![]() I think cliché is a good thing sometimes. KEVIN ABSTRACT: Most of those songs are really big, you know? It doesn’t really matter if it’s cliché or not. HALEY WEISS: What do you find interesting about music that people think is cheesy? Kevin Abstract Interview “He speaks with Hailey Weiss on Interview Magazine” The rise of this independent " recording class " anticipates the many changes in the contemporary music industry and offers new production and cooperative business models.Tweets by kevinabstract Kevin Abstract Miserable America The author examines some of the multifaceted cultural, ideological, technical, and entrepreneurial factors contributing to a significant evolution in DIY music production and distribution. The modest project studio, a source of creative inspiration, and cultural study, exerts a powerful influence through its accessibility, simple functionality, and connectivity to the Internet. Independent producers, artists, and musicians refine their recording and promotion skills through intense dedication, creative marketing, and a deep want to connect their personal ideologies with a global audience. Independent music production, often viewed as a niche-driven and genre-specific practice restricted to isolated and fragmented communities lacking financial and technological resources, generates a wealth of creative work and opportunities for entrepreneurship. Consequently, this paper proposes cultural media studies research, in the context of postmodernity, post-colonialism, transculturation and critical theory that investigates mahraganat as a tool of counterculture resistance. Media cultural studies (MCS) aims to facilitate critical investigations into such social situations that are central to current thinking and research on power structures. As a result, a new music genre known as mahraganat or “festival’ music was established. Subsequently, innovative youth started creating digital soundtracks that, for a fraction of the cost to accompany the street weddings and festivals in their local communities, fused elements of traditional music with their desire for freedom of expression and modern music styles. Egypt’s culture is so infused with musical traditions that it is seen as necessary component to any social celebration or event, but the customary hiring of musicians have become too cost-prohibitive with burgeoning socio-economic hardships. Contemporary society in a post-revolution Egypt is dominated by a population of alienated youth, experiencing issues of access and representation in a fragmenting cultural landscape. ![]()
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