2017 IASPM-US Conference

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IASPM-US 2017
Gimme Shelter: Popular Music and Protection
February 23–26
Case Western Reserve University, Cleveland, Ohio

“Gimme Shelter” by the Rolling Stones demands that we address musical protections, from the aesthetics of shelter to the realities of social upheavals and the equity of intellectual property rights. The song begins as light rain on an overcast day, but it quickly turns into an all-encompassing textural storm, echoed by the opening lyrics, “A storm is threatening my very life today. If I don’t get some shelter, I’m going to fade away.” As the acoustic atmosphere becomes more tumultuous, Merry Clayton joins Mick Jagger, and their entwined vocals pierce the surge and ultimately suggest that “love is just a kiss away.” Written in 1969 during social and political unrest, the song is a lament and an appeal. As such, it offers temporary shelter from everyday violence that renders certain people and struggles invisible. It also offers shelter for the memories of traumatic events, which is perhaps why it has been used in film soundtracks, in American Red Cross commercials, homeless relief projects, and in 2012 news features about Hurricane Sandy in 2012. “Gimme Shelter” has also had its share of controversy in terms of artistic protections, racial appropriation, and even questions concerning labor, safety, and natal health: Clayton miscarried immediately following the recording session. And, this is just one song, albeit a poignant and powerful example, from a rich archive of popular music practices, performances, recordings, spaces, cases, contestations, and controversies that speak to the necessary and unnecessary protections afforded by circulated sounds.

Music can provide musicians and listeners alike a sense of safety, respite, and escape from the storms of everyday living, whether in the studio, in one’s bedroom, or in the concert hall. And popular music in the U.S. has historically thrived in spaces providing temporary shelter for marginalized groups, from the block party to the nightclub. For the disempowered, collective music making, listening, and dancing have long served not just as a social bond, but also as a protective bubble from too-real possibilities of outside violence. Yet music’s power to protect might also seem limited and illusory in light of recent massacres in Orlando’s Pulse nightclub and Paris’ Bataclan concert hall. Many have since reasserted music’s power to protect collectives in light of these tragic, destructive acts; many more have sought private solace in mourning with music.

Popular music has also been instrumental in addressing and responding to racist, domestic, and sexual violence, today and yesterday. The rampant police brutality against persons of color in the United States has most recently inspired tributes from artists like Kendrick Lamar, Beyoncé, D’Angelo, and Eric Garner’s siblings, the latter of whom penned the chilling memorial to their deceased brother, “I Can’t Breathe.” Songs by artists from The Crystals to The Dixie Chicks, Rihanna, and Carrie Underwood have addressed domestic violence with varying degrees of detachment and defiance. Sexual violence, too, has been tackled by artists like Tori Amos and Lady Gaga, while questions of music’s incitement to sexual violence have been drawn in the debate over Robin Thicke and Pharrell’s “Blurred Lines.” Sometimes popular music, as with much popular entertainment, flirts with and potentially glorifies these forms of harm and violence as well.

With natural-turned-social disasters (we recall Katrina and Sandy), terrorism and militarism, colonialism and neoliberal economic policies, and many feeling they are without protective measure or recourse, we stress there is a timely need to exam the ways in which popular music and protection are related to and shape our sensible, political, ethical, and social worlds. We ask: What storms do we face, and how does music provide shelter? How does popular music serve as call to action, or a gathering of forces, or a mourning of struggle? Where does popular music serve as a shelter, and where does it instead create the need for protection?

Our theme of popular music and protection draws heavily on the rich and topical conversations in academia surrounding the production of safe spaces and the need for them. We also encourage robust critiques of various shelters, such as intellectual property and other legal protections, archival practices and institutionalized protections (such as the Rock ’n’ Roll Hall of Fame), and collective claims to shelter. We seek to better understand how music has appealed for protective measures against precarious lives and vulnerable communities. And, we ask how these calls have been responded to in various forms, specifically, social, political, and institutional, including the music industry.

