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Popular Music on Display in New York City Karaoke
Tyler Bickford
 
Popular Music on Display in New York City Karaoke
Tyler Bickford
Submitted in partial fulfillment of the degree of Master of Arts in the Graduate School of Arts and SciencesColumbia UniversityMay 2006
 
Contents
ContentsiAbstractiii1 Introduction1
“Onstage”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Singing Along. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3Technology and sociability. . . . . . . . . . . . . . . . . . . . . . . . 4Mediation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Reenactment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Texts and commodities. . . . . . . . . . . . . . . . . . . . . . . . . . 10Winnie’s. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Plan of the present work. . . . . . . . . . . . . . . . . . . . . . . . . 11
2 Evaluation: reenactment, “amateurism,” and technology14
Competence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15What is said. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21Talent. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Sound, technology, and infrastructure. . . . . . . . . . . . . . . . . 25Authenticity: amateurism and consumption. . . . . . . . . . . . . . 27Theatricalization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
3 Karaoke performance practice32
Regulars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Non-regulars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Anxiety. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Theatricality. . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Irony. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41Markedness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45Popular culture, locally mediated. . . . . . . . . . . . . . . . . . . . 49i
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