Week 10 Lecture B materials: Dance music cultures

MAC351 Dance music culture – moral panics, hegemony and raving from Rob Jewitt

Watch 

Playlist

Reading

Andy Bennett (2001) Cultures of Popular Music, Buckingham: Open University Press. Chapter 8

J. Gilbert & E. Pearson, 1999, Discographies: dance music, culture, and the politics of sound, London: Routledge.

T. Glover, 2003, ‘Regulating the Rave Scene: Exploring the Policy Alternatives of Government’, in Leisure Sciences, Vol 25 Issue 3: p307 – 325 (only available vie request through inter-library loan)

S. Reynolds, 1998, Energy Flash: A Journey Through Rave Music and Dance Culture, London: Picador.

H. Rietveld, 1998, ‘Repetitive beats: free parties and the politics of contemporary DiY dance culture in Britain’ in G. McKay (ed.), DiY Culture: Party and Protest in Nineties Britain, London: Verso.

S. Thornton, 1995, Club Cultures: Music, Media and Subcultural Capital, Cambridge: Polity Press.

C. Critcher, 2003, Moral Panics and the Media, Buckingham: Open University Press (especially chapter 4).

K. Murji, 1998, ‘The Agony and the Ecstasy: Drugs, Media and Morality’ in R. Coomber (ed.), The Control of Drugs and Drug Users: Reason or Reaction?, Harwood Academic Publishers (http://www.psychedelic-library.org/murji.htm).

Week 10 Lecture A materials: Electronic Music Production

Watch 

Copyright Criminals (2009) on Vimeo.

Playlist

Reading

Shiga, John (2007) ‘Copy-and-Persist: The Logic of Mash-Up Culture’, Critical Studies in Media Communication, Vol. 24, Iss 2, pp.93-114
– http://dx.doi.org/10.1080/07393180701262685

Lawrence, Tim (2008) ‘Disco madness: Walter Gibbons and the legacy of turntablism and remixology’, Journal of Popular Music Studies, Vol. 20: 276–329
– http://dx.doi.org/10.1111/j.1533-1598.2008.00162.x
— also available here: http://timlawrence.info/wp-content/uploads/2012/09/Walter-Gibbons-JPMS.pdf

Borschke, Margie (2010) ‘Disco edits and their discontents: The persistence of the analog in a digital era’, New Media & Society, Vol 13, No 6, pp.924-944
– http://dx.doi.org/10.1177/1461444810386693
— also available here: https://www.academia.edu/334800/Disco_Edits_and_their_discontents_the_persistence_of_the_analog_in_a_digital_era

Fink, Robert (2005). ‘The story of ORCH5, or, the classical ghost in the hip-hop machine.’ Popular Music, Vol 24, No 3, pp 339-356
– http://dx.doi.org/10.1017/S0261143005000553

M/C Journal – (2011) special issue: ‘remix’ http://journal.media-culture.org.au/index.php/mcjournal/issue/view/remix

Fact Mag (2016) ‘The 14 pieces of software that shaped modern music’ http://www.factmag.com/2016/10/01/the-14-pieces-of-software-that-shaped-modern-music/ 

Week 9 Lecture B materials: Rap, authenticity, commerce and capitalism

Playlist

Reading

Regina N. Bradley (2014) ‘Kanye West’s Sonic [Hip-hop] Cosmopolitanism’ in Julius Bailey (ed), The Cultural Impact of Kanye West, Palgrave

Akilah N. Folami (2007) ‘From Habermas to “Get Rich or Die Tryin”: Hip Hop, the Telecommunications Act of 1996, and the Black Public Sphere’, Michigan Journal of Race and the Law, Vol 12: 235

Jon Caramonica (2013) ‘Behind Kanye’s Mask’, New York Timeshttp://www.nytimes.com/2013/06/16/arts/music/kanye-west-talks-about-his-career-and-album-yeezus.html?pagewanted=all&_r=0

Stephanie Convery (2014) ‘In defence of Iggy Azalea: on racism, naivety and a twisted cluster of exploitation’, The Guardianhttp://www.theguardian.com/commentisfree/2014/oct/03/-sp-in-defence-of-iggy-azalea-on-racism-naivety-and-a-twisted-cluster-of-exploitation

