scholarly journals Voices That Matter: Authenticity, Identity, and Voice in the Musical Career of Lana Del Rey

2020 ◽  
Vol 13 (1) ◽  
pp. 84-114
Author(s):  
Anton Blackburn
Keyword(s):  
Pop Culture ◽  
Pop Music ◽  
Authentic Voice ◽  
Ending Process ◽  
The Voice ◽  
Gendered Expectations ◽  
Music Reception

Discursive authentications of singing voices in pop music reception are often rooted in gendered expectations. Moving away from essentialist understandings of the ‘authentic voice,’ this article proffers that voices are formatively entangled in processes of subjectification. Lana Del Rey is a singer whose (vocal) career has been considered inauthentic in the discourse of journalists, particularly when she first rose to stardom in 2011 via YouTube. Del Rey is a prime example of the contemporary values of artistic personae in pop culture, as her career has been so bound to notions of authenticity and sounding authentic. Through an analysis of the vocal aesthetics of Del Rey and the discourse that surrounds her, the notion of ‘vocal ontogenesis’ is developed. This concept moves from subjectification as an ontologically complete instance to subjectification as a never-ending process. The notion of vocal ontogenesis becomes useful for comprehending the complex aggregations of which the voice is a component, and more broadly implies the need for further study of vocal materialism, setting an agenda for decentered examinations of voice, gender, and authenticity.

East Asian Pop Culture

2012 ◽  
Author(s):  
Chua Beng Huat
Keyword(s):  
Hong Kong ◽  
Chinese Language ◽  
East Asian ◽  
Pop Culture ◽  
Chinese Diaspora ◽  
Pop Music ◽  
Ethnic Chinese ◽  
Production Location ◽  
Cultural Boundaries ◽  
Production Distribution

Since the 1990s, there has been dense traffic of pop culture routinely crossing the national and cultural boundaries of East Asian countries of Japan, Korea, China, Taiwan, Hong Kong and Singapore. The unequal traffic is predominantly from Japan and Korea into ethnic-Chinese dominant locations, which has a historically long and well established production, distribution and exhibition network; Japan and Korea are primarily production-exporting nations, while China and Singapore as primarily importing-consumption ones, with Taiwan emerging as the production centre in Mandarin pop music and Hong Kong remaining as the primary production location of Chinese languages cinemas. Japanese and Korean pop culture are translated, dubbed or subtitled into a Chinese language in one of the ethnic-Chinese importing locations and then re-exported and circulated within the entire Chinese ‘diaspora’. The structures and processes that engender this transnational flow are the foundational to the emergence of an East Asian regional media cultural economy that increasingly see co-production of films and television dramas.

REBELLIOUS YOUTH IN COLONIAL AFRICA

2006 ◽  
Vol 47 (1) ◽  
pp. 77-92 ◽  
Author(s):  
RICHARD WALLER
Keyword(s):  
Young People ◽  
Racial Groups ◽  
Future Prospects ◽  
Male And Female ◽  
The Real ◽  
The Past ◽  
The Future ◽  
The Creation ◽  
The Voice ◽  
Gendered Expectations

‘That rebellious youth’ alarmed colonial authorities and elders alike is increasingly an issue for historians. This article surveys the issue as an introduction to the two studies that follow. It considers both the creation of images of youthful defiance as part of a debate about youth conducted largely by their seniors and the real predicaments faced by young people themselves. Concern revolved around the meanings of maturity in a changing world where models of responsible male and female adulthood, gendered expectations and future prospects were all in flux. Surviving the present and facing the future made elders anxious and divided as well as united the young. The article concludes by suggesting a number of areas, including leisure and politics, where the voice of youth might be more clearly heard, and proposes comparisons – with the past, between racial groups and between ‘town’ and ‘country’ – that link the varied experiences of the young.

Chris Rojek, Pop Music, Pop Culture

2012 ◽  
Vol 12 (3) ◽  
pp. 373-375
Author(s):  
Tyler Bickford
Keyword(s):  
Pop Culture ◽  
Pop Music

scholarly journals Nature Republic dan Innisfree Sebagai Soft Power Brand Ambasador and Personality Korea Selatan di Indonesia

2021 ◽  
Vol 4 (1) ◽  
pp. 1-12
Author(s):  
Aditya Putra Pratama
Keyword(s):  
South Korea ◽  
Soft Power ◽  
Pop Culture ◽  
Cultural Dimensions ◽  
Automotive Electronics ◽  
Pop Music ◽  
Korean Language ◽  
Korean Wave ◽  
Nation Brand ◽  
Made In

