Parking on the USC campus is $8 daily. Click here for general parking info at USC.
The Event is at the Tutor Campus Center (TCC) at 3607 Trousdale Parkway.
For the conference space, the Tutor Center, try to park in PSX (Parking Structure X), Entrance 3 on Figueroa and McCarthy (between Jefferson and Exposition).
If the lot is full, try PSD (Parking Structure D), Entrance 4 at Jefferson and Royal between (Hoover and Figueroa)
People also have the option of parking offsite at the Shrine Auditorium (across the street from Parking Structure D on Jefferson and Royal). More info about offsite parking is available here.
Information on public transit to USC can be found here. More information TBA.
A conference at USC that was held February 24, 2011 in association with the 2011 EMP Pop Music Conference
For current information on the Feminist Working Group, click here.
The biggest stars of the day from Katy Perry, Nikki Minaj, Lady Gaga, to Adam Lambert, play in the brightest lights with conventions of gender and sexuality, echoing and building upon traditions of pop performance as old as the stage itself. In basements, barrooms, concert halls and cafes across the country, artists of all types do the same—and more—while rooted in various political, performative, and social contexts they might hesitate to call “feminist” but will surely call “doing their thing.”
And at the same time, an industry shifts dynamically in the wake of dramatic technological changes, rendering concepts of “professionalism” in new light while the academy shifts to deal with popular culture in ways more inclusive than ever before (or not).
At this day-long conference, a group of music journalists, scholars, musicians, and music industry professionals came together to talk about the changing role of gender, race, and sexuality in the pop music world.
This conference was organized by Karen Tongson, Ann Powers, Daphne Carr, and Sarah Dougher.
The biggest stars of the day from Katy Perry, Nikki Minaj, Lady Gaga, to Adam Lambert, play in the brightest lights with conventions of gender and sexuality, echoing and building upon traditions of pop performance as old as the stage itself. In basements, barrooms, concert halls and cafes across the country, artists of all types do the same—and more—while rooted in various political, performative, and social contexts they might hesitate to call “feminist” but will surely call “doing their thing.”
And at the same time, an industry shifts dynamically in the wake of dramatic technological changes, rendering concepts of “professionalism” in new light while the academy shifts to deal with popular culture in ways more inclusive than ever before (or not).
At this day-long conference, a group of music journalists, scholars, musicians, and music industry professionals came together to talk about the changing role of gender, race, and sexuality in the pop music world.
This conference was organized by Karen Tongson, Ann Powers, Daphne Carr, and Sarah Dougher.