Pub Date : 2022-12-01DOI: 10.1525/jpms.2022.34.4.139
F. A. Viator
{"title":"Review: Who Got the Camera?: A History of Rap and Reality, by Eric Harvey","authors":"F. A. Viator","doi":"10.1525/jpms.2022.34.4.139","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.139","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46806764","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 : 2022-12-01DOI: 10.1525/jpms.2022.34.4.109
M. R. Villegas
This article sheds light on the pervasive yet largely uncommented upon presence of geek culture and Orientalism in hip hop, revealing the constructed, performed, and mediated nature of racialized masculinity in popular culture. By observing a range of media artifacts but concentrating on RZA’s memoir The Tao of the Wu (2009), this article contends that geeky hip hop Orientalism performs a strategy of style codeswitching, wherein the combination of intellectualism and the fantasized East expand the repertoire of Black masculinity and fantastical worldmaking. Heavy in Orientalist themes that mirror the hyper intellectualism associated with geekiness, The Tao of the Wu evinces the strong bond between geek culture and early hip hop music. Specifically, this article focuses on RZA’s mental cultivation over physicality and his enchantment by children’s media culture (comics, anime, and kung fu cinema). Merging hip hop and geek culture, which conventionally appear to exist on opposite poles, results in new interracial paradigms of geek and hip hop representations. Hip hop geekiness largely detours from an otherwise presumed whiteness in routing itself along a storied legacy of African American Orientalism. In this way, geeky hip hop Orientalism contributes to more queered and quotidian versions of Afro Asian aesthetics, politics, and interracial fantasy worlds. A deep consideration of the bonds among hip hop, geekiness, and Orientalism helps to reimagine the embodiments and performances of racialized masculinity, which, though complex and limited, can gesture towards the freedoms promised in a more expansive spectrum of gender and sexual affinities and identities.
{"title":"“Gangsta Chi”","authors":"M. R. Villegas","doi":"10.1525/jpms.2022.34.4.109","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.109","url":null,"abstract":"This article sheds light on the pervasive yet largely uncommented upon presence of geek culture and Orientalism in hip hop, revealing the constructed, performed, and mediated nature of racialized masculinity in popular culture. By observing a range of media artifacts but concentrating on RZA’s memoir The Tao of the Wu (2009), this article contends that geeky hip hop Orientalism performs a strategy of style codeswitching, wherein the combination of intellectualism and the fantasized East expand the repertoire of Black masculinity and fantastical worldmaking. Heavy in Orientalist themes that mirror the hyper intellectualism associated with geekiness, The Tao of the Wu evinces the strong bond between geek culture and early hip hop music. Specifically, this article focuses on RZA’s mental cultivation over physicality and his enchantment by children’s media culture (comics, anime, and kung fu cinema).\u0000 Merging hip hop and geek culture, which conventionally appear to exist on opposite poles, results in new interracial paradigms of geek and hip hop representations. Hip hop geekiness largely detours from an otherwise presumed whiteness in routing itself along a storied legacy of African American Orientalism. In this way, geeky hip hop Orientalism contributes to more queered and quotidian versions of Afro Asian aesthetics, politics, and interracial fantasy worlds. A deep consideration of the bonds among hip hop, geekiness, and Orientalism helps to reimagine the embodiments and performances of racialized masculinity, which, though complex and limited, can gesture towards the freedoms promised in a more expansive spectrum of gender and sexual affinities and identities.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46916135","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 : 2022-12-01DOI: 10.1525/jpms.2022.34.4.19
Ambre Dromgoole
This article uses Joseph Roach’s concept of performance genealogy, the constitutive nature of memory and surrogation that takes place at the site of performance, to examine the passing of the peace that took place at Aretha Franklin’s funeral, at which singers Fantasia Barrino and Jennifer Hudson performed. Barrino and Hudson’s voices, movement, and physical comportment echo the Baptist and Holiness-Pentecostal, or Sanctified, environments that Franklin first encountered as a child and that she continued to reflect throughout her life. But to hear these resonances, it is necessary to differentiate them from Afro-Protestant settings that are often collapsed into monolithic representations of a singular “Black church.” I specify how scholars hear Black women’s voices by showing that Barrino’s and Hudson’s particularities emanate certain characteristics of Franklin, enough to summon memories but not to mimic. Learning to hear individual Black women’s voices within a performance genealogy demands perceiving the different genres of spiritual theater that require different techniques of voice and presence. Seeing the distinctions among her inheritors allows scholars, audiences, and critics alike to perceive the theatrical education in Black sonic creation and makes possible representing Aretha Franklin’s artistic and interpretive brilliance. Ultimately, I argue that in order to respect Aretha Franklin, we must heed her assertion that there is in fact only one Aretha Franklin who is the sum of several social and spiritual worlds that inspired her artistic interpretations and that those in her lineage are not homogenous representations but share in her multitudes.
