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How situations are defined is a social process. This paper examines how users on YouTube make sense of the alleged sexual assault perpetrated by shock rocker Marilyn Manson in the 2007 “Heart Shaped‐Glasses (When the Heart Guides the Hand)” music video. Actor Evan Rachel Wood revealed in a 2022 documentary that she had been “essentially raped” by Manson in the video. Using qualitative media analysis, we collected and analyzed a total of 5466 user‐generated comments on YouTube posted in response to the “Heart‐Shaped Glasses” video after the publication of Wood's allegations. The research question that we explore is: How do users on YouTube understand the “Heart‐Shaped Glasses” video in light of Wood's allegations? Does the video depict a consensual simulated sex scene or is it documentation of a criminal sexual assault? Our analysis and findings reveal that users' interpretations of social cues provided in the video are subject to external forces of narration. Specifically, users draw explicitly and implicitly on both rape myths and on counter‐narratives stemming from the #MeToo movement to justify their support for Manson or for Wood, respectively. Media narratives about the “Heart‐Shaped Glasses” video and the user's orientation to the problem of sexual violence appear to be more salient social cues than the video footage itself in determining how commenters defined the video. These findings offer some insights specifically into how definitional processes, with respect to sexual violence, draw on socially established narratives, like rape myths or pro‐survivor activism. More generally, the findings provide a lens to consider how definitional processes operate in other kinds of situations in which the definition of actions recorded on video is contested. Video Abstract: https://www.youtube.com/watch?v=Uo7qxmTwA‐U. [ABSTRACT FROM AUTHOR]

The article explores the evolution of pregnancy aesthetics in American popular culture, focusing on the impact of Demi Moore's 1991 Vanity Fair cover shoot on normative perceptions of pregnant bodies. It discusses how subsequent maternity photoshoots by Annie Leibovitz have shaped contemporary expectations of pregnancy, particularly in the realm of pop music. The text analyzes the performances of pregnant pop stars like Beyoncé, Cardi B, and Rihanna, highlighting the diverse ways in which they have engaged with and subverted traditional pregnancy aesthetics. The article also delves into the cultural significance of these artists' choices in relation to race, respectability, and gender norms, offering insights into the complexities of representing pregnancy in the public sphere. [Extracted from the article]

This review essay discusses two books on the study of music and meaning in everyday life. The first book, "Electronic Dance Music: From Deviant Subculture to Culture Industry," explores the evolution of electronic dance music from an underground subculture to a mainstream industry. The second book, "Music in the Course of Life," examines the significance of music for individuals throughout their lives. Both books provide ethnographic insights into the social processes and cultural contexts surrounding music. The review highlights the different objectives, organization, and presentation styles of the two books, categorizing one as more analytic and the other as more evocative. It also discusses the strengths and weaknesses of each book's approach and provides examples of the comparative insights they offer. However, the review notes that the analysis in the first book may overlook certain concepts and lacks depth in exploring them. Additionally, the review suggests that the first book portrays the changes in the electronic dance music scene and culture as negative, emphasizing tensions between older subcultural participants and younger, more conventional audiences. The review also points out that the first book's focus on authenticity may overlook the experiences of diverse ethnic and sexual identities within the scene. The text discusses a book called "Music and the Life Course" by Joseph A. Kotarba, which explores the relationship between music and selfhood. The book takes an existential sociology approach and examines how music impacts people's lives at different stages, from childhood to old age. However, the reviewer notes that the book focuses primarily on [Extracted from the article]

Research on motives for using social media suggests competing hypotheses regarding how far back in time people vicariously travel to experience nostalgia online. Automated text analyses of user comments on 56 YouTube videos featuring Billboard Magazine's top 30 songs of the year from the 1950–2019 period identified clusters of co‐occurring words suggesting nostalgia. Boolean operators transformed the word clusters into sentence structures conveying nostalgia [e.g., ("miss" and (("young" and "man") or "days" or "times")) → "I miss those days when I was a young man"]. Analysis of 37,217 comments revealed that the percentage expressing nostalgia was higher for videos from the 2000s–2010s compared to the 1950s–1980s. Social media has made instant online access to the recent past a normal part of daily life, making users more prone to expressing nostalgia toward relatively recent experiences. [ABSTRACT FROM AUTHOR]

Sandra Annett's book "The Flesh of Animation" explores the embodiment in animated film, diverging from previous scholarship that focused on analog cinema. Annett argues for the importance of embodied experiences in animation, drawing on feminist scholarship and film phenomenology. The book covers a wide range of animation styles and cultural contexts, offering a nuanced appraisal of the entanglements between different forms of animation and providing fertile ground for future research in virtual practices. Annett's work is recommended for researchers interested in film and new media studies, offering insights into the embodied turn and contemporary concerns in film phenomenology. [Extracted from the article]

