Professional Documents
Culture Documents
graduate school years in the North Carolina Triangle. It was a family-owned restaurant in the
Hayti District of Durham, nestled amidst the Ghanaian grocers and Senegalese hair braiders and
Botanicas filled with Orishas: a microcosm of the Black Atlantic in this business district built by
emancipated African Americans at the turn of the 20th Century. It was here I met Madame Liq-
uidator, an auntie of the owner, Miss Erica. She would put on Derek Harriot records and tell me
about her days as a professional stage dancer in the reggae dancehalls of Jamaica in the 1970s.
When I asked her where she got her name, Madame Liquidator told me that in her hey-
day, her talent was known to turn all the men to liquid.
Madame Liquidators presence at the restaurant would ebb and flow. With the same style
in which she had once wound her way through the musical circuits of Kingston, she looped
through the growing Caribbean neighborhoods of 1980s New York, and circulated through odd
jobs for her friends in the Jamaican diaspora. Eventually, I headed off to fieldwork in Senegal
But Madame Liquidators stories kept me aware of the relationship of feminine fluidity to
the movement of popular music: when the subwoofer in my Taurus hits is warmest, lowest notes
and all of my stress is sublimated in the bass vibrations; when a gospel singer moves from a
word into a melismatic riff at the COGIC Church in Newport News; when the San Francisco
dancefloor destratifies from a series of individuals into a web of heat and touch. There is a pover-
ty of language with which to study the medium of musical liquiditythis feminine force of mu-
sical flow. I imagine Madame Liquidators description of her own musical affect as a cipher for
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womens and girls engagements with music. Amidst a popular music historicism based on
charts, genres, chord structures, and texts, I argue that transformative musical creativity can be
felt in the erosion of formal and discursive fixity at the waters edge.
Notions of liquidity, flow and fluidity line the history of popular music. They work as
metaphors for sonic qualities and creative processes. They inhabit the musical imagination in the
figures of flowing streams, floating vessels, liquid muses, and drowning teardrops: Blondies
Tide is High, The Dubliners Irish Rover, The Beach Boys Surfer Girl, Cocteau Twins
and Styxs odes to the mermaid Lorelei, Duran Durans Rio. These songs are not only themed
on water; they infuse buoyant, tidal rhythms and soundscaped instrumentals into their produc-
tions. Liquidity has been a critical space for feminine musical presence and, I will argue, self-au-
thorship, that has always run beneath an overwhelmingly masculine popular music commons.
Madame Liquidator surfaces again and again in the tides of popular music; most recently, she
appeared in a series of ocean-saturated music projects that collected in a loose digital genre
called Seapunk.
Much more than a topic, theme, or form, feminine flow is a musical feeling. A feminist
ontology inspires us to move away from an analysis of products and production to ask questions
about the materiality of musical movement itselfemerging genres, experimental forms, embod-
ied practices, and transpersonal and even transhuman relationalities. In doing so, our research
makes legible and, in turn, recognizes and resources, the creative work that women do. This ap-
proach is especially useful for attending to underground music that may never see the popular
stage or global media industries, but is immensely influential in the tides of musical change and
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stylistic emergence. It also provides a context for imagining musical creativity beyond a par-
adigm of musical developmentthe notion that a new commercial genre takes from and eventu-
ally supersedes previous modesand attending to the open field of sounds, styles and sensations
feminism(s), the notion of liquidation offers a different kind of access to the question of feminine
difference as it works through popular channels. Rather than reproduce binaries that govern pop
and its Other. Drawing from work on Black aesthetics, media ecology, and feminist materialisms,
I sound a feminine ontology of musical practice that emphasizes the fluidity of affect, movement
and self-writing over notions of genre or identity. For this volume on the theory and politics of
ambiguity, I argue that this musical movementthis flowconstitutes a different kind of musi-
cal materiality: an always-returning force that, over time, is the wellspring of musical transfor-
a business for the sake of fast cash, for instancebut as an inevitable process of loosening that
any temporary pop crystallization must necessarily undergo. Liquidation is a mode of musical
weigh the action of cultural saturation, suspension, and erosion alongside the politics of pop ar-
"
Liquid Materialisms
"
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Witness the flowfrom hip, to limb, to fingertip and tip-toethat guides the bodies of
young Cuban devotees of the Orishas. In ritual dance, these girls embody the water deity
Yemaya, a figure who winds throughout the belief systems of the Black Atlantic and inhabits the
seam at which the river meets the sea. They wear billowing deep blue silk dresses over seafoam
white skirts, moving with the rippling rhythm of the drummers: a rhythm made from and for
Yemaya herself, who moves through the bodies of these ritual participants.
