Questions of style: notes on Italian hip hop

Popular Music ◽  
1995 ◽  
Vol 14 (3) ◽  
pp. 333-348 ◽  
Author(s):  
Tony Mitchell

In his article ‘Rock music and politics in Italy’, Umberto Fiori deploys the example of an open-air concert by Genesis in Tirrenia in the province of Pisa, promoted in the summer of 1982 by the Italian Communist Party (PCI) as part of its annual Feste dell'Unita, as a summary example of de-politicisation of the consumption and production of rock music in Italy, and the institutionalisation of the oppositional, dissenting aspects of rock music that had previously been so potent there throughout the 1970s. To Fiori, the Genesis concert representedan unmistakeable step forward in the slow process of the ‘normalisation’ of the relationship between rock and politics in Italy. Explosive material until a few years before, rock music in the 1980s seems to have returned to being a commodity like any other, even in Italy. The songs are once again simply songs, the public is the public. The musicians are only interested in their work, and the organisers make their expected profits. If they happen to be a political party, so much the better: they can also profit in terms of public image and perhaps even votes. … Italy now learnt how to institutionalise deviation and transgression. An ‘acceptable’ gap was re-established between fiction and reality, desire and action, and music and political practice. (Fiori 1984, pp. 261–2)

Author(s):  
Dr Rose Fazli ◽  
Dr Anahita Seifi

The present article is an attempt to offer the concept of political development from a novel perspective and perceive the Afghan Women image in accordance with the aforementioned viewpoint. To do so, first many efforts have been made to elucidate the author’s outlook as it contrasts with the classic stance of the concept of power and political development by reviewing the literature in development and particularly political development during the previous decades. For example Post-World War II approaches to political development which consider political development, from the Hobbesian perspective toward power, as one of the functions of government. However in a different view of power, political development found another place when it has been understood via postmodern approaches, it means power in a network of relationships, not limited to the one-way relationship between ruler and obedient. Therefore newer concept and forces find their way on political development likewise “image” as a considerable social, political and cultural concept and women as the new force. Then, the meaning of “image” as a symbolic one portraying the common universal aspect is explained. The Afghan woman image emphasizing the historic period of 2001 till now is scrutinized both formally and informally and finally the relationship between this reproduced image of Afghan women and Afghanistan political development from a novel perspective of understanding is represented.


2018 ◽  
Vol 34 (3) ◽  
pp. 249-259
Author(s):  
Seong-kwan Cho

Between 1975 and 1988, the Korean Public Performance Ethics Committee (KPPEC) censored obscene language, body exposure, and extreme violence, as is common in all forms of theatre censorship. However, the KPPEC focused in particular on depictions of the President of South Korea, and proscribed any work that challenged or even questioned the public image of the President as a strong leader for a nation in crisis. Despite the official abolition of censorship in 1988, it was discovered in 2016 that a blacklist had been in operation that excluded ‘left’ and ‘pro-Pyongyang’ theatre directors and actors from accessing public funding. By exploring the process of censorship, Seong-kwan Cho in this article interrogates the relationship between the theatre and the nation. Seong-kwan Cho is a lecturer at the School of Global Communication at Kyung Hee University. With Jae-beom Hong, in his current research he has been exploring North Korean performance, and his article on this subject is forthcoming in Asian Theatre Journal.


GEOgraphia ◽  
2021 ◽  
Vol 23 (51) ◽  
Author(s):  
Eryck de Jesus Furtado Batalha

