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Sound the Alarm: Blog-O-Versary 9.0

** Click here if you want to SOUND THE ALARM and listen to the mix already!! You can also scroll down following this post**

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“BRRRRRRRIIIIIIINNNNG”

is the line–and the sound–that opens Richard Wright’s 1940 wake-up-call to America, Native Sona novel about the systemic reaches of structural racism and what happens when it works as intended: funneling privilege to white people and dealing losses–in housing, economics, education, employment, the legal system, and overall mental, physical, and emotional health and life quality–to people of color.  There have been moments in the 75+ intervening years since Wright’s novel topped best seller lists where it’s felt like folks had finally heard this alarm loud and clear; right now it seems like too many have just been repeatedly hitting snooze instead of choosing to get–and stay–woke.

But just because some folk’s can’t, won’t–or choose not–to hear it is not at all reason to stop sounding the alarm, and Sounding Out! certainly isn’t going to stop chiming in and amplifying its urgency, especially in this current moment.  It has been our mission since we began in 2009 to encourage scholarship about and via sound that helps us all do the work necessary to listen “bone-deep in the deep of bones” to that “BRRRRRRRIIIIIIINNNNG” (thank you Fred Moten, for that stunning description of listening in In the Break, and so much more).

To listen to it and, we hope, to ACT.

We are now “nine and feeling fine,” in spite of it all, still sounding the alarm within our field and reverberating to other disciplines,  inside, through, and beyond the hyperpoliced borders of the US, and at the intersection of multiple social identities: race sexuality class gender nation citizenship status. Now, more than ever, we are grateful for the work we do and the platform we have built–and we are honored to be part of the wonderful, brilliant, and powerful community who sustains us and who’s always out there, listening and doing that work. It’s been a breakthrough year for sound studies brilliance; we have actually received more unsolicited submissions this year than in previous years combined (!!!). Keep it flowing–we’ll begin setting the 2019 schedule soon!

Just a sampling of what (and where) the year nine cohort brought you: to an art installation on the streets of Mexico City, to Australia for a conversation on sound and the law and an open letter about race, power, and equity in academia, to K-12 classrooms all over the US in a Liana Silva-edited forum on sonic pedagogy, to Argentina to listen to the “song of the summer,”  to Russia to listen in to the sounds of World Cup 2018, to a galaxy far, far away, to Canada’s radio waves to hear traces of “The Idea of North,” to the contested political space of the womb, to Hamilton, to the paisa bars, mosh pits, hardcore shows, tarimas, and 1980’s flashbacks of Chicana Soundscapes (thank you Michele Habell-Pallan for curation and the intro to this forum!), and to indigenous peoples’ sound from Mt. Scott to Standing Rock.

And of course we must give special props and the deepest of gratitude to guest editors Praseeda Gopinath and Monika Mehta (who brought you the groundbreaking Gendered Soundscapes of India forum), to our regular writers Regina BradleyJustin Burton, and Robin James who bring it three times a year, to our Fall 2017 intern James “DJ Tasty” Tlsty who brought you “Listening In With Sounding Out!” on WHRW (and our podcast stream) and our spring 2018 team, Shauna Bahssin and Allie Young, who brought copy-editing expertise and respectively, posted on a 24-Hour Drone Festival in upstate NY, and created a podcast (airing on our podcast stream very soon!) about womxn’s experiences in the music industry.

To all our writers, readers, supporters, retweeters, sharers, teachers, and word-of-mouth fans: Thank you, thank you, thank you. Gracias por todo. Let’s continue blowing it to full watts in year 10.

–JLS, LMS, and AT

⏰⏰⏰⏰ SO! 2016-2017 Highlight Reel⏰⏰⏰⏰⏰

  • Justin Burton‘s book, Posthuman Rap (Oxford UP), was published fall 2017, and Justin successfully applied for tenure spring 2018.

 

  • Karen Cook is a recipient of an inaugural ACLS Professional Development Grant, and presented some recent work at the annual Medieval-Renaissance Music Conference in Maynooth, Ireland in July 2018.

