Presentations
Presentations
Publications
Publications
Featured In
Featured In
Performances
Performances
Is K-Pop Finally Mainstream?
Interviews, Featured In Andrew Mall Interviews, Featured In Andrew Mall

Is K-Pop Finally Mainstream?

Nylon (2023). Look at the biggest songs in the U.S. right now and you'll find a bit of everything: Miley Cyrus’s anthemic pop comeback; SZA’s revenge ruminations; Selena Gomez’s cross-cultural collab with Nigerian singer Rema; and controversial country star Morgan Wallen’s unvanquishable return. At the forefront of the list sits Park Jimin’s “Like Crazy,” the glittery solo debut from BTS’s graceful tenor.

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Why the Most Riveting Scene in Whitney Houston: I Wanna Dance with Somebody Is a Medley from 1994
Interviews, Featured In Andrew Mall Interviews, Featured In Andrew Mall

Why the Most Riveting Scene in Whitney Houston: I Wanna Dance with Somebody Is a Medley from 1994

TIME (2022). Whitney Houston: I Wanna Dance With Somebody, the new biopic from filmmaker Kasi Lemmons, is filled with recreations of the singer’s iconic performances—like her 1991 rendition of the national anthem at the Super Bowl. But the film closes with a scene that pays tribute to one of Houston’s lesser-known appearances: a 1994 performance at the American Music Awards that showcased not only her phenomenal talent, but her range, versatility, and stamina as a live artist.

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Collaborative Ethnography at Furnace Fest: Initial Findings on Affect, Community, and Commerce in Hardcore
Presentations, Guest lectures Andrew Mall Presentations, Guest lectures Andrew Mall

Collaborative Ethnography at Furnace Fest: Initial Findings on Affect, Community, and Commerce in Hardcore

Colloquium presentation (2022). At Furnace Fest (Birmingham, Alabama), attendees travel from across the U.S. and Canada for three days of emo, hardcore, metal, and punk performances. Based on ongoing fieldwork, in this talk I consider what my research collaborators and I have learned so far about working together—both in terms of our research methodologies and in terms of festival organizers and their communities.

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Furnace Fest Community: A Public Conversation
Presentations, Interviews Andrew Mall Presentations, Interviews Andrew Mall

Furnace Fest Community: A Public Conversation

Public research presentation (2022). Prior to Furnace Fest 2022, I helped organize a public conversation as part of an official pre-fest event. The plan was to present some of our initial research findings and moderate a public conversation with the participation of two of Furnace Fest’s organizers and one of the Furnace Fest Community moderators.

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Courses Jenna Reed Courses Jenna Reed

Critical Foundations of Creative Practice Leadership

Creative industries and creative economies are wide-ranging, requiring a diverse array of skills and practices for individuals and organizations to make an impact. While you may not be able to control factors like audience tastes, business trends, entrenched power hierarchies, and the social logic of groups and collectives, you can control your preparedness for these factors and enhance your ability to analyze and respond to historical, contemporary, and upcoming trajectories and changes. In this class we will explore, analyze, and criticize a wide variety of theoretical and empirical frameworks that have been deployed to explain the structures, trends, and disruptions in creative industries.

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(Post-)Christian Hardcore, Community, and Nostalgia at Furnace Fest
Conferences, Presentations Andrew Mall Conferences, Presentations Andrew Mall

(Post-)Christian Hardcore, Community, and Nostalgia at Furnace Fest

Conference presentation (2022). At Furnace Fest 2021 (Birmingham, Alabama), attendees traveled from across the U.S. and Canada for three days of emo, hardcore, and metal performances. Based on ongoing, collaborative fieldwork in the Furnace Fest community, in this paper I build upon prior work that posits festivals as physical places for imagined communities (Mall 2015; cf. Anderson 1991 [1983]) and scenes (Mall 2020) to consider how music festivals, as sensational forms (Meyer 2009), substantiate musical community itself (see, e.g., Shelemay 2011).

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Musicking the Right Way: Performing Ethics and/as Aesthetics at Christian Music Festivals
Conferences, Presentations Andrew Mall Conferences, Presentations Andrew Mall

Musicking the Right Way: Performing Ethics and/as Aesthetics at Christian Music Festivals

AMS conference presentation (2021). Cornerstone Festival performed its organizers’ ethics into being, witnessed in its do-it-yourself scrappiness, its (at times) overwhelming sonic chaos, its sanctioned attendee-operated “generator stages,” and its willingness to engage difficult theological questions. From one perspective, this reflects a tautological relationship between orthodoxy and orthopraxy grounded in theology; another perspective reveals the co-constitutiveness of ethics and aesthetics grounded in practice. To recast Jeffers Engelhardt’s “right singing,” at Cornerstone, if the performing was right, then the ethics expressed in that performing were right, and if the ethics were right, then the musical practices grounded in those ethics were right. In this paper, I draw on theories of music and ethics rooted in Christian musicking to generate a theoretical framework that situates these practices not within a shared faith but rather within a shared ethical framework irrespective of religious belief.

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