BLACK MUSIC CULTURE AREA, PCA/ACA 2007
Co-Area Chairs: William C. Banfield, Angela M. Nelson

Updated April 3, 2007

BLACK MUSIC CULTURE & HIP-HOP CULTURE AREA

PANELS/ PERFORMANCES/SCREENINGS

2007 NATIONAL PCA/ACA CONFERENCE

Boston Marriott Copley Place

BOSTON, MASSACHUSETTS

Thursday, April 5, 8:00–9:30 a.m.
Salon A
104 Black Music Culture I: Area Meeting
Chairs: William C. Banfield, BerkleeCollege of Music and Angela M. Nelson, Bowling Green State University

The Black Music Culture Area Co-Chairs will lead an interactive session with 2007 presenters to overview the presentations, special performances and screenings, and to discuss the aims and purposes of the area.

Thursday, April 5, 10:00–11:30 a.m.
Salon A
150 Black Music Culture II: Jazz and Blues I 
Chair: Rachel Martin, GeorgeMasonUniversity

"Murder in Her Eye": The Black Female Murderer in the Music and Fiction of the Harlem Renaissance
Jaclyn Cruikshank, University of Nebraska-Lincoln
 

From the Spirituals to the Blues: Uncovering Memory and Revealing the Blue Notes in Dessa Rose and Their Eyes Were Watching God
Donna Rogers, University of Central Florida

Who Owns the Blues? Who Owns Beauty?: Toni Morrison and Representations of the Blues and the Gendered Body
Rachel Martin

"Money Can't Buy Love, But It Makes a Good Down Payment": Contemporary Blues: The Black Woman's New Freedom Guide
Iris M. Lancaster, Texas A&M University

Acoustic Blues as an Oral Tradition
Jay W. Sarver, Indiana University of Pennsylvania

Thursday, April 5, 12:30–2:00 p.m.
Salon A
196 Black Music Culture III: Jazz and Blues II: Playing the Changes in “The Changing Same": Sites of Disruption in Jazz and Blues
Chair: Charles Hughes, University of Wisconsin-Madison

Opera as Politics:  Scott Joplin's Ragtime Opera Treemonisha
Ann Sears, Wheaton College

Negro's Place in Music: James Reese Europe and Forgotten Iterations of Blackness
David Gilbert, University of Wisconsin-Madison

Jazz and Popular Music in Houston between the World Wars
Tyina L. Steptoe, University of Wisconsin-Madison

Swimming In Tradition: Musicians In Search of the 21st Century Blues
Charles Hughes

Thursday, April 5, 2:30–4:00 p.m.
Salon A
242 Black Music Culture IV: Jazz and Blues III 
Chair: Daniel Hartley, University of Maryland-College Park

Incongruous Rhapsdies: Ironic Juxtaposition in the Early Performance Style of Louis Armstrong
Michael Borshuk, Texas Tech University

"We Insist!": Three Variations on the "Urgency of Now"
Barry L. Long, Mount St. Mary's University
 

Black, Brown, Beige, White, Tan, and the "People of Crayola": Jazz and Literary Ethnic Symphony in Edgardo Yunqué's No Matter How Much Your Promise to Cook or Pay the Rent You Blew it Cauze Bill Bailey Ain't Never Coming Home Again
Daniel Hartley

Thursday, April 5, 4:30–6:00 p.m.
Salon A
Black Music Culture V: Spirituals and Gospel
Chair: David L. Moody, Bowling Green State University 

Notes on Notation: Music in The Souls of Black Folk
Abigail Manzella, Tufts University

Tracing the Race: Finding A Usable Past in Histories of Gospel Music
Suzanne R. Lee, Saint Loui sUniversity

Carnal Melodies in the Pews? The Real Rap on Christian Hip-Hop, Rap and CCM
David L. Moody
 
Thursday, April 5, 6:30–8:00 p.m.
Salon A
Black Music Culture VI: Documentary Screening
Under the Radar: A Survey of Afro-Cuban Music (screening)
Chair: J. Plunky Branch, Under the Radar Films
 

Under the Radar is a documentary that introduces viewers to the music of Cuba and surveys the current music scene on the island. The video documents the travels and recordings of the film’s producer, jazz saxophonist, J. Plunky Branch, and shows the musical interactions and collaborations of Afro-Cuban musicians and rappers with Plunky and hip-hop producer Sir Fire.

