MUSIC FLOWS March 13–16, 2014 IASPM-US 2014 CONFERENCE MUSIC FLOWS March 13–16 Hosted by: The University of North Carolina at Chapel Hill Center for the Study of the American South Kenneth Janken, Interim Director Department of Music Mark Katz, Chair Southern Folklife Collection Steve Weiss, Curator Water in Our World at UNC Jamie Bartram and Terry Rhodes, Co-Chairs IASPM-US President’s Address On behalf of the United States branch of the International Association for the Study of Popular Music, I welcome you to our 2014 conference, “Music Flows.” This year’s conference is hosted by one of the oldest public universities in the United States, the University of North Carolina at Chapel Hill. Largely buried underneath the historic campus is a small creek, first named in the 1907 History of the University of North Carolina (and still visible on Google Maps today) as The Meeting of the Waters. The ground it drains seems a highly auspicious one for a scholarly consideration of flow, liquidity, and circulation. From the licit or illicit circulation of songs to the melting of glaciers, popular music— and the world in which it exists—faces a future in which the status quo is quite literally in flux. With seemingly solid foundations melting away, we face a moment of productive instability, in which new potentialities emerge even as life as we know it may be dramatically transformed. As usual, the flow of ideas on this theme at our conference will be totally unrestrained (our get-togethers are something like drinking pop music scholarship from the proverbial fire hose) and we expect the flow of conviviality and libation to be similar. We are gushingly grateful to the University of North Carolina at Chapel Hill for hosting us this year, and offer particular thanks to the Center for the Study of the American South, the Department of Music, and the Southern Folklife Collection for their direct support of the conference. We also thank the UNC Office of the Provost for additional support and are happy to be part of the pan-campus theme of Water in our World, providing the perspective of humanities scholarship and our study of popular culture. I would like to acknowledge the intellectual leadership and hard work of Marina Peterson (Ohio University), who chaired this year’s program committee, along with that of the other members: Jerome Camal (University of Wisconsin–Madison), Benjamin Court (UCLA), Mark Katz (University of North Carolina at Chapel Hill), Ali Colleen Neff (College of William and Mary), Josh Ottum (Ohio University), and Mark Pedelty (University of Minnesota). They have built an impressive program of panels and talks from your wonderful submissions. We also owe a large debt of thanks to Jocelyn Neal, Professor of Music at UNC, as our local host. She has taken total responsibility for the onerous task of coordinating local arrangements, securing multiple sources of funding, and providing a team of 2 volunteers (thank ‘em when you see ‘em) to organize all aspects of this year’s conference. Our cup runneth over. I would like to invite this year’s attendees who are not yet members to visit our excellent website (http://iaspm-us.net/) to learn more about our organization. Mike D’Errico (UCLA) is our current web- editor, and he has filled its pages with useful links and quick, provocative and insightful takes on a wide range of popular music issues. (The next post could be one of yours—contact him if you feel so inspired.) I would also like to call your attention to our scholarly journal, The Journal of Popular Music Studies, which is published quarterly by John Wiley & Sons. Our new editorial team, Gayle Wald (George Washington) and Oliver Wang (CSU Long Beach), will continue to represent the most cutting-edge and consequential scholarship in popular music studies, and they welcome your submissions. (Like JPMS on Facebook and see what’s up at: https://www.facebook.com/popmusicstudies.) This conference is my first as President of this organization, and I feel like I’m just getting my feet wet. I look forward to seeing you all at the Meeting of the Waters. Bring a towel! —Robert Fink, IASPM-US President 3 Board of Directors Program Committee Robert Fink, President Marina Peterson, Chair Diane Pecknold, Vice-President Jerome Camal Caroline Polk O'Meara, Treasurer Benjamin Court Karl Hagstrom Miller, Secretary Mark Katz Barry Shank, Past President Ali Colleen Neff Justin D. Burton, Open Seat Josh Ottum Mark Pedelty Executive Committee Co-editors, Journal of Popular Music Studies: Gayle Wald and Oliver Wang Web Editor/Webmaster and Student Seat: Mike D'Errico Assistant Web Editor: Jessica Dilday Open Seats: Rebekah Farrugia, Devon Powers, Anthony Kwame Harrison Student Seat: Benjamin Court Honorary Board Members: Reebee Garofalo, Portia Maultsby Local Arrangements and Conference Support Jocelyn R. Neal, Chair; Christa Bentley, Will Boone, Paul Cole, Cathy Crone, Christopher Dahlie, Brendan Daniel, Jeff DeLuca, David