Representational Bind: Why Campaign Music Often Fails

Representational Bind: Why Campaign Music Often Fails Collo Qu Y JuStiN P AtCH r epresentational b ind: w hy Campaign m usic o ften Fails the musical soundscape of the 2016 campaign was fitting for a race that will live in infamy. the soundscape reflected an angry electorate; surg- ing conservative and progressive populism; tense gender, race, ethnic- ity, and citizenship dynamics; and incessant pandering by the political classes. the campaigns’ musical selections also contained a share of com- mon cultural slip- ups. From Hillary Clinton’s first playlist, which was comprised almost exclusively of hit songs from the past five years; to Donald t rump’s use of rem’s “it’s the end of the w orld as w e Know it” and Queen’s “w e Are the Champions”; to marco rubio admitting that his campaign received cease- and- desist orders from eDm DJs Swedish House mafia and David Guetta, the 2016 campaign repeated cultural missteps made by previous presidential campaigns. Alongside these moments where irony, imitation, and artifice caused dismay and disbelief were other moments of sheer triumph that con- nected candidates with supporters and fomented enthusiasm. it is these latter occasions that define success: when a campaign’s music creates a cultural intimacy between voters, communities, and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Representational Bind: Why Campaign Music Often Fails

American Music, Volume 35 (4) – May 1, 2018

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

Collo Qu Y JuStiN P AtCH r epresentational b ind: w hy Campaign m usic o ften Fails the musical soundscape of the 2016 campaign was fitting for a race that will live in infamy. the soundscape reflected an angry electorate; surg- ing conservative and progressive populism; tense gender, race, ethnic- ity, and citizenship dynamics; and incessant pandering by the political classes. the campaigns’ musical selections also contained a share of com- mon cultural slip- ups. From Hillary Clinton’s first playlist, which was comprised almost exclusively of hit songs from the past five years; to Donald t rump’s use of rem’s “it’s the end of the w orld as w e Know it” and Queen’s “w e Are the Champions”; to marco rubio admitting that his campaign received cease- and- desist orders from eDm DJs Swedish House mafia and David Guetta, the 2016 campaign repeated cultural missteps made by previous presidential campaigns. Alongside these moments where irony, imitation, and artifice caused dismay and disbelief were other moments of sheer triumph that con- nected candidates with supporters and fomented enthusiasm. it is these latter occasions that define success: when a campaign’s music creates a cultural intimacy between voters, communities, and

Journal

American MusicUniversity of Illinois Press

Published: May 1, 2018

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