Research Article| June 01 2023 “All I Do Is Think of You” Michael Boyce Gillespie Michael Boyce Gillespie Michael Boyce Gillespie is an associate professor in the Department of Cinema Studies at New York University. His research interests include black visual and expressive culture, film theory, visual historiography, popular music, and contemporary art. He is the author of Film Blackness: American Cinema and the Idea of Black Film (Duke University Press, 2016) and co-editor with Lisa Uddin of Black One Shot, an art criticism series on ASAP/J. His recent writing has appeared in Regeneration: Black Cinema 1898-1971, Film Comment, Film Quarterly, liquid blackness, and Ends of Cinema. He was the consulting producer on The Criterion Collection releases of Deep Cover and Shaft. Search for other works by this author on: This Site PubMed Google Scholar Journal of Popular Music Studies (2023) 35 (2): 5. https://doi.org/10.1525/jpms.2023.35.2.5 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Michael Boyce Gillespie; “All I Do Is Think of You”. Journal of Popular Music Studies 1 June 2023; 35 (2): 5. doi: https://doi.org/10.1525/jpms.2023.35.2.5 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search This dossier, a gathering of five essays, is devoted to distinct concentrations on the affective registers of songs. Each paper enacts a generative sense of the politics and pleasures of music, demonstrating the work of listening to and thinking with/through this music. These essays evince critical adjacencies and crucial consequences of music by considering the resonances and textures of the sonic. What began as a panel for the 2022 Pop Conference has expanded to consider a range of inquiries that center music’s meaning-making capacities. In total, this work explores issues of historiography, gender, melancholy, culture, performativity, mnemonic relations, memorialization, and becoming. Together, Miriam Petty and Joshua Chambers-Letson share their mutual and respective identification with “Everything’s Alright” from Jesus Christ Superstar. Brittnay L. Proctor examines the black womanist abundance of Minnie Riperton’s vocal performance on Come to My Garden (1970). Julie Beth Napolin focuses on the poignancy of Barbara Lewis’s... You do not currently have access to this content.