AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |
Back to Blog
Jamaciam dubplate riddim3/29/2023 ![]() I describe how issues familiar to popular music scholars -identity and difference, subculture and genre hybridity, and the political economy of technology and music production. The author examines the music's unique recipe of phonographic juxtaposition, exploring the conditions of this ascribed ‘magic’, investigating gaps in perception between emotional and intellectual effect and deciphering parallels in the practice and vocabulary mobilised against a range of genres in performance magic.ĭigital music and subculture: Sharing files, sharing styles by Sean Ebare In this paper I propose a new approach for the study of online music sharing communities, drawing from popular music studies and cyberethnography. Rap producers attribute an inherent ‘magic’ to working with past phonographic samples and fans appear spellbound by the resulting ‘supernatural’ collage. Yet out of all the sample-based music forms, hip-hop receives the lion's share of attention in popular music literature critics are puzzled by its appeal, scholars identify a plethora of problems in its function, and practitioners and audiences alike are mesmerised by its effect. Sampling has been criticised as ‘a mixture of time-travel and seance’, ‘the musical art of ghost co-ordination and ghost arrangement’, and a process that ‘doubles (recording's) inherent supernaturalism’ (Reynolds, S., 2012, Retromania: Pop Culture's Addiction to its Own Past, London, Faber and Faber, pp. It is therefore analytically instructive to examine how racist, racializing and redemptive elements intersect to produce authentically syncretic music cultures and sustain transnational identifications and belonging. I argue that ambiguous cultural figures such as Derek have an organic, productive role within local music cultures, positioned at intergenerational moments in the process of identification and belonging for ethnically diverse audiences/producers and in this case where the cultural geography of music tastes are becoming embedded within a complex set of relations among local, national and transnational cultures. While DJ Derek’s ethnically stylized performance could be construed as embodied minstrelsy, other aspects of his musical capital were equally significant in the localized context and were drawn into a wider dialogue of sustainability and collective belonging defined by Caribbean migrants. ![]() ![]() This article is a case study¹ of a local reggae DJ (DJ Derek) lauded for transgressing musical and ethnic boundaries and produced through discourses of racialized authenticity as flexible and heroic. ![]()
0 Comments
Read More
Leave a Reply. |