Breaking down the paywalls of academia can take many forms, but lifelong learning collectives centered around a shared passion may perhaps be one of the most fun. The Blues and Jazz Dance Book Club is an international group of people connected by a love of blues and jazz culture, who read books together and tune in—free of charge—via Youtube Live to lectures and Q and As from experts and scholars from around the United States. Literature scholars such as Jessica Teague have discussed jazz poetry and August Wilson’s blues influence; dancer and scholar Dr. Fenella Kennedy has offered an online mini-workshop and discussion forum; and blues musician Tad Walters has played music and discussed the Delta Blues and its origins, among other lectures. All of these lectures are available on the Book Club’s website and on YouTube for anyone to enjoy.
An open-access scholarly project founded in 2014, The Blues and Jazz Dance Book Club (BJDBC) was the brainchild of Sara Cherny, Damon Stone, Devona Cartier, Brenda Russell, and Kelly Porter (no longer a participating member). This team envisioned a free online space where people could learn about and discuss the history of blues, jazz, and African American dances, enriching both their own knowledge and the knowledge of the blues and jazz groups in which they participated. The Book Club’s current administrator, Chelsea Adams—PhD candidate at the University of Nevada, Las Vegas with a specialty in blues and African American dances in literature—took over operations in 2016.
Since then, Adams has worked hard to create a space where all blues and jazz lovers could access new scholarship on both the music and the dances done to that music, building a website to better facilitate the growing global group. Adams even coordinates live lectures at times that work the best to connect audiences who regularly chime in or visit the BJDBC website from Australia, England, Korea, Spain, France, Canada, Brazil, Sweden, the Netherlands, Germany, China and Hong Kong, among other places.
A Blues and Jazz Book Club live lecture by Dr. Jessica Teague, UNLV English
Recently, the Book Club has expanded to include multiple offerings for both scholar and enthusiast. One addition is quarterly feature articles, interviews, and community spotlights on blues and jazz topics. International dance instructor Julie Brown recently wrote the article “A Landscape of Slow Drag,” cataloguing and exploring how scholars and dancers have described the partnered blues idiom dance. Also featured is a never-before-published interview with Joe McQueen, the Oklahoma Jazz Hall of Fame inductee and Ogden, Utah’s King of Jazz.
Other feature articles have been spotlights on community engagements, literary criticism, and even a how-to on how to dive into research on blues and jazz topics. Practicioner and dance historian Damon Stone’s “A Brief Introduction to Savoy Walk,” Dr. Caryl Loney-McFarlane’s “‘Inside Nothing’: The Silent Protest March in Tony Morrison’s Jazz“ and Dr. Licia Morrow Hendricks’s “A Dog Named Blue: Song as Patrilineal Legacy in August Wilson’s Fences“ have all been popular pieces among group members and beyond. The website will soon publish an article all about Barbara Morrison‘s work in LA for the California Blues and Jazz Museum and the charity event called Signifyin’ Blues that raises money for her museum (forthcoming June 15th, 2019). And, in September 2019, Pat Taylor will be writing our third feature for the year on her work and life as a jazz dance choreographer.
The Blues and Jazz Dance Book Club’s signature offering is of course its quarterly book readings, where groups around the globe read together. Currently, we are reading Beyond the Crossroads: The Devil and the Blues Tradition by Adam Gussow, which we will finish during the first week of July 2019 (access the schedule here). Should you want to join us to read in 2019, future offerings include Jookin’: The Rise of Social Dance Formation in African-American Culture by Katrina Hazzard-Gordon (Summer 2019; start date July 21), Moanin’ at Midnight: The Life and Times of Howlin’ Wolf by James Segrest and Mark Hoffman (Fall 2019; start date September 15), and a blues-inspired novel for December 2019, Alice Walker’s The Color Purple (December 1). For the full 2019 reading list, click here.
Furthermore, the group’s website is a hub that also offers new reading lists and watch lists, including ones on African American history (and soon to include updated lists for blues and jazz music, and African American dance) and a discussion questions archive, where readers can find past discussion questions for previous books and films that they can access for their own thought or to read and discuss these books with others. Our Facebook page not only has regular posts about not only the Book Club, but also shares other research, news and information on blues and jazz around the United States, as does our Facebook Group.
“Open access groups like Book Club offer a friendly environment to learn how to approach academic literature,” Book Club Organizer Adams says, “while enjoying gaining more knowledge about their hobbies and interests. It’s a form of scholarly outreach that I think is vital if we truly believe in the idea that our research can make a difference outside of the academy.
