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IASPM-US 2021 Conference Program • Program is preliminary and subject to change. All listed times are in Eastern Time. • All conference presentations will be posted online and made available to registered conference attendees for asynchronous viewing. Scheduled panel times will be devoted to discussion and Q&A. • Registration is now open! Jump to • Tuesday, May 18 • Wednesday, May 19 • Thursday, May 20 • Friday, May 21 • Saturday, May 22 Tuesday, May 18, 2021 2:00 PM - Christian Punk: Identity and Performance • “Grow a Beard and Be Somebody”: Disavowal and Vector Space at Rocketown, Nashville Joshua Kalin Busman, UNC Pembroke • Todd and Becky: Authenticity, Dissent, and Gender in Christian Punk and Metal Nathan Myrick, Mercer University • “A heterosexual Male Backlash”: Punk Rock Christianity and Missional Living at Mars Hill Church in Seattle, Washington Maren Haynes Marchesini, Carroll College • “Lift Each Other Up”: Punk, Politics, and Secularization at Christian Festivals Andrew Mall, Northeastern University 2:00 PM - Folk Histories • Come All Ye Coal Miners: Forty Years of Dissent and Music in Harlan County Reed Puc, University of Montana • Isolation and Connection: Narratives of Technology and Aesthetics in Early 20th Century Folk and Pop Discourse Brian Jones, Eckerd College • “Exiled Man”: Bob Dylan’s Complicated Relationship with American Jewishness Erica K. Argyropoulos, Northeastern State University • The Lost and Found Musical History of Merthyr Tydfil: A Case Study in Local Music Making Paul Carr, University of South Wales 3:30 PM - As Pop Music Ages • Forever Eighteen: Alice Cooper and His Comedy of Canes and Crutches Kelso Molloy, New York University • What are the Teaches of Peaches? David Madden, Pepperdine University • Nostalgia, Race and Irony in the Information Age: New Wave Covers of Motown And Soul Music Claudia Lonkin, McGill University 3:30 PM - Records, Labels, and Marketing • Anthologizing Rock and Roll: Rhino Records and the Repackaging of Rock History Daniel Goldmark, Case Western University • Lost Recordings, “Recording” and Modernity in Jazz Age Hartford Tyler Sonnichsen, Central Michigan University • JAZZ IS DEAD – Long Live Jazz Andrew Kluth, Case Western University • Promotion Effects in Arcade Fire’s Everything Now Mark Samples, Central Washington University 5:00 PM - Welcome Happy Hour All conference attendees welcome! Wednesday, May 19, 2021 2:00 PM Roundtable: Country Music, Who Are You? • Co-Chairs: Nadine Hubbs and Francesca T. Royster • Participants: Chelsea Burns, University of Texas; Sophia Enriquez, Ohio State University; Kimberly Mack, University of Toledo; Amanda Martinez, UCLA; Karen Pittelman, Karen And the Sorrows; Ryan Shuvera, Western University 2:00 PM - The UK and Popular Music • Performing Paramilitarism: Popular Music and the laundering of Loyalist Paramilitaries in Northern Ireland Stephen Millar, Cardiff University • “Every time we sing, we win”: Collective Singing, Community, and islamophobia After the Manchester Arena Bombing Katelyn Hearfield, University of Pennsylvania • From Detroit to Dundee: Examining the Impact of Northern Soul on Learning in Communities Ian Fyfe, University of Edinburgh • Singled Out: Decentralizing Motown in the English Northern Soul Scene Ali Faraj, Northwestern University 3:30 PM - Music and the Dynamics of Place • WHO DAT? Music, Media and the (Re)defined Spirit Nation Sarah Suhadolnik, University of Iowa • Last Two Dollars: Tips, Tourism, and Musical Labor on Beale Street Lydia Warren, University of Virginia • Electric Avenue: Race, Real Estate, and the Gentrification of Vinyl Michael Palm, UNC Chapel Hill • Uptown Dancers Carmela Muzio Dormani, CUNY 3:30 PM - Jazz and Popular Culture • Americana a la Russe: Jazz and Popular Song in Russian Ballets for American Audiences of the 1920s through the 1940s Alexis L. Witt • Primal Scream: Maynard Ferguson, Pop Jazz, and the Physicality of Virtuosity Ken Prouty, Michigan State University • Crime Jazz Diasporas: African-American Music in British Sixties Cinema David Melbye • Sonny Rollins, Yogi John Kapusta, University of Rochester 5:00 PM - Race, Class, Resistance and Performance • Race-ing The Rock: Mixed Race identity and the Timbral Mainstreaming of Dwayne Johnson’s WWE Entrance Music, 1997-2013 Christi Jay Wells, Arizona State University • UK Grime Music as a Practice of Refusal: Exploring the Role of Black Women and Queer MC’s Challenging the Grime Scene’s Black Male