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Journal articles on the topic 'Popular music – 2011-2020'

Author: Grafiati
Published: 27 July 2024
Last updated: 29 July 2025

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1

Ribeiro, Fabio, and Teresa Costa Alves. "Do I Sound Like a Broken Record?" Medijska istraživanja 27, no. 1 (2021): 75–98. http://dx.doi.org/10.22572/mi.27.1.4.

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Radio is all about intimacy and words (Balsebre, 1994). Since radio’s significant shift from verbal to musical content, songs have been able to create a special bond between broadcasters and audiences across the world. Nevertheless, selecting songs is far from being an innocent choice; it is part of a cultural framework (Ala-Fossi, 2005; Gjerdingen & Perrott 2008). Recently, scholars explained radio’s alliances with the music industry and the adaptation to audiences’ preferences (Kaplan, 2013; Uimonen, 2017), thus arguing that the music in radios’ playlists is far from diverse, especia
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Jin, Furong, Soon-Hong Kim, Yoon-Kyung Choi, and Byong-Kook Yoo. "A Study on the Impact of Hallyu (Korean Wave) on Korea’s Consumer Goods Exports to China: Panel Analysis Using Big Data and Provincial-Level Data." Sustainability 16, no. 10 (2024): 4083. http://dx.doi.org/10.3390/su16104083.

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This study empirically analyzes how the Hallyu (Korean Wave) phenomenon affects Korea’s consumer goods exports to China using Chinese provincial-level panel data covering the period from 2011 to 2020. This paper adopts Baidu Index big data with the keywords “Korean drama”, “Korean movie”, “Korean music”, and “Korean entertainment” as proxy variables for Hallyu. The paper investigates the impact of Hallyu on Korean consumer goods exports by subdividing consumer goods into seven processing steps. In addition to the effect of the composite Hallyu index, the effect of each Hallyu content is also e
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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.

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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for t
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Matos, Amanda Patrícia Vasconcelos, Rebeca Coêlho Linhares, and Richardson Chaves de Abreu. "Internações hospitalares por pneumonia em adultos e idosos no Maranhão entre 2011 e 2020." Revista Coleta Científica 8, no. 15 (2024): 01–14. https://doi.org/10.5281/zenodo.13684542.

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O trabalho objetiva analisar as internações hospitalares por pneumonia em adultos e idosos no Maranhão no período de 2011 a 2020. Estudo ecológico sobre as internações hospitalares por pneumonia em ≥ 20 anos de idade no Maranhão no período entre janeiro de 2011 a dezembro de 2020. Os dados utilizados foram de origem secundária, obtidos na plataforma do DATASUS. Foram avaliadas variáveis como município, sexo e faixas etárias estratificadas em 20 a 39 anos, 40 a 59 anos e ≥ 60 anos. Os dados foram ta
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Rogério, da Silva Souza, and Simone Dantas Siqueira Carvalho Aline. "PERFIL EPIDEMIOLÓGICO DOS PREMATUROS NASCIDOS EM PORTO VELHO NOS ANOS DE 2011-2020." Revistaft 26, no. 115 (2022): 64. https://doi.org/10.5281/zenodo.7215850.

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O presente estudo corresponde a uma pesquisa epidemiológico descritiva, transversal, retrospectiva, com abordagem quantitativa. O objetivo geral é descrever o perfil clínico epidemiológico dos recém-nascidos prematuramente no município de Porto Velho/RO nos anos de 2011 a 2020. A pesquisa foi realizada utilizando dados obtidos na plataforma DATASUS, através do programa SINASC. O software utilizado para manipulação e tratamento de dados foi o Microsoft   Excel, assim como para a criação de gráficos e tabela
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Kuntoro, Hadiyan Yusuf. "GLITCH ART SEBAGAI REFLEKSI MEMORI MANUSIA YANG RAPUH: SEBUAH PENCIPTAAN KARYA SENI." Gorga : Jurnal Seni Rupa 13, no. 01 (2024): 223. http://dx.doi.org/10.24114/gr.v13i01.52291.

