Kevin C Karnes
Biographic Data
| ID | 1194291 |
|---|---|
| NAME | Kevin C Karnes |
| GIVEN NAMES | Kevin C |
| FAMILY NAME | Karnes |
| SIGNATURE | KARNES K C |
| AFFILIATIONS | Emory University |
| ORCID | 0000-0002-9073-4715 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
DJ Minimalism, Black Market Sounds, the House Revolution
Tracing collaborations by Hardijs Lediņš (1955–2004) with Latvian, Estonian, and German colleagues, this article unfolds entwined histories of transnational exchange and technological innovation that shaped music-making practices on both sides of Cold War borders from the late 1970s through the early 2000s. It highlights commonalities between DIY or do-it-yourself cultures of music-making from Chicago and New York to Berlin and Riga, emphasising …
A German DJ, Postmodern Dreams, and the Ambivalent Politics of East–West Exchange at the First Exhibition of Approximate Art in Riga, April 1987
Organized as part of the annual Art Days festival in the capital of the Latvian SSR, the First Exhibition of Approximate Art comprised a cacophonous and provocative mashup of music, dance, performance art, and design. At the center of the event was a demonstration of mixing and scratching records by Maximilian Lenz, also known as Westbam, one of the leading DJs in West Berlin. Mining archival sources in Berlin and Riga, this article reconstructs …
Late Soviet Music in a Time of Russia’s War
Disco Culture and the Ritual Journey in the Soviet 1980s
This article traces a largely forgotten history of the 1980s Soviet disco craze by following the work of one of its pioneering figures, the Latvian DJ, musician, and performance artist Hardijs Lediņš (1955-2004). It documents how the movement coalesced amidst creative responses to the gradual opening of the USSR to Western popular culture on the one hand, and to the unique affordances of local political, social, and technological structures on th…
Auditory Snapshots From the Edges of Europe
This article presents thirty ‘auditory snapshots’ from a wide variety of geographical locations and contexts in order to elaborate several points. First, we believe that the study of history cannot be separated from the study of sound, whether in the form of ‘soundscapes’ or pieces of music. Second, we find that considerations of edges, into which we fold such things as provinces, peripheries and frontiers, can be greatly enriched by looking at a…
Soviet musicology and the ‘nationalities question’
Unless otherwise noted, all translations in this essay are his own. Notes Notes 1 Though there has recently been intense interest in the general topic of Latvian historiography of the Soviet and post-Soviet years (for example, Buholcs 2003 Buholcs, J. 2003. 1940. gadā notikušās valsts iekārtas pārveides Latvijā vēstures interpretācijas maiņa (1988–1989). Domino, 1: 195–215. [Google Scholar]; Ivanovs 2003a Ivanovs, A. 2003a. Latvijas PSR historiog…
A Garland of Songs for a Nation of Singers
Analysis of the contents of Jānis Cimze's harmonized folksong collection A Garland of Songs (1872) and the cultural context in which it was published reveals its musical portrait of an emergent Latvian nation to be a synthetic construct. Drawing upon aspects of the German nationalist choral movement, the quasi-Herderian work of Baltic German folklorists and new opportunities for cultural expression afforded by mid-century Russian imperial reforms…
Disco Culture and the Ritual Journey in the Soviet 1980s
This article traces a largely forgotten history of the 1980s Soviet disco craze by following the work of one of its pioneering figures, the Latvian DJ, musician, and performance artist Hardijs Lediņš (1955-2004). It documents how the movement coalesced amidst creative responses to the gradual opening of the USSR to Western popular culture on the one hand, and to the unique affordances of local political, social, and technological structures on th…
Auditory Snapshots From the Edges of Europe
This article presents thirty ‘auditory snapshots’ from a wide variety of geographical locations and contexts in order to elaborate several points. First, we believe that the study of history cannot be separated from the study of sound, whether in the form of ‘soundscapes’ or pieces of music. Second, we find that considerations of edges, into which we fold such things as provinces, peripheries and frontiers, can be greatly enriched by looking at a…
