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The ubiquitous din of Paris’s street hawkers, known as the cris de Paris or the “cries of Paris,” has captured the Parisian imagination since the Middle Ages. During the 1850s and 1860s, however, urban demolition severely disturbed the everyday rhythms of street commerce. The proliferation of books, poetry, and musical works featuring the cris…[Read more]

This chapter develops two claims that are central to the book’s overall argument. The first is that certain temporal musical objects exist only as ephemera—always remaining outside of symbolic representation. These objects are constituted by lived time, or time as it shows up in human lives. The second claim is that the ephemeral meaning of mus…[Read more]

The period following the end of Getúlio Vargas’s second government (1951-1954) saw a massive expansion of the media industries with popular music in particular becoming an important cultural touchstone. Some salient trends in the post-War period include the politicization of music and other media (radio, television, social media), the in…[Read more]