Groups like this are important because they offer guided access to scholarship and literature to people who for one reason or another do not have the opportunity to learn in formal academic environments or other professional institutions. Scholarly literature is a specific and often intimidating genre to tackle alone, even if someone is interested in learning more about a topic.”
And the engagements the Book Club has are rich and multifaceted. “My favorite experience with a live lecture,” Adams remembers, “was with Dr. Kennedy, when they demonstrated dances out of Jean and Marshall Stearns’ diagrams from their book Jazz Dance. Watching the group actually learn how to dance some of these dances listed in the book was a joy.”
In April 2018, the Blues and Jazz Dance Book Club announced the goal to provide two yearly scholarships: a Community Learning Scholarship for blues and jazz events to bring out a scholar, musician, or practitioner to teach about blues or jazz culture and history, and another for an individual with financial need to attend an event with a blues or jazz history and culture focus or to perform research. To provide these scholarships, the Book Club relies solely on community donations. To date, they have been able to raise the money to fund one Community Learning Scholarship, which will be open for applications starting in August of 2019.
If you would like to participate in the Blues and Jazz Dance Book Club, please check out our website: bluesjazzbookclub.com. We accept abstract submissions for feature articles on a year-round basis, and have multiple volunteer positions available, from one-time positions like guest lecturer to rolling positions such as book discussion leader. If you would like to support the open-access project goals but do not have time to volunteer, we always welcome donations to the cause!
Featured Image from the Blues and Jazz Book Club, “A Landscape of Slow Drag,” 1925/Published 1961, Info Likely from Harlem, NY Dancers.
Currently a PhD candidate in English at UNLV, Chelsea Adams focuses her studies on African American literature, blues and jazz music, and African American dance. She writes about minority culture representation in literature, with a focus of representation of black musicians, dancers, and the art forms they produce. She also runs the Blues and Jazz Dance Book Club, an international online book club project, to offer the public open access information about the history of blues, jazz, and black dances. You can learn more about Chelsea and her work at cjuneadams.com.
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SO! Amplifies: Memoir Mixtapes–Kaitlyn Liu
SO! Amplifies: Cities and Memory–Stuart Fowkes
Pedagogy at the convergence of sound studies and rhetoric/composition seems to exist in a quantum state—both everywhere and nowhere at the same time. This realization simultaneously enlightens and frustrates. The first page of Google results for “sound studies” and “writing instruction” turns up tons of pedagogy; almost all of it is aimed at instructors, pedagogues, and theorists, or contextualized in the form of specific syllabi. The same is true for similar searches—such as “sound studies” + “rhetoric and composition”—but one thing that remains constant is that Steph Ceraso, and her new book Sounding Composition (University of Pittsburgh Press: 2018) are always the first responses. This is because Ceraso’s book is largely the first to look directly into the deep territorial expanses of both sound studies and rhet/comp, which in themselves are more of a set of lenses for ever-expanding knowledges than deeply codified practices, and she dares to bring them together, rather than just talking about it. This alone is an act of academic bravery, and it works well.
Ceraso established her name early in the academic discourse surrounding digital and multimodal literacy and composition, and her work has been nothing short of groundbreaking. Because of her scholarly endeavors and her absolute passion for the subject, it is no surprise that some of us have waited for her first book with anticipation. Sounding Composition is a multivalent, ambitious work informs the discipline on many fronts. It is an act of ongoing scholarship that summarizes the state of the fields of digital composition and sonic rhetorics, as well as a pedagogical guide for teachers and students alike.
Through rigorous scholarship and carefully considered writing, Ceraso manages to take many of the often-nervewracking buzzwords in the fields of digital composition and sonic rhetorics and breathe poetic life into them. Ceraso engages in the scholarship of her field by demystifying the its jargon, making accessible to a wide variety of audiences the scholar-specific language and concepts she sets forth and expands from previous scholarship (though it does occasionally feel trapped in the traditional alphabetic prison of academic communication).. Her passion as an educator and scholar infuses her work, and Ceraso’s ontology re-centers all experience–and thus the rhetoric and praxis of communicating that experience–back into the whole body. Furthermore, Ceraso’s writing makes the artificial distinctions between theory and practice dissolve into a mode of thought that is simultaneously conscious and affective, a difficult feat given her genre and medium of publication. Academic writing, especially in the form of a university press book, demands a sense of linearity and fixity that lacks the affordances of some digital formats in terms of envisioning a more organic flow between ideas. However, while the structure of her book broadly follows a standard academic structure, within that structure lies a carefully considered and deftly-organized substructure.
