Pub Date : 2022-09-01DOI: 10.1525/jpms.2022.34.3.80
Herbeth L. Fondevilla
From the 1980s to the 2000s, Philippine television and radio were filled with the sounds of J-Pop. The majority of Filipino listeners, however, were not aware of their Japanese origins as they were all performed in the vernacular by local artists. This paper demonstrates how local cultures are produced within the context of hybridization and cultural indigenization through J-Pop cover songs. By comparing and exploring the history of J-Pop, OPM (Original Pilipino Music), P-Pop, and idol groups, this work reflects on the globalized trend of forming new distinctions, connections, and authenticity through the varying processes of covering songs. It looks at popular music’s power in shaping local influence and development, as well as how international cultural elements can become part of collective memory and cultural milieu in a new territory, thereby gaining authenticity.
{"title":"Philippine J-Pop Covers","authors":"Herbeth L. Fondevilla","doi":"10.1525/jpms.2022.34.3.80","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.80","url":null,"abstract":"From the 1980s to the 2000s, Philippine television and radio were filled with the sounds of J-Pop. The majority of Filipino listeners, however, were not aware of their Japanese origins as they were all performed in the vernacular by local artists. This paper demonstrates how local cultures are produced within the context of hybridization and cultural indigenization through J-Pop cover songs. By comparing and exploring the history of J-Pop, OPM (Original Pilipino Music), P-Pop, and idol groups, this work reflects on the globalized trend of forming new distinctions, connections, and authenticity through the varying processes of covering songs. It looks at popular music’s power in shaping local influence and development, as well as how international cultural elements can become part of collective memory and cultural milieu in a new territory, thereby gaining authenticity.","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":"47940778","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.2022.34.3.30
Erin E. Bauer
Following the conclusion of the Mexican-American War and continuing through the first half of the twentieth century, the ethnically Mexican population in Texas suffered discrimination and ethno-racial segregation from the dominant, Anglo-Texan community. This systemic structure induced the Texas-Mexican community to create separate, Spanish-speaking social spaces. Tejano and conjunto music were influenced by these inequitable policies. Separate performance outlets, with distinct priorities and procedures, maintained a musical community outside of mainstream recording practices. This Texas-Mexican musical community—separate and distinctive from the hegemonic industry—has been maintained in contemporary practices, as demonstrated by the absence of Texas-Mexican artists at the annual South by Southwest Festival (SXSW) in Austin, Texas. From its beginnings in 1987, SXSW has drawn a diverse assortment of record labels, booking agents, promoters, managers, artists, and audiences. Although the festival started with a regional focus, billed as a means to bring together Texas music and the rest of the world, Tejanx participation is sparse, indicating a continuing separation between these two communities. Yet, SXSW has strategically attracted international artists and historically Black American genres. This paper uses statistical and ethnographic evidence to examine this selective absence of Tejano musics at SXSW.
