Friday, July 15, 2011
Frankie Beverly and Maze in Brooklyn
Sunday, June 26, 2011
Queer rappers
The article discusses the following artists: Scream Club, QBoy, Miss Money, and Johnny Dangerous.
For the moment, this is just a resource.
Saturday, June 25, 2011
Flash Mobs
...were invented by a senior editor of Harper's Magazine. Read about it here. Juicy excerpts follow.As first defined by Festinger, Pepitone, and Newcomb (1952), deindividuation is “a state of affairs in a group where members do not pay attention to other individuals qua individuals”...
Consider the generational cohort that has come to be called the hipsters–i.e., those hundreds of thousands of educated young urbanites with strikingly similar tastes. Have so many self-alleged aesthetes ever been more (in the formulation of Festinger et al.) “submerged in the group”? The hipsters make no pretense to divisions on principle, to forming intellectual or artistic camps; at any given moment, it is the same books, records, films that are judged au courant by all, leading to the curious spectacle of an “alternative” culture more unanimous than the mainstream it ostensibly opposes. What critical impulse does exist among their number merely causes a favorite to be more readily abandoned, as abandoned...it inevitably will be...
Over those who would sell to the hipsters, then, hangs the promise of instant adoption but also the specter of wholesale and irrevocable desertion...With a rising generation so mercurial, one wonders whether even the notion of “branding,” i.e., the building of long-term reputations, which has remained the watchword among our corporations for more than a decade, will itself come to lose its luster...the corporation will be content merely to hitch itself to a succession of their whims.
...Not only was the flash mob a vacuous fad; it was, in its very form (pointless aggregation and then dispersal), intended as a metaphor for the hollow hipster culture that spawned it.
I know this because I happen to have been the flash mob’s inventor...
What the project harnessed was the joining urge, a drive toward deindividuation easily discernible in the New York hipster population.
The basic hypothesis behind the Mob Project was as follows: seeing how all culture in New York was demonstrably commingled with scenesterism, the appeal of concerts and plays and readings and gallery shows deriving less from the work itself than from the social opportunities the work might engender, it should theoretically be possible to create an art project consisting of pure scene...
The mob was all about the herd instinct, I reasoned, about the desire not to be left out of the latest fad...
What the Times did, in fascinating fashion, was not just to run the backlash story (which I had been expecting in three to five more weeks) but to do so preemptively–i.e., before the backlash actually had materialized...
Nothing is more defining of hipsterism than semi-ironic coronation of its own celebrities...
I was pointing out that hipsters, our supposed cultural avant-garde, are in fact a transcontinental society of cultural receptors, straining to perceive which shifts to follow. I must hasten to add that this is not entirely their fault: the Internet can propagate any flashy notion, whether it be a style of eyewear or a presidential candidacy, with such instantaneity that a convergence on the “hip” tends now to happen unself-consciously, as a simple matter of course.
But hipsters, after becoming aware of this very dynamic, have responded in a curious and counterintuitive way. Even as they might decry this drive toward unanimity, they continually embrace it and re-embrace it in an enthusiastic, almost ecstatic fashion. No phenomenon of recent years illustrated this point as clearly as the aforementioned Strokes, who for most of 2002 held the top-band spot in hipsterdom. This was a band that, albeit enjoyable and skilled, had been clearly manufactured precisely for hipster delectation. Moreover, the hipsters were well aware of this fact, and they complained about it incessantly even as they cued up the record at parties and danced with special abandon...The Strokes made a natural object of this unanimity because their sound–derivative candy, 1970s punk simplicity dressed up with some 1990s indie-rock aloofness–was an easy common denominator...They were, moreover, easily discarded...
The most significant literary movement the hipsters have produced is McSweeney’s, which itself had essentially the characteristics of a pop-music fad...
Like the Strokes, McSweeney’s promised a cultural watershed for hipsters while making no demands on them...In its pages literature appeared as a sort of pot-luck barbecue where the young litterateur, merely by whipping up some absurdist trifle or other, could throw the Frisbee with established authors who were publishing their castoffs there...
Inevitably, even as McSweeney’s has matured and gained more seriousness of purpose, it has receded in hipster esteem, just as did trucker hats, Hush Puppies, the mullet. Like starlings on a trash-strewn field the hipsters alight together, peck intently for a time, and at some indiscernible signal take wing again at once. If they are the American avant-garde it is true, I think, in only this aspect–the unending churn of their tastes, this adult faddishness in the adolescent style...
In the media coverage of flash mobs, the most curious undercurrent was the notion, almost a wish, that they would someday become something serious....
The idea seemed to be that flash mobs could be made to convey a message, but for a number of reasons this dream was destined to run aground. First, as outlined above, flash mobs were gatherings of insiders, and as such could hardly communicate to those who did not already belong...Second, flash mobs were by definition transitory, ten minutes or less, and thereby not exactly suited to standing their ground and testifying. Third, in terms of physical space, flash mobs relied on constraints to create an illusion of superior strength...
just like flash mobs, the Dean campaign was also pure scene...