{"title":"“I’m Gonna Dedicate This One to Miss Franklin”","authors":"Ambre Dromgoole","doi":"10.1525/jpms.2022.34.4.19","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.19","url":null,"abstract":"This article uses Joseph Roach’s concept of performance genealogy, the constitutive nature of memory and surrogation that takes place at the site of performance, to examine the passing of the peace that took place at Aretha Franklin’s funeral, at which singers Fantasia Barrino and Jennifer Hudson performed. Barrino and Hudson’s voices, movement, and physical comportment echo the Baptist and Holiness-Pentecostal, or Sanctified, environments that Franklin first encountered as a child and that she continued to reflect throughout her life. But to hear these resonances, it is necessary to differentiate them from Afro-Protestant settings that are often collapsed into monolithic representations of a singular “Black church.”\u0000 I specify how scholars hear Black women’s voices by showing that Barrino’s and Hudson’s particularities emanate certain characteristics of Franklin, enough to summon memories but not to mimic. Learning to hear individual Black women’s voices within a performance genealogy demands perceiving the different genres of spiritual theater that require different techniques of voice and presence. Seeing the distinctions among her inheritors allows scholars, audiences, and critics alike to perceive the theatrical education in Black sonic creation and makes possible representing Aretha Franklin’s artistic and interpretive brilliance. Ultimately, I argue that in order to respect Aretha Franklin, we must heed her assertion that there is in fact only one Aretha Franklin who is the sum of several social and spiritual worlds that inspired her artistic interpretations and that those in her lineage are not homogenous representations but share in her multitudes.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44730963","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 : 2022-12-01DOI: 10.1525/jpms.2022.34.4.85
Landon Palmer
During the 1980s, media images of white boomer nostalgia were often accompanied by 1960s Motown songs due to the popularity of the hit film The Big Chill as well as advertising and licensing strategies inspired by it. In previous decades, however, Motown was used to dramatize onscreen representations of Black male film characters’ emotional experiences of aspiration and resilience. This article explores how 1960s Motown songs came to be employed in two motion pictures—Nothing But a Man and Cooley High—to represent particular notions of everyday Black life, and then provides an industrial backdrop for why such cinematic uses of Motown came to effectively be replaced by invocations of white nostalgia. By analyzing the uses of Motown music within film narratives and the industrial conditions through which such licensing took place, this study goes beyond the formal analysis of film music in order to demonstrate how the act of licensing popular songs for film participates in the making of songs’ social, cultural, and political meanings. In so doing, this article shows how the material conditions of licensing music for film shape what and whose experiences of popular music are able to be represented onscreen.