{"title":"The Absence of Texas-Mexican Musics at the South by Southwest Festival","authors":"Erin E. Bauer","doi":"10.1525/jpms.2022.34.3.30","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.30","url":null,"abstract":"Following the conclusion of the Mexican-American War and continuing through the first half of the twentieth century, the ethnically Mexican population in Texas suffered discrimination and ethno-racial segregation from the dominant, Anglo-Texan community. This systemic structure induced the Texas-Mexican community to create separate, Spanish-speaking social spaces. Tejano and conjunto music were influenced by these inequitable policies. Separate performance outlets, with distinct priorities and procedures, maintained a musical community outside of mainstream recording practices. This Texas-Mexican musical community—separate and distinctive from the hegemonic industry—has been maintained in contemporary practices, as demonstrated by the absence of Texas-Mexican artists at the annual South by Southwest Festival (SXSW) in Austin, Texas. From its beginnings in 1987, SXSW has drawn a diverse assortment of record labels, booking agents, promoters, managers, artists, and audiences. Although the festival started with a regional focus, billed as a means to bring together Texas music and the rest of the world, Tejanx participation is sparse, indicating a continuing separation between these two communities. Yet, SXSW has strategically attracted international artists and historically Black American genres. This paper uses statistical and ethnographic evidence to examine this selective absence of Tejano musics at SXSW.","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":"43824024","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.2022.34.3.155
Maren Hancock
{"title":"Review: She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st Century, by Helen Reddington","authors":"Maren Hancock","doi":"10.1525/jpms.2022.34.3.155","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.3.155","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":"49180951","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 : 2022-06-01DOI: 10.1525/jpms.2022.34.2.91
D. Devlieger
Throughout the twentieth and twenty-first centuries regulations on expert testimony have sought to minimize the impact of disagreeing experts. Yet, disagreements between forensic musicologists still play a large role in contemporary music copyright decisions. This paper suggests that the disagreement between partisan experts is due, in part, to confirmation bias rather than ethical or financial allegiance. An expert hired by a plaintiff, or the party alleging copyright infringement, may start their analysis by searching for similarities between two works. On the other hand, an expert retained by the defendant, or the party denying infringement, may start their analysis by searching for differences. Given the multiple musical components present in even the “simplest” musical work, both starting points will lead to valid observations about the work, allowing for expert disagreement. This article uses a hypothetical case study to demonstrate the risk of confirmation bias in forensic musicology and concludes by proposing that appointing a panel of third-party musicologists to conduct forensic analyses from a neutral starting point could minimize the effect of confirmation bias in such cases.
{"title":"Searching for Similarity","authors":"D. Devlieger","doi":"10.1525/jpms.2022.34.2.91","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.91","url":null,"abstract":"Throughout the twentieth and twenty-first centuries regulations on expert testimony have sought to minimize the impact of disagreeing experts. Yet, disagreements between forensic musicologists still play a large role in contemporary music copyright decisions. This paper suggests that the disagreement between partisan experts is due, in part, to confirmation bias rather than ethical or financial allegiance. An expert hired by a plaintiff, or the party alleging copyright infringement, may start their analysis by searching for similarities between two works. On the other hand, an expert retained by the defendant, or the party denying infringement, may start their analysis by searching for differences. Given the multiple musical components present in even the “simplest” musical work, both starting points will lead to valid observations about the work, allowing for expert disagreement. This article uses a hypothetical case study to demonstrate the risk of confirmation bias in forensic musicology and concludes by proposing that appointing a panel of third-party musicologists to conduct forensic analyses from a neutral starting point could minimize the effect of confirmation bias in such cases.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48243657","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 : 2022-06-01DOI: 10.1525/jpms.2022.34.2.69
Lorena Alvarado
This article apprehends the namesake coincidence between two cultural icons of the Américas, Lucha Reyes Aceves (1906-1944) and Lucha Sarcines Reyes (1936-1973). Both twentieth century popular singers emerge from spaces of radical difference and affinity (across temporally distinct gendered, racial, class subjectivity). The author contemplates their singing and its significations in tandem, locating their genealogies and/or legacies not within country, say, but in a dynamic of correlation. In doing so, the author proposes a tocaya (namesake) technique as a method to hear how one Lucha may resonate in another Lucha, a gesture that derives from an ethics of interrelation articulated in Chicana feminist inquiry. Tocaya, a colloquial term of endearment, here participates as epistemology alongside a motley methodology including cultural-historical, literary and biomythographical interpretation. The provocative semiotics of their name (Lucha signifying “struggle”) further catalyzes another analytic, la voz que hace la lucha, that speaks to singing histories from subalternity. Hearing through refraction and tangency, via a transhistorical pairing, yields an extraordinary detail that repeats with them and within others: a singing of self-making and self-consciousness, where voices can be seen, and mirrors heard.
