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"Turner, Tina."
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Some Will Hear: Tina Turner, African American Buddhist Teacher
Resumen Este artículo sigue la evolución de Tina Turner, que ha pasado de ser una practicante budista que habla de su práctica y sus creencias en medio de la promoción de su trabajo como artista establecida a ser una maestra budista laica (negra) en el álbum Beyond (Gold Edition) de 2009: Buddhist and Christian Prayers. En concreto, analizo la creación, el contenido y la promoción del álbum, situando las aportaciones de Turner en el contexto de su conversión al budismo Soka Gakkai Nichiren y la historia de la rama estadounidense de la Soka Gakkai Internacional. Con Beyond, Turner asume conscientemente el papel de maestra budista autorizada creando una liturgia sonora. El ejemplo de Turner desafía a los académicos que trabajan en el budismo estadounidense a prestar más atención a los aspectos únicos de la enseñanza y la práctica del budismo negro. La evolución de Turner también anima a los estudiosos de la historia religiosa afroamericana a matizar su comprensión de la \"Iglesia Negra\" como el lugar principal de la práctica religiosa afroamericana, la afiliación o la autoridad.
Journal Article
2023 RHM Symposium Opening Keynote: Sustaining a Dwelling Place for RHM
The following article is a rendering of the opening keynote speech given by Dr. Kimberly Harper at the 2023 Rhetoric of Health and Medicine (RHM) Symposium that took place in Minneapolis, MN on October 13–14, 2023.
Journal Article
The Cultural Significance of Timbre Analysis
This article is in three interrelated parts. In Part 1, I present a methodology for analyzing timbre that combines spectrogram analysis and cultural analysis. I define a number of acoustic timbral attributes to which one may attune when analyzing timbre, organized as oppositional pairs of marked and unmarked terms, in order to both aid in spectrogram analysis and account for some of this cultural and perceptual work. In Part 2, building from Allan Moore’s definition of four functional layers in pop texture, I argue for the adoption of a fifth layer, which I term the novelty layer. I study its construction in 1980s hit singles via the Yamaha DX7 synthesizer. The novelty layer is imbued with several layers of semiotic significance: it functions in opposition to the melodic layer, comprises instruments whose timbral characteristics are more resistant to blending with the rest of the ensemble, and often uses “world instruments” in 1980s popular music. This latter point is a reflection of the problematic treatment of world music by 1980s music culture. I use my approach to timbre analysis to define the timbral norms for the novelty layer as opposed to Moore’s other layers. In Part 3, I create a dialogic narrative analysis of “Do They Know It’s Christmas?” by Band Aid (1984) that demonstrates what it might mean to transgress these norms. This analysis, in acknowledging the problematic cultural associations of the song, illustrates the rich discourse that can be produced when timbre is made central to the analytical process.
Journal Article
The Essential Role of Backup Singers
This article explores the vital role of backing vocalists in popular music, starting with a remembrance of the late Cissy Houston’s legacy. It examines the essential skills required to succeed as a backup singer and draws on interviews and insights from professionals working in the industry today. By weaving together professional experiences with broader industry perspectives, this column highlights how backing vocalists shape the sonic landscape of both recorded and live performances.
Journal Article
The Rock Musical: From Creation to Curation (2015–2020)
In a post-#Me-Too/Black Lives Matter landscape, the gender- and race-politics of the Golden Age of rock have increasingly come under interrogation. Hip-hop challenging rock’s long-standing hegemony constitutes a sociological as well as a musical shift, with a production such as Andrew Lloyd Webber’s School of Rock (2015) perhaps seeming hopelessly old-fashioned in comparison with Lin-Manuel Miranda’s Hamilton from the same year. This article’s close and contextualized readings of four post-Hamilton jukebox rock musicals debate two principal issues. First, the extent to which the jukebox musical is fit for purpose: creative enough to repurpose rock’s cultural patrimony for an enriching night in the theatre. Second, how and why the curation practices of the rock musical reproduce or challenge the intersectional vectors of gendered and racial oppression, which render the genre problematic.
Journal Article