Die Jim Crow (DJC) is the first US record label dedicated to recording formerly and currently incarcerated musicians. The mission of DJC is to provide formerly and currently incarcerated musicians a high-quality platform for their voices to be heard. DJC sprang from Executive Director Fury Young’s communications with currently incarcerated individuals by letter and was originally slated to be a single concept album, inspired by Michelle Alexander’s The New Jim Crow and Pink Floyd’s The Wall. The project quickly grew into much more than that.
For me, death to Jim Crow means a death to stereotypes, to misconceptions of the ‘Other.’ There is no Other. The term ‘Jim Crow’ comes from a song which satirizes a slave. I see much parallel to the way our society views those incarcerated: that they are ‘lesser than;’ merely criminals. We are changing this narrative through music. – Fury Young
DJC records, produces, and releases music written and performed by formerly and currently incarcerated individuals. Prison staff and others working inside, such as volunteers or other program facilitators, refer incarcerated collaborators to DJC. Executive Director Young and Deputy Director BL Shirelle correspond by mail or digitally with these individuals to help prepare their musical contributions for in-prison recording sessions. Young, Shirelle, and other producers identify promising Project Managers inside each facility who help guide the music creation and recording process.
Music is recorded in prisons, homes of the formerly incarcerated, and Brooklyn studio revolutionsound, produced in the same studio, and then widely released through digital and physical channels. We currently have ongoing programming at 2 prisons in South Carolina and have recorded at a total of 5 prisons since 2015, 3 of which we are seeking to regain access to because of prison administration changes.
Our Board of Directors comprises 40% formerly and currently incarcerated individuals, ensuring that Die Jim Crow is steered by those who have direct lived experience with the issues informing our work. Deputy Director Shirelle is a formerly incarcerated musician acting as co-Label Manager with Young, bringing her unique set of experiences and talents to Die Jim Crow.
Over the past several years, Young has formed solid relationships built on trust with a number of formerly and currently incarcerated artists and has learned how to navigate the challenging process of gaining access to prisons to work with incarcerated individuals. As Fury told SO!’s Managing Editor Liana Silva,
Gaining access is tough. It can take months, even years to navigate through to the right people and get an Okay. Once you’re in, you’re in. But then you need to deal with censorship from the top brass and navigating through that. There are all types of unforeseen challenges that pop up when you least expect them to — but it really comes from above. In terms of recording on the inside, besides the typical band shit like “this guy’s ego is getting in the way” or “this guy won’t play with the band,” the making music part is the fun part.
Earlier this year–March 2019–Young took a trip to Louisiana, Mississippi, and South Carolina, the experience inspired a big shift In Die Jim Crow toward founding the non-profit label. The journey began in New Orleans with a home recording of Albert Woodfox, who lent his voice to music for the first time. Mr. Woodfox spent 43 years in solitary confinement in Louisiana, the longest of any solitary prisoner in US history. Fury also recorded a video interview with Albert about his experiences with music while inside.
From NOLA, Fury picked up co-producer and engineer Doc (aka Dr. Israel) in Mississippi–who has been part of the DJC team since 2015– where they spent two days recording four rappers at a juvenile prison — Central Mississippi CF Youthful Offender Unit. They spent the next 10 days in South Carolina recording a total of 22 artists at a men’s and a women’s prison: Allendale CI and Camille Griffin Graham CI. When they got home, Fury noted at a Board of Directors meeting: “This is becoming a record label.” He had already discussed it with Shirelle and senior advisor Maxwell Melvins, both DJC artists and board members, and the consensus was clear. A similar reaction was palpable at the board meeting. Stefanie Lindeman, a non-profit veteran and board member, brought up, “OK, we need to put together a three year strategic plan immediately.” And from there, Die Jim Crow Records was born.
And what will Die Jim Crow records sound like? Fury told SO! that
There’s a lot of hip hop and soul. Most of our artists are black and that is the music many of them grew up on. But as we transition into a record label and open up to new projects, we’re becoming more of a melting pot. All types of influences go into the stew. Right now we’re working on a straight hip hop EP at a women’s prison in South Carolina — kinda like a Lauren HIll/Rapsody vibe, and then a project called The Masses at a men’s SC prison — which has a full band and several emcees. They’re sorta like The Roots meets Wu Tang in a southern prison. But in other states we’ve recorded plenty of rock and even Native American chants. If you listen to the EP, you’ll get a sense of the sundry sounds.
Young has already recorded and released a high-quality EP with these musicians and recorded a significant library of unreleased music.
Over the next few years, DJC will continue to grow through re-releasing and repackaging existing content, cultivation of current and new artists, and development of new projects, as well as live shows, events, and tours. DJC will release 1 EP and 1 mixtape per year. The first release will be the Die Jim Crow LP, accompanied by a book and feature film documentary in 2022. By November 2020, DJC will release The Masses EP. On May 1, 2020, DJC will re-release the Die Jim Crow EP, release the “First Impressions” single and video from the EP, and begin the “Single of the Month” initiative, putting out both prerecorded songs and new works.
