MUS 287 Final Exam

What was the importance and contribution of Sylvia Robinson and Sugar Hill Records to early hip hop culture?

"MOTHER OF HIP-HOP" -she never even rapped--but she created sugar hill records -totally dedicated to the mass mediation of rap music -she scouted the streets of new York--then creates a mainstream record called "Rappers Delight" -this marks rap moving from underground to mainstream -similar to barry Gordy with wanting the mainstream crossover -the "Motown" of rap -also first to introduce rap video -turned into vertical integration type of production

What are some of the contradictions/debates surrounding the reclamation of marginalizing terminology? (What do you think about the co-option of words like "bitch" as terms of empowerment?)

"Sister with attitude" -gangster rap -women gaining the language of gangster rap -the word bitch--turns from negative to positive -speaks to power and sexuality--women push back **this is turned into empowerment**

Music of the Civil Rights Movement: What was Nina Simone's role in challenging the exclusion of women's experiences from the narrative of freedom promoted through the Civil Rights Movement?

-Black nationalism—message of black is beautiful o First black artist associated with folk movement (Odetta) o She initially trained as opera singer o Goes back to black tradition o makes black spirituals o Protest songs and reintroduces black folk practices that had not been advances by cultural industry o Voice of civil rights movement and freedom songs o Spiritual trilogy—"O freedom" "Come and go to that land" "Wont turn back" o Incorporation of music in the civil rights movement was precipitated by the revival of the folk movement during the late 50s

The Female Singer/Songwriter and the redefinition of Pop in the 1970s: What social factors that contributed to the rise of the singer/songwriter?

-The Vietnam War -escape the reality and creating an alternative -also the rise of feminism -reproductive rights -allows them to have a voice

Girl Groups of the 1960s: What marketing trends were implemented through the Girl Group aesthetic of the 1960s that limited the individuality and creative energy of women performers associated with this aesthetic?

-VERTICAL INTEGRATION -everyone was the same--lack of diversity and creativity -women had a lack of control and were told what they had to do by producers

The Female Singer/Songwriter and the redefinition of Pop in the 1970s: What were characteristics of the musical style advanced by artists associated with this genre?

-all original material -self accompanied -generally piano and guitar -focus on lyrics and driving melody

Conflicts that arise with moving from the private sphere to the public sphere

-creating tension in the domestic sphere -once women made it to public sphere they were still limited to certain roles--power structure -dj still had the power and women did not -male producers still in control and shape the sound--they control what is heard -women not seen as innovators and creators along reproducing what males have created -"she plays like a man" always compared to males -Church and religious events allow women to move into the public sphere -allowed them to go into the public with still being private -emphasizes that women are the central role in rituals and women are the ones that do this

What sparked the emergence of Latina pop artists during this period? What sub-styles of Latin music did Gloria Estefan and Selena popularize during the early 1990s? What are characteristics of these styles?

-cuban culture in Miami -Estefan=Miami fusion sound *pianist play the montuna *maracas, bongos, timbales, clave *layered rhythmic to make the audience move -Selena=tejano music *tejano and pop music *style that is born in Texas and combines the fusion of Mexican folk music *style uses electric instruments

What does the growing popularity of Estefan and Selena reflect in terms of the politics of identity as it relates to the Latino diaspora in America?

-cultural industry beginning to expand -starting to include the growing population of the latinos -bunch of latinos they should appeal to

Women of Soul: Aretha Franklin and Roberta Flack: What do the three contexts of "blackness" (e.g. "lived", "sonic" and "physical") mean and what do they reveal in terms of how blackness is promoted through the cultural industry during this period?

-lived experience -sonically exclude "sonic blackness" rooted in gospel (black church) -visually excluded physical blackness--strong physical persona

Gender in the Age of MTV—1980s and early 1990s: What was Madonna's role in changing the engagement of female artists with the cultural industry?

-madonna starts as a dancer then moves to R&B then moves again to pop because that was where she was going to have the most success -she is a chameleon--changing herself and challenging the norms of society

What is a Svengali and what was his role in advancing specific genres of popular music?

-male producers/songwriters that were central in the creation of the sound and image associated with a number of girl groups and female artists during the 60s -males decided what women do think and say -they did not notice talent and often times had the most attractive one be lead -Made decisions about girl groups, marked them as a group and then would substitute members out o Exploited by Phil Spector, George "Shadow" Morrow, Berry Gordy o They controlled the sound and exploited these women

Who is Carole King?