Saturday, June 18, 2011
'Cash Rules Everything Around Wu'
Great piece on the Wu-Tang Clan from Jeff Weiss and Tal Rosenberg. The music [on Wu-Tang Forever] was even more dense and abstract than Enter the Wu-Tang. In his review for SPIN, Sasha Frere-Jones wrote that “Wu-Tang Clan are basically selling avant-garde music as pop to the world. “The first single off the album, a $1 million video directed by Brett Ratner, had no discernible chorus, and featured some of the most complex, intricate rhyming by the Clan members. It is also nearly six minutes long, the “Like a Rolling Stone” of the hip-hop era.
Thursday, May 12, 2011
8 Openly Queer Rappers
And for more queer rappers, check out this earlier post on Yo Majesty.
Friday, April 15, 2011
Thursday, January 20, 2011
More on Ari Up & The Slits: NPR's Post-Punk Female Mix

Saturday, December 11, 2010
RIP (Belated): Ari Up
Who will ever forget the cover of The Slits first album, Cut?

The music is even more memorable.
Here are a couple of Slits songs that I particularly like:
And (later Slits): "In the Beginning There Was Rhythm".
Tuesday, November 02, 2010
Tuesday, October 19, 2010
Queen Live: "Mustapha"
Ibrahim, Ibrahim, Ibrahim,
Allah, Allah, Allah, Allah will pray for you.
Hey!
Mustapha, Mustapha, Mustapha Ibrahim.
Mustapha, Mustapha, Mustapha Ibrahim.
Mustapha Ibrahim, Mustapha Ibrahim
Allah, Allah, Allah will pray for you.
Mustapha Ibrahim, al havra kris vanin
Allah, Allah, Allah will pray for you.
Mustapha, hey! Mustapha
Mustapha Ibrahim, Mustapha Ibrahim, hey!
Allah-i, Allah-i, Allah-i,
Ibra-Ibra-Ibrahim, yeah!
Ibrahim, Ibrahim, Ibrahim,
Allah Allah Allah-i hey!
Mustapha Mustapha - Allah-i na stolei
Mustapha Mustapha - Achtar es na sholei
Mustapha Mustapha - Mochamut dei ya low eshelei
Mustapha Mustapha - ai ai ai ai ahelei
Mustapha,
Mustapha,
Ist avil ahiln avil ahiln adhim Mustapha,
Salaam Aleikum!
Mustapha Ibrahim, Mustapha Ibrahim
Allah, Allah, Allah will pray for you.
Mustapha Ibrahim, achbar ish navin
Allah, Allah, Allah will pray for you.
Mustapha, Mustapha
Mustapha Ibrahim, Mustapha Ibrahim, hey!
Allah-i, Allah-i, Allah-i,
Ibra-Ibra-Ibrahim, yeah!
Ibrahim, Ibrahim, Ibrahim,
Allah Allah Allah-i hey!
Mustapha Mustapha
Mustapha Mustapha
Mustapha Mustapha
Mustapha Mustapha
Mustapha,
Mustapha,
Vontap ist ahiln avil ahiln adhim Mustapha,
Aleikum Salaam hey!
Tuesday, October 12, 2010
Salt 'n' Pepa, "Shoop"
Hey, yeah - I wanna shoop, baby
[Oooo, how you doin', baby?
No, not you
You, the bow-legged one, (ha-ha) yeah
What's your name?
Damn, that sounds sexy]
Here I go, here I go, here I go again (again?)
Girls, what's my weakness? (Men!)
Ok then, chillin', chillin', mindin' my business (word)
Yo, Salt, I looked around, and I couldn't believe this
I swear, I stared, my niece my witness
The brother had it goin' on with somethin' kinda...uh
Wicked, wicked (oooo) - had to kick it
I'm not shy so I asked for the digits
A ho? No, that don't make me
See what I want slip slide to it swifty
Felt it in my hips so I dipped back to my bag of tricks
Then I flipped for a tip, make me wanna do tricks for him
Lick him like a lollipop should be licked
Came to my senses and I chilled for a bit
Don't know how you do the voodoo that you do
So well it's a spell, hell, makes me wanna shoop shoop shoop
Shoop shoop ba-doop
Shoop ba-doop
Shoop ba-doop ba-doop ba-doop
Shoop ba-doop
Shoop ba-doop
Shoop ba-doop ba-doop ba-doop
Ummm, you're packed and you're stacked 'specially in the back
Brother, wanna thank your mother for a butt like that (thanks, Mom)
Can I get some fries with that shake-shake boobie?
If looks could kill you would be an uzi
You're a shotgun - bang! What's up with that thang?
I wanna know how does it hang?
Straight up, wait up, hold up, Mr. Lover
Like Prince said you're a sexy mutha-
Well-a, I like 'em real wild, b-boy style by the mile
Smooth black skin with a smile
Bright as the sun, I wanna have some fun
Come (come) and (hmmm) give me some of that yum-yum
Chocolate chip, honey dip, can I get a scoop? (please)
Baby, take a ride in my coupe, you make me wanna...
