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The Hell, the High Water, and the Funk of It All: Sounding Power in Scandal

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Editor’s Note: Here’s installment #3 of Sounding Out!‘s blog forum on gender and voice! Last week I talked about what it meant to have people call me, a woman of color, “loud.” The week before that we hosted Christine Ehrick‘s selections from her forthcoming book; she introduced us to the idea of the gendered soundscape, which she uses in her analysis on women’s radio speech from the 1930s to the 1950s.  In the next few weeks we’ll have A.O. Roberts with synthesized voices and gender, Art Blake with his reflections on how his experience shifting his voice from feminine to masculine as a transgender man intersects with his work on John Cage, and lastly Robin James with an analysis of how ideas of what women should sound like have roots in Greek philosophy.

This week regular writer Regina Bradley puts the soundtrack of Scandal in conversation with the agency of the show’s protagonist, a black woman in manages crises for a living. So, lean in and close your eyes, but keep your ears open for any spies creeping in. –Liana M. Silva, Managing Editor

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9:00 pm (Eastern). The quick shutter of an invisible camera calls the attention of the viewers to Scandal. The clicking re-emphasizes the show’s title, bringing to mind paparazzi and their capturing of scandalous behavior. The shuttering also signifies the literal and sonic fast paced timing of Shonda Rhimes’ most popular ABC prime time show: quickened plots, fast talks, and blink-and-you’ll-miss-something-important visual details. Scandal’s central character, Washington D.C. crisis manager Olivia Pope (portrayed by Kerry Washington), is known mostly for her sharp professional outfits and no-nonsense approach to work. In Olivia, Rhimes has created a black female character that is perfectly flawed, a symbol of both the potential power and victimization of black women. Olivia Pope is neither just the savior nor is she solely a victim.

092413-shows-scandal-off-the-record-white-hats-back-on-kerry-washingtonScandal evokes intense debate about race and power because of its visual politics, but rarely is Scandal’s scoring prominent in those discussions. The soundtrack acts as an indicator of contemporary black women’s agency in popular culture. As both Rhimes and Scandal music director Alexandra Patsavas reveal, Scandal’s ‘vintage’ soundtrack is an opportunity to buoy the plot and add a unique alternative perspective to the action taking place on the show. The soundtrack’s nods to yesteryear artists – including Stevie Wonder, The Ohio Players, The O’Jays, Sam Cooke, Earth, Wind, and Fire, and Nina Simone sonically narrate additional layers of agency and identity on the show. Are these tracks giving Olivia a voice? What does Scandal’s scoring suggest about race, place, and power scripts for black women in contemporary popular culture?

"Inauguration Day - White House" by Flickr user Justin Brown, CC BY-NC-SA 2.0

“Inauguration Day – White House” by Flickr user Justin Brown, CC BY-NC-SA 2.0

Scandal takes place in Washington D.C., a location full of physical and sonic significance in national lore and the black popular imagination. In a national narrative D.C. is the epicenter of political agency, power, and the visibility of whiteness as a form of power. It is America’s city. Yet D.C. in the black imagination is the Chocolate City, a space that serves as a living archive of black folks’ attempts to intervene into a national narrative that would rather overlook the contributions of black bodies and culture. Washington, D.C. is the home of the Moorland-Springarn Research Center and multiple black cultural archives, Howard University and its place as the black mecca of Black Greek Letter Organizations, GoGo Music, and (embattled) social-political policies and endeavors for black people. It is a site of black identity that goes much farther than the place where everyone saw how a certain somebody had an American Dream. On the other hand, the increasing gentrification of the city raises questions of whether or not the nickname “Chocolate City” is applicable.Thus, Washington, D.C. exists at the crux of the romanticization of Americanness as a form of worldly power and the reality that (white) Americanness does not include all Americans.