How to weigh the embodied, feminine flow of creativity beyond conventional modes of
musical textualitythe structures of the rhythm, the watch count on the youtube video, the
length and nature of the live recording, the language of the chant, the accuracy of the dancers
response to the drummers work? It is much more difficult to assign value to the feminine force
that inhabits this musicthe power of the feminine deity, the social influence of the priestesses,
the hidden ways in which the dancers themselves guide the drummers. This poverty of aesthetic
language is accountable for the notion of womens music that is secondary to music itself:
an echo, dependent on the enunciation of the former. In imagining emerging feminisms, Rosi
Braidotti, echoing Luce Irigaray, sounds an emergent feminist practice that breaks established
regimes of representation (in which the figure of woman represents the absence of masculine
subjectivity) to recognize the primacy of feminine being beyond conventional notions of gender
or genre.
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"
Within the patriarchal regime of binary representation, womens musical production is femi-
nizedthat is to say, marked by its absence of masculine musicalityin essence, by its lack of
music, itself, exactly. Instead, we get something music-like, or music-lite: ephemeral voices, am-
For a popular music industry based in the historical sale of sheet music, the marketability
of signal-clear radio novelties, and, later, three-minute singles, feminine creativity was often ar-
ticulated to marketable product forms (Edith Piaf and Bessie Smith capitalized on the formats of
their time, using stylized songwriting and voices to oversaturate and innovate upon established
pop genres), while also flourishing in the realm of live performance, where a less measurable
product allows for creative play. Later, the long player (LP) format allowed for greater recorded
experimentation by women vocalists, particularly in the genres of jazz, exotica and, later, folk
and singer/songwriter music, Roberta Flack and Joni Mitchell amongst them. Home recording in
the indie rock era allowed genre experimentalists PJ Harvey and Cat Power, among many others,
to enrich their production with unconventional formats and vocal elements. The digital age,
which offers multimedia experimentation and new models of publicity and distribution, has wit-
nessed immense genre innovation by women artists. A different set of metrics works to recognize
Irish artist Enya, a prodigious member of Celtic family group Clannad, found her solo
work marketed in the New Age category to phenomenal international attention. Reviews of her
phenomenal 1988 Geffen release, Watermark, and its emblematic single Orinoco Flow focuses
on the musics lack of conventional structurea common critique of the New Age genreand
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overlooks the influence of the traditional sea chanties, the phonemic wordplay of the Irish poets,
or the soundscaped aesthetic of Irish folk music that inflect her work. From Robert Christgau:
away, sail away, sail away) becomes less material each time it is chanted, Christgaus sugges-
tion that the artist is posing as an angel and appealing to listeners orientalist tendencies hardly
seem so condemnable in the crotch-centered world of howled punk verses from which contem-
porary pop criticism emerged in the 1970s. In fact, the delimitation of a Celtic soundscape was
very political for Irish nationals beset with the ongoing violence of the anti-colonial Troubles,
which were met with heavy urban bombing in the year of the albums release. Under the auspices
of rejecting feminine stereotypes, criticism of the album was overly concerned with what the
music was or was notdiscernible, eccentric, vulgar, or groundedrather than what it did.
Whats missing are the kinds of embodied memories and affects that concern the amateurand
Reminds me of my beautiful mother and when she'd always play this song when
I was young.aicMadSeason
As beautiful and enchanting as Celtic music and singers are, no one can even
come close to touching how incredible Enya's music is. Her music and songs are
just so rich and deep.Wildturkey1960
My teacher used to always play this woman's music and nothing else could ever
compare to how relaxing it is. I could never find it because I couldn't remember
the words, only the melody.Damian Trahan
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I remember this song from elementary school. The librarian always played this
song when I walked in the library. That's when I first heard this song.Gilligan
Hunter
"
One wonders how many women vocalistsparticularly those drawing from indigenous musical
aestheticshave been marginalized to "New Age" by the media industries that mistake sound-
scape for lack of structure, deny the political possibilities of sensory communication, or are un-
aware of the global postcolonial context from which the music arises.
Nearly twenty years after Christgaus dismissal of Enyas work, Tyler Remmert from
PopStache transposes the masculine critics stance on Enya to dig into electronic music produc-
er Grimes, a leader in the Seapunk movement who commands a largely female fan base.
While neglecting the instrumental aspects of the music, both reviewers gesture toward a sonic
and vocal lack on the part of these women artists. What of the affective work the music of does
on the listeners body? The political agency of music is rendered inaudible when read solely
through its status as a standalone product rather than in the substance of its relationality: its
oceanic feeling. By opening up the question of musical affect: of the conversation between the
sensory body of the artist and audience, we open up the question of a different register of the po-
music.
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How does feminine flowas metaphor, ontology, and practiceinflect different kinds of
musical form and musical knowledge? In a patriarchal light, the measures of pop successpub-
lic appearance, the wielding of technology, the decision-making power of studio production,
based on the musical senses and musical experience, accounts for the critical importance of mu-
sical flow to new forms, articulations, and projects in popular music, from the enunciation of
novel hip-hop styles to the emergent dance-floor politics of liquidarity.iv The embodied, senso-
ry musical realm, Barry Shank tells us, is nothing if not political: The experience of musical
beauty, when it emerges from unfamiliar sounds or surprising combinations of sounds quite
common, has the capacity to redistribute an auditory sensible and to change, thereby, the sonic
sens of the political.v This kind of work calls for an embodied, ethnographic, or practice-cen-
tered engagement with its subject matter that overflows the textual, generic, and conceptual cate-
gories that work to discipline popular music studies. A new generation of scholarship traces a
range of musics, including Transatlantic dance pop, European club scenes, global sound tech-
nologies, and American hip-hop in terms of their affect, sound, dance, and vocality.
