Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.133
L. Kehrer
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Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.18
Morgan Bimm
Contemporary music analysis podcasts are engaged in an ongoing project of deconstructing pop songs and recoding them as valuable cultural objects. In this article, I understand podcasting as an extension of the popular music press and trace the affective strategies hosts use to elevate and evaluate pop songs new and old. I argue that music podcasts have seen a slow but steady departure from the conventions of critical distance and affectless, disembodied engagement to adopt an embodied, emotive response to the music that moves them. Drawing on theories of feminist affect, fan studies, and reactivity, I read the incorporation of fannish affect and the celebration of male creators’ emotive response to pop music as a continuation of a middlebrow sensibility that informs the popular music press writ large. Popular music analysis podcasts, on their surface, are a project of taking pop music seriously. When we scratch this surface, however, what we find is a mixed bag of tactics that seek to affirm the majority white, majority male creators as uniquely positioned to analyze, evaluate, and respond to music, much of which they are encountering considerably after it has already achieved the success that codes these songs as “popular” in the first place.
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Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.54
A. Vesey
In recent years, Björk has defied pop music criticism’s persistent myth of male genius by asserting her authorship as a singer, songwriter, composer, and producer. She expressed these concerns during a 2015 Pitchfork interview with Jessica Hopper by reflecting on the press’s minimization of her production work throughout her career and her desire to reclaim her creative authority as a model for younger female-identified artists. During this portion of the conversation, she mused, “I’ve sometimes thought about releasing a map of all my albums and just making it clear who did what.” Her impulse to challenge masculinist creation myths through documentation became the catalyst for Björk: Sonic Symbolism, a 2022 podcast miniseries sponsored by Mailchimp in which she discussed her albums’ creative processes with friends Oddný Eir and Ásmundur Jónson in a series of interviews. The title, which Björk defines as “a visual shortcut to describe sound,” provides the podcast’s framework for her articulation of authorial control, which she examines through album art that illustrates each cover’s mood and character; poetic synopses of each album’s unique audiovisual language; and references to her various studio, video, and stage collaborators. By using close listening to examine Björk’s conversations with Eir and Jónson and the episodes’ illustrative song segments, this article posits that Björk’s engagement with podcasting as an audio storytelling medium allows her to foreground her distinct speaking and singing voice as both a feminist intervention upon the recording industry and as a sonic metaphor for authorial control.
近年来，Björk打破了流行音乐评论家对男性天才的持久神话，坚持自己作为歌手、词曲作者、作曲家和制作人的身份。2015年，她在Pitchfork接受杰西卡·霍珀(Jessica Hopper)采访时表达了这些担忧，她反思了媒体在她的整个职业生涯中对她的制作工作的最小化，以及她希望重新获得作为年轻女性艺术家榜样的创作权威。在谈话的这段时间里，她若有所思地说:“我有时想发布一张我所有专辑的地图，让大家清楚地知道谁做了什么。”她通过记录挑战男性主义创造神话的冲动成为了2022年由Mailchimp赞助的播客迷你系列节目Björk: Sonic Symbolism的催化剂，在节目中，她与朋友Oddný Eir和Ásmundur Jónson在一系列采访中讨论了她专辑的创作过程。这个标题被Björk定义为“描述声音的视觉捷径”，为她表达作者的控制提供了播客的框架，她通过专辑封面来说明每个封面的情绪和角色;每张专辑独特的视听语言的诗意概要;以及她的各种工作室，视频和舞台合作者的参考资料。通过仔细聆听Björk与Eir和Jónson的对话，以及剧集的歌曲片段，本文认为Björk将播客作为一种音频讲故事的媒介，使她能够突出自己独特的说话和唱歌的声音，既是女权主义者对唱片行业的干预，也是作者控制的声音隐喻。
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Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.34
Amy Skjerseth
Podcasts often blend journalistic investigation with personal reflection, from Serial to Switched on Pop. Their veneer of fiction-as-fact especially confounds representation when podcasts’ voice acting and sound design portray pop stars in caricatured dramatizations. This paper examines reenactments of Cher and Taylor Swift in podcasts that investigate popular music industries and technology. As I show, these stars often are ventriloquized on podcasts due to their respective ages and visibility as women. Podcasts interrogate them for being too old or too young and for trespassing onto the often-male domains of business and technology. To show how podcast hosts represent women pop stars in particularly gendered and ageist ways, I listen to the sonics of fictionalization of two episodes that mythologize Cher’s Auto-Tuning and Swift’s battle to take back her masters from record industry men. First, American Innovations reenacts Cher’s request to producers to create the Auto-Tune effect, but the male host’s ventriloquy of her voice reduces her artistic and technological prowess to parody as they make her seem outdated. Then, in Business Wars, multiple voice actors reenact Swift’s career from its beginning and depict her as a child who doesn’t know any better. These podcasts blur facts and public opinion with alluring dramatizations of what “really happened,” placing listeners in the scene with compelling voice acting and ambient sound effects. In these reenactments, podcasts’ affordances of intimacy and immersion—which hosts often herald as democratizing—perpetuate cultural mythologies about gender and age in popular music.
