Tag Archive | Craig Eley

Sound at ASA 2014

The 2014 American Studies Association meeting will be held in Los Angeles, an appropriate setting for this year’s theme, “Fun and the Fury: Dialectics of Pleasure and Pain in the Post-American Century.” The conference, which will take place from November 6-9, will offer panels of interest to Sound Studies scholars. The City of Angels has long served as a muse for artists and thinkers interested in creating innovative worlds. Los Angeles is a place of experimentation and futuristic transformation, or as Norman Mailer called it, a constellation of plastic. Part of Mexico until 1848, Los Angeles is a global metropolis that embodies the keen contradictions of national and capital in the 21st century, often exposing the nuts and bolts that hold together these structures. Fun, fury, and the “dialectics of pleasure and pain” are useful for conceptualizing the sharp contrasts that characterize the city of LA itself. A panel on Sunday, Central Avenue Breakdown: Gender, Race, and Coming of Age in a Los Angeles Jazz Community, will discuss the historical complexities of the city of Los Angeles by way of the African American entertainment district of Central Avenue (Sunday 2:00-3:45).

This year’s ASA program features an increase in sound and music-related papers in comparison to last year’s conference in Washington, D.C., which was concerned with the logic of debt. The upswing is partially due to the 2014 theme, which emphasizes the production of alternative spaces that counter repressive forces. As the program committee, comprised of co-chairs J. Jack Halberstam, Fred Moten, and Sandra Soto, writes, “The critical power of ‘fun’ in this unconventional convention theme seeks nothing less than the reimagining of possibility, impossibility, probability and freedom.” Sound Studies is already geared toward thinking about how careful listening can offer new ways of being-in-the-world, so the increase in music-themed panels this year is not surprising. As music scholars and listeners have long insisted, music is foundational to embodied experiences of pleasure and fun. Music’s ability to transport listeners and to cultivate collectivity makes it uniquely relevant to discussions of pleasure.

"So Much Noise" by Flickr user Doran, CC BY-NC-ND 2.0 http://www.flickr.com/photos/dopey/9260000239

“So Much Noise” by Flickr user Doran, CC BY-NC-ND 2.0

One notable exception to the musical focus is the second of the two ASA Sound Studies Caucus panels, “The Racial Politics of Listening: ‘Accents,’ Hate Speech, and Language in the U.S. Media,” which will take place on Saturday from 2:00-3:45. Featuring Dolores Inés Casillas, Sara Hinojos, Marci McMahon, and SO! Editor-in-Chief, Jennifer Stoever, The panel will examine the role of speech and auditory cues in constructing racial representations. An individual paper by Craig Eley in the Environment and Culture Caucus panel Ecologies of Pleasure and Pain: Deviance, Destruction and Desire in Environmental History, entitled Psychologically Ultimate Seashores: Natural Sound, Personal Pleasure, and Recording Technologies is also worth mentioning (Sunday 10:00-11:45).

This year’s call for papers asked for participants to formulate creative modes for presenting their work, and Sound Studies scholars are stepping up. The first panel hosted by the ASA Sound Studies Caucus (Saturday 10:00-11:45) is an exciting listening dialogue entitled “Power Ballads and Blurred Lines: Songs from the Boundaries of Fun.” The commentators, Jeff Chang, Alice Echols, Evelyn McDonnell, Oliver Wang, and Rubén Martinez, will each play a song and discuss how pop music that is treated as harmless fun may nevertheless speak to social dynamics in real and important ways. A roundtable on Music, Fashion and the Power of (Queer) Nightlife (Friday 12:00-1:45) will include scholars of nightlife as well as party promoters and DJs, discussing the possibility for belonging in subcultural “nightworlds.”

"Hotel Bonaventure" by Flickr user S. N. Johnson-Roehr, CC BY-NC 2.0

“Hotel Bonaventure” by Flickr user S. N. Johnson-Roehr, CC BY-NC 2.0

This year there are a number of notable African American Studies panels, including After the Rain: Vanguardist Jazz in the Seventies (Thursday 10:00-11:45) organized in memory of Amiri Baraka, Stomp, Swerve, Rattle, and Roll: Fun and Pleasure as Political Resistance in American Blues Music (Thursday 4:00-5:45), What Words Can’t Do: Instrumentals, Identity, and Interpretation (Sunday 10:00-11:45), and Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans (Sunday 12:00-1:45). The category of pleasure provides a framework for panels on The Aesthetics of Pleasure in California Funk (Sunday 10:00-11:45) and Performative Pleasures of Blackness: The Creation, Consumption, and Conflict of Pleasurable Blacknesses. Sound scholars also continue to investigate transnational modes of listening, in panels such as The Transnational Movements of Hip-Hop (Thursday 12:00-1:45), Fugitive Preludes: Chicana/o Popular Music and the Neoliberal City (Friday 10:00-11:45), and Performing Decolonial Aesthetics and the Politics of Pain and Pleasure in Music Across the Americas (Friday 12:00-1:45).

Two years ago, Jennifer Stoever mentioned that work in the field of Sound Studies was entering a period of reflection and becoming more nuanced and robust with sub-fields starting to develop. It is clear from this year’s program that the field is both broadening and deepening its focus. After two years of official recognition under the ASA Sound Studies Caucus and three years after the publication of Sound Clash, the special issue of American Quarterly, scholarship on sound in American Studies is developing in a myriad of ways and is coming into its own as a field.