The 2017 IASPM-US Annual Conference will take place from February 23–26, 2017 at Case Western Reserve University in Cleveland, Ohio. Papers focusing on Cleveland are especially welcome.

Papers may address one of the following, often interrelated, subthemes, other issues regarding popular music and protection, or any other topic in the study of popular music.

1. Social, Political, and Legal Protections

In what ways can popular music be understood as a shelter for mourning, as well as for solidarity and community? How does popular music address, work through, or resist state/municipal protections, police/police service, and widespread police brutality? How has popular music become instrumental in social justice movements such as Black Lives Matter? With these issues in mind, what is the relationship between popular music and weapons, as weapons? How do practices in the music industry afford certain protections and not others? How do DIY (do-it-yourself) or underground practices subvert these or replicate them? How does the use of certain genres of music in the legal system reproduce notions of criminality and normativity?

2. Popular Music and the Production of (Un)Safety

What role does popular music play in the conception, creation, and protection of safe spaces? How does music unify, stratify, and mobilize groups in (un)safe spaces? How does music itself create spaces that feel safe or unsafe? How does popular music express and reflect upon vulnerability, harm, and/or safety? How does popular music enact vulnerability, harm, and/or safety? How can we think through popular music’s (in)formal (in)stabilities from theoretical and analytical perspectives?

3. Archives, Preservation, and Education

How do archival and educational practices, curricular decisions, and institutional programming reify or subvert contemporary hegemonic values, beliefs, and resource allocation? How are scholars applying their work to shape these acquisition and dissemination practices inside and outside of conventional learning and collections venues?

4. Trauma, Memory, and Mourning

How has popular music, in theory/performance/practice, been used to protect individual and collective memories? How does popular music memorialize the past, whether traumatic or comforting? How does music contribute to psychological safety? What are popular music’s therapeutic uses?


We welcome proposals on these and other themes. Please submit proposals via a single Word document [labeled with last name_first name.docx] to iaspmus2017@gmail.com by October 25, 2016. Individual presenters should submit a paper title, 250-word abstract, and author information including full name, institutional affiliation, email address, and a 50-word bio. Panel proposals, specifying either 90 minutes (three presenters) or 120 (four), should include both 125-word overview and 250-word individual proposals (plus author information), or 250-word overview and 50-word bios (plus names, affiliations, and email addresses) for roundtable discussions. Please indicate any audio, visual, or other needs for the presentation; each room will have sound, projector, and an RGB hookup. We also welcome unorthodox proposals that do not meet the above criteria, including ideas for workshops, film screenings, and other non-traditional formats. For more information about the conference, send email inquiries to Jessica Schwartz, program committee chair, at schwartz@humnet.ucla.edu. You will receive an email confirming receipt of your submission.


2016 Program Committee:

Co-Chairs:
Jessica Schwartz, University of California, Los Angeles
Victor Szabo, University of Virginia
Committee:
Amber Clifford-Napoleone, University of Central Missouri
Kellie Hay, Oakland University
Mandy Smith, Rock and Roll Hall of Fame/Case Western Reserve University
The Center for Popular Music Studies and the Department of Music at Case Western Reserve University (CWRU) welcomes IASPM-US to Cleveland for the 2017 Annual meeting. The area surrounding CWRU, known as University Circle, boasts more cultural institutions in a single setting than you'll find in any comparably-sized city, including the Cleveland Museum of Art,  the Cleveland Orchestra at Severance Hall, the Museum of Contemporary Art, the Western Reserve Historical Society, the Cleveland Cinematheque,  and the Cleveland Botanical Gardens,  to name just a few. And of course the Rock & Roll Hall of Fame and Museum and the Rock Hall's Library and Archives are just a few miles from the CWRU campus and are easily accessible.

The conference will begin with an opening reception and event at the Rock Hall, with the conference panels and events to take place on the CWRU campus on Friday and Saturday. 