This observational study examines the use of the German hip‐hop music video, "Gute Menschen" by the band OK KID (2015), as a basis for developing students' symbolic competence regarding contemporary discourse on racism in Germany. Based on earlier investigations (Putnam, 2006; Sosulski, 2013), this article advocates for the use of German music videos to develop students' abilities to decode multimodal symbols (i.e., visual, musical, and lyrical symbols) individually and holistically. Existing research supports the use of target language music videos in beginner‐ and intermediate‐level lessons because of their affective and aesthetic properties (Gullete et al., 2016; Kaiser, 2011; Schier, 2014; Spinner, 2008). Prompted by the lack of adequate discourse on racial and cultural diversity in many widely used textbooks (Ilett, 2009; Risager, 2006), and in the specific German curriculum (at an R1 university located in the Southwest) circa 2019, this project offers an example of internet‐accessible realia that directly addresses discourse on racism in Germany. Resulting findings and discussions are based on students' written assignments from two third‐semester German classes. The results demonstrate that conversations about racism can be successfully taught in beginner‐ and intermediate‐level curricula. [ABSTRACT FROM AUTHOR]

Music and dance videos have been popular among researchers in recent years. Music is one of the most important forms of human communication; it carries a wealth of emotional information, and it is studied using computer tools. In the feature engineering process, most present machine learning approaches suffer from information loss or insufficient extracted features despite the relevance of computer interface and multimedia technologies in sound and music matching tasks. Multifeature fusion is widely utilized in education, aerospace, intelligent transportation, biomedicine, and other fields, and it plays a critical part in how humans get information. In this research, we offer an effective simulation method for matching dance technique movements with music based on multifeature fusion. The initial step is to use music beat extraction theory to segment the synchronized dance movements and music data, then locate mutation points in the music, and dynamically update the pheromones based on the merits of the dance motions. The audio feature sequence is obtained by extracting audio features from the dancing video's accompanying music. Then, we combine the two sequences to create an entropy value sequence based on audio variations. By comparing the consistency of several approaches for optimizing dance movement simulation trials, the optimized simulation method described in this research has an average consistency of 87%, indicating a high consistency. As a result, even though the background and the subject are readily confused, the algorithm in this research can keep a consistent recognition rate for more complicated dance background music, and the approach in this study can still guarantee a certain accuracy rate. [ABSTRACT FROM AUTHOR]

With the popularization and development of Internet of Things technology, a large number of music and dance videos have emerged in all walks of life. In this information age, video communication has become a widespread communication method. In the current music and dance collection process, most of the action frame information of the dance video is repeated, and the stage background and costumes of the dance action are too many to fully express the human body movement information. Based on these problems, this article will realize the application of the intelligent sensor-based action recognition technology in the field of dance movement collection and complete the collection and recognition of music and dance movements. The research results of the article show that: (1) in the dance video image extraction process, the feature recognition effect of the proposed algorithm is the highest among the three models. The recognition effect of the upper body is 66.1, and the recognition effect of the lower body is 61.0. The image recognition effect can reach 73.4. During the statistical experiments on the recognition of different regions of the human body, the recognition effect of the intelligent sensor model proposed in the article is still the highest among the three models. The recognition effect of the upper body is 33.9, and the recognition effect of the lower body is 33.9. The recognition effect is 34.5, and the recognition effect of the whole body is 40.7. (2) In the traditional music and dance collection mode, the P values of the four test parts are all greater than 0.05, indicating that in the traditional music and dance collection mode, the differences between the four test modules are not significant. Combined with the evaluation results of the three groups in the traditional music and dance collection mode, we can conclude that under the condition that the initial conditions are basically the same, and the training conditions and environment are basically the same, the trainees who use the smart sensor music and dance collection training method are better in physical fitness. The indicators have been better improved, and the effect is greatly optimized compared with the training effect in the traditional music and dance collection mode. (3) After the test set runs, the article proposes that the accuracy rate of the dance collection model based on the smart sensor algorithm is 88.24%, the accuracy rate can reach 88.96%, the improved accuracy rate can reach 91.46%, and the accuracy rate can reach 91.79%. The ROC curve value of the article and the improved model is very stable. The ROC value before the improvement remains at about 0.90, and the ROC value after the model improvement also remains at 0.96. After the test set runs, the performance of the four models has decreased to a certain extent, but the smart sensor dance acquisition model proposed in the article has the lowest degree of decline, and the performance after the decline is still the highest among the four models. The accuracy of the model is 90.24%, and the accuracy of the improved model is 93.16%. The ROC curve values of the improved system are very stable, the ROC value has been maintained at 0.95, and the ROC value before the improvement is stable within the range of 0.85–0.95. The experimental results further illustrate that the model proposed in the article has the best performance. [ABSTRACT FROM AUTHOR]