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AbstractIn the era that has entered the digital revolution, academic publication articles on the creation of digital-based fine art are still not widely found compared to the creation of conventional fine art. One area of the digital art creation that has a limited number of academic publication articles is the creation of glitch art. In this article, the creation of glitch art is presented along with the explanation of the definition of glitch art, the methods of creation, the technical embodiment, and the concrete artworks. The creation method follows the nine stages of creation: preparation
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Burgfeld-Meise, Bianca, and Susanne Eggert. "Editorial: Medien, Medienbegriff und Öffentlichkeit im digitalen Wandel." merz | medien + erziehung 68, no. 6 (2024): 3–14. https://doi.org/10.21240/merz/2024.6.1.

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Die Medienpädagogik ist seit jeher ein dynamisches Feld, was einerseits maßgeblich durch die Entwicklung, Veränderung und Erweiterung medialer Phänomene, den damit zusammenhängenden Anwendungsmöglichkeiten und entsprechend ihrer Bedeutung in der Lebenswelt und im Alltag der Subjekte bedingt ist. Andererseits wird und wurde es gleichzeitig und damit einhergehend durch die vielen Bezugsdisziplinen der Medienpädagogik geprägt. Insbesondere prägend waren und sind die Erziehungswissenschaft, Kommunikations- und Medienwissenschaft, Soziologie, Soziale Arbeit oder auch Informatik. Entsprechend vielfä
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8

Brunt, Shelley, Mike Callander, Sebastian Diaz-Gasca, Tami Gadir, Ian Rogers, and Catherine Strong. "Music as Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2998.

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Introduction Music scholarship across genres is often concerned with music's metaphysical and ephemeral effects on individuals, communities, and society. These scholarly framings constitute a concept that we refer to here as “the magic of music”. Using this framing, this article addresses the ways that the magic is undermined by a range of worldly, non-magical realities, using the case study of the COVID-19 pandemic lockdowns and their devastating effects on the previously thriving live music industry in Naarm/Melbourne, Australia. The magic of music includes such aspects as the intangible sou
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Kim, Priscilla, and Ethan Hutt. "K-pop as a Social Movement: Case Study of BTS and Their Fandom ARMY." Journal of Student Research 10, no. 3 (2021). http://dx.doi.org/10.47611/jsrhs.v10i3.1772.

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This study investigates K-pop and K-pop fandom as an ongoing social movement. With popular South Korean group BTS as a case study, I examine how their fans join together and use collective action to create social change. My research answered three primary questions: (1) “How have K-pop fans been involved in societal causes prior to their recent surge in activism in 2020?,” (2) “To what extent does K-pop represent a social movement?,” and (3) “Do either K-pop music or the artists themselves contribute to fan participation in social advocacy, and if so, how?” I find that K-pop fans do constitute
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10

Cunanan, Ericka Mae. "True Harmony Between Liturgy and Popular Piety: Expressing The Thomasian Faith in The Sabuaga Festival." Scientia - The International Journal on the Liberal Arts 10, no. 2 (2021). http://dx.doi.org/10.57106/scientia.v10i2.134.

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The Directory on Popular Piety and the Liturgy (DPPL) upholds that Christian worship originates and is brought to completion in the Spirit of Christ, which dispenses truthful liturgical devotion and realistic manifestations of popular piety. A vigorous engagement of evangelization and culture is embodied in the Sabuaga Festival, an Easter Sunday celebration in Sto. Tomas, Pampanga. It is a collaboration of the Catholic Church (St. Thomas the Apostle Parish) and the Local Government Unit (Sto. Tomas).
 This paper argues how a true and fruitful harmony between liturgy and popular piety is a
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Cole, Sebastian, and Jessica Yarin Robinson. "Curating Christmas." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3125.

