Tag Archive | Liana Silva

Fear of a Black (In The) Suburb

Dead End in the Burbs

Sounds of the City forumEditor’s Note:  This month Sounding Out! is thrilled to bring you a collection of posts that will change the way you hear cities. The Sounds of the City series will prompt readers to think through ideas about urban space and sound. Are cities as noisy as we think they are? Why are cities described as “loud”? Who makes these decisions about nomenclature and why?

We kicked things off two weeks ago with my critical reading of sound in Lorraine Hansberry’s A Raisin in the Sun, a play about African Americans in Chicago that still rings/stings true today. Guest writer Linda O’ Keeffe took readers last week on a soundwalk of Smithfield Square in Dublin, Ireland and specifically of the Smithfield Horse Fair, in order to illustrate how urban renewal disrupts city soundscapes and how sound reclaims those spaces. Next week CFP winner Lilian Radovac will share with us a photoessay on the sound installation Megaphóne in Montreal.

Today’s post comes from regular writer Regina Bradley whose post reminds us of the recent verdict of the Michael Dunn case, the “loud music case” when he shot 17-year-old Jordan Davis at a gas station. She discusses the dichotomy of urban and suburban in the context of sound (noisy versus quiet) and hip hop.

Edited on Feb 17, 2014 at 9:35 am EST: the first published version of this post did not acknowledge Nina Sun Eidsheim as the coiner of the phrase “sonic blackness.” We have added a reference in the post to recognize the work Eidsheim has done in theorizing this concept.Managing Editor Liana M. Silva-Ford

***

In a recent Chase credit card commercial a white woman pulls up to a gas station and pumps gas into her minivan while blasting loud music. Her windows rattle and the toys of her children vibrate to the beat. After pumping gas, the woman hops into her car, puts on a pair of shades, and bounces to the beat like a “cool mom.” In the context of the commercial, the white suburban mother is not threatening. The commercial reminds me that Jordan Davis’ life ended at a gas station in Jacksonville, Florida. His loud hip hop music was not cool; in fact, he and the music are perceived to be threatening.

The woman in the Chase commercial borrows what is instantly recognizable as sonic black (masculine) cool. Nina Sun Eidsheim, in her article “Marian Anderson and ‘Sonic Blackness’ in American Opera”, theorizes sonic blackness as the racialization of sounds that listeners perceive to be coming from a black body. Borrowing from her concept, I extend sonic blackness as the sound that are perceived as black that enter spaces where physical blackness could be readily refused. Of particular interest for this essay is the connection between black mobility, urban space, and sound. I focus particularly on hip hop as a mobile form of sonic blackness whose origins are based in the city. Hip hop reinforces conceptualizations of contemporary blackness as urban. In this context, sonic blackness collapses the absolute binaries in which blacks are frequently forced to exist, i.e. urban and rural, working class and middle class, silence and noise.  Yet when it is situated in hip hop, sonic blackness can also be considered a disruption of suburbia, a dominant trope of white privilege at the end of the 20th century. Using examples from the contemporary cartoon show The Boondocks, I posit that the show’s use of hip hop underscores how the white suburban soundscape is constructed in contrast to black urban sounds.

Screen Shot Leave It to Beaver ending credits

Screen Shot Leave It to Beaver ending credits

America’s popular imagination portrays the suburbs as white, middle class, and quiet. Constructions of the suburbs in recent history have not strayed far from the idealistic neighborhoods of the 1950s and 1960s portrayed in shows like Leave It to Beaver. Take for example the inclusion of gated communities as the upper echelon of suburbs and white privilege seen in The Real Housewives of Orange County (which opens with the viewer ‘walking through’ opened gates into the Orange County community).  I’d like to emphasize the connection between whiteness and quiet, as privilege in these types of spaces is present but often not visible or audible. Suburbs are the result of urban industrialism, anxiety of close association with an increasing minority community, and the need to sustain a romantic ideal of the American dream. A suburb’s physical parameter is a middle-class manifestation of manicured lawns, gates, and homeowner associations. At the level of sound, the suburbs’ class privilege is represented as the hum of lawn mowers, chirping birds, and screeching breaks of school buses. As Steve Macek points out in Urban Nightmares: The Media, The Right, And The Moral Panic Over The City, suburban sensibilities cling to an idealistic notion of a physically and sonically constructed white ambivalence to racial and class anxieties associated with cities.  Any dysfunction associated with whiteness is quietly tucked away from public view.

White suburbia sustains its desirability because it is a physically and sonically segregated space. Yet white suburbia is also the site of black Americans’ most recent migratory efforts. In ways that northern cities signified opportunity for blacks in the early 20th century, the ideals of racial progress and class in the late 20th century have shifted to U.S. suburbs. Thoughts of the middle class in the black imagination amplify the suburb as a utopic space because of its initial lack of access. The suburb becomes the mountaintop of racial access and privilege.

"A Raisin in the Sun 1959 2" in the public domain via Wikimedia Commons

“A Raisin in the Sun 1959 2″ in the public domain via Wikimedia Commons

Consider the premise for Lorraine Hansberry’s 1959 play A Raisin in the Sun. Hansberry examines in the play the high stakes of home ownership in a ‘good neighborhood.’ The Lee family leaves the Southside for the opportunity at a better life and more space for their growing family. As Liana Silva-Ford pointed in her discussion of A Raisin in the Sun two weeks ago, the Lee family’s decision to move into the Clybourn Park neighborhood disrupts the suburb as a space of white privilege and annotates the cusp of the emerging Civil Rights Movement. Additionally, visual demonstrations of black protest that reach suburban areas are annotated by sonic markers of struggle i.e. the sound of attacking guard dogs, police officers screaming at protestors, spraying fire hoses, and screams and moans of black bodies under attack. The audio-visual representation of the struggle of integration collapses the notions of white suburbia as a site of ‘perfect peace.’ The above referenced sonic markers also destabilize classifications of black trauma as restricted to urban spaces like the inner city, which is believed to embody blacks’ realities.

"Damen - Boondocks" by Flickr user Ian Freimuth, CC BY-NC-ND 2.0

“Damen – Boondocks” by Flickr user Ian Freimuth, CC BY-NC-ND 2.0

 

Where Hansberry’s interrogation of space and access in Raisin in the Sun is an initial foray into constructions of white privilege vis-à-vis suburban communities, Aaron McGruder’s 21st century suburban space of The Boondocks pivots on the romanticized ideas of blacks in middle class spaces derived from the 1950s and 1960s. The show introduces viewers to patriarch Robert (Grandad Freeman) and his two grandsons, Huey and Riley Freeman, who have left the south side of Chicago for the white suburb of Woodcrest. McGruder incorporates sonic markers of race and class that collapse suburbs as white only spaces. Aside from lighthearted lounge music style piano riffs during dialogues that indicate whiteness, McGruder incorporates sonic elements of hip hop that interrupt white suburbia. Elements of sonic registers of hip hop, like heavy bass kicks and songs like “Booty Butt Cheeks” or “Thuggin’ Love,” disrupt the quiet of the Woodcrest community.

The clash of hip hop’s loudness with Woodcrest’s quiet demeanor is best demonstrated in the episodes “The Story of Thugnificent” and “The Block is Hot.” In “The Story of Thugnificent,” rapper Thugnificent decides to move to Woodcrest. His presence is heard before it is seen, a caravan of cars with bass systems playing “Booty Butt Cheeks” before he actually appears on screen. Thugnificent’s arrival is striking as he introduces hip hop as a literal and sonically disruptive element of black working class cultural expression. The disruption is celebrated, however, because of Thugnificent’s allure as a rapper. He gets a pass that Grandad Freeman questions because he sees Thugnificient as a threat to what he perceives to be as a delicate existence of his blackness in a white community.

Grandad Freeman’s vehement opposition to embrace “the homie” Thugnificent destabilizes notions of policing as a one-sided scare tactic by whites. Yet to repel Thugnificent’s physical and sonic presence, Grandad resorts to hip hop and records a diss record that demands Thugnificent to leave Woodcrest. The diss record parodies the sonic notes of a rap battle: Grandad starts the track with ramblings of “yeah” and “uh.” Where these terms are used in a rap battle to try to “catch the beat,” Grandad’s use of these words is an offset attempt to try to find something to say. The result of Grandad and Thugnificent’s rap battle on wax is a rise in physical violence against senior citizens in Woodcrest. The awkwardness of Grandad’s diss track parallels not only a generational dismissal of hip hop as an outlet of protest but the sonic awkwardness of hip hop being the voice of protest for a suburban space.

