“Without careful deliberation about these issues, then, the perennial marginalization of sound in numerous fields may quite easily result in the eclipse of popular music studies. Given the choice, it is quite possible that sound studies will become the terrain of choice for answering questions related to sonic phenomena, leaving popular music scholars with  an existential question: who are we and where are we going? And more: how should those of us who study popular music think about ourselves? Are we sound studies scholars by another name? What might be lost were we to decide that we were? In short, does popular music studies continue to matter?[. . . ].”  [Reblogged from IASPM-US.net]

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For a song often derided as trite, “My Ding-a-Ling” has much to tell us about the immediate post-civil rights sexual imagination. This imagination was not organized around the puerility of the title but rather the performer’s unique history, which he demonstrates through distinct musical and listening practices on stage. Chuck Berry’s 1972 live recording from the Lanchester Arts Festival in Coventry, England, models musical reciprocity as he sings both to and for his co-ed audience. His vocal of the onomatopoeia “ding-a-ling” resonates as a thinly veiled sexual reference while also lingering in the performance space as that which beckons the audience to sing-a(-)long, a practice that he regularly responds to with improvisatory comments. The “harmony” that he notes coming from two women attendees is announced by Berry in the moment as a sexual relation, not only with him as they sing with his “Ding-a-Ling” but also with each other, producing their own queer counterpoint. A number of asides within his performance exhibit the collaborative nature of Black music-making and the play involved in Black crossover to the mainstream. Berry’s project on stage that night also manifests a collision and collusion of popular music and sound studies by erotically traversing a number of performative and sonic boundaries through the exposure of alternative sexual relations. [Reblogged from IASPM-US.net]

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Sonic Borders Schedule

1/21 – Liana Silva, Sounding Out! – “I’m on My New York Sh*t”: Jean Grae’s Sonic Claims on the City

1/28 – Regina Bradley, Sounding Out! – I Like the Way You Rhyme, Boy: Hip Hop Sensibility and Racial Trauma in Django Unchained

2/4 – Marcus Boon, Sounding Out! – One Nation Under a Groove?: Music, Sonic Borders, and the Politics of Vibration

2/6 – Barry Shank, IASPM-US – “On Popular Music Studies”

2/11 – Tavia Nyong’o, Sounding Out! – “Freedom Back: Sounding Black Feminist History, Courtesy the Artists”

2/13 – Theo Cateforis, IASPM-US – “No Control, or: How I Learned to Start Worrying About Sound”

2/18 – Tara Betts, Sounding Out!, They Do Not All Sound Alike: Sampling Kathleen Cleaver, Assata Shakur, and Angela Davis

2/20 – Shana L. Redmond, IASPM-US – The Sounds We Make Together: Chuck Berry’s Onomatopoeia

2/25 – Art Jones, Sounding Out!

2/27 – Devon Powers, IASPM-US