 

  • This year, Robin James assumed co-editorship (with Eric Weisbard) of the Journal of Popular Music Studies and she wants to encourage SO! writers and readers to submit their article-length work. In addition to writing for SO!, she also published an article on post-feminism and electronic dance music. She keynoted the 2017 IASPM-International conference and the Future/Present: Current Practices in Pop Music Studies conference in Uppsala, Sweden.

 

  • Monika Mehta  published “Fan and its Paratexts,” Dossier on Fan,  in Framework (January, 2018) and “Streaming Hotstar Originals”  for the theme week Global Television Streaming, edited by Jasmine Mitchell and Lisa Patti, for in media res: a media commons project (April 2018). She also co-edited SO!‘s forum Gendered Sounds of India with Praseeda Gopinath and co-wrote the introduction with her as well.

 

  • For 2018, Marlen Rios-Hernandez will be at the Latinx Studies Association (LSA) at D.C. presenting  “‘How Many Queers Are Here Tonight?’: The AIDS Epidemic and Punk as Contagion From Gobbing, Cruising, to Los Frikis” as part of the “Performing Dissidence: Social Change and the Stage in Musical Performance” panel. She will be at this years American Studies Association (ASA) in Atlanta presenting  a piece entitled “‘We Will Bury You!’ Listening For Chicana Punk and Other Subaltern Queer Auralities on  Vinyl” on the “Emergent Auralities: Subaltern Sounds in Latinx Cultural Production and Performance” panel. Moving forward, she’s a recipient of the American Association of University Women (AAUW) year long dissertation fellowship and intend to graduate by Spring 2019.

 

  • Tara Rodgers just put out a solo record as Analog Tara called Fundamentals–a sample is on this year’s SO! mix! Thank you TR!–and was featured on NPR and in the Washington Post!

 

 

And remember, 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, as you can probably tell by our very active Twitter feed!

Click here for Sounding Out!‘s Blog-O-Versary “Sound the Alarm” mix 9.0 with track listing (and of course which writers suggested which songs)!

Jennifer Lynn Stoever is co-founder and Editor-in-Chief of Sounding Out! She is also Associate Professor of English at Binghamton University, lead organizer of The Binghamton Historical Soundwalk Project and author of The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016).  


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Sounding Out! Podcast #69: Sound The Alarm

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Sound The Alarm

Elvis Costello and the Attractions, “Night Rally”—Jeremy Braddock
J. Ballin and Carla Morrison, “Mi Gente”—Liana Silva
Snap!, “I’ve Got the Power!”—Robin James
Diana Gordon, “Woman”—Allie Young
The Raincoats, “No One’s Little Girl”—Gina Arnold
Sam Cooke, “This Little Light of Mine (Live)”—Shakira Holt
The Ergs, “Books About Miles Davis”—Aaron Trammell
Descendents, “Parents”—Marlen Rios-Hernandez
Guerrilla Toss, “Betty Dreams of Green Men”—James T Tlsty
Shabazz Palaces, “Shine a Light w/ Thaddillac”—Nabeel Zuberi
Amali Dhumali, “DHOOM3”—Monika Mehta
Rhianna, “Man Down”—Justin Burton
Dr. Dre, “Keep Their Heads Ringing”—Karen Cook
Analog Tara, “Percolation”—Tara Rodgers
Princess Nokia, “Kitana”—Jennifer Stoever
Rina Sawayama, “Ordinary Superstar”—Shauna Bahssin
Nina Diaz, “January 9th”—Wanda Alarcon

***Click here to read our Blog-o-versary year-in-review by Ed. in Chief JS 

¡¡¡¡Resist!!!!: Blog-o-Versary 8.0

** Click here if you are the kind of person who opens the gift first and the card later and you want us to just give you the mix already!! Otherwise, scroll down following this post**

Never have we been prouder in the history of Sounding Out! that nothing much has changed over here in year 8.0. In what has been a period of unrelenting fear, volatility, violence, hate, and uncertainty, we have not only maintained our commitment to amplifying sound studies knowledge in the service of social justice, but we have deepened and intensified it. While, like so many, we struggled with the roller coaster of emotions the injustices of 2016-2017 have wrought, we at SO! did not flinch, we did not falter, nor did we shirk or evade: we rolled up our sleeves and went to work, taking good care of each other while figuring out the best ways to publicly flex our intellectual muscle where it’s most needed, in our own communities and, hopefully, far beyond.