"Fight the Power" single cover, by fair use under US copyright law

“Fight the Power” single cover, by fair use under US copyright law

In the episode “Block is Hot,” a nod to rapper Lil Wayne’s same titled track (although he nor the song are mentioned anywhere in the show), Huey Freeman blasts rap group Public Enemy’s pro-black and anti-police brutality anthem “Fight the Power” to remind his neighborhood he is a black nationalist. He is also dressed in a black hoodie and black timberland boots. Huey is undeniably hip hop in a privileged white space. Huey’s physical apparel, a nod to the Black Panther party and the hip hop fashion affinity for wearing the color black is amplified by “Fight the Power.” Huey’s posturing can also be read as a homage to Radio Raheem from Spike Lee’s 1989 film Do the Right Thing because like Radio Raheem, Huey lugs around a large boombox to play “Fight the Power.” Particularly striking is the overlap of the urban hip hop masculinity Raheem signifies with Huey’s own hip hop posturing in Woodcrest. While Raheem remains in the ‘hood, Huey doubly signifies hip hop’s migration from the city into suburban areas as well as his own migration to Woodcrest from Chicago. Huey uses hip hop as a site of social-political resistance and as a way to remain attached to his urban roots. Blasting “Fight the Power” shows how Huey remains conscious of white privilege in Woodcrest. He recognizes the need to identify black agency – even if it is only emphasized through sound – while reflecting on the “new” suburb as a racially ambiguous space.

The most jarring use of sound to reflect on the racial politics of the new suburb is the shooting of Uncle Ruckus by police officers. The ricochet of the bullets can be heard against cars and other inanimate objects but the bullets miss their target, Ruckus. The gun shots mark an interruption of the suburban soundscape. Gun shots, sonic signifiers of power, death, and trauma, are also markers of black violence as an urban phenomenon. However, negotiations of power shift to speak to reclamation of white privilege in sonic and physical spaces . The gun shots inflicted upon black bodies in suburban spaces could also be read as a subversion of gun shots heard in hip hop. While the sound of a firing gun in the hip hop imagination is expected and acceptable, gun shots in white suburbia are disruptive and displaced because they contest its appearance as a quiet and respectable space. Further, the sonic significance of the bullets riddling everything around Ruckus is the messiness of the hit-or-miss surveillance of black bodies, particularly black men, as necessary in privileged white spaces.

"Jacksonville Florida Sheriff's Office Impala" by Flickr user Dfirecop, CC BY-NC-ND 2.0

“Jacksonville Florida Sheriff’s Office Impala” by Flickr user Dfirecop, CC BY-NC-ND 2.0

The policing of black bodies in suburban spaces, especially over the past two years, begs the question of how suburban soundscapes serve as backdrops of 21st century racial anxieties and whiteness. The centrality of sound in  the deaths of Trayvon Martin, Renisha McBride, Jordan Davis, and Jonathan Ferrell,– i.e. 911 tapes and banging on house doors – is critical in identifying race and space. Sonic markers of racial anxiety in their deaths devastatingly reemphasize the connection of race and sound in white privilege spaces. For example, Davis’ killer Michael Dunn stated to his girlfriend that he “hate[d] that thug music.” Unlike the suburban mom in the Chase commercial, Dunn is threatened by the sonic blackness and hypermasculinity associated with loud [hip hop] music. The negative connotations of hip hop as “thug music” and Davis’ mere presence as a young black man trigger a devastating response to the disruption of white privileged space.

As I work through my visceral response to Michael Dunn’s not guilty verdict for the actual slaughter of Jordan Davis, I think about the frivolity of the suburban mom in the Chase commercial and her enjoyment of loud music. The overlap of her whiteness, gender, and status as a suburbanite protect her from any inclinations of being a menace. She uses loud music as a sense of liberation – a premise for the Chase Freedom card being promoted in the commercial. Unlike Chase’s suburban mom, Jordan Davis’ use of loud music is not freeing – it contextualizes him in a rigid space of hypermasculinity and pathology that is all too often associated with hip hop culture. As I discuss previously, the traumas associated with black bodies that cannot be literally articulated take place in nonliteral spaces like sound. Utilizing sound is particularly useful in situating blackness in privileged white spaces like suburbs that displace their agency and significance because of racial anxieties associated with space and class.

Regina Bradley recently completed her PhD at Florida State University in African American Literature. Her dissertation is titled “Race to Post: White Hegemonic Capitalism and Black Empowerment in 21st Century Black Popular Culture and Literature.” She is a regular writer for Sounding Out!

Featured image: “Dead End in the Burbs” by Flickr user Vox Efx, CC BY 2.0

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Sound at MLA 2014

"Mississippi North" by Flickr  user John W. Iwanski, CC-BY-NC-2.0

Happy new year, dear Sounding Out! readers! Early January brings about New Year’s resolutions, specials on bins for holiday ornaments, Three Kings’ Day, and our yearly MLA sound studies panel round-up. This year, MLA 2014 attendees will get another blast of cold temperatures because this year’s convention is in Chicago—not much of a difference weather-wise from Boston but just as exciting! If you’re undecided about what panels to check out or if you’re not sure about where to start with the MLA Program, you’re in the right place: I combed the MLA Program page by page and condensed it just for our sound studies aficionados. If you’re sitting this MLA out or if you’re just curious about what the following panels are all about, it’s easy to follow the conference from home if you have access to Twitter. MLA is one of the most active academic conferences on social media: there’s the lively twitter hashtag #MLA14, the individual hashtags for each session (#s–followed by the session number), and an attentive twitter account (@MLAConvention), so even if you’re not in Chi-town you can still see what’s going on at your favorite panels this week.

Whereas last year some of the sound-oriented panels had a particular digital angle, this year there are several panels look at the intersection of sound and literary studies. The titles may not suggest sound, but the presentations do. For example, panel #s384 Literary Crossroads: African American Literature and Christianity includes presentations on representations of gospel and spirituality in different African American books. Another panel of interest is #s414, Literature and Media in the Nineteenth-Century United States arranged by the Division on Nineteenth-Century American Literature. (This panel resonates nicely with Sounding Out!’s Sound in the Nineteenth Century forum which just ended last Monday.) The focus on literature may come from the fact that the MLA brings many literary scholars together, but it is encouraging that the study of sound is also overlapping with the study of literature.

"Street Musicians, Chicago" by Flickr user Diana Schnuth, CC-BY-NC-2.0

“Street Musicians, Chicago” by Flickr user Diana Schnuth, CC-BY-NC-2.0

Despite that the convention brings literature scholars from across the United States together, some of the more intriguing sound-oriented panels are not focused on literature at all. In fact, several panels address sound from the angle of music. Panel #s131, The Musics of Chicago brings together High Fidelity and Lupe Fiasco, and panel #s162 on the HBO series Girls includes Chloe H. Johnson’s paper “Dancing on My Own: Popular Music and Issues of Identity in Girls. Although the fields of literary studies and cultural studies are sometimes in tension with each other, some MLA presenters are approaching popular culture particularly from an aural angle.

Music is not the only presence of sound in the MLA Program. Several panels bring up sound in conjunction with pedagogy. Some of our readers may remember the forum Sounding Out! hosted last year on sound and pedagogy—a forum of which I was a part. I’m glad to see other language, composition, and literature teachers are thinking about sound too. Panel #s114, Dialects of English Worldwide: Issues in English Language Studies includes several papers that think about spoken English nowadays. For those who are interested in how the sound of students’ speech are intersected by structural racism and public policy will find lots to think about with this panel. If you’re looking for concrete suggestions on using sound as a pedagogical approach, panel #s213 has some answers. Twenty-First-Century Pedagogies, arranged by the Discussion Group on the Two-Year College includes a presentation on sound essays by Kathryn O’Donoghue from the Graduate Center at City Univ. of New York.

Where will Team SO! be at MLA 2014? Editor-in-Chief Jennifer Stoever-Ackerman can be found at the DH Commons pre-conference workshop on Thursday, January 9, 2014; she will be presenting Friday, January 10 at 8:30 am on her research on Lead belly and Richard Wright as part of panel #s221, Singing Out in the American Literary Experience. Regular writer Regina Bradley will be presenting Friday at 5:15 pm on panel #s403 Words, Works, and New Archives: Studying African American Literature in the Twenty-First Century. Guest blogger Scott Poulson-Bryant will be at panel #s447, The Seventies in Black and White: A Soundtrack on Saturday at 8:30 am. I will be presenting on Friday morning at panel #s218, a roundtable on the graduate seminar paper and will be leading panel #s788, Back Up Your Work: Conceptualizing Writing Support for Graduate Students on Sunday at 1:45 pm. You can catch us on Twitter: @lianamsilvaford and @soundingoutblog where we’ll be live-tweeting panels and keeping followers up to date on convention chatter. Who knows, maybe there’ll be an impromptu SO! tweet-up? Stay tuned to our social media feeds!

Before I go, a shameless plug: As of this month I am the new editor of the newsletter Women in Higher Education, so if you want to meet up and talk about the newsletter please let me know!

Did I miss something? Maybe I somehow missed you or your panel in this round up? Please let me know either via email, via tweet, or post on the Sounding Out! Facebook page.


Liana Silva-Ford is co-founder and Managing Editor of Sounding Out!.