这篇文章理解了两位美国文化偶像Lucha Reyes Aceves（1906-1944）和Lucha Sarcines Reyes（1936-1973）之间的同名巧合。两位20世纪的流行歌手都是从根本的差异和亲和力的空间中出现的（跨越了时间上不同的性别、种族和阶级主体性）。作者将他们的歌声及其意义串联起来，将他们的家谱和/或遗产定位在一个相互关联的动态中，而不是在国内。在这样做的过程中，作者提出了一种tocaya（同名）技术，作为一种倾听一个Lucha如何在另一个Luccha中产生共鸣的方法，这种姿态源于Chicana女权主义调查中阐述的相互关系伦理。Tocaya，一个口语化的昵称，在这里作为认识论与包括文化历史、文学和生物神话解释在内的混杂方法论一起参与。他们名字的挑衅性符号学（Lucha意为“斗争”）进一步催化了另一种分析，la voz que hace la Lucha，从下层社会讲述歌唱历史。通过折射和切点，通过跨历史的配对，听到一个非凡的细节，它与他们一起重复，也与他人一起重复：一种自我创造和自我意识的歌唱，在那里可以看到声音，也可以听到镜子。
{"title":"Lucha Reyes","authors":"Lorena Alvarado","doi":"10.1525/jpms.2022.34.2.69","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.69","url":null,"abstract":"This article apprehends the namesake coincidence between two cultural icons of the Américas, Lucha Reyes Aceves (1906-1944) and Lucha Sarcines Reyes (1936-1973). Both twentieth century popular singers emerge from spaces of radical difference and affinity (across temporally distinct gendered, racial, class subjectivity). The author contemplates their singing and its significations in tandem, locating their genealogies and/or legacies not within country, say, but in a dynamic of correlation. In doing so, the author proposes a tocaya (namesake) technique as a method to hear how one Lucha may resonate in another Lucha, a gesture that derives from an ethics of interrelation articulated in Chicana feminist inquiry. Tocaya, a colloquial term of endearment, here participates as epistemology alongside a motley methodology including cultural-historical, literary and biomythographical interpretation. The provocative semiotics of their name (Lucha signifying “struggle”) further catalyzes another analytic, la voz que hace la lucha, that speaks to singing histories from subalternity. Hearing through refraction and tangency, via a transhistorical pairing, yields an extraordinary detail that repeats with them and within others: a singing of self-making and self-consciousness, where voices can be seen, and mirrors heard.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46528109","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 : 2022-06-01DOI: 10.1525/jpms.2022.34.2.146
Paige Mcginley
{"title":"Review: Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White, by Kimberly Mack","authors":"Paige Mcginley","doi":"10.1525/jpms.2022.34.2.146","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.146","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43186971","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 : 2022-06-01DOI: 10.1525/jpms.2022.34.2.149
A. Randolph
{"title":"Review: Why Bushwick Bill Matters, by Charles L. Hughes","authors":"A. Randolph","doi":"10.1525/jpms.2022.34.2.149","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.149","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42516490","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 : 2022-06-01DOI: 10.1525/jpms.2022.34.2.5
D. L. Duff, Zachary Hoskins, Kamilah Cummings, R. Loss
{"title":"#1plus1plus1is3","authors":"D. L. Duff, Zachary Hoskins, Kamilah Cummings, R. Loss","doi":"10.1525/jpms.2022.34.2.5","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.5","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49454076","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 : 2022-06-01DOI: 10.1525/jpms.2022.34.2.28
Joel Roberts
Bob Miller is known as one of the most prolific early country songwriters, but it is not as widely known that he was a blues composer in the 1920s whose songs were recorded by several of the classic female blues singers from the early part of that decade—Clara Smith, Viola McCoy, Lizzie Miles, and others. He is also thought to have written leftist political material, but these political songs spoke more to common sentiments during the Great Depression than any true political position. Miller’s diverse songwriting career resulted from his creative output being influenced by the direction of commercial music. His first “hillbilly” song, “Eleven Cent Cotton, Forty Cent Meat,” became a Depression-era hit that was recorded by multiple artists, including himself. While he did not write more than seven thousand songs as he claimed, he did write a high number. Part of what contributed to his large catalog was that he was adept at tweaking preexisting songs, and much of his output was modeled after other songs. This study analyzes and discusses the commercially influenced direction of his career as well as his possibly misascribed political leanings.