When editorial collective started SO! eight years ago—first gen academics, all—we used to joke (rather seriously, actually) that we started the blog so we could show our families how and why the work we did mattered, especially because it all too often kept us so busy and far away (and “for what?” they kept asking). We wanted to show the people who mattered to us—but quite frankly rarely seem to matter on our university campuses–not just the abstract “importance” of sound studies research, but that the best research in our field could reveal to *everybody’s folks about how the politics of sound and listening were already impacting our lives, in ways both small and tremendous, life-affirming and death-dealing, in ways that enact subjection and enable resistance. 8 years later this mission still guides us—our readability-focused design, our accessible tone that refuses condescension, and our use of multimedia forms of argument and explanation—the only thing different is that we’re coming for y’all’s families too!

Usually spread across three time zones, Team SO! met IRL in 2016 and it was GLORIOUS. (l-r) Ed. in Chief Jenny Stoever, Managing Ed. Liana Silva, and Multimedia Ed. Aaron Trammell

Monday after Monday after Monday, SO! has not only resisted, but has flat out rejected the tired, inaccurate narrative that the humanities somehow don’t matter in our current moment of crisis.  Far from it, the knowledge we help surface regarding the cultural, political and historical meanings of sound and shifting formations of listening has an undeniable urgency in our everyday lives—unabashedly challenging automatic modes of perception and disrupting how we listen in the moments that matter most—while exerting transformational power over the inequalities of our institutional structures one reader at a time.  SO! delivers the most cutting edge artistic praxis, theories, ideas, and discoveries of the field of sound studies through on-point applications to often very contemporary issues, events, spaces, and places; this year alone SO! brought you sounds and listeners’ perspectives from  Standing Rock, anti-abortion protests+ Trump rallies, the film Moonlight, Leftist election protests in Paris, France. the January Women’s March in the US, and footage of the police shootings of Philando Castile and Alton Sterling (as well as King Britt’s artistic protest in response).  We’re here, we’re listening, and we aren’t going anywhere (and we👏🏼 Tweet👏🏼too!👏🏼).

As the posts just mentioned show, more than ever before, SO! 8.0’s watchword was resistance.  With this guiding ethos, we curated our posts to explore paths to liberation across and beyond borders—in addition to our nuanced explorations of the peoples, power dynamics, and soundscapes of the United States, this year saw posts from the Caribbean diaspora, CubaFrance, Germany, IcelandTurkey, and indigenous nations in the Americas—to resist the limitations and silences of established historiographies—revealing punk rock’s  Queer Chicana history, for example, or radical re-definitions of  “silence” in Ojibwe culture and “quiet” in Black women’s lives and art—to explode the idea that sound technology isn’t human and that instruments can be played but not played with—see our posts on what knowledge “vocal deformance” gives us, for example or what experimentations with Adaptive Use Musical Instruments teach us about music and each other, or dig DJ/Producer Primus Luta explaining how and why he created the new instrument he calls the “Rhythm Box.”   Our themed forums took on established terms, fields, and institutions, presenting fresh hot takes on the Digital Humanities (DH and Listening), Medieval Studies (Medieval Sound), Punk Rock (Punk Sound), Ability (Sound, Ability, and Emergence), and K-12 education (Pencils Down: Sound in the K-12 Classroom).

Punk singer Alice Bag performs at Cornell University with Fiona Ngô in March 2017; we featured Alice’s “Women in LA Punk” archive in November 2016 and a story on her voice in March 2017 called “If La Llorona was a Punk Rocker.”

