Pub Date : 2022-06-01DOI: 10.1525/jpms.2022.34.2.143
M. Dwyer
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Pub Date : 2022-06-01DOI: 10.1525/jpms.2022.34.2.51
P. Burke
In November and December 1966, the young, predominantly white rock audience on the Sunset Strip in Los Angeles battled police over curfew and loitering laws. Both the Strip’s protesters and their critics associated these “Sunset Strip riots” with the Watts uprising of 1965, when Black residents of South Los Angeles resisted police brutality and economic exploitation. White bohemians claimed solidarity with, or perhaps merely appropriated, the moral imperatives of Black protest, while Black critics argued that the mild oppression faced by white teenagers on the Strip was irrelevant to the serious, systemic abuses inflicted on Black communities such as Watts. Yet the Sunset Strip protests also led white activists to consider questions of privilege and authenticity and to make sincere attempts to support Black movements. Frank Zappa and the Mothers of Invention’s “Trouble Every Day” and “Plastic People,” songs that critically address Watts and the Sunset Strip, respectively, exemplify the complex interplay among political radicalism, racial identity, and musical creativity in the growing counterculture surrounding rock. In the Black Lives Matter era, when many white musicians and their audiences seek to be effective allies in Black struggles, the “Sunset Strip riots” can serve as both inspiration and cautionary tale.
{"title":"Trouble Every Day","authors":"P. Burke","doi":"10.1525/jpms.2022.34.2.51","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.2.51","url":null,"abstract":"In November and December 1966, the young, predominantly white rock audience on the Sunset Strip in Los Angeles battled police over curfew and loitering laws. Both the Strip’s protesters and their critics associated these “Sunset Strip riots” with the Watts uprising of 1965, when Black residents of South Los Angeles resisted police brutality and economic exploitation. White bohemians claimed solidarity with, or perhaps merely appropriated, the moral imperatives of Black protest, while Black critics argued that the mild oppression faced by white teenagers on the Strip was irrelevant to the serious, systemic abuses inflicted on Black communities such as Watts. Yet the Sunset Strip protests also led white activists to consider questions of privilege and authenticity and to make sincere attempts to support Black movements. Frank Zappa and the Mothers of Invention’s “Trouble Every Day” and “Plastic People,” songs that critically address Watts and the Sunset Strip, respectively, exemplify the complex interplay among political radicalism, racial identity, and musical creativity in the growing counterculture surrounding rock. In the Black Lives Matter era, when many white musicians and their audiences seek to be effective allies in Black struggles, the “Sunset Strip riots” can serve as both inspiration and cautionary tale.","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":"42804746","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 : 2022-03-01DOI: 10.1525/jpms.2022.34.1.68
Alena Gray Aniskiewicz
On her 2014 debut album, Społeczeństwo jest niemiłe (Society is Mean), Polish author Dorota Masłowska introduced audiences to Mister D., an alter ego who brought Masłowska’s trademark cutting social critique to an eclectic mix of hip-hop and pop musical tracks and videos. Analyzing the music video for “Chleb” (Bread) and the accompanying album art, as well as the stand-alone single “Tęcza” (Rainbow), this article demonstrates how Masłowska’s sampling of familiar hip-hop tropes and nationalist narratives exposes the component parts of our everyday and reveals how quotidian performances of gender, sexuality, and nationality combine in the perception of authenticity. This analysis is framed within discourses on sampling, parody, and humor in hip-hop to highlight the critical potential of her play with recognizable types and the subversive potential of “playing the part.” In her visual and verbal collage, Masłowska employs the logics of hip-hop sampling to piece together elements of extant culture and conventions alongside original material to produce a text that speaks to the present while drawing on the past. In so doing, Masłowska’s critical and recombinant performance destabilizes the very idea of the authentic, revealing its artifice and insisting on an art and nation that is open to innovation and recognizes its own construction.
