CFP: 2015 David Sanjek Memorial Graduate Student Paper Prize

by Jessica Dilday on January 27, 2015


The committee for the David Sanjek Graduate Student Paper Prize of the International Association for the Study of Popular Music – US Branch (IASPM-US) invites graduate students who will be presenting at the 2015 IASPM-US annual conference to submit their papers for consideration.

Eligibility: Any student who presents, in person, a formal paper at the IASPM-US annual meeting is eligible for the prize. A student shall be defined as a person pursuing an active course of studies in a degree program. This includes persons who are engaged in writing the doctoral dissertation but not those who are teaching full-time while doing so. Student applicants must be members of IASPM-US.

Application Process: To apply for the prize, candidates must electronically submit a copy of their paper to along with a brief bio (75 words) and copy of their conference registration receipt.

The deadline for submissions is Thursday, February 12 at 11:59 pm. The paper deposited is to be the version that is read at the conference and may not exceed twelve double-spaced pages (roughly 3,900 words).

The winner will be announced at the general business meeting at the annual conference and the award includes a cash prize of $350.

Please feel free to email the chair of the committee, Diane Pecknold (, if you have any questions.

Committee:  Ed Comentale, Diane Pecknold, Eric Weisbard


IASPM-US Election Ballot

by Jessica Dilday on January 26, 2015

The ballot for this year’s IASPM-US election has gone out to all members. The deadline for voting is Tuesday February 3rd. If you are a member of the organization and expected to receive a ballot but did not, please contact Rebekah Farrugia at


My new book Resilience & Melancholy: pop music, feminism, & neoliberalism is about the politics and aesthetics of post-feminist pop music. Resilience–the practice of extracting surplus value from damage or crisis–is the ideal that informs both contemporary Western ideals about femininity and musical pleasure. As I say on the back cover, “When most people think that “little girls should be seen and not heard,” a noisy, riotous scream can be revolutionary. But that’s not the case anymore. (Cis/Het/White) Girls aren’t supposed to be virginal, passive objects, but Poly-Styrene-like sirens who scream back in spectacularly noisy and transgressive ways as they “Lean In.”” White supremacist, patriarchal, capitalist society expects women to roar, and it expects us to like hearing them roar.

In post-feminist pop music, the lyrics focus on women’s overcoming of the damage patriarchy inflicts on them–negative body image, “controlling images” (stereotypes), etc. The music similarly manifests resilience, often in the form of the musical gesture called “the soar,” which I argue is a sonic analogue for shock-doctrine style capitalism. The tape begins with white feminist approaches to resilience and ends with black feminist and queer responses to resilience discourse. It also begins from a pretty peppy pop place and ends in deeper, more dance-oriented grooves. I’ll leave it to the listeners to figure out whether that correlation between politics and aesthetics is a coincidence or not.

This songs on this mixtape are mainly songs I discuss in the book. Like the book, the mixtape traces the contours of post-feminist pop, and considers both paradigmatic examples and notable counter-examples, critiques, and responses. But the mixtape can do things the book can’t: it can reveal sonic relationships, patterns, and practices that theory might not be the best medium for examining. And whereas a theorist would tell you what those relationships, patterns, and practices are, a DJ leaves that up to her listeners to hear and discover themselves.

I left the songs relatively unaltered, and didn’t do a lot of painstaking mixing. First, so that we can more accurately assess the ideological and aesthetic work these songs do as most people hear them in everyday life, we should hear the songs in their most commonly-consumed forms. Thus, I took a more curatorial approach to the mixtape, one that focused on setting the musical objects in the right light, and in the right arrangement with other objects, so that interesting features and relationships emerge from the arrangement. Second, because the songs were chosen primarily for their social and ideological meaning (and not for specific musical features), the tempo variation among the songs is more than I have the time or chops to transform into some carefully cross-faded mix.


Robin James is Associate Professor of Philosophy at UNC Charlotte. She is author of two books: Resilience & Melancholy: pop music, feminism, and neoliberalism will be published by Zer0 books in February 2015, and The Conjectural Body: gender, race and the philosophy of music was published by Lexington Books in 2010. Her work on feminism, race, contemporary continental philosophy, pop music, and sound studies has appeared in The New Inquiry, Noisey, SoundingOut!, Hypatia, differences, Contemporary Aesthetics, and the Journal of Popular Music Studies. She is also a digital sound artist and musician, and often works as a member of citation:obsolete. She blogs at and is a regular contributor to Cyborgology & xcphilosophy.