While we can’t stop and we won’t stop, we also can’t front.  Spiritually and politically, this past year was frustrating, exhausting, depressing. . . . grueling even.  But because of SO!, the editorial collective has never felt alone in these struggles, nor have we let the world wring the joy out of our labor, performed with and for our community.  The thing is, though, we didn’t do anything more this year than you did and continue to do, which is why the quality of work on SO! this year was sharper and more incisive than it’s ever been (and its why we are already happily drowning in badass submissions for year 9).  Special props and deepest thanks must go to our regular writers Regina Bradley, Justin Burton, and Robin James who bring it three times a year, to our Spring 2017 intern and MVP Ariel Taub who created and maintains our new SO! Instagram feed   (follow us!), and our writers’ faith, generosity, and patience with SO!’s stringently hi-fi editorial process and our low-fi “just the three of us” DIY publication style. And of course, we are grateful to our readers; without you we are nothing, but together, we are EVERYTHING. Let’s keep on pushing in year 9.0–and keep listening, better, deeper, and more thoughtfully.

💪🏾💪🏽💪🏿💪🏼SO! 2016-2017 Highlight Reel💪🏾💪🏽💪🏿💪🏼

  • Regina Bradley published her first short story collection titled Boondock Kollage: Stories from the Hip Hop South and started a new position as Assistant Professor of English and African Diaspora Studies, Kennesaw State University.

 

 

  • Yetta Howard has been promoted to Associate Professor with tenure, Department of English and Comparative Literature, San Diego State University. Howard’s book Ugly Differences: Queer Female Sexuality in the Underground is forthcoming in 2018 from the University of Illinois Press. She is also editing a collection, Rated RX: Sheree Rose with and after Bob Flanagan (under contract with Ohio State University Press). For more information, visit www.yettahoward.com

 

And remember, 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!

Jennifer Stoever is co-founder and Editor-in-Chief of Sounding Out! She is also Associate Professor of English at Binghamton University, lead organizer of The Binghamton Historical Soundwalk Project and author of The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016).  

Click here for Sounding Out!‘s Blog-O-Versary “!!!!Resist!!!!” mix 8.0 with track listing.


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Sounding Out! Podcast #62: ¡¡¡¡RESIST!!!!

CLICK HERE TO DOWNLOAD¡¡¡¡RESIST!!!!

SUBSCRIBE TO THE SERIES VIA ITUNES

ADD OUR PODCASTS TO YOUR STITCHER FAVORITES PLAYLIST

¡¡¡¡RESIST!!!!

The Clash, “Guns of Brixton”—The Editorial Collective
Alice Bag, “Programmed”—Jenny Stoever
Speedy Ortiz, “Raising the Skate”—Liana Silva
OutKast, “Humble Mumble”—Regina Bradley
The Staple Singers, “Freedom Highway”—Shakira Holt
El Jornaleros del Norte, “Serenata a un Indocumentado”—Dolores Inés Casillas
A Tribe Called Red (feat. Yasiin Bey, Narcy & Black Bear), “R.E.D.”—reina alejandra prado
Body Count, “No Lives Matter”—Holger Schulze
Pega Monstro, “Partir a Loiça”—Carlo Patrão
Björk, “Declare Independence”—Chris Chien
Green Velvet and Prok & Fitch, “Sheeple”—Justin Burton
Pet Shop Boys, “Go West”—Airek Beauchamp
Kate Bush, “Waking the Witch”—Gretchen Jude
Cabaret Voltaire, “Do the Mussolini (Headkick)”—Yetta Howard
Lucid Nation (feat. Jody Bleyle), “Fubar”—Tamra Lucid
Resorte, “Opina o Muere”—Aurelio Meza
Leonard Cohen, “You Want it Darker”—Ariel B Taub
Charlie Haden & Liberation Music Orchestra, “We Shall Overcome”—Elizabeth Newton
Joe Strummer and the Mescaleros, “Johnny Appleseed”—Aaron Trammell

***Click here to read our Blog-o-versary year-in-review by Ed. in Chief JS 

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