Parliament_ChocolateYet Washington D.C. as a site of complex and rich black experiences does not alone buoy Scandal’s use of Washington, D.C. as a site where a black woman “handles” the hustle and bustle of American power and its upheaval. This type of work takes place in the scoring, particularly because the show is not culturally recognizable as a “black show.” Its inherent blackness is sonic, using black music to revisit tropes of power and racial politics.

One possible and albeit slightly heavy handed approach for thinking through Scandal’s leaning on funk and soul music is to point out how the show uses black cultural forms to invoke power. For example, soul songs like Otis Redding’s “Mr. Pitiful,” Edwin Starr’s “War,” and Sly and the Family Stone’s “Everyday People” are not only used to accentuate the action in a scene but the possibility of Olivia as a power figure. The use of black men’s voices as they yell, scream, and moan sonically allude to power as a masculine concept. Yet Olivia’s connection to these songs signifies her potential to wield power in unorthodox ways not associated with black women. For example, the crescendo of music before Olivia delivers a demand to her team sets up her agency as a political figure. Her blackness is amplified and earmarked by the music. This pairing amplifies the question of race and power in a useful way. The dominantly black musical script offers the critique and engagement with Olivia Pope’s blackness that many viewers and critics complain are lacking. (See the brilliant synopsis presented by Dr. Jessica Marie Johnson about Shonda Rhimes’ portrayal of black women and popular culture that took place at Duke University last month.)

Scandal serves vintage musical scoring as a double entendre: the sound of black music from previous eras evokes ‘vintage’ scripts of race, gender, and power from that era that seep into this present moment. Scandal’s use of soul, funk, and disco sonically allude to larger questions lingering from the Civil Rights Movement: integration as an equalizer of power and privilege, the hypermasculinity of the Civil Rights Era, its cultural producers, and the immediate aftermath of these scripts on (black) American society in the late 1960s and 1970s. We frequently annotate black agency through the men creating (singing?) the music. This is equally true for the black cultural productions of the era, as they aesthetically supplemented the understanding that black folks mattering connected to the uplift and healthy presence of black men. Even with soul and funk music, which stand as antithetical responses to the problematic expectations of classist respectability politics, black women’s agency was associated with the sexual, emotional, or physical agency of black men.

The blackness and “maleness” of the funk and soul used in Scandal’s score subverts the power that Olivia Pope exerts in her dealings with her clients, her lovers, and team. For example, in season two Olivia and President Fitz’s sex tape is threatened to be leaked to the public. It is important to note that the tape is an audio tape, suggestively alluding the absence of physical and visual rhetoric to address the interracial relationship. As Olivia gives the word to leak the sex tape, The Ohio Players’ track “Love Rollercoaster” begins to play. It sonically stabilizes Olivia’s decision to “leak” her sexuality as a power move while also leaving room to question the deeper implications of how the viewer navigates her blackness and womanhood using physical, aural, and cultural markers of sexuality. Using male funk and soul artists allows Pope to ‘codeswitch’ between cultural scripts of power as masculine and womanhood as opposite power. It amplifies her authority and agency while signifying that her physical appearance and voice may not have the ability to confer her worth to the audience.

This tug-and-pull of power and agency is most amplified in Olivia Pope’s dealings with her father Rowan Pope, played by Joe Morton (who plays the HELL out of this role, by the way). Rowan Pope is a literal and figurative double agent: He is Elijah Pope, a curator of antiquities at the Smithsonian, and Rowan Pope, head of the top secret and lethal U.S. organization called B613. His fragmented life speaks to the constant negotiation of “safe” black masculinity. He also embodies the anxieties about black men as violent and bloodthirsty. Rowan/Elijah encapsulates all of the swagger and vitriol associated with conceptualizations of black power and black men from the Black Liberation Era. He is cold and calculating, and he complicates the rhetoric of racial uplift and expected from the Civil Rights/Black Power movements. He speaks in hardened, hushed tones with conviction, while snarling his words with spite for white authority. Not to mention, his is the character that brings up race overtly in the show.