Featured image: “Mississippi North” by Flickr user John W. Iwanski, CC-BY-NC-2.0

Jump to THURSDAY, JANUARY 9, 2014
Jump to FRIDAY, JANUARY 10, 2014
Jump to SATURDAY, JANUARY 11, 2014
Jump to SUNDAY, JANUARY 12, 2014

"Television Sam (I'm Your Main Man)" by Flickr user the justified sinner, CC-BY-NC-SA-2.0

“Television Sam (I’m Your Main Man)” by Flickr user the justified sinner, CC-BY-NC-SA-2.0

THURSDAY, JANUARY 9, 2014

8:30 am-11:30 am 
3. Get Started in the Digital Humanities with Help from DHCommons

Chicago A–B, Chicago Marriott 

PRESIDING: Ryan Cordell, Northeastern Univ.; Josh Honn, Northwestern Univ.; Katherine A. Rowe, Bryn Mawr Coll.

The workshop welcomes language and literature scholars who wish to learn about, pursue, or join digital humanities (DH) projects but do not have the institutional infrastructure to support them. Representatives of DH projects and initiatives will share their expertise on project design, outline available resources and opportunities, and lead small-group training sessions on DH technologies and skills. Preregistration required.

12:00 pm-1:15 pm

31. Radical Curators, Vulnerable Genres: Lost Histories of Collecting, Editing, Bibliography

Michigan–Michigan State, Chicago Marriott

PRESIDING: Meredith L. McGill, Rutgers Univ., New Brunswick

SPEAKERS:

Jessica J. Beard, Univ. of California, Santa Cruz;

Alex Black, Cornell Univ.;

Jane Greenway Carr, New York Univ.;

Ellen Gruber Garvey, New Jersey City Univ.

Laura Helton, Univ. of Virginia

Courtney Thorsson, Univ. of Oregon

33. Sir Walter Scott and Music

Sheffield, Chicago Marriott

Program arranged by the Lyrica Society for Word-Music Relations

PRESIDING: Jeff Dailey, Five Towns Coll.

1. “Cutting Out the Castle Quicksand: Scott’s Bride, Donizetti’s Lucia, and the ‘Personally Furious’ Ayn Rand,” Shoshana Milgram Knapp, Virginia Polytechnic Inst. and State Univ.

2. “‘Drifting through the Intellectual Atmosphere’ from Scott’s Old Morality to Liszt’s Hexameron,” Catherine Ludlow, Western Illinois Univ.

3. “Walter Scott, British Identity, and International Grand Opera: Isidore de Lara’s Amy Robsart(1893),” Tommaso Sabbatini, Univ. of Chicago

For abstracts, visit lyricasociety.org.

1:45-3:00 pm

75. Voice and Silence

Mississippi, Sheraton Chicago

Program arranged by the Division on French Medieval Language and Literature

PRESIDING: Matilda Tomaryn Bruckner, Boston Coll.

1. “Gut Feelings,” Jason D. Jacobs, Roger Williams Univ.

2. “Tomboy Silence,” Wan-Chuan Kao, Washington and Lee Univ.

3. “Giving Voice to the Word of God; or, Bernard of Clairvaux Sings the Song of Songs,” Kris Trujillo, Univ. of California, Berkeley

3:30-4:45

114. Dialects of English Worldwide: Issues in English Language Studies

Illinois, Chicago Marriott

Program arranged by the Discussion Group on Present-Day English Language 

PRESIDING: Elizabeth Bell Canon, Emory Univ.

1. “‘Speak the Language of Your Flag’: American Policy Responses to Nonanglophone Immigrants,” Dennis E. Baron, Univ. of Illinois, Urbana

2. “The Sounds of Silence: Standard and Nonstandard Englishes in Contemporary Ethnic American Writing,” Melissa Dennihy, Queensborough Community Coll., City Univ. of New York

3. “Star Spanglish Banter: Harnessing Students’ Linguistic Expertise,” Jill Hallett, Northeastern Illinois Univ.

4. “Emerging Attitudes toward New Media within the Discourses of Poetics and Literature,” April Pierce, Univ. of Oxford

5:15-6:30

131. The Musics of Chicago

Chicago H, Chicago Marriott 

PRESIDING: Shawn Higgins, Univ. of Connecticut, Storrs

1. “Sweet Home Chicago? (Dis)Locating the American ‘Race Record’ in High Fidelity,” Jürgen E. Grandt, Univ. of North Georgia

2. “Experiment and Exodus in the Music of Chicago,” Toshiyuki Ohwada, Keio Univ.

3. “Fly Girls or Blackface? The Racial and Gender Politics of Lupe Fiasco,” Jorge Santos, Univ. of Connecticut, Storrs

141. Enduring Noise: Sound and Sexual Difference

Illinois, Chicago Marriott

PRESIDING: Rizvana Bradley, Emory Univ.

1. “Listening to Gertrude Stein’s Repeating: Sonorous Temporality in The Making of Americans,” Erin McNellis, Univ. of California, Irvine

2. “Queer Extensities: Pauline Oliveros and Disco,” Amalle Dublon, Duke Univ.

3. “Metal, Reproduction, and the Politics of Doom,” Aliza Shvarts, New York Univ.

RESPONDING: Rizvana Bradley

7:00-8:15 pm

162. Girls and the F Word: Twenty-First-Century Representations of Women’s Lives

Los Angeles–Miami, Chicago Marriott 

PRESIDING : Tahneer Oksman, Marymount Manhattan Coll.

1. “‘My Shoes Match My Dress . . . Kind Of!’: The Politics of Dressing and Nakedness in Girls,” Laura Scroggs, Univ. of Minnesota, Twin Cities

2. “She’s Just Not That into You: Girls, Dating, and Damage,” Jennifer Mitchell, Weber State Univ.

3. “Dancing on My Own: Popular Music and Issues of Identity in Girls,” Chloe H. Johnson, York Univ., Keele

RESPONDING: Nancy K. Miller, Graduate Center, City Univ. of New York

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"Untitled" by Flickr user d76, CC-BY-NC-2.0

“Untitled” by Flickr user d76, CC-BY-NC-2.0

FRIDAY, JANUARY 10, 2014

8:30 am-9:45 am

207. Diversifying the Victorian Verse Archives

Chicago A–B, Chicago Marriott 

PRESIDING : Meredith Martin, Princeton Univ.

1. “Recovering Tennyson’s ‘Melody in Poetry’: Salon Recitations and Musical Settings,” Phyllis Weliver, Saint Louis Univ.

2. “Morris Metrics: The Work of Meter in the Age of Mechanical Reproduction,” Yopie Prins, Univ. of Michigan, Ann Arbor

3. “Digital Archives and the Music of Victorian Poetry,” Joanna Swafford, Univ. of Virginia

For abstracts, visit https://sites.google.com/a/slu.edu/diversifying-the-victorian-verse-archives/

213. Twenty-First-Century Pedagogies

Michigan–Michigan State, Chicago Marriott

Program arranged by the Discussion Group on the Two-Year College 

PRESIDING: Stacey Lee Donohue, Central Oregon Community Coll.

1. “Not on Wikipedia: Making the Local Visible,” Laurel Harris, Queensborough Community Coll., City Univ. of New York

2. “Survival Spanish Online: Designing a Community College Course That Bridges Culture and Authentic Connections,” Cecilia McGinniss Kennedy, Clark State Community Coll., OH

3. “Sound Essays: A Cure for the Common Core,” Kathryn O’Donoghue, Graduate Center, City Univ. of New York

4. “Leveling Up! Gamifying the Literature Classroom,” Jessica Lewis-Turner, Temple Univ., Philadelphia

For abstracts, visit commons.mla.org/groups/the-two-year-college/announcements/ after 15 Dec.

217. Cuba on Stage

Arkansas, Sheraton Chicago

Program arranged by the Discussion Group on Cuban and Cuban Diaspora Cultural Production 

PRESIDING: Vicky Unruh, Univ. of Kansas

1. “José Triana, Virgilio Piñera, and the Racial Erotics of Cuban Tragedy,” Armando Garcia, Univ. of Pittsburgh

2. “Estorino’s Gray Ghosts,” David Lisenby, Univ. at Albany, State Univ. of New York

3. “Musical Trangressions on the Cuban Stage: Rap, Rock, and Reggaeton,” Elena Valdez, Swarthmore Coll.

4. “Locating the Malecón,” Bretton White, Colby Coll.

221. Singing Out in the American Literary Experience

Old Town, Chicago Marriott

Program arranged by the Discussion Group on Folklore and Literature 

PRESIDING: Mark Allan Jackson, Middle Tennessee State Univ.

1. “Re-sounding Folk Voice, Remaking the Ballad: Alan Lomax, Margaret Walker, and the New Criticism,” Derek Furr, Bard Coll.

2. “‘A Voice to Match All That’: Lead Belly, Richard Wright, and Lynching’s Sound Track,” Jennifer Stoever-Ackerman, Binghamton Univ., State Univ. of New York

3. “Stunting Gualinto: The Limits of Corrido Heroism in Americo Paredes’s George Washington Gomez,” Melanie Hernandez, Univ. of Washington, Seattle

For abstracts, write to majackso@mtsu.edu.