Shot on location in Cuba in 2002, the footage is rare given the new more restrictive travel policies recently implemented by the Bush administration. Plunky Branch and executive producer Alvin Bailey traveled under the auspices of several US universities and worked with the humanitarian organization, Pastors for Peace, to secure authorization from the Cuban government to bring digital recording equipment and do this project. The two African-American producers traveled to Havana, Santiago de Cuba and Guantanamo, seeking out musicians for recording and collaborative works. The result is a compilation music CD and this 86 minute educational documentary video program.

Friday, April 6, 8:00–9:30 a.m.
Salon A
383 Hip-Hop Culture I: It's Bigger than G-Unit I: Hip-Hop Semiotics, Aesthetic, and Representation
Chair: Awad Ibrahim, Bowling Green State University

The God's Honest Beyond: Ghostface Killah, Performativity, and Hip-Hop Expression
Gavin Mueller, Bowling Green State University

“She's A Bitch”: Missy Elliott and the Borders of Gender Identity
Rebekah Burchfield, Bowling Green State University

Toward a Philosophy of Hip-Hop: Comparative Narrative Study of Gangsta-Rap, Film Noir and the "Gothic"
Jack A. Taylor, Bowling Green State University

Friday, April 6, 10:00–11:30 a.m.
Salon A
429 Hip-Hop Culture II: It's Bigger than a G-Unit II: Hip-Hop and the Poetics of Social Justice
Chair: Awad Ibrahim, Bowling Green State University

The Revolution will be Televised and Commodified: Dead Prez’s "Revolutionary but Gangsta" Aesthetic in the Market
Emily Neilsen, Bowling Green State University

"Bustin' Gats through Spittin' Raps": The Rhetoric of Violence within the Lyrics of DeadPrez
Eric Durham, Howar dUniversity

When Hip-Hop Meets Scripture: An Analysis of The Miseducation of Lauryn Hill
Erin Gentry, Bowling Green State University

Thugs and Families: How Discourses of Violence and Heteronormative Constitute the Racialized Panopticon
Melissa Altman, Bowling GreenStateUniversity
 
Friday, April 6, 12:30–2:00 p.m.
Salon A
475 Hip-Hop Culture III: Rap Music, Hip-Hop Culture, and Black Diaspora:University of California-BerkeleyAfrican Diaspora Studies Graduate Panel on Black Music
Chair: Lia Bascomb, University of California-Berkeley

"Tough Guys and Party People": The Racialization of Reggaeton in U.S. Media
Petra Rivera

Judgment Time: A Black Feminist Reading of Ms. Dynamite's "Judgement Day"
Ryan Rideau

"I Am That I Am": Explorations of Identity in Caribbean Music
Lia Bascomb

"Travelin' Man": Hip Hop, Academia, and the Pedagogy of an Emcee
Robeson T. Frazier

Friday, April 6, 2:30–4:00 p.m.
Salon A
522 Hip-Hop Culture IV: Brown on Black: Chicana/o and Indigenous Encounters with Rap, Reggae and Reggaeton
Chair: Pancho McFarland, ChicagoStateUniversity

The Rap on Chicano and Black Masculinity: A Content Analysis of Gender Images in Rap Lyrics
Leslie Baker-Kimmons, ChicagoStateUniversity 

Reggae, Globalization, and Indigenous Identity: Cultural Politics in Dignity's Diaspora
Luis Alvarez, University of California-San Diego

"Soy la Kalle": Radio, Reggaeton and Chicana/o Identity
Pancho McFarland

Friday, April 6, 4:30–6:00 p.m.
Salon A
568 Hip-Hop Culture V: Production/Reception/Texts
Chair: Sandra Zichermann, University of Toronto

The Ascension of Rap/Hip Hop in Popular Culture: Black Cultural and Musical Appreciation or Appropriation?
Baruti Kopano, MorganStateUniversity

The Crisis of the HipHop Intellectual
Anthony J. Ratcliff, University of Massachusetts-Amherst

You'se a Ho! The Effects of Hip-Hop on Young Women in Toronto
Sandra Zichermann

Friday, April 6, 6:30–8:00 p.m.
Salon A
609 Hip-Hop Culture VI: Hip-Hop Celebrities, Film, and Literature
Chair: Warren Webb, Missouri Western State University

"Trying to Bomb the System": Color and Race in Early Hip-Hop Film
D. Shane Gilley, Oklahoma State University

Jeff Mills: Black Music Culture and "The Bells"
Carleton S. Gholz, University of Pittsburgh   

Hate It or Love It: 50 Cent and the Game
Warren Webb

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