Margaret Hunter (2011) ‘Shake it, Baby, Shake it: Consumption and the New Gender Relation in Hip-Hop’, Sociological Perspectives, Vol  54, No. 1, pp. 15-36, http://dx.doi.org/10.1525/sop.2011.54.1.15 [alt link]

Andrew Marantz,  (2014) ‘Old School: The d.j. Peter Rosenberg, hip-hop’s reigning purist.’ New Yorkerhttp://www.newyorker.com/magazine/2014/04/07/old-school-2

Jason Rodriquez (2006) ‘Color-Blind Ideology and the Cultural Appropriation of Hip-Hop’, Journal of Contemporary Ethnography 2, Vol 35, No 6, p645-668 http://dx.doi.org/10.1177/0891241606286997

You might like… Radiolab presents ‘Straight Outta Chevy Chase’

The Chevy Chase in question is not the film/TV star – no, it refers to the small town in the state of Maryland, where a very special DJ was born. That man is Peter Rosenberg, a DJ for the hip hop radio station Hot 97, New York (‘Where hip hop lives’).

In 2012 he had a very public fall out with a certain Nicki Minaj that called into question the difference between authentic hip hop and commercialised ‘sell out’ hip hop.

The folks at Radiolab covered this incident in some detail. You can stream the show below or download it for later with this link (right click to save)

Here’s the Radiolab show notes:

From boom bap to EDM, we look at the line between hip-hop and not, and meet a defender of the genre that makes you question… who’s in and who’s out

Over the past 40 years, hip-hop music has gone from underground phenomenon to global commodity. But as The New Yorker’s Andrew Marantz explains, massive commercial success is a tightrope walk for any genre of popular music, and especially one built on authenticity and “realness.”  Hip-hop constantly runs the risk of becoming a watered-down imitation of its former self – just, you know, pop music.

Andrew introduces us to Peter Rosenberg, a guy who takes this doomsday scenario very seriously. Peter is a DJ at Hot 97, New York City’s iconic hip-hop station, and a vocal booster of what he calls “real” hip-hop. But as a Jewish fellow from suburban Maryland, he’s also the first to admit that he’s an unlikely arbiter for what is and what isn’t hip-hop.

With the help of Ali Shaheed Muhammad of A Tribe Called Quest and NPR’s Frannie Kelley, we explore the strange ways that hip-hop deals with that age-old question: are you in or are you out?

Enjoy!

Genre case study: extended deadline

The library didn’t pass the first case study essays back to me until a week after they were submitted meaning that we haven’t had the time we’d like to mark them and double-mark them. With this in mind I’ve decided to push the second deadline for the genre case study back a week.

The new deadline for case study 2 is Thursday December 4th at 3pm

You might like… ‘Napster – 15 Years Later’

If you’ve got an interest in either a) piracy or b) digital music streaming then you might want to come along to a guest research seminar hosted by the Centre for Research in Media and Cultural Studies (CRMCS) on Monday November 17th at 5:30pm.

The session is entitled ‘Napster – 15 Years Late’ by Matthew David from the University of Durham. He published a very interesting book on the filesharing and the music industry a few years back.

Here’s the description for the research seminar:

Napster offered the first ‘easy to use’ format for sharing music online.

It was not the first online music sharing software, but it was the one that generated a mass user base into the tens of millions. In this respect Napster launched file-sharing into ‘popular culture’. Napster, like other services, such as Facebook, which emerged at the same time, used a central server model through which files were shared. As such, Napster was not a fully peer-to-peer service. This central server model was useful for streaming advertising, but was legally problematic for Napster. It left the service open to legal challenge on grounds of contributory infringement, something for which it was found guilty in 2001, and which led to its original service closing in that year (and for the original company’s bankruptcy in 2002).