Music–visual retrieval is of broad interest in the field of Music Information Retrieval (MIR). Most research relies on emotional tags or is based on content but does not consider stylistic and cultural differences between music and videos. As a result, only one‐sided dimensions are considered for automatic music retrieval for videos, while the stylistic correlation between audio‐visual is ignored. At the same time, the needs of different cultural regions cannot be well met. Therefore, the first labelled extensive Music Video (MV) dataset, Next‐MV, is constructed in this paper consisting of 6000 pieces of 30‐s MV fragments, including five music style labels and four cultural labels. The proposed Next‐Net framework is built to study the correlation between music style and visual style. The optimal audiovisual feature set and model structure are obtained in the experiments. The accuracy reached 71.1%, higher than the baseline model (66.9%). Furthermore, in the cross‐cultural experiment, it is found that the accuracy of the general fusion model (71.1%) is between the model trained by within‐dataset (76%) and the model trained by cross‐dataset (60%), indicating that culture has a significant influence on the correlation between music and visual. The experiments of pair classification on cultures are further carried out. It is found that Rock and Dance are more culturally influenced than R&B and Hip‐hop. Among all the cultures discussed, Chinese and Japanese music and videos show great differences among most of the styles, while Korean music videos styles are more similar to western styles than other eastern cultures. [ABSTRACT FROM AUTHOR]

This article examines hip-hop as a vehicle for teaching social justice in college-level media and cultural studies courses taught in English or German through engagement with Black American rapper Joyner Lucas’s “I’m Not Racist” (2017) and Turkish-German rapper Eko Fresh’s “Aber” (2018). Drawing on hiphop’s status as an art form grounded in activism, the authors propose that hip-hop offers productive avenues to learn critical media analysis in a comparative framework and develop dialogic practices that transcend the classroom space. While both tracks suggest possibilities for overcoming political differences through their staging of dialogues between opposed parties, the social, linguistic, national, and historical contexts in which each artist operates and their different approaches to these dialogues lead to two thematically and formally similar yet culturally specific tracks. The included teaching materials in this article aim to lead learners to critically examine the various forms of dialogue as they function within their individual contexts and beyond: the staged dialogue of the music videos; the critical dialogue between the videos and their audiences in the process of reception; and the transnational dialogue occurring between the artists’ works. These pedagogical approaches demonstrate how hip-hop texts and contexts provide opportunities to analyze key topics such as discrimination based on race, nationality, and religion within a social justice-oriented framework. [ABSTRACT FROM AUTHOR]

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Summary: Popular songs have evolved from vinyl records (voice files) to music videos. Sound and video can be mixed and presented in such a manner that only sound is heard. Scenes from music programs require continuous editing to maximize audience immersion. Music program scene editing is developed through the expertise of a television program director (PD). The PD considers detailed editing methods by the analyzing lyrics and the singer's choreography to express a song in a rhythmic video. This study presents an algorithm for music program scene editing that determines the size of a shot, evaluating the psychological distance between singer and viewers after measuring the pitch contour of a song. [ABSTRACT FROM AUTHOR]

Multimedia archives face the problem of obsolescing and degrading analogue media (e.g., speech and music recordings and video art). In response, researchers in the field have recently begun studying ad hoc tools for the preservation and access of historical analogue documents. This paper investigates the active preservation process of audio tape recordings, specifically focusing on possible means for compensating equalization errors introduced in the digitization process. If the accuracy of corrective equalization filters is validated, an archivist or musicologist would be able to experience the audio as a historically authentic document such that their listening experience would not require the recovery of the original analogue audio document or the redigitization of the audio. Thus, we conducted a MUSHRA-inspired perception test (n = 14) containing 6 excerpts of electronic music (3 stimuli recorded NAB and 3 recorded CCIR). Participants listened to 6 different equalization filters for each stimulus and rated them in terms of similarity. Filters included a correctly digitized "Reference," an intentionally incorrect "Foil" filter, and a subsequent digital correction of the Foil filter that was produced with a MATLAB script. When stimuli were collapsed according to their filter type (NAB or CCIR), no significant differences were observed between the Reference and MATLAB correction filters. As such, the digital correction appears to be a promising method for compensation of equalization errors although future study is recommended, specifically containing an increased sample size and additional correction filters for comparison. [ABSTRACT FROM AUTHOR]