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Introduction As music listening transitions from physical to digital formats, the model for how people organise and discover new music is being taken over by the features of digital streaming services (Lüders; Rothenbuhler; Wikström). Playlists, akin to the mixtape of the analogue era, have broken up the album model, catering to specific moods, genres, and events (Bonini and Gandini; Prey; Siles et al., "Genres"). On Spotify, algorithmic playlists are readily mixed in with human-curated playlists, blurring the lines between the selections of personal human choice, and the datafied choices driv
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Linke, Christine, Elizabeth Prommer, and Claudia Wegener. "Gender Representations on YouTube." M/C Journal 23, no. 6 (2020). http://dx.doi.org/10.5204/mcj.2728.

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Introduction Media and gender are intricately linked in our society. Every day we see representations of women and men on the screen, read about politicians in the press, watch influencers on YouTube or go to the cinema where we meet screen heroes. Our images and notions of gender draw on these media narratives and role models. Children and young people are socialised with these views and cultivate their own identity and gender roles accordingly. Ideas of gender are not static. They are produced discursively in an ongoing process. Gender is understood as a social category, and this perspective
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Malmstedt, Johan. "Formatted Sound." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3028.

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Locating the Format What is format radio? At a glance, the answer might seem simple. In common parlance, the concept is often presented as a pejorative counterpart to non-commercial broadcasting. However, to render the concept synonymous with commercial broadcasting neglects its historical specificity. Previous research has demonstrated the nuanced factors at stake in the selection of music at specific broadcasting stations (Ahlkvist and Fisher 301-325). Beyond economic structures and conditions, however, remains the matter of whether we can posit an aesthetic expression that epitomises format
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14

Admin, Admin. "Colaboradores." Contrapulso - Revista latinoamericana de estudios en música popular 2, no. 2 (2020). http://dx.doi.org/10.53689/cp.v2i2.83.

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Juan Carlos Ramírez Figueroa cursa el Magister en Arte, Pensamiento y Cultura Latinoamericanos del Instituto de Estudios Avanzados de la Universidad de Santiago de Chile. Es periodista y diplomado en Redes Sociales de la Pontificia Universidad Católica de Chile, investigador y consultor digital independiente. Desde 2003 se ha desempeñado en medios como los diarios El Sur y Crónica de Concepción, La Estrella de Valparaíso, suplemento Ku de Medios Regionales, La Nación Domingo y The Clinic; las revistas Paula, Rockaxis y Capital; las radios Uno y Rock & Pop; y el canal Vía X. Ha sido crítico
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Admin, Admin. "Colaboradores." Contrapulso - Revista latinoamericana de estudios en música popular 3, no. 2 (2021). http://dx.doi.org/10.53689/cp.v3i2.134.

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Luis Pérez Valero es doctorando en música por la Pontificia Universidad Católica Argentina “Santa María de los Buenos Aires”; Máster universitario en música española e hispanoamericana (Universidad Complutense de Madrid, 2012); Magister en música (Universidad Simón Bolívar, 2009); Licenciado en música mención composición (Instituto Universitario de Estudios Musicales-UNEARTE, 2005). Sus investigaciones giran en torno al análisis de la música popular, la producción musical, estética de la grabación, entre otros. Ha publicado en diversas revistas académicas artículos de investigación en musicolo
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16

Connor, Will. "Making It Magical." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3006.

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In the late 2010s, I owned and operated a bespoke drum-building company, and during that time, I was commissioned to build a frame drum by the partner of a musician who was also a magic practitioner. The commission was fitting despite my business not being related to magic or Paganism directly. I have been working with drum construction in all of my research projects during my academic career, a touring percussionist for decades, and the company focussed on making drums inspired by Lovecraftian narratives and Lovecraftian Futurist music. Due to the nature of Lovecraftian horror and science fic
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17

Hopgood, Fincina, and Jodi Brooks. "“Bubbling” the Fourth Age in the Time of COVID-19." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2746.