Shoop shoop ba-doop (Baby, hey)
Shoop ba-doop
Shoop ba-doop ba-doop ba-doop
Shoop shoop ba-doop (Don't you know I wanna shoop, baby)
Shoop ba-doop
Shoop ba-doop ba-doop ba-doop
Well let me bring you back to the subject, Pep's on the set
Make you get hot, make you work up a sweat
When you skip-to-my-lou, my darling
Not falling in love but I'm falling for your [super sperm]
When I get ya betcha bottom dollar you were best under pressure
[Yo, Sandy, I wanna like, taste you]
Getcha getcha lips wet cuz it's time to have Pep
On your mark, get set, go, let me go, let me shoop
To the next man in the three-piece suit
I spend all my dough, ray me, cutie
Shoop shoop a-doobie like Scoobie Doobie Doo
I love you in your big jeans, you give me nice dreams
You make me wanna scream, "Oooo, oooo, oooo!"
I like what ya do when you do what ya do
You make me wanna shoop
Shoop shoop ba-doop
Shoop ba-doop
Shoop ba-doop ba-doop ba-doop
Shoop shoop ba-doop
Shoop ba-doop
Shoop ba-doop ba-doop ba-doop
[Oh, my goodness, girl, look at him
He's the cutest brother in here
And he's comin' this way! Oooo!]
S and the P wanna kick with me, cool (uh-huh)
But I'm wicked, G, (yeah) hit skins but never quickly (that's right)
I hit the skins for the hell of it, just for the yell I get
Mmm mmm mmm, for the smell of it (smell it)
They want my bod, here's the hot rod (hot rod)
Twelve inches to a yard (damn) and have ya soundin' like a retard (yeah)
Big 'Twan Love-Her, six-two, wanna hit you
So what you wanna do?
What you wanna do?
Mmmm, I wanna shoop
Shoop shoop ba-doop
Shoop ba-doop
Shoop ba-doop ba-doop ba-doop
Shoop shoop ba-doop
Shoop ba-doop
Shoop ba-doop ba-doop ba-doop
Oh, you make me wanna shoop
Hey yeah, I wanna shoop, baby
Monday, October 11, 2010
some lesbian rap: Yo Majesty
Julianne Shepherd, in The New York Times, Jan. 27, 2008, on the out lesbian rappers Yo Majesty & others.

It’s a lackluster time for mainstream female rappers, with M.C.’s like Foxy Brown and Remy Ma making more headlines for jail stints than for their music. Lil’ Kim hasn’t gone platinum since 2003, Eve’s comeback album has been delayed several times, and Missy Elliott’s first record in three years isn’t due until late spring. Fergie, with her singsong chants about her feminine wiles, is the closest thing to a female rap superstar these days. [OUCH!--T.S.] But in the wake of the critical favorite M.I.A., a new crop of young, multicultural, female hip-hop acts is causing a stir on the Internet and in indie-label conference rooms.
To wit, Yo Majesty, Santogold, Kid Sister, Amanda Blank.
Sunday, September 05, 2010
Spectacle Rules in Women's Pop: Jon Caramanica
Saturday, September 04, 2010
Gender & Indie

Without a doubt, indie has a more enlightened sense of gender relations than many musical genres. You can see this in a number of areas, such as pioneering co-ed bands (Pixies, Arcade Fire, Lush, the White Stripes, Elastica, My Bloody Valentine, Quasi, Slowdive, the xx , Autolux, Beach House, the Kills, feel free to carry on) and the blending of gender-coded imagery where androgyny has been consistent in clothing and physicality...Androgyny can even been seen in the common use of falsetto by male singers as a higher register is usually associated with femininity. The blending of gender imagery is common in rock and pop, but the central value of equality, even between performers and audience has made humanist gender relations the ideal in indie.
At indie shows, you still see gender distinctions in distribution patterns and activities. Women tend to stand right at the front and by the speaker stacks, rarely in the central area where dancing might happen. Groping is absolutely taboo, yet women are still loathe to crowd surf because it only takes one jerk in an audience to violate a woman which limits her ability to participate in audience activities available to males. During my research I've been told by countless women that they refrained from crowd-surfing and most of them (including myself) had been groped at shows...
The restriction of female participation was part of the rationale for stopping stage diving and discouraging crowd-surfing. British indie has been – and still is – consistently and significantly more egalitarian in terms of gender relations than America. In the noughties, when indie aesthetics overtook alternative music in the US, it ostensibly produced more female equality...
However, even in 2006, when Pitchfork reviewed my book on the culture of indie music, the writer actually talked about my cleavage!
Monday, August 30, 2010
Sony Walkman and Cultural Regulation

This post (Jay Allen Sanford, "Responding to Personal Spam, History of Personal Music Players, Soundmen Sound Off, Concerts Make You Deaf, & Musical Car Horns," San Diego Reader, June 3, 2008), expands upon the question of the cultural regulation of the Walkman (and more recently, the iPod).
Hector Gonzales, a substitute teacher in San Diego public schools, never hesitates to confiscate Walkmans or iPods (which he returns to students at the end of the school day). "When you wear them in public, headphones are anti-social devices [which] foster self-centered, elitist attitudes and prevent the kindling of conversation among fellow human beings. Especially with teenagers, who need as much social interaction as possible in order to be well adjusted adults. And they play [music] at such a high volume...anyone standing nearby can discern specific lyrics."
Shortly after talking to Gonzales, I come across a teenager - "Sammy" - seated at a bus stop on El Cajon Boulevard, though I hear him before I see him due to the volume of the music he's playing through his iPod headset. Once I coax him out from under the speaker pads, I ask whether he feels cut off from his surroundings when his "private" music is loud enough to drown out all outside noise.