播客经常将新闻调查与个人反思结合在一起，从《Serial》到《switch on Pop》。当播客的配音和声音设计将流行明星描绘成漫画化的戏剧时，它们的虚构作为事实的表象尤其令人困惑。本文研究了雪儿和泰勒·斯威夫特在调查流行音乐产业和技术的播客中的再现。正如我所展示的，由于她们各自的年龄和作为女性的知名度，这些明星经常在播客上进行腹语表演。播客会质疑她们是否太老或太年轻，以及是否擅闯通常由男性主导的商业和技术领域。为了展示播客主持人是如何以特别性别化和年龄歧视的方式代表女性流行明星的，我听了两集虚构的声音，这两集虚构了雪儿的自动调音和斯威夫特从唱片行业的男人手中夺回她的主人的战斗。首先，《美国创新》重现了雪儿要求制作人创造自动调音效果的过程，但男主持人的口技削弱了她的艺术和技术实力，使她看起来过时了。然后，在《商业战争》中，多位配音演员从一开始就重现了斯威夫特的职业生涯，并将她描绘成一个懵懂无知的孩子。这些播客模糊了事实和公众舆论，对“真实发生的事情”进行了诱人的戏剧化处理，将听众置于引人注目的配音和环境音效的场景中。在这些重现中，播客对亲密感和沉浸感的展现——主持人通常将其标榜为民主化——使流行音乐中关于性别和年龄的文化神话永久化。
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Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.125
Norma Coates
{"title":"A Non-Expert Response","authors":"Norma Coates","doi":"10.1525/jpms.2023.35.4.125","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.4.125","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"111 27","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138609346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.136
Sean Latham
{"title":"Review: Hard Rain: Bob Dylan, Oral Cultures, and the Meaning of History, by Alessandro Portelli","authors":"Sean Latham","doi":"10.1525/jpms.2023.35.4.136","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.4.136","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"227 S722","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138621264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.91
Kate Galloway
Music podcasts use a variety of listening modes to draw non-musically trained listeners into close readings of songwriting, production, and reception. Taylor Swift has attracted the attention of music podcasters who have devoted individual episodes and entire serial podcast to topics ranging from her celebrity feuds and well-publicized relationships, her autobiographical and deeply referential song texts, her savvy branding strategies and relationships with fans, and her public rejoinders to music industry inequities, such as her Taylor’s Version re-recordings. In the case of several Swift podcasts, these expert listeners are also avid fans, challenge the stereotype that avid pop fans are only amateur listeners. Her fans, notably those who self-identify as Swifties, are also active podcasters. This article is about listening to the sonic environments of fan-driven podcasting and the sonic spaces of fandom through music podcasting. This article engages with the sound and content of fan-driven music podcasting and the listening techniques used by hosts to listen to both the music of the artist where their fandom is centered, as well as the paramusical elements of their star persona and sonic strategies used by hosts to shape a virtual sonic environment where listeners listen with and through the hosts’ embodied listening. Through two case studies, The Swift Talk and Switched on Pop, I demonstrate how fan-driven Swift podcasting is sonically constructed and approaches listening as an inclusive social, analytic, and embodied practice of communicating fan musical knowledge to produce new insights into how listening, songwriting, star persona, and fandom are articulated in fan podcasting.