{"title":"From Freedom Dreams to Boomer Nostalgia","authors":"Landon Palmer","doi":"10.1525/jpms.2022.34.4.85","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.4.85","url":null,"abstract":"During the 1980s, media images of white boomer nostalgia were often accompanied by 1960s Motown songs due to the popularity of the hit film The Big Chill as well as advertising and licensing strategies inspired by it. In previous decades, however, Motown was used to dramatize onscreen representations of Black male film characters’ emotional experiences of aspiration and resilience. This article explores how 1960s Motown songs came to be employed in two motion pictures—Nothing But a Man and Cooley High—to represent particular notions of everyday Black life, and then provides an industrial backdrop for why such cinematic uses of Motown came to effectively be replaced by invocations of white nostalgia.\u0000 By analyzing the uses of Motown music within film narratives and the industrial conditions through which such licensing took place, this study goes beyond the formal analysis of film music in order to demonstrate how the act of licensing popular songs for film participates in the making of songs’ social, cultural, and political meanings. In so doing, this article shows how the material conditions of licensing music for film shape what and whose experiences of popular music are able to be represented onscreen.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44471316","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 : 2022-09-01DOI: 10.1525/jpms.2022.34.3.119
Patrick Valiquet
This article weaves together futurist electropop, the neorationalist memescape, neoliberal urban planning, and digital finance to illustrate some of the new epistemological and political challenges facing the growing musicological subfield of critical organology. Drawing upon recent studies of financial technology, it argues that calls to erase theoretical abstraction and return to a “common-sense” concern for “tangible things” come dangerously close to endorsing the neoliberal drive to replace public institutions with entrepreneurial competition. The aims are to show that the “affordances” of music technology today are not necessarily discernible when organologists limit their attention to musical instruments’ ontologies alone, and to propose an alternative focused on “repairing” music technology’s capacity for democratization. The first section presents a reading of the Grimes single “We Appreciate Power,” situating the music in relation to an ethnographic account of the scene where Grimes first emerged. The second section seeks a definition of affordance that makes sense of the technological politics at work in things like rationalist meme economies and neoliberal innovation hubs. The concluding section outlines the case for a reparative organology that would both account better for materiality and resolve anxieties around theoretical abstraction.
{"title":"Grimes’s Hymn to Technocracy, Insolvent Affordances, and the Need for Reparative Organology","authors":"Patrick Valiquet","doi":"10.1525/jpms.2022.34.3.119","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.119","url":null,"abstract":"This article weaves together futurist electropop, the neorationalist memescape, neoliberal urban planning, and digital finance to illustrate some of the new epistemological and political challenges facing the growing musicological subfield of critical organology. Drawing upon recent studies of financial technology, it argues that calls to erase theoretical abstraction and return to a “common-sense” concern for “tangible things” come dangerously close to endorsing the neoliberal drive to replace public institutions with entrepreneurial competition. The aims are to show that the “affordances” of music technology today are not necessarily discernible when organologists limit their attention to musical instruments’ ontologies alone, and to propose an alternative focused on “repairing” music technology’s capacity for democratization. The first section presents a reading of the Grimes single “We Appreciate Power,” situating the music in relation to an ethnographic account of the scene where Grimes first emerged. The second section seeks a definition of affordance that makes sense of the technological politics at work in things like rationalist meme economies and neoliberal innovation hubs. The concluding section outlines the case for a reparative organology that would both account better for materiality and resolve anxieties around theoretical abstraction.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43392135","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 : 2022-09-01DOI: 10.1525/jpms.2022.34.3.104
Robyn Shooter
This article explores the ways in which sentimentality, self-reflexivity, and identity intersect with the rural settings of Dolly Parton’s concept album My Tennessee Mountain Home (1973) and June Carter Cash’s pivotal solo work Appalachian Pride (1975). The works of pioneering country music artists Carter Cash and Parton illustrate a recurrent tension within the genre, representing a reconciliation between the traditional lyrical and sonic identifiers of country music and the increasingly modern approach of the wider popular music industry. The creation of emotive and personal musical works, notably at the height of Carter Cash’s and Parton’s respective careers within the mainstream country music industry, enables a presentation of their experiences as both dichotomously aligned with the conventions of rural music of the United States and distinct from the mythology surrounding the Appalachia region and constructions of Southern femininities. Further showcasing the societal and cultural practices that evolved within Appalachian communities, specifically the complex roles and creative pursuits undertaken by female-identifying members, June Carter Cash and Dolly Parton combined their rural Southern upbringings with universal experiences of love and loss.