Cultural studies has turned to philosophies of ontologythat is to say, the question of the
state of being and of relations between beingsof what is and what mattersto ask why we have
historically chosen to focus on certain materials for documentation, analysis, historicization and
contextualization, and why others become immaterial to us. We revisit and interrogate the nature
of where the substance of communication lies, how to make the unseen, embodied, and other-
wise felt dimensions of musical affect legible, and how we account for the materialities of aes-
thetics when we wrestle with a legacy of musical study based on texts. The boom in sound stud-
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ies as a critical inter-discipline evidences this concern; beyond the sonic, ontological questions
"
Take Me To The River
College, Nina Simone interpreted the African American gospel standard, Take Me to the Water,
which was later reversioned by Reverend Al Green for his hit, Take Me to the River. She im-
provised new lyrics atop the refrain of her own recorded arrangement of the song, which ap-
dancer in the tumbling refrains of the song, rising from her pianists bench to dance an extended
interlude, undulating contrapuntally, hips and shoulders, rolling her arms as if to signify waves in
a style similar to that of the Yemaya devotees in ritual trance. From the musical break, extending
This performance, and the mixed Creolisms it synthesizes in its instrumentation and
style, evidences the critical historical fluidity of musics. The original recording, undergirded by
sparse production, is lyrically open, leaving room for vocal improvisation. Simone oversaturates
this space with spontaneous pawns to the water, stretching the repeated refrain until it takes on
new rhythmic patterns, taken up by her backing band while she dances across the stage. Her lo-
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cus of musicmaking moves from the instrument and mouthpiece to the swaying feminine body:
the kind of aesthetic fluidity Daphne Brooks locates at the heart of Simones work. As a re-
sponse to these narrow definitions of black sound, Simone turned other corners and crossed over
and out of constricting musical divides, challenging her audiences to consider and perhaps more
Take Me to the River presences the artists productive relationship with bodies of wa-
ter, which led her to spend a great deal of time in self-imposed political exile on the beaches of
the Black Atlantic. Simone describes her sojourn in Barbados as a space where she drifted
along, trying to adjust to changes in [her] life, enjoying simple pleasures on an island where
surf rolled up outside my window, just beyond the swimming pool.viii It was a place where the
beyond the horizon existedix Simone spent more time near the tide during her years at another
reach of the Atlantic, in Liberia, where she loved to walk on the beach. Simones liberatory mu-
The Morehouse performance drew from the roots of Black vernacular music, the prove-
nance of the Take Me to the Water hymn as one of a host of gospel songs (Goin down to the
River of Jordan and Roll, Jordan, Roll among them) that were used for immersion baptisms
and infused with longing for return to a promised land on the other side. Many songs of en-
slaved African people in the New World locate waterways as both a space of longing and for
mobilityroutes by which they might steal away to freedom. Wade in the Water was a classic
spiritual that referred both to the baptism of believers in white or blue robes, and to the routes by
which enslaved people could evade surveillance as they escaped to the underground railroad.
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Beyond the referential and metaphoric valence of these texts, Caribbean philosopher Edouard
Glissant locates a politics of otherness that, independent of the institution of colonial domination,
lies in the oceanic abyss and moves through waterways. He limns, in the medium of water that
For though this experience made you, original victim floating toward the seas
abysses, an exception, it became something shared and made us, the descen-
dants, one people among others. Peoples do not live on exception. Relation is
not made up of things that are foreign but of shared knowledge. This experi-
ence of the abyss can now be said to be the best element of exchange.
"
Glissants work established the discourse of creolit based on the cultural confluences of his di-
asporic home: a global subjectivity based not in notions of distinct, essential identities, but in the
from their homelands by the middle passage, belonging is established through the arts, poetry,
music and movement: an alternative political economy. In approaching Simones work as fun-
sampling, seasoned re/turn, and deconstruction relationship to the body of popular music become
legible.
"
Mami Watas Global South
Pop liquidity works through routes: always-already crisscrossed cultures in global trans-
lation and transition. The sea was the medium for capitalist globalization in the form of an ex-
pansive European modernity, which sought first to dominate and control the seas and waterways,
and then to colonize the lands across the waters. The white/patriarchal domination of water
worlds remains present in pop genealogies: on Martin Dennys exotica album covers, decorated
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by smiling Polynesian women on the beach, in the luxury liners that rush through the history of
music television, atop the Neptune-like domination of the California coast with surfboards and
the colonial sublime of yacht rock. But for populations for whom globalization has meant domi-
are both the route of return to ancestral homelands and toward the possibilities of different fu-
tures. Harry Belafontes Civil-Rights-Era Banana Boat Song (Day O), the song of a grounded
night-shift dockworker longing for his long-lost ancestral home even as he hides the deadly pres-
ence of a black tarantula in his product, for instance, has a very different valence from that of
Christopher Cross Reagan-era Sailing, in which the narrator, already rich with daydreams,
imagines a miraculous trip to a land in which serenity and tranquility can be maintained
eternally.
