Stan Hawkins, University of Oslo, Norway
Kai Arne Hansen, University of Oslo, Norway
Track: B – Multipolarities
- Aesthetics and Gender Under Construction in Hip Hop: Azealia Banks
- Gender Production in `Chasing Time´
Abstract: Studying the art of production in popular music involves the subjectivities of artists, producers, engineers, and musicians, and their involvement in the recording process, which have a major impact on the composite recording. This joint paper sets out to locate the aesthetic effects of production as a means to gaining a better understanding of how human agency functions in this context. Our focus therefore falls on the spectacle of sound, with specific focus on the aesthetics of production in Azealia Banks’s 2014 album, Broke with Expensive Taste.
By closely examining a number of tracks from this album, we consider the twists, contours, turns, and transgressions of Banks’ performances. Employing a broad perspective, we draw on theories and methods found in film studies, media studies, and cultural studies to shed light on how processes of production stage the gendered body. Of paramount importance, we argue, are the production techniques that conflate the performer. These take place against a backdrop of referents and sonic markers that are culturally relevant. In the case of Banks, the numerous features that define her unique performativity distinguish her creative endeavors. The main objective of this paper is to throw a light on this through suggesting new ways of intersecting digitized sound, performance, and music technology. The intention is to expose the significance of recording aesthetics from a musicological standpoint. Accordingly, the analytical methods we advocate attempt to probe at the audio image in order to reveal the signification of gender in relation to musical referents. It is the aesthetic effects of production that offer a platform for grasping how gendered subjectivity functions in popular music.