"Some people give me dirty looks, but kids my age are into it. Like, if I see another guy [with a Walkman or iPod], we might start talking about what bands we're playing. So it's just the opposite as anti-social. It was a dude with a Walkman who turned me on to his Suicidal [Tendencies] CD, 'cause we swapped headsets to check out each others' tunes. That's a complete stranger, dude. The music's what got us talking."
..."When I'm at the gym, I put on [this] headset but there's nothing playing," says Deborah Macey, whom I spot wearing headphones at a Family Fitness Center...
"I thought you were hitting on me. See, I put [the headset] on to keep away all the guys who come here just to use pickup lines...
The jury is still out as to whether wearing HEADPHONES while working out to music is more damaging to your hearing.
On the premise that headphones isolate wearers and prevent them from hearing important sirens, threatening engine noise and car horn warnings, California's Vehicle Code section 27400 states that "No person operating any motor vehicle or bicycle shall wear any headset covering, or any earplugs in, both ears."...
The code is rarely enforced, although bicyclists sometimes find themselves cited. "It's not very fair, because there's no law against deaf people riding bikes," argues Jeremy Porter of Senior Spokes, a North County cycling club. "Earmuffs, the kind you use to keep your ears warm, aren't illegal to wear on a bike or in a car, but they 'cover both ears' and drown out a lot more sound [than headphones]. There is one good reason not to wear headphones [while bicycling]. If someone else hits you, it's a lot harder to collect from the other guy's insurance company if you get into an accident with headphones on! They'll say it was your fault because you couldn't hear what was going on around you!"
Porter points out that car manufacturers brag about how soundproof it is inside their vehicles. "By comparison, wearing headphones doesn't block out nearly as much sound as the closed windows and soundproofing in a new Lexus. Walkman headphones are optimized for frequency bandwidths from around 600 hz to 3000 hz. That's about the same as the average speaking voice. Noise at frequencies outside this range can be heard easily through the speaker pads, as long as the headphones aren't played to loud. Lightweight open-air mini-headphones aren't going to block out the sound of a siren or a car horn or even a barking dog."
...As for wearing headsets while listening to private music on the job, some studies indicate that allowing employees to do so increases productivity and boosts workplace morale - and eliminates arguments over what music should be played aloud.
In one study of organizational behavior, 75 out of 256 workers of a retail sales company listened to personal stereos on the job for four weeks. They showed a 10-percent increase in productivity compared to co-workers.
Saturday, August 21, 2010
Swinging London from Marc Campbell on Vimeo.
Found this on Dangerous Minds, which tells us:
"Look At Life" were a series of short documentary films produced in the 1960s by the Rank Organization. They were shown in British movie theaters before the main attraction. Shot in vibrant color, Look At Life often focused on ‘Swinging London’.
In these two clips we get a peek into the King’s Road fashion scene and hip London coffeehouses. Groovy.
A few sample phrases that I snatched from the "Swinging London" segment:
buy uniforms of the past to affront the uniformity of the present
caftan seekers from gay Arabia
a super charade of happy happenings
A screen capture of London male 60's fashion:

In the café segment, I learned that the Universities and Left Review (forefunner of New Left Review) started a cafe called The Partisan in order to fund the magazine.
Update, December 30, 2012
That Vimeo segment has gone dead, but here's a replacement:
Thursday, August 12, 2010
Zoe Chace on women pop stars adopting personae
There are some pop stars right now who look a lot like drag queens — Lady Gaga, Nicki Minaj, Beyonce, Katy Perry, even Ke$ha.
Excellent report, on today's Morning Edition. Listen to it, or read it, here.
A few more juicy excerpts:
Gaga has started calling her fans "monsters." 18-year-old Darnell Purt is one of those them. He just graduated high school in Brooklyn. "We're all monsters," he says. "Like, if they think that I'm a monster because I'm bi, or I'm a hermaphrodite, or I dress funny, or I'm gay-friendly, then we're all monsters. We're all crazy monsters"...
This is a modern phenomenon, but that doesn't mean it's new, says Judith Halberstam, who teaches media studies at the University of Southern California.
"Look back at the 19th century at people like Oscar Wilde," she suggests. "Oscar Wilde may well be one of the early people who created a public persona for himself and then was happy, when called upon, to perform this role of the glib dandy who was full of one-liners."
Instead of spinning around helplessly in a media cycle devoted to his outlandish behavior, Wilde grabbed the steering wheel...
So are these stars controlling their fans, controlling their media coverage, or just enabling everyone's inner drag queen to come out?
Saturday, July 10, 2010
Virginia Heffernan on digital photos and parenting

Very perceptive article from the New York Times Sunday Magazine, Feb. 25, 2010.
Has the curating of digital photos come to define modern parenting?
American children in 2010 have a bright, clear reason for being. They exist to furnish subjects for digital photographs that can be corrected, cropped, captioned, organized, categorized, albumized, broadcast, turned into screen savers and brandished on online social networks.
I’m trying my hand at anthropology here: where farmers bred to produce field hands, industrial workers bred because they couldn’t help it and Kennedy-era couples bred to goose the G.N.P. by buying sailor suits and skis, we form families in the Internet age so we can produce, distribute and display digital photos of ourselves.