terethnic global pop artists is emerging from populations whom hold water in ritual esteem:
women, the African diaspora, colonized peoples of global coastlines. Mami Wataor, in Latin
America, Yemaya or Yemanjais a global figure who appears wherever colonial ships touched
the cultural landscape. Her identity, according to Henry James Drewal, is as slippery and amor-
phous as water itself, embodying sacred figures from a host of seaborne culturesa Hindu wa-
ter goddess, the Catholic saints, a Polynesian snake cult andmost recognizablyYoruba belief
from the region surrounding the Nigerian coast.x In Bahia, Cuba, Puerto Rico, Senegal, Ghana,
and Liberia, popular music is infused with her devotions, rhythms and movements. Popular ma-
terial culture and fashion in these regions also draw from the Mami Wata persona: sometimes she
is depicted as the three Greek sirens; others, as a Hindu water snake goddess; other times, she is
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said to carry a golden mirror that she uses to lure sailors into marriage in keeping with European
mermaid tails. The diasporic nature of Mami Watas character speaks to the long processes of
waterborne globalization that have led to contemporary circumstances of mass global migration
and upheaval.
Mami Watas powers, however, extend far beyond economic gain. Although for
some she bestows good fortune and status through monetary wealth, for others,
she aids in concerns related to procreationinfertility, impotence, or infant mor-
tality. Some are drawn to her as an irresistible seductive presence who offers the
pleasures and powers that accompany devotion to a spiritual force. Yet she also
represents danger, for a liaison with Mami Wata often requires a substantial sacri-
fice, such as the life of a family member or celibacy in the realm of mortals. De-
spite this, she is capable of helping women and men negotiate their sexual desires
and preferences. Mami also provides a spiritual and professional avenue for
women to become powerful priestesses and healers of both psycho-spiritual and
physical ailments and to assert female agency in generally male-dominated soci-
eties.xi
"
According to Drewal, Mami Wata and related water goddess have become more prominent as
rapid urbanization transforms the African coastline and new modes of global migration take root
Two artists have anchored contemporary pop movements that surround and collect in
Caribbean creole cultures: Rihanna and Beyonc, whose vastly differential stylings have been
nonetheless conflated by the notion of a pop Battle of the Divas.xii Rihanna, whose Caribbean
homeland is thick with images of mermaids and Afro-Pentecostal water rituals, self-consciously
evokes the figure of Madame Liquidator time and again in her videos, her photo shoots, and no-
tably, in her shimmering, loosened vocal stylings. Her video release for Pour it Up, in particu-
lar, evokes an aesthetic of liquidationin this sense, the relationship between the undulations of
the feminine body and the redistribution of paper money toward circulation exclusively between
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women dancers and patrons (who are, in the end, one in the same). A send-up of the women-as-
exotic-dancer trope in hip-hop, rock, and country videos alike, Rihanna poses here as both sexual
purveyor and consumer in an underwater strip club filled with meticulously-lit, lush, drops of
liquid bouncing off bodies, walls, and floors. In her earlier clip for Man Down, Rihanna flips
her thigh-length red weave around her body while dancing on a raft and in the surf, describing
her revenge against an abusive partner, punctuating her story with loose patois wordplay.xiii In
addition to her musical-aesthetic fluidity, the artist is also styled to a mermaid aesthetic for pho-
tos, with her crystal formalwear cut into fishtails and her magazine cover shoots featuring flow-
Like the critique of Enya and Grimes, a host of articles, tweets and posts mocked Rihan-
nas liquified, patios vocal play on her 2016 release, Work. Again, a gaggle of lay critics
(something BuzzFeed called, simply, The Internet in their article on the backlash against
"Work") reduced the songs increasingly passionate, affective audibilityinspired by the in-
creasingly destratified movements of a dancehall stage performer, or the climactic arc of a well-
coordinated sexual encounterto the problem of its illegibility.xiv Given the way the song cap-
tivated Rihannas digital fandom, evident through a host of high-visibility dance videos dedicat-
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ed to the song by choreographers Kiki Palmer and Matt Steffanina, one wonders whether if it
was the Black woman artists sexual self-possession that made the white/masculine gatekeepers
of The Internet so uncomfortable. No matter; the song was the artists 14th Billboard Hot
100 chart-topper, ranking her the third-most charted artist in pop history, just ahead of Michael
Jackson.