Jump to THURSDAY, November 6
Jump to FRIDAY, November 7
Jump to SATURDAY, November 8
Jump to SUNDAY, November 9

Featured image: “Carmaheaven” by Flickr user waltarrrrr, CC BY-NC-ND 2.0

Please comment to let SO! know what you think–both before and after ASA 2013.  If we somehow missed you or your panel in this round up, please let our Managing Editor know!: lms@soundingoutblog.com

Meghan Drury is a fifth-year Ph.D. candidate in the Department of American Studies at the George Washington University. She received an MA in ethnomusicology from UC Riverside in 2006. She is currently working on a dissertation tentatively titled “Aural Exotics: The Middle East in American Popular Music 1950-2011.” This project examines the interplay between popular music and American cultural representations of the Middle East from the mid-20th century to the present, illustrating how music and sound acted a means of consolidating and disseminating a range of ideas about Middle Eastern culture in the American mainstream. She is particularly interested in the way that sound increased the visibility of Arab Americans both before and after 9/11, offering a space for negotiations of identity. More broadly, Meghan’s interests include sound studies, U.S.-Middle East cultural relations, and Arab American cultural performance. 

 

"Echo Park September 2010" by Flickr user Calvin Fleming

“Echo Park September 2010” by Flickr user Calvin Fleming

THURSDAY, November 6th, 2014

8:00 am – 9:45 am

Religiosity and Altered States
Westin Bonaventure, Los Feliz (L1)

—Richard Cullen Rath, University of Hawai’i, Manoa (HI)
Dangerous Fun in Puritan New England: Mary Ross and the Singing Quakers

Riots, Radios, and the Historical Record: Mass Media and Crisis in Twentieth American Literature and Art
Westin Bonaventure, San Bernardino (L1)

—Hadji Bakara, University of Chicago (IL)
Guernica on the Radio: Anti-Fascism, Mass Media, and the Emergence of Human Rights Activism

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10:00 am – 11:45 am

Playing with Rules: Having Fun and Keeping Order in Mid-Century Racial Liberalism
Westin Bonaventure, San Fernando (L1)

—Yusuke Torii, Setsunan University (Japan)
S. I. Hayakawa’s Jazz Credentials and Racial Liberalism in Mid-Century America

—Masayoshi Yamada, Doshisha University (Japan)
Jazz, Fans, and the Pleasure of Listening during Turbulent Times

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After the Rain: Vanguardist Jazz in the Seventies (in memory of Amiri Baraka)
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Ronald Radano, University of Wisconsin, Madison (WI)

PAPERS:
Paul A. Anderson, University of Michigan, Ann Arbor (MI)
“Thunder Blossoms Gorgeously”: Abstracting the Pastoral in Marion Brown’s Georgia Trilogy

Robert Maclean, The College of Wooster (OH)
Ensemble After Eventuality: Neoliberalism and the Duo Form

Brent Hayes Edwards, Columbia University (NY)
Notes Toward a “Loft” History of Jazz

COMMENT:
Ronald Radano, University of Wisconsin, Madison (WI)

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12:00 pm – 1:45 pm

Fun in Public: The Cultures of Amateur Labor
Westin Bonaventure, Palos Verdes (L1)

—Alexander W. Corey, University of Colorado, Boulder (CO)
Impulsive Triads: Frédéric Chopin, Amateur Pianists, and The Autobiography of an Ex-Colored Man

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The Transnational Movements of Hip-Hop
Westin Bonaventure, Santa Monica D (L3)

CHAIR:
Alexander Weheliye, Northwestern University (IL)

PAPERS:
Lenna Tayseer Odeh, University of California, San Diego (CA)
Acts of Sumud: Exploits of Resistance Through the Palestinian Hip-Hop Youth and Political Prisoner Movements

Najwa Mayer, Yale University (CT)
Muhammad was a punk rocker: Seeking Faith, Fun, and Form in Taqwacore

Elliott H. Powell, University of Minnesota, Twin Cities (MN)
The Sounds of Afro-South Asian Pleasure: Hip Hop, 9/11, and South-South Connections

Halifu Osumare, University of California, Davis (CA)
Play and Pain in Black Atlantic Hip-Hop: Hiplife in Ghana as Case Study

COMMENT:
Alexander Weheliye, Northwestern University (IL)

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2:00 pm – 3:45 pm

alt. Black Musical History
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Courtney Michael Brown, California State University, Fullerton (CA)

PAPERS:
Matthew Hayden Anthony, Pennsylvania State University, Harrisburg (PA)
I Got Country Roots: Race, Identity and Black Country Singers in the 1970s

Kreg Abshire, Johnson & Wales University (CO)
On Sonic Nostalgia: Making Sense of alt.country’s Hip Traditionalism

Keith D. Leonard, American University (DC)
Who Stole the Soul: An Avant-Garde History of the Dark Room Collective

Christa Holm Vogelius, University of Alabama, Tuscaloosa (AL)
The Jennie C. Lee Archive and the Silent Musical History of the Tuskegee Institute

COMMENT:
Courtney Michael Brown, California State University, Fullerton (CA)

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The Choreography of Protest
Westin Bonaventure, Santa Barbara B (L1)