Sounding Composition begins with a theory-based introduction in which Ceraso lays the book’s framework in terms of theory and structure. Then proceeds the chapter on the affective relationship between sound and the whole body. The next chapter investigates the relation of sonic environments and the body, followed by a chapter on our affective relationship with consumer products, in particular the automobile, perhaps the most American of factory-engineered soundscapes. Nested in these chapters is a rhetorical structure that portrays a sense of movement, but rather than moving from the personal out into spatial and consumer rhetorics, Sounding Composition’s chapter structure moves from an illustrative example that clearly explains the point Ceraso makes, into the theories she espouses, into a “reverberation” or a pedagogical discussion of an assignment that helps students better grasp and respond to the concepts providing the basis for her theory. This practice affords Ceraso meditation on her own practices as well as her students’ responses to them, perfectly demonstrating the metacognitive reflection that so thoroughly informs rhet/comp theory and praxis.
Chapter one, “Sounding Bodies, Sounding Experience: (Re)Educating the Senses,” decenters the ears as the sole site of bodily interaction with sound. Ceraso focuses on Dame Evelyn Glennie, a deaf percussionist, who Ceraso claims can “provide a valuable model for understanding listening as a multimodal event” (29) because these practices expand listening to faculties that many, especially the auditorially able, often ignore. Dame Glennie theorizes, and lives, sound from the tactile ways its vibrations work on the whole body. From the new, more comprehensive understanding of sound Dame Glennie’s deafness affords, we can then do the work of “unlearning” our ableist auditory and listening practices, allowing all a more thorough reckoning with the way sound enables us to understand our environments.
The ability to transmit, disrupt, and alter the vibrational aspects of sound are key to understanding how we interact with sound in the world, the focus of the second chapter in Sounding Composition. In “Sounding Space, Composing Experience: The Ecological Practice of Sound Composition,” Ceraso situates her discussion in the interior of the building where she actually composed the chapter. The Common Room in the Cathedral of Learning, on the University of Pittsburgh’s main campus, is vast, ornate, and possessed of a sense of quiet which “seems odd for a bustling university space”(69). As Ceraso discovered, the room itself was designed to be both vast and quiet, as the goal was to produce a space that both aesthetically and physically represented the solemnity of education.
To ensure a taciturn sense of stillness, the building was constructed with acoustic tiles disguised as stones. These tiles serve to not only hearken back to solemn architecture but also to absorb sound and lend a reverent air of stillness, despite the commotion. The deeply intertwined ways in which we interact with sound in our environment is crucial to further developing Ceraso’s affective sonic philosophy. This lens enables Ceraso to draw together the multisensory ways sound is part of an ecology of the material aspects of the environment with the affective ways we interact with these characteristics. Ceraso focuses on the practices of acoustic designers to illustrate that sound can be manipulated and revised, that sound itself is a composition, a key to the pedagogy she later develops.
Framing the discussion of sound as designable—a media manipulated for a desired impact and to a desired audience–serves well in introducing the fourth chapter, which examines products designed to enhance consumer experience. “Sounding Cars, Selling Experience: Sound Design in Consumer Products,” moves on to discuss the in-car experience as a technologically designed site of multisensory listening. Ceraso chose the automobile as the subject of this chapter because of the expansive popularity of the automobile, but also because the ecology of sound inside the car is the product of intensive engineering that is then open to further manipulation by the consumer. Whereas environmental sonic ecologies can be designed for a desired effect, car audio is subject to a range of intentional manipulations on the listener. Investigating and theorizing the consumer realm not only opens the possibilities for further theorization, but also enhances the possibility that we might be more informed in our consumer interactions. Understanding the material aspects of multimodal sound also further informs and shapes disciplinary knowledge at the academic level, framing the rhetorical aspect of sonic design as product design so that it focuses on, and caters to, particular audiences for desired effects.
Sounding Composition is a useful and important book because it describes a new rhetoric and because of how it frames all sound as part of an affective ontology. Ceraso is not the first to envision this ontology, but she is the first to provide carefully considered composition pedagogy that addresses what this ontology looks like in the classroom, which are expressed in the sections in Sounding Composition marked as “Reverberations.” To underscore the body as the site of lived experience following chapter two, Ceraso’s “reverberation” ask students to think of an experience in which sound had a noticeable effect on their bodies and to design a multimodal composition that translates this experience to an audience of varying abledness. Along with the assignment, students must write an artist statement describing the project, reflecting on the composition process, and explaining each composer’s choices.