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Prelude: 2020 in Words Each year the Australian National Dictionary Centre, based at the Australian National University (ANU), selects “a word or expression that has gained prominence in the Australian social landscape”. In 2020, “iso” took out first place, with “bubble” following close behind. On the Centre’s website, Senior Researcher Mark Gywnn explains that “iso” was selected not only for its flexibility, merrily combining with other words to create new compound words (for instance “being in iso”, doing “iso baking” and putting on “iso weight”), but also because it “stood out as a characte
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Pavlidis, Adele, and David Rowe. "The Sporting Bubble as Gilded Cage." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2736.

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Introduction: Bubbles and Sport The ephemeral materiality of bubbles – beautiful, spectacular, and distracting but ultimately fragile – when applied to protect or conserve in the interests of sport-media profit, creates conditions that exacerbate existing inequalities in sport and society. Bubbles are usually something to watch, admire, and chase after in their brief yet shiny lives. There is supposed to be, technically, nothing inside them other than one or more gasses, and yet we constantly refer to people and objects being inside bubbles. The metaphor of the bubble has been used to describe
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Rose, Megan Catherine, Haruka Kurebayashi, and Rei Saionji. "Kawaii Affective Assemblages." M/C Journal 25, no. 4 (2022). http://dx.doi.org/10.5204/mcj.2926.

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Introduction The sensational appearance of kawaii fashion in Tokyo’s Harajuku neighborhood—full of freedom, fun, and frills— has captivated hearts and imaginations worldwide. A key motivational concept for this group is “kawaii” which is commonly translated as “cute” and can also be used to describe things that are “beautiful”, “funny”, “pretty”, “wonderful”, “great”, “interesting”, and “kind” (Yamane 228; Yomota 73; Dale 320). Representations in media such as the styling of Harajuku street model and J-pop star Kyary Pamyu Pamyu, directed by Sebastian Masuda, have helped bring this fashion to
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Döring, Nicola, and Roberto Walter. "Alcohol Portrayals on Social Media (Social Media)." DOCA - Database of Variables for Content Analysis, May 27, 2022. http://dx.doi.org/10.34778/5h.

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The depiction of alcohol is the focus of a growing number of content analyses in the field of social media research. Typically, the occurrence and nature of alcohol representations are coded to measure the prevalence, normalization, or even glorification of alcohol and its consumption on different social media platforms (Moreno et al., 2016; Westgate & Holliday, 2016) and smartphone apps (Ghassemlou et al., 2020). But social media platforms and smartphone apps also play a role in the prevention of alcohol abuse when they disseminate messages about alcohol risks and foster harm reduction, a
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Hackett, Lisa J. "Dreaming of Yesterday: Fashioning Liminal Spaces in 1950s Nostalgia." M/C Journal 23, no. 1 (2020). http://dx.doi.org/10.5204/mcj.1631.

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The 1950s era appears to hold a nostalgic place in contemporary memories and current cultural practices. While the 1950s is a period that can signify a time from the late 1940s to the early 1960s (Guffey, 100), the era is often represented as a liminal space or dream world, mediated to reflect current desires. It is a dream-like world, situated half way between the mediated vision of the 1950s and today. Modern participants of 1950s culture need to negotiate what is authentic and what is not, because as Piatti-Farnell and Carpenter remind us ‘history is what we want it to be’ (their emphasis).
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Rutherford, Amanda, and Sarah Baker. "The Disney ‘Princess Bubble’ as a Cultural Influencer." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2742.

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The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the main
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Locke, Kathryn, Katie Ellis, and Katharina Wolf. "Auditory Learner." M/C Journal 27, no. 2 (2024). http://dx.doi.org/10.5204/mcj.3029.

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Introduction This study examines the ways in which students and staff in higher education use and engage in audio, both in everyday life and within the university setting. Specifically, we explore if the increasingly diverse student population utilise audio as part of a personalised approach to learning. Increasing student engagement in online delivery through a personalised approach to learning is a vital area of focus in contemporary pedagogy internationally. The rapid move to online delivery during the COVID-19 pandemic revealed both opportunities and challenges for learners with diverse di
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Hardley, Jess. "Embodied Perceptions of Darkness." M/C Journal 24, no. 2 (2021). http://dx.doi.org/10.5204/mcj.2756.