—Sarah Ehlers, University of Houston (TX)
The Joys of the Picket Line: Reading the Rhythms of the Left

—Robert Michael Zecker, Saint Francis Xavier University (Canada)
A Mandolin Orchestra Could Attract a Lot of Attention: Interracial Fun with Radical Immigrants, 1930–1954

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Empire of Funk: Hip Hop and Representation in Filipina/o America—A Roundtable
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Dawn Bohulano Mabalon, San Francisco State University (CA)

PANELISTS:
Roderick Labrador, University of Hawai’i, Manoa (HI)
Mark Villegas, University of California, Irvine (CA)
Mario “Nomi” De Mira, Artist
Stephen Bischoff, Washington State University, Pullman (WA)

COMMENT:
Dawn Bohulano Mabalon, San Francisco State University (CA)

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On Athletes and Outlaws: Asian Americans in Popular Culture and the Pleasures of Recognition
Westin Bonaventure, Santa Monica C (L3)

—Douglas S. Ishii, University of Maryland, College Park (MD)
Not about race, per se: Dave Boyle’s Asian American Music Film

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4:00 pm – 5:45 pm

Love and Rage: Cultural Strategies in Postwar U.S. Anarchism
Westin Bonaventure, San Bernardino (L1)

—Shon MeckFessel, University of Washington, Seattle (WA)
From a Disavowal of Commitment to a Commitment of Disavowal: (Non)Left Positionalities in 1980s Post-Punk and Anarchy-Punk

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Alternative Economies of Pleasure in Contemporary Southern Working-Class Cultures
Westin Bonaventure, San Pedro (L1)

—Nicholas Neil Gorrell, University of Mississippi (MS)
Economies of Scarcity and Abundance in Contemporary Southern Blues

—Anne Gessler, University of Texas, Austin (TX)
Second Lines, Creative Economies, and Gentrification: Music Cooperatives in Post-Katrina New Orleans

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Stomp, Swerve, Rattle, and Roll: Fun and Pleasure as Political Resistance in American Blues Music
Westin Bonaventure, Santa Monica A (L3)

CHAIR:
Daphne Brooks, Yale University (CT)

PAPERS:
Mark Anthony Neal, Duke University (NC)
“Let Me Bang Your Box”: The “Erotic Life” of the Blues

Sonnet Retman, University of Washington, Seattle (WA)
Memphis Minnie’s Jukebox Blues

Kimberly Mack, University of California, Los Angeles (CA)
“That Natural Blues Man Look”: Black Elvis and the Demythologization of the Black Blues Figure

R. J. Smith, Independent Scholar
Calling All Freaks!: The Licentious Blues Spirit of the Rent Party and the Buffet Flat

COMMENT:
Adam Gussow, University of Mississippi (MS)

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**Wildness: The Fun and the Fury of Anarchy**
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Mel Y. Chen, University of California, Berkeley (CA)

PAPERS:
Peter Coviello, Bowdoin College (ME)
The Wild Less Than the Good: Erotics and Biopolitics in Thoreau

Jack Halberstam, University of Southern California (CA)
‘Wildness at the End of the World’

Tavia Nyong’o, New York University (NY)
William Blake’s Wild America

COMMENT:
Mel Y. Chen, University of California, Berkeley (CA)

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"Busker (street musician) #2" by Flickr user Sunny Lapin, CC BY-NC-SA 2.0

“Busker (street musician) #2” by Flickr user Sunny Lapin, CC BY-NC-SA 2.0

FRIDAY, November 7th

8:00 am – 9:45 am

Feeling Queer
Westin Bonaventure, San Gabriel B (L1)

—Elias Krell, Northwestern University (IL)
Mixing Sound: Technologies of Fem(me)ninity and Mixed Race in Kelly Moe

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Life-Writing, Musical Lives
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Ulrich Adelt, University of Wyoming (WY)

PAPERS:
Nassim Winnie Balestrini, Karl-Franzens-University (Austria)
Fun, Fury, Fans: Affective Strategies in Intermedial Hip-Hop Life Writing

Mercy Romero, Sonoma State University (CA)
Two Lives in Music

Petra Rivera-Rideau, Virginia Polytechnic Institute and State University (VA)
The Pleasures and Pains of Love: Listening to La Lupe and Ivy Queen

Jessica Elaine Teague, University of Nevada–Las Vegas (NV)
Charles Mingus and the Serious Fun of Jazz Autobiography

COMMENT:
Ulrich Adelt, University of Wyoming (WY)

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**Caucus: War and Peace Studies: Reconsidering the ‘R and R’: Dialectics of Violence and Pleasure in Militarism**
Westin Bonaventure, Santa Anita B (L1)

—Patricia Stuelke, University of Massachusetts, Boston (MA)
You’re a Criminal as Long as You’re Mind: The U.S. Invasion of Panama and the Sounds of Bad Romance

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**ASA Program Committee: Uncontrolled Substances/Altered States**

Westin Bonaventure, Level 1, San Bernadino

—Josh Kun, University of Southern California (CA)
The Musical Más Allá: Narco/Necro/Anarco

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10:00 am – 11:45 am

Fugitive Preludes: Chicana/o Popular Music and the Neoliberal City
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Christina Zanfagna, Santa Clara University (CA)

