AFRAM Blog Post #1

In “Listening for Willie Mae “Big Mama Thornton Voice” talks about the segregation of music between white and black female artists. According to the article, “Tucker’s sensitivity to the politics of representation and her recovery of lost musical voices of women is echoed in the work feminist scholars concerned with the absence of black women in rock and roll history (Mahon 2).” This explains that black female artists are being under the shadows/not being known enough in the music industry due to many white female artists overpowering them.

In “Notes on women who rock” it explains the key ideas that contributed to the WWR project. Suck as aims, model, curriculum, graduate mentoring, community engagement, and archive. It also explains the workshops for students that gain knowledge of “women who rock.” According to the article, “WWR reshapes conventional understandings of popular music studies by initiating collective methods of participatory research, as well as community collaboration and dialogue. By way of WWR, we seek to transform traditional models of popular music studies, instigating new convergences between academic disciplines and critical approaches that create alternative histories and new forms of knowledge (Habell-Pallan 2).” This shows how the project is to look through popular music in history and other relevant resources to gain new knowledge. Both texts relate to the women of rock.