Aubrey Powell started his creative life as the photographer and graphic designer for Hipgnosis, the acclaimed design studio he co‐founded in 1967 with Storm Thorgerson. They were instrumental in defining Pink Floyd's graphic identity. Powell and Hipgnosis began working with Mark Fisher on the Pink Floyd 'Animals' world tour and album cover. It was a natural progression for Powell to move into filmmaking some 15 years later, when music video started. Here he describes some of his design collaborations with STUFISH. [ABSTRACT FROM AUTHOR]

Objectives: To observe the effect of music video (MV) therapy on early postoperative pain in preschool children after cardiothoracic surgery.Methods: 116 preschool children undergoing cardiothoracic surgery were randomly divided into the MV and control groups from June 2019 to March 2020. The related vital signs parameters, the Wong-Baker FACES pain rating scale, the FLACC scale, the number of postoperative PCA press and the cumulants of sufentanil use were recorded and analyzed.Results: There were no statistically significant differences in general characteristics and preintervention data between the two groups. However, there were significantly lower in the heart rate, mean arterial pressure, respiratory rate, the number of postoperative PCA press, and the dosage of sufentanil in the MV group than those in the control group after the intervention. The Wong-Baker FACES and FLACC scales in the MV group were significantly lower than those in the control group at the time point of immediately after the first intervention, 1 day, and 2 days after the intervention. The two pain scores showed a downward trend over time, and the corresponding scores in the MV group were better than those in the control group.Conclusion: MV therapy can be an effective nonpharmaceutical intervention in the clinical to relieve children's postoperative pain after cardiothoracic surgery. [ABSTRACT FROM AUTHOR]

This paper seeks to expand popular geopolitics in line with the digital worlds in which many of us now live. By interpreting geopolitics as a method of cultural (re)production, it becomes a creative tool that can be used to shape and elevate the affective appeal of content. Digital technologies are centrally implicated in the production of such content. By decoupling space and time from their physical anchors in the real world, digital technologies imbue them with a creative latency that can be deployed in both agentic and affective ways. Specifically, decoupling creates spatio‐temporal openings that offer new opportunities for content to be territorialised, and for artists and audiences to be engaged. Digital geopolitics thus considers the ways in which the decoupling of space and time can foreground new types of digitally mediated geopolitical praxis. Through an analysis of music videos exchanged between two grime artists involved in a "clash," I show how digital technologies enable them to mediate between the different spatio‐temporal logics of the digital and real worlds. Doing so reifies the affective power of space, and the expansive role of popular geopolitics in the digital age. This paper seeks to expand popular geopolitics in line with the digital worlds in which many of us now live. By decoupling space and time from their physical anchors in the real world, digital technologies imbue them with a creative latency that can be deployed in both agentic and affective ways. Digital geopolitics thus considers the ways in which the decoupling of space and time can foreground new types of digitally mediated geopolitical praxis. [ABSTRACT FROM AUTHOR]

We describe our ethnographic observations and personal experience about how Afro‐Caribbean music and its musical videos profited historically from negative labeling to produce status and national identity. We compare contemporary experience with reggaetón with historical data about several musical genres, from the Inquisition to the 20th century. During this period, the introduction of African‐inspired dances violated racial boundaries that upper‐class European elites sought to preserve. Hostility to the resulting music and dance that were used by mixed‐race populations to find new forms of status remains at the heart of negative labeling of Blackness by whites and by higher classes. Do you like Latino dance music? Choose a sound system and enjoy this story. [ABSTRACT FROM AUTHOR]

German fairy tales have an established history of appropriation in popular media, from oral traditions to mobile media. The mimetic quality of fairy‐tale motifs and tropes provides ideal conditions for intertextual adaptation. In this article, I demonstrate that German fairy‐tale themed music videos are powerful vehicles for culture, parody, and subversion that can be utilized as rich teaching tools in the German classroom. Artists using the German language draw on the genre of the fairy tale in their music videos in innovative and humorous ways for social critique and commentary, but they also resort to the form of the meta‐fairy tale to question the pedagogical values of the Grimms' fairy tales. [ABSTRACT FROM AUTHOR]

As one of the traditional entertainment items, video background music has gradually changed from traditional consumption to network consumption, which naturally also has the problem of information overload. From the perspective of model design and auxiliary information, this paper proposes a tightly coupled fusion model based on deep learning and collaborative filtering to alleviate the problem of poor prediction accuracy due to sparse matrix in the scoring prediction problem. In the use of auxiliary information, this paper uses crawler technology to obtain auxiliary information on the user side and the video background music side and compensates for the model's sensitivity to the sparsity of the score matrix from a data perspective. In terms of model design, this paper conducts auxiliary information mining based on the diversity and structural differences of auxiliary information, uses an improved stack autoencoder to learn user's interests, and uses convolutional neural networks to mine hidden features of video background music. Based on the idea of probabilistic matrix decomposition, the tightly coupled fusion of multiple deep learning models and collaborative filtering is realized. By comprehensively considering user's interest and video background music characteristics, the collaborative filtering process is supervised, and the optimized prediction result is finally obtained. The performance test and function test of the system were carried out, respectively, to verify the effectiveness of the hybrid recommendation algorithm and the effect of the system for recommendation. Through experimental analysis, it is proved that the algorithm designed in this paper can improve the recommendation quality and achieve the expected goal. [ABSTRACT FROM AUTHOR]