The marching orders come immediately, with the newborn photo, which must be e-mailed to friends before a baby has left the maternity ward. A conscientious father — chief executive of the budding business — must snap dozens of shots of the modestly wrapped newborn, generally with a Canon PowerShot though sometimes with a showy digital single-lens-reflex camera or a lowly cameraphone. Back at a laptop, he uploads the haul, scrutinizing pixels with the intensity of Anna Wintour. He selects a becoming one. The mother signs off, often via e-mail, from her hospital bed.
A parent may also edit the picture, correcting red eye or composition or even complexion problems, perhaps adding a jolly border or animated confetti (depending on class affiliation). Enclosed in an e-mail message, accompanied by a line or two of introduction, the portrait is broadcast like direct-mail advertising.
Thus a parent is minted. Good thing the drill starts early, as the signature act of Internet-era parenting repeats itself, again and again, in tighter and tighter cycles, throughout a childhood. It determines the rhythms of beach vacations and snow days. Eventually the business of family-image production and dissemination incorporates increasingly sophisticated and expensive cameras and photo-edit software and microblogging and distribution and organization systems (Tumblr, Picasa, Picnik, MyFamily, Shutterfly, Snapfish, Kodak Gallery). Before long the family has become a multimedia publisher, and — though it imagines itself a producer — a consumer of digital tools, gadgetry and broadband.
For a parent, this time-consuming vocation has twin payoffs: it wins you a break from your actual children while bringing you closer to their images. Pictures of kids, like idealized Victorian boys and girls, can be seen but not heard.
The child’s life, reciprocally, becomes that of a model — and more. Every aspect of the family business becomes familiar to a child. Early on, she learns that she can examine a photo on a viewfinder as soon as it’s snapped; that she should monkey around rather than pose, as “film” is distinctly not at a premium; that a substantial share of her parents’ mysterious clicking at their computers consists of organizing and reorganizing images of her. My own son’s first word for laptop, when he saw a woman plugging away at one at Starbucks, was the word he used for himself: “baby.” What else could the woman be doing so intently at a screen but what he saw me do — paging through picture after picture of him?
The connection between parenthood and digital photography dawned on me during Apple’s video presentations of the iPad, the company’s latest personal-computing device. In the videos, a parade of Apple executives, clean-cut men with close-cropped hair, caress a glassy, oversize tile, while proselytizing about it. “It’s going to change the way we do the things we do every day,” raves Phil Schiller, an Apple vice president.
So which of digital culture’s great offerings — which of the “things we do every day” — are enhanced by the iPad? Let’s look at the demos. Are there shooter games, pornography, academic papers, live sports, message boards, chat, e-commerce, political blogs?
No. Instead, there are family photos. The iPad user, as we meet him, is a man alone, aswim in pictures of kids. Sure, he watches movies like “Up,” reads Ted Kennedy’s memoirs and plans and chronicles travel to Telluride, Colo. But what he does most ostentatiously is organize and exhibit photographs of children: at birth, on the beach, in Paris in the rain, with conch shells to their ears. One of Steve Jobs’s first boasts about the iPad screen? “People put their own photos on it.” Later, the iPad e-mail client is demonstrated as it sends a baby picture. Scott Forstall, a senior vice president at Apple, doesn’t hold back: “IPad is absolutely the best way to view and share your photos.”
Increasingly, personal technology seems like a delivery device for a lifestyle, a tacit prescription of how to live in the Internet’s symbolic order. Study something like the iPad closely enough, and it seems to set a course for how we’re now to use words and images for business and pleasure. Maybe it shouldn’t be surprising in shaky economic times that the highest calling for the heaps of digital devices in our lives, with their functioning in excess of anything we rationally require, is to shore up our families, and advertise them to the world, and back to ourselves.
Monday, May 03, 2010
Bourdieu's 'Distinctions' Summed Up
Wednesday, April 21, 2010
Colin MacInnes

"MacInnes was the decadent chronicler of 1950s Notting Hill, a restless, volatile neighbourhood which was home to one of the UK's biggest West Indian immigrant communities, and the scene of notorious race riots in August 1958. Openly gay when homosexuality was still an illegal taboo, MacInnes revelled in what he saw as the impoverished area's exuberant exoticism. Absolute Beginners was the first novel to capture the city's emerging youth culture, its lustful, teenage adventure dovetailing into MacInnes's sexualised idolisation of black life in Notting Hill and climaxing with the riots that seared the neighbourhood. Nowadays known to many only by way of Julien Temple's almost universally derided film of 1986, Absolute Beginners and MacInnes's preceding book City of Spades, achieved cult status after their publication, and were the first to chronicle, for a white audience at least, the culture of the new immigrants to London."
Friday, January 08, 2010
Rethinking Muzak: Audio Architecture, Audio Branding

Thursday, December 31, 2009
"Teenage: The Creation of Youth Culture," by Jon Savage
Reviewed by Camille Paglia (ugh!) in the New York Times.Bobby-soxers, the female swing fans with their sporty outfits and dance-ready saddle shoes, screamed en masse for Frank Sinatra and laid the groundwork for gyrating rock ’n’ roll fandom. Swing helped end segregation: not only were swing crowds racially mixed, but large jazz orchestras “integrated a decade before sport or military organizations.”
