Turkish popular music videos as a multimodal site of resistance

2012 ◽  
Vol 1 (3) ◽  
Author(s):  
Lyndon C.S. Way
Keyword(s):  
Popular Music ◽  
Free Market ◽  
Music Industry ◽  
Music Videos ◽  
Religious Values ◽  
Multimodal Analysis ◽  
Indigenous Music ◽  
History Of ◽  
Dominant Discourses ◽  
Western Democracies

AbstractCountercultural, alternative and subversive values share a history with some popular music, it being subjected to political scrutiny in both western democracies and less tolerant states. In Turkey, despite a thriving indigenous music industry, there has been a long history of censorship, arrests and even exiles due to popular music and its politics. Since 2002, the Justice and Development Party (AKP) has governed Turkey, embracing free market policies, privatisation of state services and monopolies alongside conservative Islamic social and religious values. Many of AKP’s dominant discourses are articulated in Turkey’s media, due to intertwined relations. This paper asks how popular music videos can express subversion to AKP’s dominant discourses. A sample of Turkish videos is examined using a multimodal analysis of images, lyrics and music to reveal how these three modes and relations between them shape discourses of subversion. This is contextualised by examining AKP policies and a history of Turkish popular music. This study demonstrates how popular music videos can articulate discourses of subversion to dominant conservative ideologies that benefit those with power to the detriment of those without.

The Rise and Rise of K-Pop

2021 ◽  
Author(s):  
Keith Howard
Keyword(s):  
Social Media ◽  
Popular Music ◽  
Hip Hop ◽  
Cultural Development ◽  
Gender And Sexuality ◽  
Music Videos ◽  
Cultural Economy ◽  
Central Component ◽  
History Of ◽  
International Success

K-pop, Korean popular music, is a central component in Korea’s cultural exports. It helps brand Korea, and through sponsorships and tie-ups, generates attention for Korea that goes well beyond the music and media industries. This essay traces the history of Korean popular music, from its emergence in the early decades of the twentieth century, through the influence of America on South Korea’s cultural development and the assimilation of genres such as rap, reggae, punk, and hip hop, to the international success of Psy’s ‘Gangnam Style’ and the idol group BTS. It explores the rise of entertainment companies, how they overcame the digital challenge, and how their use of restrictive contracts created today’s cultural economy. It introduces issues of gender and sexuality, and outlines how music videos and social media have been used to leverage fandom.

scholarly journals Alternative Conceptions of Modernity in the History of Iban Popular Music

2017 ◽  
Vol 3 (2) ◽  
pp. 55
Author(s):  
Connie Lim Keh Nie
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Cultural Development ◽  
Alternative Conceptions ◽  
Physical Environments ◽  
Indigenous Ethnic Group ◽  
Historical Processes ◽  
The Social ◽  
Agents Of Change ◽  
History Of

This paper examines how modernity has historically shaped developments in the industry of Iban popular music. The Iban make up one third of the Sarawakian population and are the largest indigenous ethnic group in Sarawak, Malaysia. As with other ethnicities in the nationstate, modernity has presented challenges for socio-cultural development and lifestyle of Iban people. Historically, the Iban are a cultural group located geographically and politically on the periphery of the multi-cultural nation of Malaysia. Throughout much of the 20th century, the music industry has experienced a rapid embrace of modernity through the nation to the detriment of traditional practices in culture in order to adapt themselves in the era of modernization. Iban society had gone through a state of flux where people have gone through the process of readapting themselves in meeting the demanding challenges of Malaysian nationalism. Drawing upon Barendregt’s (2014) ‘alternative conceptions of modernity’ this paper examines how the Iban reference both a national as well as a local music industry particularly through their use of language as an expression of Iban. First the paper will examine changes in Iban society through political and economic modernization. Then I look at differential transformation within Iban music industry because of relative exposure to agents of change such as the influence through Christian missionary and education. This reflects how the Iban react and reflect in adaptation of modern demands of change as a result of the effects of historical processes on the social, cultural and physical environments.

scholarly journals Building an integrated history of musical numbers in Brazilian chanchadas

2020 ◽  
pp. 13-27
Author(s):  
Flávia Cesarino Costa
Keyword(s):  
Popular Music ◽  
Cultural Practices ◽  
Music Industry ◽  
History Of ◽  
Historical Accounts ◽  
Domestic Influences

This article discusses industrial and aesthetical aspects of the musical numbers in 1950s Brazilian chanchadas. The chanchadas were a body of films made between the 1930s and 60s, that combined a mixed style derived from domestic influences of radio and popular music routines and from local forms of comic theatrical revues. I propose an examination of the entertainment industry’s influence on the musical numbers chosen for these 1950s chanchadas. This intermedial approach is based on the strong links between cinema and other cultural practices. I will argue the need to take into account not only theatrical practices, but also the routines of carnival culture, as well as the music industry and radio performances, in order to reconsider longstanding historical accounts based on the specificity of film media.

