Archive by Author | j.l. stoever

!!!!!!!, or Blog-o-Versary 7.0


** Click here to just cut to the chase and get the new mix already! LOL!**

From the very beginning, the exclamation point has been our thing. Our deeply meaningful, utopically earnest, passionately heartfelt, stubbornly insistent, collectively exposing-our-geeky-love-and-enthusiasm-to-the-world THING. And over the past seven years we have fought for it, demanded it—#sorrynotsorry print copy editors!—and, as is our fondest wish, lived and embodied it for our readers each and every Monday (and the occasional Thursday too).

On the occasion of our seventh Blog-o-versary, we wanted to share the affective vibrations of our ! with y’all, for the deceptively simple reason that we want you to feel !!!!!!!, too.

After seven years of inserting it here, there, and everywhere, we assure you our ! is not merely a visual throwaway or empty hijinks. Neither is it a public punchline to a private joke, a snooty/snotty academic tic, nor a precious hipster eye-roll.  It’s not a “brand.” It was not intended as nostalgic homage to the many ! bands from the aughts or the many !-heavy songs of 1970s and 80s punk (although “Oh Bondage! Up Yours!,” totally). And during these times of solidarity and upheaval, let us be especially LOUD and clear: the exclamation mark in Sounding Out! is not, and has never been, tongue-in-cheek. We really, really mean it!

So what, then, is the “!” in Sounding Out!??

You already know what it is.

It’s a sound.

A Cosmic Exclamation Point (NASA, Chandra, Hubble, Spitzer, 08/11/11), Image from Marshall Space Flight Center Flickrstream

A Cosmic Exclamation Point (NASA, Chandra, Hubble, Spitzer, 08/11/11), Image from Marshall Space Flight Center Flickrstream

It’s a shoulder-shaking shout expressing our desire for ourselves and our writers to be heard, a sound that reaches out and touches, and hears in turn. It’s a sound that viscerally performs our down-ness, our dedication, our willingness to go there (and to stay put and listen). It’s a wail of feedback. a belly laugh. a grito. a hearty WTF. a down low OMG yes OMG (s/o to ATCQ!). a tsk of tongue against teeth. a ribcage-rattling beat. a yessssss with an ‘80s elbow pump.  It’s the sound—heard, known, and sensed—of all those women feeling themselves at Beatles concerts, of thousands of voices rising together in love, power and frustration to tell the world (yet again) that #blacklivesmatter, to #sayhername and #stopkillingus . . .it’s not a specific sound, but yet you know it when you hear it, because it gives you goosebumps.

Our “!” is a—BLAM—mic drop, mixed with the grumble of the roadie who picks it up, fixes it, and passes it on. and, oh!, that anticipatory, skin-pricking static of listening out for who’s got next.

Exclamation Point (Chartreuse) by Richard Artschwager, Image by Flicker User Designmilk

Exclamation Point (Chartreuse) by Richard Artschwager, Image by Flicker User Designmilk

When we decided on the blog’s title back in 2009, the ! in Sounding Out! was never a subject of debate—it just appeared organically as an organic “AHA! of course!”  At the time, the “!” acoustically mirrored of how the editorial collective communicated enthusiastically with each other, and symbolized, sonically and ineffably, how we thought and, more importantly, felt about the mission we laid out for ourselves and the blog, the mission we explore, challenge and renew in the company of our readers each July.  That “!” puts in deeply resonant WORK, with dedication and feeling, just like we do—through words, but beyond, above, around, and below them too, hitting all those affective frequencies we don’t—or can’t—often talk about.  It’s a sound that, like us, merges and keeps changing with history, context, and experience.

Here’s what the “!” has meant, and sounded, in our seventh year:

!!!!!!! Dedication!!!!!!!

#Squadselfie (l-r): SO! interns Dhruv Sehgal, Daniel Santos, Michele Quiles and SO! Ed. in Chief J. Stoever

#Squadselfie (l-r): SO! interns Dhruv Sehgal, Daniel Santos, Michele Quiles and SO! Ed. in Chief J. Stoever

This spring, we completed our indexing project, which has been years in the making, with the dedication and assistance of our three undergraduate interns from the Binghamton University English Department: Daniel Santos, Dhruv Sehgal, and Michele Quiles.  In exchange for mentorship and the opportunity to throw themselves into the inner workings of SO!, these three tirelessly compiled a hotlinked listing of each and every post we have ever published (of which today’s is the 466th!).

