Pub Date : 2023-02-01DOI: 10.1017/S0261143023000090
Claire E.A. Mcleish
Abstract In 1991, Gilbert O'Sullivan sued Biz Markie for sampling without permission: this lawsuit, Grand Upright v. Warner, became a landmark case for music copyright, and for some scholars, represented a symbolic end to hip hop's golden age. This paper uses the lawsuit as a point of entry into debates about hip hop during a time of aesthetic transformation. Specifically, I present a corpus study spanning 1988–1993, consisting of hip hop songs of various subgenres drawn from Billboard charts. Unlike previous studies on this period, I consider both canonical artists, whose mastery of sampling is widely admired (such as Public Enemy), and more commercially successful artists (like the Fresh Prince), who used fewer samples. My study reveals a decrease in the average number of samples per song, and a radical shift in how these remaining samples are used. I situate Grand Upright at the intersection of legal institutions and musical aesthetics
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Pub Date : 2023-02-01DOI: 10.1017/s0261143023000235
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{"title":"The Contributors","authors":"","doi":"10.1017/s0261143023000235","DOIUrl":"https://doi.org/10.1017/s0261143023000235","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146233","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 : 2023-02-01DOI: 10.1017/S0261143023000089
Artur Szarecki
Abstract The paper introduces the concept of musicking assemblages to account for the agency of non-human actants in a project by contemporary artist, Wolfgang Buttress, that involved creating a musical soundscape together with bees. Collapsing distinctions between popular music, contemporary art and scientific research, the project exhibits musicking not as a result of human action but as emerging from intensive flows of matter-energy circulating between a multiplicity of actants, both human and non-human. Consequently, it presupposes a materialist ontology that breaks with anthropocentric hierarchies and encourages us to rethink popular music as always already involving ‘becoming with’ non-human others, in a way that overcomes the division between culture and nature, as well as its epistemological corollaries.
{"title":"Musicking assemblages and non-human becomings: Mapping morphogenetic processes and distributed agencies in Wolfgang Buttress’ the Hive","authors":"Artur Szarecki","doi":"10.1017/S0261143023000089","DOIUrl":"https://doi.org/10.1017/S0261143023000089","url":null,"abstract":"Abstract The paper introduces the concept of musicking assemblages to account for the agency of non-human actants in a project by contemporary artist, Wolfgang Buttress, that involved creating a musical soundscape together with bees. Collapsing distinctions between popular music, contemporary art and scientific research, the project exhibits musicking not as a result of human action but as emerging from intensive flows of matter-energy circulating between a multiplicity of actants, both human and non-human. Consequently, it presupposes a materialist ontology that breaks with anthropocentric hierarchies and encourages us to rethink popular music as always already involving ‘becoming with’ non-human others, in a way that overcomes the division between culture and nature, as well as its epistemological corollaries.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48200840","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 : 2023-02-01DOI: 10.1017/S0261143023000107
Veronika Muchitsch
Abstract This article examines the work and reception of singer-songwriter Anohni to investigate sonic and discursive negotiations of transfeminine vocality in 21st-century popular music culture. Developing Haraway's concept of feminist figurations, it introduces the concept of vocal figurations, which articulates a performative, relational and multiply mediated understanding of voice, wherein gendered voice takes shape through processes of voicing and listening. I initially examine Anohni's reception to analyse how biologist, trans-exclusionary and othering discourses surrounding voice and gender inform emergent discourses of transfeminine voices in the first decades of the 21st century. Subsequently, I build on trans and queer theorisations of voice and listening to engage Anohni's variably vibrating voice as a vocal figuration that may challenge biologist and marginalising constructions of transfeminine vocality. I suggest that it may attune us to recognise all gendered voices as thoroughly situated yet changeable configurations of sounding voices, bodies, and subjects.
