Made in Hungary: Studies in Popular Music

Taylor & Francis
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Emília Barna is Assistant Professor at the Budapest University of Technology and Economics. She is a founding member and Chair of IASPM Hungary, editor of Zenei Hálózatok Folyóirat (Music Networks Journal), and Advisory Board Member of IASPM@Journal.

Tamás Tófalvy is Assistant Professor at the Budapest University of Technology and Economics. He was the founding Chair and is the current Vice-Chair of IASPM Hungary.

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About the author

Emília Barna is Assistant Professor at the Budapest University of Technology and Economics. She is a founding member and Chair of IASPM Hungary, editor of Zenei Hálózatok Folyóirat (Music Networks Journal), and Advisory Board Member of IASPM@Journal.

Tamás Tófalvy is Assistant Professor at the Budapest University of Technology and Economics. He was the founding Chair and is the current Vice-Chair of IASPM Hungary.

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Additional Information

Publisher
Taylor & Francis
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Published on
Jan 6, 2017
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Pages
192
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ISBN
9781351709835
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Best For
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Language
English
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Genres
Music / General
Music / Genres & Styles / International
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Content Protection
This content is DRM protected.
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Since the early 2000s New Zealand has undergone a pop renaissance. Domestic artists' sales, airplay and concert attendance have all grown dramatically while new avenues for 'kiwi' pop exports emerged. Concurrent with these trends was a new collective sentiment that embraced and celebrated domestic musicians. In Making New Zealand's Pop Renaissance, Michael Scott argues that this revival arose from state policies and shows how the state built market opportunities for popular musicians through public-private partnerships and organizational affinity with existing music industry institutions. New Zealand offers an instructive case for the ways in which 'after neo-liberal' states steer and co-ordinate popular culture into market exchange by incentivizing cultural production. Scott highlights how these music policies were intended to address various economic and social problems. Arriving with the creative industries' discourse and policy making, politicians claimed these expanded popular music supports would facilitate sustainable employment and a sense of national identity. Yet popular music as economic and social policy presents a paradox: the music industry generates commercial failure and thus requires a large unattached pool of potential talent. Considering this feature, Scott analyses how state programs induced an informal economy of proto-pop production aimed at accessing competitive state funding while simultaneously encouraging musicians to adopt entrepreneurial subjectivities. In doing so he argues New Zealand's music policies are a form of social policy that unintentionally deploy hierarchical structures to foster social inclusion amongst growing numbers of creative workers.
An outpouring of memorial tributes and public expressions of grief followed the death of the Tejana recording artist Selena Quintanilla Pérez in 1995. The Latina superstar was remembered and mourned in documentaries, magazines, websites, monuments, biographies, murals, look-alike contests, musicals, drag shows, and more. Deborah Paredez explores the significance and broader meanings of this posthumous celebration of Selena, which she labels “Selenidad.” She considers the performer’s career and emergence as an icon within the political and cultural transformations in the United States during the 1990s, a decade that witnessed a “Latin explosion” in culture and commerce alongside a resurgence of anti-immigrant discourse and policy.

Paredez argues that Selena’s death galvanized Latina/o efforts to publicly mourn collective tragedies (such as the murders of young women along the U.S.-Mexico border) and to envision a brighter future. At the same time, reactions to the star’s death catalyzed political jockeying for the Latino vote and corporate attempts to corner the Latino market. Foregrounding the role of performance in the politics of remembering, Paredez unravels the cultural, political, and economic dynamics at work in specific commemorations of Selena. She analyzes Selena’s final concert, the controversy surrounding the memorial erected in the star’s hometown of Corpus Christi, and the political climate that served as the backdrop to the touring musicals Selena Forever and Selena: A Musical Celebration of Life. Paredez considers what “becoming” Selena meant to the young Latinas who auditioned for the biopic Selena, released in 1997, and she surveys a range of Latina/o queer engagements with Selena, including Latina lesbian readings of the star’s death scene and queer Selena drag. Selenidad is a provocative exploration of how commemorations of Selena reflected and changed Latinidad.

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