Click here to view the index in all of its scrollable glory!

You can reorganize the list by title, date, or author—whatever suits your needs.  We hope this continues to keep our very worthy back catalog in circulation and that SO! only becomes easier to read, teach and learn from!

And, of course, we extend huge, hearty, and numerous praise-hand emoji thank yous to our trusty Assistant Visual Editor, Will Stabile, to Special Editor Neil Verma, who curated several series for SO! Thursdays this year, and to you, our dedicated writers, readers, retweeters, word-of-mouthers, sticker bearers, and general good vibe givers.  We are here because you are!


This year found our podcast series—helmed by Multimedia Editor Aaron Trammell—more experimental and sonic than ever.  While continuing to offer recordings of symposia (here’s one on Dirty Jerz punx), soundwalks (here’s one aural trip through Yoshiwara, Tokyo), and documentaries (here’s one on the New England Soundscape Project), our podcasts have included more installation work, bringing the sound art of folks such as Cecelia Suhr (“From Ancient Soul to Ether”) and David Mollin and Salomé Voegelin (“Languages of Exile”) directly to your inboxes, earbuds, and audiostreams. By way of celebrating our 50th (!!!!!!!) podcast, AT also handled some audiophile beef regarding our so-called “low-fi” aesthetic in his February 2016 post “A Manifesto, or Sounding Out!’s 51st Podcast!!!,” click here to read more about how and why we sound like we do.


Sounding Out! continued to push the boundaries of the field of sound studies this year, geographically and intellectually.  We continued to amplify artists, scholars, research, and experiences beyond the US borders, this year focusing intensively on Canada (see the bold “Unsettling the World Soundscape Project” series curated by Neil Verma, edited by Randolph Jordan and featuring himself, Vincent Andrisani, and Mitchell Akiyama, ) and focusing more intensively on Asia, particularly Thailand, Indonesia, Japan, China-via-Canada (in an excellent post by University of Southern California graduate student Christopher Chien on how format–and so-called “surface noise” record and express diasporic movements) and the pan-Asian performances of transgender sound artist Tara Transitory (Singapore, Vietnam, and Laos, as analyzed in a moving post by Justyna Stasiowska, a PhD student at Jagiellonian University in Poland).  We also began an experimental multi-part series tracing Rui Chaves‘s efforts to develop new, more context-oriented methods to archive Brazilian sound artists that will continue through early next year.


“Exclamations,” image by Flickr user littlefishyjes

Intellectually, our themed series and forums explored–and pushed beyond–various boundaries in the cultural study of sound– challenging alleged demarcations between sound and “sense” (Karly Lynne-Scott‘s Hysterical Sound), queering distinctions between sound and touch (Airek Beauchamp‘s Sound and Affect), amplifying the sonics of ancient, seemingly-silent texts for contemporary listeners (Dorothy Kim and Christopher Roman‘s Medieval Sound) and challenging distinctions of canny and uncanny in regard to the “voice” (Julie Beth Napolin‘s Sonic Shadows).

Not to be outdone, our individual posts, too pushed the study of sound toward new knowledge, perspectives, politics, and ethics.  In year 7, SO! documented how recording amplifies acts of protest and makes them “multi-sited,”  identified “Afecto Caribeño” across migrations of time, space, and media, remembered the sound of Public Enemy’s afro-future twenty-five years on, broadcasted live from the Radio Preservation Task Force Conference at the Library of Congress, delved into the “slow, loud, and banging” sound Paul Wall pumps out of Houston’s slabs, eulogized the sound of freedom Prince offered his listeners, questioned how “listening fits into reparative justice for the victims of sterilization,” and shouted Sandra Bland’s name, LOUD.


7.0 brought us our first regular podcaster, Native American (Ojibwe) interdisciplinary video artist and scholar Marcella Ernest (Phd Candidate in American Studies at the University of New Mexico, listen to her exemplary “Finding the Lost Sounds of Kaibah” here) and two new regular writers, Robin James (Associate Professor of Philosophy at UNC Charlotte) and Justin Burton (Assistant Professor of Music at Rider University) both of whom think through the vexing but productive nexus between popular music and sound studies. Justin and Robin engage each other’s work in an ongoing dialogue about music, race, and gender even as they push toward diverse theoretical horizons and musical genres.

