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We believe that dancehall music’s more sexually explicit lyrics, labeled “slack” and maligned as evocatively misogynist, homophobic and xenophobic, mirror historically discordant social and economic tensions that entangle men and women in contested couplings, and thus render sexuality an...
This article is an ethnographic study of the production of recorded music and popular music culture in Tibet, examining who gets their voice heard and how, and the roles played by the state, the independent realm that has emerged since the late 1980s, and the illegal/pirate sphere that has also...
1980s South Africa was a constrained context within which to produce protest music. Apartheid censorship prevented protest music from reaching a mass market. This was an especially dire situation for white protest musicians who (unlike black musicians) were restricted by a small potential...
This paper explores the role of film music in creating meanings of concern to those with an interest in consumption, markets, and culture. Specifically, the paper examines ways in which the significance of ambi‐diegetic cinemusical moments – that is, music performed on‐screen (diegetic) in a...
The article begins by outlining a dominant conception of these relations in sociologically‐informed analysis of music, which sees music primarily as a positive resource for active self‐making. My argument is that this conception rests on a problematic notion of the self and also on an overly...
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