Understanding K-Pop Twitter as a site of Transnational Social Media Activism

This project aims to examine social media as a platform for political organization and social change beyond geographical boundaries in the context of K-pop fans and their transnational online communities. Social media, and twitter specifically, have long been a site of activism and popular music has always had a place in social commentary. In this paper, I seek to understand this phenomenon in the context of the large and ever-growing global community of Korean pop fans. In 2020, largely through the Black Lives Matter movement, we have seen, to the shock of many, a rise in political engagement from the K-pop fan community in a number of highly sensationalized events. Using data collected from twitter I will study the expressive sentiments and strategic organization of this population as well as how said action is perceived and engaged with by the media and general public. Additionally, I will study the transnational networks that facilitate this communal activism and the cross-cultural communication required for this level of organizational success and notoriety. My findings expose how, similar to other twitter-based New Social Movements, K-pop community action consists largely of expressive content with consistent efforts by ingroup members to define and monitor the scope of the movement and the rules of engagement. I note the importance of individual accounts with large spheres of influence in creating important community structures for content dissemination. I observe that, in these fan communities, actual transnational mobilization requires very little explicit instruction as these networks were built on shared affinity and thus have built in expectations of mutual aid. In the context of all of my findings, I reaffirm the importance of studying critically social media based community action and the positive as well as negative processes it can represent

Online Music in China

Nowadays Internet technology allows for music that can either be listened to via streaming or via download on a mobile device. Online music in this report refers to music distributed via Internet or mobile communication. Online music can be divided into two types: the first is music digitalized from traditional albums which is made by professional album companies, and; the second is music directly made in digital form and spread through the Internet. It needs to be pointed out that the majority of Internet music that is listened to is still music made by traditional album companies, and that is also what most websites provide to users. Thus, in this music part, these two types of music will be addressed. From the musicians’ side, the discussion is more about original Internet music; from the users’ side, unless pointed out otherwise, the user experience focusses on both types

Sonic Modernities in the Malay World : A History of Popular Music, Social Distinction and Novel Lifestyles (1930s – 2000s)

Sonic Modernities analyses the interplay between the production of popular music, shifting ideas of the modern and, in its aftermath, processes of social differentiation in twentieth-century Southeast Asia

Hong Kong indie music in mediations: a study of cultural prosumer.

Fung Chui Bik.Thesis (M.Phil.)--Chinese University of Hong Kong, 2005.Includes bibliographical references (leaves 1-7 (3rd gp.)).Abstracts in English and Chinese.Introduction --- p.1Chapter Chapter One: --- Literature Review --- p.5Chapter Chapter Two: --- Methodology --- p.23Chapter Chapter Three: --- Historical BackgroundChapter 3.1 --- The emerging of Indie music in Hong Kong --- p.26Chapter 3.2 --- New wave of DIY --- p.31Chapter Chapter Four: --- The Mediations & Active Prosumers --- p.38Chapter 4.1 --- The Mediations of Producers-consumers --- p.40Chapter 4.2 --- The Mediations of Professional-consumers --- p.52Chapter 4.3 --- The Mediations of Media workers --- p.62Chapter Chapter Five: --- Different Modes of Indie Prosuming --- p.70Chapter 5.1 --- Disciple --- p.73Chapter 5.2 --- Practitioner --- p.77Chapter 5.3 --- Critical Prosumer --- p.83Chapter Chapter Six: --- Conclusion一 A New Indie Culture --- p.86References and Bibliography"Appendix I，II，III, IV

The Ticker, March 26, 2001

The Ticker is the student newspaper of Baruch College. It has been published continuously since 1932, when the Baruch College campus was the School of Business and Civic Administration of the City College of New York

Montana Kaimin, November 14, 1962

Student newspaper of the University of Montana, Missoula.https://scholarworks.umt.edu/studentnewspaper/4926/thumbnail.jp