BTS is the brainchild of Bang Si-hyuk who is the founder and co-CEO of Bit Hit Entertainment, managers of BTS. Primarily, BTS is a group of skilled storytellers on multiple levels: through their lyrics, dance moves, strong visual language in the music videos and through additional content released through wide-ranging media. Such arts and literary clues litter BTS music videos and seem to be calling for fans to decipher layered messages in order to connect with the group, their music, collective cultural history and, most importantly, with themselves. [Extracted from the article]

This case study addresses the language‐culture divide contributing to curricular bifurcation in many collegiate language departments and presents a lesson plan to help language instructors bridge the gap. The lesson on public transportation is designed for first‐semester second language (L2) German students and focuses on a guided reading of a music video advertisement – the Berliner Verkehrsbetriebe (BVG) spot "Is mir egal," featuring Kazim Akboga (2015). The instructor and the L2 learners, using these guided reading strategies (Kern, 2000; Paesani, Allen, & Dupuy, 2016), collectively unpack the text and make meaning – culturally, linguistically, and in‐between. This article presents data in the form of written student reflections on the video advertisement and guided reading strategies as well as instructor observations. The lesson is designed according to the FLLITE Project (Foreign Languages and the Literary in the Everyday, https://fllite.org/), dedicated to the free use of the Open Educational Resources (OER) movement, thus allowing instructors to adapt it to their specific needs. [ABSTRACT FROM AUTHOR]

Background: In Australia, shockwave lithotripsy (SWL) to treat urinary tract stones is routinely performed with general anaesthesia (GA). We have established a SWL service avoiding GA based outside operating theatres and wish to assess the effectiveness of utilizing modern media on patient satisfaction and analgesic requirements during treatment. Methods: A randomized three‐arm trial was performed. Patients were allocated to either watching videos or listening to music on a tablet device, or to getting no media distraction. A total of 95 patients were recruited in a 1:1:1 fashion. Analgesic requirements were recorded during the procedure and patients were asked to fill out a questionnaire with a visual analogue scale to assess their overall pain and satisfaction with the procedure. Results: Overall pain scores were decreased – the sound media group reported a mean pain score of 3.52 (P = 0.005), the visual group was 3.62 (P = 0.007), compared to 5.45 in the control group. Analgesic requirements were significantly decreased when compared to the control group (P = 0.05). Overall satisfaction with the procedure was improved in the treatment groups, with the sound group having the best result (P = 0.04). Conclusion: Modern media can be used as a distraction during SWL in a safe and effective way when treating renal tract stones without GA. Analgesic requirements are decreased significantly, therefore decreasing any potential side‐effects and complications. Other departments in Australia should consider using this technique. [ABSTRACT FROM AUTHOR]

The article discusses Black respectability politics, Black feminism and musicians Nicki Minaj and Beyoncé. It comments on Minaj's music video "Stupid Hoe" released on January 20, 2012 in which she manipulates herself in racialized gendered ways including morphing into a distorted Barbie doll and a Raggedy Ann doll. It mentions Beyoncé revealing she was pregnant during the 2011 MTV Video Music Awards and discussions of pregnancy and Black female sexual representation.

In April, at the height of the strict lockdown due to COVID-19 pandemic in the Philippines, a music video showing the benevolence of China to the Philippines was criticized over social media and news media. Chinatown TV (CNTV), a local television show producer, uploaded a music video entitled, I Iisang Dagat i (One Sea) on its YouTube channel and Facebook page (See Figure 1). [Extracted from the article]

The article examines how the online interactive music video for the Johnny Cash track "Ain't No Grave" reflects the cultural legacy of singer and guitarist Johnny Cash as well as the musician's impact on digital folk culture. Topics discussed include Cash's embodiment of paradoxes in American though by holding contradictory ideas in productive tension and the video's depiction of the tension between folk culture and mass culture as well as their imbrication.

The article presents an analysis of Korean pop songs music videos to determine the significance of the cultural references in these videos such as Broadway, Hollywood, and Harajuku fashion district. Topics include the expansion of K-pop music videos as a genre that associates itself with old and new, local and global, the contours of the 21st century digital music video production, and the Broadway-style musicals in K-pop music videos as nod to the live stage performance.