-most influential songwriter of this time -organic look -spoke about the feminist movement -simple---alone on stage

What does Jennifer Lopez reflect in reference of the politics of hybridity as it relates to Latino identity in America? What sub-style of music did she help popularize?

-popularized the Newurican -popularized hip hop soul

Women of Soul: Aretha Franklin and Roberta Flack: • How did Franklin and Flack contribute to the progression of the performance aesthetic of soul music? Discuss specific characteristics of their sound identity.

-raw earthy vocals that showed the influence of gospel -lead vocals juxaposed against layered backdrop vocals Aretha--the producers allowed her backup singers to be her sisters that allowed her to create her sound that was real -flack did not use background vocals -used piano instead

What is "popular feminism" or "new feminism?" What are some of the contradictions/limitations associated with these theoretical ideals?

-redefining feminism -encouraging the go for it attitude and anything you put your mind to it you can do it -madonna started this then Britney then beyonce -f the boys and songs like "Survivor" -reinvention of the self

What entities did Madonna create to exercise "control" over her career and the dissemination of her music and other ventures?

-she expands -record company, film production, books and music publishing, and latin records -she uses this label to help other women and creates a platform for them

The Female Singer/Songwriter and the redefinition of Pop in the 1970s: What was the relationship between the emergence of the singer/songwriter persona and the Feminist movement?

-she was really organic and natural--she rejected all of the makeup and fancy dress--looked simple on stage -spoke to females

Bebop

-the shift back to listening rather than dancing -disjointed melody -rhythm section very important -Ella Fitzgerald

What are the similarities and differences in influences, image, sound, lyrical content between the previous waves of "girl power" or "girl culture" and the wave of girl culture that emerged during the late 1990s and early 2000s?

-they were not as sexual and free -in the 1960s they were not allowed to be sexual and this is so different from what we see with madonna

Gender, Politics and Country Music in the 1970s: What was Loretta Lynn's role in popularizing popular themes of feminism and working class values in her music? What was Tammy Wynette and her role in advancing conservative family values and views on marriage?

-voice of the working class women -music is centered around everyday struggles of women -working class rural identity -lyrics that talk about infidelity, aggressiveness -No longer submissive and instead speaking out about the struggles unlike before -lots of controversial songs--shows how feminist movement affected her as a song writer

Lady Gaga and Jenelle Monet

-wider view of feminism -alter egos -concept of the alter ego--through this the individual can say and do things that are counter to their original persona

What are the images that female rappers constructed in hip hop in order to have a "space" within the genre? What defines the image and lyrical content of artists that correspond with each of these hip hop images?

1. "Video Chick" -she is an outsider and a nameless women -subject of rap narratives--existed in the stories, sexuality policed: hoe, bitch -opposite of men who can move freely without being policed 2. "Queen Mother" -African centered -message rap associated with afrocentric ideals -reclamation of african history -all about empowerment and unity to the black community with a global context -asiatic identity (pre slavery and colonial times of africans) 3. "Fly Girl" -speaks of everyday experience of black women -awareness of sexuality -reflects an advanced awareness--subert readings of female point of the object--turns this into empowerment 5. "Sister with attitude" -gangster rap -women gaining the language of gangster rap -the word bitch--turns from negative to positive -speaks to power and sexuality--women push back -gangster rap -built around the everyday life of black men--women were isolated from this space -women objectified "bitch" sexualized -women were the victims of violence and represented the narrative of struggle

What is Neo-Afrofuturims and how is it represented in the music/image promoted by Janelle Monae?

African American cultural production and political theory and undertake musical, lyrical, visual, performance, and theoretical investigation into race gender sexuality color and class

Gender in the Age of MTV—1980s and early 1990s: Describe how Cyndi Lauper and Annie Lennox used videos to counter popular images of women in popular music.

Annie Lennox -rooted in androgyny -rooted in creating sexual ambiguity through physical representation but also through public representation of social and sexual roles -wears a suit--contradicts with the lipstick -she rejects scripted feminity and masculinity Cyndi Lauper -"Girls just wanna have fun" -domestic vs public -freeing bodies engaging with men in public and the home -talking about the girl but not the same girl we saw before but a girl who is breaking down barriers -we see her destroying the culture of containment -rejected the over sexualized imagery

What are Shugert's observations regarding the "readings" of Latino identity in American popular culture (general)? How do these influence how Latina bodies are interpreted and presented in various forms of popular culture?