This balance between hushed tones and snarled words comes through in Rowan’s early interaction with Olivia during Scandal’s season three premiere. Olivia, on the run because her name is leaked as the President’s mistress, is recovered by her father and told to flee the country. Rowan is not a doting and concerned father in this scene. Rather, he is disappointed by her lack of prowess and failure to aspire to higher forms of power and authority than “first lady.” Rowan recognizes there is no power in being the wife of the President, especially as a black woman, and he criticizes her for not following the first rule of black folks’ survival: “You need to be twice as good to get half of what they have.” “They” is a collective noun for white folks, often spoken behind closed doors as a means to inspire young black folks to do better. Rowan demands she state out loud what they need to be twice of. Olivia’s voice cracks and is breathless as she whispers “twice as good to get half of what they have.” Rowan exaggerates a “yes” and dismisses Olivia as “mediocre.” It is a painful and powerful scene where multiple dichotomies take place: a father scolding his daughter, a black man undermining black women’s agency, and the fear/anxiety about black women’s sexuality as a sign of weakness and lacking privilege. The wavering volume of Olivia’s voice signifies her quickly plummeting ability to voice her power. Olivia’s loss of words amplifies Rowans’ own authority, embodied in his voice when he adamantly declares “I am the hell and the high water!” No soundtrack can save her here.

However, Rowan does have human moments, reaching out to his estranged daughter Olivia with wine and music, specifically Stevie Wonder. Her record collection is filled with Stevie Wonder. It is important that she has a record collection instead of a collection of CDs or playlist. Not only does this detail speak to the trope of “vintage” that runs through the show but also gives credence to how Olivia establishes her power. Her major moments are annotated by Stevie Wonder: when her name is leaked “Higher Ground” plays in the background. When she is kidnapped at the end of the episode for past December’s Winter finale “Don’t You Worry Bout a Thing” takes center stage. Again, the sounds of a man, her father in this instance, are the soundtrack to her work. The choice of music subverts the gender balance of power. Through male artists, the show gives Olivia her authority.

The most prominent sonic signifier is the instrumental accompaniment from the artist The Album Leaf titled “The Light.” Also known as Olivia and President Fitz’s “song,” the track plays each time the two characters interact and share intimacy (physical and otherwise).

Notes from what sounds like an electric piano playing a scale are short and sweet to the ear. The track lends its innocence and vulnerability to Olivia and Fitz’s affair and offers a possibility that their love for each other can be read as star-crossed instead of in bad taste.

Scott Poulson-Bryant offered an intriguing read on his Facebook page on “The Light” as an allusion to the Civil Rights’ theme song “We Shall Overcome.” This reading of “The Light” as the context to Olivia and Fitz’s relationship makes room to complicate how Olivia’s agency as a black woman is historically and politically bound to women before–she alludes to her similarity to Sally Hemmings in one episode. Olivia’s Sally Hemmings reference uses Hemmings as the genesis point for understanding the complexity of Olivia’s sexual encounters as well as how to navigate black women’s sexual agency – and pleasure – in popular spaces. Sally Hemmings’ relationship to President Thomas Jefferson lends historical credence to Olivia and Fitz’s Scandal but also signifies the gray area of historical memory, cultural expectations, and consent as a form of power for African American women. “The Light” instrumental is not only a sonic accompaniment of Olivia as she relates to Fitz but her own struggles to recognize and balance her public and personal agency.

The soundtrack of Scandal gives a voice to not just Olivia’s authority in a place where race and power are intertwined but also a voice on national television to how whiteness and political power operate. Scandal’s controversial protagonist/anti-hero Olivia Pope is often central to recent discussions of race, gender, and popular culture. But the soundtrack to the show asks viewers to not just watch closely but also listen closely. Tune out and you might miss something.

Regina Bradley recently completed her PhD at Florida State University in African American Literature. Her dissertation is titled “Race to Post: White Hegemonic Capitalism and Black Empowerment in 21st Century Black Popular Culture and Literature.” She is a regular writer for Sounding Out!