The article examines the effectiveness of charity music video as a fundraising tool. Topics covered include the effectiveness of charity music video in alleviating compassion fatigue, the synaesthetic characteristics of video that delay the need for immediate commodity substitution and analysis of four charity music videos including "Do They Know It's Christmas?," "We Are the World" and "Everybody Hurts."

Aims To quantify tobacco and alcohol content, including branding, in popular contemporary YouTube music videos; and measure adolescent exposure to such content. Design Ten-second interval content analysis of alcohol, tobacco or electronic cigarette imagery in all UK Top 40 YouTube music videos during a 12-week period in 2013/14; on-line national survey of adolescent viewing of the 32 most popular high-content videos. Setting Great Britain. Participants A total of 2068 adolescents aged 11-18 years who completed an on-line survey. Measurements Occurrence of alcohol, tobacco and electronic cigarette use, implied use, paraphernalia or branding in music videos and proportions and estimated numbers of adolescents who had watched sampled videos. Findings Alcohol imagery appeared in 45% [95% confidence interval (CI) = 33-51%] of all videos, tobacco in 22% (95% CI = 13-27%) and electronic cigarettes in 2% (95% CI = 0-4%). Alcohol branding appeared in 7% (95% CI = 2-11%) of videos, tobacco branding in 4% (95% CI = 0-7%) and electronic cigarettes in 1% (95% CI = 0-3%). The most frequently observed alcohol, tobacco and electronic cigarette brands were, respectively, Absolut Tune, Marlboro and E-Lites. At least one of the 32 most popular music videos containing alcohol or tobacco content had been seen by 81% (95% CI = 79%, 83%) of adolescents surveyed, and of these 87% (95% CI = 85%, 89%) had re-watched at least one video. The average number of videos seen was 7.1 (95% CI = 6.8, 7.4). Girls were more likely to watch and also re-watch the videos than boys, P < 0.001. Conclusions Popular YouTube music videos watched by a large number of British adolescents, particularly girls, include significant tobacco and alcohol content, including branding. [ABSTRACT FROM AUTHOR]

The article discusses the Korean popular music (K-pop) girl music group and their music videos. Topics discussed include relationship between the groups and the Korean music industry, representation of these girl groups through the music videos, and representation of duality in the three music videos titled "Bad Girl, Good Girl", "I Am The Best", and "Paparazzi".

The article presents abstracts of articles on topics related missing texts including "Ghosts in the archive: Edmond Malone, Craven Ord, and the missing texts of Henry Herbert's "office-book"," by Eleanor Collins, "Reception, reputation, and early modern women's missing texts," by Marie Louise Coulahan, and "On Avril Lavigne's missing YouTube comments," by Patrick Davison.

The article offers the author's insights on the disappearance of textual comments on the YouTube music video for the 2007 hit single "Girlfriend," by Avril Lavigne. The author distinguishes electronic texts from traditional texts and describes the three states of loss, denied, deleted, and deluged. She also discusses the statement of Roman poet Horace and theorist Katherine Hayles on electronic textuality and the separation of the material and semiotic components of text.

Introduction and Aims We aimed to: (i) document the extent and nature of alcohol portrayal in televised music videos in New Zealand in 2010; and (ii) assess trends over time by comparing with a similar 2005 sample. Design and Methods We undertook a content analysis for references to alcohol in 861 music videos shown on a youth-orientated television channel in New Zealand. This was compared with a sample in 2005 (564 music videos on the same channel plus sampling from two other channels). Results The proportion of alcohol content in the music videos was slightly higher in 2010 than for the same channel in the 2005 sample (19.5% vs. 15.7%) but this difference was not statistically significant. Only in the genre ' Rhythm and Blues' was the increase over time significant ( P = 0.015). In both studies, the portrayal of alcohol was significantly more common in music videos where the main artist was international (not from New Zealand). Furthermore, in the music videos with alcohol content, at least a third of the time, alcohol was shown being consumed and the main artist was involved with alcohol. In only 2% (in 2005) and 4% (in 2010) of these videos was the tone explicitly negative towards alcohol. Discussion and Conclusions In both these studies, the portrayal of alcohol was relatively common in music videos. Nevertheless, there are various ways that policy makers can denormalise alcohol in youth-orientated media such as music videos or to compensate via other alcohol control measures such as higher alcohol taxes. [ABSTRACT FROM AUTHOR]

The article discusses the American musician Madonna, focusing on her status as an icon of music and popular culture. Particular attention is given to the themes of sex and religion within her music as well as within the nonverbal images, such as photographs, music videos, and music performances, in which she appears. Other topics analyzed include her identity as a descendant of Italian-Americans, political criticism within her music performances and lyrics, and the impact of postmodernism and globalization on her status as an icon.

