1998 IASPM-US Program Schedule (draft)

Friday, October 16, 1998
8:30-9:00 a.m.: Registration, coffee, and donuts
9:00-9:30 a.m.: Opening remarks (D. Sanjek, R. Walser, etc.)

*Re-wirings: Technologies of Music Chair: David Sanjek

1. Randall Doane, Cultural technologies and gendered pleasures
2. Matthew Malsky, Stretched from Manhattan's back alley to MOMA: a social history of magnetic tape and recording
3. Steve Waksman, Pure tones and solid bodies: Les Paul, Chet Atkins, and the electric guitar in American popular music, 1941-1960.

*Globalized Noise: Styles, Economies, (Trans)Nations Chair: tba

1. Ashley Dawson, Drum & space: south asian dance music and the globalization of consumer culture
2. Lorri Plourde, Sonic and discursive violence in the transnational circulation of Japanese noise
3. Keir Keightley, Around the world: musical tourism and the internationalization of the record industry, 1946-65

11:00-12:30:

Plenary Session

*Popular Music Studies as a Vocation: Professional Possibilities and Institutional Dilemmas. Anahid Kassabian, Cindy Fuchs, co-chairs;
Participants: Andrew Herman, Thom Swiss, Timothy Taylor, Robert Walser.

12:30-2 p.m.: Lunch
2-3:30: Panels

*States and Boundaries: Interrogating Institutions Chair: Paul Fischer

1. Ivan Raykoff, Eurovision: the politics of kitsch
2. Chris Scoates, For what it's worth: institutions and popular
music/ institutionalizing popular music
3. Bernie Gendron, Rock criticism is dead, or so says Gina Arnold: some
issues

*Crossing Over: Artists, Styles, Formats Chair: Reebee Garofalo (pending)

1. David Ake, Jazz history and the problem of Louis Jordan
2. Bill Barlow, Voice-over: the making of black radio
3. Steve Pond, Crossing over: Bob James, the record industry, and the question of genre

3:30-5 p.m.: Panels

*Composition and Production: Changing Process Chair: tba

1. Michael Jarrett, The Inaudible Style: Jazz Production
2. Daniel Newsome, Lab notes: sessionography and the anatomy of popular music composition
3. Steve Lindeman, Fix it in the mix: compositional process as seen in changes to master recordings in the transfer from analog to digital in the reissue process

*Beyond the Noise: Moving Hip Hop Studies Into the Future Chair: tba

1. Kyra Gaunt, A Beat of Reality: Re-covering the Revolutions of Blackness with Two Turntables and a Mic.
2. Joe Schloss and Oliver Wang, Stuck on Channel Zero: Public Enemy Among the Hip Hop Discourses
3. Jon Caramanica, Keeping It Real: The Lyric as a Site of (In)authenticity

5-6 p.m.: Keynote address: George Lipsitz
6-7:30: Reception

Saturday, October 17, 1998
7-9 a.m.: Executive Committee meeting
9-10:30: Panels

*Urban Mappings: LA & Montreal
Chair: Paul Friedlander

1. Bernardo Alexander Attias, Let them eat wax, or urban struggle and commodity form: refiguring the Los Angeles riots in popular music
2. Deepak Narang Sawhney, The geology of slavery in L.A. gangsta rap
3. Lilian Radovac, And the machine is bleeding to death: images of post urban Montreal in the music of godspeed you black emperor

*Watching Music: Issues in music video Chair: Steve Elworth

1. Gil Bettman, The decline of narrative in rock videos
2. Gary Burns, Pop-up video: the rerun as spinoff
3. Belinda Morrow, But Beavis, everything does suck: watching Beavis and Butt-head watch videos

*Performing, Marketing, Theorizing Sexualities Chair: Josh Kun

1. Kathleen Iudicello, Sexed-up bodies: a hardcore look at the performed sexualities of lLil Kim and Foxy Brown
2. Cynthia Fuchs, Promote that ass: sex, kids, and markets
3. Gayle Wald, Women in rock: a girl issue?

