To find out how social media is used in contemporary Slovenian folk-pop, the authors have conducted a semiological analysis of the social media activities of the six most popular folk-pop bands. Results show that the bands that are close to mainstream pop are more active than the ones that do not depart stylistically from the older Slovenian folk-pop. Regardless of these differences, all bands in the sample share an emphasis on community and partying: it seems that contemporary folk-pop remains committed to one of the most notable traditionalistic values, community, regardless of their hybridization with mainstream pop. Apparently, what matters is only that the community is partying hard.
Keywords: folk pop music, social media, tradition, community, fun

To find out how social media is used in contemporary Slovenian folk-pop, the authors have conducted a semiological analysis of the social media activities of the six most popular folk-pop bands. Results show that the bands that are close to mainstream pop are more active than the ones that do not depart stylistically from the older Slovenian folk-pop. Regardless of these differences, all bands in the sample share an emphasis on community and partying: it seems that contemporary folk-pop remains committed to one of the most notable traditionalistic values, community, regardless of their hybridization with mainstream pop. Apparently, what matters is only that the community is partying hard.
Keywords: folk pop music, social media, tradition, community, fun

The nationalization of music is more intense in those musical genres that the nation recognizes as traditional. Experts, performers, creators, cultural policy, consumers, and mass media play an important role in this context. Home and homeland are dominant markers of national belonging in their representational image. However, in the contemporary context of migration, the notion of home has also acquired new conceptual frameworks. Based on the findings of contemporary home studies in the milieu of migration, the article compares them with its representations in Slovenian folk-pop music, where home, homeland, Slovenia, longing, mountain, Slovenian places, and mother appear as dominant markers of the national.
Keywords: home, homeland, nationalization, migrations, Slovenian folk-pop music

The nationalization of music is more intense in those musical genres that the nation recognizes as traditional. Experts, performers, creators, cultural policy, consumers, and mass media play an important role in this context. Home and homeland are dominant markers of national belonging in their representational image. However, in the contemporary context of migration, the notion of home has also acquired new conceptual frameworks. Based on the findings of contemporary home studies in the milieu of migration, the article compares them with its representations in Slovenian folk-pop music, where home, homeland, Slovenia, longing, mountain, Slovenian places, and mother appear as dominant markers of the national.
Keywords: home, homeland, nationalization, migrations, Slovenian folk-pop music

Based on quantitative and qualitative methods, the article analyzes the presence of Slovenian and foreign music in Slovenian radio and television media. It pays special attention to the role of media gatekeeping in shaping popular music and musical tastes in Slovenia. The analysis shows that the media selection of music considers specific cultural, social, and political criteria. These criteria are reflected, among other things, in the non-inclusion of “bounce” genres, in the polarization at the level of musical taste, in the regulation of music migration, and in the formation of specific conceptual borders, which gatekeepers both consider and establish.
Keywords: music migration, globalization, media, Slovenian folk-pop, gatekeeping

Based on quantitative and qualitative methods, the article analyzes the presence of Slovenian and foreign music in Slovenian radio and television media. It pays special attention to the role of media gatekeeping in shaping popular music and musical tastes in Slovenia. The analysis shows that the media selection of music considers specific cultural, social, and political criteria. These criteria are reflected, among other things, in the non-inclusion of “bounce” genres, in the polarization at the level of musical taste, in the regulation of music migration, and in the formation of specific conceptual borders, which gatekeepers both consider and establish.
Keywords: music migration, globalization, media, Slovenian folk-pop, gatekeeping

In analyzing states’ responses to human mobilities, migration studies have long focused on the role played by the states that received migrants. However, scholarship examining governments’ outreach toward emigrants has been expanding, and Brigitte Le Normand’s book Citizens Without Borders falls precisely into this emerging field. Le Normand, a historian of Southeast Europe and a migration scholar at Maastricht University (who previously held a position at the University of British Columbia, Canada), employs new trends in migration research to shed light on how socialist Yugoslavia monitored its emigrant workers, i.e., migrants who, in the official discourse, were referred to as “workers temporarily working abroad.”

In analyzing states’ responses to human mobilities, migration studies have long focused on the role played by the states that received migrants. However, scholarship examining governments’ outreach toward emigrants has been expanding, and Brigitte Le Normand’s book Citizens Without Borders falls precisely into this emerging field. Le Normand, a historian of Southeast Europe and a migration scholar at Maastricht University (who previously held a position at the University of British Columbia, Canada), employs new trends in migration research to shed light on how socialist Yugoslavia monitored its emigrant workers, i.e., migrants who, in the official discourse, were referred to as “workers temporarily working abroad.”