!!!!!!! Presence!!!!!!!

12107251_1052572291448221_547284947837984628_n (1)SO! continues to bring you the best, most exciting and incisive work in the field because we GO there–there in this case being conferences, concerts, art openings, receptions and other happenings–and we listen, meeting potential writers and encouraging them to become part of Team SO! and share their work with our readership.  We work hard to merge the amazing technological opportunities for digital communication with the best of “IRL” camaraderie and collegiality, opening up new affective channels that nurture ideas and accountable communities.

This past year, SO! editors repped the blog in person in Toronto, ON (#2015ASA); Washington DC (#rtpf); Riverside, CA (#showprove16); Stony Brook, NY (); Madison, WI; Los Angeles, CA; Irvine, CA; Houston, TX, New York City, NY; Albuquerque, NM, Las Vegas, NV, and Montreal, Quebec. We gave talks, checked out panels, livetweeted, co-sponsored events (hip hop concert by Sammus, anyone? YES PLEASE!), met one-on-one with graduate students, attended caucus meetings, ran for office, worked rooms, gave workshops on digital publishing, and even passed out the last (!) of our yellow-and-red stickers.  In short, we hustled to be present for you and for the work, and we will continue on into year 8!


Exclamation, Image by Flickr user Shallom Johnson

Exclamation, Image by Flickr user Shallom Johnson

Our ongoing SO! Amplifies series really took off this year, and we took seriously the task of scouring the web to bring you truly innovative praxis in sound.  It’s purpose is twofold: to increase your awareness of cool people and projects engaging sound as an active medium–listen to them! write about them! spread the word!–AND to present insight into how archivists, makers, editors, and curators understand their own work, a sort of “behind the sound” perspective into their work.  This year, we brought you preservation outreach! apps + maps! hashtag projects! podcasts! archives! art exhibits!

But, wait! There’s more!

The “notes” on our Facebook page is *still the best place to hear about calls for art, calls for posts, and upcoming conferences, shows, and volumes in sound studies. “Like” us here and please continue to keep us in the loop regarding new projects. We love to signal boost!

!!!!!!! Highlight Reel!!!!!!!

See what’s new with SO! authors and community members this year (courtesy of managing editor Liana Silva). Congratulations everyone (and keep those cards, letters, and pitches coming!).

  •  In the last year Robin James has been working on a book manuscript called The Sonic Episteme: Acoustic Resonance & Post-Identity Biopolitics. It argues many “neo-” and “post-” theories, like neoliberal political economy or new materialist posthumanism, double down on the “audiovisual litany” and use the shift from visual to sonic epistemologies to mark their supposed overcoming of modernity’s limitations. When she’s not franticly finishing that book, she’s been giving talks and interviews about her book Resilience & Melancholy, and written a lot for SO! James is already thinking about her next book project, which uses radio station WOXY/97x “The Future of Rock n Roll” to think about what the “future” of rock n roll sounded like in the late 20th and early 21st centuries, right before it slipped into a seemingly vicious cycle of retromania.
  • Gretchen Jude presented earlier this year a paper on Vocaloids at the EMP Conference in Seattle (  Her submission to the !!!!!!! mixtape reflects this line of research.  Next March, she will be presenting a paper in Tokyo on female vocality in early 20th century Japanese popular song (at the first International Musicology Congress in Asia).  The music she’ll talk about in this second paper also appeared in her Sounding Out! soundwalk post. Her dissertation research will be supported by a UC Davis Bilinski Dissertation Year Fellowship in 2016-17.
  • This year Carlo Patrão produced and debuted four documentaries about Sound and Listening for the Portuguese national radio station Antena 2 RTP, covering the themes of bioacoustics, archaeoacoustics, sonic violence, endangered soundscapes and sonification of cosmic data. Also, he participated in WFMU’s expanded radio stream Optimized!, programmed by Vicki Bennet/People Like Us. You can find out more about his radio work here:
  • Daniel Santos recently graduated from SUNY Binghamton with highest honors after completing his thesis on the relationship between BU students and Triple Cities residents. Next week he starts a position as an associate teacher with Success Academy Charter School.
  • For more information about Assistant Visual Editor Will Stabile, please visit your local library. You’ll learn about his burgeoning work in the field of comedy, and if you ask they might let you look at the microfiche.
  • Liana Silva will be taking her presence to the public classroom this fall, as she becomes a high school English teacher in her new home, Houston TX. #htownvicious She continues to research Jean Grae’s music for an upcoming chapter in The Oxford Handbook of Hip Hop Studies. And of course she wouldn’t leave SO!, so you can still find her here at the blog, where she’s currently editing the series DH and Listening.
  • Jennifer Stoever‘s book, The Sonic Color line: Race and the Cultural Politics of Listening will be published this November by New York University Press (preorder available here).  She also has chapters forthcoming in The Oxford Handbook of Hip Hop Studies (on the importance of black women and Latina record collectors to hip hop) and in the Provoke! volume on digital sound studies (Duke UP), co-authored with Liana Silva and Aaron Trammell, a tell-all exposing exactly how much fun we all have working our asses off on this blog.