Brand Ambassador is an instrument of achieving the interests of the state which is popularly used South Korea as one example of countries that use their Brand Using (Hallyu) as the mediums to get achieved success in Indonesia. in 2002, Indonesia began to look at South Korea by showing Korean drama with the introduction of Korean drama in Indonesia through private television. The reason for the development of Korean pop culture (Korean Wave) in Indonesia is the embodiment of globalization. In the communication and cultural dimensions, South Korea is increasingly recognized by the Indonesian public drama that aired in Indonesia became the gateway for the entry of other Korean cultural products or known by the name Hallyu / Korean Wave, such as Korean pop music (K-Pop), Korean food (K-Food ), and Korean language and letters (Hangeul). It also makes many products made in Korea also enter Indonesia, including cosmetics, automotive, electronics, etc. As a form of Korean Nation Brand in Indonesia. So, Indonesian people can feel about  (Hallyu) that came in. The purpose of this study will look at how Indonesia's attitude in responding to it and what is driving Indonesia's response to the phenomenon of Korean Skincare that uses as Diplomacy in Indonesia.

scholarly journals Having faith in the online voice. Exploring contemporary issues of trust, language and advice in the context of e-health

2017 ◽  
Vol 87 (8) ◽  
Author(s):  
Elizabeth Sillence
Keyword(s):  
Health Information ◽  
Health Resources ◽  
Community Members ◽  
Similarity Matching ◽  
Peer Experiences ◽  
Health Experiences ◽  
Authentic Voice ◽  
Personal Accounts ◽  
The Voice ◽  
Trust Information

The increasing volume of Internet based health resources means that decisions about how to trust information and advice encountered online become ever more complicated. As peer-to-peer experiences become a source of health information, lay people are required to evaluate the trustworthiness of such online personal accounts. In this paper, we present two contemporary studies of the negotiation of trust in e-health. The first study explores how people come to select a trustworthy voice from a community of online peers whilst the second explores how video bloggers use the medium to present a credible account of their health experiences. Drawing on data from interviews with community members, video transcripts and viewers’ comments, we examine issues of trust, language and advice from the perspective of those presenting the authentic voice as well as those seeking to evaluate the voice. The paper highlights the importance of similarity matching, motivation and interactivity to the portrayal and recognition of trustworthy accounts online.

scholarly journals The light of the word in Ljubica Maric's music

Muzikologija ◽  
2009 ◽  
pp. 65-82
Author(s):  
Zorica Makevic
Keyword(s):  
Image Of God ◽  
Time Dynamics ◽  
Time And Motion ◽  
Careful Treatment ◽  
Byzantine Church ◽  
Authentic Voice ◽  
The One ◽  
The Image Of God ◽  
The Voice ◽  
Bear Witness

Ljubica Maric's music provides manifold encouragements for consideration in the light of the Logos, according to the teaching exposed in the prologue of the Gospel by St. John. It speaks of the essential inconceivability of time and life, which have their cause in God and His Logos. Seeing through and praising 'the logos of things' guide all its aspects: the tone reveals itself as a vibration, as the energy of lasting and existing, as the beginning of every time and motion; the sonority of different instrumental media is freely expressed and mutually determined in co-action with specific musical and contextual moments; the rhythm evades every regularity and mechanicalness, by which both single duration's and the whole metro-rhythmic course gain a vivid expression. The entire shape of the work is also taken from the reality of psychological and historical time, from its unreductable dynamics, being always in a vivid connection with the space, origin and tradition. The respect for 'the truth of things', the awe before the mystery of time and existence, which call upon the very principle of life in the divine Logos are obvious in everything. Designation of man as a being of light and reason created in the image of God to be the likeness of His being, is expressed in Ljubica Maric's music by the measure of human pulse taken as the basic tempo of her entire opus. Ljubica Maric expressed her consciousness of the reason as a special gift to the man by extremely careful treatment of the words - its meanings, melodies, rhythms, which she always considered the very source of music. The relation between the word and the voice - its sonorous body - is shown in the cantata Songs of Space (1956) as a mystery of the encounter of the Logos and the matter. In relation to her earlier works, this one is a marked breakthrough of the composer's authentic 'voice', which will find its full identity only after receiving the divine Word, symbolized by the melodies of the Serbian Octoechos in the cycle Musica Octoicha (1958-1963). Thus, Ljubica Maric's music has entered its 'New Testament' time and become a specific story of the Logos and His presence in the world and history. In the opaque and dramatic course of that related musical time, the melodics of chanting is experienced as the manifestation of the light, meaning, reason freedom, awe. These graceful effects bring into the work a certain beyond-time dynamics - inverse perspective of time - and, like a Byzantine church dome, they bear witness to the divine condescension. Ljubica Maric's music is steeped in the mystery of the beginning and the end, which meet in eternity, in the One who is Alpha and Omega; in its one tone and in its entire course, it grasps the whole of time and existence - through the divine Word itself by which it has also been made.

