Music has been a force in social movements from abolitionism to Occupy Wall Street.
Musicians have mobilized their art to forge change as longs as they have been making sonic stories. Today, music is not simply a force among many that activists use to advance social and political causes. In many cases, music is the movement. Advancing his lead, the authors examine the cultural production of three emcees that belong to a socially conscious, women-centered DIY hip hop collective in Detroit. The artists all consider themselves community activists; their aim is to produce music that incite revolutionary thinking and actions.
The analysis herein reveals the ways that savvy, resilient individuals use hip hop as protest discourse to empower under-resourced populations. Local grassroots artists have banned together to produce not only protest music, "Dating advice miranda sings anaconda" also hopeful strategies for empowerment.
The advanced in this study tackles racism, systematically constructed poverty, and misogyny, while it sets a course for empowered, embodied resilience. Rebekah Farrugia is a popular music scholar who is currently working on an ethnographic project about socially conscious hip hop in Detroit.
She is the author of Beyond the Dance Floor: Kellie Hay is a cultural studies scholar. "Dating advice miranda sings anaconda" examines the cultural forms that marginalized communities mobilize to forge change. She is an associate professor in the Department of Communication and Journalism at Oakland University. Throughout the twentieth century, Texas-Mexican accordion music, called conjuntohas formed a powerful symbol of cultural identity for the working-class border community.
Yet, in recent years, local performers have stretched the stylistic boundaries of the traditional genre, creating a shifting sense of meaning for the music beyond more conventional cultural practices.
As musicians gain accessibility to a wide variety of creative forms, they frequently choose stylistic elements beyond their own familial heritage to express a particular artistic identity. In general, this case addresses the issue of artistic convergence in popular culture. Beyond this single group, this paper will explore the modern combinations of the Texas-Mexican ethnic heritage with punk music. Erin Bauer holds a Ph.
Her research examines the recent worldwide spread of Texas-Mexican accordion music, called conjunto. Tokarev became famous for his depictions of immigrant life in the city, addressing the difficulties of assimilation with characteristic wit.
I argue that Tokarev created a musical product that negotiated the experiences of this collective under the Soviet regime within American context.
In doing so, he presented the community with a musical strategy—a way of understanding itself in a new, radically different social context. Her research interests cross the tenuous divide between musicology and ethnomusicology, and include popular music in the Soviet Union, music and politics, and Ukrainian nationalism.
This paper will address three key issues: Music and Labor Professional Faculties Rm. Work Hard, Play Hard: Ironically, still according to Ho, the self-serving nature of this ideology can be best seen in the increasing destructiveness of each recurring crises —,and — which ultimately end up undermining those very values that neoliberalism professes to uphold.
Marco Accattatis is a New Jersey based musician, educator, and scholar. D student in musicology at Rutgers University he is interested in the philosophical, psychological, and Dating advice miranda sings anaconda imbrications of mass mediated musics with the public relations industry, technology, and violence in the contemporary United States.
On April 1,an undocumented Chinese immigrant named Ming Kuang Chen delivered food to a high-rise apartment in the Bronx. On his way down, the elevator suddenly dropped more than 30 floors and became stuck.
Chen was unable to get out for 81 hours. Through the use of contrasting styles traditionally associated with different non-Asian-American races and audiences—traditional musical theater songs and hip hop—Au Yong and Jafferis brought out such issues as the relationship between race and citizenship, the diversity within the Asian American community, the relationship between Asian Americans and Latinos, the history of Chinese labor in the United States, the reliance of Americans on undocumented immigrants, and the representation of racial minorities in American theater.
Ultimately, I argue that this work is both a form of public musicology and an alternate form of protest music—one that emphasizes history and context over immediate By getting the audience to sympathize with the plight of an undocumented Chinese immigrant in New York, Stuck Elevator asks audiences to reconsider common phobias and deeply held beliefs about the Asian American community.
Current projects include a book on cultural trauma in Asian American music, and an edited volume on Public Musicology. Hung is also an active pianist, Balinese gamelan musician and conductor.
It is common sense to present the transformations of the popular music industries as the perfect example of the impact of the Internet. Of course, the predominance of technological determinism was balanced by other researches that have shown that these transformations were not caused by digital technologies solely, but also by legal as well as political changes, for example.
Second, it looks at the mechanisms—for example: Who runs the music industries, what are the movements of workers that organized them and how these movements are regulated and channelled? His research focuses on the practices of local cultural organizations that articulate politics, industries, artistic practices, Dating advice miranda sings anaconda genres, audiences and workers.
Aesthetics and Ideologies Faculties Rm. The extreme metal musical artform known as black metal is characterized by a lo-fidelity production which was first revealed by the first wave of black metal bands such as Bathory and Venom in the late s, and anti-communal ideologies with a sharp focus on anti-Christianity, neo-paganism, solipsism and to a certain extent, nationalism, which typifies the second wave of back metal from Norway created in the early s and still growing in global popularity.
Using frameworks of dystopian dark tourism Podoshen et al. He completed his PhD dissertation at UVa in The dissertation investigates Ambient music through histories and analyses of key recordings from — His work also appears in the Journal of Popular Music Studies. In the 90s, fans began using digital technology and the Internet to develop increasingly sophisticated techniques for compressing and streaming high fidelity audio.
In this paper, I explain the significance of amateur recording and engineering in terms of two areas increasingly relevant to popular music studies: Re-engineering recordings allows fans Dating advice miranda sings anaconda share, collaboratively develop, and integrate knowledge of musical and technological spheres.
By comparing the techniques and aesthetics fans use to make matrix tapes to the ways that studio and live recording engineers use ambient microphones to index live experience and to add dimension to modern multi-track mixes, I show how fans have influenced professional audio production.
D in ethnomusicology from Brown University in May The Grateful Dead, Phish, "Dating advice miranda sings anaconda" Jambands.
We Came to Blow Your System: The cutting edge hip-hop group Death Grips, formed inquickly rose to prominence and signed with the major label Epic Records in Their first Epic album, The Money Storedid well and the band appeared to be settling into a profitable and productive relationship with the company.
Epic Records Dating advice miranda sings anaconda willing to try unprecedented steps in marketing the band, making a deal with a file-sharing service for the free distribution of some of Death Grips material. Yet in Death Grips stunned the record company and industry observers by releasing their second album, No Love Deep Webonline, for free, and without authorization from the label, months before its planned release.
Despite this breach of contract, this radical disobedience, Epic Records did not seek to enforce their contract or sue for damages, what record companies have done for decades in the face of this kind of resistance. Instead, surprisingly, Death Grips were released from their contract and allowed ownership of their recordings. The paper examines these tensions by employing a four-way framework, distinguishing between the pre-internet and post-internet record industry as well as between independent and major label practices of both eras.
His research involves cultural labour, disobedience, and intellectual property. Laval,qui porte sur la chanson country-western. The Rosary and the Microphone: The band utilizes various strategies for negotiating its place in the world as a global band—and mediated brand—and as a manifestation of a kind of cosmopolitanism, or global care, and desire for far-reaching and inclusive social justice initiatives.