Track Listing:
Meghan Trainor – All About That Bass
Taylor Swift – Shake It Off
Lady Gaga (feat. Beyonce) – Telephone
Beyonce (feat. Lady Gaga) – Video Phone
Miley Cyrus – We Can’t Stop
Katy Perry- This Is How We Do
Rihanna – Pour It Up
Diplo & Grandtheft – Sweet Nothing remix
The Bottoms – My Body
Nicki Minaj – Anaconda


Michigan Sound Conference CFP

by Jessica Dilday on January 19, 2015


10 am – 8 pm, Friday May 22, 2015 at the Detroit Public Library.

Music, Arts & Literature Department, Third Floor

This event is free and open to the public.

Please RSVP and / or donate here.

Call for Papers

The Detroit Sound Conservancy (DSC) will host our second annual conference on Friday, May 22, 2015 at the Detroit Public Library dedicated to Michigan and Detroit’s musical heritage. The question our presenters will explore is how has Michigan generally, and Detroit in particular, been a leader in the creation of the global modern soundscape?

The inspiration for the conference comes from the Michigan Modern exhibition held summer 2013 at Cranbrook in Bloomfield Hills, MI that focused on Michigan architecture and design. Similarly, our conference will focus on the relationship between sound and music as they relate to Michigan design and architecture in the 20th century. How have Michigan’s spaces of sound (studios, radio stations, clubs, concert venues, cars, etc.) played a key role in how we have come to hear and experience sound and music? What role do they still play today?

This conference connects directly to the DSC’s mission of preserving sounds and telling stories. It also educates the public, helping to disseminate historic designation knowledge and resources not just in Detroit but across Michigan.

Our first successful conference held last Memorial Day weekend in the Music Sheet Room in the Music, Arts, and Literature Department of the Detroit Public Library, featured 28 local and national speakers on a wide range of topics related to Detroit music history, from the influence of Latin culture on Detroit music to the influence of Detroit’s ballroom architecture on live music performance. (See our video recap here.)

It is our hope that this “Michigan Sound” conference will encourage and spread a more robust discussion on how we might preserve, protect, and celebrate Michigan’s sonic story.

Please note: while we encourage papers to address the conference theme, we remain open to papers concerning Detroit music.

The deadline for presentation/workshop proposals and sponsorship opportunities is Friday, February 6, 2015.

Single presentations should be 15-20 minutes long; panels 60-75 minutes plus Q&A.

Please send a 250-word abstract plus 100-word author bio, as well as any inquiries, to Conference Chair Denise Dalphond via


how many things in the universe are about heartbreak haha.  and how many ways can we make heartbreak an issue of feminism? and it is. it truly is. and at it’s very core it’s also about rejection. it’s about time and space and essence. and it’s about a terrible someone. someone who doesn’t see your heart of honey. of amber inside of you. but maybe you didn’t find their’s either. and it’s about finding yourself in the break. (thanks fred moten). there are so many things we see in the break. so many ways that the magma leaks out of us and we feel the heat. we feel what has been suppressed by “love.” and we see what can ooze out because of Real Love. this mix is about breaking and healing and getting to know our love lava. it’s about finding love in water, in the ocean, in the air. it’s about not letting your love evaporate for good. wet_woke_washed     getting to weep and ponder and swim and choke and dance ourselves into the loving reality we so deeply wish for. share this with someone who needs Real Love. Which is Everyone.

