Disruptive Divas: Feminism, Identity and Popular Music PDF
Preview Disruptive Divas: Feminism, Identity and Popular Music
Disruptive Divas STUDIES IN CONTEMPORARY MUSIC AND CULTURE JOSEPH AUNER, Series Editor Associate Professor of Music The State University of New York at Stony Brook ADVISORY BOARD Philip Brett, Susan McClary, Robert P. Morgan, Robert Walser MESSIAEN'S LANGUAGE OF MYSTICAL LOVE edited by Siglind Bruhn EXPRESSION IN POP-ROCK MUSIC A Collection of Critical and Analytical Essays edited by Walter Everett JOHN CAGE Music, Philosophy, and Intention, 1933-1950 edited by David W. Patterson POSTMODERN MUSIC / POSTMODERN THOUGHT edited by Judy Lochhead and Joseph Auner New York Schools of Music and the Visual Arts edited by David Patterson Disruptive Divas: Feminism, Identity, and Popular Music by Lori Burns and Mélisse Lafrance D i s r u p t i ve Divas Feminism, Identity & Popular Music Lori Burns and Mélisse Lafrance Routledge New York and London Studies in Contemporary Music and Culture Joseph Auner, Series Editor Published in 2002 by Routledge 270 Madison Ave, New York NY 10016 Published in Great Britian by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Copyright © 2002 by Routledge Routledge is an imprint of the Taylor & Francis Group. Transferred to Digital Printing 2009 All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data Burns, Lori Disruptive divas : feminism, identity, and popular music / Lori Burns and Mélisse Lafrance. p. cm. —(Studies in contemporary music and culture) Includes bibliographical references and index. ISBN 0-8153-3553-9-ISBN 0-8153-3554-7 (pbk.) 1. Popular music—1991-2000—Analysis, appreciation. 2. Women in music. 3. Gender identity in music. 4. Feminism and music. I. Title: Feminism, identity, and popular music. II. Lafrance, Mélisse. III. Title. IV. Series. MT146 .B87 2001 782.42164'092'273-dc21 2001019249 Publisher's Note The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original may be apparent. Contents General Introduction vii Acknowledgments ix Preface xi 1 A Cultural Studies Approach to Women and Popular Music 1 Mélisse Lafrance 2 "Close Readings" of Popular Song: Intersections among Sociocultural, Musical, and Lyrical Meanings 31 Lori Burns 3 Tori Amos, "Crucify"(1991) 63 The Problems of Agency and Resistance in Tori Amos's "Crucify" 63 Mélisse Lafrance Musical Agency: Strategies of Containment and Resistance in "Crucify" 73 Lori Burns 4 Courtney Love (Hole), Live through This (1994) 97 Cultures of Injury: Courtney Love on Violence against Women and the Patriarchal Aesthetic 97 Mélisse Lafrance Musical Force: Violence and Resistance in "Violet" 122 Lori Burns CONTENTS 5 Me'Shell Ndegéocello, "Mary Magdalene" (1996) 133 Textual Subversions: The Narrative Sabotage of Race, Gender, and Desire in the Music of Me'Shell Ndegéocello 133 Mélisse Lafrance Revising the Sexual "Gaze": Musical Attributions of Power in "Mary Magdalene" 147 Lori Burns 6 P.J. Harvey Is This Desire? (1998) 169 Terrains of Trouble: P.J. Harvey and the Topography of Desire 169 Mélisse Lafrance The Crafting of Desire: Musical Voice and Musical Embodiment 187 Lori Burns Appendix 1: Song Lyrics 213 Appendix 2: Reductive Analysis: Notation Terminology 223 Notes 225 Bibliography 235 Index 251 vi General Introduction As we enter a new century, many of the established historical narratives of twentieth-century music are being questioned or reconfigured. New approaches from cultural studies and feminist theory, methodologies adapted from such disciplines as literary theory,p hilosophy,a nd anthro- pology, and debates about the canon, postmodernism, globalization, and multiculturalism are profoundly transforming our sense of both what the repertoire of twentieth-century music is and how it should be under- stood. "Studies in Contemporary Music and Culture" provides a forum for research into topics that have been neglected by existing scholarship, as well as for new critical approaches to well-known composers, move- ments, and styles. Volumes in the series will include studies of popular and rock music; gender and sexuality; institutions; the audience and reception; perfor- mance and the media; music and technology; and cross-cultural music and the whole range of the crossover phenomenon. By presenting inno- vative and provocative musical scholarship concerning all aspects of cul- ture and society, it is our aim to stimulate new ways to listen to, study, teach, and perform the music of our time. Joseph Auner vii This page intentionally left blank Acknowledgments Lori Burns: I would like to thank the Social Sciences and Research Council of Canada, as well as the Faculty of Arts and Research Services of the University of Ottawa for grant support during the research of this project. A very special thank you is extended to Dr. Edison Amos, who generously granted copyright permission for Tori Amos's "Crucify." Sincere thanks also to the graduate students who worked with me over the past several years, especially Zacy Benner, Maya Chaly, Patrick Crosley, and Christina Linklater. My colleagues Murray Dineen and Paul Merkley, and our librarians Deborah Begg and Luc B édard at the University of Ottawa, have all been and continue to be tremendously helpful and supportive. To my more distant colleagues who are always willing to discuss tricky matters, I offer my gratitude: John Covach, Walter Everett, Ellie Hisama. It is also a pleasure to express my appreci- ation to my coauthor in this endeavor, M élisse Lafrance, for her brilliant thoughts and her fierce commitment to her work. Finally, I humbly offer my deep gratitude to my family (my parents and siblings, and my own children and husband), for all of their patience and love. Mélisse Lafrance: I am deeply grateful to my family, immediate and extended, for their love and support throughout the drafting of this man- uscript. I am equally indebted to the Oxford group: Tamar Blickstein, Dominic Brookshaw, Oliver Davis, Stephen Forcer, Amelia Glaser, Christina Howells, and Robert McGill for their unwavering intellectual stimulation and invaluable friendship. Heartfelt thanks also go to Charlotte Ross, for her patient readings, her insightful suggestions, and her precious companionship. Finally, I would like to extend my sincere ix
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