At the beginning of this volume year, we gave introductory space in the Field Notes section to digital lectures, the online style of conference presentation that COVID-19 foisted on us. As I wrote then:One effect of the Covid crisis has been to highlight digital lectures: the recorded combination of a speaking voice, a PowerPoint, and perhaps an on-camera presence. As “asynchronous presentations,” these works have substituted for in-person teaching and also for in-person conference talks. They have the strong disadvantage of removing liveness from the equation: attention might be divided; consumption might be partial. But they do also put a somewhat new kind of voice into the world, which we can contemplate from the position of popular music studies. Digital lectures, often about 15 minutes long in their conference form, can be seen as podcasts with visuals, or off-the-cuff moments you can subsequently share with those unable to attend in person. Ideas about music, presented and received in this way, can take shapes that other formats don’t as easily afford.Now, to conclude the volume year (though not the crisis, alas), we present a fuller survey of the form, drawing in particular on work presented at the two gatherings most closely tied to JPMS: the IASPM-US annual conference and the Pop Conference.Alexandria Arrieta uses the immediacy of video to interpret the endless reusing of certain sounds in that most addictive of formats these days: TikTok. Mike D’Errico saturates us with EDM’s excessive vices, even as he dissects them. Dan DiPiero posits a feminist affect, Big Feelings, he thinks has taken indie music from riot grrrl into our present: the digital lecture format lets us reach for meaning with him. DeAngela Duff romps through the archives to show Prince blowing smoke at us: conjuring mystique to establish a persona. Beza Fekade makes the relationship between Minnie Riperton and a manipulated sample of her by A Tribe Called Quest a model for resisting the easy celebrations of digital utopianism. Zalika U. Ibaorimi makes dizzying fusion of the “ho ontologies” of Summer Walker and 1973 film, Ganja & Hess–“daylight and night bleed together” as the digital lecture encourages experiments in prose. Pil Ho Kim and Wonseok Lee turn to XXX, a Korean industrial hip-hop duo working a space of resistance against a nationalist entertainment sector. James Denis Mc Glynn creates a taxonomy of one episode of HBO’s Watchmen revamp to talk us through the ways musical cues convey trauma, droplet by sonic droplet. John McGrath explores Laurie Anderson’s “transmedial storytelling” as a fractured form of communication that he tracks via hints he detects in her oeuvre. Kwabena Slaughter makes an African American saying, “She put her foot in it,” the springboard for a take on tap dance that uses the digital lecture’s nimbleness to do just what the phrase says, formally−motion as glyph. Finally, Sarah Suhadolnik makes the “hype videos” used by sports teams in Detroit and New Orleans a soundscape of strategic urbanity.The text provided here is meant as a transcript and captioning aid only. Please make the digital lectures themselves your focus: the works in their intended format.