{"id":173,"date":"2014-01-28T11:22:08","date_gmt":"2014-01-28T16:22:08","guid":{"rendered":"https:\/\/sites.bu.edu\/musicsoc\/?page_id=173"},"modified":"2014-01-28T11:22:08","modified_gmt":"2014-01-28T16:22:08","slug":"fall-2013","status":"publish","type":"page","link":"https:\/\/sites.bu.edu\/musicsoc\/series\/fall-2013\/","title":{"rendered":"Fall 2013"},"content":{"rendered":"
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And the Colored Girls Go\u2026:<\/b><\/h2>\n

<\/b>African American Women Vocalists and the Sound of Race, Gender, and Authenticity in Rock and Roll
\n<\/b>A lecture by Maureen Mahon, New York University<\/p>\n


\n\"mecs_mm8x11\"<\/a><\/p>\n

Wednesday, December 4, 2013
\n<\/b>5:00\u20136:30 p.m.
\n<\/b>CAS 203
\n<\/b>725 Commonwealth Avenue<\/b><\/p>\n

Light reception immediately following talk<\/i><\/p>\n

This talk will reference the experiences and musical style of African American women such as P. P. Arnold, Ava Cherry, Merry Clayton, Venetta Fields, Gloria Jones, Clydie King, Claudia Lennear, and Doris Troy who brought their gospel-trained voices to hard rock during the late 1960s and 1970s as they recorded and performed in concert with artists such as David Bowie, Joe Cocker, Bob Dylan, Humble Pie, Elton John, Lynryd Skynrd, Pink Floyd, the Rolling Stones, the Small Faces, Steely Dan, T-Rex, and Neil Young.\u00a0 By putting these black background singers into the foreground and exploring the interracial, cross-gender collaborations in which they were engaged, I will demonstrate the ways they helped create the \u201cauthentic\u201d sound sought by the white artists with whom they collaborated. This consideration of the sonic presence of African American women in rock highlights the intersection of race, gender, and authenticity in the music of the classic rock era, a context in which romanticized notions of \u201cblack sound\u201d and black identity fueled the attraction (among artists and fans) to the sound these women provided.\u00a0 An additional goal is to draw attention to an underacknowledged aspect of black women\u2019s cultural production.<\/p>\n<\/div>\n

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PAST TALKS:<\/h1>\n
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2013 Musicology & Ethnomusicology Conversation Series<\/b><\/div>\n
Chornobyl Songs: Ukrainian Folklore and “Nature” after Nuclear Disaster<\/b><\/div>\n
a lecture by Maria Sonevytsky, University of Toronto<\/b><\/div>\n
\u00a0<\/i><\/div>\n
\"mecs_ms\"<\/a>
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<\/div>\n
Wednesday, October 2, 2013<\/b><\/div>\n
5:00 – 6:30 p.m.<\/b><\/div>\n
CAS 203<\/div>\n
725 Commonwealth Avenue<\/div>\n
\u00a0<\/i><\/div>\n
Light reception immediately following talk<\/i><\/div>\n
<\/div>\n
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Following the Chornobyl nuclear power plant disaster of April of 1986, late Soviet society began to conceptualize “nature” in radical, different ways. In late Soviet Ukraine, three contemporaneous social movements emerged after Chornobyl: a fledgling environmental activist movement, faith revivals rooted in neo-paganism and nationalism, and a prominent new aesthetic for musical practice labelled as “authentic folklore.” This paper examines the confluence of these three movements in the period following the Chornobyl disaster, positing that the trauma of such nuclear disaster catalyzed and invigorated conceptions of the “natural” that led, in part, to the profound social transformations that came with the fall of the Soviet Union in 1991.<\/p><\/blockquote>\n

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<\/div>\n
2013 Musicology & Ethnomusicology Conversation Series:<\/b><\/div>\n
\u00a0<\/b><\/div>\n
Musical and Bodily Difference in\u00a0Cirque du Soleil<\/i><\/b><\/div>\n
a lecture by Stephanie Jensen-Moulton, City University of New York, Brooklyn<\/b><\/div>\n
\u00a0<\/i><\/div>\n
\"mecs_sjm\"<\/a>
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<\/div>\n
Wednesday, September 18, 2013<\/b><\/div>\n
5:00 – 6:30 p.m.<\/b><\/div>\n
CAS 203<\/div>\n
725 Commonwealth Avenue<\/div>\n
\u00a0<\/i><\/div>\n
Light reception immediately following talk<\/i><\/div>\n
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Cirque du Soleil\u00a0produces sold-out performances world-wide on a nightly basis.\u00a0 They are a global circus featuring bodies from almost every continent and many nationalities, and it is universally acknowledged that the nouveau circus troupe\u2019s performers seem to defy gravity and bodily physics in order to do what they do, and audiences pay dearly to stare at their contortions and feats of daring, strength, and flexibility.\u00a0 Musical otherness comingles with bodily otherness in Cirque du Soleil\u2019s intersections with turn-of-the-century side shows and freak shows.\u00a0 From cleaned-up hip hop tracks to countertenors (La Nouba), and Tuvan throat singers to China-pop (Worlds Away), the Cirque delivers a soundtrack worthy of its open acknowledgement of its search for anomalous bodies, advertising specially for performers within \u201cother disciplines\u201d such as dislocation and other \u201crare and unusual forms of artistic expression.\u201d Cirque du Soleil\u2019s support of emergent artists such as freak show photographer Wayne Schoenfeld will also form part of this talk.<\/p>\n

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We would like to thank our co-sponsors for this series:<\/b><\/p>\n

Department of Musicology & Ethnomusicology
\nBU Arts Initiative, Office of the Provost \u2013\u00a0www.bu.edu\/arts<\/a>
\nAmerican & New England Studies Program
\nWomen’s, Gender & Sexuality Studies Program
\nDepartment of Anthropology<\/p>\n

If you have any questions, please contact Dan Singer,\u00a0singerde@bu.edu<\/a>.<\/p>\n

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 <\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

And the Colored Girls Go\u2026: African American Women Vocalists and the Sound of Race, Gender, and Authenticity in Rock and Roll A lecture by Maureen Mahon, New York University Wednesday, December 4, 2013 5:00\u20136:30 p.m. CAS 203 725 Commonwealth Avenue Light reception immediately following talk This talk will reference the experiences and musical style of […]<\/p>\n","protected":false},"author":6987,"featured_media":0,"parent":131,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/pages\/173"}],"collection":[{"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/users\/6987"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/comments?post=173"}],"version-history":[{"count":2,"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/pages\/173\/revisions"}],"predecessor-version":[{"id":177,"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/pages\/173\/revisions\/177"}],"up":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/pages\/131"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/musicsoc\/wp-json\/wp\/v2\/media?parent=173"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}