Beyonc, a native of the Gulf port city Houston with roots in the Afrodiasporic Car-
ibbean, evokes two distinct water goddesses on her last two releases. The figure of Yemaya
dances through the hidden flows of Beyoncs 2013 self-titled video album, steeped as it is in
seafoam, sunsplash, and an elusive politics of pop transformation. Most notably, on a song dedi-
cated to her daughter, Blue, Beyonc wears a shimmering blue Carnivle costume and rolls in
the lapping surf, her waist-length blonde hair waving in the water. As the video album draws to a
close with a lullabye, she disappears into the ocean with her daughter in her arms. Drunk in
Love, the albums signature track, features an extended series of shots of Beyonc as water
goddess, dancing in the moonlight tide as her loving husband looks on, peripheral to the albums
decidedly feminine cosmology. She will, she says, ride him like a surfboard. Critically, the fan
base for this album was largely women, and its market appeal tapped into a feminine market-
place that lovers rock has also occupied: body-oriented music, circulating lyricism and thick vo-
cal production, and a certain musical timelessness that sacrifices novelty pop hooks for the sake
of sensational immersion. Whatever the inspiration for these artistic choices, the oceanic aesthet-
ics and imagery of the work offers a certain aesthetic timelessness that contrasts the teleological
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Beyoncs surprise May 2016 video album release, Lemonade, was quickly met with crit-
ical interest in her references to river goddess Oshun, said in many traditions to be the sister to
Yemaya. Wearing the billowing yellow robes of Oshuns Caribbean devotees and wading into the
slow-moving waterways of the Gulf Coast, the artist, according to Joan Morgan, evokes the per-
Like the patron saint it claims as its sire, the film utilizes Oshuns needle to stitch
the albums singular story into a larger diasporic narrative of community com-
prised of black womens struggle, sacrifice, survival, and transformation. Of all
the tools Oshun is said to carry, perhaps the most powerful one is her mirror. The
layperson mistakes this for a sign of her vanity. Those of us who know her a bit
more intimately however recognize the mirror as the tool Oshun holds up to our
faces when she requires us to do the difficult work of really seeing ourselves.xv
"
The artists engagement with these watery goddesses likely emerges from the confluence of her
creole milieu on the cusp of the Black Atlantic, from her own artistic interest in Yoruba-influ-
enced imagery, and from the influence of her many collaborators, many of whom themselves
have personal engagements with the legacy of the Yoruba-influenced Orishas. Beyoncs work,
steeped as it is in seafoam, sunsplash, watery ritual and an elusive politics of pop transformation,
plays with the question of whether or not she is a feminista question that, for all the albums
representational richness, is an obsessive one for the pop blogosphere. Beyond the neoliberal
strongarm that is bad online cultural criticism, Beyonc makes space for exuberant women to
locate safety and exaltation in the water: to immerse themselves in performative fluidity against
"
Pooling the Pop Undercommons
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discursive fixity at the waters edge, where powerful practitioners of pop are hiding in plain
sight. TLCs Waterfalls has enjoyed an extended commercial life, with nearly 37,000,000 plays
on youtubenearly 61 times the amount of plays for Coolios Gangstas Paradise, which beat
TLC out for the #1 Billboard spot in 1995, their mutual year of release.xvi The production is un-
dergirded by a buoyant wah-wah guitar rhythm and sparse, rolling high hats; its cautionary lyrics
lull into a loose, unrhymed chorus saturated with motherly wisdom: Dont go chasin waterfalls/
please stick to the rivers and the lakes that youre used to.xvii The visual aesthetics of the video
match the production and theme; the three members of the group are transparent water figures,
dancing in a water world absent any masculine presence. A few years in Waterfalls wake,
Aaliyahs iconic, wah-wah and tom-tom saturated 2001 release, Rock the Boat, featured her
undulating on the prow of a yacht or emerging from the surf. Her team of white-and-blue-clad
backup dancers pair up and dance together, recalling Yemayas bisexuality and love of her own
mirror image. No males appear in the scene. Because Aaliyah was killed in a plane crash just
hours after the island video shoot, she has been memorialized as a mermaid by fans; notably her
album sales skyrocketed after the videos release in the wake of her death.xviii
Another enduring voice with an unusual pop career arc, Sade, has taken decade-long hia-
tuses between albums while staying true to her singular, aquatic aesthetic: a hazy contralto de-
scribed by Diva Devotee as rounded, velvety, and effortless.xix At the confluence of the quiet
storm and lovers rock genresformats that feature women singers largely women fan basesthe
Nigerian-British artist (who grew up near the shores of both nations) often accompanies her hazy
contralto with compositions based on or in the water, including her song on 1992s Love Deluxe,
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Mermaid, and in the video for Ordinary Love from the same album, in which the artist in-
habits a mermaid figure on a halfshell who, surfacing to dry land to find a lost love, longs to re-
turn for the water. As she inscribes diaspora and longing into the seascapes of her work, Sade
flips the scripts of the exoticization and fetishization of the creole woman to possess a water-
When American vocalist Jhen Aiko tapped into the diasporic/aquatic aesthetic with her
2011 self-released mixtape, Sailing Soul(s), she found heavy critical comparison to Sade for this
very reason: immersed in watery production and fluid vocality, Aiko figures the Global South in
her lyrics and in the nuances of her style, referencing her Japanese, Native American and Afro-
Caribbean heritage. A vocal wash of chorus and echoplexed, waterlogged kick drums muffle