PAPERS:
Wanda Alarcón, University of California, Berkeley (CA)
Variations on a Theme: Performing América on the National Stage

Jonathan Gomez, University of California, Santa Barbara (CA)
Teen Post to Rainbow Alley: Facing Unexpectancy with Unexpectant Punk Rock Social Spaces

Kurt Newman, University of California, Santa Barbara (CA)
Undoing the Math: Chingo Bling, the “Not-All,” and the Politics of Parody

COMMENT:
Christina Zanfagna, Santa Clara University (CA)

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Willful Subjects: Action, Agency, and Politics
Westin Bonaventure, San Anita B (L1)

—Neil Roberts, Williams College (MA)
It’s Bigger than Hip Hop: Decoding the Trayvon Martin Event

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12:00 pm – 1:45 pm

Music, Fashion and the Power of (Queer) Nightlife
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Madison Moore, King’s College London (England)

PANELISTS:
Ananya Jahanara Kabir, King’s College London (England)
Matthew D. Morrison, Columbia University (NY)
Victor P. Corona, Fashion Institute of Technology (NY)
Gregory Alexander, Artist
Loren Granic, Artist
Amy Cakes Danky Dank, Artist

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High on Crack: Surveillance, Loss and Addiction in Black Communities
Westin Bonaventure, San Fernando (L1)

—Andreana Clay, San Francisco State University (CA)
“Kick in the Bass”: Sonic Navigation of Pleasure and Pain in Crack Lyrics

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Performing Decolonial Aesthetics and the Politics of Pain and Pleasure in Music Across the Americas
Westin Bonaventure, San Pedro (L1)

CHAIR:
Jaime Cardenas, Seattle Central Community College (WA)

PAPERS:
Marie “Keta” Miranda, University of Texas, San Antonio (TX)
Polka Dawgs: Tejana/o Dance as Pleasure in Response to Racial and Class Subordination

Marco Cervantes, University of Texas, San Antonio (TX)
Third Root Poetics Through Hip Hop Aesthetics: Performative Autoethnographies and Musical Empowerment

COMMENT:
Jaime Cardenas, Seattle Central Community College (WA)

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2:00 pm – 3:45 pm

Twelve Years a Slave: Sounds and Spectacles of Slavery
Westin Bonaventure, Santa Anita A (L1)

—Paul Fess, City University of New York, Graduate Center (NY)
“The most excruciating noise”: Power Structures of Music in Solomon Northup’s Twelve Years a Slave

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4:00 pm – 5:45 pm

Bittersweet: Remaking the Exhibit “American Sabor: Latinos in U.S. Popular Music” for the Smithsonian Institution
Westin Bonaventure, San Gabriel A (L1)

CHAIR:
Juan Flores, New York University (NY)

PANELISTS:
Marisol Berrios Miranda, Independent Scholar
Shannon Dudley, University of Washington, Seattle (WA)
Njoroge Njoroge, University of Hawai’i, Manoa (HI)
Victor Hugo Viesca, California State University, Los Angeles (CA)

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We’re Listening: Surveillance Technologies and Non-Private Publics
Westin Bonaventure, Santa Monica B (L3)

CHAIR:
Gus Stadler, Haverford College (PA)

PAPERS:
Andrew Hamsher, University of Texas, Austin (TX)
Controlling Fantasyland: Surveillance and Freedom in Transmedia Storyworlds

Jason Farman, University of Maryland, College Park (MD)
Creative Misuse as Resistance: Surveillance, Mobile Technologies, and Locative Games

Brian Hochman, Georgetown University (DC)
Eavesdrop Nation: The Rise of ‘Private Ear’ Wiretap, 1959-1974

Stephen Knadler, Spelman College (GA)
Kerry’s OMG Washington: Re-Scandalizing Racial Surveillance in the Obama Era

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"2nd Street Tunnel, Los Angeles -- Dec 30, 2010" by Flickr user Ray_from-LA, CC BY 2.0

“2nd Street Tunnel, Los Angeles — Dec 30, 2010” by Flickr user Ray_from-LA, CC BY 2.0

SATURDAY, November 8th

8:00 am – 9:45 am

Indigeneity and Difference
Westin Bonaventure, Santa Barbara B (L1)

Elizabeth Sine, University of California, San Diego (CA)
Native Jazz: Radical Multiraciality and the Politics of Desire in an Age of Global Crisis

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10:00 am – 11:45 am

Caucus: Sound Studies: Power Ballads and Blurred Lines: Songs from the Boundaries of Fun
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Eric Weisbard, University of Alabama, Tuscaloosa (AL)

PANELISTS:
Jeff Chang, Stanford University (CA)
Alice Echols, University of Southern California (CA)
Evelyn McDonnell, Loyola Marymount University (CA)
Oliver Wang, California State University, Long Beach (CA)
Rubén Martínez, Loyola Marymount University (CA)

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2:00 pm – 3:45 pm

Caucus: Sound Studies: The Racial Politics of Listening: “Accents,” Hate Speech, and Language in the U.S. Media
Westin Bonaventure, San Fernando (L1)

CHAIR:
Isabel Molina-Guzman, University of Illinois, Urbana-Champaign (IL)

PAPERS:
Sara Veronica Hinojos, University of California, Santa Barbara (CA)
Reading Lupe Vélez, Mexicanness, and Her Fiery “Accent”