The conference: All events on Friday and Saturday will take place in CWRU's brand new Tinkham Veale Student Center (the Tink), just a few minutes from the conference hotel. Besides having several restaurants in the student center, there are a wide variety of cafes, coffee shops, and restaurants in close proximity to the Tink. We'll provide an online list of restaurants as we get closer to the event. 

Hotel: We have a special rate ($149/night) for the conference at the University Circle Courtyard Marriott. The reservation link with the special IASPM rate is here. Rooms must be booked by February 9 to guarantee this rate. A list of other local hotels is here; the Glidden House is also right on the CWRU campus; the Tudor Arms (a Hilton/Doubletree property) is a 10 minute walk from the student center, and the Intercontinental Cleveland and Intercontinental Suites are both a 15-minute walk to campus from their location at the Cleveland Clinic.

Transportation: Cleveland Hopkins International Airport is a quick 20- 30 minute taxi ride to the University area. There is also the Cleveland Rapid transit system,  which runs a very inexpensive light rail that originates at the airport. Just take the train (the Red Line) to the Little Italy exit; from there you've got a five minute walk to the conference hotel and/or the CWRU campus.

For those driving to the event each day, there is a fair amount of street parking near the student center with four-hour meters. The easiest bet, however, is to park in the main parking lot for the Tink, which is the lot under Severance Hall right next door. It's Lot P-29, the Campus Center Garage. A Campus Map is attached here; the Courtyard, train station, Tudor Arms Hotel, Glidden House, and Tink (with its parking) are all highlighted.

Greyhound Bus service can be used to access any of the areas surrounding Cleveland. Located on Chester Avenue and East 13th Street, this station is a $14 cab ride away from campus. Visit the Greyhound website to purchase tickets, or call 216.781.1400 for the local Greyhound station.

Amtrak also services Cleveland through Chicago and surrounding eastern seaboard areas. Located at Lakefront Station at 200 Memorial Highway. Call 216.861.0105, or visit the Amtrak website for more information.

Opening event and Reception: For the IASPM kick-off event, we will host a reception with a cash bar at the Rock & Roll Hall of Fame and Museum. Buses will be provided to transport IASPM members from the conference hotel to the Rock Hall before and after the reception. 

Following the reception, the Rock Hall will screen the recent documentary Take Me to the River, a multiple award-winning, full-length documentary produced and directed by Martin Shore. Presented at more than 25 film festivals around the world, the film reveals the story of multiple generations of Memphis and Mississippi Delta musicians from numerous genres coming together to record an historic new album.  An exclusive window into the STAX recording process, this documentary contributes a distinct take on how music has contributed to the American music tradition as well as its influence on genres around the world. Following the film, the Rock Hall's Director of Public Programs, John Goehrke, will interview some of the artists in the film. The list of attendees to be interviewed will include some of the following artists: Rock and Roll Hall of Fame Inductee Jerry Harrison from the Talking Heads, Grammy Award Winner Boo Mitchell (“Uptown Funk” producer), Grammy Nominee Bobby Rush, Academy Award Winner Frayser Boy, and Grammy Nominee Martin Shore. Buses will be provided for those IASPM members who stay for the film and Q&A. 

The reception and film event are free to IASPM members (there will be a cash bar at the reception). When you register, please indicate whether you'd like to attend ONLY the reception, the reception AND the film event, or neither. 

You can also sign up on the conference registration page to get a voucher so you can buy a discount ticket ($17.75) to see the Rock Hall exhibits (the exhibits will not be accessible from the reception or the film event). 

RRHOF Library and Archives: If you're interested in visiting or doing research at the Rock Hall's Library & Archives while you're in town, you must call the main number at 216-515-1956, or email them at library@rockhall.org. Reservations are required and space is limited. The Library & Archives is not open on Saturdays. 

For anyone who would like to take a tour of the Library & Archives, we will provide van service to and from the Library & Archives during the lunch break on Friday (12:00-1:30). Please email Daniel Goldmark at dig5@case.edu to indicate your interest in taking the tour. The first fifteen people to respond will be included in the tour group.

