Re‐flections on the Cover Age: A Collage of Continuous Coverage in Popular Music

Plasketes, George

doi:10.1080/03007760500045204

Cited by 35 publications

(16 citation statements)

References 2 publications

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“…Even though the alterations may vary, it is considered crucial that the cover song features an explicit recognition and negotiation of the original song. A common alteration concerns gender, where men perform songs by women and vice versa (Plasketes, 2005). The gender bending in cover songs should not be taken lightly, as Halberstam (2007) pointed out how cover songs may be an importance source for queerness.…”

Section: Dating and Datafication: Feelings Of Technological Dependencmentioning

confidence: 99%

Intimacies and Digital Media Infrastructures

Ridder

Dhaenens

Duguay³

et al. 2020

SPIR

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The breadth of what it means to study intimacies in the context of media has changed significantly in recent years because of current technological, social, and cultural changes. The digital mediation of intimacy - the changing attitudes, experiences, and practices of intimacy performed through digital media - demands that scholars look beyond well-established frameworks for studying intimacy and media, expanding their methodological and theoretical perspectives in order to fully comprehend intimate lifeworlds and the digital. This panel aims to examine the various intimacies - understood here as a range of affects, practices and sociocultural arrangements - that take place through and are reconfigured by digital media infrastructures. In particular, it aims to explore how digital infrastructures and intimate arrangements are intertwined, thereby challenging the assumptions that digital media's reconfigurations of intimacy are associated with either positive or negative outcomes. Through analytical approaches that interrogate the material complexities of digital media in relation to individuals' intimate lifeworlds, this panel's papers uncover the nuances of digitally mediated intimacies. They identify the opportunities that digital media infrastructures facilitate for representation, social connection and sexual excitement while acknowledging infrastructural influences in the reinforcement, commodification, and marginalization of particular expressions of intimacy. Through textual analysis, in-depth interviews, ethnography, and close readings of a range of digital media, from messaging apps to video sharing platforms, these studies generate thick data that exposes the often unseen digital media infrastructures running underneath, through and in the background of intimacies.

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Section: Dating and Datafication: Feelings Of Technological Dependencmentioning

confidence: 99%

Intimacies and Digital Media Infrastructures

Ridder

Dhaenens

Duguay³

et al. 2020

SPIR

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“…Por lo tanto, en su trayectoria y, desde los años ochenta, el videoclip profesional distribuido por la industria discográfica ha dado paso a la aparición de vids y covers en un contexto bautizado como The Cover Age. En este universo musical, el cover se reconoce como el versionado y la reinterpretación de canciones de artistas o grupos consolidados, inspirado por el clima de los karaokes y los remixes y subyugado, a su vez, al control del modo re: una constante de repeticiones, recuperación, reencarnación, reciclaje, rediseño y reproceso (Plasketes, 2005;. Así, la re-interpretación musical a partir de la composición original genera en las comunidades fandom un interés motivado por la exploración musical a través de la emoción, el significado y la ficción (Rasmussen, 2016) que, además, se ve apuntalada en la actualidad por plataformas audiovisuales y sociales como YouTube.…”

Section: Subtipos De Vídeos Musicalesunclassified

¡Soy músico youtuber! Construcción de la identidad artística a través del cover y la ficción. El caso de las violinistas Taylor Davis y Lindsey Stirling

Vizcaíno-Verdú¹,

Contreras-Púlido²

2019

Preprint

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The audiovisual activity developing in social networks has led to the YouTube platform becoming an international creative and social space where the content created by the user, the media, the companies and the online communities comes together. This digital opportunity identifies the figure of the youtuber, especially those whose artistic and musicaltalents are disseminated by the use of a fictional cover. This research seeks to analyse this profilebuilding starting from its amateur origin and ending with its professional stage, by means of the figures of Taylor Davis and Lindsey Stirling: North American violinists devoted to music, video games, films, series, among other products within the Cultural Industry. To this end, their channels have been examined through qualitative content analysis. This methodology made it possible for us to explore in depth this mainstream phenomenon encompassing the world of fandom, music and artistic success through trendy cultural products. As a consequence, musician youtubers are building a creative, ingenious and suppressed community in virtual environments.

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“…31.This is the only complete album tribute in Israel. On album tributes in general (not to be confused with tribute albums), see Plasketes (2005, p. 141).…”

Section: Endnotesmentioning

confidence: 99%

“…Quotations are an important source of intertextuality in general and in music in particular. While many quotations convey respect for the quoted sources, in the tradition of homage, as ‘reverent imitation’ (Plasketes 2005, p. 142) or even unabashed nostalgia, estranged quotations place emphasis on the difference between the quoted artefact and the embracing – and usually less sentimental – environment, serving ‘as a mode of critique’ (Middleton 1990, p. 16), often expressing gaps in artistic values, and occasionally satirising the original songs 1 . Although homage quotations and estranged quotations arguably exist on a spectrum rather than in dichotomic contrast, the archetypes are clear 2…”

Section: Introductionmentioning

confidence: 99%

The estranged quotation in Israeli popular music

Goldenberg

2013

Pop. Mus.

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Israeli popular music includes many quotations from earlier Israeli songs as well as other Israeliana references. Quotations may take various forms, from cover versions to the mere evocation of song titles. This phenomenon preceded the rockisation of Israeli music, had its apex in the 1970s with early rockisation, and is continuing today, despite a certain decline. The purpose of the quotations is often a mere interaction with traditional materials, but it also sometimes expresses a striving towards an experience of life that is more sincere. Two subtopics of special significance are adolescence and political critique. Since earlier hegemony in Israel was maintained by the old left, the rock music rebellion was not as anti-capitalistic as in the Woodstock Festival, rather manifesting anti-authoritarian trends similar to (but milder than) those encountered in Eastern Europe.

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Re‐flections on the Cover Age: A Collage of Continuous Coverage in Popular Music

Cited by 35 publications

References 2 publications

Intimacies and Digital Media Infrastructures

Intimacies and Digital Media Infrastructures

¡Soy músico youtuber! Construcción de la identidad artística a través del cover y la ficción. El caso de las violinistas Taylor Davis y Lindsey Stirling

The estranged quotation in Israeli popular music

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