{"title":"“Appalachian Pride”","authors":"Robyn Shooter","doi":"10.1525/jpms.2022.34.3.104","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.104","url":null,"abstract":"This article explores the ways in which sentimentality, self-reflexivity, and identity intersect with the rural settings of Dolly Parton’s concept album My Tennessee Mountain Home (1973) and June Carter Cash’s pivotal solo work Appalachian Pride (1975). The works of pioneering country music artists Carter Cash and Parton illustrate a recurrent tension within the genre, representing a reconciliation between the traditional lyrical and sonic identifiers of country music and the increasingly modern approach of the wider popular music industry. The creation of emotive and personal musical works, notably at the height of Carter Cash’s and Parton’s respective careers within the mainstream country music industry, enables a presentation of their experiences as both dichotomously aligned with the conventions of rural music of the United States and distinct from the mythology surrounding the Appalachia region and constructions of Southern femininities. Further showcasing the societal and cultural practices that evolved within Appalachian communities, specifically the complex roles and creative pursuits undertaken by female-identifying members, June Carter Cash and Dolly Parton combined their rural Southern upbringings with universal experiences of love and loss.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47487108","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 : 2022-09-01DOI: 10.1525/jpms.2022.34.3.152
Kate Grover
{"title":"Review: Why Marianne Faithfull Matters, by Tanya Pearson","authors":"Kate Grover","doi":"10.1525/jpms.2022.34.3.152","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.152","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49665624","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 : 2022-09-01DOI: 10.1525/jpms.2022.34.3.142
Sophie Abramowitz
{"title":"Review Essay: Am I Blue?: Black Music & White Male Self-Construction","authors":"Sophie Abramowitz","doi":"10.1525/jpms.2022.34.3.142","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.142","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45363869","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 : 2022-09-01DOI: 10.1525/jpms.2022.34.3.59
Owen Coggins, M. Geidel
This article investigates representations of gender and work in the hit 2016 song “Rockabye” by Clean Bandit featuring Sean Paul and Anne-Marie in relation to a new orientation toward care labor and feminine performance we call “feminist realism.” Feminist realism, we argue, is a sensibility that calls attention to the disproportionate labor entailed, and risk undertaken, by performances of femininity, while despairing of structural fixes for these problems. The article assesses these issues of gender, sex and work in relation to music and dance in the “Rockabye” song and music video, arguing that the song’s depictions of exploited feminine and reproductive labor, reflected in its Nordic-British-Jamaican nexus of production, provide a particularly insightful articulation of feminist realism; we also analyze fan reviews to argue that this message resonated with audiences. Finally the article explores Sean Paul’s role as a featured artist on the track and video, drawing out the relationship between his attentiveness to the unsung labor of Jamaican musicians in creating the contemporary dance-pop scene and his support for similarly undervalued women in service work in their “daily struggle” for survival.
{"title":"Daily struggle","authors":"Owen Coggins, M. Geidel","doi":"10.1525/jpms.2022.34.3.59","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.59","url":null,"abstract":"This article investigates representations of gender and work in the hit 2016 song “Rockabye” by Clean Bandit featuring Sean Paul and Anne-Marie in relation to a new orientation toward care labor and feminine performance we call “feminist realism.” Feminist realism, we argue, is a sensibility that calls attention to the disproportionate labor entailed, and risk undertaken, by performances of femininity, while despairing of structural fixes for these problems. The article assesses these issues of gender, sex and work in relation to music and dance in the “Rockabye” song and music video, arguing that the song’s depictions of exploited feminine and reproductive labor, reflected in its Nordic-British-Jamaican nexus of production, provide a particularly insightful articulation of feminist realism; we also analyze fan reviews to argue that this message resonated with audiences. Finally the article explores Sean Paul’s role as a featured artist on the track and video, drawing out the relationship between his attentiveness to the unsung labor of Jamaican musicians in creating the contemporary dance-pop scene and his support for similarly undervalued women in service work in their “daily struggle” for survival.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44725231","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 : 2022-09-01DOI: 10.1525/jpms.2022.34.3.6
A. Stuhl, Alexandra Hui, Alexander Russo, Amy Skjerseth
{"title":"Sounds of Accompaniment","authors":"A. Stuhl, Alexandra Hui, Alexander Russo, Amy Skjerseth","doi":"10.1525/jpms.2022.34.3.6","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.6","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45724547","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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