音乐播客使用各种收听模式来吸引非音乐训练的听众深入阅读歌曲创作，制作和接收。泰勒·斯威夫特吸引了音乐播客的注意，他们用单独的剧集和完整的系列播客来讨论她的名人不和和广为人知的恋情，她的自传和深刻参考的歌曲文本，她精明的品牌策略和与粉丝的关系，以及她对音乐行业不平等的公开回应，比如她的泰勒版本重新录制。在斯威夫特的几个播客中，这些专业听众也是狂热的粉丝，挑战了狂热的流行音乐粉丝只是业余听众的刻板印象。她的粉丝，尤其是那些自称是斯威夫特的人，也是活跃的播客。这篇文章是关于听粉丝驱动的播客的声音环境和粉丝通过音乐播客的声音空间。这篇文章涉及粉丝驱动的音乐播客的声音和内容，以及主持人用来收听以粉丝为中心的艺术家的音乐的收听技巧，以及他们的明星角色的辅助音乐元素和主持人用来塑造虚拟声音环境的声音策略，听众可以通过主持人的具体收听来收听。通过《Swift Talk》和《switch on Pop》这两个案例研究，我展示了粉丝驱动的Swift播客是如何在声音上构建的，并将倾听作为一种包容性的社交、分析和具体的实践，来交流粉丝的音乐知识，从而对粉丝播客中如何表达倾听、歌曲创作、明星角色和粉丝产生新的见解。
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Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.72
A. Brekke
Throughout its history, radio in the US has reflected and reproduced dominant racial ideologies. This article highlights the experiences of individuals who shared their stories for the 2016 “Radical Listening” equity-focused podcasting project. As part of this project, participants recorded stories of racism and resistance from the larger Seattle area. Some participants chose to broadcast edited segments from their stories on the local public radio station. Their experience working with producers to broadcast their clips exposed the sonic centering of whiteness within public radio. The musical choices and stylistic norms of the station catered to the predominantly white listening audience, leaving contributors of color to accept these terms or keep their stories off the airwaves. Moments of suffering packaged and made public are inherently risky. Through mapping a particular instance of failed listening and its reverberations, this article traces the complicated ethical entanglements that can arise between storytellers and producers when editing audio for broadcast. How personal stories are disseminated and by whom impacts how these stories are then taken up and understood as meaningful by listeners. Listening occurs within gendered and raced bodies, and our positionality impacts how we understand the significance of the stories we hear. As their narratives traveled farther from the recording studio through radio and online spaces, participants contended with their inability to control the soundtrack of their experiences.
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Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.111
Stacey Copeland
What possibilities and challenges does the podcast form afford for historically marginalized counterculture music communities? As a complex social phenomenon, music is surrounded by a network of fashion, film, radio, social media, and more that shape its significance and understanding. In the study of queer music, these networked media are central to unpacking the experience and production of queer ‘world-making’ in LGBTQ+ music cultures. Podcasts, too, are an increasingly significant part of this intricate cultural network to provide a space for gender and sexuality identity formation and activism against a history of oppression and misrepresentation. This article asks, how might we approach music podcasting as a tool for sustaining ‘queer joy’ and ‘potentiality’ for LGBTQ+ communities? Established in 2011, Homoground is one of the longest-running English-language music podcasts featuring music by queer (LGBTQ & allied) artists. As a podcast working to showcase queer voices and sounds for over a decade, the show also provides a case of study to reflect on what impact the shifting affordances of the podcast form have had on LGBTQ+ music podcasters prior to and following the 2014 podcast boom into the next decade with increasing concern of discoverability, algorithmic biases, and digital content saturation. With Lynn Casper, co-founder of LGBTQ+ music podcast Homoground, this article explores the role of podcasting in music’s queer world-making conversation and the particular evocations of queer joy and potentiality found in the show’s ability to sustain within an increasingly oversaturated podcast landscape.
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Pub Date : 2023-12-01DOI: 10.1525/jpms.2023.35.4.143
Langston Collin Wilkins
{"title":"Review: DJ Screw: A Life in Slow Revolution, by Lance Scott Walker","authors":"Langston Collin Wilkins","doi":"10.1525/jpms.2023.35.4.143","DOIUrl":"https://doi.org/10.1525/jpms.2023.35.4.143","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" 20","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138618647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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