About Nicole Campbell: from brklyn to durham. artist, disc jockey, writer, celestial body, daughter, sister, organizer, a woman-being boyishly, human prism. fleshy radio wave. furthering my commitment to putting what i need for myself into the universe. dancing all over and through this revolution. main goals are healing, self-love, and making making making. aquarius sun, scorpio moon, venus in pisces. often hungry for food and for love.








warsan shire – 34 excuses for why we failed at love
michael rasbury – roanoke field recordings
laurel halo – dr. echt
fatima – gave me my name
nina simone – suzanne (leonard cohen cover)
greg fox – it’s ok
earth kitt on love and compromise
ras g – penny’s confession
andre 3000 – vibrate
[the heathers … girl scout cookie]
audre lorde – the best man ≈≈≈
shanti celeste – universal glow (into)
imi_ – OL 4 my people
j dilla – bye (feb 7)
finis africae – segundos, segundos, segundos
kristian pontoppidan – autumn rain recording (Dyrehaven, denmark)
ashrae fax – fits and starts(bee yrself)


IASPM-US: Call for Assistant Web Editor

by Victor Szabo on January 6, 2015

The executive committee of IASPM-US is currently seeking applicants to fill the position of Assistant Web Editor.

The Assistant Web Editor commits to a 21-month volunteer position that begins May 2015. In the first nine months, primary responsibilities include managing social media networks for IASPM-US (Facebook, Twitter, Mixcloud), writing the monthly IASPM-US website email digest, and assisting the Executive Web Editor, Victor Szabo, in generating content for the website. In February 2016, the Assistant Web Editor will take on the position of Executive Web Editor, becoming the primary point person for website-related tasks, including: maintaining and generating content for the website; working with the executive committee and program committee to keep the organization updated about elections, annual conference details, and other IASPM-US-related business; addressing the executive committee and broader membership with an annual report at the IASPM-US conference; and training the incoming Assistant Web Editor. The executive committee is particularly interested in applicants who are adept at social media networking, blogging, and content curation. While there are no technical prerequisites to the position, a working knowledge of WordPress is desired.

To apply for the position, please send a 300-500 word personal statement to, including a brief biography, list of accomplishments, and what skills and ideas you would contribute to the position. Applications must be received by February 1, 2015.

Please direct any questions to the current Executive & Assistant Web Editors, Jess Dilday and Victor Szabo, at


With this mixtape I explore the heavily debated topic of music sampling. More specifically, I focus on rap songs that sample classical music and have created a tape that illustrates the creativity and power of sampling. The art of sampling is a technique of looping a segment of a song or sound and reusing it as part of a new composition or recording. Sampling is a hot topic of debate by musicians and scholars alike. Two arguments that are often brought up in debate over sampling practices are that sampling lacks creativity and that sampling, from a legal point of view, is actually considered stealing when monetizing off of it in a new creation.

Any musician who has ever taken the time to compose a piece of music strives to create a masterpiece that will stand the test of time. A person’s legacy can be defined by longevity, but greatness is not always measured by nuances and technicalities. Hundreds of years after their existence, works from the likes of Beethoven, Bach, and Mozart are not only recognized but in some circles very relevant. However, the one thing in life that is constant is change and the music of today is vastly different in nature, content, and audience.

Sampling has become common in not only rap music, but also in many different genres of pop music. The scrutiny of sampling occurs when producers cut parts of existing songs and utilize them in a different context from which they were originally conceptualized. Music producers and tastemakers spend hours sorting through old vinyl (and now in the digital age surfing, Youtube) for that perfect sample. However, that time spent fishing for samples can bring about lawsuits without gaining the proper clearance to incorporate the sample.

There are clear advantages to sampling classical music. According to whosampled.com1, Beethoven pieces have been sampled one hundred and thirteen times. Legally, works from the likes of Berlioz, Pachelbel, Dvořák or any other pieces written before 1929 are considered to be public domain, meaning they are not subject to copyright. Music that is not public domain can be sampled and released commercially by obtaining sample clearance from the record labels and publishing companies that own the copyright.

This mixtape contains music that dates back to as early as 1723 and alludes to the endless possibilities and creativity of music sampling. In the words of Marc Ronson2, “Sampling isn’t about hijacking nostalgia wholesale; it’s about inserting yourself into the narrative of a song while also pushing that story forward.” With this mixtape I pay homage to some of the world’s greatest composers while also showing respect to the producers and artists who have creatively revitalized classical music from as early as the Baroque musical period (1600-1750).

