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DIY Histories: Podcasting the Past

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Sound and TechThis is article 3.0  in Sounding Out!‘s April  Forum on “Sound and Technology.” Every Monday this month, you’ll be hearing new insights on this age-old pairing from the likes of Sounding Out! veteranos Aaron Trammell and Primus Luta along with new voices Andrew Salvati and Owen Marshall.  These fast-forward folks will share their thinking about everything from Auto-tune to techie manifestos. Today, Salvati asks if DIY podcasts are allowing ordinary people to remix the historical record. Let’s subscribe and press play.  –JS, Editor-in-Chief

 

Was Alexander the Great as bad a person as Adolph Hitler? Will our modern civilization ever fall like civilizations from past eras?

According to Dan Carlin’s website, these are the kind of speculative “outside-the-box” perspectives one might expect from his long-running Hardcore History podcast. In Carlin’s hands, the podcast is a vehicle for presenting dramatic accounts of human history that are clearly meant to entertain, and are quite distinct from what we might recognize as academic history. Carlin, a radio commentator and former journalist, would likely agree with this assessment. As he frequently emphasizes, he is a “fan” of history and not a professional. But while there are particularities of training, perspective, and resources that may distinguish professional and popular historians, an oppositional binary between these kinds of historymakers risks overlooking the plurality of historical interpretation. Instead, we might notice how history podcasters like Carlin utilize this new sonic medium to continue a tradition of oral storytelling that in the West goes back to Herodotus, and has since been the primary means of marginalized and oppressed groups to preserve cultural memory. As a way for hobbyists and amateurs to create and share their own do-it-yourself (DIY) histories, I argue that audio podcasting suggests a democratization of historical inquiry that greatly expands the possibilities for everyone, as Carl Becker once said, to become his or her own historian.

"Modified Podcast Logo with My Headphones Photoshopped On" by Flickr user Colleen AF Venable, CC BY-SA 2.0

“Modified Podcast Logo with My Headphones Photoshopped On” by Flickr user Colleen AF Venable, CC BY-SA 2.0

Frequently listed among iTunes’ top society and culture podcasts, and cited by several history podcasters as the inspiration for their own creations, the popularity of Hardcore History stems from Carlin’s unconventional and dramatic recounting of notable (but sometimes obscure) historical topics, in which he will often elaborate historical-structural changes through contemporizing metaphors. Connecting the distant past to more immediate analogies of present life is the core of Carlin’s explanatory method. This form of explanation is quite distinct from the output of academic historians, who assiduously avoid this sort of “presentism.” But as the late Roy Rosenzweig (2000) has suggested, it is precisely this kind of conscious and practical engagement with the past – and not the litany of facts in dry-as-dust textbooks – that appeals to non-historians. Rosenzweig and David Thelen claim have found that most Americans perceive a close connection with the past, especially as it relates to the present, through their personal and family life. Using the medium of podcasting to talk about the past is a new way of making the past vital to the present needs and interests of most people. This is how podcasters make sense of history in their own terms. It is DIY insofar as it is distinct from professional discourse, and less encompassing (and expensive) than video methods.

Podcasts can present an alternative model for making sense of the past – one that underscores the historymaker’s interpretive imprints, and which cultivates a sense of liveness and interactivity. Admittedly, Dan Carlin’s own style can be rambling and melodramatic. But to the extent that he practices history as a kind of storytelling, and acknowledges his own interpretive interventions, Hardcore History, like other independently produced history podcasts (I am thinking about a few of my favorites – Revolutions, The History Chicks, and The British History Podcast) give their listeners the sense that history is not necessarily something that is “out there,” or distant from us in the present, but part of a living conversation in the present. Podcasters construct a dialogue about history which, when combined with the interactivity offered by website forums, draws the listener into a participatory engagement. Rosenzweig and Thelen’s explain, Americans interested in popular history are skeptical of “historical presentations that did not give them credit for their critical abilities – commercialized histories on television or textbook-driven high school classes.” Such analytic skills are precisely what we as historians and teachers aim to develop in our students. Podcasting, when it constructs a collaborative dialogue in which audience and producer explore history together, can both be a valuable supplement to traditional historiography, and a way for people to connect with the past that overcomes the abstraction of textbooks and video.