Building the youth music industry in South Wales, 1996–2020

2021 ◽  
Vol 5 (1) ◽  
pp. 119-125 ◽  
Author(s):  
Spike Griffiths
Keyword(s):  
Young People ◽  
Popular Music ◽  
Music Industry ◽  
Self Esteem ◽  
Career Pathways ◽  
Creative Potential ◽  
South Wales ◽  
History Of ◽  
Youth Music ◽  
New Gateway

This article shines a light on the tailored and targeted popular music provision provided by Sonig, Rhondda Cynon Taf County Borough Council’s (RCTCBC) long-standing music industry programme. Over a twenty-year period, Sonig has successfully engaged with young people in disenfranchised areas of South Wales, many of whom have never experienced a way of accessing the music industry. Through workshops, masterclasses, performance opportunities, mentoring, networking and signposting career pathways, Sonig has become a new gateway for young talent. Creating these pathways is key to an equality of access and furthermore, enabling young people to reach their creative potential, through developing confidence, self-esteem and raising their aspirations. This article tracks the history of Sonig and provides a focus on how its constant evolution has positively intervened in the lives of many young people living in Wales.

Community Reformation in the Diaspora

2018 ◽  
Author(s):  
Lonán Ó Briain
Keyword(s):  
Popular Music ◽  
Cell Phones ◽  
Music Industry ◽  
Music Videos ◽  
Transnational Networks ◽  
The Internet ◽  
Global Networks ◽  
Cross Border ◽  
National Media ◽  
Technological Means

Chapter 6 investigates the circulation of foreign-produced recordings in Vietnam to understand how popular music is generating a heightened awareness of Hmong transnationalism. Vietnamese minorities are compensating for shortcomings in the national media by accessing transnational networks through alternative technological means. VCDs, cell phones, and the Internet are permitting an unprecedented intensification of cross-border exchanges, some of which promote the concept of an independent Hmong nation. Vietnam-based Hmong now regularly listen to, watch, and comment on recordings and music videos produced in other countries. This chapter examines the means of access to these global networks and argues that the limitations on access outweigh the potential for unification as an independent Hmong nation. The research traces the emergence of a Hmong music industry to provide a means of understanding Vietnamese Hmong power, or lack thereof, in this reimagined ethnonationalist community.

Avant-Gardists and the Lure of Pop Music

2017 ◽  
Author(s):  
Carol Vernallis
Keyword(s):  
Popular Music ◽  
Music Videos ◽  
Pop Music ◽  
Avant Garde ◽  
Sound Image ◽  
Derek Jarman ◽  
History Of ◽  
Joseph Cornell ◽  
Cultural Constraints ◽  
Experimental Films

This chapter provides methods and models for thinking about avant-garde and experimental films and videos that incorporate popular music. It sketches the history of intersections between avant-gardists and popular music. It also provides close readings of works by Kenneth Anger, Bruce Connor, Joseph Cornell, Derek Jarman, Tony Oursler, Pipilotti Rist, Andy Warhol and others. It claims that institutional, formal and cultural constraints not only limit the frequency with which avant-gardists participate with pop musicians and pop music, they also colour the audiovisual relations within the works themselves. Avant-garde films and videos with pop soundtracks emphasise particular kinds of audiovisual relation—relations that differ from sound-image connections in narrative films, YouTube clips, commercials and music videos. It is demonstrated that this experimental subgenre embodies a unique sort of sound-image relation and suggests, finally, that these videos can expand our knowledge of audiovisual relations more broadly.

scholarly journals Reconstructing the History of Motown Session Musicians: The Carol Kaye/James Jamerson Controversy

2019 ◽  
Vol 13 (1) ◽  
pp. 78-109
Author(s):  
BRIAN F. WRIGHT
Keyword(s):  
Popular Music ◽  
Creative Process ◽  
Music Industry ◽  
Historical Record ◽  
Skilled Professional ◽  
History Of ◽  
The 1960S

