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Call for EMP POP Correspondents! March 22nd

Panelists at Sounds of the City: The 2012 EMP Pop Conference on stage, Photo courtesy of Michael Weintrob and the EMP

Panelists at Sounds of the City: The 2012 EMP Pop Conference on stage, Photo courtesy of Michael Weintrob and the EMP

This year, Sounding Out! plans to “cover” each of the five regional Experience Music Project conferences for our readership, particularly thinking through an issue we have been discussing in detail lately in our “Sonic Borders” forum with IASPM-US—where exactly is the rub between sound studies and popular music studies?

We are looking for one attendee at each EMP conference:

to attend the respective conference and as many of its attached events as possible and then provide a 500-700 word review of the conference no later than two weeks after the event.  We are especially interested in reviews that consider the following questions:  

  • How has the rise of sound studies challenged, provoked, and factored into popular music study?  
  • Where is the crossover, the overlap—and, inevitably, the divergence?  
  • How does popular music study challenge and provoke sound studies in return?  
  • In what way does the regional nature of the new EMP format issue interesting challenges to both fields?

Our correspondents will be published together on a special “EMP Fandango” blog post that will reach a wide readership. It will also become a permanent part of our archive and a tool for future scholars in both fields.

To apply to be a correspondent for any of the regional conferences, please email Editor in Chief Jennifer Stoever-Ackerman at  jsa@soundingoutblog.com by March 22nd with your CV  (or resume) and a brief cover letter email conveying your interest in thinking through  the “sonic border” between sound studies and popular music studies at EMP this year (250-300 words). Please place the EMP you would like to cover in the subject line of your email.

Sound at EMP Pop Con 2012

As our Editor-in-Chief Jennifer Stoever-Ackerman mentioned in her Society for Cinema and Media Studies (SCMS) Conference Round-Up post from this past Monday, this weekend will be action packed for those interested in media studies and popular music studies. This year is the first year the Experience Music Project Museum (EMP) POP Conference will take place on the East Coast—sponsored by New York University’s Clive Davis Institute of Recorded Music. In addition, the EMP POP Conference will be jointly held with the International Association for the Study of Popular Music (US) Conference (IASPM-US for short). With that in mind we have brought two conference round-up posts this week. (Speaking of blogging about conferences, don’t miss IASPM’s blog coverage of EMP POP Conference 2012, where they are previewing several papers that will be read at the conference.) Even though our editorial collective is still working on the technology to enable us to be in several places at once so we don’t miss out on these awesome opportunities, I will be Sounding Out’s eyes and ears at EMP POP Conference. I will also attempt to live-tweet the panels I am attending. You can find me at @literarychica, or you can follow the conference tweet stream at #PopCon

The EMP POP Conference has been bringing together academics and non-academics alike, musicians and non-musicians alike, music writers and non-music-writers to discuss the direction of popular culture–especially popular music. The theme of this year’s POP Conference is Sounds of the City, and what better location for these cross-disciplinary conversations than New York City? From the conference website:

Presenters will pay particular attention to what urban environments have meant for race, gender, and sexuality. Jazz, rock, indie, country, metal, electronic dance music, roots, disco, and Broadway music are but some of the sounds that will be the subject of entire panels.

The city becomes the place to explore how sound is constructed but also how the city helps construct sound—and its counterpart, noise. Detroit, Berlin, and New York City, among others, take certer stage in this year’s program. Many of the panel topics show an interest in thinking about how sound influences our notion of urban space, which brings to my mind the “cities of feeling” that Carlo Rotella talks about in his book October Cities: The Redevelopment of Urban Literature. If, according to Rotella, “literary writers are in the business of imagining cities,” here at the EMP POP Conference there is an impulse to consider how do sound and noise participate in that imagining, and how gender and race play a role (3). The conference offerings illustrate an attempt to think about the sounds of the city in a broader sense, not just limiting it to music. Although the EMP POP Conference stands out for its critical focus on everything related to popular music, this year’s panels are more sound-studies oriented.

Another indication of the sound studies influence at this year’s EMP POP Conference is a focus on listening. There seems to be a an inclination not just to think about the sounds within the city but how we listen to those sounds. Listening is an important factor in how sound is constructed; in other words, an analysis of sound is not limited to the sounds themselves, but how those who listen interpret those sounds, or how listeners themselves are perceived. From the Feminist Working Group‘s Friday panel titled Turn It Up! One: Listening to Difference to Gustavus Stadler’s “Aural Drag: Warhol as Pop Listener” to the Sunday panel Urban Ears, listening is part of the conversation taking place at NYU this weekend about sound and urban space.