Dolores Inés Casillas, University of California, Santa Barbara (CA)
Inglés Sin Barreras, Rosetta Stone, and the Politics of Language Learning

Marci McMahon, University of Texas, Pan American (TX)
Staging the Sound of Citizenship in Josefina Lopez’s Detained in the Desert

Jennifer Stoever-Ackerman, State University of New York, Binghamton (NY)
“You. Got. To. Un. Der. Stand”: Rachel Jeantel, “Reasonable” Listening, and the Sonic Color-line

COMMENT:
Isabel Molina-Guzman, University of Illinois, Urbana-Champaign (IL)

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To Be Young, Global, and Black: The Global Circulations of Blackness and Americanness
Westin Bonaventure, San Pedro (L1)

CHAIR:
Jeff K. Chang, Stanford University (CA)

PAPERS:
—Samir Meghelli, University of Illinois, Urbana-Champaign (IL)
Rapping and Race-ing Across the Atlantic: Hip Hop and Racial Politics in Postcolonial France

—H. Samy Alim, Stanford University (CA), Shaheen Ariefdien, Independent Scholar (South Africa)
Whaddup, San?: Hip Hop, “Colouredness,” and the Construction of Khoisan Identity in Post-Apartheid South Africa

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4:00 pm – 5:45 pm

Racial Meanings and Musical Performance in Film: Uses of Folk, Calypso, and Jazz in Films, 1944–1965
Westin Bonaventure, Beaudry B (L1)

CHAIR:
Kevin Gaines, University of Michigan, Ann Arbor (MI)

PAPERS:
Geoffrey Jacques, Independent Scholar
Jazz, Film, and the Black Hipster

Shane Vogel, Indiana University–Bloomington (IN)
Trinidad Goes Hollywood: The Ersatz Epistemology of the Calypso Craze

Judith E. Smith, University of Massachusetts, Boston (MA)
Using, and Being Used by Hollywood: Harry Belafonte on Film, 1953–1959

Jacqueline Stewart, University of Chicago (IL)
The Cry of Jazz and The Corner: Filming Music of Everyday Black Life in Chicago

COMMENT:
Kevin Gaines, University of Michigan, Ann Arbor (MI)

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Liberating Encounters: Cultural Consumption as Agent of Pleasure and Social Change in Contemporary Asian, Latin-American, and U.S. Popular Culture
Westin Bonaventure, San Fernando (L1)

—Patty Ahn, University of Southern California (CA)
Detours of Indebtedness: South Korean Pop Music and Neoliberal Logics of Race

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Arab Worlds: Then and Now
Westin Bonaventure, Santa Monica C (L3)

—Meghan E. Drury, George Washington University (DC)
The Belly of the Wail: Feminism and Arab Hybridity in 1990s World Music

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"Capitol Records Building" by Flickr user Wieland Van Dijk, CC BY-ND-SA 2.0

“Capitol Records Building” by Flickr user Wieland Van Dijk, CC BY-ND-SA 2.0

SUNDAY, November 9th

8:00 am – 9:45 am

Sports, Sex, and Music across the Pacific during the Cold War
Westin Bonaventure, Beaudry B (L1)

—Mari Yoshihara, University of Hawai’i, Manoa (HI)
Lenny Blows Up the World: Classical Musicians Play the Cold War

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Sonics of Black Excess, 1940s to 1980s
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Imani D. Owens, Princeton University (NJ)

PAPERS:
Brian Lefresne, University of Guelph Canada
A Fool in Space: Sun Ra the Jester at the Carnival

Charles McGovern, College of William and Mary (VA)
I Want a Lavender Cadillac: Fun, Excess and Labor in Black Popular Music, 1940–1970

Terrion L. Williamson, Michigan State University (MI)
Im Not Your Superwoman: Black Female Embodiment and the Sites of Social Intimacy

Brian Edward Jones, College of William and Mary (VA)
Big Fun with the Prince of Darkness: Miles Davis and the Death of the American Dream

COMMENT:
Imani D. Owens, Princeton University (NJ)

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10:00 am – 11:45 am

What Words Can’t Do: Instrumentals, Identity, and Interpretation
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Shana L. Redmond, University of Southern California (CA)

PANELISTS:
Shana L. Redmond, University of Southern California (CA)
Tsitsi Jaji, University of Pennsylvania (PA)
Guthrie Ramsey, Jr., University of Pennsylvania (PA)
Tamara Roberts, University of California, Berkeley (CA)

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The Pleasures and Pains of Hip Hop Listening: New Aesthetic Approaches
Westin Bonaventure, San Bernardino (L1)

CHAIRS:
Jill Toliver Richardson, City University of New York, Borough of Manhattan Community College (NY)

James Ford, Occidental College (CA)

PAPER:
Karen Jaime, University of Illinois, Urbana-Champaign (IL), Jonathan Gray, City University of New York, John Jay College of Criminal Justice (NY), Candice Jenkins, City University of New York, Hunter College (NY), James Ford, Occidental College (CA)
The Pleasures and Pains of Hip Hop Listening: New Aesthetic Approaches

COMMENT:
Michael Jeffries, Wellesley College (MA)

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“All the Way Live”: The Aesthetics of Pleasure in California Funk
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Laura Harris, Pitzer College (CA)