Crossover focus--wanted to create world music that targeted the huge growing population of latinos in america

Loretta Lynn and Tammy Wynette: What were the ways in which the role of women in country music changed during the decades following World War II?

Loretta Lynn -voice of working class women -music is centered around everyday struggles of women -working class rural id -we see music that is no longer submissive -all written by her and her own experiences -lyrics that talk about independence, aggressiveness, sexual agency--lots of controversial songs about how feminist movement effected her as a song writer Tammy Wynette -2 personas: solo artist and duo w/ husband -couple loving relationship persona -submissive, stand by your man no matter what he does -forced by label to record -advocating women to be guarded and sexuality only occurring in marriage

Gender in the Age of MTV—1980s and early 1990s: How did the music video and channels such as MTV change the way in which women performers were marketed?

MTV brings about the music video -it is the central medium that defines the music video -music video allows for a deeper understanding of the the song Positive -greater way to express themselves -freedom however women were often times over sexualized and this shows a readjustment where the focus turns more to visual rather than sonic women were showed more attention based on their appearance creates a more inclusive culture--people know how to dress "swag" all fed through videos eliminating the barriers of race

What are the different sub-styles of popular music that were advanced by Jackson and Beyoncé? How did the performance aesthetic of female performers change as popular culture shifted into the new millennium? For example how did Janet Jackson, Beyoncé change the way in which female performers used the stage or conceptualized themselves as artists?

POP R&B -janet jackson -whitney houston -mariah carey themes of love, simple structure and chorus, text is simple -no longer acoustic -disappearance of the band--increase use of technology

Public and Private Spheres

Private Sphere -Feminine -Activities are in the home and restricted to family -restricted and could not use instruments -introverted and isolated shy -women must create their own institutions to create knowledge -conflict when women move to the public sphere Public Sphere -masculine -male empowered and male driven -women do not engage in the public sphere

How did Whitney Houston alter the performance aesthetic of R&B and Pop music? Redefine the relationship between musician and the Cultural Industry?

She was all about crossover--modern day Motown because she projected an image that represented blackness but also appealed to white audiences --she was unlike anyone else because she had a sound that embodied the "big voice" that came out of the 70s and 80s --R&B "Big Voices" because she had a performance presence but also was able to carry emotion through the songs unlike what madonna and others at that time did --use of vertical integration Clive Davis became her Svengali that created her crossover appeal, however in a lot of her music she tried to appear white and this created backlash/highly criticized -however since she didn't write her songs she showed her creativity in a different way aka gained power in the was she alters and changes the song SUBSTYLE=pop R&B -themes of love, simple structure and chorus, text is simple, draws from gospel/soul -we see a style of music that is electronic, no longer acoustic -shows how technology changes the sound

How does Houston, Janet Jackson and Beyoncé's careers reflect the challenges black performers faced in trying to crossover to diverse audiences?

They change frequently and must expand and change -we see this with all of the women's careers--Beyonce has changes from a girl group, soloist, to an activist Houston we see how she starts out as pop them moves into more ballad type music--to stay in the mainstream their music has developed and evolved

The importance of "crossover" in relation to black popular music during different waves of popular culture (1960s (early and late) and 1990s); what are the musical and physical expectations for black artists seeking crossover popularity?

To crossover to white audiences singers must look a certain way -slim bodies -european features -white look to make them more appealing -everything looks white except the color of their skin -sound isn't too black, not too intense--soft voices that will not be too much for whites

Music of the Civil Rights Movement: What were the different types of freedom (protest) songs that develop during the campaigns of the 1960s and how were they used during protests? What were the two types of protest that activists engaged in during this period?

Voiced Activism -Use of musical/voice as a form of protest—music becomes a political weapon Embodied Activism -Physically disrupting space by physically placing body in a space to disrupt normal activity

Formation

What is the world her child will grow in--reasons for the music video reproductive rights for women Messy Maya--first voice you hear Big Frida-in new orleans bounce music-envoked gay culture/ballroom culture--their voice, language, dance provide us outlets of expression that others are not acknowledging Bell Hooks-black feminist

Pop Chicks From Fluff to Tough: How did Springfield challenge readings of race, gender and nationality through popular music?