Garcia, Ben Haas, Joanna Helms, Pat Horn, Kenneth Janken, Brian Jones, Mark Katz, Chris Reali, Terry Rhodes, William Robin, Megan Ross, Matt Swiatlowski, David VanderHamm, Jennifer Walker, Emily Wallace, Steve Weiss, Susan Williams Welcome to Chapel Hill! We hope you will have a chance to explore our campus and community while you are here. We have a rich tradition at UNC of addressing popular music through research, teaching, performance, archival preservation, and public dissemination of knowledge. We are so pleased to welcome many former students, colleagues, researchers, and friends back to campus, and if this is your first visit, we hope you will return again soon. —Jocelyn R. Neal, local arrangements 4 Table of Contents Featured Speakers 6 Evening Events 7 Venues and Maps 9 Conference Information 14 Conference Schedule Thursday, March 13 13 Friday, March 14 13 Saturday, March 15 20 Sunday, March 16 27 Conference Advertisers 31 5 Featured Speakers Circulation, Considered from an Out of the Way Place Louise Meintjes Louise Meintjes is associate professor of Music and Cultural Anthropology at Duke University and author of Sound of Africa! Making Music Zulu in a South African Studio (Duke University Press, 2003). She has recently co- written three review articles on sound, the senses, and ethnomusicology (with Ana Maria Ochoa, Tom Porcello and David Samuels), and she is working on an ethnography of the aesthetics and politics of migrant Zulu men's song and dance post apartheid. What Is this Black in Japanese Popular Music?: (Re)Imagining Race in a Transnational Polycultural Context Kevin Fellezs Kevin Fellezs is an Assistant Professor of Music at Columbia University, where he shares a joint appointment in the Institute for Research in African-American Studies. His work is primarily concerned with the relationship between music and identity. He has written on jazz-rock/funk fusion of the 1970s, African American musicians involved with heavy metal, and Asian American jazz musicians. He is currently writing a manuscript on contemporary Hawaiian slack key guitar as practiced in Hawai’i, California, and Japan. 6 Evening Events Thursday Night: Opening Reception Join us for a free catered reception with beer and wine, live music, and art. Center for the Study of the American South 410 East Franklin Street Chapel Hill Thursday, March 13, 5:30–7:30 p.m. Live Music from Bevel Summers: Bevel Summers performs with the philosophy of quick draw pistoleer the Sundance Kid from the famed 60's post-modern Western: “I’m better when I move.” Likening comparisons from Johnny Cash to The Wailers to Fleetwood Mac and back, at a Bevel Summers show, you’ll find yourself singing along with choruses that seem to burst through the confines of whatever hole-in-the-wall joint or basement the band is playing. Art Exhibition: “From Haiti to Mt. Olive,” featuring paintings by Michel Obin and Faustin Dumé. The Center for the Study of the American South serves Carolina & the community through research, scholarship, lectures, conferences, and arts events. Extending the University’s historic role as a leader in regional service and scholarship, our diverse programs reflect our commitment to strong research and scholarship on the history, contemporary experience, diverse cultures, and global context of the South. Friday Night LARD HAVE MERCY! 30 Years of Southern Culture on the Skids This exhibit traces the history of Chapel Hill's “legendary bards of downward mobility,” Southern Culture on the Skids. Formed in 1983, SCOTS embodies a sleazy, raucous, good-natured, good-time take on the culture of the South by playing a unique hybrid of Americana, 7 surf, R&B, rockabilly, and swamp pop, all the while driving fans into ecstatic, sweat-drenched paroxysms of joy. The exhibit features photography by Kent Thompson and Michael Benson as well as instruments, posters, recordings and ephemera from the SCOTS Collection in the Southern Folklife Collection. Exhibit Opening and Reception 4th Floor, Wilson Special Collections Library University of North Carolina at Chapel Hill Friday, March 14, 6:00 p.m. Concert Historic Playmakers Theatre University of North Carolina at Chapel Hill Friday, March 14, 7:30 p.m. Concert is free. Tickets are required. Sponsored by the Southern Folklife Collection. Pick up your free ticket at Historic Playmakers Theatre. Bring your conference name badge; one ticket per badge. Seating is limited! Saturday Night IASPM-US DJ night The Station 201-C East Main Street Carrboro, North Carolina 27510 Saturday, March 15, 9:00 p.m.–2:00 a.m. Featuring DJ sets by: Doctor Dakar (freestyle/ bass) DJ Play Play (juke/ footwork/ jungle) Fifi HiFi LMGM (disco/ house) The Attic Bat (grime/ trap) T. Naiman (industrial/ new wave) Supreme Court (new wave) 8 Venues HH = Hill Hall KMB = Kenan Music Building PH = Person Hall Registration, exhibits, coffee, and refreshments are located in the Kenan Music Building Room 1201 (“Kenan Rehearsal Hall”).