through the song, plucked strings ping like water droplets, and samples of Polynesian instrumen-
tation that recall the sonic trips of the exotica genre punctuate the production: sliding steel gui-
tars, harps, extended unstructured vocal improvisations that call attention to the textures of the
(always feminine) voice. Rhythms become more circular and less punctual, less linear and pro-
gressive, as the ambulatory function of the music is subverted for non-landlubbing movement;
drums are often filtered through phasers that make them sound as if there are bobbing just be-
neath the surface. If RocknRolls most enduring, muscular form was by design climactic, built
around the singular, driving masculine orgasm, then the oceanic works differently upon the body,
sustaining an even stratum of aural pleasure. Whispering female voices and other soft vocal
techniques are known to stimulate the human ASMR reflex, a rolling sensation of bodily stimula-
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The modes of saturation by which these works encounter the pop milieu are an alternative
to the colloquial Billboard hit single. They ebb and flow through the history of popular music;
many become timeless anthems used over decades of high-school graduations and American Idol
auditions. Rarely, if ever, do they gain novelty as beacons of new, distinct pop genres; in fact,
they are difficult to place in terms of a genealogy of pop development. Popular music studies,
like most social sciences, cultural studies, and humanities, concerns itself with formationsgen-
res, charts, soundscan tallies. Following Hall, Hebdige, and the Birmingham School, new move-
ments in media and cultural studies are concerned with conjunctures: historical and spatial con-
vergences that Lawrence Grossberg describes as the articulation, accumulation, and condensa-
gether in the form of a cultural formation: crystallizations, or objects, enmeshed in the sounds
and styles of pop production. While the formations themselves are measurable and subject to
analysis, the processes by which these formations materialize, hang together, and fall away are
not met with an adequate critical vocabulary. But this movement is also material as the fluid sub-
stratum of musical ebbs and flows can also become the subject of pop studies.
Conjunctural analyses of genre formations are the core of what we do in popular music
studies. Their makeup, however, is illuminated by that which emerges between them. Its a ques-
tion of what counts as material: we can much more easily historicize genres, sublabels, hits,
compilations, and scenes than we can the unquantifiable affect, the cyclical flow, and the move-
ments of pop. So what happens when we liquidate the object of pop studies? I use Madame Liq-
uidators description of her own musical affect as a cipher for imagining the unseen destratifica-
tions, unravelings, and loosenings that accompany powerful feminine engagements with popular
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music. These, I hold, are imbricated in the pop milieu. When we pay attention to the contribu-
tions of women to pop, we can now not only study that which is complicit in its formation, or
that which is directly resistant to it, but we can also look at that which is external to pop, which
washes through and infuses it--that which supersedes and outlasts it. This is a question of aes-
thetics and performances that endure, that connect, and flow beyond these points of crystalliza-
tion. As concerned as we are with pop formations, we also engage that which precedes and un-
derlies them. The liquid feminine emerges at times in pop in between conjunctures. It is the
Sigmund Freud muses on a force he calls the oceanica notion inspired by metaphysicist
Baruch Spinozas conatus ad motumthe material will toward becoming that characterizes all
bodies.xxii Freud locates this flowing stratum of being beyond the institutions, social structures,
bodies, and psychological complexes that undergird his psychoanalysis. The oceanic is the force
that drives these structures into being and transformation. It is evidenced through feelingrather
than recordingan event, object, or performance. It opens a clearing to an ontological pool that
lay beneath the formations of civilization, the objects of reality, and our perception of them. In
1927, Romain Rolland inspired Freuds later work by accessing this notion of an eternal, oceanic
sublime that lay beneath the object relations that structure the ego:
age, to be sure, but Madame Liquidators is a new age with an edge: a present, liquid utopia. Its
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contours are sounded by women who are less likely to grab the mic than to wait for its noise to
die down so they can be heard doing their thing in their natural register. A sensory approach to
popular music, attuned to confluences, relations, and affects, amplifies the otherwise elusive
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Seapunk Ahoy!
Seapunk, an emerging movement in pop liquidity, took form in the early 2010s and
quickly caught on with the arts blogosphere is a decidedly feminine assemblage of heavily visual
music projects. Awash with nostalgic graphic design elements rendered in the acid-washed tech-
no-utopianism of 90s 3-D digital artjumping porpoises, sunny ocean scenes, and highly-
saturated, pixellated fluorescentsthe genres visual culture appeals to millennial women and
girls who once loved the mass-produced t-shirts and school supplies of pop designer Lisa Frank.
produced almost exclusively by and for women and girls. The unofficial anthem of the move-
ment was 2012s Genesis, a song by electronic producer and vocalist Grimes. Both the artist,
dressed in white robes and draped with the water goddess hefty blonde snake, and her shimmer-
ing seaborne avatar, played by dancer/rapper Brooke Candy, evoke specific aspects of Mami
Watas oeuvre, including the Desi bindi that, thanks to Indian sailors on British colonial ships,
was incorporated into original Yoruba depictions of the watery goddess of globalization.
