![]() ![]() Nightcore is a previously academically unexamined music scene, which exists entirely online and operates as a unique micro-subculture within the broader context of internet-based electronic music. The typology, which presents a discrepancy between textual and societal forms of critique, is discussed in relation to its contribution to broader evaluations of media audiences and user-generated-content. While the majority of parodies did not convey the critical commentary that their label promised, most of them did aspire to transform the meaning of the music videos. The paper offers a typology of five interpretive configurations underscoring the relationships between originals and their renditions. ![]() Focusing on representations of gender in the music industry, it probes 100 music video parodies through a qualitative textual analysis. This paper examines how YouTube videos, self-labeled by their creators as " parody ", reframe the meaning structures of copyrighted material. It also raises concerns about the legal implications of unprecedented uses of copyrighted material. The ubiquity of intertextuality in internet culture has ignited long-standing debates about the cultural significance of parody as a device of commentary and as civic speech. Nevertheless, we argue, even while in some respects Bandcamp acts more effectively as an 'alternative' than does SoundCloud, the former is also congruent economically and discursively with how platforms capitalise on the activity of self-managing, self-auditing, specialist, worker-users. By contrast, it seems that Bandcamp has been relatively stable in financial terms while being at odds with some key aspects of 'platformization', and we explore the possibility that some of the platform's apparent success may derive from how its key features makes it attractive to indie musicians and fans drawn to an independent ethos. We show that the emancipatory elements enshrined in SoundCloud's 'bottom-up' abundance are compromised by two elements that underpin the platform: the problematic 'culture of connectivity' of the social media systems to which it must remain integrally linked, and the systems of intellectual property that the firm has been increasingly compelled to enforce. We examine two 'producer-oriented' audio distribution platforms, SoundCloud and Bandcamp, that have been important repositories for the hopes of musicians, commentators and audiences that digital technologies and cultural platforms might promote democratisation of the cultural industries, and we compare their achievements and limitations in this respect. These findings are supported by interviews with Australian artists, and musical analysis of two key performances: a radio set on Australian broadcaster Triple J from November 2018 and a global grime showcase on London's Rinse FM from January 2019. ![]() ![]() As a result, radio performances-known as 'sets'-and live shows are often prioritized over recorded releases. The article also demonstrates how these artists' conceptions of legitimate practice are heavily mediated by YouTube videos of canonical UK practice, owing to their geographical dislocation from the genre's initial point of origin. These articulations are shown to be an example of 'glocal' performance practice, which is locally situated yet globally rendering. Principally, it attends to how MCs and DJs articulate a sense of belonging to both the UK and their local communities in Melbourne and Sydney, through lyrical and musical signification. This article focuses on performance practice in the East Australian grime scene and its development over time. While grounded and street-level at its outset, the form has since become global in reach. Grime music emerged at the turn of the millennium in the United Kingdom. ![]()
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