Listener Discretion Advised: The Power and Politics of Intercultural Encounters on Music Radio
Bibliographic record
Abstract
On April 14, 2007, rapper Cadence Weapon and indie pop musician Final Fantasy featured on Fuse, a weekly radio program produced by the Canadian Broadcasting Corporation (CBC) about serendipitous encounters between musicians from diverse scenes, styles, places, and cultures.By bringing together disparate strangers-or, at least, unlikely pairings-producers sought to stage unique performances that demonstrated the capacity for collaborations to spark creativity and enable communication across sometimes vast musical and cultural differences.This article addresses the deployment of power in situations of intercultural collaboration, exploring first how the form of the episode communicates ideological assumptions about the nature of multiculturalism and then focusing on two collaborative performances from the episode to demonstrate how the music may add to a more complicated discourse about social norms.In addition to pointing to the gulf that exists between intention and realization as a means of positively engaging the operationalization of principles of multiculturalism, my approach provides a potential model of analysis suitable for situations of intercultural performance that involve disparately present audiences and levels of mediation.I've been told to warn you that the upcoming episode of Fuse has coarse language and listener discretion is advised.Can you have listener discretion?Anyway, get ready to fuse now with Cadence Weapon and Final Fantasy. 1 These words, spoken over a fleeting moment of radio silence, prefaced the April 14, 2007, episode of Fuse, a weekly concert program produced by the Canadian Broadcasting Corporation (CBC) between 2005 and 2008.As the CBC's primary platform for recording "non-classical" live music, Fuse was an answer to representational imbalances during an era of rapid technological, social, economic, and political transition. 2 Canada's public broadcaster actively reimagined its services-and audience(s)-by rebranding its networks, exploring new technologies and production platforms, and dramatically re-facing programming with 1 Alan Neal, Fuse, April 14, 2007.2 When Fuse was cancelled in 2008, the CBC management circulated an email to staff that stated: "Radio One priorities regarding live music have changed and that while Fuse was once the only show on either network recording non-classical music, Radio 2's Canada Live has now become the prime venue for this" (internal email, July 31, 2008).Radio One and Radio 2 are the primary English-language networks operated by the CBC; Canada Live is a concert program.For more information on the CBC and its music programming, see Rebecca Draisey-Collishaw, "Curating Canadianness: Radio, fusion programming, and hierarchies of difference" (PhD diss., Memorial University of Newfoundland, 2017).Radio 3: A Disquieting Radio Revolution," MA Extended essays, Simon Fraser University, 2006, 64).The introduction of CBC Radio 3 targeted youth listenership and partially answered how to ensure the relevance of the CBC in the face of an aging population, but more widespread changes were also adopted.The Canadian Broadcasting Company/Radio-Canada's Strengthening and Renewing the CBC: Our Strategy at Work, CBC Corporate Plan Summary 2002-2003 to 2006-2007 (June 2002), https://site-cbc.radio-canada.ca/documents/vision/strategy/corporate-plan/complete-plan-2002-e.pdf,outlines the broadcaster's Strategic Plan for 2002-2007 and attempts to account for changing conditions of the period.Pierre C.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.007 | 0.016 |
| Meta-epidemiology (narrow) | 0.000 | 0.001 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.001 |
| Science and technology studies | 0.027 | 0.043 |
| Scholarly communication | 0.016 | 0.007 |
| Open science | 0.001 | 0.011 |
| Research integrity | 0.004 | 0.006 |
| Insufficient payload (model declined to judge) | 0.006 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".