10:30-noon: Panels

*Making Music, Movies, and Money Chair: Andrew Herman

1. Tim Anderson, No, but i heard the soundtrack: popular music and film studies
2. Rebecca Leydon, The soft focus sound
3. Daniel Goldmark, Swing wedding: image and commodification of jazz in the early Hollywood cartoon

*Producing Masculinities: Ethnicity, Funk, Camp Chair: Robert Walser

1. Glenn Pillsbury, Ethnicity roaming: self/other construction in heavy metal
2. Geoffrey Whittall, Makin it funky: the construction of funk grooves in the music of James Brown
3. Mitchell Morris, Camping masculinity in (the) disco: the case of the Village People

*Independent Performance, Aesthetics, and the Question of the Avant-Garde
Chair: Bernard Gendron

1. Christopher Robe, Pop avant-garde: a critical inquiry into the
various performances of Sonic Youth
2. Arnold Pan, Daydream nation: a critique of indie rock's everyday life
3. Roger Beebe, Race and Post-modern Rock: Troubling the Discourse on Postmodernism in Popular Music

Noon-1:30: lunch
1:30-3:30: Panels

*That Business of Music Chair: tba

1. Dick Weissman, Cultural studies and the music business
2. Robert Fink, Orchestral corporate, music and institutional identity in american = business culture
3. Paul Fischer, Eerie bedfellows on the lake: a fiscal and financial analysis of the rock and roll hall of fame and museum
4. Paul Friedlander, You say you have a revolution: the internet and music delivery

*What Label Is It On?: Producing a "Sound" Chair: tba

1. Durrell Bowman, We'll sail the big dominion...: independents day and Canada's Rheostatics
2. Erik Lindgren, The Barclay rock story (1961-71)
3. David Shumway, The label: soul's definitive institution
4. Rob Bowman, Stax, Motown, and the sonic manifestation of institutional difference

*Keeping It Real? Representational Politics After Authenticity
Chair: Kyra Gaunt

1. Brian Dolinor, Verbal Battles to Win a Hip-Hop Hegemony and a Redefinition of Black Masculinity
2. Robert D. DeChaine, Queercore is Dead: Reflections on the Politics of an Anti-Genre
3. Jennifer C. Waits, Is There Room for the Kids in Rock Music?: Ideological or Authentic Youth in Rock.
4. Delaney, Rebekah, Girl Power, Consumer Power?

3:30-5: Panels

*Genre: Constitutions and Confusions Chair: David Brackett

1. Norma Coates, Rocking the wasteland: rock music on television in the early 1960s
2. Trent Hill, a distinctive country voice: the Nashville sound and the genre crisis in country music in the late 1950s
3. Theo Cateforis, Alternative to what? Issues of style and genre in popular music studies

*Reissuing Records: Perspectives of Record Label Presidents and A&R
Managers Moderator: Gary Burns

Participants: Bob Irwin, Lee Joseph,
Erik Lindgren, Ted Myers, Rob Santos.

*People's Music: Approaching the Vernacular Chair: Bill Barlow

1. Austin B Caswell and Christopher Smith, Into the ivory tower: vernacular music and the American academy
2. David Sanjek, All folked up: critiquing old weird America
3. Thomas Swiss, That's me in the corner: rock autobiographies and vernacular theory

5-6:30 p.m.: Gen. Business Meeting

Sunday, October 18, 1998
9-10:30 a.m: Panels

*Music-based Communities: Local and Beyond Chair: Thom Swiss

1. Gage Averill, Male barbershop harmony
2. Marj Kibby, Yackety yak, don't talk back: music companies and music communities, conferencing and conflict
3. Tracy Duvall, A new tradition: integrating and juxtaposing genres in three Mexican concerts;

*Tunings: Radio Theories Chair: tba

1. Mark Percival, XFM: London's first and last alternative music station?
2. Susan Key, A simple business proposition: early radio and popular music
3. Geoffrey Hull, Radio airplay and record sales: the story from the charts

10:30-Noon: Panels

*Subcultures Chair: tba

1. Derek Kompare, Post-rocking the canon: the challenges of easy listening and the cocktail nation
2. Jason Middleton, Teaching subcultures
3. Jacqueline Warwick, Next stop squaresville: camp aesthetics in L.A..'s swing revival

*Rebels Chair: tba

1. Barbara Ching, Honky Tonk Heroes in *Rolling Stone*: How the Country Music Outlaws Got In
2. Lisa Soccio, Shock tactics and suburban scumbags: oppositionality and counter-identification in the rhetoric of punk
3. Greg Wahl, Very very easy to be true: Johnny Cash, John Langford, and populist insurgency