Journal of Popular Music Studies最新文献_第6页

Hip Hop Mun Ikjeom 嘻哈孟

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2023-03-01 DOI: 10.1525/jpms.2023.35.1.4

Myoung-Sun Song

引用次数: 0

The Changing Political Economy of Music in Presidential Campaigns 音乐在总统竞选中的政治经济变化

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2023-03-01 DOI: 10.1525/jpms.2023.35.1.67

Justin Patch

{"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}

引用次数: 0

Review: “Turn Me Loose White Man” Or: Appropriating Culture: How to Listen to American Music, 1900-1960, by Allen Lowe 评论：《让我放开白人》或：认可文化：如何倾听美国音乐，1900-1960，艾伦·洛

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2023-03-01 DOI: 10.1525/jpms.2023.35.1.139

Eric J. Lott

引用次数: 0

“Los Frikis” Los Frikis

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2023-03-01 DOI: 10.1525/jpms.2023.35.1.85

Carmen Torre Pérez

{"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}

引用次数: 0

Review: Freedom Girls: Voicing Femininity in 1960s British Pop, by Alexandra M. Apolloni 评论：《自由女孩：20世纪60年代英国流行音乐中的女性气质》，Alexandra M.Apoloni著

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2023-03-01 DOI: 10.1525/jpms.2023.35.1.133

Sarah Dougher

引用次数: 0

The NFT Boom and Bust NFT的繁荣与萧条

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-12-01 DOI: 10.1525/jpms.2022.34.4.39

Hannah N. Krasikov

{"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}

引用次数: 1

Inside the Hip-Hop Moment 嘻哈瞬间内幕

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-12-01 DOI: 10.1525/jpms.2022.34.4.61

J. McNally

{"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}

引用次数: 0

Dilla Time Dilla时间

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-12-01 DOI: 10.1525/jpms.2022.34.4.4

Loren Kajikawa, L. Onkey, Gayle Wald

引用次数: 1

Review: Pop Masculinities: The Politics of Gender in the Twenty-First Century Popular Music, by Kai Arne Hansen 书评:《流行男性化:21世纪流行音乐中的性别政治》，作者:凯·阿恩·汉森

IF 0.2 3区艺术学

Journal of Popular Music Studies Pub Date : 2022-12-01 DOI: 10.1525/jpms.2022.34.4.135

Paxton Haven

引用次数: 0

Review: Beyoncé in the World: Making Meaning with Queen Bey in Troubled Times, edited by Christina Baade and Kristin A. McGee 评论：《世界上的碧昂斯：在困难时期与碧昂斯女王一起创造意义》，由克里斯蒂娜·巴德和克里斯汀·麦基编辑