10:15-11:30

261. Applying Linguistics to the Learning of Middle Eastern Languages

Huron, Sheraton Chicago

Program arranged by the Discussion Group on General Linguistics 

PRESIDING: Terrence Potter, Georgetown Univ.

1. “How Strategic Can They Be? Differences between Student and Instructor Attitudes toward Language Learning Strategies,” Gregory Ebner, United States Military Acad.

2. “Needs-Analysis Informed Task Design in Arabic Foreign Language Programs in the United States: Insights from Learner Perceptions and Production,” Maimoonah Al Khalil, King Saud Univ., Riyadh

3. “Linguistic Advantages and Constraints in the Classroom: Judeo-Spanish as an L2,” Bryan Kirschen, Univ. of California, Los Angeles

For abstracts, write to tmp28@georgetown.edu.

263. John Clare: The Voices of Nature

Chicago C, Chicago Marriott

Program arranged by the John Clare Society of North America 

PRESIDING: Rochelle Johnson, Coll. of Idaho

1. “Speaking for the Trees: Margaret Cavendish, John Clare, and Voicing Nature,” Bridget Mary Keegan, Creighton Univ.

2. “Clare’s Air: Sound in Motion,” Paul Chirico, Univ. of Cambridge, Fitzwilliam Coll.

3. “John Clare: The Unusual and Challenging Natural Historian,” Eric H. Robinson, Univ. of Massachusetts, Boston

12:00 pm-1:15 pm

269A. Chicago Latina/o Writing: A Creative Conversation

Sheraton I, Sheraton Chicago

Program arranged by the Office of the Executive Director 

PRESIDING: Ariana Ruiz, Univ. of Illinois, Urbana

SPEAKERS: Rey Andújar, Centro de Estudios Avanzados de Puerto Rico y el Caribe

Brenda Cárdenas, Univ. of Wisconsin, Milwaukee

Paul Martínez Pompa, Triton Coll.

Achy Obejas, Chicago, IL

270. Women’s Education in Third World Countries

Parlor G, Sheraton Chicago

Program arranged by the Discussion Group on Interdisciplinary Approaches to Culture and Society 

PRESIDING : Shirin E. Edwin, Sam Houston State Univ.

1. “Narrative Approaches to Transmitting Regional Oral and Instrumental Literary Traditions in the Works of Aminata Sow Fall,” Julie Ann Huntington, Marymount Manhattan Coll.

2. “Gender, Class, and Education: Intersections in South Asian Literature,” Maryse Jayasuriya, Univ. of Texas, El Paso

3. “Women’s Schooling in Clarice Lispector’s Narrative: A Brazilian Education,” Alejandro E. Latinez, Sam Houston State Univ.

279. Dadaphone: Indeterminacy in Words and Music

Huron, Chicago Marriott

Program arranged by the Lyrica Society for Word-Music Relations and the Association for the Study of Dada and Surrealism 

PRESIDING : Jeff Dailey, Five Towns Coll.

1. “Black Dada,” Kathy Lou Schultz, Univ. of Memphis

2. “Aleatory Adaptation and Indeterminate Interpretation: Radiohead’s In Rainbows as Faustian Rock Opera,” Meg Tarquinio Roche, Northeastern Univ.

3. “Game Changer: Cage’s Word-Music Combination in ‘Renunion’ and ‘Solo 23,’” Sydney Boyd, Rice Univ.

4. “Graphic Notation in Contemporary Music and Its Debt to Dada,” Laura Prichard, Univ. of Massachusetts, Lowell

For abstracts, visit lyricasociety.org.

5:15 pm-6:30 pm

384. Literary Crossroads: African American Literature and Christianity

Addison, Chicago Marriott

Program arranged by the Conference on Christianity and Literature and the Division on Literature and Religion 

PRESIDING: Katherine Clay Bassard, Virginia Commonwealth Univ.

1. “God’s Trombones, the Social Gospel, and the Harlem Renaissance,” Jonathan Fedors, Univ. of Pennsylvania

2. “When the Gospel Sings the Blues in Ralph Ellison’s Invisible Man,” Claudia Rosemary May, Univ. of California, Berkeley

3. “Faith Moves: Belief and the Body in Bill T. Jones’s Chapel/Chapter and Toni Morrison’sParadise,” Leslie Elizabeth Wingard, Coll. of Wooster

For abstracts, write to kcbassar@vcu.edu.

403. Words, Works, and New Archives: Studying African American Literature in the Twenty-First Century

Michigan–Michigan State, Chicago Marriott

Program arranged by the College Language Association 

PRESIDING : Warren Carson, Univ. of South Carolina, Spartanburg

1. “The Field and Function of African American Literary Scholarship: A Memorial and a Challenge,” Dana A. Williams, Howard Univ.

2. “The Black Book: Creating an Interactive Research Environment,” Kenton Rambsy, Univ. of Kansas

3. “Keepin’ It Interactive: Hip-Hop in the Age of Digital Reproduction,” Regina Bradley, Kennesaw State Univ.; Jeremy Dean, Rap Genius, Inc.

414. Literature and Media in the Nineteenth-Century United States

Chicago A–B, Chicago Marriott

Program arranged by the Division on Nineteenth-Century American Literature 

PRESIDING : Meredith L. McGill, Rutgers Univ., New Brunswick

SPEAKERS: Jonathan Elmer, Indiana Univ., Bloomington

Teresa Alice Goddu, Vanderbilt Univ.

Naomi Greyser, Univ. of Iowa

Brian Hochman, Georgetown Univ.

Christopher J. Lukasik, Purdue Univ., West Lafayette

Lauren A. Neefe, Stony Brook Univ., State Univ. of New York

For project statements, panelist biographies, and description of roundtable format, visit19thcamlitdiv.wordpress.com after 1 Dec.

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"Cubs Stomp" by Flickr user John W. Iwanski, CC-BY-NC-2.0

“Cubs Stomp” by Flickr user John W. Iwanski, CC-BY-NC-2.0

SATURDAY, JANUARY 11, 2014

8:30 am-9:45 am

441. Socialist Senses

Ohio, Sheraton Chicago

Program arranged by the Discussion Group on Slavic Literatures and Cultures 

PRESIDING : Nancy Condee, Univ. of Pittsburgh

1. “The Materiality of Sound: Esfir Shub’s Haptic Cinema,” Lilya Kaganovsky, Univ. of Illinois, Urbana

2. “From the Cinema of Attractions to the Cinema of Affect in Early Socialist Realism,” R. J. D. Bird, Univ. of Chicago

3. “Ineluctable Modality of the Visible: Gorky’s Return and the Onset of Clarity,” Petre M. Petrov, Princeton Univ.

For abstracts, visit mlaslavic.blogspot.com/ after 30 Dec.

447. The Seventies in Black and White: A Soundtrack

Purdue-Wisconsin, Chicago Marriott 

PRESIDING : Jack Hamilton, Harvard Univ.

1. “Mutts of the Planet: Joni Mitchell Channels Charles Mingus,” David Yaffe, Syracuse Univ.

2. “Righteous Minstrels: Race, Writing, and the Clash,” Jack Hamilton

3. “Broken Masculinities: Black Sound, White Men, and New York City,” Scott Poulson-Bryant, Harvard Univ.

10:15 am-11:30 am

474. African American Voices from the Civil War

Michigan–Michigan State, Chicago Marriott 

PRESIDING : Timothy Sweet, West Virginia Univ., Morgantown

1. “The Color of Quaintness: Thomas Wentworth Higginson, Black Song, and American Union,”Jeremy Wells, Indiana Univ. Southeast

2. “‘If We Ever Expect to Be a Pepple’: The Literary Culture of African American Soldiers,” Christopher A. Hager, Trinity Coll., CT

3. “‘And Terrors Broke from Hill to Hill’: The Civil War Poems of George Moses Horton,” Faith Barrett, Duquesne Univ.

4. “The Negro in the American Rebellion: William Wells Brown and the Design of African American History,” John Ernest, Univ. of Delaware, Newark

485. Digital Practice: Social Networks across Borders

Missouri, Sheraton Chicago

Program arranged by the Division on Twentieth-Century German Literature 

PRESIDING : Stefanie Harris, Texas A&M Univ., College Station

1. “Kafka and the Kafkaesques: Close Reading Online Fan Fiction,” Bonnie Ruberg, Univ. of California, Berkeley

2. “Network Politics, Wireless Protocols, and Public Space,” Erik Born, Univ. of California, Berkeley

3. “Intersections of Music, Politics, and Digital Media: Bandista,” Ela Gezen, Univ. of Massachusetts, Amherst

Responding: Yasemin Yildiz, Univ. of Illinois, Urbana

For abstracts, visit german.berkeley.edu/transit.

12:00 pm-1:15 pm

508. Performing Blackness in the Nineteenth Century

Chicago A–B, Chicago Marriott

Program arranged by the Division on Nineteenth-Century American Literature 

PRESIDING : Harvey Young, Northwestern Univ.