The article looks at the music video for the song "Cold War," by Janelle Monáe, focusing on how the U.S.-Soviet Cold War is used as a framework to acknowledge the participation of black women in the public sphere. Monáe's depiction of black female sexuality in the video is reviewed. The author also comments on the role of rhythm and blues singer D'Angelo in the "Cold War" music video.

The article examines the ways in which the nerd stereotype, largely associating nerds with computer proficiency, has been portrayed in various forms of U.S. cultural media, and how these portrayals reflect real power relationships. More specifically, the author discusses the depictions of nerds in the music video for the song "White and Nerdy" by U.S. comedic musician Weird Al Yankovic, the web site of the Geek Squad computer repair service, and videos associated with Nerdcore music. The ways in which these depictions reinforce a masculine and racialized understanding of nerds is emphasized.

The article looks at michês, Brazilian male hustlers and prostitutes, focusing on how they relate to the music of Michael Jackson in the context of queer theory. Representations of masculinity in Jackson's music and music videos are discussed. The author also comments on his experience visiting Brazil, where Jackson is considered one of the greatest entertainers in the world.

The article looks at the music video for Michael Jackson's "Black or White," directed by John Landis, focusing on the consciousness of Jackson's dancing in the context of racial identity. The appearance of people of various ethnic backgrounds in the music video is also discussed, including young white actor Macaulay Culkin. The author compares "Black or White" to the film "Stormy Weather."

The article looks at Korean music videos released in the U.S. popular music market, focusing on how aspects of race and sexuality are addressed. Musicians discussed include female singer BoA, the Wonder Girls, and male singer Rain. The depictions of stereotypes in their music videos are reviewed. The author also comments on the transnational reputation of Rain, noting his position in second place in "Time" magazine's list of the 100 most influential people in 2008.

The proliferation of brands in television programming has abounded in recent times. Especially in rap videos, actors frequently depict brands and products. One mechanism by which placements can affect consumers' attitudes is evaluative conditioning. Given that in rap videos brands are paired with liked as well as disliked actors, there is a high potential for positive and negative conditioning effects. In an experiment with an authentic rap video, the appearance of placements and the image of the rap actors were varied. The results indicate that the pairing of a brand with positively evaluated artists produces positive attitudes toward the brand. In contrast, a negative conditioning procedure results in negative attitudes toward the brand. Further analyses demonstrate that conditioning effects are even stronger when preference for rap music is high and recognition of the brand rather low. © 2008 Wiley Periodicals, Inc. [ABSTRACT FROM AUTHOR]

The article discusses the distinction between good and bad popular music. It says that the distinction rests in the music's lyrics and the visuals linked to particular performers. It tells that the music video of Madonna for the song "Like a Prayer" was banned because it shows disrespect toward religion. Other forms of badness in music are the depictions of glaring violence and unconventional or frank discussions of sex. It also lays the similarity of horror genre in shock rock and gangster rap.

The article focuses on digital remixes and the conceptual relationship between remixes and literacy, as well as how remixes can be used in the context of learning in a classroom environment. It states that remixes can include photograph editing, music and music video remixes, fan art, and more. It mentions that image remixing can range from the addition of text to images to photograph montages mixing elements from several images, to altering image content. It comments on the mixture of music tracks from different songs and also the use of movies and animated films with music to create music videos. It talks about the use of digital remix in the classroom environment by remixing music and writing to encourage student involvement in the learning process.

This article discusses criticism over popular culture, seen as wild and evil. The article refers to heavy metal music, musical videos, focusing particularly on J.K. Rowling's Harry Potter that has unified America. Emile Durkheim states that crime is needed for a healthy society. Three basic things that are classified as popular culture are art, folklore and music. They are not only the base for set patterns in capitalist communities, but also add to the growth. Fashion trends advertised by artists and musicians are excellent examples of popular culture. The technological revolutions in DVD's have changed the ways how movies are produced. Social boundaries are expanded by informal gathering of friends to share the excitement and trust.

The article explores multimodal literacy practices of young people and how school-sanctioned literacy models don't concede with many students. Teenagers participate in various forms of literacy practices outside of school related reading and writing. It is difficult for teachers to incorporate other literacy habits such as music videos and playing video games and many feel that these mediums are threats to the traditional forms of education. The article also discusses the call for educational changes and compelling literacy programs.