Dominance Cheraine Donalea Scott, New York University • Kendrick Lamar’s Rhythmic Praxis and Black Arts Movement Aesthetics Mitchell Ohriner, University of Denver 5:00 PM - Whiteness and the Voice • Tin Pan Alley’s Lace Curtains: Irish Diaspora and Italian opera in the Music of Chauncey Olcott Sarah Gerk, Binghamton University • Popular Styles, Musical Topics, and the Integration in Early Broadway Musicals Greg Decker, Bowling Green State University • Everyone in Harmony? Preservation, Inclusivity and Musical Style in the Present- Day Barbershop Harmony Society Clifton Boyd, Yale University • Whiteness as Vocal Aesthetics: An Ethnography of Judging Practices within Collegiate A Cappella Competitions Daniel Fister, Washington University in St. Louis Thursday, May 20, 2021 2:00 PM - “…Where I Can and Can’t Go”: Kanye West and Space • “Lost In the Woods”: Bon Iver, Kanye West and Environmentalism Cana F. McGhee, Harvard University • Kanye Goes West: Trump-Era American Masculinity and West’s Wyoming Sessions Siriana Lundgren, Harvard University • This Voice from Heaven: Ritual and Sanctity of Kanye West and the Coachella Mountaintop Chris Benham, Harvard University 2:00 PM - Guitars, Gender and Embodiment • Lightning Boys-Electric Demons: White Masculinity and Guitar Mythology in 1980s Hollywood Kai West, University of Michigan • Room for a Breast or Two: St. Vincent and the Post-Structural Feminism of “Friendly Instrument” Design Alyxandra Vesey, Univesity of Alabama • Doublenecks and Doubleness: Steel Guitars and the Embodiment of Genre Tim Sterner Miller, William and Mary • Play Sister Play!: Rosetta Tharpe, the Guitar, and Gesture Kate Lewis, Brunel University London 3:30 PM - Histories of Performance • Hip Hop Under and Overground: Live Performance and Rap Crossover in the Early 1980s Steve Waksman, Smith College • Audio Two’s “Top Billin’”: A Beat that Moved Because of it was Peopled Eric Weisbard, University of Alabama • ‘Permanently Closed’: Dissonant heritage and the Preservation of the Grande Ballroom Leonieke Bolderman, University of Groningen • Shirley Caesar, Civil Rights, and the Black Gospel Music Market Economy, 1966- 1975 Angela Nelson, Bowling Green State University 3:30 PM - Mobilizing Korea: Renegotiating Transnational Identities in Korean Pop • The White paper project: Reimagining Koreanness in the American K-Pop Market Stephanie Choi • Z-POP DREAM PROJECT, Technology, and Trans/National K-Pop So-Rim Lee • National Identity in Mono-ethnic and Multi-ethnic South Korean Rock Bands Kendra Van Nyhuis • Industrial Hip-hop against Hop-Hop Industry: The Critical Sound of XXX Pil Ho Kim and Wonseok Lee 5:00 PM - Technologies of Identity • Parodic Sampling and “Keeping it Real” in Polish Hip-Hop Alena Aniskiewicz, University of Michigan • ‘A ‘ole TMT: Hip-Hop for the Protection of Sacred Land in Hawai’i Susan Jacob, University of Hawai’i • Social media, Music, and Empty Space: Loneliness and Mediated Intimacy Through User-Created Music Video Sound Meredith C. Ward, Johns Hopkins University • Cassettes and Cultural Mobility in the 1980s Indie Scenes Rob Drew, Saginaw Valley State University 5:00 PM - Music and the Politics of Whiteness • “Take That, Tipper Gore”: Alanis Morisette, US Suburbia, and the Politics of Consumer-Friendliness H. Megumi Orita, University of North Carolina at Chapel Hill • Showdown in “No Man’s Land”: From Boredom to Anger in Billy Joel’s Suburbia Joshua Duchan, Wayne State University • Rated X by an All-White Jury: Sweetback, Aesthetics, and Protest Psychosis Matthew Tchepikova-Treon, University of Minnesota • Fiona Apple’s Shifting Personal and Political Narrative in Fetch the Bolt Cutters Kelly Cole, Bowling Green State University 6:30 PM - Roundtable: Thinking Through Diversity Calling All Music Writers! Diversity and Inclusion at the IASPM-US Conference • Kimberly Mack, Chair • Panelists: Kathy Meizel, Kwame Harrison, Tiffany Naiman, Kathryn Metz, Elijah Wald, Eric Hung Friday, May 21, 2021 12:00 PM - Representations of Race and Ethnicity • Place, Geographic Mobility, and Race in American Popular Sheet Music, 1865- 1900 Colin Anderson, George Washington University • “Sweet Trinidad”: Imitation and Representation in Van Dyke Parks’s Discover America Taylor Smith, Grossmont-Cuyamaca Community College • Sonic Historiography, Genre and K-Pop Crystal Anderson, George Mason University • The New York City Ruedathon: Dancing the City Streets a lo Cubano Sarah Town, Duke University 12:00 PM - London Scenes • Brexit Techno and the Politics of Hard Melancholy Robin James, UNC Charlotte • Not Just a Comedown: London’s Ambient Scene, 1990-1994 Victor Szabo, Hampden-Sydney College • The bebop Scene in Soho, London, 1946-1950 Ray Kinsella, • “It’s a 140 BPM way of life”: London’s Pirate Radio Network and its Impact on Performance Practice in Grime Music Alex De Lacey, Goldsmith’s College, UCL 2:00 PM - Hands up for Detroit • Enter the Void: Timbre, Techno, and Modes of Embodiment Maria Perevedentseva, Goldsmiths College • Cars and Guitars: The Sounds of Liberation? 