AbstractMotown Records churned out hit singles with remarkable efficiency, thanks largely to a stable of skilled professional session musicians. However, exactly who played on their most iconic recordings remains a mystery because, as was standard within the music industry, no Motown release in the 1960s credited these musicians for their work. These practices have led to conflicting accounts, the most famous of which concerns bassists James Jamerson and Carol Kaye. To this day, Kaye alleges that she played on numerous classic Motown recordings but has been purposefully omitted from Motown history. Conversely, Jamerson—who died more than thirty years ago—continues to be vehemently defended by acolytes such as biographer Allan Slutsky, who see Kaye's claims as blasphemous. Drawing on previously unexamined sources, this article reconstructs Kaye's involvement with Motown and, in so doing, reevaluates the merits of the Kaye/Jamerson controversy. Building on the work of Andrew Flory, I explore the role of session musicians in Motown's creative process and argue that critics and fans have propagated a problematic discourse in which Jamerson has been valorized and Kaye has been dismissed. Ultimately, Kaye's story not only provides a useful corrective to the historical record, it also demonstrates the need for further research into session musicians’ contributions to popular music.

The state of rock: a history of Finland’s cultural policy and music export

Popular Music ◽  
2008 ◽  
Vol 27 (2) ◽  
pp. 257-269 ◽  
Author(s):  
Janne Mäkelä
Keyword(s):  
Popular Music ◽  
Cultural Policy ◽  
Rock Music ◽  
Music Industry ◽  
State Intervention ◽  
Nation State ◽  
The Past ◽  
History Of ◽  
Historical Basis ◽  
High Level

AbstractThe Finnish government has historically been active in regulating the practices of popular music. At the same time, the music industry, rock media and musicians have traditionally insisted on markets free from state intervention. This article focuses on the history of the interrelationship between cultural policy and popular music, especially rock exports, in Finland. It argues that the high level of organised forms of culture and the lure of internationalism form the historical basis for the nation-state–popular music relationship in Finland. Following the demands for ‘competitive society’ in the 1990s and the international breakthroughs of Finnish pop and rock music performers after 2000, this relationship has intensified. Contemporary policy is in many ways healthier than in the past, yet it also raises crucial questions about hierarchies and identity relationships in popular music and society.

The aftermath of a crisis: Quebec music industries in the 1980s

Popular Music ◽  
1993 ◽  
Vol 12 (3) ◽  
pp. 209-227 ◽  
Author(s):  
Line Grenier
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Economic Recession ◽  
Market Concentration ◽  
Indigenous Music ◽  
French Speaking ◽  
Multi Media ◽  
Political Turmoil

Increased market concentration of multinational record companies, greater integration of major labels with international multi-media and entertainment conglomerates, as well as long economic recession were among the most striking developments of the 1980s to impact upon music-related industries. In the French-speaking province of Quebec (Canada), these developments, combined with local socio-political turmoil, left popular music in the throes of crisis and further jeopardised an indigenous music industry still in the making. The purpose of this paper is to examine the ways in which a local industry, by coming to terms with the aforementioned international developments, overcame what could well have spelled its doom.

Between Specters of War and Visions of Peace

2019 ◽  
Author(s):  
Gerald M. Mara
Keyword(s):  
Political Philosophy ◽  
International Relations ◽  
Political Theory ◽  
Democratic Theory ◽  
First Century ◽  
Political Life ◽  
Frames Of Reference ◽  
War And Peace ◽  
History Of ◽  
Western Democracies

This book examines how ideas of war and peace have functioned as organizing frames of reference within the history of political theory. It interprets ten widely read figures in that history within five thematically focused chapters that pair (in order) Schmitt and Derrida, Aquinas and Machiavelli, Hobbes and Kant, Hegel and Nietzsche, and Thucydides and Plato. The book’s substantive argument is that attempts to establish either war or peace as dominant intellectual perspectives obscure too much of political life. The book argues for a style of political theory committed more to questioning than to closure. It challenges two powerful currents in contemporary political philosophy: the verdict that premodern or metaphysical texts cannot speak to modern and postmodern societies, and the insistence that all forms of political theory be some form of democratic theory. What is offered instead is a nontraditional defense of the tradition and a democratic justification for moving beyond democratic theory. Though the book avoids any attempt to show the immediate relevance of these interpretations to current politics, its impetus stems very much from the current political circumstances. Since the beginning of the twenty-first century , a series of wars has eroded confidence in the progressively peaceful character of international relations; citizens of the Western democracies are being warned repeatedly about the threats posed within a dangerous world. In this turbulent context, democratic citizens must think more critically about the actions their governments undertake. The texts interpreted here are valuable resources for such critical thinking.

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