Savage heralds the arrival, in 1944, of Seventeen, a fashion and pop magazine targeted to high school girls, as a landmark crystalization of teenage identity. Now “teenagers were neither adolescents nor juvenile delinquents,” who had been a social worry for decades. American consumerism, whose expansion Savage disapprovingly follows, had found its perfect partner in the protected, self-absorbed middle-class teenager.
Savage abruptly ends his book in the mid-1940s, alas, with no overview of the teenage fantasia to come...
"Japan cracking US pop culture hegemony"
To be read in conjunction with Ian Condry's book on Japanese hip-hop. From the Christian Science Monitor, Dec. 15, 2008, by Amelia Newcomb. Excerpts follow:Today, Japan sets the trends in what's cool. Sarah Palin's famous glasses came from a Japanese designer. [Palin, cool???!!! T.S.] Tokyo has the most Michelin-starred restaurants in the world, with eight of them earning three stars. Even America's favorite food show, "Iron Chef," is a Japanese import. Japanese women are pushing the limits of literary pop culture with blogs and cellphone novels. Japanese comics occupy ever-greater shelf space in bookstores, and animé-influenced movies like the "The Dark Knight" and "Spider-Man 3" find huge audiences in the West.
What all these media share is a nuanced Japanese aesthetic that has infiltrated global sensibilities – a sort of new "soft power" for Japan. In the process, they're challenging delineations of good and evil from the world's main purveyor of pop culture, Hollywood, as well as American ideals of the lone action-hero."The American 20th-century ideal of the individual superhero is wearing thin," says Roland Kelts, professor at the University of Tokyo and author of "Japanamerica: How Japanese Pop Culture Has Invaded the U.S."
Tuesday, December 29, 2009
Ann Powers, "Authenticity takes a holiday"
The ever-incisive Ann Powers, writing in the Los Angeles Times. "Pop music notes on the decade: Authenticity takes a holiday."Of all the aspects of pop that went into fatal mutation mode in recent years, the cult of authenticity was hit perhaps the hardest...
One major one has to do with what we think is most real, most able to embody sincere and powerful emotions...
The most fascinating personalities of this new era would never present themselves as unwashed or genuinely unplugged. They're show people who are able to dance, crack jokes and work all the knobs that power their multimedia extravaganzas. Eminem and Britney Spears, will.i.am and Kanye West, M.I.A. and OutKast, Rihanna and Lil Wayne: In nearly every niche, millennial artists have shown a marked preference for artifice over raw expression, costume and theatrics over plain presentation and foregrounding the tools they use to make music over pretending that it all comes "naturally"...
As the decade ends, pop grows ever more bent on making inauthenticity ring true... There are obvious reasons for this abandonment of solid-feeling values -- not just "authenticity" but also "purity" and "rawness." Novelty and sonic shine are primary values in a music business powered by catchy ringtones and downloads instead of albums. Technology also has profoundly changed the way music is made; kids are learning how to play synthesizers before they bother with guitars, and tools like Auto-Tune and Pro Tools have made "natural" sounds passé.
But even as the dire economics of music-making (and, by the way, music journalism) call for a lament, I celebrate the return of glitter and weirdness and fakery in pop. It's opening up the doors to those who didn't fit more constrictive paradigms of authenticity: more women, more gay and lesbian faces, more multiracial and international voices. In general, it's making for a fuller reflection of life in our fragmented, hyper-accelerated time of struggle...
We've finally all learned the lesson of the disco prophet Sylvester: only by admitting that nothing is straightforward can we feel Mighty Real.
Sunday, December 27, 2009
Disney targets boys, $50 billion at stake
Ms. [Kelly] Peña and her team of anthropologists have spent 18 months peering inside the heads of incommunicative boys in search of just that kind of psychological nugget. Disney is relying on her insights to create new entertainment for boys 6 to 14, a group that Disney used to own way back in the days of “Davy Crockett” but that has wandered in the age of more girl-friendly Disney fare like “Hannah Montana”...
Fearful of coming off as too manipulative, youth-centric media companies rarely discuss this kind of field research. Disney is so proud of its new “headquarters for boys,” however, that it has made an exception, offering a rare window onto the emotional hooks that are carefully embedded in children’s entertainment. The effort is as outsize as the potential payoff: boys 6 to 14 account for $50 billion in spending worldwide, according to market researchers...
media companies over all have struggled to figure out the boys’ entertainment market...The guys are trickier to pin down for a host of reasons. They hop more quickly than their female counterparts from sporting activities to television to video games during leisure time. They can also be harder to understand: the cliché that girls are more willing to chitchat about their feelings is often true...
In Ms. Peña’s research boys across markets and cultures described the television aimed at them as “purposeless fun” but expressed a strong desire for a new channel that was “fun with a purpose...
Creating a need or bringing a real need into public view? The Bodygroom
About a year ago, Philips Norelco began the push to sell a device called the Bodygroom as a product to help men shave areas of the body other than the face. At the time, according to Jim Olstrom, director of the home division of the retail-data collection firm NPD Group, the idea of a product specifically made for below-the-neck shaving barely existed. Today, the Bodygroom is one of at least four products in what’s seen as a distinct and fast-growing category; nearly 250,000 body-hair trimmers have been bought in the United States in the last year...
