{"title":"REVIEW | Designed for Hi-Fi Living: The Vinyl LP in Midcentury America","authors":"I. Taylor","doi":"10.5429/2079-3871(2018)v8i2.6en","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)v8i2.6en","url":null,"abstract":"Janet Borgerson and Jonathan Schroeder \u0000Cambridge, MA: MIT Press, 2017 \u0000ISBN: 9780262036238 (HB)","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45748498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.3EN
Kara A. Attrep
The history of jazz and blues is tied up with the spaces owned and curated by female proprietors. Early jazz making was supported by enterprising women who would host lawn parties at their residences in New Orleans. The blues developed in places known as juke joints, which were and are still often women-owned spaces in the southern United States. Nevertheless, while histories of jazz and blues tend to focus on the musicians and composers of the respective genres, the venues have largely gone unstudied. If venues have been discussed, they are primarily the larger spaces owned by men. The work of club owners is unique, as they also act as club managers and are frequently curators of the music being presented. Club ownership as an occupational category is largely marked as male, with the places and spaces of musical production often seen as being hostile to women. This paper seeks to examine the work of female club owners and reveal the hidden political economy of places and spaces of jazz and blues.
{"title":"From Juke Joints to Jazz Jams: The Political Economy of Female Club Owners","authors":"Kara A. Attrep","doi":"10.5429/2079-3871(2018)V8I1.3EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.3EN","url":null,"abstract":"The history of jazz and blues is tied up with the spaces owned and curated by female proprietors. Early jazz making was supported by enterprising women who would host lawn parties at their residences in New Orleans. The blues developed in places known as juke joints, which were and are still often women-owned spaces in the southern United States. Nevertheless, while histories of jazz and blues tend to focus on the musicians and composers of the respective genres, the venues have largely gone unstudied. If venues have been discussed, they are primarily the larger spaces owned by men. The work of club owners is unique, as they also act as club managers and are frequently curators of the music being presented. Club ownership as an occupational category is largely marked as male, with the places and spaces of musical production often seen as being hostile to women. This paper seeks to examine the work of female club owners and reveal the hidden political economy of places and spaces of jazz and blues.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41397655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.15EN
Nicholas P. Greco
{"title":"REVIEW | Mozlandia: Morrissey Fans in the Borderlands","authors":"Nicholas P. Greco","doi":"10.5429/2079-3871(2018)V8I1.15EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.15EN","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45089906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.7EN
Cecilia A Navarro
The growing interest in gender equality at festivals contrasts with the relative lack of scholarly attention given to festivals as sites of gender politics. Organized by a Senegalese association which promotes urban cultures, the example of Urban Women Week – a Senegalese festival which aims to promote women in hip hop, including rap music – leads me to revisit a gendered perspective on festivals while tackling the neglected issue of women’s presence in a rap music scene dominated by the “patriarchal impulses of the Senegalese hip hop establishment” (Neff 2015: 460). How are we to understand the adoption of a focus on women by the organizers of the festival in Senegal? Is rap music a specific place where women are empowered in the Senegalese context? Based on fieldwork carried out on the rap music scene in Senegal, I situate the establishment and evolution of the festival as a way for the association to respond to local claims for the inclusion of women in rap music while benefiting from a global agenda of gender mainstreaming, thereby exploring the glocal intricacies of gender politics in music.