PAPERS:
Scot Brown, University of California, Los Angeles (CA)
“All the Way Live”: The Live Funk Aesthetic of Lakeside

Cheryl L. Keyes, University of California, Los Angeles (CA)
From Mademoiselle Mabry to Betty Davis: The Reigning Funk Diva from the Underground

Tony Bolden, University of Kansas (KS)
Are You Funkified?: The Choreopoetics of Pleasure in the Music of Sly and the Family Stone

COMMENT:
Laura Harris, Pitzer College (CA)

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**Caucus: Environment and Culture: Ecologies of Pleasure and Pain: Deviance, Destruction, and Desire in Environmental History**
Westin Bonaventure, Santa Barbara A (L1)

—Craig Eley, University of Wisconsin, Madison
Psychologically Ultimate Seashores: Natural Sound, Personal Pleasure, and Recording Technologies

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12:00 pm – 1:45 pm

Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans
Westin Bonaventure, Palos Verdes (L1)

CHAIR:
Gayle Wald, George Washington University (DC)

PANELISTS:
Ruth Feldstein, Rutgers University, Newark (NJ)
Emily Lordi, University of Massachusetts, Amherst (MA)
Cherise Smith, University of Texas, Austin (TX)
Gayle Wald, George Washington University (DC)

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Performative Pleasures of Blackness: The Creation, Consumption, and Conflict of Pleasureable Blacknesses
Westin Bonaventure, San Fernando (L1)

—Danielle C. Heard, University of California, Davis (CA)
Feeling Good: Nina Simone and the Pleasures of Live Performance, Montreux 1976

—Scott Poulson-Bryant, Harvard University (MA)
The ‘Unruly Delights’ of the Great Black Way: Contradiction, Pleasure and Black Musicals of the 1970s

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Can Black Women Have Fun?: Beyond Mammies and Martyrs
Westin Bonaventure, San Gabriel A (L1)

—Margo Crawford, Cornell University (NY)
Erykah Badu’s Black Fantastic Re-invigoration of Black Cultural Nationalism

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2:00 pm – 3:45 pm

Central Avenue Breakdown: Gender, Race, and Coming of Age in a Los Angeles Jazz Community
Westin Bonaventure, Beaudry B (L1)

CHAIR:
Farah Jasmine Griffin, Columbia University (NY)

PAPERS:
Maxine Gordon, Fordham University (NY)
Dexter Gordon and Melba Liston: The ‘Mischievous Lady Session’, June 5, 1947, Dial Records

Monica Hairston-O’Connell, Columbia College (IL), Sherrie Tucker, University of Kansas (KS)
Revisiting Central Avenue through Melba Liston’s Oral Histories

Nichole T. Rustin, Independent Scholar
Playing with Dynamics: Racialized Masculinity, Jazz, and Coming of Age on 1940s Central Avenue

COMMENT:
Farah Jasmine Griffin, Columbia University (NY)

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What Beyoncé (and Her Stans) Can Teach Us About The Pleasures of Intersectional Identity
Westin Bonaventure, Santa Barbara A (L1)

CHAIR:
Deborah Paredez, University of Texas, Austin (TX)

PANELISTS:
Clare Croft, University of Michigan, Ann Arbor (MI)
Micah Salkind, Brown University (RI)
Kristen Warner, University of Alabama, Tuscaloosa (AL)
Chelsea Bullock, University of Oregon (OR)
Deborah Paredez, University of Texas, Austin (TX)

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"DSCN9630" by Flickr user Carsten Titibach, CC BY 2.0

“DSCN9630” by Flickr user Carsten Titibach, CC BY 2.0

Sound at IASPM-US 2014

For the second weekend in March, the U.S. chapter of the International Association for the Study of Popular Music (IASPM-US) will be holding its annual meeting at the University of North Carolina, Chapel Hill. Like sound studies, popular music studies is fueled by an interdisciplinary spirit, and many of the questions that currently occupy the popular culture corner of sound studies have much in common with those of us who take the study of music seriously. This year’s conference offers a unique theme, “Music Flows,” that centers around questions of water, flows, and liquidity. The conference theme also offers more expansive ideas to flows, including mobility, embodiment, sonic materialities, and ecology. While the theme may strike some as unconventional, it ends up being an excellent metaphor for those of us who study musical flows in fields that prefer static works and communities over transient ones.

The James Taylor Bridge in his native city of Chapel Hill, North Carolina

The James Taylor Bridge over Morgan Creek in his native city of Chapel Hill, North Carolina

Since this is a popular music conference, many of the papers at this meeting take musical texts as their focus (including mine); however, there are still many panels and individual papers that might interest scholars from a sound studies perspective. After all, sound travels better in water than in air, and following that logic, water and sound both feature waves. Indeed, there are papers that take the water waves and sound waves as their inspiration. Compare, for example, SO! guest writer Mack Hagood’s discussion of an early popular recording of water waves against Robin James’s philosophical theorizing about sound waves and Neo-Liberalism in the music of Ludacris. Similarly, many papers take their inspiration from the sounds that come from water or are performed in it: Peter Schultz specifically tackles the sound-design of watery environments in video games, while SO! guest writer Josh Ottum investigates the sounds from the floating garbage island in the middle of the ocean. These papers offer attendees the opportunity to consider the large theoretical consequences of changes to the water and waves in recordings.