Shane Colquhoun is an educator, producer, arranger, and currently serves as the Director of Bands at Loachapoka High School. He received his MMEd from Auburn University, and his research interest includes Culturally Relevant Music Ensembles, Urban/Suburban Music Education, and Popular Music Pedagogy. He can be reach at


1. Songe D’une Nuit De Sabbat (Dreams of a Witches’ Sabbath) by Hector Berlioz (1830)
Sampled in “Second Coming” By Juelez Santana (2006)

2. O Fortuna by Carl Orff (1937)
Sampled in “Hate Me Now” by Nas ft. Puff Daddy (1999)

3. “Confutatis” From Requiem Mass, K.626 by Wolfgang Amadeus Mozart (1791)
Sampled in “Say it to my Face” by Young Buck ft. Bun B and 8Ball & MJG (2007)

4. Prelude (Psycho Theme) by Bernard Herman (1960)
Sampled in “Gimmie Some Mo” by Busta Rhymes (1998)

5. Symphony No. 9, “From the New World”, 1st Movement (Adagio, Allegro Molto) by Antonín Dvořák (1893)
Sampled in “Same Old Thing” By The Streets (2002)

6. Für Elise by Ludwig Van Beethoven (1810)
Sampled in “I can” by Nas (2002)

7. Symphony No. 9, “From the New World”, 4th Movement (Allegro Con Fuoco) Antonín Dvořák (1893)
Sampled In “New World Symphony” by Pharoahe Monch (2005)

8. Symphony No. 40 (Third Movement) by Wolfgang Amadeus Mozart (1788)
Sampled in “K.I.M” by EPMD ft. Keith Murray and Redman (1997)

9. Brandenburg Concerto No. 3 in G Major – Allegro by Johann Sebastian Bach (1721)
Sampled in “Symphony in X major” by Xzibit ft. Dr. Dre (2002)

10. Concerto No. 2 in G Minor, Op. 8, RV 315, “L’estate” (Summer) by Antonio Vivaldi (1723)
Symphony No.36 Linz by Wolfgang Amadeus Mozart (1783)
Overture Egmont Op.84 by Ludwig Van Beethoven (1787)
Sampled in “Regeneration” by DJ Premier and the Berklee Symphony Orchestra ft. Nas (2011)

11. Pavane in F-sharp Minor by Gabriel Fauré (1887)
Sampled in “Paparazzi” by Xzibit (1996)

12. Cannon In D Major by Johann Pachelbel (1680)
Sampled in “C U When U Get There” by Coolio (1997)


  1. Bourne, J. (2014, August 13). Top 10 Most Sampled Classical Composers. Retrieved from
  2. Heille, C. (2014, November 2). Thoughts on Mark Ronson’s TED Talk “How Sampling Transformed Music.” Retrieved from


“JRIDOL MIX 00″ by Dante Fuumo

by Jessica Dilday on December 22, 2014

In Japan, the term Junior Idol can describe young girls and boys in mainstream entertainment like BabyMetal, AKB48 and Momoiro Clover Z. Many of these performers are also produced in gravure, a genre of modeling descended from western pin-up photography. Though junior idol gravure does not feature nudity, producers often blur the line between art or fashion and pornography, inciting arrests and legislative reforms, international criticism and shaming.

Idol media is saccharine-apocalyptic, engineered to inspire a tear of loving pain for the desperate desires and hopes one faces in the matrix of competition and labor. This tear is『moe』which means “cute” in japanese. It began as a typo on the japanese messageboards. Users wrote 燃える (moeru: to burn, to get fired up) when they meant 萌える (moeru: to sprout, to burst into bud). Moe means pure sex-love and mimetic desire between a human and an “image character” (such as an idol or drawn character). In love-capitalist society, moe compels the consumption of sexual-subject-simulacra. Moe characters as pseudo-sexual-subjects are defined by their “transcendent emptiness,” and provide outlets for “affective identification” (Galbraith).

Compared with the classical myth of human intersubjective love, idol-moe is the myth of desire defined by its insatiability. It always emerges along with, and because of, the conditions of its own overcoming. In this sense, junior idols fit Zizek’s definition for a postmodern commodity.

Idols are beautiful packages of desire, but really only a semblance of desire, the way a Japanese candy perfectly resembles the taste of a custard tart or a concord grape. To distill this semblance and produce an ideal media image, the media syndicates don’t simply employ them to perform on camera, but control many aspects of their “private” lives. They are contractually forbidden romantic partners, political opinions, or any public action that might compromise their “kawaii innocence”. In this way the idol becomes a “model citizen as redefined by consumer society” (Tiqqun).