Book Exhibits and Advertisers

Please plan to spend some time browsing the exhibit space in the registration area.  Coffee and light refreshments will be served in the morning and at noon.  The exhibit features

  • Academic Rights Press
  • Routledge 
  • Wesleyan University Press
  • Intellect Books

And don’t forget to check out our program advertisers:

  • Bloomsbury Academic
  • Intellect Books
  • University of Chicago Press
  • University of Michigan Press
Registration: Registration for the conference is now live and can be found here.

You can also copy and paste this web address:
https://www.regonline.com/registration/Checkin.aspx?EventID=1900591

Please make sure you've registered for the conference before you arrive to help speed check-in. Conference check in will take place at the following locations:
  • Thursday afternoon- in the lobby of the Rock and Roll Hall of Fame + Museum
  • Friday- in the lobby in front of the Smith Ballrooms on the 2nd floor of the TInkham Veale Student Center
  • Saturday- in the lobby in front of the Smith Ballrooms on the 2nd floor of the TInkham Veale Student Center
Membership and Conference Registration: Before registering for the 2017 IASPM-US conference in Cleveland, each attendee must first become a member of IASPM-US, or renew an existing membership (membership in an IASPM branch is required for conference attendees, whether or not they are presenting). To initiate or renew membership in IASPM-US, please visit Wiley-Blackwell. Membership in IASPM-US brings with it many benefits, from full website access to a free subscription to our in-house publication (the Journal of Popular Music Studies) to participation in a network of like-minded colleagues. Membership in IASPM-US also allows you to make presentations at our conferences. Moreover, as a member of IASPM-US you become a member of the International Association for the Study of Popular Music and will receive the International’s newsletter, Review of Popular Music. All rates include membership in the US and International chapters of IASPM and a subscription to JPMS.

IASPM-US 2017 Conference Program & Schedule

Thursday, February 23

Rock & Roll Hall of Fame & Museum  During the day on Thursday, IASPM-US participants are welcome to sit in on an educational program for middle school and high school students, by the Rock & Roll Hall of Fame. The educational program will bring to life the connection between civil rights and music, and demonstrate how to incorporate popular music into the K-12 classroom. Email Mandy Smith (msmith_at_rockhall.org) for details. If you're interested in visiting or doing research at the Rock Hall's Library & Archives while you're in town, you must call the main number at 216-515-1956, or email them at library@rockhall.org. Reservations are required and space is limited. The Library & Archives is not open on Saturdays. For anyone who would like to take a tour of the Library & Archives, we will provide van service to and from the Library & Archives during the lunch break on Friday (12:00-1:30). Please email Daniel Goldmark at dig5@case.edu to indicate your interest in taking the tour. The first fifteen people to respond will be included in the tour group.  

2:30-4:00 – EXECUTIVE MEETING

Rock & Roll Hall of Fame & Museum: Meet to the Beat (3rd Floor)

4:00-6:30 – REGISTRATION

Rock & Roll Hall of Fame & Museum Lobby  

4:30-6:30 – WELCOME RECEPTION

Complimentary food & non-alcoholic beverages; cash bar (wine & beer) Rock & Roll Hall of Fame & Museum Café (3rd Floor)  

7:00-9:00 – OPENING PLENARY

Rock & Roll Hall of Fame & Museum Foster Theater (4th Floor) For the IASPM-US 2017 kick-off event, the Rock and Roll Hall of Fame proposes a two-part evening event. First, we will screen the recent documentary Take Me to the RiverTake Me to the River is an award-winning feature-length documentary produced and directed by Martin Shore. The film brings multiple generations of award-winning Memphis and Mississippi Delta musicians together, and celebrates the intergenerational and interracial musical influence of Memphis in the face of pervasive discrimination and segregation. Following the screening, there will be a panel discussion with special guests. Guests (subject to change) include director/producer Martin Shore, Hall of Fame Inductee Jerry Harrison of the Talking Heads, Grammy-award winning producer Boo Mitchell (“Uptown Funk”), Academy-award winning rapper Frayser Boy (“It’s Hard out there for a Pimp”), and Critics Choice winning rapper Al Kapone.