challenges the girl groups of the 1960s -shows transatlantic exchange that happens in the 1950s -shows hybrid of european american -show called ready steady go -dusty shows transformation of disadvantaged youth -no restriction -vocal blackness--redefines whiteness -draws from big mama thorton -she does covers but pays homage to the original artist -TRANSATLANTIC SOUL -covering--mod trend

Gender, Politics and Country Music in the 1970s: What was the shift in the social and political perspective of country music during the 1970s? What factors influenced the linkage between conservative politics and country music?

in the 1980s to the 200s -changing contexts of pop culture -shifts further into conservative views -inflation, gas crisis, environmental pollution--1980s addressing these things -america shifts from factory work blue collar to white collar---deindustrialization -inner city and suburbs are created -gay culture emerge

Gender, Politics and Country Music in the 1970s: What was television's role in promoting country music culture during the 1960s and 1970s? What are the female images popularized by country music television?

no other medium had this much impact--they become in every household -visual image is now selling an image along with sound -variety shows become important (American Bandstand and Ed Sullivan Show) -Hee Haw Show --female character intoduced like grandma jones, minnie pearl, heehaw girls -all of these are white southern steriotypes

How does the social culture of jazz changes during this period and creates "gendered spaces" What were the type of networks women instrumentalists developed during this period in order to navigate these spaces?

o Based on your gender, you can operate in specific places in the public sphere o Men experience gender discrimination—women make networks and develop skills then transfer knowledge o Aka jam sessions o Women had to create their own means to be competent in this style o They created their own networks with male mentors to transfer knowledge

Characteristics of modern jazz as defined by bebop and how are these musical elements different from big band jazz style of the War years

o Bebop • Shifted from the focus back to listening instead of dancing • Musicians do not want for you to be distracted by anything that would take away from the music • Disjointed melodies, shifts focus of jazz performance to solos • Combinations instead of big band • Musicianship has increased—sound identities o Remasculating jazz and spaces that define it—everything that defines jazz culture has become masculine o Birthed out of jam sessions—these are masculine spaces (women unable to develop the skill set needed to master the new art)

Girl Groups of the 1960s: Differences and similarities between girl groups of the 1950s and those of the 1960s (in general)

o Both provided a voice for the generations of adolescence o Focused on romance and heartbreak, the search for love o Female artists no longer had to look to male vocal groups for inspiration in the 1960s o In the 1960s groups were dependent on the production teams/songwriters/managers and the winning formula was repeated until the group no longer had hits then moved onto another group to get hits from them—cycle repeated and repeated

Psychedelic Culture in the late 1960s: What was Tina Turner's role in changing the engagement of the black female body on the performing stage? What were characteristics of the psychedelic soul style she popularized?

o Embodies the sexuality o 1st women to be on the cover of Rolling Stones o Marketed as an exotic jungle women o Changes how black women bodies engage with the stage (lots of dancing) o Freeing the female body along with black female sexuality o Soul mixed with funk with elements of psychedelic o Features aggressive vocal style that was rooted in gospel practices o Instrumental accompaniments o Strong rhythmic drive that was adapted from soul and blues arrangements o Resurrected her career in the 1980s after her divorce from her husband o The only thing that she wanted was her name "Tina Turner" and recreates her career to make a comeback and is now called queen of rock o Came back with song what does love have to do with it

Music of the Civil Rights Movement: What was the relationship between the Folk Revival and the Civil Rights Movement?

o Folk movement: political ideology folk music and traditions become this way of defining nationalistic identity and political ideology because many people associate with the folk movement before ww2 and communism—it is a revival of this

What is Patsy Cline's role in changing the image and sound of country music during the early 1960s

o From country to country pop (Nashville sound) o Transformed the image of women in country music o She became the ideal person to produce Nashville sound because she was able to move beyond vocal country sound—crossover o Key to birthing aesthetic that helps move country music across professional obstacles o Uses celebrity to create networks to empower other women in country music—becomes a mentor for Dolly Parton and Loretta Lynn

Psychedelic Culture in the late 1960s: What band was Grace Slick associated with and what was her role in defining the Psychedelic rock sound of the 1970s? How did she personify the stereotypical image we associate with rock musicians?

o Grace Slick—only one who survives because she makes the choice to leave this area and becomes a mom—others die from drug and alch culture o Jefferson Airplane

Psychedelic Culture in the late 1960s: What are musical and cultural characteristics of Psychedelic Culture?