“Culture is less and less a specific sphere exempt from the market and more and more its central component. What this short-circuit between market and culture entails is the disappearance of the old modernist avant-garde logic of provocation, of shocking the establishment. Today, more and more, the cultural economic apparatus itself, in order to reproduce itself, has not only to tolerate but to directly incite stronger and stronger shocking effects and products… in the domain of sexuality, perversion is no longer subversive: the shocking excesses [are] part of the system itself.” (Zizek)

If perversion is no longer subversive, then moralism is no longer reactionary. This is why junior idol’s status as not-pornography is beside the point. In our neurotic patriarchy, just as sexual transgressions push barriers of visibility, so do sexual euphemisms continue to refigure the transgressive as the normal. To euphemise is to incur a debt, for which the original obscenity is the repayment. Sloterdijk says: “What has hitherto been called morality is the universalism of vengeance.” (4) All this explains how junior idols can be objects both of national pride and moral outrage. The imagified Young-Girl, alternately comforting and alarming, is an ideological tool we all use to pass blame and forgive capitalism.

We are writing new music to accompany junior idol videos. The music should activate these images with new context, to deconstruct their original seductive and provocative use-value. It should also praise idols and the Real girls they come from, using the spiritual power of song to cathect the void between ourselves and that impossible other. This is our current project.

The present mixtape is its negative: a survey of the original soundtracks we are redacting. By “redacting,” we are literally removing the old soundtracks from the videos and replacing it with our new music, to transform the frame. Transforming means that we sometimes imitate the original soundtrack, sometimes parody, transgress or transcend it. That is part of our broader research. The mixtape is a collection of the original soundtracks.

Junior Idol gravure dvds are usually sold in back-alley AV shops in Akihabara. We get them from online englishlanguage fan communities like Kawaii15 and Akiba-Online, and Japanese P2P network Perfect Dark. We are fascinated by the theater of appropriation and imitation these songs present: strange J-pop, R&B collaged from libraries of sampled vocal fills, 80’s butt-rock with applause, chopin in the shower. Interestingly, traditional asian music is rare. We hope you will join us with this complicated document, listen and meditate on the bizarre and beautiful expressions of globalization.

Dante Fuumo et al. are a collaborative research-based art collective based in Chicago. You can find them on Soundcloud:

1 Galbraith, Patrick, and Karlin, Jason. Idols and Celebrity in Japanese Media Culture. Tokyo: University of Tokyo, Japan, 2012.

2 Tiqqun. Preliminary Materials For a Theory of the the Young-Girl. Los Angeles: Semiotext(e), 2012.

3 Zizek, Slavoj. “The Superego And The Act: A Lecture By Slavoj Zizek.” The European Graduate School, August 1999.

4 Sloterdijk, Peter. Nietzsche Apostle. Los Angeles: Semiotext(e), 2013.

Track List:
01 Kato Mizuki, “J-Moon” 10 yrs old (heart cross agency)
02 Mizuke Rin
03 FREE-12
04 (IV) Rin Koike, “phosphorus 13-year-old Aiimoto”
05 GOD-044 Saki
06 Sum Lori junior high school students: Ito Marina 13-year-old me sun
07 GOD-044 Saki
08 unknown
09 unknown
10 Sum Lori junior high school students: Ito Marina 13-year-old me sun
11 [PIST-038] Kimijima Ako – limit of Maiden ~ strawberry hip ~
12 Anna Oonishi
13 [PIST-038] Kimijima Ako – limit of Maiden ~ strawberry hip ~
14 _KU-009__Yukari_Nakai,_Kira_Nanami.avi
15 [IV] [U-15] [LALS-01_1] L @ VE SCHOOL Jr Nomura Sayuki 14 ℃ of three semester – main –
16 IMOL-015.ISO
17 [PIST-038] Kimijima Ako – limit of Maiden ~ strawberry hip ~
18 [PIST-038] Kimijima Ako: limit of Maiden ~ strawberry hip ~
19 Yukari Nakai, Kira Nanami: KU-009
20 Yukari Nakai, Kira Nanami: KU-009
21 Sum Lori elementary school: Erika 9-year-old ID☆L FARM