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    Expectation, Christianity, and Ownership in Indigenous Hip-Hop: Religion in Rhyme with Emcee One, RedCloud, and Quese, Imc T. CHRISTOPHER APLIN Abstract: The juxtaposition of the words Indians, Christianity, and hip hop frequently unearths a sense of the unexpected (Deloria 2004). This is largely because expectations are too frequently confounded by the inability to recognize the links between African- and Native American peoples, the porous boundaries between the sacred and secular, or the complex relationships between Native peoples and Christianity. This article takes a closer look at the connections between indigenous peoples, pious devotion, and subversive rhyme by describing the characteristic ways that Emcee One, Quese, and RedCloud’s relationships to Christianity are inscribed, communicated, and indigenized through the lyrical messaging of modern hip- hop. These MCs in word and action loosen totalizing discourses such as the assimilation/ acculturation paradigm characteristic of mid-century ethnomusicology, or its modern consequent the localization/appropriation common to contemporary discussions of global hip hop. In the rhymes presented in this article, our MCs articulate everyday strategies that express both the “already local” nature of globalized hip hop (Pennycook and Mitchell 2009) within indigenous North American communities, as well as their distinctive ownership of indigenous spiritualities. Résumé : La juxtaposition des mots Indiens, christianisme, et hip hop suscite fréquemment un sentiment d’inattendu (Deloria 2004). Ceci est dû dans une large mesure au fait que les attentes sont trop souvent confondues par l’incapacité à reconnaitre les liens entre les peuples Africains-Américains et Amérindiens, les frontières poreuses entre le sacré et le profane ou les relations complexes entre les peuples autochtones et le christianisme.
  • Andrzej Antoszek Catholic University of Lublin English Department American Studies Al. Raclawickie 14 20-950 Lublin, Poland Tel./Fax

    Andrzej Antoszek Catholic University of Lublin English Department American Studies Al. Raclawickie 14 20-950 Lublin, Poland Tel./Fax

    Andrzej Antoszek Catholic University of Lublin English Department American Studies Al. Raclawickie 14 20-950 Lublin, Poland tel./fax. (081) 5332572 e-mail: [email protected] HOPPING ON THE HYPE: DOUBLE ONTOLOGY OF (CONTEMPORARY) AMERICAN RAP MUSIC In a revealing interview with Elisabeth A. Frost, Harryette Mullen, one of the most enthralling African-American poets, tries to answer the question of contemporary black identity and authenticity, the search for which seems to the interviewer to be a rather “nostalgic gesture.” Mullen’s answer, the response of a literary figure who is-- at the same time-- a person living and teaching in Los Angeles and thus familiar with all the latest fads that black communities adopt, is full of concern for the inevitability of the changes that the global culture imposes on once unique identifying characteristics. Mullen observes that “part of what is tricky and difficult is wondering whether we even know what we believe about ourselves. So often we are performing, and we are paid for performing – we are surviving, assimilating, blending in. When are we ourselves? Beyond being either a credit or discredit to our race, who are we?” (Frost: 416). Mullen’s words, a shrouded lament for the disappearance of the singular and distinctive in favor of the global and homogenized, could easily be applied to the phenomenon which has soared from its Compton ragged origins to the riches of the luxurious corporate environment, turning poor boys with ghetto blasters into moguls of show business. Contemporary rap music has acquired in the course of a decade or so a double, triple, or even multiple ontology, capitalizing on its initial niche and vaguely ominous character and exchanging the message for endless permutations of the form.