Friday, February 24

Case Western Reserve University, Tinkham Veale Student Center

8:00-8:30 – REGISTRATION & COFFEE

2nd floor of the Tinkham Veal Student Center, Lobby (in front of the Smith Ballrooms)

8:30-10:00 – PAPER SESSION 1

 

ARCHIVES (Ballroom A)

8:30-9:00 Toby Seay, “Sheltered or Cloistered? Popular Music Resources Hidden from View”
9:00-9:30 Lucas Bonetti, “Issues and Perspectives on Archives and Preservation: The Case of Moacir Santos’s Film Music”
9:30-10:00 William O’Hara “What Was ‘Modern Rock?’: Radio Formats, Fan Archives, and New Media Archaeology, 1983–2004”
Moderator: Heather Buchanan

QUEER SPACES AND SAFETY (Ballroom B)

8:30-9:00 Heather McLachlan, “Gay and Lesbian Community Choirs as Safe Spaces”
9:00-9:30 Matthew Jones,Something Inside So Strong: The Flirtations and the Musical Politics of Queer Safety”
9:30-10:00 Michael Paramo, “‘God Makes No Mistakes’: Analyzing the LGBT Empowerment Anthem and Lady Gaga’s ‘Born This Way’”
Moderator: Amber Clifford

USES OF PASTICHE (Ballroom C)

8:30-9:00 Sara Gulgas, “Janis Ian’s ‘Society’s Child’ and the Sonic Antiquation of Interracial Discrimination”
9:00-9:30 Matthew Ferrandino, “What To Listen For In Zappa: Allusion As Cultural Commentary In Frank Zappa's Music”
9:30-10:00 Nicholas Stevens, “Divinest Feeling: Popular Song as Shelter in Thomas Adès’s Powder Her Face
Moderator: Christopher Reali

10:15-11:45 – PAPER SESSION 2

NEGOTIATING THE MAINSTREAM (Ballroom A)

10:15-10:45 Amy Coddington, “Protectors of Pop: How Top 40 Radio Reacted to Hip Hop in the Early 1990s”
10:45-11:15 Anthony Kwame Harrison, “Industry Rule Number Four-Thousand and Seventy-Nine: Classic Hip Hop’s Musical and Career Mentorship”
11:15-11:45 Andrew Mall, “Abandoning Shelters: Christian Popular Music and Crossover Strategies”
Moderator: Victor Szabo

CLEVELAND (Ballroom B)

10:15-10:45 Daniel Goldmark, “Rust Belt Alley: Cleveland as Popular Song Nexus”
10:45-11:15 Peter Graff, “Seven-Eleven at The Globe: Articulating Black Identity in 1920s Cleveland”
11:15-11:45 David Pearson, “Bone’s Cleveland Variation on the Thug Theme in 1990s Rap”
Moderator: Kathryn Metz
 

DANGER AND BOREDOM (Ballroom C)

10:15-10:45 Michael Austin, “The Music of Airline Safety Videos”
10:45-11:15 S. Alexander Reed, “‘Let’s Make Love Before You Die’: Danger and Boredom in ‘Warm Leatherette’”
11:15-11:45 Caitlyn Trevor, “Finishing the Picture: The Subtler Moments of Bernard Herrmann’s Score for Psycho
Moderator: Tiffany Naiman

11:45-1:30 – LUNCH*

* There will be a tour of the Rock Hall Library & Archives during lunch Friday for up to 15 people (first come, first served). For more information, email Daniel Goldmark at dig5@case.edu.