All of this suggests a problem that no one was aware of before its solution went on sale. But Michelle Schwartz, a Philips Norelco brand manager, maintains that this is not so. She says the company, in the course of research into what was missing from the “grooming portfolio” of the typical male consumer, concluded that “over half the guys we were talking to between the ages of 20 and 50 were doing some body-hair maintenance.” Moreover, they were not happy with their options...How to puncture this conspiracy of silence? Marketing. Specifically, Philips Norelco’s online campaign involving a video at a Web site called ShaveEverywhere.com. his site, started in May of last year, features a young man in a bathrobe who explains the benefits of using the Bodygroom on the back, underarms and other body parts that are bleeped out...it’s extremely hard to imagine a staid public company like Philips putting a message like this on television. On the Internet, however, it was a huge hit...
Philips Norelco claims that 60 percent of Bodygroom buyers say they learned about the product via ShaveEverywhere.com...Novelty and boundary-pushing aside, the strategy has done one of marketing’s traditional jobs, clearly linking a product to a particular use.
Saturday, December 26, 2009
Nerds
Excerpts from, "Who's a Nerd, Anyway?" by Benjamin Nugent, New York Times Sunday Magazine, July 29, 2007.Nerdiness, [Mary Bucholz] has concluded, is largely a matter of racially tinged behavior...Bucholtz notes that the “hegemonic” “cool white” kids use a limited amount of African-American vernacular English; they may say “blood” in lieu of “friend,” or drop the “g” in “playing.” But the nerds she has interviewed, mostly white kids, punctiliously adhere to Standard English...“hyperwhite” works as a description for nearly everything we intuitively associate with nerds, which is why Hollywood has long traded in jokes that try to capitalize on the emotional dissonance of nerds acting black...Bucholtz sees something to admire here. In declining to appropriate African-American youth culture, thereby “refusing to exercise the racial privilege upon which white youth cultures are founded,” she writes, nerds may even be viewed as “traitors to whiteness.”...On the other hand, the code of conspicuous intellectualism in the nerd cliques Bucholtz observed may shut out “black students who chose not to openly display their abilities.” This is especially disturbing at a time when African-American students can be stigmatized by other African-American students if they’re too obviously diligent about school. Even more problematic, “Nerds’ dismissal of black cultural practices often led them to discount the possibility of friendship with black students”.... If nerdiness, as Bucholtz suggests, can be a rebellion against the cool white kids and their use of black culture, it’s a rebellion with a limited membership.
Wednesday, July 29, 2009
Brooklyn's MLK concert series
“Giving You the Best…”
The Martin Luther King Jr. concert series in Brooklyn’s Wingate Field has taken place every summer for the past 27 years and showcases the biggest names in gospel, soul, R&B, ska and calypso, but as New Yorkers and aficionados across the tri-state area know, these Monday evening concerts are best known for bringing R&B legends and pioneers to this corner of “the BK.” Last night was no exception. Some 12,000 people, many wielding portable chairs and small battery-powered fans, packed the concert field, to see Charlie Wilson of the legendary Gap Band, and Anita Baker, the eight–time Grammy-winning songstress. Brooklyn Borough President Marty Markowitz and Senator Charles Schumer welcomed the crowd (with the latter reminding everyone “I live in Brooklyn, shop in Brooklyn - I breathe Brooklyn! I’m the first senator from Brooklyn in a 140 years!), and then, arms linked with Anita Baker, Mayor Bloomberg came on stage and introduced Charlie Wilson.

The heat and humidity did not slow down or distract from the 56-year old Wilson’s intense performance, as he belted out Gap Band classics (“Early in the Morning” “Outstanding”) and his most recent hits, including “Beautiful” recorded with Pharell, and “There Goes My Lady.” Wilson, who had all but vanished from the music scene since the 1980s, made a dramatic comeback this decade with two solo albums, including Bridging the Gap which produced the hit “Without You” and the more recent “Charlie, Last Name: Wilson.” “Uncle Charlie,” as his friend Snoop Dogg calls him, regaled the crowd: one moment he was doing the “running man” and other lively routines, with his four scantily-clad background dancers (who also doubled as violin players), and then he’d shift into slow jam mode, crooning, writhing, unbuttoning his shirt, drying himself with a towel, in creative renditions of tracks like “Yearning for Your Love” and “Let’s Chill” – a number originally done by the Guy. Midway through the show, Wilson pointed at the sky, and in gratitude for his successful comeback, and his recovery from prostate cancer, gave a stirring, hooping-style tribute to Jesus.
By the time Anita Baker came on the stage, the humidity had lifted, and dusk had settled over the field. As the multi-platinum chanteuse sang her classics (“Sweet Love” “Caught Up in the Rapture”) her voice felt as balmy as the breeze that had now stirred over Brooklyn. She sang “Angel,” in honor of all the children in the audience, some of the youngsters had by now dozed off in their mothers arms. “Mommies, thank you for your bringing your babies. Entire families can come to my shows – aunts, uncles, mothers and kids can come to my concerts. No one will be offended, everyone will be enriched with something lovely.” (Her own teenage son was playing guitar.) Baker concluded the evening with her 1988 single “Giving You the Best,” but cries and cheers brought her back out to perform “Fairy Tale” and another encore – before the elegant songstress bid everyone good night and exited the stage.It was close to midnight as attendees began filing out of the Wingate field. Donna White, a kindergarden teacher from East New York, looked exhilarated, “I come to these concerts every year, and this show is the greatest. Charlie Wilson is a phenomenal person. I was so moved when he talked about his struggle, his spirituality, where he was and where he is now – that was so inspiring for our youth.” Fati Tanriverde, an exchange student from France, appeared awed, “It’s extraordinary, a free concert of this level of talent – the grande dame of R&B comes to Brooklyn, and I get to see her. What an honor!”