Soviet musicology and the ‘nationalities question’
Unless otherwise noted, all translations in this essay are his own. Notes Notes 1 Though there has recently been intense interest in the general topic of Latvian historiography of the Soviet and post-Soviet years (for example, Buholcs 2003 Buholcs, J. 2003. 1940. gadā notikušās valsts iekārtas pārveides Latvijā vēstures interpretācijas maiņa (1988–1989). Domino, 1: 195–215. [Google Scholar]; Ivanovs 2003a Ivanovs, A. 2003a. Latvijas PSR historiog…
A Garland of Songs for a Nation of Singers
Analysis of the contents of Jānis Cimze's harmonized folksong collection A Garland of Songs (1872) and the cultural context in which it was published reveals its musical portrait of an emergent Latvian nation to be a synthetic construct. Drawing upon aspects of the German nationalist choral movement, the quasi-Herderian work of Baltic German folklorists and new opportunities for cultural expression afforded by mid-century Russian imperial reforms…
A Garland of Songs for a Nation of Singers
Analysis of the contents of Jānis Cimze's harmonized folksong collection A Garland of Songs (1872) and the cultural context in which it was published reveals its musical portrait of an emergent Latvian nation to be a synthetic construct. Drawing upon aspects of the German nationalist choral movement, the quasi-Herderian work of Baltic German folklorists and new opportunities for cultural expression afforded by mid-century Russian imperial reforms…
Soviet musicology and the ‘nationalities question’
Unless otherwise noted, all translations in this essay are his own. Notes Notes 1 Though there has recently been intense interest in the general topic of Latvian historiography of the Soviet and post-Soviet years (for example, Buholcs 2003 Buholcs, J. 2003. 1940. gadā notikušās valsts iekārtas pārveides Latvijā vēstures interpretācijas maiņa (1988–1989). Domino, 1: 195–215. [Google Scholar]; Ivanovs 2003a Ivanovs, A. 2003a. Latvijas PSR historiog…
Auditory Snapshots From the Edges of Europe
This article presents thirty ‘auditory snapshots’ from a wide variety of geographical locations and contexts in order to elaborate several points. First, we believe that the study of history cannot be separated from the study of sound, whether in the form of ‘soundscapes’ or pieces of music. Second, we find that considerations of edges, into which we fold such things as provinces, peripheries and frontiers, can be greatly enriched by looking at a…
Disco Culture and the Ritual Journey in the Soviet 1980s
This article traces a largely forgotten history of the 1980s Soviet disco craze by following the work of one of its pioneering figures, the Latvian DJ, musician, and performance artist Hardijs Lediņš (1955-2004). It documents how the movement coalesced amidst creative responses to the gradual opening of the USSR to Western popular culture on the one hand, and to the unique affordances of local political, social, and technological structures on th…
Late Soviet Music in a Time of Russia’s War
A German DJ, Postmodern Dreams, and the Ambivalent Politics of East–West Exchange at the First Exhibition of Approximate Art in Riga, April 1987
Organized as part of the annual Art Days festival in the capital of the Latvian SSR, the First Exhibition of Approximate Art comprised a cacophonous and provocative mashup of music, dance, performance art, and design. At the center of the event was a demonstration of mixing and scratching records by Maximilian Lenz, also known as Westbam, one of the leading DJs in West Berlin. Mining archival sources in Berlin and Riga, this article reconstructs …
DJ Minimalism, Black Market Sounds, the House Revolution
Tracing collaborations by Hardijs Lediņš (1955–2004) with Latvian, Estonian, and German colleagues, this article unfolds entwined histories of transnational exchange and technological innovation that shaped music-making practices on both sides of Cold War borders from the late 1970s through the early 2000s. It highlights commonalities between DIY or do-it-yourself cultures of music-making from Chicago and New York to Berlin and Riga, emphasising …
Art (6 works) · Art history (6 works) · History (6 works) · Law (5 works) · Political science (5 works) · Computer Science (4 works) · Aesthetics (3 works) · Eastern European Communism and Reforms (3 works) · Historical Geopolitical and Social Dynamics (3 works) · Latvian (3 works)