Steven Gamble
Dados Biográficos
| ID | 140264 |
|---|---|
| NOME | Steven Gamble |
| PRENOMES | Steven |
| SOBRENOME | Gamble |
| ASSINATURA | GAMBLE S |
| AFILIAÇÕES | University College Cork |
| ORCID | 0000-0002-2823-3864 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 6 |
| TOTAL DE CITAÇÕES | 2 |
| TOTAL COMO AUTOR | 6 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2021 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2026 |
| ÍNDICE H | 1 |
Live music imaginaries in the reception of online popular music concerts
This article critically interrogates a range of themes in writing about online popular music performances. It uncovers dominant conventional narratives, experiences, and understandings of online concerts, captured under the term ‘live music imaginaries’. Recent scholarship, journalism, and other commentary typically emphasise the limitations of online music events compared to in-person performances. Most pressingly, online concerts are pervasivel…
What the Kendrick Lamar–Drake feud tells us about celebrity masculinities in online popular culture after #MeToo
In the context of this Forum on internet-mediated masculinities, this contribution examines the 2024 Kendrick Lamar–Drake feud for its reflections on contemporary standards of authenticity, respectability, and male celebrity behaviour in public life. Two of the most commercially and critically successful North American rappers trading barbs in such a widely mediated spectacle has generated a variety of online discourses about appropriate masculin…
Hip-hop music producers’ labour in the digital music economy
There has been much debate concerning the changing nature of cultural production and distribution in the digital creative economy. Music production work has been especially affected by promotional conventions established by social media and music streaming platforms. This article critically builds atop perspectives on the platformisation of cultural production to investigate how independent hip-hop music producers develop their careers in the era…
Networking Global Hip Hop Knowledges
CIPHER: Hip Hop Interpellation is a global hip hop knowledge mapping project using ethnographic, digital, and arts practice research methods to better understand the emergences and flows of the culture's deeply local yet immanently global intertextualities. In this collaborative article, we network and develop ideas from six of CIPHER's global hip hop researchers, elaborating the project in method as well as theory. In so doing, we model our comm…
Hip-hop producer-hosts, beat battles, and online music production communities on Twitch
This article introduces a new creative industry actor, the ‘producer-host’, whose novel cultural practices combine several roles: that of performing artist, music production educator, event manager, livestream broadcaster, and community manager. Producer-hosts use the livestreaming platform Twitch (alongside other digital technologies) to run online beatmaking events with communal and participatory dynamics that indicate expanding uses of streami…
Saturation Season
Following the self-release of their Saturation album trilogy in 2017, American hip-hop group Brockhampton broke through to an international audience. The period of the trilogy’s release – known as “Saturation Season” – is notable for the large body of creative content the group produced and released online. In this article, the authors demonstrate how the group’s new media practices query the boundaries that separate amateurs and professionals, c…
Hip-hop music producers’ labour in the digital music economy
There has been much debate concerning the changing nature of cultural production and distribution in the digital creative economy. Music production work has been especially affected by promotional conventions established by social media and music streaming platforms. This article critically builds atop perspectives on the platformisation of cultural production to investigate how independent hip-hop music producers develop their careers in the era…
Saturation Season
Following the self-release of their Saturation album trilogy in 2017, American hip-hop group Brockhampton broke through to an international audience. The period of the trilogy’s release – known as “Saturation Season” – is notable for the large body of creative content the group produced and released online. In this article, the authors demonstrate how the group’s new media practices query the boundaries that separate amateurs and professionals, c…
Hip-hop producer-hosts, beat battles, and online music production communities on Twitch
This article introduces a new creative industry actor, the ‘producer-host’, whose novel cultural practices combine several roles: that of performing artist, music production educator, event manager, livestream broadcaster, and community manager. Producer-hosts use the livestreaming platform Twitch (alongside other digital technologies) to run online beatmaking events with communal and participatory dynamics that indicate expanding uses of streami…
Networking Global Hip Hop Knowledges
CIPHER: Hip Hop Interpellation is a global hip hop knowledge mapping project using ethnographic, digital, and arts practice research methods to better understand the emergences and flows of the culture's deeply local yet immanently global intertextualities. In this collaborative article, we network and develop ideas from six of CIPHER's global hip hop researchers, elaborating the project in method as well as theory. In so doing, we model our comm…
Hip-hop music producers’ labour in the digital music economy
There has been much debate concerning the changing nature of cultural production and distribution in the digital creative economy. Music production work has been especially affected by promotional conventions established by social media and music streaming platforms. This article critically builds atop perspectives on the platformisation of cultural production to investigate how independent hip-hop music producers develop their careers in the era…
What the Kendrick Lamar–Drake feud tells us about celebrity masculinities in online popular culture after #MeToo
In the context of this Forum on internet-mediated masculinities, this contribution examines the 2024 Kendrick Lamar–Drake feud for its reflections on contemporary standards of authenticity, respectability, and male celebrity behaviour in public life. Two of the most commercially and critically successful North American rappers trading barbs in such a widely mediated spectacle has generated a variety of online discourses about appropriate masculin…
Live music imaginaries in the reception of online popular music concerts
This article critically interrogates a range of themes in writing about online popular music performances. It uncovers dominant conventional narratives, experiences, and understandings of online concerts, captured under the term ‘live music imaginaries’. Recent scholarship, journalism, and other commentary typically emphasise the limitations of online music events compared to in-person performances. Most pressingly, online concerts are pervasivel…
Music History and Culture (6 obras) · Political science (4 obras) · Sociology (4 obras) · Digital media (3 obras) · Gender, Feminism, and Media (3 obras) · Business (2 obras) · Computer Science (2 obras) · Cultural Industries and Urban Development (2 obras) · Law (2 obras) · Popular culture (2 obras)