Tracing the Action of Technical Objects in an Ethnography: Vinyls in Beijing

To do ethnography implies dealing with the agency of technical objectsi. The aim of this paper is to share a few ideas on how to tackle the one of vinyls in the particular activity that is the mix of a disc jockey. To do so, I first provide a general picture of the work of Xiao Deng, a Chinese disc jockey I observed in Beijing between 2003 and 2004. Then I present three observations of specific events that occured during that period which, I believe, bring into light not only some specificities of the agency of the technical object “vinyl” but also useful information about how one can take into account the agency of objects when doing ethnography.

Lonely miles of wasteland: Radiating failure in Fallout 4

In this article, I analyse a radio voice in a post-apocalyptic video game, Fallout 4, set in the future ruins of Boston, Massachusetts. In the quest ‘Confidence Man’, players participate in the heteromasculinization of a failing radio disc jockey, Travis Miles, engaging him in the violence and relations of the post-nuclear war wasteland. Despite the ludic elements at play, Fallout 4 teleologically curtails player agency in Travis’ vocal puberty. I argue that Fallout 4’s ‘Confidence Man’ circulates gendered, nationalistic and capitalistic discourses, which assume an idealized confident radio voice as the natural, preferred intimate aesthetic and which reject the awkward, queer intimate aesthetic. Travis’ transformation into the confidence man Travis ‘Lonely’ Miles fulfils the sonic pleasure ethos of a capitalist formation, one that demands an appropriate aesthetic for a game-world centred on a neocolonial settler imperative.

Less Masculine, More Feminine dan Less Feminine, More Masculine: Laki-laki Mengekspresikan Androgini Melalui Fashion

Androgyny combines masculine and feminine characters at once. Despite the fact that the way one’s talk, gestures, emotions, interests and talents are indicators of androgyny, fashion or the way they dress has become the main indicator. While the existing literatures deal more on characteristics, behavior, interests and talents, and self-representation through social media, this article is focused on how androgyny men exptress their gender through fashion. This study was conducted in the city of Makassar which involved 12 male college students. They are varied based on age (between 20 and 24 years), and profession (master of ceremony, model, dancer, make up artist, disc jockey). Data was collected using in-depth interview, focus discussion group (FGD), and observation as the primary data sources as well website and social media (i.e. Instagram), as the secondary data sources. The study indicates that androgynous men is not transgender because they did not want to become “like women”, as transgender do. Besides, androgynous men classify themselves higher than transgender, from both appearance and social class. Although androgynous men may express their androgynousness through behavior, interests and talents, fashion is the most significant aspect that indicates a person's androgynousity. Androgynous men express androgyny more through fashion than others because through fashion their existence is easily recognized, as it is combining between masculine and feminine characters. Androgynous fashion is divided into two, less masculine-more feminine and less feminine-more masculine. Whether an androgynous man is more feminine or more masculine, depending on their performance and perception towards what is being performed. The motives of androgynous men are divided into two, the first is “because-to-motive” and “in-order to motive”. While the former includes influencing by peer group, having sense of comfort, feeling self satisfaction, and being professional; the latter consists of expecting to be socially accepted and to be accepted as normal people.

Amazing Grace Keeps the Platters Spinning

In this photo essay, we center Chicana radio and television broadcasting trailblazer Graciela Gil Olivarez who, with a microphone in hand, amplified Mexicana and Chicana voices and stories across the Southwest from 1951 to the mid-1960s and again in the 1980s. Olivarez bridged her broadcasting work with an impressive career in government organizations that made her the highest-ranking Latina during President Jimmy Carter’s term. Through a series of photographs of Olivarez’s life and career trajectory, we mark the place of the first woman disc jockey in Phoenix, Arizona, and later owner of her own Spanish-language television network, KLUZ, in Albuquerque, New Mexico, as a key figure in Latina media histories. This photo essay mines the visual archive—photographs that span Olivarez’s early career in radio and television broadcasting and subsequent political work—in order to establish how Chicanas innovated media production to center their voices and narratives.