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Introduction The past decade has seen a burgeoning new field titled “night studies” or “darkness studies” (Gwiazdzinski, Maggioli, and Straw). Key theorists Straw, Shaw, Dunn, and Edensor have spearheaded this new field, publishing a recent flurry of books and other scholarly work dedicated to various aspects of the night. Topics range, for instance, from the history of artificial lighting (Shaw), atmospheres of urban light and darkness (Sumartojo, Edensor, and Pink), street music and public space at night (Reia), the experience of eating in the dark (Edensor and Falconer), walking at night (M
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Smith, Naomi, and Clare Southerton. "#FreeBritney and the Pleasures of Conspiracy." M/C Journal 25, no. 1 (2022). http://dx.doi.org/10.5204/mcj.2871.

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Introduction There are many competing explanations for why people are drawn to conspiracy theories. Increasingly, conspiracy theories are mainstream sites of cultural engagement (Barkun). Conspiracy theorising, then, is part of, or at least brushes up against, people’s daily sense-making practices. However, many still think of conspiracy theorising and the communities that form around them as deviant, pathological or deficient (Swami et al.). In this article, we argue that we need to shift from a model of a deficient and deviant understanding of conspiracy theorising to understand these practi
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Little, Christopher. "The Chav Youth Subculture and Its Representation in Academia as Anomalous Phenomenon." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1675.

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Introduction“Chav” is a social phenomenon that gained significant popular media coverage and attention in the United Kingdom in the early 2000s. Chavs are often characterised, by others, as young people from a background of low socioeconomic status, usually clothed in branded sportswear. All definitions of Chav position them as culturally anomalous, as Other.This article maps out a multidisciplinary definition of the Chav, synthesised from 21 published academic publications: three recurrent themes in scholarly discussion emerge. First, this research presents whiteness as an assumed and essenti
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Blackwood, Gemma. "<em>Roblox</em> and Meta Verch." M/C Journal 26, no. 3 (2023). http://dx.doi.org/10.5204/mcj.2958.

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Introduction In September 2022, American retail giant Walmart launched two new gaming experiences onto popular multi-platform gaming experience Roblox, entitled Walmart Land and Walmart Universe of Play. First released in 2006, Roblox is an online multiplayer programme and a virtual gaming world that is part of a rise of other similar programmes, including Minecraft (2009), Pokémon GO (2016), and Fortnite (2013). Like these other games, it is also a multi-platform program, which means that “it can be played on computers, tablets, mobiles or video consoles, thus enabling its ubiquitous access”
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Gerrand, Vivian, Kim Lam, Liam Magee, Pam Nilan, Hiruni Walimunige, and David Cao. "What Got You through Lockdown?" M/C Journal 26, no. 4 (2023). http://dx.doi.org/10.5204/mcj.2991.

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Introduction While individuals from marginalised and vulnerable communities have long been confronted with the task of developing coping strategies, COVID-19 lockdowns intensified the conditions under which resilience and wellbeing were/are negotiated, not only for marginalised communities but for people from all walks of life. In particular, the pandemic has highlighted in simple terms the stark divide between the “haves” and “have nots”, and how pre-existing physical conditions and material resources (or lack thereof), including adequate income, living circumstances, and access to digital an
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S, Eli. "Unboxing the New Barbie." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3060.

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Introduction “Unboxing the New Barbie” explores Barbie’s new image in Greta Gerwig’s 2023 film, Barbie, where Barbie appears initially in a perfect shape and enjoys her ideal life in Barbie Land. The film presents Barbie Land as a female-dominated space with Barbies at the centre of authority, with a utopic lifestyle of freedom and joy. However, the film immediately troubles this utopia through a set of cinematic devices. First, the stereotypical Barbie’s life appears as a series of monotonous routines within the pink plastic structures, and later, her utopic body image and Barbie Land are dis
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Chateau, Lucie. "“Damn I Didn’t Know Y’all Was Sad? I Thought It Was Just Memes”: Irony, Memes and Risk in Internet Depression Culture." M/C Journal 23, no. 3 (2020). http://dx.doi.org/10.5204/mcj.1654.