Our regular readers will see several familiar names in the program. Gayle Wald is presenting on the Marvelettes Friday morning on the Afro Imaginaries panel. Gustavus Stadler is moderating the Lonely Subcultures panel on Friday and presenting on Andy Warhol in his paper “Aural Drag: Warhol as Pop Listener.” (Insider tip: keep an ear out for Eric Lott, who will be presenting on the same panel as Stadler; you can expect a blog post from Lott in the upcoming months.) Karen Tongson, who blogged for us on The Voice, will be presenting a paper titledDrive and Sounds of the ‘80s Metropolis.” Scott Poulson-Bryant will be participating in the Saturday afternoon roundtable on Whitney Houston titled “Newark’s Finest: Reflections on Whitney Houston.” Last but not least, Regina Bradley, one of our regular writers, and myself will be presenting together on a roundtable on Sunday titled “I Pledge Allegiance to the Block: Cityscapes, Hegemonic Sound, and Blackness.”

The conference will take place at New York University’s Kimmel Center, and is free of charge. To find out more about the presenters or to read about all the other outstanding panels at the conference, please visit the conference website. So if you’re in the New York City area Thursday through Sunday (or if you’re considering hopping on a train from Boston to check out some panels–wink wink), the conference will be well worth your while!

Please comment to let SO! know what you think–both before and after EMP PopCon 2012. If I missed your panel in my round up, please drop me a line: lms@soundingoutblog.com

Liana M. Silva is co-founder and Managing Editor of Sounding Out! She is also a PhD candidate at Binghamton University.

Jump to THURSDAY, March 22
Jump to FRIDAY, March 23
Jump to SATURDAY, March 24
Jump to SUNDAY, March 25

"Music in Central Park, New York City" by Flickr user Creative (Elias) 809 under Creative Commons License

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THURSDAY, March 22

Thursday, March 22, 2012

Thursday, March 22, 2012 7:00pm-8:30pm

Conference Opening Keynote: The Artist in the City: with Angélique Kidjo, Esperanza Spalding, Santigold, and Himanshu Suri (aka Heems)

Room: Eisner & Lubin Auditorium KC 401

Writing about how jazz in the mid-20th century reflected lived experience in New York city’s tenements, the scholar Shane Vogel quoted Duke Ellington’s description of his swing symphony, “Harlem Air Shaft”: “So much goes on in a Harlem air shaft…You hear fights, you smell dinner, you hear people maing love. You hear intimate gossip floating down. You hear the radio. An air shaft is one great big loudspeaker.” In the crowded city, the musician-composer becomes a living receiver, distilling a static field of sounds and sensations into an evocative whole.

This keynote event gathers together four prominent artists whose work reflects a cosmopolitan worldview, with each artist rooted in his or her particular urban home. Grammy winning Beninoise singer-songwriter Angélique Kidjo has truly had a global career, having recorded albums in a staggering array of languages, styles, genres and cities; her recently-released live album Spirit Rising is a career retrospective featuring diverse guests like Ezra Koenig, Josh Groban and the Kuumba Singers. Grammy winner Esperanza Spalding is about to release her third album, Radio Music Society, a border-crossing blend of jazz, soul, funk and pop that reflects the cities she loves: New York, Barcelona, and her birthplace of Portland, Oregon. Philadelphia-bred, Brooklyn-based Santigold (Santi White) is one of the brightest lights of the East Coast bohemian underground; her upcoming second album, Master of My Make Believe, takes her incendiary blend of hip hop, indie rock and dance music to a new level. On his recent mixtape Nehru Jackets, Himanshu Suri (Heems) of the Queens-identified hip hop group Das Racist drops wit and wisdom about the ups and downs of life in Gotham’s five boroughs. Discussing their new work and how they’ve formed their own sound and vision in relationship to the urban spaces where they thrive, these artists consider what’s changed and what remains consistent in the half-century plus since the Duke found heaven in the clanging multiplicity of the air shaft.