{"title":"Listening to Anohni's variously vibrating voice: studying transfeminine vocality in 21st-century popular music culture through the concept of vocal figurations","authors":"Veronika Muchitsch","doi":"10.1017/S0261143023000107","DOIUrl":"https://doi.org/10.1017/S0261143023000107","url":null,"abstract":"Abstract This article examines the work and reception of singer-songwriter Anohni to investigate sonic and discursive negotiations of transfeminine vocality in 21st-century popular music culture. Developing Haraway's concept of feminist figurations, it introduces the concept of vocal figurations, which articulates a performative, relational and multiply mediated understanding of voice, wherein gendered voice takes shape through processes of voicing and listening. I initially examine Anohni's reception to analyse how biologist, trans-exclusionary and othering discourses surrounding voice and gender inform emergent discourses of transfeminine voices in the first decades of the 21st century. Subsequently, I build on trans and queer theorisations of voice and listening to engage Anohni's variably vibrating voice as a vocal figuration that may challenge biologist and marginalising constructions of transfeminine vocality. I suggest that it may attune us to recognise all gendered voices as thoroughly situated yet changeable configurations of sounding voices, bodies, and subjects.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48646457","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 : 2023-01-27DOI: 10.1017/S0261143022000708
C. Fraysse
{"title":"A Women's History of The Beatles. By Christine Feldman-Barrett. New York: Bloomsbury Academic, 2021. 257 pp. ISBN 978-1-5013-7594-1","authors":"C. Fraysse","doi":"10.1017/S0261143022000708","DOIUrl":"https://doi.org/10.1017/S0261143022000708","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48992123","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 : 2023-01-27DOI: 10.1017/S0261143022000770
K. Womack
Curry, T. 2017. The Man-Not Race, Class, Genre, and the Dilemmas of Black Manhood (Philadelphia, PA, Temple University Press) Hoffman, F. L. 1896. Race Traits and Tendencies of the American Negro (Andesite Press) Leavy, W. 1983. ‘Is the Black male an endangered species?’, Ebony, 41, August. Nott, J. 1854. Types of Mankind (University of Michigan Library) Snodgrass, E. 2021. A new study suggests diversifying law enforcement could lead to better policing. Insider, 18 February. https://www.insider.com/new-study-suggests-police-diversification-could-lead-to-betterpolicing-2021-2 Walker, T. 2022. The Misandric Miseducation of Black Boys. YouTube. https://www.youtube.com/watch? v=q2FJp6Uzpj8&t=1203s (accessed 11 August 2022)
{"title":": The Revolution in Life-Writing","authors":"K. Womack","doi":"10.1017/S0261143022000770","DOIUrl":"https://doi.org/10.1017/S0261143022000770","url":null,"abstract":"Curry, T. 2017. The Man-Not Race, Class, Genre, and the Dilemmas of Black Manhood (Philadelphia, PA, Temple University Press) Hoffman, F. L. 1896. Race Traits and Tendencies of the American Negro (Andesite Press) Leavy, W. 1983. ‘Is the Black male an endangered species?’, Ebony, 41, August. Nott, J. 1854. Types of Mankind (University of Michigan Library) Snodgrass, E. 2021. A new study suggests diversifying law enforcement could lead to better policing. Insider, 18 February. https://www.insider.com/new-study-suggests-police-diversification-could-lead-to-betterpolicing-2021-2 Walker, T. 2022. The Misandric Miseducation of Black Boys. YouTube. https://www.youtube.com/watch? v=q2FJp6Uzpj8&t=1203s (accessed 11 August 2022)","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48067915","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 : 2023-01-27DOI: 10.1017/s0261143023000028
M. Munro
{"title":"The Cambridge Companion to Caribbean Music. Edited by Nanette de Jong. Cambridge: Cambridge University Press, 2022. 247 pp. ISBN 978-1-108-42192-8","authors":"M. Munro","doi":"10.1017/s0261143023000028","DOIUrl":"https://doi.org/10.1017/s0261143023000028","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48375831","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 : 2023-01-24DOI: 10.1017/s0261143022000733
Andrew Davis
ating their own performance spaces. The New York ‘Loft Jazz Scene’ of the 1970s and 1980s was one such example. Such musicians have certainly found greater favour in mainland Europe than at home, but these African American musicians – and younger, often white American musicians – have continued to play free jazz. The point is that failure to attend to the who, what, when, where, how and why makes for arid and even inaccurate history. Of course, historians may justifiably widen the scope of inquiry and must seek to understand and interpret the ‘facts’ in terms of the ‘larger historical and cultural contexts’. However, context applies to one’s own work, not just to writers outside one’s own approach. As E.H. Carr (1987, p. 30) noted, history is ‘a continuous process of interaction between the historian and his facts, an unending dialogue between the present and the past’. But Carr did not accept that all views of the past were equally valid: ‘It does not follow that because a mountain appears to take on a different shape from different angles of vision, it has objectively no shape at all or an infinity of shapes’ (Carr 1987, pp. 27–8). It is the mountain – the music and those who made it what it is and what we know of it – that is unfortunately missing from Jazz Diaspora.