The movement was immediately dismissed by the New York Times in an article titled,
Little Mermaid Goes Punk: Seapunk, a Web Joke With Music, Has Its Moment.xxiv Tellingly,
the article focuses on the genres most visible male promoters and its trademark fashion trend:
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the flowing, pastel-colored hairstyle that has stuck with millennials for half a decade. But since
its emergence, the not-exactly-a-genre genre has transposed its sounddeconstructed, saturated
with female vocals, themed on oceanic themesinto other non-genres, from the amorphous pub-
These latter two categories are both more commercially viable and readily recognizable than the
ambiguity of seapunk; these are also more likely to be inhabited by male producers who sample
female vocalists than women artists in their own right. What remains constant in this cresting
pop aesthetic is the articulation of fluid vocalitythose same chorus, reverb and flanged ef-
fectswith visual depictions of women in, on, or of water. As the world wide web solidifies into
a thickly stratified commercial structure, seapunk reminds us of the subaltern possibilities that
these transnational networks engender. The aesthetic is reflected in open-ended beats and rhyme
structures, collaged depictions of happy porpoises and technicolor seashores, and, much more
often than not, women artists experimenting with a feminine, sonic utopia. Azalea Banks, often
citing her devotion to Yemaya, purposefully mines the sea goddess image with her mermaid gear
and references to Atlantis, produced a mixtape, Fanatasea and an event named the Mermaid
Ball in the Bowery Ballroom in 2012. When Nicki Minaj, Lady Gaga, and Rihanna quickly fol-
lowed suit with their own takes on seapunk, the inexplicable microgenre went global.
Drawing from images of the Afrodiasporic ocean goddesses and the self-conscious girli-
ness drawn from the hyper-animated digital 1990s, seapunk and its aesthetic wake speak to an
emergent, ecological, and decidedly queer feminism in which the questions of diaspora and sub-
jectivity are renewed in the digital register. The themes FKA Twigs Water Me, she describes
her desire to be nourished by a lover who refuses to water her and make her grow. SZAs 2014
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Babylon begins on land and follows her, robed in white, into a baptismal pool in the wake of a
heartbreak. Woman producer Tommy Genesis Hair Like Water Wavy like the Sea places her
and her sister-in-chillwave Abra alone on a rocky shore, while Dutch producer/vocalist Sev-
dalzias Sirens of the Caspian references the watery folklore of her Iranian homeland. Each of
these artists references Mami Wata style: a serpent around the neck, an ornate nose chain, loose,
flowing hair, a deasturated, blur-tinged ocean setting. Beyond liquid themes, these highly styl-
ized, highly unique compositions have in common an oceanic aesthetic, which saturates and
blurs the lyrical, aural, and visual sensory registers, and leads each artist to an alterity of her
own.
Both the digital realm and the sea hold immense creative potential for millennial women
and girls: the digital wormholes of youtube are saturated with the work of women producers and/
or vocalists who theme their work on the oceanicparticularly in the years since 2010, when
web 2.0 opened up to a new register of highly sensory media technologies, from faster HD sound
to new formats like Instagram and Tumblr. Many seapunk-influenced artists conceptualize their
work in terms of digital art installations, particularly feminist multimedia artists Pussykrew, Sev-
dalizas visual collaborators, and the fluid portraits of FKA Twigs/Bjork collaborator Jesse
Kanda. The subjective fluidity enunciated across web 2.0 articulates new global modes of
brownness and queerness that were previously invisible. As Drewal notes the emergence of
Mami Wata devotion in the growing coastal African city, mermaid themes are emerging wherev-
er the Global South takes root. The mermaid figureinterethnic, interspecies, unconventionally
mobileenunciates a kind of queerness that makes her, at once, the object of the male sexual gaze
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while remaining, accounting to her fins and fishtail, sexually impenetrable. She is meant to exist
for herself and for other mermaids; interactions with landlubbers tend to end disastrously.
Even as it liberates new modes of subjectivity, digital globalization has mobilized new
modes ofas the blogosphere puts itcultural appropriation as suburban teens gain access to
and fascination with a world of cultural signs and symbols. These modes of gaze and consump-
tion are also a tension present in the presenting of female-vocalized dance music as the founda-
tion of an emerging music-festival culture that is restructuring the global music industry. These
festival fields, on one hand, invite many more female participants than club-based DJ events and
have spawned a fashion industry, saturated with bindis, pastel washes, and shell bikinis. Women
at these festivals, attuned on one hand to the utopian impulse represented by the sampled female
voice and destratified performance space, are subjected to the subjective gaze of masculine sexu-
al longing. Male electronic producers, inspired by an often different approach to the global sea,
turn to Black vocal practices and Afrodiasporic spirituality, to represent their status as cos-
mopolitan consumers: musical tourists. In spaces in which both racialized and gendered bodies
are central to both sound and spectaclealbeit in very different registers a feminineand
oftenfeminist solidarity is emerging, but also, problematically, so is a desire for the consump-
tion, integration, and even dissolution of the global other. The tension between these colonial
desires and decolonial impulses are lain bare in the thickness of the musical production: a fusion
of the daydreamy sublime of yacht rock and surf music and the liberatory possibilities always-
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Emergent Pop Formations
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How to approach the very real political possibility of a Madame Liquidator: rarely recog-
nized as an artist in her own right, but nonetheless fundamentally substantial to the creation of
musical formations, communities, and worlds? This is an explicitly feminist intervention, work-
ing to nourish a conceptual lexicon by which critics can articulate both the musical work that
women, girl, and feminized subjectsparticularly those of the Global Southdo, but also en-
gage practices that have been cast as femininebackup singing, stage dancing, improvising, re-
versioning, inspiringby conventional discourses on popular music. In doing so, I argue that the
figure of a hidden field of workone largely authored by women practitionerswill come to light.