Moderator: Ann Powers

Featuring:

Angélique Kidjo

Esperanza Spalding

Santigold

Himanshu Suri

"Sound The Trumpet" by Flickr user Blacren under Creative Commons License

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FRIDAY, March 23

Friday, March 23, 2012

Friday, March 23, 2012 9:00 am-11:00 am

Afro-Imaginaries

Room: KC 804/5

Moderator:  Banning Eyre

Featuring:

Gayle Wald, “‘Deliver De Letter': ‘Please Mr. Postman,’ the Marvelettes, and the Afro-Caribbean Imaginary”

Emily J. Lordi, “Moving Out: White Flight and Sly and the Family Stone’s ‘Stand!'”

Koushik Banerjea, “Cities of the Dead: Soundscaping Race, Memory and Desire in a Forgotten London”

Wills Glasspiegel & Martin Scherzinger, “Beyoncé’s Afro-Future: Power and Play in “Run the World (Girls)””

Repositioning Urban Pop

Room: KC 808

Moderator:  Barbara Browning

Featuring:

Rustem Ertug Altinay, “‘In Konya she would marry a regular dude, but Serife from Konya is now a Lady': Power, Sexuality and Cities in Gungor Bayrak’s Autobiographic Songs”

Erin MacLeod, “‘Layers and layers of not-so-dope synths': Listening to the Music of Addis Ababa”

Mark Lomanno, “Surfaces and (archi)Textures in Canarian Jazz”

Sonic Contestation

Room: KC 406

Moderator:  John Melillo

Featuring:

Patrick Deer, “‘The Cassette Played Poptones': Punk’s Pop Embrace of the City in Ruins”

Jessica Schwartz, “Conform or Die: Composing the City as National Security Threat, 1945-1962″

John Melillo, “Revenant Frequencies: Destructive Sound from “The Waste Land” to NYC Ghosts and Flowers

J. Martin Daughtry, “Evocative Objects and Provocative Actions on the Acoustic Territory of War”

Friday, March 23, 2012 11:15 am-12:45pm

Turn It Up! One: Listening to Difference

Room: KC 808

This panel is sponsored by the Feminist Working Group. Since 2008, we have organized panels, get-togethers and networking opportunities for all feminists who participate in EMP. For more information about our activities, and to get involved, please visit http://feministworkinggroup.blogspot.com

Moderator:  Lucy O’Brien

Featuring:

Summer Kim Lee, “‘Singin’ Up On You': Queer Intimacies of the Sonorous Body In ‘The New Sound Karaoke'”

Daniel Sander, “Girl. Reverb. Notes on Queer Tactics of Sonorous Difference”

Kyessa L. Moore, “(Sub)Spacialized Urban Sound, Expressive Communion and Identificatory Dislocations”

Cairo and Athens Spring Up

Room: KC 405

Moderator:  Katherine Meizel

Featuring:

Banning Eyre, “Cairo Soundscape: Revolution and Cultural Renaissance”

Maysan Haydar, “Wild in the (Arab) Streets: Songs for the Revolutions”

Hypatia Vourloumis, “Bad Athena: Crises, Syntheses and Sounds of a European Other”

Lonely Subcultures

Room: KC 406

Moderator:  Gustavus Stadler

Featuring:

William Hutson, “Abrasive Nostalgia: A Noisescape of Deindustrialization”

Vivian L. Huang, “Not That Innocent: Britney Spears, Laurel Nakadate and Strangers”

Julia DeLeon, “Dance Through the Dark Night: Distance, Dissonance and Queer

Friday, March 23, 2012 2:15pm-3:45pm

Memory, Music, and the Metropolis

Room: KC 804/5

Moderator:  Charles Kronengold

Featuring:

Tracy McMullen, “In the Beginning, You Are There: Cloning Genesis and the Return of the Urbane”

Tavia Nyong’o, “Shame and Scandal and Zombies”

Karen Tongson, “Drive and Sounds of the ’80s Metropolis

Broadway Bound

Room: KC 808

Moderator:  Caroline Polk O’Meara

Featuring:

Raymond Knapp, “The Sound of Broadway’s Mean Streets”

Jacqueline Warwick, “‘Bigger than Big and Smaller than Small': Child Stars, Street Urchins, and Little Orphan Annie”

Elizabeth L. Wollman & Susan Tenneriello, “Spider-Man: Turn off the Dark and the Ambivalence of Spectacle

Turn It Up! Two: Making Community

Room: KC 405

Moderator:  Elizabeth Keenan

Featuring:

Rachel Devitt, “I Love a (Pride) Parade: Queer Community-Building, Temporary Spaces and Politicized Kitsch among LGBT Marching Bands”

Evelyn McDonnell, “The Roads to Ruin”

Matthew Carrillo-Vincent, “Ears to the Streets, Peripheral Beats: The New Social Map of Backpack Rap”

Friday, March 23, 2012 4:00pm-6:00 pm

Roundtable: “Do You Want More?” The Time and Space of Alternative Sonic Blackness

Room: GC 95

The migration of sounds and ideas across time and place encourages synthesis; giving rise to avant garde, radical, and futurist voices. What (other) worlds open up and what (outer) spaces are formed? How do regional sites remix global flows? What factors/forces enable or prohibit certain voices from finding an audience in the national, global or cyber scene? How do we reconcile organicism of sound, as musicians produce out of particular worlds, with the reckless and restless ways music circulates?