"The histomap - four thousand years of world history" by Flickr user 图表汇, CC BY-SA 2.0

“The histomap – four thousand years of world history” by Flickr user 图表汇, CC BY-SA 2.0

But is the podcast as intellectually freeing as it might seem? Jonathan Sterne (et. al., 2008) notes that podcasting encompasses a range of technologies and practices that do not necessarily determine the liberation of content production from the dominance of established institutions and economies of scale. Indeed, there are many professional historians and media producers who have utilized audio (and sometimes video) podcasting to reach a wider audience. While the History Channel has not (yet) entered the field, one can surely imagine the implications of corporate-produced history content that homogenizes local and cultural particularities, or which present globalized capitalism as a natural or inevitable historical trajectory.

The kind of podcasts I am concerned with, however, are created by independent producers taking a DIY approach to content production and historical inquiry. While their resources and motivations may differ, podcasts produced on personal computers in the podcaster’s spare time have an intimate, handcrafted feel that I find to be more appealing than, say, a podcasted lecture. Ideally, what results is an intimate and episodic performance in which podcasters can, to use Andreas Duus Pape’s phrasing from an earlier Sounding Out! post, “whisper in the ears” of listeners. This intimacy is heightened by the means of access – when I download a particular podcast, transfer it to my iPhone, and listen on my commute, I am inviting the podcaster into my personal sonic space.

Complimenting this sense of intimacy is a DIY approach to history practiced by podcasters who are neither professional historians nor professional media producers. Relatively cheap and easy to produce (assuming the necessary equipment and leisure time), podcasting presents a low barrier of entry for history fans inspired to use new media technologies to share their passion with other history fans and the general public. Though a few podcasters acknowledge that they have had some university training in history, they are usually proud of their amateur status. The History Chicks, for example, “don’t claim to know it all,” and that any pretense toward a comprehensive history “would be kinda boring.” Podcasting and historical inquiry are hobbies, and their DIY history projects allow the relative freedom to have fun exploring and talking about their favorite subject matter – without having to conform to fussy disciplinary constraints. For Jamie Jeffers, creator of the British History podcast, most people are alienated by the way history gets taught in school. However, “almost everyone loves stories,” he says, and podcasting “allows us to reconnect to that ancient tradition of oral histories.” Others justify the hobby in more bluntly. For the History Chicks, women in history is “a perfect topic to sit down and chat about.” Talking about history, arguing about it, is something that history fans (and I include myself here) enjoy. Podcasting can broaden this conversation.

Despite my optimistic tone in this post, however, I do not want to suggest uncritically that the democratizing, DIY aspects that I have noted (among just a handful of podcasts) comprises the entire potential of the format. Nuancing a common opposition between the bottom-up potential of podcasting with the prevalent top-down (commercial) model of broadcasting for example, Sterne and others have asserted that rather than constituting a disruptive technology – as Richard Berry has suggested – podcasting realizes “an alternate cultural model of broadcasting.” Referring to earlier models of broadcasting – such as those Susan Douglas (1992) described in her classic study of early amateur radio – Sterne and company assert that analyses of podcasting should focus not on the technology itself, but on practice; not on the challenge podcasting poses to corporate dominance in broadcasting, but rather how it might offer a pluralistic model that permits both commercial/elite and DIY/amateur productions.

"Podcast in Retro" by Flickr user David Shortle, CC BY-NC 2.0

“Podcast in Retro” by Flickr user David Shortle, CC BY-NC 2.0

Adapting these recommendations, I argue that podcasting can help us conceptualize an alternate cultural model of history – one that invites reconsideration of what counts as historical knowledge and interpretation, and about who is empowered to construct and access historical discourse. Rather that privileging the empirical or objective histories of academic/professional historians, such an expanded model would recognize the cultural legitimacy of diverse forms of historiographical expression. In other words, that history is never “just” history, or “just” facts, but is always a contingent and situated form of knowledge, and that, as Keith Jenkins writes, “interpretations at (say) the ‘centre’ of our culture are not there because they are true or methodologically correct … but because they are aligned to the dominant discursive practices: again power/knowledge” (1991/2003, p. 79). But to reiterate Sterne’s (et. al.) caution however, such an alternative model would not necessarily determine a role-reversal between professional and DIY histories. Rather through podcasting, we might discover alternative ways of performing history as a new oral tradition – of becoming each of us our own historian.

Andrew J. Salvati is a Media Studies Ph.D. candidate at Rutgers University. His interests include the history of television and media technologies, theory and philosophy of history, and representations of history in media contexts. Additional interests include play, authenticity, the sublime, and the absurd. Andrew has co-authored a book chapter with colleague Jonathan Bullinger titled “Selective Authenticity and the Playable Past” in the recent edited volume Playing With the Past (2013), and has written a recent blog post for Play the Past titled The Play of History.”

