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The Remedy

Die Medien stehen enorm unter Druck - politisch und technisch. Der Wert professioneller Nachrichten und Faktenanalysen scheint zugunsten populistischer Botschaften extrem abzunehmen. Für die Demokratie ist guter und unabhängiger Journalismus jedoch lebenswichtig. Wie sieht die Presselandschaft in 20 Jahren aus? Wie wollen wir künftig informiert werden? Wie können Fachleute in diesem Beruf weiterhin existieren? Wie begegnen wir zunehmenden Desinformationsversuchen?
Der langjährige Vorsitzende des Deutschen Journalisten-Verbandes, Reporter und Medienexperte Frank Überall entwirft verschiedene Szenarien, wohin sich der Journalismus entwickeln wird und zeigt Wege auf, wie informierende Medien künftig funktionieren können. Die zentrale Frage ist dabei, ob und wie sie sich an die geänderten Rezeptionsbedingungen anpassen. Während sich die wesentlichen Maßstäbe und ethischen Grundlagen journalistischen Arbeitens nicht ändern werden, wird die 'Darreichungsform' immer vielfältiger und variabler sein.

Wie wir es schaffen, nicht zur Desinformationsgesellschaft zu werden

Deadline für den Journalismus?

The revelatory and urgent story of how an explosion of misogyny is driving a surge of mass and far-right violence throughout the West—from an internationally recognized extremism expert and media commentator What two things do most mass shooters, terrorists, or violent extremists have in common? Most of us know the first: they are almost always men or boys. But the second? They are almost always virulent misogynists, homophobes, or transphobes—even if they are also motivated by racism, antisemitism, or xenophobia. The antigovernment militiamen charged with plotting to kidnap and execute Michigan governor Gretchen Whitmer used language saturated with misogyny, with one telling an FBI informant, “Just grab the bitch.” The men who killed scores at Virginia Tech, the Pulse nightclub, and a Maryland newsroom all had prior reports of stalking, domestic violence, or harassment of women. And in dozens of other incidents—from North America to Norway to New Zealand—an increasing number of misogynist incel (involuntary celibate) and male supremacist attackers have explicitly targeted and killed women, blaming feminism or sexual frustration with women as motivation for their attacks. Yet, despite all evidence, the bright red thread of misogyny running through these attacks is barely acknowledged by the media or even experts—and this failing leaves us powerless to stop the violence. In Man Up, Cynthia Miller-Idriss, a leading expert on extremism, addresses this crucial oversight head-on, revealing how an epidemic of misogyny—both online and off—and a patriarchal backlash are driving an exponential rise in mass and far-right violence. She also offers essential strategies that all of us—including parents, teachers, and counselors—can use to fight the rising tide of violence, beginning with recognizing the misogyny that pervades our everyday lives.

The New Misogyny and the Rise of Violent Extremism

Man Up

One of the world’s greatest bassists lays down the heart of Black music, revealing how its rhythmic structures and the long history of the African diaspora made it the world’s most popular form.&nbsp; &nbsp; “A&nbsp;revelatory new book.”—New York Times Why do Bob Marley, John Coltrane, Aretha Franklin, and Nina Simone move us the way they do? What drives the worried notes of the Delta blues? What makes Beyoncé’s triumph Cowboy Carter inescapably great? &nbsp; &nbsp; &nbsp; As Melvin Gibbs shows in How Black Music Took Over the World, it is the musical inheritance of Africa. Beginning with two rhythmic building blocks he calls the cell and the frame, Gibbs shows how those tools can transport listeners to “a realm where sounds become vehicles for human movement.” Reforged in the African diaspora in the Americas, they are played today on church organs, electric guitars, computers, telephones, or a simple gourd. Kool &amp; the Gang called Black musicians the “scientists of sound”—and Gibbs shows how they discovered the world’s music. &nbsp;&nbsp; &nbsp; &nbsp; Gibbs’s vantage is unique. A world-class musician fluent in many genres, Gibbs is as comfortable in an old-school Times Square record shop as he is breaking down mathematics and music theory with university professors. Imbued with his own journey and a sharp eye for the sins and triumphs of history, How Black Music Took Over the World is an unforgettable revelation of one of humanity’s greatest achievements. &nbsp; &nbsp;