Moderator:  Jayna Brown, Daphne Brooks, Tavia Nyong’o

Featuring:

Kyle Dargan

Mendi Obadike

Jace Clayton

The work of Barry Jenkins

 Location Location Location

Room: KC 802

Moderator:  Fabian Holt

Featuring:

Keith Negus, “Making it in the Big City: Small Town Boys, Country Girls and Suburban Dreamers”

Jennifer C. Lena, “The Ground on which the Race was Run: Careers in Pop”

Carl Wilson, “We Hate It When Our Friends Become Successful: The Death and Life of Great North American Scenius”

Kembrew McLeod & Loren Glass, “Killer Apps Play the Sounds of the Cities”

Detroit: Foundation, Eclecticism, and Memory

Room: KC 808

Moderator:  Marlon Bailey

Featuring:

Rebekah Farrugia & Kellie Hay, “‘The Foundation’ in Detroit: Challenging Conventional Ideologies about Sex and Gender in Hip Hop”

Denise Dalphond, “Eclecticism in Detroit: Diverse Dance Party Scenes in Electronic Music”

Carleton S. Gholz, “Remembering Rita: Sound, Sexuality, and Memory”

"New York City." by Flickr user Kyle McCluer under Creative Commons License

Back to menu SATURDAY, March 24

Saturday, March 24, 2012

Saturday, March 24, 2012 9:00 am to 11:00 am

Metal Studies Rising

Room: KC 808

Moderator:  Jeremy Wallach

Featuring:

Esther Clinton, “The Gothic Menace, Then and Now: Gothic Literature, Heavy Metal Music, and Moral Panics”

Eric Smialek, “How Does Metal Mean? Ways that Musicology Can Contribute to Metal Studies”

Amber R. Clifford-Napoleone, “Hell Bent for Metal: A Study of Queer Fans of Heavy Metal”

Nelson Varas-Diaz & Eliut R. Rivera-Segarra, “Heavy Metal music in the Caribbean Setting: Social Practices and Meanings of Music at the Periphery”

Saturday, March 24, 2012 11:15am-12:45pm

Street Dreams: Blackness on the Move

Room: KC 802

Moderator:  Alexandra T. Vazquez

Featuring:

Adrienne Brown, “Rehearing Hip-Hop Automotivity”

Sonya Posmentier, “City Streets, Country Roads: Zora Neale Hurston’s Moving Sound”

Francisco Robles, “‘This bitter earth may not be so bitter after all': Political Promise and Sonic Geography in Killer of Sheep and We Insist! Max Roach’s Freedom Now Suite”

Sexuality and the City

Room: KC 405

Moderator:  Franklin Bruno

Featuring:

Philip Gentry, “The Erotics of Chance”

Emily Tartanella, “‘A Country Mile Behind the World': A Smithsian Sense of Place “

Elias Krell, “Singing the Contours of the City: Transvocality and Affect in Lucas Silveira’s Toronto”

Preserving Soundscapes

Room: KC 406

Moderator:  Laura Lavernia

Featuring:

Matthew Hayes, “Preserving America’s Endangered Soundscapes: An Emerging Field in Historic Preservation”

Barrett Martin, “Preserving Musical Memory: Physical Space and Socio-Economic-Cultural Identity”

Devon Powers, “Writing Music (Into) History”

Saturday, March 24, 2012 2:15pm-3:45pm

Warhol’s New York

Room: KC 914

Moderator:  Jonathan Flatley

Featuring:

Gustavus Stadler, “Aural Drag: Warhol as Pop Listener”

Eric Lott, “Andy’s Mick: Warhol Builds a Better Jagger”

Bryan Waterman, “‘It’s Too ‘Too Too’ to Put a Finger On': Tom Verlaine’s Lost Lisp and the Secret History of the New York Underground”

 

Losing It in the City

Room: KC 804/5

Moderator:  Ken Wissoker

Featuring:

Carolina González, “DomiNegro turf: Whose Uptown?”