1. “Being Touched: Sojourner Truth’s ‘Spiritual Theatre’ and the Genealogy of Radical Black Activism,” Jayna Brown, Univ. of California, Riverside

2. “Frederick Douglass and the ‘Claims’ of Democratic Individuality in Antebellum Political Theory,” Douglas Jones, Princeton Univ.

3. “’Dey Make Me Say Dat All De Time: Performance Art, Objecthood, and Joice Heth’s Sonic of Dissent,” Uri McMillan, Univ. of California, Los Angeles

509. Becoming Chroniclers: Latin American Women Writers and the Press, 1920–73

Parlor F, Sheraton Chicago 

PRESIDING : Vicky Unruh, Univ. of Kansas

1. “The Opportunities of Technology: Cube Bonifant’s Radiophonic Chronicles in El universal ilustrado,” Viviane A. Mahieux, Univ. of California, Irvine

2. “Key Moments in the Subversion of a Genre: Alfonsina Storni and Clarice Lispector Redefine Womanhood,” Mariela Méndez, Univ. of Richmond

3. “Issues of Gender and Genre: Isabel Allende and Clarice Lispector Writing Chronicles, 1968–73,” Claudia Mariana Darrigrandi, Universidad Adolfo Ibáñez

1:45 pm-3:00pm

572. Illness and Disability Memoir as Embodied Knowledge

Los Angeles–Miami, Chicago Marriott

Program arranged by the MLA Committee on Disability Issues in the Profession 

PRESIDING : Rachel Adams, Columbia Univ.

1. “Recoding Silence: Teresa de Cartagena, Medieval Sign Lexicons, and Deaf Life Writing,” Jonathan H. Hsy, George Washington Univ.

2. “‘Twisted and Deformed’: Virginia Woolf, Alison Bechdel, and Crip-Feminist Autobiography,” Cynthia Barounis, Washington Univ. in St. Louis

3. “‘My Worry Now Accumulates’: Sensorial and Emotional Contagion in Autistic Life Writing,” Ralph James Savarese, Grinnell Coll.

For papers or abstracts, write to rea15@columbia.edu after 1 Jan.

3:30 pm-4:45 pm

586. Early Modern Media Ecologies

Great America, Chicago Marriott 

PRESIDING: Jen Boyle, Coastal Carolina Univ.

1. “Needlework Networks: Paper, Prints, and Female Authorship,” Whitney Trettien, Duke Univ.

2. “Sidney Circularities: Music and Script in the Contrafactum Lyric,” Scott A. Trudell, Univ. of Maryland, College Park

3. “Stage, Stall, Street, Sheet: Multimedia Shakespeare,” Adam G. Hooks, Univ. of Iowa

For abstracts, visit www.scotttrudell.com.

591. Multilingualism in Native American and Aboriginal Texts

Kane, Chicago Marriott

Program arranged by the Division on American Indian Literatures 

PRESIDING : Beth H. Piatote, Univ. of California, Berkeley

1. “Reading Resistance and Resisting Readings in a Bilingual Text,” Laura J. Beard, Univ. of Alberta

2. “Narrative and Orthography in Cree Oral Histories,” Stephanie J. Fitzgerald, Univ. of Kansas

3. “Ongwe Onwe Languages in the Fourth Epoch of Iroquois History,” Penelope M. Kelsey, Univ. of Colorado, Boulder

4. “Poetics of ka ‘āina and na ‘ōiwi: Language(s) of Land, Earth, and the Hawaiian People in Haunani-Kay Trask’s Night Is a Sharkskin Drum,” Nicole Tabor, Moravian Coll.

5:15 pm-6:30 pm

624. Boethius’s Consolation of Philosophy in Medieval and Early Modern England: Form and History

Old Town, Chicago Marriott 

PRESIDING : Ian Cornelius, Yale Univ.

1. “Singing and Speaking Boethius in Anglo-Saxon England,” Anne Schindel, Yale Univ.

2. “Sensible Prose and the Sense of Meter: Ethics and the Mixed Form in Boethius and After,” Eleanor Johnson, Columbia Univ.

3. “Boethius’s Consolation of Philosophy and an Expansive Theology in the Late Sixteenth Century: Queen Elizabeth’s Translation in Context,” Linda Suzanne Shenk, Iowa State Univ.

For abstracts, write to ian.cornelius@yale.edu.

625. Verbal and Visual Satire in the Nineteenth Century

Chicago F, Chicago Marriott 

PRESIDING : Joseph Litvak, Tufts Univ.

1. “Organizing Anarchy: Class, Intellectual Property, and Graphic Satire,” Jason Kolkey, Loyola Univ., Chicago

2. “The Reemergence of Radical Satire in the Late Nineteenth Century,” Frank A. Palmeri, Univ. of Miami

3. “Turn-of-the-Century Satirical Plots of Fenian and Anarchist Terrorism,” Jennifer Malia, Norfolk State Univ

645. Current Issues in Romance Linguistics

Parlor F, Sheraton Chicago

Program arranged by the Discussion Group on Comparative Romance Linguistics 

PRESIDING : Andrea Perez Mukdsi, Univ. at Buffalo, State Univ. of New York

1. “Attribution in Romance: Reconstructing the Oral and Written Tradition,” Martin Hummel, Karl-Franzens-Universität Graz

2. “Pronouns and the Author-Reader Relationship in Academic Portuguese,” Karina Veronica Molsing, Pontifícia Universidade Católica do Rio Grande do Sul; Cristina Perna, Pontifícia Universidade Católica do Rio Grande do Sul

3. “The Semantic Feature [+INFLUENCE] and the Spanish Subjunctive,” M. Emma Ticio Quesada, Syracuse Univ.

4. “Palatalization in Chilean Spanish and Proto-romance,” Carolina Gonzalez, Florida State Univ.

For abstracts, write to perezmukdsi@gmail.com.

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"Mayb Your New Year Be Merry and Bright..." by Flickr user Jason Mrachina, CC-BY-NC-ND-2.0

“Mayb Your New Year Be Merry and Bright…” by Flickr user Jason Mrachina, CC-BY-NC-ND-2.0

SUNDAY, JANUARY 12, 2014

12:00 pm-1:15 pm

742. Socialist Culture in the Age of Disco: East European Popular Pleasures

Parlor F, Sheraton Chicago

Program arranged by the American Association of Teachers of Slavic and East European Languages 

PRESIDING: Jessie M. Labov, Ohio State Univ., Columbus

1. “Imperial Disco: Czeslaw Milosz and Science Fiction,” Mikolaj Golubiewski, Free Univ.

2. “The ‘Movement of Writing Workers’ and State Stability in the 1970s German Democratic Republic,” William Waltz, Univ. of Wisconsin, Madison

3. “Flaming Socialist Creatures: Hippies as Auteurs in Soviet Latvia,” Mark Svede, Ohio State Univ., Columbus

For abstracts, visit mlaslavic.blogspot.com/.

744. Mass versus Coterie: The Audiobook

Missouri, Sheraton Chicago

Program arranged by the Division on Prose Fiction 

PRESIDING : Rebecca L. Walkowitz, Rutgers Univ., New Brunswick

1. “‘Fully Fleshed Out and Filled with Emotion’: Accent, Region, and Identification in the Reception of The Help,” Sydney Bufkin, Univ. of Texas, Austin

2. “Joyce, LibriVox, and the Recording Coterie,” Brandon Walsh, Univ. of Virginia

3. “Alien Stereo: China Mieville’s Embassytown,” Christopher Pizzino, Univ. of Georgia

1:45 pm-3:00 pm

788. Back Up Your Work: Conceptualizing Writing Support for Graduate Students

Grace, Chicago Marriott 

PRESIDING : Liana Silva-Ford, Houston, TX

SPEAKERS:

Tara Betts, Binghamton Univ., State Univ. of New York;

Lee Ann Glowzenski, Duquesne Univ.;

Annemarie Pérez, Loyola Marymount Univ.

Abigail Scheg, Elizabeth City State Univ.

792. Old Materials, New Materialisms

Missouri, Sheraton Chicago

Program arranged by the Division on Methods of Literary Research

1. “Objects, Authors, and Other Matter(s) in the Gloria Anzaldúa Archive,” Suzanne M. Bost, Loyola Univ., Chicago

2. “Writing Histories of Listening: Acoustemology as Literary Practice,” Ely Rosenblum, Univ. of Cambridge

3. “Even the Stones Cry Out: Archival Research and the Inhuman Turn,” Andrew Ferguson, Univ. of Virginia

4. “A Life of Its Own: A Vital Materialist Look at the Medieval Manuscript as an Agentic Assemblage,” Angela Bennett Segler, New York Univ.

"my kind of razzmatazz" by Flickr user David D'Agostino, CC-BY-NC-SA-2.0

“my kind of razzmatazz” by Flickr user David D’Agostino, CC-BY-NC-SA-2.0

Blog-o-Versary 4.0: Sounding Out!‘s Solid Gold Summer Countdown!