Featured image: “Podcasts anywhere anytime” by Flickr user Francois, CC BY 2.0

tape reelREWIND!…If you liked this post, you may also dig:

“Music is not Bread: A Comment on the Economics of Podcasting”-Andreas Duus Pape

“Pushing Record: Labors of Love, and the iTunes Playlist”-Aaron Trammell

“Only the Sound Itself?: Early Radio, Education, and Archives of ‘No-Sound’”-Amanda Keeler

Sounding Out! Podcast #25: Interview with Aram Sinnreich, “The Piracy Crusade”

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CLICK HERE TO DOWNLOAD: Interview with Aram Sinnreich, “The Piracy Crusade”

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In this podcast Aaron Trammell interviews Aram Sinnreich about his new book, The Piracy Crusade. Here, Aram elaborates on the corporate construction of the term “piracy,” reviews the economics of the past twenty years of the music industry, and explains the legislation of piracy along the way.  At the heart of this discussion is the relationship between music and creativity, and, the question of how listening is regulated.

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Dr. Aram Sinnreich is an Assistant Professor at Rutgers University’s School of Communication and Information, in the Department of Journalism and Media Studies. Sinnreich’s work focuses on the intersection of culture, law and technology, with an emphasis on subjects such as emerging media and music. He is the author of two books, “Mashed Up” (2010), and “The Piracy Crusade” (2013), and has written for publications including the New York Times, Billboard and Wired. Prior to coming to Rutgers, Sinnreich served as Director at media innovation lab OMD Ignition Factory, Managing Partner of media/tech consultancy Radar Research, Visiting Professor at NYU Steinhardt, and Senior Analyst at Jupiter Research. He is also a bassist and composer, and has played with groups and artists including NYC soul band Brave New Girl, LA dub-and-bass collective Dubistry, and Ari-Up, lead singer of the Slits. Sinnreich holds a Ph.D. in Communication from the University of Southern California, and an MS in Journalism from Columbia University.

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What We Talk About When We Talk About Girl Talk– Peter DiCola

Remixing Girl Talk: The Poetics and Aesthetics of Mash Ups– Aram Sinnreich

Sounding Out! Podcast #1: “Peter DiCola at River Read Books”– Peter DiCola

The Sounds of Selling Out?: Tom Zé, Coca-Cola, and the Soundtrack to FIFA Brazil 2014

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Sound and Sport2Welcome back to our summer series on “Sound and Sport.”  In today’s post, Kariann Goldschmitt discusses the gamechanging controversy over Brazilian musician Tom Ze’s commercial for Coca-Cola’s FIFA 2014. For an instant replay of July’s post click Josh Ottum‘s “Sounding Boards and Sonic Styles: The Music of the Skatepark” or of June’s post, click Tara Betts‘s “Pretty, Fast, and Loud: The Audible Ali.” For May’s post, click Melissa Helquist‘s “Goalball: Sport, Silence, and Spectatorship.”  This Thursday’s grand finale will continue our discussion of Brazil, with a podcast by Andrea Medrado entitled “The Sounds of Rio’s Favelas: Echoes of Social Inequality in an Olympic City” AND keep you on the edge of your seat with a bonus Olympic doubleheader post excerpted from David Hendy‘s recent Noise broadcasts for BBC Radio 4 on the sounds of Olympic crowds. And now. . .the sounds of FIFA’s sponsors. –J. Stoever-Ackerman, Editor-in-Chief

Tensions in Brazil have been running high as the the country ramps up preparations for next year’s FIFA World Cup. Brazil’s economy is one of the world’s strongest, but its middle class has suffered as economic growth has stagnated amid rapidly rising costs of living. Yet, FIFA demands that Brazil’s government spend large amounts of money to renovate stadiums and further bolster tourism-based services at the expense of everything else. This last June, news of another hike in transit fees was the final straw for many citizens and they took to the streets to protest corruption and the routing of public funds to tournament preparations while basic services suffered. Protesters argue that the country is burnishing its international brand on the backs of its citizens. It is thus no surprise that much of the Brazilian public is fed up with FIFA and its multinational partners. As a consequence, musicians who participate in World Cup-related ad campaigns risk damaging their relationship with the public.

In Spring 2013, the Facebook page of one of Brazil’s most eccentric musical iconoclasts, Tom Zé, was bombarded by negative comments. Unforgivably to some of his most ardent fans, Zé had lent his vocal talents to a Coca-Cola commercial that sought to connect Brazil’s oft-mythologized cultural diversity to the universals of the World Cup and Coca-Cola’s alleged populism. Zé inflected his delivery of the ad copy with an especially musical speaking cadence and rhythm. It was a peculiar take that drew on his signature vocal eclecticism.