Keith M. Harris, “‘I don’t care anymore': Deep Soul, Doris Duke, and the Allegory of Migration”

Michael B. Gillespie, “We Almost Lost Detroit: Sonic Historiography, 9/11, and Theo Parrish”

Saturday, March 24, 2012 4:00pm-6:00pm

Roundtable: Feminist and Queer Studies of Race in Sound

Room KC 804/5

This roundtable convenes two fields of scholarly inquiry—critical race studies and feminist theory/queer studies—to explore the following interrelated questions: How does sound construct racialized and gendered meaning and/or prompt processes of racial subjection? How might various hermeneutics of sound enrich and/or expand current ethnic and gender studies approaches to the study of racial formation? And how might we collectively forge a feminist, queer analytic for the study of racialized sound and sonic processes of racialization?

Moderator: Kevin Fellezs

Featuring:

Kirstie Dorr

Roshanak Kheshti

Deborah Vargas

Saturday, March 24, 2012 6:15pm-7:30pm
IASPM-US General Membership Meeting

Room: Rosenthal Pavilion, 10th Floor

The general membership meeting of IASPM-US is the organization’s opportunity to gather together and discuss the accomplishments of the past year, any concerns or issues that have arisen, and plans for the coming year. All IASPM members are welcome. We would also like to invite any interested regular EMP participants who might be interested in joining IASPM. Beyond our normal business, the general meeting this year will feature the announcement of the first winner of the Charles Hamm Memorial Award in recognition of lifetime contribution to Popular Music Studies. In addition, the David Sanjek Award for best paper by a graduate student at the meeting will be announced.

"NYU" by Flickr user LEH.nicor under Creative Commons license

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SUNDAY, March 25

SUNDAY, March 25, 2012

Sunday, March 25, 2012 9:00 am to 11:00 am

‘Silver City Bound': Black Women Musicians & the Urban Avant Garde

Room: KC 905/7

Moderator:  Imani Perry

Featuring:

Daphne A. Brooks, “‘One of these mornings, you’re gonna rise up singing': The Secret Black Feminist History of the Gershwins’Porgy and Bess

Farah Jasmine Griffin, “Playing through the Changes: Mary Lou Williams’ Manhattan”

Salamishah Tillet, “Bethlehem, Boardwalks, and the City of Brotherly Love: Nina Simone’s Pre-Civil Rights Aesthetic”

Jayna Brown, “After the End of the World: Afro Diasporan Feminism and Alternative Dimensions of Sound”

Distanced Listening

Room: KC 802

Moderator:  Tom Miller

Featuring:

Jeremy Morris, “Hear, Here: Location-Based Music”

Van Truong, “Distant Sounds”

Mark Katz, “Analog and Digital: A Love Story”

Karl Hagstrom Miller, “I am Sitting in a Room: The Private Pop Experience”

Sunday, March 25, 2012 11:15am-12:45am

Utopian Spaces in an Accelerated Age

Room: KC 802

Moderator:  Eric Lott

Featuring:

Wayne Marshall, “Music as Social Life in an Age of Platform Politricks”

Julianne Escobedo Shepherd, “Cunt Music: When Vogue House Dips Meet Dipset”

Max Pearl & Alexis Stephens, “New Jack City: Frenzied Cultures, Transitory Spaces (or, how I learned to stop worrying and embrace the hype cycle)”

 

Sunday, March 25, 2012 2:15pm-3:45pm

Urban Ears

Room: KC 905/7

Moderator:  Greil Marcus

Featuring:

Sonnet Retman, “Muddy the Waters: Other Stories of Love and Theft in the Making of the Delta Blues”

David Suisman, “The Urban Ear of Tony Schwartz”

Franklin Bruno, “Who Put the Arrow in ‘Cupid?': Hugo and Luigi’s Schlock ‘n’ Soul”

 

A Girl’s Guide to the Urban Imaginary

Room: KC 914

Moderated by: Jacqueline Warwick

Featuring:

Elizabeth Keenan, “Out in the Streets: 1960s Girl Groups and the Imagined Urban Space of New York City”

Sarah Dougher, “Making Noise in the Safe Space: How Girls’ Rock Camps Make Place in the City”

Diane Pecknold, “The Spectral Cityscapes of Tween Pop”

