Zevolli, Giuseppe. 2020. «Arbiters of Taste: Poptimist Sampling in Experimental Club Music». In Sampling Politics Today, edited by Hannes Liechti, Thomas … More
Category: Essays -English
Rabit: Interview/Feature (Sentireascoltare)
Published on Sentireascoltare 2019-07-15
Beyond ‘Insider Knowledge’: Towards an Epistemology of Cool?
Paper presented at Writing the Noise: the Politics and History of Subcultural Music, the 2nd International Conference of the Interdisciplinary Network … More
One Man’s Meat: Fad Gadget’s Social Commentary and Postpunk (Bloomsbury)
Zevolli, G. (2018, 27 December). One Man’s Meat: Fad Gadget’s Social Commentary and Postpunk. In: Z. Beaven, M. O’Dair, R. … More
The Eclectic Disposition: Digital Platforms and Popular Music Taste
Paper presented at the Digital ⇌ Culture Conference 2018 University of Nottingham, Nottingham 20 April 2018
Simon Reynolds: Interview (Mucchio Selvaggio)
MONO: Simon Reynolds Published on Il Mucchio Selvaggio n. 759 / October 2017 (print and digital) GZ: Your last book … More
Book Review: Brian J. Hracs et al – The Production and Consumption of Music in the Digital Age (Popular Music)
Published on Popular Music Volume 36 Issue 2 (June 2017), Cambridge University Press
Book Review: David Keenan – England’s Hidden Reverse. A Secret History of the Esoteric Underground (Metal Music Studies)
Published on Metal Music Studies Volume 3 Issue 2 (June 2017), Intellect Ltd Editorial
Subcultural Capital In The Digital Era: Post-Indie and The ‘Imperative’ of Poptimism
Paper presented at the Communicating Music Scenes: Networks, Power, Technology International Conference 2017, Budapest
Book Review: Cosey Fanni Tutti – Art Sex Music (Drowned in Sound)
We were outsiders and we commented from the outside looking in” Cosey Fanni Tutti told ‘The Wire’ in 2007, reflecting back on … More
Blanck Mass & Pharmakon: Interview (Mucchio Selvaggio)
Published on Il Mucchio Selvaggio n. 752 / March 2017 (print and digital).
Post-Taste Transgressions: Redefining the Mainstream through Autobiography
Paper presented at the International Association for the Study of Popular Music (IASPM D-A-CH) Conference 2016 Karl-Franzens-Universität Graz 20-23 October 2016