By opening up the feminine as a primary space of musical creativity that precedes and resists the
hope to also enrich the vocabulary by which we can recognize the work of the rarely recog-
nizedbut deeply influentialwork of popular musics Others. It should be noted that, given its
marginalization by critical gatekeepers, musical flow has been historically constituted an unrec-
ognized space in which feminine and feminized people are free to cultivate new aesthetic modes.
The object of musical study is the materiality of its movement, rather than the forms that
seem to crystallize from it. As we have seen from generations of musical performance, the most
rigid musicalities are the ones that fall away, while its plastic counterparts: fragments, riffs,
styles, samples flow more readily through time and space. Given the limitations of conventional
critical discourses on popular music and feminism(s), the notion of liquidation offers a different
kind of access to the question of feminine musical power as it works through popular channels.
Rather than reproduce binaries that govern pop discourses--binaries based on colonial formations
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mainstream and its Other. Drawing from work on Black aesthetics, media ecology, and feminist
cultural theory, I illustrate a feminine ontology of musical practice that emphasizes the fluidity of
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Bibliography
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Rosi Braidotti with Judith Butler, Feminism by Any Other Name Interview, differences july
1994, 27-61.
Brooks, Daphne A. "Nina Simone's triple play." Callaloo 34, no. 1 (2011): 176-197.
Henry John Drewal, Mami Wata: Arts for Water Spirits in Africa and Its Diasporas 2008
Fowler Museum at UCLA; First Edition edition (April 25, 2008)
Nadia Ellis, New Orleans and Kingston: A Beginning, A Recurrence 387-407 Journal of Popular
Music Studies, Volume 27, Issue 4,
Freud, Sigmund, and James Strachey. Civilization and its discontents. WW Norton & Company,
2005.
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Luis-Manuel Garcia, Liquidarity: Vague Belonging on the Dancefloor AUGUST 6, 2011 https://
lmgmblog.wordpress.com/2011/08/06/liquidarity/
Grossberg, Lawrence. Cultural studies in the future tense. Duke University Press, 2010.
Elyan Jeanine Hill, Bodyscripts: Mami Wata, Diaspora, and Circum-Atlantic Performance
Richard Iton In Search of the Black Fantastic: Politics and Popular Culture in the Post-Civil
Rights Era Oxford University Press, 2008
Moten, Fred. "Blackness and nothingness (mysticism in the flesh)." South Atlantic Quarterly
112, no. 4 (2013): 737-780.Jos Esteban Muoz Cruising Utopia,
Otero, Solimar, and Toyin Falola, eds. Yemoja: Gender, Sexuality, and Creativity in the Latina/o
and Afro-Atlantic Diasporas. SUNY Press, 2013.Harvard
Vermorel, Henri, Sigmund Freud, and Madeleine Vermorel. Sigmund Freud et Romain Rolland.
Presses universitaires de France, 1993.
Shank, Barry. The Political Force of Musical Beauty. Duke University Press, 2014.
Simone, Nina, and Stephen Cleary. I put a spell on you: the autobiography of Nina Simone. Da
Capo Press, 2003.
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iii http://popstache.com/features/pop-vicious/feeling-the-orinoco-flow/
iv Luis
v shank 833
x Drewal, 62
xi Drewal, 61-2
xii http://www.rollingstone.com/music/news/rihanna-vs-beyonce-who-reigns-supreme-20111213
xiii
See the history of a similar dismissal of reggae as jungle music: because its use of patois was in-
comprehensible to white gatekeepers; In Search of the Black Fantastic: Politics and Popular Culture in
the Post ..."
By Richard Iton p. 239.
xivhttps://www.buzzfeed.com/benhenry/work-work-work-work-work-work?
utm_term=.ysZyzAy7e#.tf07Ax7K4
xv http://genius.com/a/beyonce-black-feminist-art-and-this-oshun-bidness
xix http://www.divadevotee.com/2010/11/sade-vocal-profile-range.html
xx http://www.villagevoice.com/music/asmr-when-music-creates-a-brain-orgasm-6631949
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xxiv
http://www.nytimes.com/2012/03/04/fashion/Seapunk-a-Web-Joke-With-Music-Has-Its-Moment.html?
_r=0
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