To encourage students to think of sound and space and the affective relationship between the two following chapter three, Ceraso developed a digital soundmap on soundcities.com and had students upload sounds to it, while also producing an artist statement similar to the assignment in the preceding chapter. Finally, in considering the consumer-ready object in composition after the automobile chapter, students worked in groups to play with and analyze a sound object, and to report back on the object’s influence on them physically and emotionally. After they performed this analysis, students are then tasked with thinking of a particular audience and creating a new sonic object or making an existing sonic object better, and to prototype the product and present it to the class. Ceraso follows each of these assignment descriptions with careful metacognitive reflection and revision.
Steph Ceraso interviewed by Eric Detweiler in April 2016, host of Rhetoricity podcast. They talked sound, pedagogy, accessibility, food, senses, design, space, earbuds, and more. You can also read a transcript of this episode.
While Sounding Composition contributes to scholarship on many levels, it’s praxis feels the most compelling to me. Ceraso’s love for the theory and pedagogy is clear–and contagious—but when she describes the growth and evolution of her assignments in practice, we are able to see the care that she has for students and their individual growth via sound rhetoric. To Ceraso, the sonic realm is not easily separated from any of the other sensory realms, and it is an overlooked though vitally important part of the way we experience, navigate, and make sense of the world. Ceraso’s aim to decenter the primacy of alphabetic text in creating, presenting, and formulating knowledge might initially appear somewhat contradictory, but the old guard will not die without a fight. It could be argued that this work and the knowledge it uncovers might be better represented outside of an academic text, but that might actually be the point. Multimodal composition is not the rule of the day and though the digital is our current realm, text is still the lingua franca. Though it may seem like it will never arrive, Ceraso is preparing us for the many different attunements the future will require.
Featured Image: Dame Evelyn Glennie Performing in London in 2011, image by Flickr User PowderPhotography (CC BY-NC-ND 2.0)
Airek Beauchampis an Assistant Professor of English at Arkansas State University and Editor-at Large for Sounding Out! His research interests include sound and the AIDS crisis, as well as swift and brutal punishment for any of the ghouls responsible for the escalation of the crisis in favor of political or financial profit. He fell in love in Arkansas, which he feels lends undue credence to a certain Rhianna song.
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Botanical Rhythms: A Field Guide to Plant Music -Carlo Patrão
Sounding Our Utopia: An Interview With Mileece–Maile Colbert
In “Asesina,” Darell opens the track shouting “Everybody go to the discotek,” a call for listeners to respond to the catchy beat and come dance. In this series on rap in Spanish and Sound Studies, we’re calling you out to the dance floor…and we have plenty to say about it. Your playlist will not sound the same after we’re through.
Throughout January, we will explore what Spanish rap has to say on the dance floor, in our cars, and through our headsets. We’ll read about trap in Cuba and about Latinx identity in Australia. And because no forum on Spanish rap is complete without a mixtape, we’ll close out our forum on Thursday with a free playlist for our readers. Today we continue No Pare, Sigue Sigue: Spanish Rap & Sound Studies with Ashley Luthers’ essay on femme sexuality in Cardi B’s music.
Liana M. Silva, forum editor
“Ran down on that bitch twice” was all I heard in this tight, dark basement filled with black and brown bodies, sweat dripping everywhere from everyone. Girls danced all over, yelling and shouting lyrics as they clapped and pointed along to the fast, upbeat rhythm of the song, feeling their own sensations and pleasure from the vibe, and rapping with the catchiness of the repeated phrase, “Ran down on that bitch twice!” As everyone was jumping, the space around me shook because there was so much body movement and flow; it was lit. This wasn’t the first time I heard Cardi B, but dancing along to her song “Foreva” was definitely the first I remember hearing her. Since that dark basement party, I realized that the attitude and energy Cardi B invokes through her raps and lyrics is addicting.