The ad opens with Zé stating,

Muita gente se pergunta como vai ser a copa

A coca-cola vai falar como ela não vai ser

[Many people are asking themselves what this cup will be like

Coca-Cola is going to tell you what it won’t be like]

as the shot features a group of people smoothing out a giant kite with the Brazilian flag. There is a strong syncopated rhythm to Zé’s voice that matches the carnival samba drums (especially the caixa) that accompany the ad throughout. As it continues, the imagery matches what Zé describes, in either stills or brief shots, often recalling the frenzy surrounding world cups of the past. In a rapid cadence, he says:

não vai ser só a copa de vuvuzela, do vidente, da celebridade

da menina bonita, do jogadores com cabelo da moda…”

[it won’t be the Cup of the vuvuzela, the psychic, nor of celebrity

of beautiful women, nor of players with fashionable hair]

The synchronization of Zé’s rapidly rhythmic delivery over archetypal images of Brazil’s tournament excitement is crucial to the ad’s message. This passage mentions two icons of the 2010 tournament, the vuvuzela and the psychic (vidente) octopus, with accompanying images. In under four seconds, the camera jumps from a man holding a celebrity magazine (celebridade), a woman cheering (menina bonita), some player figurines (jogadores) and a boy with an elaborate buzz cut.  By aligning himself with an official sponsor of the upcoming tournament through ad copy that valorizes Brazil’s present, Zé also lent the sound of his voice to the sports-industrial complex, thereby opening himself up to accusations that he was a  “sell-out” (vendido).

Tom Zé - Todos os Olhos (1973)

Tom Zé – Todos os Olhos (1973)

Zé is famous for taking part in the tropicália of the late 1960s – a cultural movement that was most effective through popular music. Tropicália musicians bucked Brazilian musical conventions by blending imported rock ‘n’ roll with national music protest songs during a period when musical taste often indicated one’s support or disapproval of the military dictatorship. While most involved in tropicália eventually became Brazilian musical mega-stars (Caetano Veloso, Gilberto Gil, Gal Costa, Os Mutantes, and Mara Bethânia), Zé drifted to obscurity by rejecting many of the machinations of the record industry. He only found an international audience when David Byrne’s Luaka Bop Records released some of his music in the 1990s, the most successful of which was Fabrication Defect [Com Defeito de Fabricação] (1998). Due to his peculiar status, Zé disrupted fan expectations and threatened his brand when he embraced a corporate power so intricately connected to an increasingly unpopular athletic tournament.

The controversy surrounding the Coca-Cola ad took a turn towards farce when, on April 22nd, 2013, Zé released a free 5-song EP on his website titled Tribunal do Feicebuque – a clear play on the way that Brazilians tend to pronounce “Facebook.” Accompanying the songs was a parody of tribunal orders listing the performing and collaboration credits along with lyrics to the songs. Zé’s actions exposed how the incident was a different kind of sonically-driven sports spectacle – this time it was played out over social media, in Brazil’s most influential newspaper, in Tribunal references and fights with fans during his shows at Rio’s famed Circo Voador, and in the ensuing blog reviews of his shows.

The chaotic structure of the EP’s title track, while typical of Zé catalog, disrupts his fans’ claims of “selling out.” He employs a variety of sonically disjunct approaches, opening with the startup sound for Microsoft’s Vista OS before jumping into a psychedelic samba-rock tune with a staccato guitar and a brass section. Zé recorded his vocals over multiple tracks, at times simultaneously sung/spoken at a low pitch and sung at a high pitch. The first half is familiar – the voices trade between Zé and a female companion in something sounding like a duet over a samba-rock beat. The lyrics directly reference infamous moments when Brazilian audiences have turned on their musical icons thought to be too involved in international business influences.


Vendido, vendido, vendido!

A preço de banana

Já não olha mais pro samba

Tá estudando propaganda

[Sell-out, sell-out, sell-out!

The price of a banana

He no longer looks to samba

He’s studying advertising]

At the mid-point, rock gives way to a serious march and more voices enter (including famed São Paulo hip-hop artist Emicida) making the song’s structure more like a trial, complete with competing arguments, before returning to samba-rock under Emicida’s rapping. The song is creative and fun, but it is far from Brazil’s top-40 fare which often favors smoother genre blends and urban pop hits.

Given all of the attention paid to musicians’ efforts to supplement their meager income from digital sales and streaming royalties by forging partnerships with a variety of multinational corporations, it is a little surprising that Tom Zé’s participation in a Coca-Cola commercial would be this controversial. It is difficult to find a musician in Brazil that hasn’t benefitted from some kind of corporate sponsorship. Most artists accept funding from a granting arm of a national corporation (oil company Petrobras, major bank Itaú), license music to national ad campaigns, or embark on a more direct co-branding effort from the likes of mobile phone providers and skin care companies.