“Beat Street”: New York City Hip-Hop

Room: KC 804/5

Moderator:  Oliver Wang

Featuring:

Patrick Rivers, “Rumble in the Concrete Jungle: Beat Battles in NYC and Their Impact on Hip-Hop Production”

Shanté Paradigm Smalls, “‘Voices Carry': Queer Dissonance and the Travel of NYC 1980s Hip-Hop Sound”

Chris Tabron, “‘Boom It in Ya Jeep': Low-end Theories of Black Aurality in 90’s NYC Hip-Hop”

Roundtable – I Pledge Allegiance to the Block: Cityscapes, Hegemonic Sound, and Blackness

Room: KC 808

Whether a homesite for protest and resistance or, as Alain Locke suggests, an escape from the ‘medieval’ south, the city serves as both a muse and haven for black American cultural expression. Although city-scapes are heavily represented in African American music and popular culture, more discussion is needed about how the city is often a hegemonic space of black cultural expression. In other words, how does an urban setting dictate power and blackness in the (African) American community?

Moderator:  Guthrie Ramsey

 Featuring:

Regina Bradley

Fredara Hadley

Matthew D. Morrison

Liana Silva

Sunday, March 25, 2012 4:00pm-6:00pm

Modern English

Room: KC 808

Moderator:  Devin McKinney

Julia Sneeringer, “‘I’d Never Even Been to Manchester': Liverpool Musicians in Hamburg’s Entertainment Economy, 1960-1965″

Leonard Nevarez, “How Joy Division came to sound like Manchester”

Lucy O’Brien, “Can I Have a Taste of Your Ice Cream? (Post punk feminism and the Yorkshire Ripper)”

Gillian Gower, “Riot Culture: Beats, Banksy, and the Bristol Sound”

Unsettled Listening: Integrating Film and Place

EastHastingsPharmacy-still

Sculpting the Film SoundtrackWelcome to the third and final installment of Sculpting the Film Soundtrack, our series about sound in contemporary films. We’ve been focusing on how filmmakers are blurring the boundaries between music, speech, and sound effects – in effect, integrating distinct categories of soundtrack design.

In our first post, Benjamin Wright showed how celebrated composer Hans Zimmer thinks across traditional divisions of labour to integrate film sound design with music composition. Danijela Kulezic-Wilson followed up with an insightful piece on the integration of audio elements in Shane Carruth’s Upstream Color, suggesting how scholars can apply principles of music, like tempo and rhythm, to their analyses of the interactions between a film’s images and sounds. In this final entry, Randolph Jordan, considers another dimension of integration: a film’s sounds and the place where it was produced. In his provocative and insightful reading of the quasi-documentary East Hastings Pharmacy, Jordan, who is completing a post-doctoral post at Simon Fraser University, elaborates on how the concept of “unsettled listening” can clue us into the relationship between a film and its origins of production. You’ll be able to read more about “unsettled listening” in Jordan’s forthcoming book, tentatively titled Reflective Audioviewing: An Acoustic Ecology of the Cinema, to be published by Oxford University Press.

I hope you’ve enjoyed taking in this series as much as I’ve enjoyed editing it with the help of the marvelous folks at SO!. Thanks for reading. — Guest Editor Katherine Spring

A mother and son of First Nations ancestry sit in the waiting area of a methadone clinic in Vancouver’s Downtown Eastside, their attention directed toward an offscreen TV. A cartoon plays, featuring an instrumental version of “I’ve Been Working on the Railroad” that mingles with the operating sounds of the clinic and ambience from the street outside. The tune is punctuated by a metal clinking sound at the beginning of each bar, calling to mind the sound of driving railway spikes that once echoed just down the street as the City of Vancouver was incorporated as the western terminus of the Canadian Pacific Railway (beginning thus the cycle of state-sanctioned erasure of indigenous title to the land). The familiar voice of Bugs Bunny chimes in: “Uh, what’s all the hubbub, bub?”

.

Hubbub indeed. Let’s unpack it.

The scene appears one third of the way through East Hastings Pharmacy (Antoine Bourges, 2012), a quasi-documentary set entirely within this clinic, staging interactions between methadone patients (played by locals and informed by their real-life experiences) and the resident pharmacist (played by an actress). Vancouver’s Downtown Eastside, dubbed Canada’s “worst neighborhood” for its notorious concentration of transients and public drug use, is also home to the largest community of First Nations peoples within the city limits, a product of the long history of dispossession in the surrounding areas. When the film presents this indigenous pair listening to a Hollywood fabrication of the sounds that marked their loss of title to the city it is a potent juxtaposition, especially given the American infiltration of Vancouver’s mediascape since the 1970s. Long known as “Hollywood North,” Vancouver is more famous as a stand-in for myriad other parts of the world than for representing itself, its regional specificity endlessly overwritten with narratives that hide the city and its indigenous presence from public awareness.