Introduction

In the early 1950s, country music was a cottage industry in Nashville, supporting a handful of small recording studios, publishers, and managers, and Nashville was known primarily as the home of The Grand Ole Opry. By the mid-1960s, however, Nashville had become “Music City, USA,” a bustling town known around the world as the epicenter of country music production and dissemination. As Nashville underwent this transformation, popular music consumption in the United States also underwent a radical change, as disc jockey programs replaced live performance on radio stations across the United States. Drawing upon recent academic work in the musicology of recording, the Introduction considers how these changes affected the ways that audiences heard country music during the 1950s and 1960s. In its focus on recorded country music, the Nashville Sound era begs for a musicological inquiry examining the creative decisions of session musicians, recording engineers, and record producers and the impacts of those decisions on the listeners who engaged with their work.

Aspek Digital Marketing bagi Kemajuan Disc Jockey

This study aimed to find out the Evaluation of Marketing Strategies for Shift Paradigm. The method used in this research was a qualitative method. Research subjects involved 7 consumers, Shift Paradigm members, expert marketing, and lecturers EP6. This study found Paradigma Shift’s marketing strategy was not effective. Using digital marketing was recommended to maximize marketing strategies for Shift Paradigm. In addition to a digital marketing, involving event planner and promoter were also recommended to reach the marketing targets of the shift paradigm. The results of this study are expected to serve as review materials for the Evaluation of Marketing Strategies for Shift Paradigm and other Disc Jockey Management.

Depression and Suicide Message as Seen in Chester Bennington of Linkin Park’s Selected Lyrics From 2000 (Hybrid Theory) Until 2017 (one more light)

Linkin Park consists of six people, namely Chester Bennington as the vocalist, Mike Kenji Shinoda as a rapper (founder of Linkin Park), Brad Philip Delson as a guitarist, David Micheal "Phoenix" Farrel as a bass, Joseph Hanh as a disc jockey (DJ) and Rob Gregory Bourdon as a drummer. The writer only focus on Chester Bennington’s life, how his struggle in roller coaster life and accept himself cannot separate with his suffered on his past. Chester Bennington always interpreted him become part of his songs in Linkin Park’s lyrics. This thesis is entitled "Depression and suicide message as seen in Chester Bennington of Linkin Park’s Selected Lyrics from 2000 (Hybrid Theory) Until 2017 (One More Light)" seen from the perspective of psychological analysis, pragmatics analysis, lyrics of songs analysis. This research is limited on basic ideas that relate to the observation into three questions as follow: (1) what makes Chester Bennington left his message in lyrics of Linkin Park’s songs, 2) what the causes Chester Bennington depression and decides to commit to suicide, and (3) What song proves Chester Bennington was depressed and decided to commit suicide. The objectives of this research were (1) To explain the reason Chester Bennington of Linkin Park had written down his stories into lyrics of Linkin Park’s songs (2) To explain the causes that Chester Bennington depression and decides to commit suicide, and (3) to explain that the songs of Chester Bennington was depressed and decided to commit suicide. The theory used is from a some sourceres by Sigmund Freud about Chester Bennington’s mental health. For searching his message is using by George Yule’s theory. For the method of data analysis, the author uses qualitative research. For searching seven lyrics of songs analysis using Dallin’s theory. This research is qualitative research using the content analysis method. The findings of this research is a song lyric, lyrics give the audience deep understanding about the message contained in the song.

Aspek Digital Marketing Bagi Kemajuan Disc Jockey

This study aimed to find out the Evaluation of Marketing Strategies for Shift Paradigm. The method used in this research was a qualitative method. Research subjects involved 7 consumers, Shift Paradigm members, expert marketing, and lecturers EP6. This study found Paradigma Shift’s marketing strategy was not effective. Using digital marketing was recommended to maximize marketing strategies for Shift Paradigm. In addition to a digital marketing, involving event planner and promoter were also recommended to reach the marketing targets of the shift paradigm. The results of this study are expected to serve as review materials for the Evaluation of Marketing Strategies for Shift Paradigm and other Disc Jockey Management.