John Vilanova
John Vilanova is a writer, editor and academic whose work crosses boundaries between popular media and the academic world. He is currently assistant professor in Journalism & Communication and Africana Studies at Lehigh University and is a recent Ph.D graduate of the Annenberg School for Communication at the University of Pennsylvania.
His scholarship critiques and identifies structural and institutional inequities in the global culture industries, specifically the popular music industry. His monograph explores anti-Black racism in the GRAMMY Awards, seeking to explore how ideas about race, excellence, and musicality impact industry stakeholders' racial attitudes and vice versa.
John is also an accomplished journalist and editor. He is currently serving as the Managing Editor of MusiQology, the website of preeminent scholar Dr. Guthrie P. Ramsey, Jr. In the popular press, he most recently held the job of Managing Editor for Philadelphia Style, a luxury lifestyle publication under the Niche Media umbrella. He has also contributed in various ways written and otherwise to a wide range of publications, including The Atlantic, the Los Angeles Times, Rolling Stone, RollingStone.com, EW.com, The Wall Street Journal, Vogue, and The New York Times. He also conducted research and fact-checked Clive Davis' bestselling memoir, The Soundtrack of My Life.
Address: Philadelphia, PA
His scholarship critiques and identifies structural and institutional inequities in the global culture industries, specifically the popular music industry. His monograph explores anti-Black racism in the GRAMMY Awards, seeking to explore how ideas about race, excellence, and musicality impact industry stakeholders' racial attitudes and vice versa.
John is also an accomplished journalist and editor. He is currently serving as the Managing Editor of MusiQology, the website of preeminent scholar Dr. Guthrie P. Ramsey, Jr. In the popular press, he most recently held the job of Managing Editor for Philadelphia Style, a luxury lifestyle publication under the Niche Media umbrella. He has also contributed in various ways written and otherwise to a wide range of publications, including The Atlantic, the Los Angeles Times, Rolling Stone, RollingStone.com, EW.com, The Wall Street Journal, Vogue, and The New York Times. He also conducted research and fact-checked Clive Davis' bestselling memoir, The Soundtrack of My Life.
Address: Philadelphia, PA
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Papers by John Vilanova
Its findings suggest that each individual technology was evidence for the nature of its user in a way that presaged how the conflict would play out. The microphone epitomized the ideology (and fragility) of the hyper-democratic Occupiers’ ethos. The LRAD suggested the state’s superlative sonic capability and its “monopoly on the legitimate use of noise.” And the drum circles and noise complaints that followed ultimately showed the ways “noise-making” is better understood as a discursive construction that delegitimizes sound. Together, they suggest the ways the hegemonic soundscape serves the status quo.
The essay also elaborates a taxonomy of sonic terms, specifically exploring volume, amplification, and noise-making as terms that explain the dynamics of sound during protest. It offers scholars of media activism a toolkit for sound studies that gets at the dynamics and structures of sonic power and explores the way sound-making is a key battleground of modernity. Sound conventions are a way that contemporary society is codified, legislated, and contested.
Its findings suggest that each individual technology was evidence for the nature of its user in a way that presaged how the conflict would play out. The microphone epitomized the ideology (and fragility) of the hyper-democratic Occupiers’ ethos. The LRAD suggested the state’s superlative sonic capability and its “monopoly on the legitimate use of noise.” And the drum circles and noise complaints that followed ultimately showed the ways “noise-making” is better understood as a discursive construction that delegitimizes sound. Together, they suggest the ways the hegemonic soundscape serves the status quo.
The essay also elaborates a taxonomy of sonic terms, specifically exploring volume, amplification, and noise-making as terms that explain the dynamics of sound during protest. It offers scholars of media activism a toolkit for sound studies that gets at the dynamics and structures of sonic power and explores the way sound-making is a key battleground of modernity. Sound conventions are a way that contemporary society is codified, legislated, and contested.