"Quidam +  Noise" graffiti in Downtown Vancouver,  April 6, 2013, by Flickr User Kevin Krebs

“Quidam +  Noise” graffiti in Downtown Vancouver,  April 6, 2013, by Flickr User Kevin Krebs

In her essay “Thoughts on Making Places: Hollywood North and the Indigenous City,” filmmaker Kamala Todd stresses how media can assist the process of re-inscribing local stories into Vancouver’s consciousness. East Hastings Pharmacy is one such example, lending some screen time to urban Natives in the 21st Century city. But Todd reminds us that audiences also have a responsibility “to learn the stories of the land” that have been actively erased in dominant media practices, and to bring this knowledge to our experience of the city in all its incarnations (9). Todd’s call resonates with a process that Nicholas Blomley calls “unsettling the city” in his book of the same name. Blomley reveals Vancouver as a site of continual contestation and mobility across generations and cultural groups, and calls for an “unsettled” approach that can account for the multiple overlapping patterns of use that are concealed by “settled” concepts of bounded property. With that in mind, I propose “unsettled listening” as a way of experiencing the city from these multiple positions simultaneously. Rick Altman taught us to hear any given sound event as a narrative by listening for the auditory markers of its propagation through physical space, and recording media, over time (15-31). Unsettled listening invites us to hear through these physical properties of mediatic space to the resonating stories revealed by the overlapping and contradictory histories and patterns of use to which these spaces are put, all too often unacknowledged in the wake of settler colonialism.

East Hastings Pharmacy provides a great opportunity to begin the practice of unsettled listening. The film’s status as an independent production amidst industrial shooting is marked by the intersection of studio-fabricated sound effects and direct sound recording, as in the example described above, and further complicated by the film’s own hybrid of fiction and documentary modes. That speaks to the complexity of overlapping filmmaking practices in Vancouver today, a situation embedded within the intersecting claims to land use and cultural propriety on the streets of Vancouver’s Downtown Eastside. To unsettle listening is to hear all these overlapping situations as forms of resonance that begin with the original context of the televised cartoon and accumulate as they spread through the interior of the clinic and outwards across the surrounding land. So let’s try this out.

.

The cartoon is Falling Hare (Robert Clampett, 1943), a good example of the noted history of cross-departmental integration at The Warner Bros.’ cartoon studios. The scene in question begins at 1:55, and here the metallic clinking sound is just as likely to have been produced by one of music orchestrator Carl Stalling’s percussionists as by sound effects editor Treg Brown. This integration can be heard in the way that the music’s unspoken reference to railway construction charges each clink with the connotation of hammer on spike. However, the image track in Falling Hare doesn’t depict railway construction, but rather a gremlin whacking the nose of a live bomb in an attempt to do away with enemy Bugs seated on top. James Lastra would say (by way of Christian Metz) that the clinking sound is “legible” as hammer on spike for the ease with which the sound can be recognized as emanating from this implied source (126). But this legibility is premised upon a lack of specificity that also allows the sound to become interchangeable with something else, as is the case in this cartoon.

Screen Capture from Falling Hare

East Hastings Pharmacy capitalizes on this interchangeability by re-inscribing the clinking sound’s railway connotations, first by stripping the original image and then by presenting this sound in the context of the dire social realities of Vancouver’s Downtown Eastside as the city’s sanctioned corral for the markers of urban poverty – and indigeneity – that officials don’t want to spill out across the neighborhood’s increasingly gentrified perimeter.