Jennifer Stoever is co-founder and Editor-in-Chief of Sounding Out! She is also Associate Professor of English at Binghamton University.

Click here for Sounding Out!‘s Blog-O-Versary “!!!!!!!” mix 7.0 with track listing.

 . . .
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Blog-o-Versary 6.0 : Keep on Pushing (Our 400th Post!!!)

Keep on Pushin5

Click here for Sounding Out!‘s Blog-O-Versary “Keep on Pushing” mix 6.0 with track listing

Happy 6th Blog-o-Versary Team SO!

This year was tough, y’all. We know it. You know it. 2014-2015 was a year of rolling up sleeves, raging against the machine, typing furiously into the night, blocking the trolls, crying tears of frustration and anger, organizing heated meetings, fitting shoulders uncomfortably to various wheels while questioning exactly why and for whom, hugging our folks closer while unfriending Facebook “friends” like mofos, facing the millionth revision—or worse, the next police shooting, and the next and the next.

side eye emojiAll of us have reeled at one time or another at what sometimes seemed like a Niagara Falls of quicksand: mounting challenges, unexpected setbacks, pay and budget cuts (if you had a budget to begin with), hashtag memorials, calculated attacks, haters far more malevolent than your basic Taylor Swift variety, general piling on, restrictive and invasive university policies, less jobs/more adjuncts, and racist, sexist, and classist aggressions, macro, micro and everywhere in between.

But to quote one of my favorite poems from Langston Hughes, especially in these times, we are STILL HERE. And that really is everything. We can move mountains with that. We can. And, to cite the ethos of the Sounding Out! Editorial Collective: We remain committed, undaunted,

AND. clapWE. clapCLAP. clapBACK.clap

Here, for example, is SO! regular writer, Cornell Science and Technology Studies PhD Candidate, and producer Enongo Lumumba-Kasongo performing as her (m)other brain rapper SAMMUS at Ithaca Fest in May 2015, where she debuted her powerful new song protesting state violence against black people, “Three Fifths,” produced by DNilz for the upcoming independent film “Rodney.”

Sammus closed her performance with a stirring sonic memorial to the unarmed black men and women who have been murdered by police in the U.S. over the last 20 years, as well as a call to action for white listeners to acknowledge their complicity in the “law and order” state and the agency they have to end the deadly terror of white supremacist policing.



We see you Sandra.  And we’re listening.  Image by J. Stoever, Ithaca, NY, 26 July 2015


Sammus’s music and lyrics have long inspired the SO! crew to keep on pushing–you’ll hear another of her songs on our mix–but especially this year.  We talked a lot about how and why SO! continues to matter, specifically how can the collective labor here that seeks to understand sound as a medium of power be useful in struggles to make #blacklivesmatter once and for all, for example, or to end violence against transpeople?  To dismantle debilitating gender stereotypes about women? To stop the marginalization and exploitation of immigrants and undocumented workers in the U.S.?  And how to push the boundaries of US-centric sound work with local and/or comparative research from other countries–and vice versa? This year, we redoubled our collective efforts to produce top notch applied scholarship that intervenes in the challenges of our contemporary moment, not just the field of sound studies.