Can Music Make You Sick? Measuring the Price of Musical Ambition

Grant Hutchison (Frightened Rabbit): “This book should be mandatory reading for every label, booking agent, manager and tour manager in the business of music and touring so we can all better understand what’s really involved in living the life of a professional musician and the role we all have in making that life as liveable as possible” Emma Warren (Music journalist and author): "Musicians often pay a high price for sharing their art with us. Underneath the glow of success can often lie loneliness and exhaustion, not to mention the basic struggles of paying the rent or buying food. Sally-Anne Gross and George Musgrave raise important questions – and we need to listen to what the musicians have to tell us about their working conditions and their mental health" Crispin Hunt (Multi-Platinum Songwriter/Record Producer & Chair of the Ivor’s Academy): “Singing is crying for grown ups. To create great songs or play them with meaning music's creators reach far into emotion and fragility seeking the communion we demand of it. The world loves music for bridging those lines. However, music’s toll on musicians can leave deep scars. In this important book, Sally Anne Gross and George Musgrave investigate the relationship between the well-being music brings to society and the well-being of those who create. It's a much needed reality-check, deglamorising the romantic image of the tortured artist” Adam Ficek (Psychotherapist [Music and Mind]/BabyShambles): “ A critical and timely book which is sure to kick start further conversations around musicians, mental health and the music industry” Joe Muggs (DJ, Promoter, Journalist [Guardian, Telegraph, FACT, Mixmag, The Wire]): “The best guide to what being a musician, and what "the music industry" actually are that I can remember reading... it manages to capture and quantify so much about how we value emotion, creativity, labour, relationships, time, other people, [and] ourselves, in the information economy” Mykaell Riley (Bass Culture, Director of Black Music Research Unit): ‘Whether you’re 16, 60 or any age, one’s relationship with music is for life. For many creatives, for better or for worse, that relationship is the meaning of life. Music might be a universal language, but we could all benefit by being a little more fluent. Can Music Make You Sick … is a great place to start’. ----- It is often assumed that creative people are prone to psychological instability, and that this explains apparent associations between cultural production and mental health problems. In their detailed study of recording and performing artists in the British music industry, Sally Anne Gross and George Musgrave turn this view on its head. By listening to how musicians understand and experience their working lives, this book proposes that whilst making music is therapeutic, making a career from music can be traumatic. The authors show how careers based on an all-consuming passion have become more insecure and devalued. Artistic merit and intimate, often painful, self-disclosures are the subject of unremitting scrutiny and data metrics. Personal relationships and social support networks are increasingly bound up with calculative transactions. Drawing on original empirical research and a wide-ranging survey of scholarship from across the social sciences, their findings will be provocative for future research on mental health, wellbeing and working conditions in the music industries and across the creative economy. Going beyond self-help strategies, they challenge the industry to make transformative structural change. Until then, the book provides an invaluable guide for anyone currently making their career in music, as well as those tasked with training and educating the next generatio

Criminal Minded? : Mixtape DJs, The Piracy Paradox, and Lessons for the Recording Industry

For at least the past three years, leading American fashion designers have lobbied for passage of copyright-like protection for the design aspects of their apparel creations. For at least as long, the recorded music industry has been engaged in an aggressive campaign to enforce its copyrights in recorded music against a number of technology-enabled and/or culturally sympathetic alleged infringers, including twelve year-olds and grandmothers. Although the record labels already have protection under the copyright law while the fashion houses seek it, they have at least one thing in common: some portion of the piracy that they seek to eradicate is more valuable to them than they publicly let on. In their recent article The Piracy Paradox: Innovation and Intellectual Property in Fashion Design, Kal Raustiala and Chris Sprigman explore the low-IP equilibrium of the fashion design industry, as well as the unexpected value created by a low-protection regime. One might ask whether there is anything wrong with chilling an unlawful activity such as large-scale copyright infringement. The article argues that there is something wrong with such a result, but that the owners of the copyright in the recordings either fail to appreciate the problem or fail to account for the problem in executing their enforcement strategy. Hip-hop mixtape DJs are engaged in productive infringement – infringing activity or improper appropriation that adds value to the infringed asset, rather than leading to losses for the copyright owner. Dealing with such infringement requires an approach different from typical recording industry tactics. This article argues that, in order to preserve and enhance the value of their own assets, the record labels should practice strategic forbearance