As one of a string of Warner Bros. cartoons put in the service of WWII propaganda, the Falling Hare soundtrack also resonates with wartime xenophobia and imperialist expansion, branches of the same pathos that leads to the effacing of indigenous culture from the consciousness of colonizing peoples. In Vancouver, this has taken the form of what Jean Barman calls “Erasing Indigenous Indigeneity,” the process of chasing the area’s original peoples off the land while importing aboriginal artifacts from elsewhere to maintain a Native chic deemed safe for immigrant consumption (as when the city paid “homage” to the vacated Squamish residents of downtown Vancouver’s Stanley Park by erecting Kwakiutl totem poles imported from 200km north on Vancouver Island) (26). This is an interchangeability of cultural heritage premised upon a lack of specificity, the same quality that allows “legible” sound effects to become synchretic with a variety of implied sources. And this process is not unlike the interchangeability of urban spaces when shooting Vancouver for Seattle, New York, or Frankfurt, emphasizing generic qualities of globalized urbanization while suppressing recognizable soundmarks from the mix (such as the persistent sound of float plane propellers that populate Vancouver harbour, the grinding and screeching of trains in the downtown railyard, or the regular horn blasts from the local ferry runs just north of the city).

The high-concept legibility of Warner Bros.’ sound effects – used in Falling Hare to play on listener’s expectations to comic effect – is further unsettled by its presentation within the context of documentary sound conventions in East Hastings Pharmacy. Bourges’ film commits to regional specificity in part through the use of location sound recording, which, as Jeffrey K. Ruoff identifies in “Conventions of Documentary Sound,” is particularly valued as a marker of authenticity (27-29). While Bourges stages the action inside the clinic, the film features location recordings of the rich street life audible and visible through the clinic’s windows that proceeds unaffected by the cameras and microphones. This situation is all the more potent when we account for the fact that, in this scene, the location-recorded cartoon soundtrack and ambient sound effects were added in post-production, and so represent a highly conscious attempt to channel the acoustic environment according to the conventions of “authentic” sound in documentary film.

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Screen Capture, East Hastings Pharmacy

While the film uses location recording as a conscious stylistic choice to evoke documentary convention, it does so to engage meaningfully with the social situation in the Downtown Eastside, underlining Michel Chion’s point that “rendered” film sound – fabricated in studio to evoke the qualities of a particular space – is just as capable of engaging the world authentically (or inauthentically) as “real” sound captured on location (95-98). By presenting this Hollywood cartoon as an embedded element within the soundscape of the clinic, using a provocative mix of location sound and studio fabrication, East Hastings Pharmacy unsettles Hollywood’s usual practice of erasing local specificity, inviting us to think of runaway projects in the context of their foreign spaces of production and the local media practices that sit next to them.

Finally, this intersection of sonic styles points to the complex relationships that exist between the domains of independent and industrial production around Vancouver. In his book Hollywood North, Mike Gasher argues for thinking about filmmaking in British Columbia as a resource industry, pointing to how the provincial government has offered business incentives for foreign film production similar to those in place for activities like logging and fishing. Here we can consider how the local film industry might follow the same unsustainable patterns of extraction as other resource industries, all premised upon willful ignorance of indigenous uses of the land. Yet as David Spaner charts in Dreaming in the Rain, the ability to make independent films in Vancouver has become largely intertwined with the availability of industrial resources in town. Just as Hollywood didn’t erase the independent film, colonization didn’t erase indigenous presence.

East Hastings Pharmacy offers a powerful example of how we can practice unsettled listening on the staged sound of Falling Hare, devoid of local context and connected to the railway only by inference, to reveal a rich integration with regional specificity as the cartoon’s auditory resonances accumulate within its new spaces of propagation. In this way we can hear local media through its transnational network, including the First Nations, to understand the overlaps between seemingly contradictory modes of being within the city. And in so doing, we can also hear through the misrepresentation of the Downtown Eastside as “Canada’s worst neighborhood” to the strength of the community that has long characterized the area for anyone who scratches the surface, an important first step along the path to unsettling the city as a whole.

Featured Image: Still from East Hastings Pharmacy

Randolph Jordan wanted to be a rock star.  Academia seemed a responsible back-up option – until it became clear that landing a professor gig would be harder than topping the Billboard charts.  After completing his Ph.D. in the interdisciplinary Humanities program at Concordia University in 2010 he floated around Montreal classrooms on contract appointments before taking up a two-year postdoctoral research fellowship in the School of Communication at Simon Fraser University. There he has been investigating geographical specificity in Vancouver-based film and media by way of sound studies and critical geography, research that will inform the last chapter of his book Reflective Audioviewing: An Acoustic Ecology of the Cinema (now under contract at Oxford University Press).  If you can’t find him hammering away at his manuscript, or recording his three young children hammering away at their Mason & Risch, look for him under Vancouver’s Burrard Bridge where he spends his “spare time” gathering film and sound material for his multimedia project Bell Tower of False Creek. Or visit him online here: http://www.randolphjordan.com

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