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Depression memes are a widespread phenomenon across all social media platforms. To get your hit of depression memes, you can go to any number of pages on Facebook, the subreddit “2me4meirl”, where the posts that are “too real” for more mainstream subreddits go, but nevertheless counting over one million subscribers or, on Instagram, and find innumerable accounts dedicated to “sad memes”, many with tens to hundreds of thousands of followers. In a recent study, depression memes were found to be responsible for 35 per cent of the content researchers analysed in the “#depressed” hashtag on Instagr
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Hookway, Nicholas, Catherine Palmer, Matthew Wade, and Kevin Filo. ""I Decked Myself Out in Pink"." M/C Journal 26, no. 1 (2023). http://dx.doi.org/10.5204/mcj.2940.

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Introduction From the annual ‘Pink Test’ cricket match in Australia to Mother’s Day fun runs, there has been a proliferation of ‘pink’ uniformed charity events. This article analyses the pink uniform of the 2020 Cancer Council Tasmania’s Women’s first virtual 5K walk/run (W5K). The Women’s 5K event took take place virtually in September 2020 due to COVID-19 restrictions. The annual event, which runs through the CBD of Launceston, a regional city in Tasmania, typically attracts around 2,000 participants and is Cancer Council Tasmania’s major annual fundraiser. Cancer Council received 798 regist
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Kennedy, Ümit. "“THESE VLOGS AREN’T REAL”." M/C Journal 27, no. 6 (2024). http://dx.doi.org/10.5204/mcj.3080.

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Introduction – Family Influencers Family vlogging on YouTube is a practice gaining in popularity and scope. An increasing number of couples are giving up their jobs to become full-time “vloggers” or, in industry terms, “creators”. This involves parents filming their everyday lives with their children and uploading the footage to YouTube in daily or weekly instalments for others to watch and respond to. Vlogging reflects a current Western obsession with documenting and recording the self. The digital practice of recording life on YouTube is part of a “broadcast era” (Garde-Hansen et al.). YouTu
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Beyer, Sue. "Fantasyland Autofiction." M/C Journal 27, no. 5 (2024). http://dx.doi.org/10.5204/mcj.3104.

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This essay explores a return to hope and romanticism by contemporary artists looking at themes of fantasy worlds and mapping imaginary lands as a type of autofiction. These fantasylands are created in collaboration with hallucinating machine learning platforms, as a tool for contemporary art-making. Seen through the framework of Metamodernism, how does AI hallucination contribute to Metamodern structure of feeling? AI, as part of the metacrisis, places society and culture in a type of no man’s land or in-between, where rapid and unchecked advancements in machine learning and generative technol
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Brien, Donna Lee. "Demon Monsters or Misunderstood Casualties?" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2845.

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Over the past century, many books for general readers have styled sharks as “monsters of the deep” (Steele). In recent decades, however, at least some writers have also turned to representing how sharks are seriously threatened by human activities. At a time when media coverage of shark sightings seems ever increasing in Australia, scholarship has begun to consider people’s attitudes to sharks and how these are formed, investigating the representation of sharks (Peschak; Ostrovski et al.) in films (Le Busque and Litchfield; Neff; Schwanebeck), newspaper reports (Muter et al.), and social media
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Rose, Megan Catherine. "The Future Is Furby." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2955.

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Fig. 1: “Pink Flamingo Furby” (2000), “Peachy Furby Baby” (1999), and “Owl Furby” (1999) Sunlight Up (“Dah-ay-loh oo-tye”): Introduction As playthings at the junction of human experience and imagination, toys like Furby present an interesting touch point to explore cultural imaginations, hopes, and fears about zoomorphic robots and AI toys. This year marks their 25th anniversary. Created by Dave Hampton and Caleb Chung, Furby publicly debuted at the American International Toy Fair in 1998. Originally released by Tiger Electronics, this toy was later sold to Hasbro in 2005 to 2007. Since their
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