023.35.2.6 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Brittnay L. Proctor; Minnie Riperton’s Come to My Garden. Journal of Popular Music Studies 1 June 2023; 35 (2): 6–9. doi: https://doi.org/10.1525/jpms.2023.35.2.6 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search If the garden can be used as a metaphor for Black women’s creativity and self-preservation, Minnie Riperton’s sonic garden reminds us that black womanhood is not merely self-evident but produced through praxis engendered by creating, cultivating, and tending, in this instance, to one’s garden. We might consider how Riperton’s vocal performance of the place of the garden and its figurative use throughout the album pose an antagonism to genre: both as a technique for taxonomizing black music and the codification of gender as the collapse between sex as biology and gender (the production of gender dimorphism as the discrete categories of “man” and “woman”). Against “genre” and toward the place of the garden, the black avant-garde tenets of Come to My Garden are rooted in Riperton’s blurring of Charles Stepney’s “written” composition and her own improvisational ad libs. The “phonic substance” of her vocal performance becomes a “visual manifestation” of... You do not currently have access to this content.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136170486","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}

{"title":"Contributors’ Notes","authors":"","doi":"10.1525/jpms.2023.35.1.145","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.145","url":null,"abstract":"Other| March 01 2023 Contributors’ Notes Journal of Popular Music Studies (2023) 35 (1): 145–146. https://doi.org/10.1525/jpms.2023.35.1.145 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Contributors’ Notes. Journal of Popular Music Studies 1 March 2023; 35 (1): 145–146. doi: https://doi.org/10.1525/jpms.2023.35.1.145 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search Carlos Garrido Castellano is a lecturer at the Department of Spanish, Portuguese, and Latin American Studies at University College Cork, where he coordinates a BA program on Portuguese studies and the MA in Global Languages and Cultures. He is the author of Beyond Representation in Contemporary Caribbean Art (2019), Art Activism for an Anticolonial Future (2021) and Literary Fictions of the Contemporary Art System (2022). He has recently edited two special issues on anticolonial and decolonial aesthetics (one in Third Text in 2020 and another in Interventions Journal in 2022) as well as a volume on contemporary museums and coloniality in the Iberian context (2022). Sarah Dougher is a writer, educator, and musician from Portland, Oregon. Her current work as a professor at Portland State focuses on strengthening the pathways for high school seniors into higher education, especially immigrant, first-generation and other historically excluded students.... You do not currently have access to this content.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135238816","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}

{"title":"Editors’ Note","authors":"","doi":"10.1525/jpms.2023.35.1.1","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.1","url":null,"abstract":"Editorial| March 01 2023 Editors’ Note Journal of Popular Music Studies (2023) 35 (1): 1–3. https://doi.org/10.1525/jpms.2023.35.1.1 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Editors’ Note. Journal of Popular Music Studies 1 March 2023; 35 (1): 1–3. doi: https://doi.org/10.1525/jpms.2023.35.1.1 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search We would like to kick off volume 35 of this journal with a warm welcome to the newest associate editor of our “Field Notes” section, Jonathan J. Leal. Jonathan joins us from the University of Southern California, where he is assistant professor of English. In addition to his scholarship on bebop and post-war experimental popular music, Jonathan brings years of experience as a professional musician, producer, sound designer, and public writer. He has already brought us some great ideas, and we look forward to working with him. Jonathan’s arrival comes as John Vilanova finishes his tenure as an associate editor with the journal. Thank you, John, for all of your hard work! As we write this editors’ note, the United States is in the midst of a midterm election. And coincidentally, that backdrop of political consequences has shaped many of the articles in this issue. This issue opens with a... You do not currently have access to this content.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"233 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135239084","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}