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Top 40 Democracy: Taylor Swift’s Election Day Victory

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As we read of the decisive Republican victories in the 2014 midterm elections we also hear that Taylor Swift has sold 1.29 million copies of her 1989 album in just a week. Does Swift’s landslide triumph, the biggest selling album of her career in a year when no other artist has sold a million copies at all, have any political implications? Or is popular culture, even at its most wide reaching, cut off now from any such significance? At least, there would be some political meaning in that.

Swift, arguably the most image-savvy popular musician since Madonna and Dolly Parton, won’t be of any direct use to us in figuring out the answer to the questions her success raises. But indirectly, she’s telling us a lot. “New money, suit and tie, I can read you like a magazine,” she sings about a potential conquest in one of her great new songs, “Blank Space.”

That’s her forte: decoding cultural (and commercial) categories and skipping between them. Parton, her predecessor in crossing from country to adult pop back in the 1970s, brought the power ballad to Nashville with “I Will Always Love You” and stressed the commonality, regardless of politics, of working women with “9 to 5.” Madonna’s deft self-framing created an insurgent position on the singles charts for women that hadn’t been there before. Swift seeks the modern feel of Top 40, the big, casual audience of adult pop, the intense allegiances of country fans—and by all indications she’s built that coalition.

EWIf we can learn to think about how music reaches people as subtly as Swift does, we’ll have a better chance of seeing its political role in our lives. Increasingly since the late 1960s, the most popular songs have reached listeners through music formats. By that I mean, and have written a book about, the radio-defined multiplication of the mainstream into separate channels. Some, like Top 40 and adult contemporary, are spaces of crossover. Others, like country, rock, and R&B, are defined a bit disingenuously as genre spaces. But all care less to cohere musically than demographically—to secure listeners of a certain age, gender, race, or income for advertisers. That may appear crass, but the diversifying effect is that groups of people who lack a dominant political voice (minorities, women, lower income people) become the majority target audience—music must find a style, and message, which speaks to them first. I chose to call my book Top 40 Democracy in recognition of the way that formatting blurs politics and culture in the service of delivering hit singles, just as politicians since Reagan have learned to blur the two to promote policy changes. Radio programmers are sound studies experts: everything about what listeners are to hear has to be understood, implicitly, before they tune in—DJ and promotions tone of voice, acceptable singing styles, production glosses, song length, beats, and much more. The result is an intensified normality, a mainstreaming that works to make whoever is being addressed feel utterly central.

There are real limitations to Top 40 democracy, though, especially if you make a contrast with the other radio-impelled format that has impacted politics: the rightwing populism of talk radio. Hit songs, which seek the widest possible listenership, blur their meaning by definition: everybody can sing “Shake It Off” in response to an adversity. Such numbers are unlikely to provide a conduit for anger against the economic inequities produced by globalization, since their format position as global hits, winners in the big flow, is sealed in sonically. They’re one part rarefied human (diva), one part hipster subculture (really club culture, chopped syncopations), one part the subsuming of both in a New Economy entrepreneurial merger ratified by synthetic, rhetorically multicontinental production glosses – the specialty of the man Swift worked on with “Shake It Off,” Max Martin, for example, responsible for 18 number one songs since his emergence with Britney Spears in the late 1990s.

But if that’s globalization as apolitical free trade zone, you might consider the flip side to that cushioning of identity: Top 40 hits, if unlikely to produce anger against capitalism, are equally unlikely to provide a conduit for anger against immigrants: from Black Eyed Peas to Bruno Mars and Rihanna (and now, in a way, with Swift’s format immigration), pop has long been home for performers with complicated origins. When I wrote a chapter on Elton John, whose links to the British Invasion gave him thirty straight years of Top 40 hits from 1970-1999, I became fascinated by how a British Invasion became globalization, by how closeted sexuality overlapped with other forms of airbrushed identity.