1:30-2:45 – PLENARY SESSION

Ballroom A Woody Guthrie Distinguished Lecture: Eric Weisbard, “The Literature of American Popular Music: A First Draft Introduction”  

3:00-4:30 – PAPER SESSION 3

 

SAFETY IN NUMBERS: GROUP SINGING AND SOLIDARITY (Ballroom A)

3:00-3:30 Jessica Loranger, “Safety in Numbers: Group Singing and Collective Remembering in Gulf War Songs”
3:30-4:00 Jarryn Ha, “Singing Freedom over Fallen Comrades: South Korean Protest Songs as Musical Communion”
4:00-4:30 Gabrielle Cornish “Singing the Motherland: Trauma, Parody, and Popular Song in Soviet Labor Camps”
Moderator: Esther Morgan-Ellis

FEMINISMS (Ballroom B)

3:00-3:30 Marissa Glynias Moore, “The Conflicting Feminisms of Modern Female Singer-Songwriters”
3:30-4:00 Robin James, “Counting It Out Differently: Lemonade’s Demonic Calculus”
4:00-4:30 Hilarie Ashton, “Lending Voices: Cher, Lesley Gore, and the Ronettes”
Moderator: Kariann Goldschmitt

ANALYZING FORMS & NORMS (Ballroom C)

3:00-3:30 Trevor deClercq, “‘Is She Weird’: Subverting Cultural and (Hyper)Metric Norms in the Music of the Pixies
3:30-4:00 David Carter, “‘Quite Vaudeville in a Way’: The Rolling Stones’ Selective Appropriation of a Declining Form”
4:00-4:30 Hubert Léveillé Gauvin, “Drawing Listener Attention in Popular Music: Testing Five Musical Features Arising from the Theory of Attention Economy”
Moderator: Anthony Kwame-Harrison

4:30-5 – Town Hall Meeting

Ballroom A Discussion open to all conference attendees on subjects pertinent to IASPM-US and the study of popular music. Moderators from the Program Committee

5:15-6:45 – PLENARY SESSION

Ballroom A Keynote Address: Nadine Hubbs, “Country Music in Dangerous Times”

Saturday, February 25

8:00-8:30 – REGISTRATION & COFFEE

2nd floor of the Tinkham Veal Student Center, Lobby (in front of the Smith Ballrooms)  

8:30-10:00 – PAPER SESSION 4

 

SOUNDING CHILDHOOD & ADOLESCENCE (Ballroom A)

8:30-9:00 Kate Rogers, “‘He’s Hooked, He’s Hooked, His Brain is Cooked’: Negotiations of Video Game Madness in Novelty Songs of the Early 1980s”
9:00-9:30 Theo Cateforis, “‘Wonderfilled’: Nostalgia and Indie Music in Advertising”
9:30-10:00 Joshua Groffman, “‘I Know What You Feel Like’: Harming Ourselves and Others in the Emo Genre”
Moderator: Jarek Ervin

UN/SAFE SEX (Ballroom B)

8:30-9:00 Erin Sweeney Smith, “‘I’ll Let You Whip Me If I Misbehave’: Race, Gender, and Safety in the Unsafe in BDSM Songs and Music Videos”
9:00-9:30 Tiffany Naiman, “Selling Sex From Over the Hill: Madonna and the Vulnerability of Female Aging in Popular Music”
9:30-10:00 Nathan Fleshner “‘Looking for a Savior Beneath These Dirty Sheets’: Religion, Sex, and Shelter in Tori Amos’s ‘Icicle’”
Moderator: Michael Austin

YOU ARE NOT ALONE: LISTENER COMMUNITIES & NETWORKS (Ballroom C)

8:30-9:00 Elijah Wald, “Rapping Chicano/Repping Mexican: Language Choices from La Raza to El Nuevo Sonido”
9:00-9:30 Kim Kattari, “Finding Sanctuary in Subculture: The Importance of Socio-Emotional and Economic Capital in Psychobilly”
9:30-10:00 Eric Harvey, “You are Not Alone: The Implications of Networked Listening”
Moderator: Heather MacLachlan