{"title":"Trapping Ecosystems","authors":"Carlos Garrido Castellano, J. Rollefson","doi":"10.1525/jpms.2023.35.1.20","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.20","url":null,"abstract":"On June 16, 2018, Beyoncé and Jay-Z released “Apeshit”—a trap-styled hip hop track featuring a chorus of “I can’t believe we made it / Have you ever seen the crowd going apeshit?” The much-commented-on music video for the track was framed as a hip hop takeover of the world’s most visited museum—Paris’s Louvre—featuring pop’s reigning power couple, marketed as “The Carters,” making themselves at home with a collection of dancers in flesh-colored black, brown, and beige bodysuits. While the video was generally received through the split-screen frame of either a cutting decolonial takedown of this monument to Western civilization or the ultimate in money-flaunting bling spectacle, a more subtle and complex set of issues is at play. This article examines the deep historical ambivalences at play in this pop cultural artifact. Employing multi-modal methodologies that combine visual and musical arts perspectives articulated via the frames of postcolonial studies, this analysis theorizes the cultural “traps” in effect. Ranging from the track’s “trap” sonic production and lyrical rhetoric of escape (“we made it”), to the historical trap of musealized colonial plunder and the Louvre’s labyrinthine, oft-subterranean floor plan, to the “trappings” of consumption, bourgeois self-making, and aesthetic contemplation, we seek to illustrate how this socio-cultural text destabilizes Enlightenment universalism and its public/private split.","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":"44517754","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}

{"title":"‘Gimme a Hell Yeah!’ Stone Cold Steve Austin and the WWF’s Soundscapes of Rage","authors":"C. Wells","doi":"10.1525/jpms.2023.35.1.109","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.109","url":null,"abstract":"In the late 1990s, the Word Wrestling Federation (WWF) reached the height of its global popularity thanks to its “Attitude” re-branding. From 1997 to 2001, the company targeted an audience of teenagers and 18- to 34-year-old men with programming emphasizing adult themes and rebellious anti-heroes. The company’s most popular character at the time was “Stone Cold” Steve Austin, a beer-drinking Texas “redneck” who refused to conform and feuded on screen with a villainous corporate CEO. His iconic entrance music, “Hell Frozen Over,” was closely modeled on Rage Against the Machine’s 1996 hit song “Bulls on Parade” and played a crucial role in establishing the character’s credentials as a blue collar rebel whose actions channeled the desires of the WWF’s core audience of young white men.\u0000 Highlighting both the specific idiomatic conventions of professional wrestling entrance themes and the numerous similarities between “Bulls on Parade” and Austin’s entrance music, this article argues that Austin’s music leveraged sonic tropes of masculine anti-corporate rebellion that were legible as such in the late 1990s due largely to the soundscapes of rage popularized by RATM and the numerous rap-rock “nü metal” bands they inspired. It shows how Austin’s music and its RATM connection exemplify not only the capacity for popular entertainment to commodify rebellion, but also the agency of audiences in forging meaningful personal and interpersonal relationships with and through mass-mediated entertainment as sonic signifiers become disentangled from specific political movements and made available to a broad range of economic and political projects.","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":"43903713","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}

{"title":"Review: Dilla Time: The Life and Afterlife of J. Dilla, The Hip-Hop Producer Who Reinvented Rhythm, by Dan Charnas","authors":"Kellie D. Hay","doi":"10.1525/jpms.2023.35.1.136","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.136","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":"49654527","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}

{"title":"“I Need U”","authors":"Wonseok Lee, Grace Y. Kao","doi":"10.1525/jpms.2023.35.1.46","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.1.46","url":null,"abstract":"We analyze four online concerts by K-pop group BTS (Bangtan Sonyeondan) during the COVID-19 pandemic (2020 to the present) from the view of participant observation. The pandemic served as a catalyst for the evolution of these concerts. BTS set new records for revenue generated by a single online concert in June 2020, only to beat their own record in October 2020, and again in June 2021. While BTS delivered high-quality online concerts to its fans, known as ARMY, these concerts highlighted the challenges to both audience members and performers despite the use of “virtual reality” technologies. We argue that BTS’s online concerts represent a new type of concert production and consumption that expands the accessibility of performances to fans all over the world, and also enabled new forms of interactions between artists and audience members. However, these concerts inadvertently highlighted the importance of in-person interaction between fans and performers as K-pop relies heavily not only on cheering and banners that support artists, but also on light sticks, fan chants, and other activities.","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":"48347642","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}