Listening repeatedly to “Foreva,” and the rest of her debut mixtape Gangsta Bitch Music Vol.1, has attuned me to Cardi B as a stone cold, gangster bitch: someone who is fearless, tough on the outside and inside. She doesn’t hesitate; she doesn’t bluff. She gets straight to the point and lets you know that she will fuck you up if and when necessary. A ‘G’ she is, as some would say when describing a person who shows no fear and is always hustling—except that someone is imagined as a black male from the so-called ‘hood who affiliates with drugs, gangs, etc. The music itself reflects this gangster feel, through the hard trap sounds and beats in every track. Trap music as a style and subset of Hip-Hop, and arguably a genre on its own, originated in Atlanta, and has over time become mainstream all across the U.S. specifically within the Northeast region. Within Cardi’s performed, stone cold bitch lyrical persona, she embodies an aggressive femme sexuality, a racialized femme hunger for sex with black men, and an emotional depth that makes her endearing to listeners. Her embodiment of this multiplicity—stone cold attitude, femme sexual thirst, and emotional complexity—can be heard in her music, through the explosion of beats, rhythms, and lyrics that keep listeners hooked to the sound of her self-image. In other words, Cardi B’s sonic and lyrical movements work in tandem with her audio-visual construction of black, Caribbean, Bronx femme desire.
Nowadays this audio-visual construction is visible across her music and social media, but I want to focus on the image of her debut mixtape cover, Gangsta Bitch Music, Vol.1. This image hailed me and continues to hold me in thrall after lengthy meditations on it. In it, Cardi B sits in the backseat of a car, high-rise apartments peering through the back window, with her legs spread wide open. Between her legs, a big, black, faceless, tatted man gives her head as she casually drinks her Corona. The man’s back sprawls in the place where we might imagine Cardi B’s junk/pussy; he’s her bitch. The audacity of displaying her desire mid-sex-act intrigues me and does more than merely assert black femme sexual desire. The media blew up when Nicki Minaj did her lollipop photoshoot in which her legs are wide open, and her crotch is heavily exposed. But Cardi B’s mixtape cover has a different impact, because of the positioning of its vulgarity and audacity.
I’ve seen pictures of Nicki Minaj and Lil’ Kim where they’re half naked, open to giving men pleasure, and completely distorting the expectation of respectable black women to cover their bodies and assets. But what makes Cardi’s mixtape visual different even from Lil’ Kim’s and Minaj’s visual constructions is that it shouts power from the position often occupied by cis-male desire. Cardi B is seizing her own sexual power and gangster agency while she asserts her business hustle from the seated position of power that is often assumed by cis-male gangster rappers and performers. In the angle and composition of the mixtape image, we, as viewers, are positioned to look up at her as we witness her experiencing pleasure. She’s above us, and her chosen sexual object, who is a big black man, a figure whose masculinity is historically challenged by normative and respectability-obsessed society, and who is historically susceptible to being emasculated, is situated beneath her: there’s a troubling of power’s embodiment, specifically through sex, in this image. She’s visually insisting on getting play.
I connect Gangsta Bitch Mixtape Vol. 1’s cover image to the sounds, vibes, and lyrics of Cardi B’s tracks within the mixtape. In “Foreva,” for example, she raps, “Silly muthafucka who raised you/ a nigga with a pussy how disgraceful.” It’s at this point that we realize that the “bitch” that she “ran down on,” “twice,” is also a dude. In the lyrics, she alternates between beefing with trifling chicks and dudes; for Cardi, bitches breach a gender dyad. She raps from a masculine position as a femme, which ultimately illustrates her mixtape cover’s reversal of who is in the receptive and dominant position of sexual power. In “Foreva,” she’s talking down on black men the same way that most of these men speak on black women in the Hip-Hop industry. Cardi twists the normative misogyny and disrespect that is often demonstrated towards black women in Hip-Hop and instead uses that towards apostrophic black men. The lyrics of “Foreva” and the Gangsta Bitch mixtape cover both sustain this idea of Cardi B working within masculine tropes as a woman in the industry. On the mixtape cover, she is the one who is receiving pleasure, instead of giving it to a man. Lyrically and physically, she’s in a place where she’s on top, looking down on her subject/object of sexual desire, and inviting her audience to watch.
Sonically, “Foreva” and other tracks fits within the genre of trap music. Many of the songs in the mixtape have aggressive beats. The genre is characterized by a deep, hard mood created by the fast beat: Justin Burton describes it as “one of the most iconic sonic elements of trap is the rattling hihat, cruising through subdivisions of the beat at inhuman rates.” This is what we hear and feel from Cardi’s music itself. Specifically, the BPM for “Foreva” is 161 which fits into the range of typical Trap music. The way she sounds is what she embodies. The flow of “Foreva” tells us as listeners that Cardi B isn’t here to play and she damn sure won’t let anybody stop her from making her money. The rest of the music on the mixtape takes a similar route, in that these crisp rhythms speak to her power, her urban upbringing, coming from the Bronx, and her days as a stripper. She owns her sexuality and claims it through the music. The cover reflects this: she is poised and looking directly at us, her stone-cold persona manifested in how she also appears utterly unbothered by you, us, looking at her, looking at us.