Not that we don’t plan to keep on pushing interventions there as well.  Team SO! spent a lot of time earlier this year reflecting, in real time, on our origin story for an article we co-authored for the new Digital Sound Studies anthology edited by the Soundbox Crew (forthcoming on Duke University Press, digital entries already live here).  We were grateful for the opportunity to articulate the politics of our founding and why SO! remains so vitally important to us (and we hope to you).  Here’s an exclusive sneak peek of our upcoming chapter  “The Pleasure (is) Principle: Sounding Out! and the Digitizing of Community”:

When we met in a humid apartment in upstate New York to plot a sound studies blog back in 2009, one of our key goals was to provide indelible visibility to the top-notch contributions we knew were being made to sound studies by scholars of color, graduate students, junior scholars and other groups marginalized in/by academia, so that their role in building this growing field could not be erased, ignored, silenced, hijacked, buried, or claimed by others better positioned by social and institutional privilege and its attendant cultural capital to gain conference spots and find publishers for their work. There is solidarity in the affects produced by giving voice, making visible, and, above all else: listening. Because connections undeniably matter, we decided to build our own, and to do so in a way that celebrated the people and the scholarship perpetually at the fringes of most fields, but especially those involving technology and music.

100Through the experience of collaboratively reviewing our history and together calling a new creation into being once again, we realized—on an entirely new frequency—how Sounding Out! and the community it kindles consistently sustains the three of us through stormy times: personally, professionally, and politically. I am not sure if it clicked in while scowling through the umpteenth revision or LMAO-ing through yet another Hangout, but we all came around to the truth that the right kind of work, performed with your ride-or-die people, can energize rather than enervate, center rather than scatter, and make you want to keep on pushing, especially when being pushed. For us, it never has been just about sound.

fistSo this year, for our 6th Blog-o-Versary, our theme, “Keep on Pushing,” honors the fact that sound can be both a balm and a motivator for years like this one and for times when the news is ENOUGH but we need to keep going. We also want to express our respect and gratitude for all the heavy lifting, daily grinds, and labors of love, pleasure, and sometimes frustration—both Tweeted and unsung—of ourselves and our ever-growing community of readers, writers, Twitter Followers, Facebook friends, Link sharers, survey respondents, sticker distributors, folks who archive us, writers who cite us, teachers who assign us, and peeps who talk us up and give word of mouth. We are all putting in work in a thousand and one ways, big and small, to make this community bigger, badder, and deffer each and every year. And *that’s why we are still here.

Thank you and here’s to lucky number seven in 2016!  

Team SO!

praiseLiana’s back!!: We had a bit of a personnel shuffle last summer, but in the end the stars aligned and we got Liana back. She edited this year’s February forum on gender and voice (which you can check out here) and selected the tracks for this year’s mixtape for the second year in a row. Outside of Sounding Out! she’s been publishing more, getting her break in the Houston Chronicle online column Gray Matters, developing a column for Chronicle Vitae, and working on a book proposal due later this year. You can keep up with her writerly adventures on Twitter: @lianamsilva

checkINDEXING: We told you this year was all about the grind.  We are working hard over here to make SO! more searchable.  With 400 posts and counting over 6 years, we recognize that finding what you need grows more challenging every Monday.  This spring, we debuted an alphabetical index of all of the themed series and forums and soon we will have completed full indexes by author soon and title soon, as well as some themed lists for teaching and general inquiry.

speakerMLA INDEX IS UP AND RUNNING!:  For folks privileged to have access to the Modern Language Association’s digital bibliography—perform a search for Sounding Out! and you will find links to all of our posts categorized as “articles.” The index is also searchable by author.  Now we are officially, as Hammer would say, 2 legit 2 quit.


WE KEEP ON PUSHING THE ENVELOPE:  Now that sound studies is increasingly becoming canonized and institutionalized, we feel it is increasingly important to continue looking for new avenues of interest and inquiry and to experiment with the form of the blog and podcast.  This year we debuted a series of online sonic installations by artists and thinkers such as Salomé Voegelin (“Sound Art as Public Art”), the Berlin arts collective La Mission who performed a full series of sound and video installations in honor of José Esteban Muñoz for our Round Circle of Resonance series, and sound artists Sonia Li, Mendi + Keith Obadike and Anne Zeitz and David Boureau.  We also began a new running series called “SO! Amplifies,”  which allows us the opportunity to scout out innovative organizations, artists, installations, exhibits, community engagement projects, radio programs, etc. and bring them to your attention.