Objective The study investigated the impact of thin idealized images of women as presented in music television, a popular form of entertainment for young people. Methods A sample of 84 women viewed a videotape containing either appearance music videos (which emphasized appearance and featured thin and attractive women) or nonappearance music videos. The instructional set was also manipulated to encourage or discourage social comparison. Results Viewing the appearance music videos featuring thin women led to increased social comparison and body dissatisfaction. Regression analyses showed that the effect of video condition on body dissatisfaction was mediated by the level of comparison processing. Discussion The study demonstrated that the content of television programming can have negative consequences for women's body image. In addition, it offered social comparison processing as both a theoretic mechanism and a practical target for intervention. © 2003 by Wiley Periodicals, Inc. Int J Eat Disord 35: 48–58, 2004. [ABSTRACT FROM AUTHOR]

There are a lot of studies that reported various kinds of treatments that had some effect on pain relief, but we still think of these treatments as adjuvant treatments. Our results showed that music video therapy can be used as an effective nonpharmaceutical intervention in the clinical to relieve the postoperative pain of children after cardiothoracic surgery.4 Postoperative pain is associated with many factors, and drug therapy remains the preferred strategy. [Extracted from the article]

Interviews Danny Goldberg, former chairman and chief executive officer of Warner Brothers Records, on the impact of rock music on the society. Views on sex, violence and bad parenthood; Assertion on what kind an entertainment industry should be; Influence of music videos on kids.

This article illustrates common types of audiovisual techniques that videomakers have used to engage viewers. What sets music video form apart from form as it appears in other media is the primacy of a musical soundtrack. In a motion picture or television program, music often contributes to the form of the work after a written script has been acted out, photographed and edited. In other words, the music is added to the work to become part of a form that is rooted in dialogue and visuals. This process moves in the reverse direction in the production of a music video. The unique character of music video form gives rise to general styles of videos which are named in accordance with the nature of the visual images utilized to enhance their musical soundtracks. As a song and its execution are so central to video form, directors often rely on visuals which show the music being performed. By using shots of singers or bands lip-synching to the music on the soundtrack they create a form which works directly to accomplish the goals of the record companies who underwrite their work. Performance oriented visuals cue viewers that, indeed, the recording of the music is the most significant element.

Popular culture provides use with particularly compelling examples of the tension between dominance and resistance and one of the most engaging sites of such tensions is the feminist rap music video. Feminist rap music videos require the viewer to participate in their construction and analysis. This music explores tensions between black and white, male and female, in a direct and explicit fashion. For the feminist rapper, rap offers unique possibilities. Rap like all other forms of popular music, is not inherently feminist or political, and indeed some of the best known rap songs like Tone Loc's Wild Thing are obnoxiously sexist. Significantly rap involves post modernist qualities, an aspect of rap that has been ignored, perhaps because it is usually associated with white high masculine culture. To appreciate feminist rap videos, the viewer must first redefine the idea of a text, expanding it to include a multitude of nonverbal signs and freeing it from monologic and auteurist assumptions. Rap like other popular culture forms, can be usurped by feminists. In fact certain qualities of rap make it particularly suitable for feminist purposes. Because rapper endemically focus on themselves, once the performer is female, she can use this self-promotion without altering the musical form.

The article examines the phenomenon of music video on two levels, the system and the individual scales. In many important respects, music video most closely resembles the type of ritual found in the ordeal-indulgence-transformation paradigm called ecstasy ritual. In this form of symbolic enactment, the individual progresses from a state of denial to one of excessive self-indulgence. Concomitant with this is his or her transition from a state of sin into a state of grace, or a movement from profane to sacred status. The classic transformational ecstasy paradigm involves a separation, either physically or symbolically, from normality; an internal revelation on the part of the individual; an external ordeal, journey, or sacrifice which reflects and reinforces the internal revelation; and closure of some variety, usually as reintegration with the rest of the home group. This is characteristically achieved through a community celebration of the individual transformation, allowing the society as a whole to participate vicariously in the transcendental event. In some cases, the line between individuality and anonymity doubles as a boundary-marker between whether a character has achieved mythic status or social deviancy.

High school, younger college, and older college subjects rated explicit, neutral, or Christian television music videos according to theme clarity/recognition and whether the respective videos were liked/disliked. Subjects of each age group were able to recognize the themes of each music-video category with a high degree of accuracy. Younger subjects and males were found to rate the music videos, especially those selected for explicitness, more favorably than older or female subjects. Sociocultural background factors were also found to be related to recognition and ratings of the television music videos. In particular, working class background subjects, subjects who watched music videos regularly, and those that seldom or never attended church rated the music videos, especially the explicit ones, more favorably than subjects from a college town background, subjects who seldom or never watched music videos, and subjects who regularly attended church. These findings were interpreted in terms of media-based social influence processes and reciprocal determinism. [ABSTRACT FROM AUTHOR]