Resumo: Este artigo tem como objetivo estudar a relação entre lugar e espaço público no contexto da realização de Batalhas de MC em praças de Belém, Pará. Justificamos a realização deste trabalho pela necessidade de compreendermos as ações do movimento hip hop a partir das particularidades dos seus sujeitos, aqui analisadas com base nas suas diferenças, portadoras de identidades espaciais afetivas: seus lugares. A complexidade espacial das periferias de Belém sugere que as demandas que surgem das vivências desses sujeitos contêm riquíssimas informações acerca da potencialidade política desses encontros. Foi realizado um levantamento bibliográfico acerca do tema, com o objetivo de obter um panorama do campo de estudos, assim como trabalhos de campo de cunho etnográfico, o que permitiu perceber que o lugar possui destacada importância na realização destes eventos no espaço público, por serem fonte das particularidades que permitirão o encontro de diferenças no espaço, promovendo ações políticas que o definem e reafirmando suas próprias existências. Palavras-Chave: Lugar; Espaço Público; Batalhas de MC. PLACE AND PUBLIC SPACE: THE PRESENCE OF DIFFERENCE IN MC BATTLES IN BELÉM, PARÁ Abstract: This article aims to study the relationship between place and public space in the context of the performance of MC Battles on the streets of Belém, Pará. The accomplishment of this work is justified by the need to understand the actions of the hip hop movement from the particularities of their subjects, in this piece analyzed based on their differences, carrying spacial affective identities: their places. Belém periphery spatial complexity suggests that the demands that arise from the experiences of these subjects hold informations about the political potential of these meetings. Bibliographic survey was carried out about the topic in order to obtain an overview of the field of study and field of ethnographic nature, which allowed us to realize that the place has highlighted importance on achievement of these events in the public space, because they are source of the particularities which allow the differences in space, promoting political actions that defines them and reaffirming their own existance. Keywords: Place; Public Space; MC battles. LUGAR Y ESPACIO PÚBLICO: LA PRESENCIA DE LA DIFERENCIA EN LAS BATALLAS DE MC EN BELÉM, PARÁ Resumen: Este artículo tiene como objetivo estudiar la relación entre lugar y espacio público en el contexto de Batallas de MCs en plazas de Belém, Pará. Justificamos este trabajo por la necesidad de comprender las acciones del movimiento hip hop desde las particularidades de sus sujetos, aquí analizados a partir de sus diferencias, portadoras de identidades espaciales afectivas: sus lugares. La complejidad espacial de las periferias de Belém sugiere que las demandas que surgen de las experiencias de estos sujetos contienen información muy rica sobre el potencial político de estos encuentros. Se realizó un levantamiento bibliográfico sobre el tema, con el objetivo de obtener una visión general del campo de estudio, así como un trabajo de campo de carácter etnográfico, que permitió darnos cuenta que el lugar tiene una importancia destacada en la realización de estos eventos en el espacio público, pues son fuente de las particularidades que permitirán el encuentro de diferencias en el espacio, impulsando acciones políticas que los definan y reafirmando su propia existencia. Palabras clave: Lugar; Espacio Público; Batallas de MC.


1999 ◽  
Vol 7 (2) ◽  
pp. 247-262 ◽  
Author(s):  
Helga Nowotny

The science system of Western civilization is facing irreversible transformations. These transformations will affect the relationship between the public image of science and the actual practice within the sciences. In a situation in which scientists are increasingly asked ‘what have you lately done for us’, the alleged purity and objectivity of the sciences have to be reconsidered and we have to rethink the place of people in the knowledge produced by the sciences. Bringing together insights from social and historical studies of science, this article argues for the awareness of a more local, historically and socially contingent knowledge production, which – due to this local embeddedness – can lead to a socially more robust science.


Author(s):  
Martina Kalser-Gruber

Abstract Reputation represents the standing of a person or organisation in the public field and illustrates/marks their contribution towards the implementation of collectively shared values and goals. From a business point of view, reputation belongs to the intangible assets of a company and is therefore part of the goodwill. Especially, the leader of an organisation—particularly in a cultural enterprise—shapes the external public image of the organisation, studies the impact of the image on the public consciousness by assessing public opinion about the organisation's achievements and consequently also gauges the economic and/or artistic success of the organisation. Based on the statements of experts about music festivals of high culture in Austria alongside the big players such as Salzburg or Bregenz Festival, the aim of this paper is to investigate the relationship between reputation of artistic directors (ADs) and the performance of cultural enterprises. It will also be demonstrated how the reputation of these individuals has an impact on tourism, hospitality and trade in the vicinity of cultural enterprises.


