Collaborative Ethnography at Furnace Fest: Initial Findings on Affect, Community, and Commerce in Hardcore
Presentations, Guest lectures Andrew Mall Presentations, Guest lectures Andrew Mall

Collaborative Ethnography at Furnace Fest: Initial Findings on Affect, Community, and Commerce in Hardcore

Colloquium presentation (2022). At Furnace Fest (Birmingham, Alabama), attendees travel from across the U.S. and Canada for three days of emo, hardcore, metal, and punk performances. Based on ongoing fieldwork, in this talk I consider what my research collaborators and I have learned so far about working together—both in terms of our research methodologies and in terms of festival organizers and their communities.

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Studying Worship Capital: Cultural Insiderness, Religious Outsiderness, and Political Economy in Evangelical Worship
Presentations, Guest lectures Andrew Mall Presentations, Guest lectures Andrew Mall

Studying Worship Capital: Cultural Insiderness, Religious Outsiderness, and Political Economy in Evangelical Worship

Yale ISM Fellows’ Lunch presentation (2015). The presence of capital in Christian worship is unmistakable, enabling individuals and institutions to participate in the production, distribution, mediation, and consumption of worship music. Performing artists, songwriters, and ministers operate in markets that shape the aesthetics of songs that congregations sing every Sunday morning. This worship economy, however, remains undertheorized in congregational music studies.

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Popular Music Margins Becoming Mainstreams: Amy Grant, Elliott Smith, and the Political Economy of Niche Markets
Presentations, Guest lectures Andrew Mall Presentations, Guest lectures Andrew Mall

Popular Music Margins Becoming Mainstreams: Amy Grant, Elliott Smith, and the Political Economy of Niche Markets

Brown Music colloquium presentation (2015). What happens when artists transcend the margins and their markets? I examine the ways in which ethics and aesthetics are implicated in crossover success—what Jason Toynbee (2002) has described as “mainstreaming,” and what Dick Hebdige (1979) has identified as the dominant culture’s integration of subcultural style via the commodity form. This paper thus moves beyond comparative or categorical definitions of margins and mainstreams to theorize the process of popular music in transition from one market to another.

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