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On November 4, 2008, more than 12 million young Americans elected the person who made them believe in their abilities to bring about change, the person who gave them hope, and the person who let them feel united. It was Barack Obama who won the election, and it was young people who were pivotal in helping him win. This paper explores the communication strategy that allowed Barack Obama to engage youth so effectively; it also reveals successful tactics of using new media for reaching the Millennial generation.
Journal of Information Technology & Politics
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During the 2008 and 2012 electoral cycles, the music preferences of presidential candidates became the subject of endless commentary, critique, and consternation. While “a little musical priming,” to use Irving Berlin’s words, has been par for the course at least since the 1840s, candidates have increasingly relied on thoughtfully curated playlists of pre-existing songs in various campaign contexts, both live and online. Campaign playlists in their many manifestations function as a form of social currency for those who create, listen to, and share music in the twenty-first century. This article investigates the functions of the list in music and music-related discourses, as well as the cultural work lists can perform during campaign season. After providing a handful of examples from early twenty-first-century campaigns to illustrate these functions, I turn to Mitt Romney’s and Barack Obama’s use of playlists in 2012, focusing on Spotify and the public’s reception to their respective engagements with music-sharing communities. To conclude, I consider the ways in which the campaign playlist serves as a tool for political communication, mobilization, and participation, and ponder its changing function in the 2.0 world.
2009 •
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From the earliest elections with popular participation to the present day, American presi- dential candidates have harnessed music’s connotative potential and affective properties in a variety of campaign contexts. But in a corporatized electoral landscape where the fields of politics and popular culture are inextricably intertwined, and every aspect of the candi- date’s public and private life is subjected to intense scrutiny enabled by the emergence of Web 2.0 technologies, nontraditional texts (such as music) play an increasingly significant role in candidate identity formation. Adding to recent work that explores the aesthetic and social dimensions of newly composed campaign music and its cultural currency, this essay turns a critical lens toward preexisting music and its impact on campaign discourses dur- ing Barack Obama’s 2008 presidential primary campaign. I investigate three components of Obama’s soundscape: 1) his engagement with hip hop—its artists, audiences, and values; 2) the intersections between his professed musical tastes and his complex biography; and 3) the playlists he used at campaign rallies, and the factors that allowed this soundtrack to solidify his own identity as candidate as well as forge alliances with women voters and black voters. Ultimately, cultural and musical analyses reveal how Obama’s music strategy allowed him to project a black identity that was both “real” and “respectable.”
2015 •
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