Michael Brocken . The Twenty-First-Century Legacy of the Beatles: Liverpool and Popular Music Heritage Tourism. Ashgate Popular and Folk Music Series. Farnham: Ashgate, 2015. Pp. 244. $109.95 (cloth).

2016 ◽  
Vol 55 (4) ◽  
pp. 836-837
Author(s):  
Kenneth Womack
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
Heritage Tourism ◽  
First Century ◽  
Twenty First Century

scholarly journals The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 70 ◽  
Author(s):  
Marija Dumnić Vilotijević
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
World Music ◽  
First Century ◽  
Special Focus ◽  
Western Balkans ◽  
Applied Music ◽  
The Balkans ◽  
The People ◽  
Musical Characteristics

In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian).

The Exhaustion of Authenticity: Biopolitical Aural Regimes and American Popular Music

2019 ◽  
Vol 31 (2) ◽  
pp. 336-346
Author(s):  
Jairo Moreno
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Review Essay ◽  
First Century ◽  
Interconnected Network ◽  
Twenty First Century ◽  
American Popular Music

Abstract Jeffrey T. Nealon proposes that “twenty-first-century American biopolitical subjectivity” has as its “overarching logic” an arrangement in which being for something signifies a content-less affirmation: “I’m not like everyone else.” For Nealon, this “excorporative” logic grows out of, coincides with, and exhausts rock music’s discourses of authenticity from the second half of the twentieth century. Today, an endlessly interconnected network emerges in which old forms of cultural “individualism” become ever-interchangeable modes of “hip commodity consumption,” indexing a neoliberal regime that renders “everybody” into “prosumers” (producers-consumers). This review-essay considers the extent and limits of this proposal, querying Nealon’s understanding of listening and aurality and indicating the challenges presented by bypassing the mesopolitical in an effort to outline the macropolitics of consumption and the micropolitics of individuality.

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