Epilogue

2019 ◽  
pp. 125-134
Author(s):  
Bala J. Baptiste
Keyword(s):  
Popular Music ◽  
Recording Studio ◽  
Negative Stereotypes ◽  
Black Folk ◽  
Phone Line ◽  
Souls Of Black Folk ◽  
The City

O. C. W. Taylor was a visionary. He saw the slings and arrows piercing the minds and souls of black folk in the city and offered broadcast programming that obliterated negative stereotypes. In 1966, he became the first black television announcer and producer. Later Vernon Winslow transitioned from disc jockeying popular music and moved to gospel, a genre within which he had a signature voice. Before supremacists allowed Taylor and Winslow into their broadcast studios, Cosimo Matassa, who operated a small recording studio, ran a phone line from the building and connected it to the transmitter at WNOE and WWEZ. He allowed the pioneers to broadcast live from his business, J&M Recording Studio. Among the last pioneer unfolded herein is Larry McKinney who worked at WMRY, WYLD, and WNNR in 1975.

scholarly journals ‘What Difference does it Make? Women's Pop Cultural Production and Consumption in Manchester’

2000 ◽  
Vol 5 (1) ◽  
pp. 116-129 ◽  
Author(s):  
Nicola Richards ◽  
Katie Milestone
Keyword(s):  
Popular Music ◽  
Urban Space ◽  
Cultural Production ◽  
Consumption Patterns ◽  
Cultural Industries ◽  
Production And Consumption ◽  
Gender Characteristics ◽  
Gender Power ◽  
The City ◽  
Experiences Of Women

This paper explores the experiences of women in small cultural businesses and is based upon interviews with women working in a range of contexts in Manchester's popular music sector. The research seeks to promote wider consideration of women's roles in cultural production and consumption. We argue that it is necessary that experiences of production and consumption be understood as inter-related processes. Each part of this process is imbued with particular gender characteristics that can serve to reinforce existing patterns and hierarchies. We explore the ways in which female leisure and consumption patterns have been marginalised and how this in turn shapes cultural production. This process influences career choices but it is also reinforced through the integration of consumption into the cultural workplace. Practices often associated with the sector, such as the blurring of work and leisure and ‘networking’, appear to be understood and operated in significantly different ways by women. As cultural industries such as popular music are predicated upon the colonisation of urban space we explore the use of the city and the particular character of Manchester's music scene. We conclude that, despite the existence of highly contingent and individualised identities, significant gender power relations remain evident. These are particularly clear in discussion of the performative and sexualised aspects of the job.

scholarly journals The World capital of reggaeton: Verbal framing of Medellin in online media discourse

Ricercare ◽  
2021 ◽  
pp. 56-71
Author(s):  
Mariia Mykhalonok
Keyword(s):  
Online Media ◽  
Media Discourse ◽  
Frame Semantics ◽  
Negative Stereotypes ◽  
Musical Genre ◽  
The World ◽  
The Media ◽  
The City

This article examines linguistic framing of Medellin as the city of the musical genre reggaeton in online media discourse, drawing on Fillmore’s frame semantics theory (1977). The most salient frames applied towards Medellin are those of centrality, home, and music, whereby the city’s global significance as a musical hub is emphasized through the terms belonging to the frame of world. The use of components from the frames of crime and drugs suggests that the drug-related past of Medellin is integrated into its new cultural profile. Another part of the new Medellin brand are the city’s residents themselves, who are credited with supporting local reggaetonero/as, and are typically referred to with overtly positive vocabulary from the frames of love, help, and home. Although some texts evoke negative stereotypes about reggaeton, the media mostly present the Medellin reggaeton scene through the frames of success, power, and business.

The local and global in North African popular music

Popular Music ◽  
1996 ◽  
Vol 15 (3) ◽  
pp. 259-273 ◽  
Author(s):  
Tony Langlois
Keyword(s):  
Popular Music ◽  
Political Party ◽  
North African ◽  
Islamic Movement ◽  
Public Figures ◽  
The World ◽  
East And West ◽  
Victims Of Violence ◽  
The City

On 29 September 1994, Cheb Hasni, the most renowned Rai singer living in Algeria, was gunned down outside his family's house in Gambetta, a quarter of the city of Waharan (Oran). He was one of many public figures (and some 50,000 others) who have been killed since the main opposition political party, the FIS (Islamic Salvation Front) was prevented from assuming power by the annulment of elections that they would have won in 1991. Like the most notable of Algeria's victims of violence, which include journalists, lawyers, doctors, television presenters and top policemen, Hasni represented a version of Algerian identity that some people clearly could not tolerate. Responsibility for his assassination has not been claimed, but the manner of his death was identical to others carried out by the armed faction of the fundamentalist Islamic movement, the GIA (Armed Islamic Group). His death has possibly marked the demise of a genre of North African popular music known as Rai as it was produced in Algeria. Rai has been a particularly problematic idiom for Islamists and secularists alike. Both groups nurture distinct views of the place of Algeria, and Algerians in the world, and the role of Islam and liberal secularism in Algeria. Rai music constructs its own distinct trajectories linking local and global, ‘East’ and ‘West’, and, in this way, constitutes a distinct problem for Algerians, and indeed other North Africans today.

Missionary Cultures

2017 ◽  
Author(s):  
Ira Dworkin
Keyword(s):  
Twentieth Century ◽  
African American ◽  
American Culture ◽  
African American Culture ◽  
Black Folk ◽  
Colonial State ◽  
Sacred Texts ◽  
Fisk University ◽  
Du Bois ◽  
Souls Of Black Folk

This chapter examines the work of APCM missionary Edmiston, a Fisk University graduate and skilled linguist, who in the first decades of the twentieth century controversially wrote the first dictionary and grammar of the Bushong (Bakuba) language. Shortly after her fellow Fisk alumni Du Bois used African American spirituals as signposts for his groundbreaking tour through U.S. history and culture in The Souls of Black Folk, she also contributed to the APCM’s effort to translate religious hymns into Tshiluba by adding African American spirituals such as “Swing Low, Sweet Chariot” to the Presbyterian hymnal. The translations by Edmiston and her colleagues insured that Tshiluba developed not only as the language of the colonial state, but also as a language that was shaped by the sacred texts of postbellum African American culture.

The Souls of Black Folk

2018 ◽  
pp. 163-168
Author(s):  
W.E.B. Du Bois
Keyword(s):  
Black Folk ◽  
Souls Of Black Folk
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