From Soccer Chant to Sonic Meme: Sound Politics and Parody in Argentina’s “Hit of the Summer”
Requires Subscription PDF

How to Cite

O’Brien, M. S. . (2020). From Soccer Chant to Sonic Meme: Sound Politics and Parody in Argentina’s “Hit of the Summer”. MUSICultures, 47, 116–138. Retrieved from https://journals.lib.unb.ca/index.php/MC/article/view/31403

Abstract

In early 2018, a protest chant against Argentine President Mauricio Macri became so widespread that journalists called it the “hit of the summer.” Originating in soccer stadiums, it soon spread in other formats as musicians transformed it into countless parody videos in a process I call a “sonic meme.” This involved first transforming mass culture (a march) into vernacular practice (a soccer chant), and then transforming that chant, in turn, back into mass-mediated popular music. The latter process was parodic not in the sense of profaning high culture, but rather transformed the already profane into the higher prestige register of music-as-art or music-as-commodity.

Requires Subscription PDF
  • The author retains copyright over the work.
  • The author grants the journal owner (The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales) an exclusive license to publish the work.
  • The author may post a pre-print or post-print version of the work (see definitions below) on a personal website for up to twelve months after the work is published in MUSICultures. After twelve months, the pre-print version must be replaced with the published version.
  • The author may deposit the published PDF of the work in a non-commercial online repository twelve months after the work is published in MUSICultures, or any time thereafter.
  • Any such deposit must include a link to the work on the MUSICultures website, e.g., https://journals.lib.unb.ca/index.php/MC/article/view/19996

A pre-print is a work-in-progress—a contribution not yet accepted, or perhaps even submitted, to MUSICultures.

A post-print is the version of a contribution after peer review and acceptance by MUSICultures, with revisions completed.

The published version is the PDF file of a contribution as it appears in MUSICultures.

Please note that academia.edu and ResearchGate.com are both for-profit repositories; authors may not deposit the published PDF of the work in these repositories until after the journal’s embargo period.

For permission to reprint or translate material from MUSICultures, please contact Heather Sparling, General Editor of MUSICultures (heather_sparling@cbu.ca).