{"title":"A Philosophy of Cover Songs. By P.D. Magnus. Cambridge: Open Book Publishers, 2022. 145 pp. ISBN 978-1-800-64422-9","authors":"Andrew Davis","doi":"10.1017/s0261143022000733","DOIUrl":"https://doi.org/10.1017/s0261143022000733","url":null,"abstract":"ating their own performance spaces. The New York ‘Loft Jazz Scene’ of the 1970s and 1980s was one such example. Such musicians have certainly found greater favour in mainland Europe than at home, but these African American musicians – and younger, often white American musicians – have continued to play free jazz. The point is that failure to attend to the who, what, when, where, how and why makes for arid and even inaccurate history. Of course, historians may justifiably widen the scope of inquiry and must seek to understand and interpret the ‘facts’ in terms of the ‘larger historical and cultural contexts’. However, context applies to one’s own work, not just to writers outside one’s own approach. As E.H. Carr (1987, p. 30) noted, history is ‘a continuous process of interaction between the historian and his facts, an unending dialogue between the present and the past’. But Carr did not accept that all views of the past were equally valid: ‘It does not follow that because a mountain appears to take on a different shape from different angles of vision, it has objectively no shape at all or an infinity of shapes’ (Carr 1987, pp. 27–8). It is the mountain – the music and those who made it what it is and what we know of it – that is unfortunately missing from Jazz Diaspora.","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49195777","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 : 2023-01-23DOI: 10.1017/s0261143022000757
Duncan Heining
{"title":"Jazz Diaspora: Music and Globalization. By Bruce Johnson. London: Routledge 2020. 208 pp. ISBN: 978-1-138-57755-8","authors":"Duncan Heining","doi":"10.1017/s0261143022000757","DOIUrl":"https://doi.org/10.1017/s0261143022000757","url":null,"abstract":"","PeriodicalId":46171,"journal":{"name":"Popular Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44598645","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 : 2023-01-12DOI: 10.1017/S0261143022000691
Catherine Baker
Romani bands are an everyday presence in the public spaces of contemporary Kraków, Poland, as in many comparable European cities. Relying on their musical virtuosity and their intimate understanding of how to craft musical performances that appeal to their customers’ desires, they negotiate the precarity of the informal economy and the arm of the state as their predecessors and older relatives used to do in state socialist Poland. Yet their history in Kraków’s urban space, Anna Piotrowska shows in this detailed monograph, actually dates back to at least the early 19th century, when the Habsburg Empire had occupied southern Poland and Vienna’s musical cultures became strong influences on Cracovians’ tastes – if not to the mid-16th century, when there is evidence of Romani musicians at the court of King Sigismund I. This longer historical view, which also takes in the meanings and practices of Romani music in 19th-century Hungary and Bucharest to illustrate the transnational contexts that have shaped the musicians’ professional traditions, reveals that despite its title, Music, City and the Roma Under Communism is more than a study of Romani music and musicians in state socialist Poland alone. It also has much to say about their contributions to vernacular musical cultures before and after state socialism – always with an emphasis on agency, even as Piotrowska illustrates how Romaphobia, class inequality, attitudes to disability and state power have operated to constrain the conditions in which they have been able to exercise it. Piotrowska comes to this as an expert on Romani music in European culture who now turns this lens towards her own memories of experiencing Romani musicmaking in the streets of Kraków. These give her the situated knowledge to follow leads such as the life of the celebrated street violinist Stefan Dymiter ‘Corroro’, who died in 2002, but also to understand, for instance, just how comprehensively another dimension of Romani musical culture in state socialist Poland went on to be silenced by the communist authorities. This was the state-supported folkloristic ensemble ROMA, which formed in Kraków in the early 1950s, gained national recognition, performed abroad as part of Poland’s cultural diplomacy, and astonishingly defected almost en masse to Sweden in 1978 without their director’s knowledge after the Gierek regime had subjected him to years of escalating political pressure. Its premises in Kraków were turned over to new tenants, who disposed of all its papers, and never again would it be mentioned in the state socialist Polish press. For Romani musicians who had survived the Nazi occupation of Poland or had been displaced into Poland from further east during World War II, state socialism also profoundly affected the conditions for everyday and street performance in Kraków. At the same time as the socialist regime was representing Romani culture
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