10:15-11:45 – PAPER SESSION 5

“TOLERANCE” & BOUNDARIES (Ballroom A)

(10:15-10:45 paper presentation cancelled)
10:45-11:15 Charles McGovern, “‘WHERE CAN I GO?’: Trauma and ‘Tolerance’ After World War II in American Pop Music”
11:15-11:45 Aaron Manela, “The Best Jazz Show on the Air Anywhere”: Mister Rogers’ Neighborhood
Moderator: Brian Wright

TECHNOLOGIES IN PRODUCTION & PERFORMANCE (Ballroom B)

10:15-10:45 Jane Mathieu, "A Strenuous Life: The Hidden Labor of Singing on Record During the Acoustic Era"
10:45-11:15 Farley Miller, “The Art of Playing Loud: Making Meaning out of Volume, Distortion, and Feedback in Late-1960s Rock”
(11:15-11:45 paper presentation cancelled)
Moderator: Tim J. Anderson

REPRESENTING SOUTH(ERN) AMERICA (Ballroom C)

10:15-10:45 Aaron McPeck, "American Folk Metal: Homegrown Sounds in Panopticon’s Kentucky"
10:45-11:15 Christopher Reali, “Hunting for R&B in the ‘Swamp Bottoms’ with Jerry Wexler”
11:15-11:45 Kariann Goldschmitt, “Brazilian Afro-Beat and the Optimism of Pan-African Music in a Time of Crisis”
Moderator: Amy Coddington

11:45-1:15 – LUNCH

  

1:15-3:15 ROUNDTABLES & PANELS

Current Concerns Roundtable

Making Sense of 2016: Perspectives on Popular Music and the Presidential Campaigns (Ballroom A)

Participants: James Deaville (Carleton University), Dana Gorzelany-Mostak (Georgia College), Travis Gosa (Cornell University), Justin Patch (Vassar College)

The Spirit of ’77: Punk at 40 (Ballroom B)

Participants: Steve Waksman (Smith College); Jessica A. Schwartz (UCLA); David Ensminger (Lee College); Jarek Paul Ervin (University of Virginia)  

3:30-5:00 – PAPER SESSION 6

 

YOUNG VOICES (Ballroom A)

3:30-4:00 Esther M. Morgan-Ellis, “Community Singing in the Children’s Matinee, 1924-1932”
4:00-4:30 Paula Propst, “‘Summer is the Best. Because You Don’t Have to Take a Test’: Ageism, Autonomy, and Generational Performance Practices at Rock and Roll Camps for Girls and Queer Youth”
4:30-5:00 Diane Pecknold, “From Beatlemania to Bieber: Girls, the Unsung Scream, and the Politics of Affect”
Moderator: Jessica Schwartz

MUSIC, NOISE, AND THE POLICING OF URBAN SPACE (Ballroom B)

3:30-4:00 Zack Stiegler,Noise Ordinances and the Politics of Acoustic Space”
4:00-4:30 Melissa A. Weber, “‘D.C. Don’t Stand for Dodge City:’ Go-Go Music and the Police in Washington D.C.”
4:30-5:00 Lauren Flood, “Blueprint for the Underground: Rock Music, Technical Artisanship, and New York Urban Space”
Moderator: Mandy Smith

MOURNING AND MEMORIALIZATION (Ballroom C)

3:30-4:00 Suzanne Wint, “Always Cry 4 Love. Never Cry 4 Pain.”: Public Mourning in Minnesota after Prince’s Death”
4:00-4:30 Kathryn B. Cox “Trauma, Performance, and Memorialization: Roger Waters Presents Pink Floyd’s The Wall (2010-2013) as a Site of Remembrance”
4:30-5:00 Noriko Manabe, “Songs of Forgetting and Remembering: The Atomic Bomb in Japanese Popular Music in the Postwar Period”
Moderator: Eric Hung

 

5:15-6:45 – IASPM-US Branch Annual Business Meeting

Ballroom A