Solid Gold (1)

Click here to download our free Blog-O-Versary 4.0 Mix!

Happy SO! Blog-o-Versary 4.0 to readers, writers, and supporters! Before I once again have the privilege of counting down some of the blog’s many blessings, I want to extend a big welcome to our new readers and a hearty thank you to those who have been down from day one.  In our four years of publication, we have never forgotten that SO! is here because y’all are here, and this Blog-o-Versary is as much about commemorating the solid gold vibrancy of Sound Studies—a state we have all helped to bring about—as it is celebrating another year of our Monday morning offerings.

This year I, Editor-in-Chief Jennifer Stoever-Ackerman, dare to fill the glittering stilettos left by Dionne Warwick as your host for Sounding Out!’s Solid Gold Summer-themed countdown, along with co-hosts Liana Silva-Ford (Managing Editor) and Aaron Trammell (Multimedia Editor).  As the beat of our latest Blog-o-Versary mix drops—don’t forget to download it here—I will count down the site’s top ten greatest hits of this past year, with some glimmers of how SO! will continue to thrive in year five! If you feel like bringing it like a Solid Gold Dancer, don’t worry, no one here will look askance; in fact, just try to stop us from catching that groove.

 

10. “On a Mission” (New Mission Statements!): You want to know what Sounding Out! is all about?  Peep our new mission statement, hot off the presses by Editor-in-Chief Jennifer Stoever-Ackerman and our new podcast editorial statement by Multimedia Editor Aaron Trammell.

9. “Suite Thursday” (Monthly Podcasts!): As of January 2013, Sounding Out! has moved to a monthly podcast format, coming to you on the last Thursday of every month.  This year, we have brought you sonic dispatches ranging from ethnographic research on noise policing in Brasil, interviews with leading acoustic ecologists and Theremin masters, to audio documentaries of digital humanities sound projects such as #Tweetasound (Soundbox, Duke University). In addition to downloading from our site or subscribing via iTunes, you can now stream us on Stitcher!

8. “Thursday’s Child” (Sound Off! // Comment Klatsch!):  Also as of January 2013, Sounding Out! has provided readers with an open, active comment forum in real time, where we discuss a range of topics such as 2012’s most memorable sound, the connection between sound and cinema, and the racial politics of listening.  The Sound Off! // Comment Klatsch (or SOCK, as it is affectionately called around the editorial table), begins with a deceptively simple question penned by writers and editors, and lasts as long as the comments do.  Whether you are a regular or are new to the scene, we’d love for you to join in this upcoming Thursday, August 1, 2013, when regular writer and Portugal-based multimedia artist Maile Colbert will incite discussion on psychological responses to sound.  To peruse prior Comment Klatsches, click here.

7.  “Celebrate” (Reception at ASA!):  This year, SO!, was honored to co-host the first annual “Meet and Greet” of the Sound Studies Caucus at the annual American Studies Association meeting in San Juan, Puerto Rico.  It was amazing to bring our virtual community into “meat space”—making new colleagues while keeping the old well-fed with happy hour snacks, drink specials, and excellent conversation.  Look for more of these events at conferences with a sound studies presence in year five! For photos of the ASA meet and greet, click here.

(from l to r) Marci McMahon, Eric Weisbard, Bill Boyer, Deb Vargas, and Sherrie Tucker

ASA Meet and Greet, San Juan, Puerto Rico, 2012 (from l to r) Marci McMahon, Eric Weisbard, Bill Boyer, Deb Vargas, and (far right) Sherrie Tucker

6. “Get it Together” (More CFPS/forums/series): This year Sounding Out! has brought you even more themed programming, integrating our wide variety of sound studies inquiry with Calls for Posts, seasonal series, and month-long forums that focus our content on key issues in the field.  In year four alone, we brought you a summer series on radio auteur Norman Corwin, two forums on Sound and Pedagogy full of great ideas, examples, and syllabi, and a “virtual panel” with IASPM-US on the “sonic borders” in/between sound studies and popular music studies.  We just wrapped up our annual July “World Listening Month” observance—which featured an exclusive podcast series from the 2013 Tuned City Brussels event—and we are still in the throes of our summer series on “Sound and Sport”—next up on June 29th, a post and a podcast by Josh Ottum on Sound in skate parks!  On deck for Fall/Winter 2013, Aaron Trammell will curate a forum on sound and play (featuring the work of Cornell ludomisicologist Roger Moseley), Neil Verma will edit an ongoing series on Orson Welles (more details below) and  I will launch a CFP for an upcoming forum on sound and the 19th century that will feature a post from Voxtap’s Caitlin Marshall.

5. “Come Together” (IASPM-US Joint Feature):  Thanks to the collaborative super group of Justin Burton at IASPM-US and Liana Silva and myself at Sounding Out!,  we brought you a six-week long interchange on “sonic borders” within and between popular music studies and sound studies.  Featuring new scholarship from heavy hitters such as Devon Powers, Marcus Boon, Shana Redmond, Barry Shank, and Tavia Nyong’o and number-one-with-a-bullet newcomers such as Regina Bradley, Tara Betts, Airek Beauchamp, Theo Cafetoris, and Liana Silva, this joint “virtual panel” was listed in the program of the annual IASPM-US conference in Austin, Texas and posted simultaneously on both IASPM and Sounding Out!.  Not to mention, it was a hell of a lot of fun.  If you missed the series, click here for a rewind.

sGD

4.  “New Kid in Town”: (Our first official Guest Editor!):  As Sounding Out! continues to expand its reach and publication schedule, we will be calling on the intellectual and curatorial expertise of our colleagues.  I am proud to announce that radio and sound studies scholar Neil Verma, professor at the University of Chicago and recipient of the 2013 SCMS First Book Prize for Theater of the Mind: Imagination, Aesthetics, and Radio Drama—will be our first official guest editor, curating an exciting series on Orson Welles called From Mercury to Mars: Orson Welles on Radio After 75 years.  The commemorative series begins on August 4th, 2013 and will continue once a month through January 2014. It will feature new and exciting research from the likes of Tom McEnaney (Cornell), Debra Rae Cohen (University of South Carolina), Jacob Smith (Northwestern), and Murray Pomerance (Ryerson and York Universities), as well as a broadcast on the 75th anniversary of “War of the Worlds” on October 30th, 2013.

3. “Turn My Swag On” (Logos, Buttons, and Stickers!): Thanks to Riverside, CA artist Dan Torres, Jersey’s finest Jimmy Buttons , and the good people at Los Angeles’s Blackstar Printing, Sounding Out! got visible, tangible, and walk-around-able this year with limited edition buttons and stickers.  If you already have yours, wear and stick them proudly—and don’t forget to send us a photo to add to our growing  “SO! around the way collection.”  If you are in need of a little SO! swag in your life, there are three ways to come up on some: join our mailing list, network with one of our editors at a conference, or participate in the next SO! Comment Klatsch on August 1st.

SO! swag in Eugene, OR

SO! swag in Eugene, OR

2. “Everybody, Everybody” (Global coverage and audience grows!):  As of Blog-o-Versary 4.0, Sounding Out! is being read in over 182 countries worldwide, a number that only continues to grow with our increasingly international focus.  This year, we published pieces exploring youth street party culture in São Paulo, Brazil, chants of “Allah-oh-Akbar” from rooftops in Iran, post-liberation radio broadcasts in Africa, sonic legacies of the slave castles in Ghana, sonic artistic practices in rural Portugal, the “Tuned City” festival in Brussels, how South Korean students sound Shakespeare in Seoul, Canadian public school curriculum that enables students to remix recordings of political struggle and “media capitalism” in turn-of-the-twentieth century Egypt. Our world will only get wider in year five!

and,

sgd1. “We are Family” (Advisory Board, Guest Writers and Podcasters):  This year the Sounding Out! family continued to grow, adding an all-star advisory board, three new regular writers—a solid gold Sounding Out! shout out to Regina Bradley, Maile Colbert, and Primus Luta—and a talented cadre of over 30 new guest writers!  And, as so many of you know, once a writer joins the SO! team, their number never gets retired. Because Sounding Out! is as devoted to producing community as it is content, we keep our guest writers connected, fostering their input, seeking their participation (SO! Tumblr correspondent, anyone? Contact Aaron Trammell at aht@soundingoutblog.com), and publicly celebrating their graduations, promotions—congratulations to newly-minted Ph.D.s Regina Bradley, Steph Ceraso, Ashon Crawley, Mack Hagood, and Nicolas Knouf and new Associate Professors Ziad Fahmy, Damien Keane and Samantha Pinto—publications, and other milestones! For more of what our talented and productive guests have been up to this year please read on below this post.  As always, check in with our SO! Media page to keep up with Team Sounding Out! as our work spreads beyond our own .com to infiltrate websites, syllabi, reading lists, and print journals near you.

SolidGold_Dionne-FP-Ad-Cropped-RATINGS_300DPI-WindByteOrder003-253x300And most importantly, Stay gold, Team Sounding Out!, stay gold.