Some papers approach water from a perspective focused on materiality and mediation. Craig Eley’s paper offers a historically grounded study of the hydrophone and underwater recording. Peter McMurray’s paper analyzes the problem of making music for watery environments and the challenges of water’s sonic conduciveness. For an athletic perspective on hearing music in the water, Niko Higgins talks about the music that swimmers use in their athletic training. These perspectives on liquid mediation offer a tremendous opportunity to expand sound studies beyond its general dependence on sounds that happen in the open air.

Beyond the more literal takes on the water in music flows, a large portion of the papers have taken their inspiration from the metaphor of social mobility, liquidity, and trade. There are panels and papers that emphasize transnational sonic flows, such as the panel “In and Out of Africa,” and Jason Robinson’s work on recording challenges in a transatlantic jazz collaboration. Two papers in particular deal with the role of African Americans in U.S. diplomatic relations: Darren Mueller’s paper on Dizzy Gillespie as a jazz ambassador, and Kendra Salois’s work on hip-hop diplomacy. Along a similar vein, Yvonne Liao specifically considers ports and their relationship to musical trade in Shanghai’s jazz scene. There is also a paper on the role of music as a social lubricant by Luis-Manuel Garcia that promises to be a real treat.

Megafaun serenades a Chapel Hill, North Carolina crowd, Image by Flickr user  abbyladybug

Megafaun serenades a Chapel Hill, North Carolina crowd, Image by Flickr user abbyladybug

There are also numerous papers that tackle flow and water as a metaphor in music-making and mediation. They include SO! guest writer Mike D’Errico’s study of embodiment and interactivity in digital media, Rebecca Farrugia and Kelly Hay’s study of women’s flow in a Detroit hip-hop scene, and Jonathan Piper’s paper on “sludge” metal. “Anointing Sounds” is a roundtable on music’s materiality and the sounds of religious experience through the Christian metaphors of “anointing” and “healing waters.”  Finally, for those scholars seeking the rare paper on record eaters and collecting, check out SO! guest writer Shawn VanCour and Kyle Barnett’s paper.
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Other highlights include a keynote by Louise Meintjes, whose book Sounds of Africa! took the musical recording process in studios as a serious object of study, and one of the last papers of the conference, Matthew Somoroff’s study of James Baldwin as a listener and ethnographer..

Finally, it is worth mentioning how many papers address sound studies’ long-standing relationship with soundscapes, ecomusicology, and the environment. There is a panel called “Ecologies of Place” with papers on ecologically-minded music from places as far flung as India, Iceland, Appalachian Ohio, and Canadian parks. There is also a panel on “Urban Soundscapes,” including Robert Fry’s paper on sound, music, and branding at a hot spring resort and Mathew Robert Swiatlowski’s paper on the boom box and the Walkman in urban space.

Many in sound studies cite Jonathan Sterne’s critiques of ocularcentrism in cultural criticism. This conference encourages us to think beyond the air and stasis and shift our focus to the possibilities of liquid metaphors in cultural change.

Scroll down for Kariann’s handpicked panels and papers of interest for sound studies folks perusing IASPM-US.  

Featured Image: One of Chapel Hill’s many ponds, at the Outdoor Education Center, Image by Flickr User Kat St Kat

Kariann Goldschmitt is an Adjunct Assistant Professor at New College of Florida and Ringling College of Art and Design. She holds a Ph.D. in Musicology from UCLA (2009) and was the 2009-2011 Mellon Fellow of Non-Western Music at Colby College in Maine. Her scholarly work focuses on Brazilian music, modes of listening, and sonic branding in the global cultural industries. She has published in The Journal of Popular Music Studies, American Music, Yearbook for Traditional Music, and Luso-Brazilian Review and contributes to the South American cultural magazine, Sounds and Colours.