{"title":"Baking Bread and Burning Rainbows","authors":"Alena Gray Aniskiewicz","doi":"10.1525/jpms.2022.34.1.68","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.68","url":null,"abstract":"On her 2014 debut album, Społeczeństwo jest niemiłe (Society is Mean), Polish author Dorota Masłowska introduced audiences to Mister D., an alter ego who brought Masłowska’s trademark cutting social critique to an eclectic mix of hip-hop and pop musical tracks and videos. Analyzing the music video for “Chleb” (Bread) and the accompanying album art, as well as the stand-alone single “Tęcza” (Rainbow), this article demonstrates how Masłowska’s sampling of familiar hip-hop tropes and nationalist narratives exposes the component parts of our everyday and reveals how quotidian performances of gender, sexuality, and nationality combine in the perception of authenticity. This analysis is framed within discourses on sampling, parody, and humor in hip-hop to highlight the critical potential of her play with recognizable types and the subversive potential of “playing the part.” In her visual and verbal collage, Masłowska employs the logics of hip-hop sampling to piece together elements of extant culture and conventions alongside original material to produce a text that speaks to the present while drawing on the past. In so doing, Masłowska’s critical and recombinant performance destabilizes the very idea of the authentic, revealing its artifice and insisting on an art and nation that is open to innovation and recognizes its own construction.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41989095","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 : 2022-03-01DOI: 10.1525/jpms.2022.34.1.4
Philip Gentry
{"title":"Music for Counting Votes","authors":"Philip Gentry","doi":"10.1525/jpms.2022.34.1.4","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.4","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41721648","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 : 2022-03-01DOI: 10.1525/jpms.2022.34.1.170
Amber Jamilla Musser
{"title":"Review: Black Utopias: Speculative Life and the Music of Other Worlds, by Jayna Brown","authors":"Amber Jamilla Musser","doi":"10.1525/jpms.2022.34.1.170","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.170","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43069359","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 : 2022-03-01DOI: 10.1525/jpms.2022.34.1.90
B. Duinker
Expressive timing in hip-hop flow concerns the practice whereby an MC (rapper) inflects their flow rhythms on a minuscule scale not easily representable with standard musical notation—how far “ahead” or “behind” the beat they rap. Mitchell Ohriner (2019) positions expressive timing as an integral part of hip-hop flow and discusses it in detail. This paper complements his work by surveying flow timing across the broader hip-hop genre. Three broad practices of expressive timing in flow are identified. Swung timing subdivides the tactus unequally, similar to a common jazz drum timekeeping pattern. Lagging timing refers to the patterned delay of flow rhythm in relation to the underlying instrumental or sampled beat. And conversational timing pertains to flow performances that resemble rhythmic patterns idiomatic of spoken language. Theoretical and notational concepts developed by Fernando Benadon (2006, 2009) and Ohriner (2019) are used to illustrate the extent to which a flow performance involves these approaches to expressive timing, and propose analytical methods for these approaches that highlight their functional and rhetorical appeal. Expressive timing is investigated in light of Signifyin(g) in African American music (Samuel Floyd Jr., 2002), groove-based expressive microtiming (Vijay Iyer, 2002), Afrocentric models of rhetoric (Ronald Jackson, 1995), and narrativity.
{"title":"Functions of Expressive Timing in Hip-Hop Flow","authors":"B. Duinker","doi":"10.1525/jpms.2022.34.1.90","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.90","url":null,"abstract":"Expressive timing in hip-hop flow concerns the practice whereby an MC (rapper) inflects their flow rhythms on a minuscule scale not easily representable with standard musical notation—how far “ahead” or “behind” the beat they rap. Mitchell Ohriner (2019) positions expressive timing as an integral part of hip-hop flow and discusses it in detail. This paper complements his work by surveying flow timing across the broader hip-hop genre.\u0000 Three broad practices of expressive timing in flow are identified. Swung timing subdivides the tactus unequally, similar to a common jazz drum timekeeping pattern. Lagging timing refers to the patterned delay of flow rhythm in relation to the underlying instrumental or sampled beat. And conversational timing pertains to flow performances that resemble rhythmic patterns idiomatic of spoken language. Theoretical and notational concepts developed by Fernando Benadon (2006, 2009) and Ohriner (2019) are used to illustrate the extent to which a flow performance involves these approaches to expressive timing, and propose analytical methods for these approaches that highlight their functional and rhetorical appeal. Expressive timing is investigated in light of Signifyin(g) in African American music (Samuel Floyd Jr., 2002), groove-based expressive microtiming (Vijay Iyer, 2002), Afrocentric models of rhetoric (Ronald Jackson, 1995), and narrativity.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41678855","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 : 2022-03-01DOI: 10.1525/jpms.2022.34.1.118
J. Eperjesi
Over the past twenty years, Black Atlantic Afrofuturism has been the dominant theoretical frame for thinking about the significance of Drexciya’s aquatically themed techno music and mythology. Yet there have been few analyses of Drexciya from the perspective of ecology, of the ocean as a marine environment. Through a semiotic analysis of Drexciya’s 1993 EP Bubble Metropolis, this paper moves the discussion of Drexciya in the direction of ecocriticism and blue cultural studies, or more broadly, the blue humanities, in order to interpret the stories it tells about an imagined ocean. What do these stories mean? Why are these stories important now? Through the production and circulation of oceanic narratives that encourage listeners to imagine, wonder about, and groove to the ocean, Drexciya’s music and mythology can be understood as a form of “pre-emptive activism,” which designates indirect activist modes that inspire people to care about places, such as an ocean, that they take for granted or ignore. By imagining oceans full of sound, Drexciya fostered a tacit form of marine environmentalism in the 1990s. With oceanic ecosystems on the edge of collapse as a result of the climate emergency, all forms of marine activism, from the direct to the indirect, have gained a new sense of urgency. We need to listen to Drexciya now more than ever.
