Triggered by the Euromaidan protests of 2013/14, Ukraine over the past eight years has experienced a cultural revival as a response to Russian aggression. This revival has manifested itself no more...Show moreTriggered by the Euromaidan protests of 2013/14, Ukraine over the past eight years has experienced a cultural revival as a response to Russian aggression. This revival has manifested itself no more so than in music, where numerous Ukrainian artists have used traditional instruments and ethnic motifs in combination with broader, “western” styles of popular music. In this thesis I will argue that the motivation behind this music revival - and by extension the wider cultural revival in general - is a restorative nostalgia for a free, flourishing, democratic, western-oriented, independent Ukraine that is entirely separate from Russia. After noting the stark similarities between music revivalism and restorative nostalgia, I will answer how more deeply held restorative nostalgic sentiments manifest themselves in Ukrainian revivalist music, and investigate why these sentiments manifest themselves in the way that they do. I will argue that contemporary Ukrainian revivalist popular music is instrumentalising the past in present-day culture in order to “create a future”. I term this process “signposting” insofar that signposts create a future for those who follow them, promising where they will eventually end up should they choose that path. Given Russia’s renewed, full-scale invasion of Ukraine on 24th February 2022, this topic is particularly current, and will demonstrate Ukrainian culture’s tenacity, ingenuity, adaptability and resilience in the face of Russian military and cultural aggression. While the discussions in this thesis predominantly focus on cultural artefacts from between 2014 and 2021, all evidence is pointing to another Ukrainian cultural revival borne out of the events of 2022 that will make the revival of the past decade seem fairly timid by comparison. To this end, I include an afterword looking at Ukrainian music during the latest chapter of the ongoing Russia-Ukraine war.Show less
This thesis analyzes song lyrics by Nina Simone, James Brown, and Public Enemy, and questions how they are radical in the context of the diachronic development of black civil rights activism. It...Show moreThis thesis analyzes song lyrics by Nina Simone, James Brown, and Public Enemy, and questions how they are radical in the context of the diachronic development of black civil rights activism. It straddles both very broad context and detailed analysis.Show less
Idols are the most popular performers in the Japanese entertainment world. They sing, dance, act and appear in magazines. Their pictures are sold in specialized shops and they sell several thousand...Show moreIdols are the most popular performers in the Japanese entertainment world. They sing, dance, act and appear in magazines. Their pictures are sold in specialized shops and they sell several thousand copies per single. But in Europe and America such idols don’t exist. What is it that makes these idols so popular in Japan, while they are not popular in Europe and America? What is important for a Japanese idol to become popular? I will look at three different aspects: looks, talent and personality. The general conclusion is that talent is more important for Japanese idols than looks and personalityShow less
The post-punk period of 1979 to 1982 saw significant cultural transfer between elements of the Dutch, German and Anglo-American alternative music scenes. In the Netherlands, most of this cultural...Show moreThe post-punk period of 1979 to 1982 saw significant cultural transfer between elements of the Dutch, German and Anglo-American alternative music scenes. In the Netherlands, most of this cultural transfer revolved round the members of the ULTRA scene. ULTRA stood for “ultramodern” and promoted avant garde post-punk music that used new or unconventional instruments and performance modes. ULTRA was mainly based round weekly “ULTRA” nights at the Oktopus club in Amsterdam and the music released on the Amsterdam-based Plurex and Torso record labels; though similar scenes flourished in Den Bosch, Nijmegen and Eindhoven. ULTRA drew a great deal of its creative impulse from the art schools such as the Rietveld Academy in Amsterdam, and had close links to the both squatting and punk scenes then active in the Netherlands. However, ULTRA was transnational in outlook and often looked outside the Netherlands for inspiration and support. And a number of its most successful proponents, such as the Amsterdam band Minny Pops, garnered international critical acclaim. Using Simon Frith's principles for studying popular music (alongside content from the publication most associated with the ULTRA scene and its musicians, Vinyl magazine, as well as interviews with key actors in the ULTRA scene) the paper looks to evaluate ULTRA's cultural worth; and how its Dutch origins affected the scene in the wider rubric of international popular music.Show less