Transported from the ‘Cow Belt’ of India – the northern states of Uttar Pradesh and Bihar – under conditions of indentured labour to Trinidad, chutney soca is the name ascribed to the dance-oriented fusion of chutney, the ‘hot’ and ‘spicy’ Trinidadian re-mix of Bhojpuri folk music, and soca, the contemporary African-derived music of Trinidad’s illustrious Carnival. This mixtape presents a chronological survey of the evolution of this genre, complementing the doctoral dissertation that I am in the process of completing.

It opens with the intoxicating rhythms of the core folk percussion instruments of chutney and chutney soca – the dholak (hand drum) and the dhantal (metal idiophone) – before moving straight into the heart of chutney’s roots in the simple, repetitive female folksong traditions of the matikoor (Bhojpuri-Hindu prenuptial ceremony), with harmonium accompaniment. Paralleling a male-dominated calypso tradition, male artists emerged as the early chutney recording artists in the 1970s, with Sundar Popo becoming the most successful. By the 1980s, faster, livelier soca began to eclipse calypso as the Carnival music of choice. Drupatee Ramgoonai would emerge as the first female ‘calypsonian’ of Indian descent, much to the displeasure of the Hindu community of Indian purists, introducing the sounds of traditional tassa (goatskin) drumming and folksy vocal styles to soca audiences.

While the importance of Hindi film music to cultural formations of Indianness in Trinidad since the importation of the first film in 1935 has been underscored by the emergence of the chutney soca cover version, Mumbai duo Babla & Kanchan validated Indian music through a filmi aesthetic at a time when it was (still) alienated from national constructs of Trinidadian culture, and when breakthrough Trinidadian singers of Indian descent were few. Yet, it was not until the ascendance of Trinidad’s first prime minister of Indian descent in 1995 – after over thirty years of African political governance that privileged cultural expressions of African descent – that chutney soca publicly emerged as part of an Indian cultural awakening in national spaces. The Chutney Soca Monarch competition – to judge the best chutney soca artist – was established as part of the Carnival celebrations in 1996, with Sonny Mann taking the inaugural crown.

While Bhojpuri, as the ancestral tongue of the Indian community in Trinidad, and themes centred on the Indian experience (e.g. Hindu marriage and childbirth traditions, village life, kinship) have authenticated chutney soca, Trinidadian English has been on the rise – because of its mother tongue status – alongside changes in themes that embrace the Carnival ethos and vocabulary of alcohol, sex and hedonism. These developments have been led by a new, younger generation of chutney soca artists – especially Ravi B and KI – and producers like Zaheer ‘Big Rich’ Khan (D’ Pungalunks Factory) and Rishi Mahato (Maha Productions).

Beginning in 2005, the Hindi film song came full circle when chutney soca compositions decelerated in tempo and began to directly lift older film melodies which were readapted to Trinidadian contexts and lyrics. By 2012, chutney soca had come under heavy criticism for its banal, rum-centred lyrics, its use of Hindi film melodies, and its perceived lack of creativity, prompting artists and producers to return to the language, themes, instruments and styles of chutney past, but combine them with contemporary sounds (such as EDM aesthetics) and digital technologies.

Chutney soca has very much become a narrative about musical accommodation – whereby Trinidadian artists of non-Indian descent have increasingly begun to tap into the chutney soca market – and compromise, as artists of Indian descent toggle – and struggle – between tradition and modernity. Far from over, the evolution of chutney soca is a complicated tale of fusion, confusion, and contradiction. It illustrates how popular music can destabilize notions of originality, authenticity and purity in favour of creativity through continuous re-mixing, re-invention and re-cycling of remembered (and ‘re-membered’) traditions, speaking to similar processes of negotiation in formations of ethnic and national identities that are always in a state of flux.