scholarly journals K-pop as a Social Movement: Case Study of BTS and Their Fandom ARMY

2021 ◽  
Vol 10 (3) ◽  
Author(s):  
Priscilla Kim ◽  
Ethan Hutt
Keyword(s):  
Social Change ◽  
Social Movement ◽  
Pop Culture ◽  
Fan Culture ◽  
Pop Music ◽  
Social Advocacy ◽  
South Korean ◽  
The Status ◽  
Use Of Social Media

This study investigates K-pop and K-pop fandom as an ongoing social movement. With popular South Korean group BTS as a case study, I examine how their fans join together and use collective action to create social change. My research answered three primary questions: (1) “How have K-pop fans been involved in societal causes prior to their recent surge in activism in 2020?,” (2) “To what extent does K-pop represent a social movement?,” and (3) “Do either K-pop music or the artists themselves contribute to fan participation in social advocacy, and if so, how?” I find that K-pop fans do constitute a social movement due to their use of extra-institutional tactics, based on John Fiske’s (1992) concept of fandom as “subversive by design,” Henry Jenkins’ (1992) participatory fan culture framework, and Social Movement Theory (King, 2011). I also further Yoon’s (2017) thesis that pop culture can give those who face a lack of resources and authority a means to challenge the status quo, emphasizing K-pop fans’ innovative use of social media mobilization. By explaining how K-pop and its fans can be understood as a social movement, my research rethinks how we consider K-pop fandom and at the same time encourages K-pop fans to continue their activism work and to expand further. Through a literature review and my own observations framed by theories, I conclude that K-pop fans demonstrate potential to be a powerful force for social change.

Pop Masculinities

2021 ◽  
Author(s):  
Kai Arne Hansen
Keyword(s):  
Social Inequalities ◽  
Full Range ◽  
Pop Culture ◽  
First Century ◽  
Pop Music ◽  
Media Ethnography ◽  
Early Twenty ◽  
Starting Point ◽  
Twenty First Century ◽  
The Aesthetic

Pop Masculinities investigates the performance and policing of masculinity in pop music as a starting point for grasping the broad complexity of gender and its politics in the early twenty-first century. Drawing together perspectives from critical musicology, gender studies, and adjacent scholarly fields, the book presents extended case studies of five well-known artists: Zayn, Lil Nas X, Justin Bieber, The Weeknd, and Take That. By directing particular attention to the ambiguities and contradictions that arise from these artists’ representations of masculinity, author Kai Arne Hansen argues that pop performances tend to operate in ways that simultaneously reinforce and challenge gender norms and social inequalities. Providing a rich exploration of these murky waters, the author merges the interpretation of recorded song and music video with discourse analysis and media ethnography in order to engage with the full range of pop artists’ public identities as they emerge at the intersections between processes of performance, promotion, and reception. In so doing, he advances our understanding of the aesthetic and discursive underpinnings of gender politics in twenty-first century pop culture and encourages readers to contemplate the sociopolitical implications of their own musical engagements as audiences, critics, musicians, and scholars.

Dangerous Women Feminism

2021 ◽  
pp. 134-158
Author(s):  
Panizza Allmark
Keyword(s):  
Popular Music ◽  
Female Body ◽  
Pop Music ◽  
Girl Culture ◽  
Promotional Materials ◽  
The Voice

In the last 10 years, feminism has been foregrounded in popular music more than at any time. At the same time, female pop music artists have been the target of hostility because of the feminist messages they espouse. This chapter examines US-based female popular music artists who have embraced a postfeminist agenda. This agenda engages messages of empowerment, sex positivity, and elements of girl culture. In addition, this chapter explores the notion of resilience in relation to how these music artists have used the voice of feminism to become outspoken and show independence and strength in celebrating the female body. In particular, the author discusses the discourse of their concert tours, as this is a time when these artists are in the spotlight through both their performance and the promotional materials for those performances and as a consequence are more open (and vulnerable) to critique than at other times.

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