{"title":"Imagined Oceans","authors":"J. Eperjesi","doi":"10.1525/jpms.2022.34.1.118","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.118","url":null,"abstract":"Over the past twenty years, Black Atlantic Afrofuturism has been the dominant theoretical frame for thinking about the significance of Drexciya’s aquatically themed techno music and mythology. Yet there have been few analyses of Drexciya from the perspective of ecology, of the ocean as a marine environment. Through a semiotic analysis of Drexciya’s 1993 EP Bubble Metropolis, this paper moves the discussion of Drexciya in the direction of ecocriticism and blue cultural studies, or more broadly, the blue humanities, in order to interpret the stories it tells about an imagined ocean. What do these stories mean? Why are these stories important now? Through the production and circulation of oceanic narratives that encourage listeners to imagine, wonder about, and groove to the ocean, Drexciya’s music and mythology can be understood as a form of “pre-emptive activism,” which designates indirect activist modes that inspire people to care about places, such as an ocean, that they take for granted or ignore. By imagining oceans full of sound, Drexciya fostered a tacit form of marine environmentalism in the 1990s. With oceanic ecosystems on the edge of collapse as a result of the climate emergency, all forms of marine activism, from the direct to the indirect, have gained a new sense of urgency. We need to listen to Drexciya now more than ever.","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41477596","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 : 2022-03-01DOI: 10.1525/jpms.2022.34.1.38
J. Hernández
{"title":"Healing Perreo","authors":"J. Hernández","doi":"10.1525/jpms.2022.34.1.38","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.38","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43752106","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 : 2022-03-01DOI: 10.1525/jpms.2022.34.1.35
M. Grier
{"title":"Response to Kate Grover","authors":"M. Grier","doi":"10.1525/jpms.2022.34.1.35","DOIUrl":"https://doi.org/10.1525/jpms.2022.34.1.35","url":null,"abstract":"","PeriodicalId":43525,"journal":{"name":"Journal of Popular Music Studies","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45939377","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 : 2022-03-01DOI: 10.1525/jpms.2022.34.1.141
Bradley Rogers
This essay explores the musical politics of Lawrence Welk, the bandleader whose television show was a mainstay of American popular culture from 1955 through 1982. I argue that Welk’s interests in gender, family, and work—both philosophically and musically—reveal the maestro as a harbinger of late twentieth-century political and cultural discourse. I focus on Welk’s transition (around 1970–1973) from his trademark champagne sound—which featured woodwinds and ornamentation—to a “Big Band Sound,” which emphasized the unison open brass. Around the same time, he stopped referring to his ensemble as “The Champagne Music Makers” and began calling them his “Musical Family.” I argue that his “Big Band Sound” was in fact a musical articulation of his “Musical Family”—and that Welk instituted both of these changes in response to what he perceived as the decline of American work ethic and sexual morality. I suggest that Welk’s champagne sound, which once signified whiteness, was now feminized and seen as emblematic of indolent hedonism. He sought to purge this feminization—and this aversion to work—precisely by adopting the more “masculine” brassy sound. I also show how he deployed family acts—and his managerial scheme of a “Family Plan”—to promote his conservative ideals about work and the family. In this way, Welk provided the sound of the Nixonian “silent majority.” I conclude by noting how three elements of Welk’s show—his fondness for mistakes, the emphasis on visual spectacle, and the erratic temporality of syndication—provide the potential for a counter-reading of his efforts.
本文探讨了乐队指挥劳伦斯·韦尔克的音乐政治，从1955年到1982年，他的电视节目是美国流行文化的支柱。我认为，韦尔克对性别、家庭和工作的兴趣——无论是在哲学上还是在音乐上——都揭示了这位大师是20世纪末政治和文化话语的先驱。我关注的是韦尔克（1970年至1973年左右）从他标志性的香槟声（以木管乐器和装饰为特色）到“大乐队声”（Big Band sound）的转变，后者强调和声开放的铜管乐。大约在同一时间，他不再把自己的乐团称为“香槟音乐制造者”，而是开始称他们为“音乐家庭”。我认为韦尔克的香槟声，曾经象征着白人，现在被女性化了，被视为懒惰享乐主义的象征。他试图通过采用更“男性化”的黄铜音来清除这种女性化——以及对工作的厌恶。我还展示了他如何运用家庭行为——以及他“家庭计划”的管理方案——来宣传他对工作和家庭的保守理想。通过这种方式，韦尔克提供了尼克松式的“沉默的大多数”的声音。最后，我注意到韦尔克的表演中的三个元素——他对错误的喜爱、对视觉奇观的强调以及辛迪加的不稳定的时间性——为反解读他的努力提供了潜力。
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