–JSA, Editor-in-Chief

Jennifer Stoever-Ackerman is co-founder, Editor-in-Chief and Guest Posts Editor for Sounding Out! She is also Assistant Professor of English at Binghamton University and a 2011-2012 Fellow at the Society for the Humanities at Cornell University.

Click here for Sounding Out!‘s Blog-O-Versary 4.0 mix with track listing

(Just in case you missed last year’s 3.0 celebration–and mix– click here; for year two, click here; and for our first Blog-O-Versary party mix click here)

—-

Team SOUNDING OUT! Highlights Reel:

In addition to publishing THE GREATEST!: An Homage to Muhammad Ali with Winged City Press in 2013, Tara Betts wrote for the character Maddy James in the multimedia dance show Any Resemblance that was presented as part of the La Mama Moves! Festival in NYC in June 2013.  Tara is slated to present at Feminisms & Rhetorics at Stanford, SAMLA 2013 in Atlanta, and MLA 2014 in Chicago. “They Do Not All Sound Alike: Sampling Kathleen Cleaver, Assata Shakur, and Angela Davis” will be reprinted in About Place for their upcoming issue “1963-2013: A Retrospective of the Civil Rights Movement” edited by Black Earth Institute Fellow Richard Cambridge.

Regina Bradley completed PhD at Florida State University in African American Literature. Her dissertation is titled “Race to Post: White Hegemonic Capitalism and Black Empowerment in 21st Century Black Popular Culture and Literature.”

In addition to contributing “Sounding Shakespeare’s S(e)oul” this spring, Brooke Carlson is leaving Seoul, Korea, for Chaminade University of Honolulu in Hawaii, and is working on an article in progress: “Jonson, Sprezzatura, and  the (Un)Doing of Nobility.”

Steph Ceraso defended her dissertation, “Sounding Composition, Composing Sound: Multimodal Listening, Bodily Pedagogies, and Everyday Experience,” and finished her PhD at the University of Pittsburgh. She will be teaching at Georgetown University in Fall 2013. Ceraso was a guest co-editor with Jon Stone for Harlot’s latest special themed “Sonic Rhetorics” issue. Her digital audio piece, “A Tale of Two Soundscapes: The Story of My Listening Body” will appear in SoundBox’s forthcoming open access multimodal book, Provocare: A New  Collection of Sonically Inspiring Projects. She will also be presenting a paper entitled “Sonic Rhetorics: Teaching Listening in the Multimodal Composition Classroom” at the 2013 Feminisms & Rhetorics conference at Stanford University in September. You can find out more about her work and upcoming projects at www.stephceraso.com

Maile Colbert had a residency at the iAir (International Artist Residency) at RMIT University. (Reel of the work created and synopsis: https://vimeo.com/66574320). She also completed the sound design and composition for the feature length documentary by director Irene Lusztig “The Motherhood Archives.” Maile presented “Wayback Sound Machine” at Musique et Écologies du Son/Music and Ecologies of Sound: Theoretical and Paractical Projects for the Listening of the World, Universitê Paris 8. She performed “Come Kingdom Come” at Sintoma: Performance, Investigation, and Experimentation, University of Porto, Fine Arts, Portugal. She performed with a new “field-recording” instrument with Andrea Neumann, Sabine Ercklentz, Marcelo Dos Reis, Angelica Salvi, Susana Santos Silva at Serralves em Festa.

Robert Ford was hired in February 2013 as the new play-by-play broadcaster for the Houston Astros major league baseball team.

Julia Grella O’Connell‘s book, Sound, Sin, and Victorian Religious Conversion, will be published by Ashgate in 2014. She recently made her debut with Syracuse Opera as Barbarina in The Marriage of Figaro.

In August Amanda Keeler will begin a new position as an Assistant Professor of Digital Media in the College of Communication at Marquette University.

Damien Keane completed his book Ireland and the Problem of Information, which will be published as part of the Refiguring Modernism series from Penn State University Press. In addition, his essay “Poetry, Music, and Reproduced Sound” appeared in The Oxford Handbook of Modern Irish Poetry, edited by Fran Brearton and Alan Gillis. Also, Keane came through to the other side of the tenure process at SUNY-Buffalo!

Roshanak Kheshti performed as Bluebeard (guitars and voice) at the UCSD Professor Unscripted event on June 5, 2013 narrating a biography through songs from concerts she has attended throughout her life. Some highlights included “Sweetest Taboo” by Sade, “Better Things” by Massive Attack, and “For Today I am a Boy” by Antony and the Johnsons.

Bill Kirkpatrick‘s essay, “Voices Made For Print”: Crip Voices on the Radio” appeared in Radio’s New Wave: Global Sound in the Digital Era. In addition, he and Alex Russo started the Radio Studies Special Interest Group within the Society for Cinema and Media Studies over the past year. 

The 20th anniversary edition of Eric Lott’s Love and Theft is on its way this summer, with a new foreword by Greil Marcus.  He will be speaking at CUNY Grad Center’s 20th celebration of Paul Gilroy’s Black Atlantic this fall.

Primus Luta has been working on reshaping the breadth of Concrète Sound System, which grew from a live set to a label, but is coming to embody almost a philosophical approach to sound.  The label saw several 2013 releases, including the Services Rendered project for which Luta did the art and music. Additionally, in 2013 he has taken to performing live again, specifically live free jazz with the group Odon which is fronted by Daniel Carter. He remains on the Rhythm Incursions podcast team, and is particularly proud of the “IDM is a MILF” episode from earlier this year. He was also given the opportunity to do a mix for Hank Shocklee at the end of 2012 which will likely get a follow-up before 2013 is done.

This year, Andreas Duus Pape had the agent he used in “Experiments in Agent-based Music Composition” and in “Further Experiments in Agent-based Music Composition” accepted for publication in Games and Economic Behavior (in joint work with Kenneth J Kurtz).  A version of the paper can be read hereSUNY Binghamton is now offering Advanced Graduate Certificates in Complex Systems Science and Engineering, which is a program Pape helped found.

D. Travers Scott will publish “Refining Intertextuality as Resonance: Pet Shop Boys Score Battleship Potemkin” in the upcoming issue of Music, Sound and Moving Image. “Intimacy Threats and Intersubjective Users: Telephone Training Films, 1927–1962” was published in Sound Clash: Listening to American Studies in 2012. His book on technology and disease is currently under review. He is also the new Co-Chair of the Gay, Lesbian, Bisexual and Transgender Studies Special Interest Group of the International Communication Association.

Aram Sinnreich’s new book, The Piracy Crusade, will be published in December. The book’s first draft is freely available to read at http://piracycrusade.com, and the final edition can be preordered via Amazon here: http://j.mp/TPC-AMZ

Jonathan Sterne released in 2012 MP3: The Meaning of a Format and The Sound Studies Reader. In 2013 he published “What the Mind’s Ear Doesn’t Hear” in Music, Sound and Space: Transformation of Public and Private Experience, and “Escape from Soundscape” in Soundscapes of the Urban Past: Staged Sound as Mediated Cultural Heritage.

A Listening Mind: Sound Learning in a Literature Classroom

"Listen, Understand, Act" by Flickr user Steven Shorrock, CC-BY-NC-SA

“Listening is little short of a synonym for learning.”

–Julian Henriques, Sonic Bodies

World Listening Month3This is the third post in Sounding Out!’s July forum on listening in observation of World Listening Day on July 18th, 2013.  World Listening Day is a time to think about the impacts we have on our auditory environments and, in turn, its affects on us. To read last week’s post by Maile Colbert click here and Regina Bradley’s discussion of listening, race, and Rachel Jeantel (and to read more about World Listening Day) click here.

How can listening, which I’ve come to understand as an essential way of knowing, enhance the learning experience? My pedagogical challenge over the past few years has been to develop a heightened awareness of the ways our ears are not necessarily, as Robert Frost asserts, “the only true reader and the only true writer,” but certainly an essential mode of reading and writing that is too often underdeveloped. As my high school students read works by Zora Neale Hurston, Ralph Ellison, Michael Ondaatje, Jonathan Safran Foer, James Baldwin, and Lucille Clifton, I want their ears to become increasingly attuned to the sounds, silences, vibrations, and other sonic significance embedded within printed words. I want them to experience how listening enhances their understanding of literature, that listening is learning.