How Black Music Took Over the World

Über prägende Role Models von den 1920ern bis heute
 Eras-Tour, Brat Summer, gefeierter Opern-Pop von Rosalía: Immer häufiger sind es Female Artists, die der Popkultur ihren Stempel aufdrücken, die Charts stürmen und Preise wie die Grammys abräumen. Endlich erhalten sie die Aufmerksamkeit und Anerkennung, die ihnen lange Zeit verwehrt blieb. Einen kleinen Beitrag hierzu leisteten womöglich auch die Anthologien 'These Girls' und 'These Girls, too', die übersehene Musikerinnen ins Rampenlicht gerückt und Neues zu bekannten Künstlerinnen erzählt haben.Doch die feministische Musikgeschichte ist längst nicht auserzählt: Zahlreiche Künstlerinnen warten noch auf ihre Wiederentdeckung, und abseits der Megastars wird die Branche weiterhin von Männern dominiert.Folgerichtig erscheint mit 'These Girls Forever!' nun der dritte Band der Reihe: Das Buch schreibt die feministischen Musikgeschichten fort und erweitert sie um außergewöhnliche Künstlerinnen. Wie schon in den Vorgängerbänden schreiben zahlreiche Autor:innen aus persönlicher Perspektive über zu Recht gefeierte wie übergangene Musikerinnen, heben vergessene Schätze und eröffnen neue Blickwinkel auf die Ikonen der Popkultur. Die Vielfalt dieser Stimmen und Geschichten macht auch 'These Girls Forever!' zu einer unterhaltsamen, inspirierenden Lektüre für alle, die ihren Blick weiten und Popgeschichte neu hören wollen.Jacinta Nandi, Rebecca Spilker, Jan Müller, Steffen ­Greiner, Ebba Durstewitz, Bettina Wilpert, Kersty und Sandra Grether und viele mehr schreiben über ­Künstlerinnen wie Barbra Streisand, Paula Hartmann, Betty Davis, Zaho de Sagazan, Judith Holofernes, ­Malaria!, Sinéad O'Connor und zahlreiche weitere.

Ikonen feministischer ­Musikgeschichte

These Girls Forever!

Dream Chaser

The most abstract, playful and confounding of reggae subgenres, dub is a vital component of sound system culture that has wielded disproportionate influence. Emerging as an underground phenomenon in Kingston during the early 1970s, dub was wrought by sonic alchemists such as King Tubby, Lee 'Scratch' Perry, Prince Jammy and Scientist, conjuring musical mutations at the mixing desk. Dub reached other lands through the Jamaican diaspora and as Lloyd 'Bullwackie' Barnes furthered the form in New York, Dennis Bovell, Mad Professor and Adrian Sherwood conjured their own dub masterworks in London, Jah Shaka and his acolytes subsequently helping dub to achieve global reach. Widely adopted by post-punk producers and later a crucial influence on the underground dance music scenes of several continents, dub indelibly changed the techniques and aesthetics of music production with far-reaching effects; it's no exaggeration to say that without dub, there would be no hip-hop or house music. Dub is made from studio trickery, its auteurs fashioning something new by subtraction rather than addition, reversing standard recording techniques. It is a music of absence and deception, a ghostly sonic doppelganger with bass primacy and torpedoed song structures, full of holes and unexpected twists. The evolution of dub marks the birth of the remix and the emergence of the studio as an instrument in itself, a place where songs can be pulled apart and given wild reshaping, rendering a disembodied new form that is often cosmic and typically jagged. Dub's progression is also inseparable from the troubled history of post-colonial Jamaica, blighted by caustic Cold War interventions, attendant gang culture and communal breakdowns. Through first-hand testimony with dub's most noteworthy creatives, David Katz's monumental forensic history of an astounding subgenre that sounds like the future five decades after its inception stands as the authoritative book on a musical art form that continues to fascinate, generation after generation.