THURSDAYS STILL ON POINT! Special Editor Neil Verma has continued to rule the Thursday airwaves with his specially curated series of guest editors emphasizing sound and media.  For a rundown of 2014’s programming see his excellent year in re-hear post from November 2014.  Right now we are in the midst of the “Sonic Shadows” series with more excitement to come!  And of course, Multimedia editor Aaron Trammell continues to curate an exciting and innovative open format podcast series on the last Thursday of every month. This year’s Blog-O-Versary mix is our 45th podcast!

160x160x41-smiling-face-with-sunglasses.png.pagespeed.ic.y2dwulXjw8RELAX! DON’T DO IT!: This year SO! started doing its part to promote healthier work habits by taking a week off here or there.  We hope that, rather than disappointing our avid Monday morning readership, we have encouraged our community to stop and gather strength too (or at least to explore our extensive back catalog. 400 posts!).  SO! is a marathon rather than a sprint and we are just getting started.


Sound and Affect

 WE’RE ALWAYS LOOKING FOR NEW FOLKS FOR TEAM SO!  Don’t forget we have our latest Call For Posts on “Sound and Affect” up and running with a deadline of August 15th.  Please submit a pitch and/or spread the word!!

Highlight Reel:  See what’s new with SO! authors and community members  this year! Congratulations everyone (and don’t forget to keep those cards and letters coming!).

  • Regina Bradley was selected as a 2016 Nasir Jones HipHop Fellow, Harvard University. She is also and incoming Assistant Professor of African American Literature at Armstrong State University in Georgia.
  • Stuart FowkesCities and Memory hit the 700 mark in terms of numbers of sounds, with more than 150 contributors and now over 200,000 listens. They’ve run open call sound project every few months, which have included:  Oblique Strategies: more than 50 artists reimagining field recordings using Eno and Schmidt’s oblique strategy cards for inspiration; Quiet Street: a sound map of the city of Bath that was installed as part of the Fringe Arts Bath festival; Sound Waves: for World Listening Day 2015, a sound map and edited piece looking at the role water plays in our lives; and Dreamland: a commission by the Dreamland amusement park in Margate, UK, to reimagine the sounds of a theme park.
  • Enongo Lumumba-Kasongo passed her Ph.D qualifying exams and has just returned from a research trip to Congo. She also has recently had the opportunity to put together some music and a sound installation for a stage play that will premiere at the National Black Theatre Festival in Winston Salem in early August 2015.  The organizers have put together a fundraising campaign via Indie Gogo; they’re trying to raise $15,000, right now they’re just shy of $10,000–please join SO! in supporting her work here.  As Sammus, she went on her first tour with rapper Mega Ran which included a performance at the SXSW festival in Austin, TX.  You can follow her on Twitter (@sammusmusic) or listen to her music, including her latest releases at
  • Kristin Moriah’s article on Uncle Tom’s Cabin/Onkel Tom’s Hütte was recently published in Lateral, the Cultural Studies Association’s online journal.  She will be presenting a paper entitled “Singing Books: The Curation of Sound in Sissieretta Jones’s Scrapbook” at the 2015 American Studies Association convention in Toronto.
  • Visual Editor Will Stabile is still out there every day, making it happen. He asked that we not worry about him. We still check in on him regularly though.
  • Justyna Stasiowska put together for the international conference “Post-technological experience. Art-Science-Culture” (Poznań 23-27 October 2014) the presentation “Soft machine – somaintrument,” on modes of programming perception in Maryanne Amacher’s instalations.  She also presented “Ephemeral performance or how does sound smell,” focused on programing a synaesthetic expierience in Ephemera and creating a new academic format  during “Fluid Sounds” (lectures, perfomances, performances and audio papers in Amager 18-21 June 2015). Lastly, she created a sound mix for a drag queen-inspired performance called Valentine Tanz, which focused on being a performance artist. The episode (the project is a series of performances), that she worked on juxtaposed the ballroom queer scene aesthetic with Marina Abramovic’s work on trying to deconstruct persona of a performer.
  • Kyle D. Stedman is co-editing a digital collection on sound and writing pedagogy. If you’re interested on submitting an idea for how you use sound in the classroom, read the CFP or listen to the audio version at the Soundwriting Pedagogies project page. He also podcasts every month or so at Plugs, Play, Pedagogy, a show about teaching writing and rhetoric in the 21st century, which led to a workshop and presentation on academic podcasting at the 2015 Computers and Writing conference.
  • Jennifer Stoever published three articles this year, “Fine-tuning the Sonic Color-line: Radio and the Acousmatic Du Bois” in  Modernist Cultures, “‘Just Be Quiet Pu-leeze’: New York’s Black Press Fights the Postwar ‘Campaign Against Noise,’” in Radical History Review, and  “Toward a Civically Engaged Sound Studies, or (Re) Sounding Binghamton,” in the Proceedings of Invisible Places / Sounding Cities. Sound Urbanism and Sense of Place (you can download the full volume here).  She was also named an Engaged Teaching Fellow by the Binghamton Center for Civic Engagement and enjoyed the hell out of herself co-teaching a radio arts course with filmmaker and Sound Artist Monteith McCollum.  They produced an accompanying live radio show (listen here!).
  • Aaron Trammell will defend his dissertation in September 2015 and will begin a two year postdoctoral fellowship at the Annenberg School of Communication at the University of Southern California.
  • Alyxandra Vesey published three articles: “Mixing in Feminism.” Popular Music and Society (39) 4: 1-20; “Putting Her on the Shelf: Pop Star Fragrances and Post-feminist Entrepreneurialism.” Feminist Media Studies 15 (6): 1-17; and “Working for @LateNightJimmy.” Spectator: Performing Labor in the Media Industries 35 (2): 47-56.  Also, as the graduate representative for the Women’s Caucus, she helped put on SCMS’s “Participatory Pedagogy” networking event and workshop at last spring’s conference in Montreal.