Sunday, July 12, 2009
“How the Beatles Destroyed Rock ’n’ Roll”: Elijah Wald
if you’re looking, as Wald’s subtitle has it, for “an alternative history of American popular music” — specifically from the turn of the 20th century to roughly the mid-1970s — you’ve found it...
While Wald never says in so many words that the Beatles destroyed rock ’n’ roll, he does take a stance several degrees removed from standard-issue Beatles worship. He suggests that their ambitious later work, widely hailed as a step forward for rock, instead helped turn it from a triumphantly mongrel dance music that smashed racial barriers into a rhythmically inert art music made mostly by and for white people...
[Wald] has set himself a deceptively simple task: to write about the popular music of the last century by concentrating on what was actually popular, and to figure out why people — not critics or historians but the people who bought the sheet music and the records, listened to the songs on the radio and went to the dances — liked it.In doing so he ends up taking aim, for example, at the notion that mainstream pop music in the early 1950s was mired in white-bread mediocrity, as embodied by the likes of Perry Como, until Elvis Presley and company came along to rescue it...

He also makes a case for the importance, and the lasting influence, of artists like Paul Whiteman, a bandleader who was phenomenally successful in the 1920s and ’30s but has rarely received anything more than grudging respect from music historians, and has more often been either attacked or ignored.
In his heyday the appropriately named Whiteman was billed as the King of Jazz, which in artistic terms he clearly wasn’t; Wald acknowledges that his often syrupy music is less interesting than Fletcher Henderson’s or Duke Ellington’s. But he also says that no matter how corny it may sound to contemporary ears, it deserves to be taken seriously — not least because Whiteman’s admirers included, among many others, Henderson and Ellington. (While white musicians have long drawn inspiration from black musicians, he points out, the inspiration has sometimes flowed in the other direction as well.)
And he finds parallels between Whiteman — who commissioned “Rhapsody in Blue” and whose quasi-symphonic approach was said, in the unfortunate terminology of the time, to have made an honest woman out of jazz — and the Beatles. Whiteman, he explains, took a music that had been seen as rough and uncouth and made it respectable to a wide audience; the Beatles did the same thing with the string-quartet elegance of “Yesterday” and the operatic grandiosity of “Sgt. Pepper’s Lonely Hearts Club Band.”
Sunday, July 05, 2009
The Walkman: 30 Years
From Dan Barry, in the Sunday New York Times "Week in Review" section, a meditation on the 30th anniversary of the Walkman:
Thirty years ago this month, the Sony Corporation made a huge contribution to human interaction by ensuring there was less of it. No longer would people who did not want to engage the world have to stick fingers in both ears and say, over and over, “La, la, la, I’m not listening!”
Wrong! Or just simplistic, and banal. As the book, Doing Cultural Studies: The Story of the Sony Walkman (du Gay et al) suggests, the Walkman connected one to the social world, the world of pop music, of youth culture, of mass media.
And just look at the image that accompanies the article (reproduced above). Is this Walkman user really just thumbing her nose at the world?
(Useful classroom exercises for the du Gay volume here.)
Sunday, May 24, 2009
How Calypso Made Bermuda a Tourist Destination
"In their heyday, the late 1940s and ’50s, the Talbot Brothers were a major attraction at Bermuda’s hotels and clubs and at the private homes of wealthy Americans who were discovering the island. Their popularity is often credited with playing an important role in putting Bermuda on the tourist map. Songs like “Bermuda Buggy Ride” and “Bermuda’s Still Paradise,” with their smooth harmonies and easy, swinging beat, helped establish the islands’ image as a carefree, no-worries leisure destination."
Read on.
Sunday, January 18, 2009
Wayne Marshall on Kool Herc

A must-read: Wayne Marshall's essay on hip-pioneer Kool Herc.
Here's the full bibliographical information:
Marshall, Wayne. “Kool Herc.” In Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture, ed. Mickey Hess, 1-26. (Westport, CT: Greenwood, 2007).
Saturday, January 17, 2009
"You Just Can't Kill It": The New York Times on Goth Style
Check out this very extensive treatment of the history, and longevity, of Goth style, from the New York Times Thursday Styles section (Nov. 18, '08).Be sure to check out the slide shows.
Siouxsie Sioux and Diamanda Galas, of course, get their props. But why no mention of Gothic Bellydancers?
A word to those who seek to express their inner gothdom:
“Gothic style should be as opulent, decadent and individual as possible,” Danielle Willis wrote. “If you’re not up to making the effort necessary to carry off this most high maintenance of affectations, try wearing plaid shirts and listening to Nirvana instead.”
(Photo: Daniel Levitt)