{"title":"Urban Women Week: Promoting Women on the Senegalese Rap Scene","authors":"Cecilia A Navarro","doi":"10.5429/2079-3871(2018)V8I1.7EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.7EN","url":null,"abstract":"The growing interest in gender equality at festivals contrasts with the relative lack of scholarly attention given to festivals as sites of gender politics. Organized by a Senegalese association which promotes urban cultures, the example of Urban Women Week – a Senegalese festival which aims to promote women in hip hop, including rap music – leads me to revisit a gendered perspective on festivals while tackling the neglected issue of women’s presence in a rap music scene dominated by the “patriarchal impulses of the Senegalese hip hop establishment” (Neff 2015: 460). How are we to understand the adoption of a focus on women by the organizers of the festival in Senegal? Is rap music a specific place where women are empowered in the Senegalese context? Based on fieldwork carried out on the rap music scene in Senegal, I situate the establishment and evolution of the festival as a way for the association to respond to local claims for the inclusion of women in rap music while benefiting from a global agenda of gender mainstreaming, thereby exploring the glocal intricacies of gender politics in music.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47066015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.13EN
N. Zuberi
{"title":"REVIEW | Vinyl Freak: Love Letters to a Dying Medium","authors":"N. Zuberi","doi":"10.5429/2079-3871(2018)V8I1.13EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.13EN","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47164109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.5EN
Cecilia Björck, Åsa Bergman
The aim of this article is to examine responses to a project that aspires to further gender-equal jazz scenes in Sweden and the US. The project brought together actors at various levels of the industry: cultural agencies, commercial organizers, activists, and artists. Our analysis – with special focus on resistance voiced – is based on observations, interviews with organizers, and a documentary about the project. The project’s central ambition was to make women in jazz visible in order to change a structural imbalance where men still take up most of the space on stage. This ambition was, however, complicated as different actors resisted a female–male binary, and thus the very idea of “women in jazz”. The resistance was played out through gender equality discourses of either unity or diversity, varying in relation to national context and generation. The article also discusses visibility as a central but also problematic aspect for gender equality efforts in music
{"title":"Making Women in Jazz Visible: Negotiating Discourses of Unity and Diversity in Sweden and the US","authors":"Cecilia Björck, Åsa Bergman","doi":"10.5429/2079-3871(2018)V8I1.5EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.5EN","url":null,"abstract":"The aim of this article is to examine responses to a project that aspires to further gender-equal jazz scenes in Sweden and the US. The project brought together actors at various levels of the industry: cultural agencies, commercial organizers, activists, and artists. Our analysis – with special focus on resistance voiced – is based on observations, interviews with organizers, and a documentary about the project. The project’s central ambition was to make women in jazz visible in order to change a structural imbalance where men still take up most of the space on stage. This ambition was, however, complicated as different actors resisted a female–male binary, and thus the very idea of “women in jazz”. The resistance was played out through gender equality discourses of either unity or diversity, varying in relation to national context and generation. The article also discusses visibility as a central but also problematic aspect for gender equality efforts in music","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44198357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"REVIEW | Queerness in Heavy Metal Music: Metal Bent","authors":"L. Maloy","doi":"10.5429/2079-3871(2018)V8I1.11EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.11EN","url":null,"abstract":"Amber R. Clifford-Napoleone \u0000London and New York: Routledge, 2015 \u0000ISBN: 9780815365587 (PB)","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49297861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.9EN
C. O’Sullivan
This article explores the roles that women played in the Dublin Music scene over the years 2000-2017. Based on longitudinal ethnographic research, it describes the barriers that women face to performing opportunities in the indie and dance music scenes. I outline the motivating factors for women to become involved in music performance and contrast them with those of their male counterparts to see if there are fundamental differences in why and how either gender becomes involved. I posit that the prevailing messages that women receive are often discouraging to their sense of belonging to the music scene. Finally, I contend that rather than women gaining access to the positions that incur capital, they instead continue to find themselves in challenging and sexist situations and corralled into roles that offer them very little in terms of monetary or cultural reward, or they leave the music industry all together.
{"title":"The Gender Barriers in the Indie and Dance Music Scene in Dublin","authors":"C. O’Sullivan","doi":"10.5429/2079-3871(2018)V8I1.9EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.9EN","url":null,"abstract":"This article explores the roles that women played in the Dublin Music scene over the years 2000-2017. Based on longitudinal ethnographic research, it describes the barriers that women face to performing opportunities in the indie and dance music scenes. I outline the motivating factors for women to become involved in music performance and contrast them with those of their male counterparts to see if there are fundamental differences in why and how either gender becomes involved. I posit that the prevailing messages that women receive are often discouraging to their sense of belonging to the music scene. Finally, I contend that rather than women gaining access to the positions that incur capital, they instead continue to find themselves in challenging and sexist situations and corralled into roles that offer them very little in terms of monetary or cultural reward, or they leave the music industry all together.","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45678282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-08-01DOI: 10.5429/2079-3871(2018)V8I1.14EN
D. B. Scott
{"title":"REVIEW | Vaudeville Melodies: Popular Musicians and Mass Entertainment in American Culture, 1870-1929","authors":"D. B. Scott","doi":"10.5429/2079-3871(2018)V8I1.14EN","DOIUrl":"https://doi.org/10.5429/2079-3871(2018)V8I1.14EN","url":null,"abstract":"","PeriodicalId":36498,"journal":{"name":"IASPM Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45810313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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