Cardi B’s a freak. Clearly. (As if we didn’t know this.) But the way she visually and sonically expresses her sexual yearning is more complicated than the word freak can capture. The thing with Cardi B is, she’s not afraid. In fact, she doesn’t care about respectability. Even when she raps about making money or callin’ shots on someone, she never hesitates to slide in something sex-related because she knows she’s good at getting and giving play, both sexually and musically: “Fuck him so good he gonna want to spend all that/ Pussy got him on the jugg he gonna re-up and come right back.” If you read the lyrics from “With That,” you could think the lyrical subject is a male rapper, like trap’s Future or Gucci Mane. In fact, this song is a remake from Young Thug’s “With That,” which comes from his album Barter 6. Young Thug is one of the big faces in the Atlanta Trap music scene and his track “With That” reflects the life of a rapper like him. Poppin pills, stacking money tall, Thug knows he’s killing the game and shitting on these other rappers with his sounds–Cardi B echoes that bravado in her remake.
Drugs, sex, money, hustle: Cardi B, in a way, replicates the masculine attachment to these tropes. But we are not listening to an abstract, masculinist lyrical subject on her mixtape; we are listening to a black femme subject. So, this goes beyond ‘replication’, as we may wonder whether it has ever historically not been the case in the Americas that black women also had to hustle, grind, find stimulation to escape normative constraints, and take care of their sexual desires. Which is to say, black men are not the OG hustlers; arguably, black women are, and Cardi B channels that historical force in her audio-visual construction of a stone-cold bitch who knows how to get play, and still have feelings in a hatin’ ass world.
We’re introduced to this hard, stone cold Cardi B inside and outside of her music’s lyrics as she repeatedly performs that she is not at all ashamed of the fact that she used to be stripper, aka, someone who hustles hard. Her choice of the trap genre, as a black Latina, acknowledges the existence of that hustle theme within it—even honors it. Her refusal of shame and respectability affects that take a specific toll on black women in the Americas, circles me back to the welcoming aura she displays on the mixtape cover. She wants viewers to see her in her happy place; she wants us listeners to hear how good she is in bed; she wants the world to know she’s a freak. This is her way of fucking with the mythical construction of masculinity in Hip-Hop where cis-men are the most badass, aka, the “most political” subjects; she acts on her own urges and desires, which does a lot more than just show femme as “sexy.” She’s sexy and she’s cold and so is her music too: the kick drums, synth lines, and hihats make her sonically ominous and cold.
In one of Cardi B’s latest tracks, “Money,” I still hear echoes of “Foreva,” but I’m hearing so much more. I find myself paying as much attention to the audio as to the visual constructions that Cardi B’s generous yet cutting aesthetic offers: in the cover image for “Money,” we see her naked body, positioned in a way that shows off her peacock thigh tattoo, suggesting but keeping her junk from you. She’s wearing a plethora of gold watches, almost as if they’re long-sleeve gloves, and a gold hat, the shape of which channels both Beyoncé’s in “Formation” and Jeffery’s (aka, Young Thug) on the cover of Jeffery. Unlike the cover of the first mixtape, Cardi does not give us her hair in this image, and she does not give us her gaze; while she directs her face at the camera, the hat dripping with diamonds conceals her hair and her eyes from us—or, she is giving her gaze to herself, to the inward rewards of her hustle. The ice is cold, but the image is warm as a swarm of gold bling and golden light surrounds her.
Lyrically, on “Money,” she’s doing what she does best, rapping about her hustle, her money, and still managing to throw in a little something about her love for sex. Sonically, this is pure trap. We hear an orchestration of keyboards, brass, and drums. As for us, listening viewers, we not only consume her music, but also continue to take in everything Cardi B has to offer because it fascinates and pleases us. She returns our pleasure (in her pleasure) to us, and nothing less than that.
Featured Image: Still from “Cardi B ‘Foreva’ (Live) Choreography By- Hollywood”
Ashley Luthers is currently a Senior at Wesleyan University studying English and Economics. She has spent the past year researching and studying Cardi B inside and outside of the classroom. Her final senior essay revolves around Cardi B as a black femme artist in Hip-Hop through an analysis of different theories surrounding the black female body.