o Hippies: epitomized 60s counter culture, drug use, breaking down societies barriers, rooted in love, colorful clothes, ling hair styles o Based in San Fran o Jam bands—improvisation o Corresponds with psychedelic drugs like LSD o Rock shifted back to the US o Lighting is trippy o All about the trip and musical experience is wrapped around that

What performance approaches became standard amongst vocalists from this period

o Jazz moves away from cabarets and ballrooms and moves to nightclubs o Women define vocal jazz tradition o Use of blues o Free melodic expression o Adaption of songs preferred by instrumentalist

Women of Motown: The girl groups associated with the label and how did they change the "girl group" aesthetic; how did Gordy promoted each of these groups

o Martha and the Vandellas • Marketed to the black community • Flashy aesthetic • Sounded more black with more gospel and very soulful • Gordy thought this was too much for white people are marketed to black audiences o Supremes • Marketed to white people • Key to Motown crossover • Very very light vocally • Swaying and European looking • White pop voice

What are characteristics of transatlantic soul and what did it reflect in terms of the popularity of black R&B and blues in England and What are the characteristics of Mod culture and how did Springfield incorporate this into her performances?

o Miniskirts, black R&B, "Ready, Steady, Go!" TV show that spread awareness of mod culture and fashion and music (Motown) to larger audiences, Twiggy fashion, o Dusty Springfield • Dusty in Memphis—recorded in Stax studio, central in defining southern soul sound and soul that drew heavily in gospel • Has two sounds: pop and soul/gospel • Uses horn sections against the electric bass—deep sound

Women of Motown: What was Motown's role in creating and promoting a "feminine" performance aesthetic on the stage

o Polished sound, very flashy clothing, little movement on stage they were almost in a box, they looked modest in their dancing only movement seen in their hands

Psychedelic Culture in the late 1960s: What was Janis Joplin's role in defining psychedelic blues culture? What were characteristics of her musical style? How did she change conceptions of white femininity in popular culture?

o Psychedelic Blues • Used urban blues practices as the foundation of their style and sound • Vocal style sometimes highly aggressive/featured screaming than tuneful or lyrical singing • Draws on blues aesthetic of Bessie smith and big mama Thornton • Short career—dies at 27 • Endured public body shaming "ugliest man on campus" in college • Spoken words and shouting • Developed two sides • Stage: sexualized, free, uninhibited, seek to deal with difficulties using drugs as a way to escape • Pearl: offstage, young white girl struggling to find herself—vulnerable and isolated dealing with paradox of what her

Nina Simone

o Similar to odetta o Mississippi ******* reflects shifting civil rights movement rhetoric • More violent • Growing discontentment with nonviolent amongst protesters • Striving for equality—looking to aftican roots

What are characteristics of the Nashville Sound

o Smooth, more nuanced vocal style (lead and background) o Fiddles, steel guitar replaced with piano, bass, and drums o Use of pop and jazz kind of instruments o Reflection of "slick" elements of pop music

What are characteristics of the honky tonk style and who was the first female performer associated with this style

o Speaking of heartbreak, infidelity, and loneliness o Fiddles guitar drums piano o Male dominated o Kitty Wells: first significant representation of honky tonk for women she sings about infidelity and makes bold statements about abuse

What are the arguments that define the debate of authenticity in country music after the success of Cline's recordings and the growing popularity of the Nashville Sound

o The clash between her two world: downtown and uptown o Downtown: simple life, rustic with back porches, gingham dresses o Uptown: world of wealth, urban identity o How do you stay true when you are thrown into a new world?

Women of Motown: How did Motown create new "readings" of black women's bodies as crossover is achieved (what were the new expectations in terms of looks, vocal quality, etc.)

o They had white European features—essentially a white person who is black o They were very very thin o Polished sound that was gospel influenced but made sure that it was not too black o They were given flashy clothes o Also they did not have natural hair instead looked like white people

What does "vertical integration" mean and how did it transform the way in which popular music is made during various periods of the late 20th century (e.g. late 1950s-1960s; 1990s-2000s)

o Vertical integration is a production from beginning to end is all done by 1 agency o The producers dictate the sound that is heard—selection of artists, song writing, recording, press of the song, and release is all done in one place and done by one organization o The singers/artists have no control or power over the sound that is created they cannot even control their look or appearance on stage o Total loss of control—constructed to fit a certain stereotype o Sound all came from one entity—showed a loss of control at this point and time --all the music sounded the same and created a lack of creativity