Tom Zé in 2008 performing in front of a Petrobras sign, photo used by CC license, Neto Silveira

Tom Zé in 2008 performing in front of a Petrobras sign, photo used by CC license, Neto Silveira

One of the hallmarks of the recent changes that have affected the music industry is that musicians rarely refuse opportunities for their music to be used as the soundtrack for mainstream audio/visual entertainment and advertisements. The practice is so common that one of the best-regarded music industry survival books explains possible changes to a musician’s brand when they participate in the advertising of other products. Instead of  “don’t license your music,” musicians should license their music in a way that will benefit their brand. It is rare for a song’s success among World Cup spectators to harm musicians; anthems that reflect well on the host nation(s) and express the energy of cheering crowds are a central feature of the tournament. Shakira’s “Waka Waka” actually bolstered her credibility among music fans across the African continent because it sampled Golden Sounds’ hit “Zamina Mina,” a popular song among hip-hop artists in Camaroon and Senegal.  In Zé’s case, he misjudged how the tournament and its corporate sponsors were being read by the Brazilian public just weeks before tensions exploded in protest. Indeed, as compared to other Brazilian artists who have recorded potential 2014 World Cup anthems, the reaction to Zé is unique.

As others have noted, television advertising played an important role in the June protest soundtrack. Protesters appropriated the song from a Fiat commercial (released just weeks after Zé’s Facebook episode) that explicitly connects cheering soccer crowds in the street to a new car.

The meaning of “torcer,” a common expression for “cheer” in both advertisements’ copy, is transformed back to its original meaning to wrench or twist thereby exposing the conflicts that have been exacerbated by Brazil’s preparations for the tournament and the sports industrial complex.

These crowds twisted an ad’s soundtrack to challenge the role of multinational agencies and corporations in Brazil’s skewed socio-economic priorities. Indeed, as Leo Cardoso wrote in Sounding Out! a year ago, some of these priorities include regulating sound in Brazil’s largest cities.

For both of these cases involving sonic responses to advertisements that explicitly seek to capitalize on excitement for the soccer tournament, their original intended meaning was twisted and wrenched, forcing musicians to re-evaluate their publics. In the current political climate, Zé found that musical sounds can be aligned with the FIFA World Cup, so long as they are about celebrating sport rather than its multinational sponsors.

Promotional FIFA 2014 Can, Image by José Roitberg

Promotional FIFA 2014 Can, Photo used by CC license, José Roitberg

Featured Image: Tom Zé in 2008 performing in front of a Petrobras sign, photo used by CC license, Neto Silveira

Kariann Goldschmitt is an Adjunct Assistant Professor at New College of Florida and Ringling College of Art and Design. She holds a Ph.D. in Musicology from UCLA (2009) and was the 2009-2011 Mellon Fellow of Non-Western Music at Colby College in Maine. Her scholarly work focuses on Brazilian music, modes of listening, and sonic branding in the global cultural industries. She has published in The Journal of Popular Music Studies, American Music, Yearbook for Traditional Music, and Luso-Brazilian Review and contributes to the South American cultural magazine, Sounds and Colours.


tape reel

REWIND! . . .If you liked this post, you may also dig:

“Sound-politics in São Paulo, Brazil”–Leonardo Cardoso

Quebec’s #casseroles: on participation, percussion and protest–Jonathan Sterne

Hello, Americans: Orson Welles, Latin America, and the Sounds of the “Good Neighbor”–Tom McEnaney

Sounding Out! Podcast #14: Interview with Meme Librarian Amanda Brennan

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In this podcast Sounding Out! interviews Amanda Brennan, the meme librarian at Know Your Meme. Here, Amanda explains well known audio memes like The Harlem Shake, The ASMR Whisper Community, and Holophonic Sounds. She talks about the emotional bonds of Internet communities, the similarities between memes and gossip, and the scientific bias of Wikipedia. For anyone interested in the replication of sound online, this interview is essential listening.

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CLICK HERE TO DOWNLOAD: Interview with Meme Librarian Amanda Brennan.

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For as long as she can remember, Amanda Brennan loved the internet. Combining that love with a passion for archival research while earning her MLIS degree at Rutgers University, she explored tagging systems and the habits of the Internet group Anonymous. Currently, she is the resident librarian at Know Your Meme where she studies viral content and watches a lot of cat videos. You can find her on Tumblr, Twitter and Last.fm.

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