Darrell G. Baksh is a PhD candidate in the Cultural Studies program at The University of The West Indies, St. Augustine Campus, Trinidad. A first-generation Canadian born in Toronto to Caribbean immigrants of Indian descent, his research examines chutney soca music as a form of re-mixed culture that impacts and is impacted by changing formations and meanings of identity in Trinidad. He is also an aspiring deejay, DJ Maco (,, specializing in Trinidadian popular music. He can be reached at

Chutney rhythm (dholak, dhantal)
Chutney soca rhythm (dholak, dhantal, drum machine)
Ganesh Kirtan Group – Anari Raja Nebula (1979)
Sundar Popo – Phulowrie Bina Chatnee (1979)
Drupatee Ramgoonai – Mr. Bissessar (1988)
Salima Mohammed & The Gemini Band – Mohe Lagee Re (1989, cover of “Mohe Laagi Re Zulmi Umariya” from Suhaag Raat, 1968)
Babla & Kanchan – Station Pe Gadi (1995)
Sonny Mann – Lootala (1996)
Heeralal Rampartap – Basmattie Dance (1997)
Rikki Jai – Galeekay Moray Godinaa (1999)
Rakesh Yankaran – Mousie (2001)
Devanand Gattoo – Bacchanal (2002)
Adesh Samaroo – Rum ‘Til I Die (2003)
Vedesh Sookoo – Daal Belly Indian (2003)
Rooplal Girdharrie – Dulhaniya Chalay (2004)
Neeshan ‘Hitman’ Prabhoo – Mr. Shankar (2005, adapted from “Jai Jai Shiv Shankar” from Aap Ki Kasam, 1974)
Lalchan ‘Hunter’ Babwah – Bring It (2008, adapted from “Chahunga Main Tujhe” from Dosti, 1964)
Kenneth Salick – Radica (2009, adapted from “Ek Masoom Sa Chehra” from Zinda Dil, 2003)
Ravi B – Ah Drinka (2010, adapted from “O Saathi Re Tere Bina” from Muqaddar Ka Sikandar, 1978)
Rikki Jai – Barman (2010, adapted from “Dil Mera Ek Aas Ka Panchhi” from Aas Ka Panchhi, 1961)
KI – Single Forever (2012)
Drupatee Ramgoonai – Mousie Chamkay (2013)
Rajin Dhanraj – Lilawattie (2013)
Sassy Ramoutar – Good Time (2013)
Lalchan ‘Hunter’ Babwah & Rikki Jai – Mor Laawa (2013)
Rooplal Girdharrie – Dulhaniya Chalay (2013 Remix)
Ravi B – Prescription (2013)
Michelle X – Indian Man (2013)
Prophet Benjamin – No Lookani (2013)
Rakesh Yankaran & Ravi B feat. D’ Pungalunks – Double Trouble (2014)
Kavita Maharajh – Bowjaiya (2014)
Ravi B – Bread (2014, adapted from “Chane Ke Khet Mein” from Anjaam, 1994)
KI – Runaway (2014, chorus adapted from “Ladki Hai Ya Shola” from Silsila, 1981)


Compiled by Times-Picayune music writer Alison Fensterstock and Tulane University PhD Candidate Holly Hobbs, this mixtape was inspired by the launch of the NOLA Hiphop and Bounce Archive in December 2014, the first university-affiliated Southern rap archive in the Deep South. The archive includes over 50 audio interviews and photographs from Alison Fensterstock and Aubrey Edwards’s Where They At project, which was featured in exhibition form at the Ogden Museum of Southern Art in 2010, and over 40 videotaped oral histories with New Orleans rap and bounce pioneers conducted by archive director Holly Hobbs. Housed by the Amistad Research Center, the nation’s oldest and largest independent archive focusing on the histories of African Americans and ethnic minorities, the NOLA Hiphop and Bounce archive can be accessed by anyone with an internet connection free of charge, beginning in December 2014.

For more than three decades now, hiphop and bounce music traditions in New Orleans have been central outlets for creativity, celebration, social critique, community gathering, and political and expressive art in the city. From the groundbreaking, internationally recognized Cash Money and No Limit record labels to the strong currents of underground hiphop and street rap that sustain the tradition, New Orleans has been a recognized hiphop locale since the 1990s. Meanwhile, the indigenous New Orleans bounce music tradition, born at block parties, dance clubs, and other community gatherings, had until very recently been little heard outside the city. Since Hurricane Katrina, bounce has become a force of its own, gaining massive popularity and influence internationally via artists like Big Freedia, Katey Red and Nicky da B (1990-2014), though its roots go back well over two decades.