The theme for this year’s Blog-o-Versary post and mix was of course inspired by Curtis Mayfield and his early group The Impressions. Thank you for this sonic uplift!

Jennifer Stoever is co-founder and Editor-in-Chief of Sounding Out! She is also Associate Professor of English at Binghamton University.

Click here for Sounding Out!‘s Blog-O-Versary “Keep on Pushing” mix 6.0 with track listing

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Sounding Out! Podcast #38: Radio Frequencies, Radio Forms LIVE



CLICK HERE TO DOWNLOADRadio Frequencies, Radio Forms LIVE



Today’s podcast is an archival recording of “Radio Frequencies, Radio Forms LIVE,” a special program on WHRW, Binghamton University’s free-format radio station, broadcast on December 15, 2014 from 6:00-7:30.  Part original radio art broadcast and part “Behind the Artists’ Studio” conversation, “Radio Frequencies” represents the culmination of a semester-long experimental collaboration between Professor Jennifer Stoever (BU English) and Filmmaker, Sound Artist and Professor Monteith McCollum (BU Cinema) and the students of their advanced transdisciplinary seminar “Resonant Frequencies: Exploring Radio Forms.”

Over the course of the Fall 2014 semester, students learned the fundamentals of recording and editing while discussing radio history, sound production, sound art history, and theories of sound and listening to copious (and diverse) radio pieces ranging from Aimee Temple McPherson sermons to Norman Corwin’s We Hold These Truths, the Suspense episode “Sorry, Wrong Number” to Delia Derbyshire’s “The Dreams.”  McCollum and Stoever’s students were creative, interested, driven and exceptionally talented; two from the course, Tara Jackson and Aleks Rikterman, went on to have some of their semester’s work featured in the 2014 Mix for Wavefarm’s annual 60 X 60 competition, the only two students alongside seasoned arts professionals, professors, radio producers, and Prix Italia Winners.

The WHRW broadcast features well-crafted recordings of the course’s capstone project—4 collaboratively developed original 8-10 minute radio pieces—alongside fascinating live discussions between Monteith, Jennifer, and their students about radio as medium, broadcast vs. performance aesthetics, the process of  recording, manipulating, and editing sounds, the students’ radio influences, the role of the listener, the value of radio’s past and their forecasts about its future. This podcast is a must listen for anyone interested in radio production and history, creative pedagogy, conversations about sound art, or just interesting and unexpected listening!


  • “Amarilli,” a suspenseful radio drama scripted, performed, recorded, edited, and mixed by Maggie Leung, Hyucksang Sun, and Daniel Hong.
  • “The Parlor City,” interwoven radio-verite stories about Binghamton, NY conceived, recorded, edited, and mixed by Yang Gao, Daniel Santos, and Ashley Verbert.
  • “Untranslatable” an artistic sono-montage piece about language conceived, recorded, performed, edited, and mixed by Tara Jackson, Anna Li, and Michael Ederer.
  • “Pura Vida: Solo Travel” a documentary interview montage conceived, recorded, scored, edited, and mixed by Aleksandr Rikterman and Garrett Bean.