It was precisely the combination of these two things, the legal liability associated with having a bottleneck within a copyright infringing software’s architecture, and the creation of a popular expectation of ‘free music’ online that represents dual Napster’s legacy. The cat and mouse development of technical strategies to evade legal liability, and the ongoing expansion of a popular expectation that recorded music should be freely available online has ‘revolutionized’: A. Free file-sharing; and B. The commercial recording industry. The current field of recorded music, which combines these copyright infringing and copyright compliant modes of distribution, represents a diverse assemblage of affordances, all of which flow from and engage with reinventing the technical and cultural space that Napster, in large measure, brought into popular consciousness.

The seminar tends to last about 50-60 mins before questions. It’s open to the public so feel free to attend. It’s in the Media Centre in room MC233.

For further information contact Clarissa Smith

T: 0191 515 2708

E: clarissa.smith@sunderland.ac.uk

Week 7 Lecture B materials: The birth of hip hop

Screening

Playlist

Reading

Alridge, Derrick P. (2005) ‘From Civil Rights to Hip Hop: Toward a Nexus of Ideas’ in The Journal of African American History, Vol. 90, No. 3, pp. 226-252

Bennett, A (2001) Cultures of Popular Music, Open University Press, Chapter 6

Decker, Jeffrey Louis (1993) ‘The State of Rap: Time and Place in Hip Hop Nationalism’, Social Text, No. 34, pp. 53-84

Demers, Joanna (2003) ‘Sampling the 1970s in hip-hop’, in Popular Music, Vol 22, Iss 1, pp.41-56 http://dx.doi.org/10.1017/S0261143003003039

Dimitriadis, Greg (1996) ‘Hip hop: from live performance to mediated narrative’, Popular Music, Vol 15, Iss 2, pp.179-194 http://dx.doi.org/10.1017/S0261143000008102

George, N. 1993. ‘Hip-Hop’s Founding Fathers Speak the Truth’, The Source, November, pp. 44-5

Hess, Mickey (2005) ‘Metal Faces, Rap Masks: Identity and Resistance in Hip Hop’s Persona Artist’, in Popular Music and Society, Vol. 28, No. 3, pp.297-311

Hess, Mickey (2006) ‘Hip-hop Realness and the White Performer’ in  Critical Studies in Media Communication, Vol 22, No. 5, pp. 372-389, http://dx.doi.org/10.1080/07393180500342878 

Keyes, C.L (1991) ‘Rappin’ to the beat: rap music as street culture among African Americans’, Doctoral thesis, Ann Arbor, MI: University Microfilms International

Week 7 Lecture A materials: Disco and dancing

Playlist

Reading

Richard Dyer (2002[1992]) ‘In Defence of Disco’  in Only Entertainment, London: Routledge [Google Books link]

New Formations (2006) ‘Of Borders and Discos’, Issue 58, http://www.lwbooks.co.uk/journals/newformations/issue/nf58.html

Jaap Kooijman (2005) ‘Turn the beat around Richard Dyer’s ‘In Defence of Disco’ revisited’, European Journal of Cultural Studies, Vol. 8, No. 2, p.257-266, http://dx.doi.org/10.1177/1367549405051848 [alt link]

Nadine Hubbs  (2007) ‘”I Will Survive”: musical mappings of queer social space in a disco anthem’ Popular Music, 26, pp 231-244 http://dx.doi.org/10.1017/S0261143007001250

Tim Lawrence (2011) “Disco and the Queering of the Dance Floor” in Cultural Studies, Vol 25, No 2, pp.230-243 http://dx.doi.org/10.1080/09502386.2011.535989  [alt link]

Tim Lawrence (2009) “Beyond the Hustle: Seventies Social Dancing, Discotheque Culture and the Emergence of the Contemporary Club Dancer”, in Julie Malnig (ed) Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader.  Urbana and Chicago: University of Illinois Press, 199-214. [link]

Tim Lawrence (2008) “Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology”. Journal of Popular Music Studies, Vol 20, No 3,  276-329. [link]

Tim Lawrence (2006) “‘I Want to See All My Friends At Once’: Arthur Russell and the Queering of Gay Disco”, Journal of Popular Music Studies, Vol 18, No 2, 145-68. [link]

Brian Ward (1998) Just My Soul Responding: Rhythm and Blues, Black Consciousness, and Race Relations, University of California Press. Chapter 11: “Take that to the bank”: corporate soul, black capitalism and disco fever”  [library link]