Jamaica’s Sonic Innovators and the Birth of Remix Culture

Dub Revolution

#2 UNCUT BOOK OF THE YEAR 2023 In 1979, 2 Tone exploded into the national consciousness as records by The Specials, The Selecter, Madness, The Beat, and The Bodysnatchers burst onto the charts and a youth movement was born. 2 Tone was black and white: a multi-racial force of British and Caribbean island musicians singing about social issues, racism, class and gender struggles. It spoke of injustices in society and took fight against right wing extremism. The music of 2 Tone was exuberant: white youth learning to dance to the infectious rhythm of ska and reggae; and crossed with a punk attitude to create an original hybrid. The idea of 2 Tone was born in Coventry, masterminded by a middle-class art student raised in the church. Jerry Dammers had a vision of an English Motown. Borrowing £700, the label's first record featured 'Gangsters' by The Specials' backed by an instrumental track by the, as yet, unformed, Selecter. Within two months the single was at number six in the national charts. Dammers signed Madness, The Beat and The Bodysnatchers as a glut of successive hits propelled 2 Tone onto Top of the Pops and into the hearts and minds of a generation. However, soon infighting amongst the bands and the pressures of running a label caused 2 Tone to bow to an inevitable weight of expectation and recrimination. Still under the auspices of Jerry Dammers, 2 Tone entered in a new phase. Perhaps not as commercially successful as its 1979-1981 incarnation the label nevertheless continued to thrive for a further four years releasing a string of fresh signings and a stunning end-piece finale in '(Free) Nelson Mandela'. Told in three parts, Too Much Too Young is the definitive story of a label that for a brief, bright burning moment, shaped British culture.

Rude Boys, Racism and the Soundtrack of a Generation

Too Much Too Young: The 2 Tone Records Story

TagesschauSpiegelGoogle

Michael Meyen zerstört den Mythos der Leitmedien, befreit uns aus der Propaganda-Matrix und macht all jenen Mut, die sich für eine bessere, gerechtere Welt engagieren: Freiheit ist möglich, braucht jedoch einen vollkommen neuen Journalismus.

Der Kampf für freie Medien entscheidet über unsere Zukunft

Die Propaganda-Matrix

Denker*innen und Impulsgeber*innen der erziehungswissenschaftlichen Frauen- und Geschlechterforschung

Inspired by Bob Marley's iconic song "Jamming," this joyful picture book by eight-time Grammy winner Ziggy Marley about a fun-filled pajama party celebrates screen-free family time, creativity, and connection. Join a family's pajama party sleepover as they spend a fun night together filled with games, pillow fights, music, and stories. It's a time to break normal routines, turn off electronics, build a blanket fort, and stay up late-to start family traditions and make memories that will last a lifetime. Using the most iconic lines from reggae legend Bob Marley's "Jamming" as a jumping-off point, Pajammin' reinvents the song for kids and caregivers, celebrating mindfulness, togetherness, and the power of imagination.

Pajammin'

Aline Regina Maldener untersucht in ihrer Studie jenseits von Subkulturen jugendlichen »Mainstream« im Westeuropa der 1960er und 1970er Jahre. Dieser wurde von kommerziellen Jugendmagazinen, Jugendmusiksendungen im Fernsehen und Jugendmusikfilmen im Kino nicht nur abgebildet und transportiert, sondern aktiv hergestellt. Populäre Jugendmedien agierten im nationalen wie transnationalen Medien- bzw. Werbe- und Konsumensemble. Neben länderübergreifenden Gemeinsamkeiten oder hybriden Formen bewahrten sie sich erhebliche nationale Spezifika. Die Studie zeigt, dass das Wesen populärer Jugendmedien darin liegt, dass es im Laufe von zwei Jahrzehnten immer wieder aufs Neue ausgehandelt werden musste.Beyond subcultures, Aline Regina Maldener examines youth "mainstream" in Western Europe in the 1960s and 1970s. The latter was not only depicted and transported by commercial youth magazines, youth music programmes on television and youth music films in the cinema, but actively produced. Popular youth media operated within a national and transnational media as advertising and consumer ensemble. In addition to transnational commonalities or hybrid forms, popular youth media retained considerable national specificities. The study shows that the essence of popular youth media lies in the fact that it had to be renegotiated again and again over the course of two decades.

Populärkultur in Westdeutschland, Frankreich und Großbritannien, 1956-1981

Jugend - Medien - Ensemble. 2 Bände

Fringe to Famous examines exchange between small scenes of cultural production and mainstream institutions and markets.
 
Drawing on Australian examples in music, streetwear, comedy, screen and digital games, it argues that there has been much greater crossover between the two than is generally recognized.
 
The book resists a tendency to represent fringe and mainstream as abstract opposites, bringing a focus instead to concrete historical formations. It offers an alternative both to romantic celebrations of a 'pure' fringe - discredited now by half a century of critical responses to the counterculture - and to an increasingly hardened anti-romantic reaction.
 
Drawing on extensive original interviews, Fringe to Famous offers an overview of transformations in Australian culture since the 1980s, concluding with suggestions for cultural policy 'after the creative industries'. It proposes an idea of 'generative hybridity' between fringe and mainstream that allows us to imagine new possibilities for arts and culture in the 2020s and beyond.

Cultural Production in Australia After the Creative Industries

Fringe to Famous

The Remedy

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