Hosts and Executive Producers: Monteith McCollum and Jennifer Stoever
Opening Interview: Daniel Santos
WHRW Engineer: Tara Jackson
WHRW Program Manager: Daniel Kadyrov

McCollum and Stoever’s course was made possible by a generous transdisciplinary team-teaching grant from the Provost’s Office at Binghamton University, with thanks to Provost Don Neiman and Don Loewen, Vice Provost for Undergraduate Education

Monteith McCollum, Assistant Professor of Cinema at Binghamton University, is an inter-media artist working in film, sound, and sculpture. His films have screened at Festivals and Museums including The Museum of Modern Art, Hirshhorn, Wexner Center for the Arts and Festivals including SXSW, Slamdance, Hot Docs, Amsterdam & Osnabruck European Media Arts Festival. His films have garnered dozens of festival awards including an IFP Truer than Fiction Spirit Award. You can learn more about his work at

Jennifer Stoever is co-founder and Editor-in-Chief of Sounding Out! She is also Associate Professor of English at Binghamton University and a recipient of the 2014 SUNY Chancellor’s Award in Teaching.

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Sounding Out! Podcast #10: Interview with Theremin Master Eric Ross – Aaron Trammell

SO! Amplifies: Shizu Saldamando’s OUROBOROS


Document3SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig.  You’re welcome!

Shizu Saldamando’s solo multimedia exhibition OUROBOROS explores the social dynamics and physical codes integrated within contemporary group dancing and civic participation.  OUROBOROS represents the ancient symbol of revolutionary cycles, rebirth, and circle dancing.  The show, opening at South of Sunset–an exhibition and performance space in Echo Park, Los Angeles, run by Elizabeth DiGiovanni and Megan Dudley–will include a selection of large-scale, photorealistic works on paper documenting the intimate social interactions observed within LA’s dance club scene, as well as recent video work. South of Sunset is pleased to premiere her most recent video, a juxtaposition of footage of traditional Japanese dancers at an Obon festival and punk rockers in a mosh-pit at a show in East LA.  


“Ouroboros” 2 channel video, 4:58 looped 2014  //  “La Sandra” colored pencil, glitter, spray paint on paper 25” x 32″ 2014

Opening of Ourboros, South of Sunset, 11/12/14, Image by Devon Tsuno

Opening of Ourboros, South of Sunset, 11/12/14, Image by Devon Tsuno

Even as her recent interview with NPR Latino amplifies the “quiet radical politics” of her work, the sonics of Shizu’s work are loudly resonant. Her pencil and ink drawings, glittery gilt paintings, and video pieces reverberate with the sights and sounds of the two California cities she has called home–San Francisco and Los Angeles–the three cultures that have profoundly shaped her–Mexican, Japanese, and American–and the myriad voices, favorite bands, and energy of the friends she photographs out at dance clubs and concerts while “documenting the vibe” of LA music subcultures.

The exhibit runs from November 12th to December 3rd 2014; the gallery is open on Sundays 1 – 4 pm through November 23 (and by appointment).

Featured image: Ozzie and Grace, 2014, Shizu Saldamando, colored pencil and spray paint on paper, 25 x 32 inches.

Shizu Saldamando (b. 1978, San Francisco) is a multidisciplinary artist based in Los Angeles. A graduate of UCLA (BA, 2000) and CalArts (MFA, 2005), she has been the subject of recent solo exhibitions at the Vincent Price Art Museum (Los Angeles, 2013), Moore College of Art and Design (Philadelphia, 2012), and Steve Turner Contemporary Art (Los Angeles, 2010). Saldamando’s work has also been included in influential group exhibitions including Portraits of the Encounter at the Smithsonian National Portrait Gallery (Washington DC, 2011), Audience as Subject at Yerba Buena Center for the Arts (San Francisco, 2010), and Phantom Sightings: Art After the Chicano Movement at Los Angeles County Museum of Art (Los Angeles, 2008).

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Yvon Bonenfant’s Voice Bubbles App 

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