"Writing" by Flickr user filipe ferreira, CC BY-NC-SA 2.0

“Writing” by Flickr user filipe ferreira, CC BY-NC-SA 2.0

I’ve taught A Listening Mind, a trimester course for high school juniors at Princeton Day School in New Jersey, for two years. Inspired by Toni Morrison’s 1996 National Book Award acceptance speech, “The Dancing Mind,” the course title signals my interest in challenging students to practice writing and reading in ways that are collaborative and cognitively (and otherwise) dissonant with their usual English classroom habits of mind. For my students, at least initially, writing is ruled solely by the mantra “Show. Don’t Tell.” This course, then, creates preconditions for a new kind of learning. It aims to heighten students’ aural attentiveness in general, and particularly in relation to the sonic life that inhabits the lower frequencies of the printed word. In many ways, the class resonates with Liana Silva’s discussion of sound as significant to writing and learning. In this course, we grapple with essential questions such as: How might we read and write with our ears? What happens when we take the risk to do so? As I design assessments and moderate the course, I keep in mind my own essential question as an educator: How can my scholarly interest in listening as a significant mode of cultural and social engagement translate into sound study learning opportunities for my students? The assignments students complete in A Listening Mind, a few of which I share next, are my response to these questions–a response that is in constant development.

CULTIVATING A LISTENING MIND

On the first day of class, I play Jason Moran’s “Cradle Song” from his most recent album, Artist in Residence. Moran plays the Carl Maria von Weber-composed lullaby on unaccompanied piano; the urgent scratching of a closely miked pencil on paper writes slightly ahead of the calming melody.

The song, a tribute to Moran’s mother who would stand over his shoulder taking notes as Moran practiced piano as a child, amplifies a sonic life that more often lingers within the printed word. Thus, it allows us to begin exploring the possibilities of listening as an approach to reading and writing.

In the first month of the course, students practice low stakes listening and writing: they go on short listening walks and record by hand what they hear in their sound journals. Rutger Zuydervelt’s Take a Closer Listen, an excerpt from the opening pages of Jonathan Safran Foer’s Extremely Loud and Incredibly Close, and the New York Times Magazine prose and audio essay, “Whisper in the Wind” are our inspirations for this assignment. They visit a space in which they feel most like themselves and tune into the space’s acoustics. They do the same in a space where they are less comfortable. Students also tune their attention to eco-listening – listening with intention to the natural or man-made environments in which we find ourselves. The idea is to notice the sounds our ears have become deaf to as we’ve become accustomed to a space. Their eco-listening results in their creating individual listening booklets that record the sounds we hear and our occasional reflections on them.  By listening to various sounds and in various ways during the early weeks of the course, students exercise their ears and, along the way, some even realize that you need more than just ears to listen.

"Listening Devices" by Flickr user abrinsky, CC BY-NC-SA 2.0

“Listening Devices” by Flickr user abrinsky, CC BY-NC-SA 2.0

SONIC MATERIAL CULTURE

One of the assignments of the course involves work in what I call “sonic material culture.” According to the University of Delaware’s Center for Material Culture Studies, the study of material cultural objects “promotes the learning from and the teaching about all things people make and the ways people have acted upon the physical and visible world.” But, what about the ways in which material culture impacts the audible world? Sonic material culture looks at how material cultural objects help create cultural meaning through the sounds they make and the ways in which people use those sounds. Students explored an array of “sonic objects” that included, among others, a Tibetan singing bowl, steel drum, Shofar, typewriter, stethoscope, and a boom box. They then chose one of the items – an item that either makes sound (like a steel drum) or allows for access to sound (like a stethoscope), and began their research with a specific focus on how this item holds sonic cultural significance.

To research the stethoscope, for example, one student interviewed a cardiologist and a medical historian. She learned that sounds doctors hear through the stethoscope “comprise a language, spelling out diagnoses and prognoses” and provide “gateways to our understanding of the heart.” Another student chose the Steel Drum, an instrument developed in the 20th century in Trinidad and Tobago, and ended up discussing the innovation involved in reusing oil containers to produce a new cultural sound. Another student’s research on the Tibetan Singing Bowl led him back to a moment in Jonathan Stroud’s The Bartimaeus Trilogy: Book Three, Ptolemy’s Gate when the character Kitty Jones describes the ringing of a Singing Bowl that signals her transport into the world of magical spirits. Listening to the Singing Bowl made this student more attentive to this moment that he initially skimmed. And, one student’s love of all things vintage led her to her father’s manual typewriter and an essay combining family history and larger insights about education, workplaces, and mechanical writing. In each of these cases, the students realized that the sounds cannot be extricated from the material, social, and historical conditions that produce them.

SOUNDING HISTORY

The last time I taught the course, I designed a sound history mini-project. Students read excerpts from the work of Mark A. Smith and my work on historical listening in David Bradley’s The Chaneysville Incident, and considered these question: How might sound function as a way to narrate a specific historical moment? Students needed to choose a historical moment, locate a sound, and then create a museum card that, among others, answered the following key questions: What does this sound bring to our attention that we might not otherwise consider? What questions does this sound raise? What does it leave mute? Since students had watched Django Unchained recently, we discussed sounds of slavery in that film. If you write slavery through the crack of the whip, then your focus might be on violence and torture used during that peculiar past. If you tell slavery, though, from the code-laden singing enslaved persons used to send messages to flee, then you have a different frame, a different sonic way into the historical moment.

One student used the opening sounds from The Wizard of Oz to narrate the Dust Bowl. Another examined news reports and hip hop music to listen back to the Los Angeles Uprisings. One young woman interviewed her mother about her immigration experience from Guatemala; in her project, the sound of a train whistle signaled arrival to the United States and a new life. One of the most striking projects consisted in an inventive student engineering her own sound using a teakettle in order to recreate what she imagined as the sound inside a gas chamber in a concentration camp during World War II. As she explained during her presentation, the screeching teakettle captures for her both the sound of gas and the screaming of those persons trapped within a chamber. What an empathetic choice to make as a listening scholar: to imagine the voice of one in the midst of death.

Students worked on this assignment as part of their culminating assessment for the course. I assigned this work at the end of the course because it gave students an opportunity to delve into the work of a Sound Studies scholar: students drew on their skills as listeners developed over the term; returned to questions we asked regarding listening and interpretation of written and recorded texts; framed their own questions for inquiry; and used sound technologies such as Audacity and GarageBand to amplify their historical sound.

"Turn Up the Mix" by Flickr user Travis Hightower, CC BY-NC-ND 2.0

“Turn Up the Mix” by Flickr user Travis Hightower, CC BY-NC-ND 2.0

LISTENING BACK

As I tune my ears excitedly towards another World Listening Day (this year on July 18, 2013), I find myself remembering my students’ portfolio reflections of their learning in this course. Students mentioned that their time in the course helped them pay more attention to sounds around them: “my ears have been retrofitted by my experience in this class.” Some students became more in tune with their own sound: “The world is too noisy. I need to focus in, to tune in to myself.” Yet others found themselves “slowly opening [them]selves up to others” and becoming “more engaged with others’ opinions even if they were different from” their own. Even though some students entered the class resistant to, uncertain about, or “unnerved” by the thought of a listening English course, they felt by the end that, in the words of one student, “Now I leave this class with a purpose and clearer understanding of the importance of listening to my own echo.”  In short, the two groups of students who have taken this class grow more “in tune” to multiple frequencies of reading, writing, and learning.

"Verbose, sentimental foolery" by Flickr user Sarah Ross, CC BY-NC 2.0

“Verbose, sentimental foolery” by Flickr user Sarah Ross, CC BY-NC 2.0

Lastly, while I hoped students would grow as listeners, I did not anticipate that their perceptions of themselves as readers and writers would also shift. Students who previously described themselves as “just not an English student” or who began writing and reading assignments with self-defeating “I’m just not good at this” comments, delved more deeply into the writing process and produced strikingly confident, nuanced pieces by term end. They have grown in their sonic literacy. In this, my students remind me of the most essential of questions: How, to borrow Carol Dweck’s language, do we help students develop a growth, rather than a fixed, mindset where learning  is concerned? In my view, listening—practiced as a dynamic, tinkering, beta-type approach to the study of literature and writing—provides interesting answers.

Featured image photo credit: “Listen, Understand, Act” by Flickr user Steven Shorrock, CC-BY-NC-SA-2.0

Nicole Brittingham Furlonge earned her PhD in English from the University of Pennsylvania. Her dissertation, “On the Lower Frequencies: Listening and African American Expressive Culture,” marks the beginnings of her investment in sound studies as the field resonates with issues of race, class, gender and education.   Her work has been published in the academic journals Callaloo and Interference, and in the publication St. Andrew’s Today. She also has published a cookbook for young children, Kitchen Passports: Trinidad and Tobago. She has taught in independent high schools and colleges for 16 years, including University of MichiganUPennThe Lawrenceville SchoolHolderness School and St. Andrew’s School in Delaware. She has extensive experience in the classroom and in administrative roles dealing with curriculum development, diversity issues, faculty development and issues regarding education, equity and access.Currently, Nicole chairs the English Department at the Princeton Day School in New Jersey and blogs at the Huffington Post. She lives in the green part of New Jersey with her spouse and their three young children.

tape reel

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

The Sounds of Anti-Anti-Essentialism: Listening to Black Consciousness in the Classroom“–Carter Mathes

Deejaying her Listening: Learning through Life Stories of Human Rights Violations–Bronwen Low and Emmanuelle Sonntag

Audio Culture Studies: Scaffolding a Sequence of Assignments--Jentery Sayers

 

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