Perhaps more audibly so than rappers anywhere else in America, New Orleans artists have pulled from the musical traditions of the city’s past. Far from rejecting the musical and cultural traditions of earlier generations, early New Orleans rappers in particular often incorporated elements of them––including brass-band street-parade instrumentations/rhythms and Mardi Gras Indian chants and melodies––into the hip-hop collage. Today, rap music is Louisiana’s most lucrative cultural export. But in the most widespread images of “New Orleans music,” the city’s incredibly influential and successful rappers, producers and DJs that helped to build the tradition remain largely invisible. This, coupled with the realities of Hurricane Katrina, in which countless members of the city’s creative communities lost their lives or were displaced, many of whom remain unable to return, inspired a determination in many to help provide resources/further acknowledgment for artists and to document/collect hiphop and bounce oral histories and ephemera. The NOLA Hiphop and Bounce Archive hopes to be one of many initiatives assisting in such efforts.

This mixtape is intended to span the last thirty years of hiphop and bounce in New Orleans, from the early lyricism of artists like Tim Smooth and Devious D through the development of bounce, New Orleans’ unique, singsong party rap, in the early 1990’s. It includes examples of songs like Gergory D and Mannie Fresh’s travelogue “Buck Jump Time,” which makes its way through a litany of New Orleans landmarks over street-parade sousaphone, and the late Nicky Da B’s Diplo-produced “Express Yourself,” which hinted at a new, hybrid and nationally-influenced sound for the once deeply regional style.


Fensterstock, Alison, 10th Ward Buck and Lucky Johnson. 2010. The Definition of Bounce: Between Ups and Downs in New Orleans. Garrett County Press.

Miller, Matt. 2012. Bounce: Rap Music and Local Identity in New Orleans. Amherst: University of Massachusetts Press.

Sakakeeny, Matt. 2013. Roll With It: Brass Bands in the Streets of New Orleans. Duke University Press.


1. I Gotsta Have It, Tim Smooth
2. Street Life, Baby T & Devious D
3. Buck Jump Time, Gregory D & Mannie Fresh
4. Let’s Go Get Em, Ricky B live with the Mac Band (traditional Mardi Gras Indian chant repurposed, with high-school marching band)
5. Wha Dey At, MC T Tucker & DJ Irv (considered the first recorded bounce song)
6. Where They At, DJ Jimi (prod. Mellow Fellow, Devious D)
7. Da Payback, Mia X (an answer song to super-sexualized, male-perspective bounce that lyrically addresses both “Wha Dey At/Where They At and Pimp Daddy’s early-’90s “Got To Be Real,” for Cash Money Records)
8. Let Me Find Out Pt. 1, 5th Ward Weebie
9. Y’all Ain’t Ready Yet, Mystikal (prod. Leroy “Precise” Edwards)
10. I Won’t Be Denied, Fiend (prod. Ice Mike)
11. Blue and Green, Nesby Phips
12. Express Yourself, Nicky da B (prod. Diplo)

Alison Fensterstock is a staff writer at the New Orleans Times-Picayune and has
written about Louisiana music for Oxford American, MOJO, Spin, and many others. Her multimedia exhibit and oral history collection on New Orleans hip-hop and bounce, Where They At, was featured at the Smithsonian-affiliated Ogden Museum of Southern Art in 2010 as well as venues in Austin, New York, Minneapolis and Berlin. Fensterstock also served as the program director for the Ponderosa Stomp Foundation, a roots music festival and educational organization in New Orleans.
Affiliation: New Orleans Times-Picayune

Holly Hobbs is a PhD candidate in ethnomusicology at Tulane and the founder/director of the NOLA Hip-hop Archive, a digital archive of hip-hop oral histories housed at New Orleans’ Amistad Research Center. Hobbs has researched and written on grassroots music traditions in the American South, the west of Ireland, and East Africa. She currently writes for KnowLA: the online encyclopedia of Louisiana Music and Culture, Music Rising, UNESCO’s Collection of Traditional Music via Smithsonian Folkways, and the urban music and culture website, The Smoking Section[A1] .
Affiliation: Tulane University /


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