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“The (Magic) Upper Room: Sonic Pleasure Politics in Southern Hip Hop“–Regina Bradley
Pictured above areRaven Von Scrumptious (right) an Sepia Jewel (left), two burlesque dancers from San Diego, California. Raven and Sepia started “eye fucking” in burlesque classes with Coco L’Amour and later they transferred these gestures to the photo studio and the stage, gestures that as Juana Maria Rodriguez notes, “dance, flirt and fuck” (2014). “Eye fucking” is transmitting tease, a play with your audience that is coquettish. Eye fucking entails going beyond the gaze of the audience into a realm where you meet your inner erotic, your inner gaze. Eye fucking creates arousal, homosociality, agency, femme desire, confidence, and a queer space with a lot of glitter. As Smiley LaRose—the name I chose to take on as my student burlesque name—I have learned to “fuck the camera lens” from these two women and the burlesque community in San Diego, who encourage me to embrace what Celine Parreñas Shimizu calls “productive perversity.”
In this post, I reflect on the sonic intimacies between burlesque and boudoir photography. I am sharing part of a larger film project titled #GlitterBabes, where I tell a story of how burlesque as a recreational practice empowers women to engage their sensual selves. The film came about when I signed up for a Soloist Workshop and my burlesque stage persona Smiley LaRose was born. I tell this story through Glitter Tribe Studio, the first studio dedicated to the art of burlesque in San Diego.
In fact, both the dance and photography studios I write about here have an intimate relationship. The film starts with Smiley’s curiosity about how her classmates and teachers engaged the art of tease and navigated all the different aspects of it. As a fat performer, I was particularly interested in the way that my burlesque sisters and myself would navigate topics of body confidence, sensuality and stripping. As it turned out, these practices require a practice of listening to the details of our bodies and its engagement with musicality, the rhythm of our tease(s), and our awareness for how the camera can capture our corporeal erotic wavelengths both on and off stage.
In other words, I engage in ‘dirty listening’ to describe the sonics of boudoir photography and the erotic sounds that go into capturing sensuality in its most intimate ways. In their qualitative study of erotic photographers, Wentland and Muise found that in order to have a successful shoot it was crucial to create “relaxing and comfortable” spaces for femmes. A common practice among the photographers was to have “constant dialogue with their clients, both at the beginning and during the photo shoot, in order to help their clients relax.” They allowed femmes to have control over the shoot and explained every step along the way. In fact, as photo shoots progressed, several clients “requested shots that were more revealing than what they had initially discussed” (106). The findings by Wentland and Muise share many commonalities with the way photographers in San Diego also engage the practice of Boudoir, particularly the understanding that agency is experienced along a continuum and photographers support their clients by accommodating different techniques that can silence their negative self-talk.
At Bad Kitty Photography, where both Raven and Sepia had their shoots, a layer enabling femmes to get into an affective state of sensual comfort is music. To prepare for shoots, Bad Kitty asks their clients to think about their favorite music to set the mood. On their website, they list creating a music playlist as a recommendation to prepare for the shoot. This recommendation intrigued me and aroused an intellectual sonic orgasm. As a scholar of music, sound, and sexuality, their suggestion reminded me of a post by Robin James, where she argues that “we can understand the physical pleasures of listening to music, music making, and music performance as kinds of sexual pleasure.” In Modernity’s Ear: Listening to Race and Gender in World Music, Roshanak Khesti has described the erotic aspects of aurality, and has described the ear, as an ‘invaginated organ’ that penetrates the body with pleasure-in-listening. Here, music is consumed in a femme-centered space to get the model and its photographer to a state of intoxicating perversity.
Beyond the music recommendation, the photographer who worked with me also used sonic techniques to help me get relaxed and comfortable. Ashley Rae, aka “My Bomb Ass photographer,” no longer works at Bad Kitty, but her impact there particularly with other women of color clients is remembered. While we were choosing my outfits, I shared with Ashley, how nervous I was about not being able to make sexy faces. She looked at me and said, “It’s easy! All you have to do is pronounce ‘juice.’” She later asked me to look at the mirror while I practiced. The trick in the exercise was how slow I said “juice” the slowness and softness or my pronunciation created a shape in my lips that unconsciously also influenced the way my eyes moved. After juice she told me to pronounce “prune.” Ppppp-rrrr-uuuuuuu-nnnnnn—ee.
I look at my photos and I see the effect it created. “vocal utterances function as another kind of embodied gesture – opening the mouth and projecting sounds, words, and breath imprinted by the unique physical qualities of our inhabited bodily instruments,” as she points out in Sexual Futures, Queer Gestures, and other Latina Longings (124).