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The genius, and curse, of the commercial-cultural system that produced Taylor Swift’s Top 40 democracy win in the week of the 2014 elections, is that its disposition is inherently centrist. Our dominant music formats, rival mainstreams engaged in friendly combat rather than culture war, locked into place by the early 1970s. That it happened right then was a response to, and recuperation from, the splintering effects of the 1960s. But also, a moment of maximum wealth equality in the U.S. was perfect to persuade sponsors that differing Americans all deserved cultural representation.

Since that time, as corporate creativity has favored elites, the groups of people courted by formats have been pushed to put hope in exceptional individuals rather than breakout scenes: another of Taylor Swift’s iconic antecedents is Michael Jackson, the most popular and least representative star of all. It may be that we responded so ecstatically to Beyonce’s last album because in creating a set of songs and videos around her marriage and family she was giving us a symbolic collective, however circumscribed. Pop music democracy too often gives us the formatted figures of diverse individuals triumphing, rather than collective empowerment. It’s impressive what Swift has accomplished; we once felt that about President Obama, too. But she’s rather alone at the top.

Featured Image by Flickr User Eva Rinaldi

Eric Weisbard is the author of Top 40 Democracy: The Rival Mainstreams of American Music (University of Chicago Press), organizes the EMP Pop Conference, and is an Assistant Professor of American Studies at the University of Alabama.

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SO! Amplifies: Shizu Saldamando’s OUROBOROS

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Document3SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig.  You’re welcome!

Shizu Saldamando’s solo multimedia exhibition OUROBOROS explores the social dynamics and physical codes integrated within contemporary group dancing and civic participation.  OUROBOROS represents the ancient symbol of revolutionary cycles, rebirth, and circle dancing.  The show, opening at South of Sunset–an exhibition and performance space in Echo Park, Los Angeles, run by Elizabeth DiGiovanni and Megan Dudley–will include a selection of large-scale, photorealistic works on paper documenting the intimate social interactions observed within LA’s dance club scene, as well as recent video work. South of Sunset is pleased to premiere her most recent video, a juxtaposition of footage of traditional Japanese dancers at an Obon festival and punk rockers in a mosh-pit at a show in East LA.  

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“Ouroboros” 2 channel video, 4:58 looped 2014  //  “La Sandra” colored pencil, glitter, spray paint on paper 25” x 32″ 2014

Opening of Ourboros, South of Sunset, 11/12/14, Image by Devon Tsuno

Opening of Ourboros, South of Sunset, 11/12/14, Image by Devon Tsuno

Even as her recent interview with NPR Latino amplifies the “quiet radical politics” of her work, the sonics of Shizu’s work are loudly resonant. Her pencil and ink drawings, glittery gilt paintings, and video pieces reverberate with the sights and sounds of the two California cities she has called home–San Francisco and Los Angeles–the three cultures that have profoundly shaped her–Mexican, Japanese, and American–and the myriad voices, favorite bands, and energy of the friends she photographs out at dance clubs and concerts while “documenting the vibe” of LA music subcultures.

The exhibit runs from November 12th to December 3rd 2014; the gallery is open on Sundays 1 – 4 pm through November 23 (and by appointment).

Featured image: Ozzie and Grace, 2014, Shizu Saldamando, colored pencil and spray paint on paper, 25 x 32 inches.

Shizu Saldamando (b. 1978, San Francisco) is a multidisciplinary artist based in Los Angeles. A graduate of UCLA (BA, 2000) and CalArts (MFA, 2005), she has been the subject of recent solo exhibitions at the Vincent Price Art Museum (Los Angeles, 2013), Moore College of Art and Design (Philadelphia, 2012), and Steve Turner Contemporary Art (Los Angeles, 2010). Saldamando’s work has also been included in influential group exhibitions including Portraits of the Encounter at the Smithsonian National Portrait Gallery (Washington DC, 2011), Audience as Subject at Yerba Buena Center for the Arts (San Francisco, 2010), and Phantom Sightings: Art After the Chicano Movement at Los Angeles County Museum of Art (Los Angeles, 2008).

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