"Franklin Street, Chapel Hill" by Wikimedia user Caroline Culler, CC BY 3.0

“Franklin Street, Chapel Hill” by Wikimedia user Caroline Culler, CC BY 3.0

Friday, March 14

9:30
“The Fluid “Field”: Recording and Performance in Transatlantic Collaboration”–Jason Robinson, Amherst College
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“Swimming What You Hear: The Music of Distance Swimmers”– Niko Higgins, Columbia University
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10:15-11:45
“In and Out of Africa: From Biodiversity to Cultural Diversity: Negotiating Cultural Sustainability, Difference, and Nationhood through World Music in France,” Aleysia Whitmore, Brown University
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“American Afrobeat: Perception and Reception of Antibalas in Nigeria,” Stephanie Shonekan, University of Missouri
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“African Sounds in the American South: Community Radio, Pan-Africanism, and Historically Black Colleges, 1950-1986,” Joshua Clark Davis, Duke University
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“Thinking the Anthropocene Through Sound ‘Apeman’: The Kinks’ Romantic Expression of Environmental Politics and the Paradox of Human Evolution,”
Sara Gulgas, University of Pittsburgh
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“Coming of Age in the Post-3.11 Waterscape: Music and Silence in Japanese Animated Cinema and Children’s Art,” Kyle Harp, University of California, Riverside
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“Sounds Like Garbage: Paddling Through an Island of Trash Toward a New Sonic Ecology,” Josh Ottum, Ohio University
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“Watery Textualities: The Perceptual Flow of Metric (Re)evaluation in Radiohead’s ‘Bloom,'” Michael Lupo, CUNY Graduate Center
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“Splash, Bubble, and Clink: Topic and Timbre in Aquatic Video Game Environments,” Peter Shultz, University of Chicago
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“Just Ludacris Enough: Wave-Forms & Neoliberal Sophrosyne,” Robin James, University of North Carolina-Charlotte
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12:00-1:30
Keynote Lecture: Louise Meintjes, Duke University
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1:45-3:45
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“Embodiment and Mediation: Riding the ‘Sound of Here-and-Now’: Locating Groove in Japanese Garage Punk,” Jose Neglia, University of California, Berkeley
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“Air Flows: Breath, Voice, and Authenticity in Three Recordings,” Greg Weinstein, Columbia College Chicago
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“‘Them boys kin shore tromp on the strings’: Down-Home Virtuosity in Rural Variety Radio,” David VanderHamm, University of North Carolina at Chapel Hill
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“‘Less Work, More Flow’: Embodied Interactivity and the Ecology of Digital Media,” Mike D’Errico, University of California Los Angeles
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1:45
“Secret Sonic Weapon on Record: Dizzy Gillespie and the Ambassadorial Politics of Jazz,” Darren Mueller, Duke University
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“The Costs of Being Fluid: Popular Music and the Lubrication of Social Frictions,” Luis-Manuel Garcia, Max Planck Institute for Human Development
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2:15
“Soft Power in Hard Times: Affect, Labor, and Ethics in US ‘Hip Hop Diplomacy,'” Kendra Salois, University of Maryland, College Park
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2:45
“Listening with Your Face: The Neo-colonial Politics of Underwater Music,” Peter McMurray, Harvard University
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James Taylor Bridge, Public Domain

So nice we put it twice, The James Taylor Bridge, Public Domain

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Saturday, March 15

8:30
“Voices of Americas – The Sound of the Radio Programs About Folk Music in Brazil and the USA under the Pan American policy (1936-1945)”–
Rafael Velloso, UFRGS/Brazil & University of Maryland
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“The Sound of Sludge: Groove, Materiality and Bodily Experience in Sludge Metal”–Jonathan Piper, Independent Scholar
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8:30-10:00
Urban Soundscapes
“I Can’t Live Without My Radio”: The Sony Walkman & the Stereo Boombox in the Urban Soundscape of the 1980s”–Mathew Robert Swiatlowski, University of North Carolina at Chapel Hill
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“Sounding Hot Springs: Music and Branding in America’s Spa City”–Robert Fry, Vanderbilt University
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“Hip Hop Flows (through Detroit): Women’s “Legendary” Work Mapping Marginalization and Sustainability in Urban Sonic Spaces”–Rebekah Farrugia, Oakland University, Kellie Hay, Oakland University
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10:15-11:45
“Mediating ‘Natural’ Sounds Going Deep: The Hydrophone and the History of Underwater Recording”–Craig Eley, Penn State University
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“Early Digital Waves: Irv Teibel’s Environments and the Psychologically Ultimate Seashore”–Mack Hagood, Miami University
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“Sigur Rós and the Soundtrack to Selling Planet Earth”–Matt DelCiampo, Florida State University
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10:45
“Port sounds: Jazz(-scapes) in 1930s and 1940s Shanghai,” Yvonne Liao, King’s College London
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1:45-3:45
Ecologies of Place
“Music, Dance, Theater, Water:  Environmental Justice and Ananya Dance Theatre,” Allison Adrian, St. Catherine University
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“Stone and Ice: Resonant metaphors of Jón Leifs ecological music in Iceland’s soundscape,” Leslie C. Gay Jr., University of Tennessee
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“Sounds of Recovery and Protest in Appalachian Ohio,” Brian Harnetty, Ohio University
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“Mediated Ecomusicological Flows: The Nexus of Sonic Materiality and Ecotourism in the National Parks Project,” Kate Galloway, Memorial University of Newfoundland
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2:45
“Music, Mobility, and Streaming: A Multimedia Lecture by the Killer Apps, Iowa City’s Best All-Mobile-Phone Cover Band,”Kembrew McLeod, University of Iowa and Loren Glass, University of Iowa
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"Cheerleaders, UNC, 1989" by Flickr user North Carolina Digital Heritage Center, CC BY-NC-ND 2.0

“Cheerleaders, UNC, 1989” by Flickr user North Carolina Digital Heritage Center, CC BY-NC-ND 2.0

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Sunday, March 16

8:30
“Tracking Edible Phonography: Record Eating, Collecting, and Musical Taste,” Shawn VanCour, NYU and Kyle Barnett, Bellarmine University
8:30-10
“Anointing Sounds: Holy Ghost Reservoirs in an Age of Mass Media (Roundtable),”  James Bielo, Miami University, Anderson Blanton, University of North Carolina at Chapel Hill, and Rory Johnson, Miami University
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11:45
“Voices Above His Head: James Baldwin as Listener and Ethnographer,” Matthew Somoroff, Duke University
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Chapel Hill's finest, WUNC, image by Flickr user Keith Weston

Chapel Hill’s finest, WUNC, image by Flickr user Keith Weston

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