Rodriguez asks, “what happens when I talk dirty to you? How does the address of speech transform the performative gesture of its utterance?” (125). Dirty talk– how my photographer engaged me in dialogue – contributed to my afloje (looseness) as the shoot progressed. The address of her speech, along with her gestures, made me get lost in her camera. Witnessing the way she touched herself–and the way she wanted me to touch my body–formed a collective vision of sensuality, one where all femmes of color could feel like goddesses. It was her dirty talk, the tone of her voice, and the power of her Black Femme gaze that helped me get there. Following Audre Lorde’s vision for the power of the erotics, we imaged a different world with her camera, a world where femmes eye fuck each other, and for each other, constantly displacing the male gaze. Her foreplay allowed me to listen to how my Eyes Talked, My Eyes Teased, My Eyes Fucked.
Beyond the shoot, the boudoir photos that she took of me would capture forever the fat perversity that she inspired in me. The energy we created inside that studio lingers in my skin. I remember her dirty talk and when we pose, my friends who have also gone through her spell also say, “give me more bootyhole” Like that, my remix yells “si, metete con mi Cucu!”
As a fat student of burlesque, my dirty talk, my dirty listening, is inspired by other women of color, fat performers, and porn stars. I gaze upon them for inspiration, guidance on eye fucking, and poses. On March 9, 2018, I participated in the second annual Plus Size Art Show at Meseeka Art studio in San Diego, California. I submitted 20 pieces of boudoir photography to the show that celebrated the bodies of five women of color plus-size burlesque performers from San Diego. They included Buttah Love, Raven VonScrumptious, Lucy May, Sepia Jewel and Smiley LaRose. The other art pieces in the show also centered fat perversity by presenting women in shibari, bikinis, nude, and boudoir.
The all-women DJ collective Chulita Vinyl Club de San Diego played at the show while people danced, drank, and viewed the live fat artwork in formation. Listening to the charlas in the room, you could hear fat women share the power they felt from seeing other fat women feeling sexy. One of the participants approached Sepia and Smiley to ask us if we were also exhibited in the artwork. We both pointed at our images, celebrating each other by complementing our sexy poses. She told us that it was her first time ever taking photos in lingerie, and that playing with the shoot was empowering. We both agreed, because as burlesque dancers and students, stripping to nakedness has had multiple effects on the way we viewed our bodies, and their sensuality. Can you listen to how we use boudoir, erotic art and burlesque to create a visual archive of fat-sex-positivity?
Although Raven was not able to attend the opening of the show, she saw it through Buttah’s Instagram story. When I texted Raven, she told me she almost cried from seeing her photos framed on the wall. Raven was art, a fat femme was art. But even though she was not there, her photos transmitted energy and a fat perversity: her fat eyes talked, her fat eyes teased, her fat eyes fucked us.
All images courtesy of the author.
Yessica Garcia Hernandez is a doctoral candidate and filmmaker in the Department of Ethnic Studies at the University of California San Diego. Her scholarship bridges fan studies, sound studies, women of color feminisms, fat studies, girl studies, and sexuality/porn studies to think about intergenerational fans of Mexican regional music. Yessica earned her B.A. in Chicanx Studies from University of California, Riverside and an M.A. in Chicanx and Latinx Studies at California State University Los Angeles. She has published in the Journal of Popular Music, New American Notes Online, Imagining America, Journal of Ethnomusicology, and the Chicana/Latina Studies Journal. Her dissertation entitled, “Boobs and Booze: Jenni Rivera, the Erotics of Transnational Fandom, and Sonic Pedagogies” examines the ways in which Jenni Rivera fans reimagine age, gender, sexuality, motherhood, and class by listening to her music, engaging in fandom, and participating in web communities. She explores the social element of their gatherings, both inside and outside the concert space, and probe how these moments foreground transmissions of Latina power. Yessica’s broader research interests includes paisa party crews, Banda Sinaloense, Contestaciones, and Gordibuena/BBW erotics. She is a co-founder and member of the Rebel Quinceañera Collective, a project that utilizes art, music, photography, creative writing, filmmaking, and charlas to activate spaces for self-expression and radical education by and for youth of color in San Diego.
REWIND!…If you liked this post, check out:
Unapologetic Paisa Chingona-ness: Listening to Fans’ Sonic Identities–Yessica Garcia Hernandez
Mediated Sexuality in ASMR Videos–Emma Leigh Waldron