{"title":"The Borrowings of Bob Miller, Hillbilly Music’s Premier Event Songwriter","authors":"Joel Roberts","doi":"10.1525/jpms.2022.34.2.28","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.28","url":null,"abstract":"Bob Miller is known as one of the most prolific early country songwriters, but it is not as widely known that he was a blues composer in the 1920s whose songs were recorded by several of the classic female blues singers from the early part of that decade—Clara Smith, Viola McCoy, Lizzie Miles, and others. He is also thought to have written leftist political material, but these political songs spoke more to common sentiments during the Great Depression than any true political position. Miller’s diverse songwriting career resulted from his creative output being influenced by the direction of commercial music. His first “hillbilly” song, “Eleven Cent Cotton, Forty Cent Meat,” became a Depression-era hit that was recorded by multiple artists, including himself. While he did not write more than seven thousand songs as he claimed, he did write a high number. Part of what contributed to his large catalog was that he was adept at tweaking preexisting songs, and much of his output was modeled after other songs. This study analyzes and discusses the commercially influenced direction of his career as well as his possibly misascribed political leanings.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47682612","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 : 2022-06-01DOI: 10.1525/jpms.2022.34.2.112
Johanna Love
In 2020, Latina superstars Jennifer Lopez and Shakira headlined the NFL’s Super Bowl halftime show. Their multicultural and politically charged performance was met with 1,300 FCC complaints, adding to the growing list of Super Bowl controversies—notably, all by top female MTV veterans. This essay historicizes and analyzes the reception of the most controversial halftime shows—performed by Janet Jackson, Madonna, Beyoncé, Shakira, and Jennifer Lopez—to theorize why they became so contentious. Situating these performances within the NFL’s history and its economic incentives for inviting pop stars into the annual championship event, I combine theories of branding with studies on music’s role in creating spectacle and nationalism at the Super Bowl to demonstrate how the game and its halftime shows operate within their own “branded spectacles.” I argue that it is when the often polarizing values of these branded spectacles overlap that they become incendiary—i.e., controversy ensues when the NFL’s displays of violent, hard-bodied, hetero-masculinity, and nationalist and capitalist messaging are juxtaposed within the same mediated space as the oppositional politics of musical performances featuring marginalized bodies otherwise unwelcome into the sport itself. This research engages with important conversations about the roles of branding and music in sporting events, demonstrating that it is not merely the sights but the sounds of these artists’ bodies that has grated most obviously against the “politically neutral” image that the NFL brand and U.S. media culture more broadly, has (until recently) claimed to maintain.
{"title":"“Let’s Get Loud”","authors":"Johanna Love","doi":"10.1525/jpms.2022.34.2.112","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.112","url":null,"abstract":"In 2020, Latina superstars Jennifer Lopez and Shakira headlined the NFL’s Super Bowl halftime show. Their multicultural and politically charged performance was met with 1,300 FCC complaints, adding to the growing list of Super Bowl controversies—notably, all by top female MTV veterans. This essay historicizes and analyzes the reception of the most controversial halftime shows—performed by Janet Jackson, Madonna, Beyoncé, Shakira, and Jennifer Lopez—to theorize why they became so contentious. Situating these performances within the NFL’s history and its economic incentives for inviting pop stars into the annual championship event, I combine theories of branding with studies on music’s role in creating spectacle and nationalism at the Super Bowl to demonstrate how the game and its halftime shows operate within their own “branded spectacles.” I argue that it is when the often polarizing values of these branded spectacles overlap that they become incendiary—i.e., controversy ensues when the NFL’s displays of violent, hard-bodied, hetero-masculinity, and nationalist and capitalist messaging are juxtaposed within the same mediated space as the oppositional politics of musical performances featuring marginalized bodies otherwise unwelcome into the sport itself. This research engages with important conversations about the roles of branding and music in sporting events, demonstrating that it is not merely the sights but the sounds of these artists’ bodies that has grated most obviously against the “politically neutral” image that the NFL brand and U.S. media culture more broadly, has (until recently) claimed to maintain.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45260936","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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