Sounding Dublin: Mapping Popular Music Experience in the City

2019 ◽  
Vol 6 (1) ◽  
pp. 32-61
Author(s):  
John O'Flynn ◽  
Áine Mangaoang
Keyword(s):  
Popular Music ◽  
Music Experience ◽  
The City

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.

Music video in its contexts: popular music and post-modernism in the 1980s

Popular Music ◽  
1988 ◽  
Vol 7 (3) ◽  
pp. 247-266 ◽  
Author(s):  
Will Straw
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Surrounding Rock ◽  
Music Video ◽  
Post Modernism ◽  
Song Lyrics ◽  
Music Experience ◽  
To Come ◽  
The Individual

Writing on music video has had two distinctive moments in its brief history. The first wave of treatments tended to come from the culture surrounding rock music and from those who were primarily interested in music video as something which produced effects on that music. Here, two claims were most common, and generally expressed in the terms and the contexts of rock journalism:(1) that music video had made ‘image’ more important than the experience of music itself, with effects which were to be feared (for example, the potential difficulties for artists with poor ‘images’, the risk that theatricality and spectacle would take precedence over intrinsically ‘musical’ values, etc.);(2) that music video would result in a diminishing of the interpretative liberty of the individual music listener, who would now have visual or narrative interpretations of song lyrics imposed on him/her, in what would amount to a semantic and affective impoverishment of the popular music experience.

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.

MARC SCHADE-POULSON, Men and Popular Music in Algeria, Modern Middle-East Series No. 20 (Austin: University of Texas Press, 1999). Pp. 250. $35.00 cloth, $12.76 paper.

2002 ◽  
Vol 34 (1) ◽  
pp. 182-184
Author(s):  
Tony Langlois
Keyword(s):  
Middle East ◽  
Popular Music ◽  
Gender Relations ◽  
Social Significance ◽  
University Of Texas ◽  
The Social ◽  
Place Of Origin ◽  
The City

Rai is a form of popular music most closely associated with the city of Oran (Waharan) in the northwestern corner of Algeria. Marc Schade-Poulson's book considers the social significance of the genre in its place of origin and, in particular, its role in describing the complex gender relations prevailing there.

Obrazy miasta w utworach polskich grup alternatywnych lat 80. XX wieku

2018 ◽  
Vol 3 (53) ◽  
pp. 81-90
Author(s):  
Marek Jeziński
Keyword(s):  
Popular Music ◽  
Urban Environment ◽  
20Th Century ◽  
Rock Music ◽  
Way Of Life ◽  
Alternative Rock ◽  
City Space ◽  
Song Lyrics ◽  
The City

In the paper I analyse the ways in which a city, urbanism, city space and people living in urban environment are portrayed in Polish popular music, especially in the songs of Polish alternative bands of the 80. inthe 20th century. In popular music, the city is pictured in several ways, among which the most important is the use of words as song lyrics that illustrate urban way of life. The city should be treated as an immanent part of the rock music mythology present in the songs and in the names of bands. In the case of Polish alternative rock music of the 80.such elements are found in songs of such artists as Lech Janerka, Variete, Siekiera, Dezerter, Deuter, AyaRL. The visions of urbanism taken from their songs are the exemplifications used in the paper.

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.

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