2017 ◽  
Vol 32 (1) ◽  
pp. 56-77
Author(s):  
Petrică Mogoș ◽  
Pauwke Berkers

This study seeks to delineate the highly convoluted relationship between (rock) musicians and the state in late socialist Romania (1975–1985). By investigating extensive archival files originating from the Securitate records, Agitprop branches, and the ideological committees of the Romanian Communist Party, we examine how the Romanian regime employed its mechanisms of creative control and how it made sense of Romanian musicians’ attempt to navigate them. First, such intricate mechanisms ranged from rewards and penalties in order to ensure ideological compliance, to repression by means of surveillance, recruitment, and harassment. Second, in our exploration of the margins of consent and dissent, the relationship between musicians and the state fluctuated between one of duplicity (that proved beneficial for both entities) and (symbolic) resistance (through collective and individual forms of dissent). Successful dissent came mostly from abroad, while, domestically, musicians were much more rigidly controlled; without being able to articulate coherent forms of dissent through their music, musicians challenged the Securitate through issues of morality. Music also led to the formation of subcultures—csöves and punks—which practiced anti-proletarian rituals of dissent. Thus, this research throws considerable light on broader sociological debates, such as the role of musicians in totalitarian settings, the hidden mechanisms employed by the state, and the ongoing literature concerning the configuration of subcultural movements in the Eastern bloc.


2015 ◽  
Vol 45 (6) ◽  
pp. 797-815 ◽  
Author(s):  
Vivette García-Deister ◽  
Carlos López-Beltrán

This article provides a comparison between genomic medicine and forensic genetics in Mexico, in light of recent depictions of the nation as a ‘ país de gordos’ (country of the fat) and a ‘ país de muertos’ (country of the dead). We examine the continuities and ruptures in the public image of genetics in these two areas of attention, health and security, focusing especially on how the relevant publics of genetic science are assembled in each case. Publics of biomedical and forensic genetics are assembled through processes of recruitment and interpellation, in ways that modulate current theorizations of co-production. The comparison also provides a vista onto discussions regarding the involvement of genetics in regimes of governance and citizenship and about the relationship between the state and biopower in a context of perceived health crisis and war-like violence.


Popular Music ◽  
1984 ◽  
Vol 4 ◽  
pp. 261-277 ◽  
Author(s):  
Umberto Fiori

One afternoon in September 1982, at Tirrenia, in the province of Pisa, hundreds of Communist party-workers prepared for the opening concert of an Italian tour by the rock band Genesis. The work took place under the red flags of the National Festival of the Communist Party – L'Unità – and to the sound of traditional songs of political struggle coming from the loudspeakers placed all round the area. These were unpaid workers, highly organised, and they had come from all over Italy.


2021 ◽  
pp. 23-42
Author(s):  
Rita Alcaire

This article presents the result of a multimodal analysis of the representation of asexuality in Portuguese mainstream media. In Portugal, the media played a pivotal role in the relationship between the newly formed Portuguese asexual community and the wider audience. Media attention on asexuality in Portugal generated a discussion on how asexual people are represented, but also on social representations of sexual diversity in general. As a result, the Portuguese asexual community and LGBTQI+ movement were impelled to reflect on their activity and on the public image they wanted to send out. Therefore, the community had to make choices: which media to participate in; who participates; whose faces the message is associated to; to what extent the allies are to be taken into consideration; which types of discourses get privileged, and which become excluded. Amongst other public effects, the Portuguese LGBTQI+ movement started to acknowledge asexuality in documents produced by them. The corpus of materials on the subject grew, and asexuality left a significant footprint. The major tendency points towards a positive portrayal of asexuality that puts asexual people centre stage, owning narratives about themselves.


Costume ◽  
2012 ◽  
Vol 46 (1) ◽  
pp. 55-74 ◽  
Author(s):  
Beatrice Behlen

This article charts the relationship between Princess Margaret (1930–2002) and the House of Dior. Her relatively early adoption of the New Look accelerated her rise to a major fashion icon. Choosing a Dior ball gown for her offi? cial twenty-first birthday photographs cemented her image as the archetypal princess. Unusually for a member of the British royal family, Princess Margaret visited the French fashion house in Paris in 1949, 1951 and 1959, ordering couture gowns on several occasions, and also attended Dior fashion shows at Blenheim Palace in 1952, 1954 and 1958. While the close association between the Princess and Christian Dior (1905–1957) was relatively short-lived, it was mutually beneficial and important to the public image of both royal patron and couturier. 1


Sign in / Sign up

Export Citation Format

Share Document