Die Jim Crow is currently engaged in a Kickstarter campaign for their project through 8 pm tonight, Monday 28, 2019– click here to donate to launch the label and/or read (and hear) more about the project!
Featured Image: Some of the artists Die Jim Crow has worked with in GA, OH, IN, CO, PA, CA, NY, NJ, MD, KS, AL, TX, and LA. (L-R each row): Johnnie Lindsey, Leon Benson, Malcolm Morris, Maxwell Melvins, Michael Austin, Dexter Nurse, Valerie Seeley, Spoon Jackson, Tameca Cole, Michael Tenneson, Mark Springer, Obadyah Ben-Yisrayl, Cedric “Versatile” Johnson, Lee Lee, Anthony “Big Ant” McKinney, Ezette Edouard, Pastor Anna Smith, BL Shirelle, Carl Dukes, Norman Whiteside, Sedrick Franklin, Charles “C-Will” Williams, Apostle Heloise
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For a number of semesters, I invited composition students to explore the idea of using the mixtape as a lens for envisioning a writing assignment about themselves. Initially called “The Mixtape Project,” this auto-ethnographical assignment employed philosophies from various scholars, but focused on Jared Ball and his concept of the mixtape as “emancipatory journalism.” In I Mix What I Like!: A Mixtape Manifesto, Ball pushed readers to imagine the mixtape as a counter-systematic soundbombing, circumventing elements of traditional record industry copyright practices (2011).
Essentially, a DJ could use a myriad of songs from different artists and labels to curate a mixtape with a desired theme and overarching message, then distribute the mixtape as a “for promotional use only” artifact. Throughout the 1980s, but predominantly in the 1990s and early 2000s, many DJs used mixtapes as the medium to promote their DJ brands and generate income. It wasn’t long before labels began to give hip-hop DJs record deals to release “album-style” mixtapes where the DJs record original content from artists made specifically for the DJ album (see DJ Clue, Funkmaster Flex, Tony Touch). This idea evolved into producer-based compilation albums, best depicted today by global icon DJ Khalid. Rappers also hopped on the mixtape wave, using the medium to jump-start their careers, create a “street buzz” around their music, and ultimately gauge the success of certain songs to craft and promote upcoming albums.
The assignment revolved around mixtape framework in the earlier portion of my teaching career. Most recently, I began to realize as my students evolve (and I simultaneously age), that the “mixtape” – a sonic artifact distributed on cassette tape or CD – is becoming more remote to students. This thinking led to revising the assignment with a more contemporary twist. Thus, “The Playlist Project” was born: the first in a set of four major writing projects in a first-year writing classroom. The ultimate goal of the assignment was to immediately disrupt students’ relationships with academic writing, and to help them (re)envision the ways they embrace some of the cultural capital they value in college classrooms. Be clear, this was a particular type of mental break for students, a shift that was welcomed yet also uncomfortable for them.
“I Get It How I Live It”: Framing and Foregrounding the Assignment Set-Up
The course started with readings on plagiarism, intertextuality, and the hip-hop DJ’s use of sampling, curating, and storytelling. Next were readings by hip-hop artists describing their creative process and detailing their artistic choices sonically. These early readings helped pivot students from their stereotypical notions of what college writing courses – and writing assignments – looked like, and how they could enter scholarly discourse around composing. This conversation was foregrounded in students’ knowledge that they bring with them into the new academic space in the college classroom. My goal was to really focus on student-centered learning and culturally relevant pedagogy; ideally, if you are immersed in hip-hop music and culture, I want you to share that knowledge with the class. This sharing begins to create a community of thinking peers instead of a classroom with an English professor and a bunch of students who have to take the course “cuz it’s required in the Gen Ed, so I can’t take anything else ‘til I pass this!”
My research is entrenched in both hip-hop pedagogy and culture, specifically looking at the DJ as 21st century new media reader and writer. I liken my role as instructor to that of the DJ: a tastemaker and curator for the ways we understand sonic sources we know, and couple them with new and necessary soundbites that become critical to the cutting edge of the learning we need. I’ve engaged in the craft of DJing for more than half of my life, and use DJ practices as pedagogical strategies in my classroom environments.
The outcome of this curatorial moment was “the Playlist Project.” Students were asked to create their own playlists, which served as mixtapes that either “described the writer as a person” or “depicted the soundtrack to the writer’s perfect day.” This assignment was due during Week 6 of a 16-week semester, and was the first major writing assignment within the course. The assignment called for two specific parts: an actual playlist of the songs and an essay which served as a meta-text, describing not only the songs, but also the reasons why the songs were chosen and sequenced in a specific order. As an example, the guiding text we used was a DJ mixtape I created called “Heavy Airplay, All Day.”
“Heavy Airplay, All Day with No Chorus”: DJ Mixtape by Todd Craig
My playlist was a DJ-crafted tribute to a family friend who passed away in the summer of 2017: Albert “Prodigy” Johnson, Jr. Hearing the news of his untimely death reverberated through my psyche on that warm June afternoon; I remember meeting Prodigy when I was 15 years old. Many avid hip-hop listeners not only know Prodigy as one of the signature vocalists of the 1990s New York hip-hop sound, but also as one of the premier lyricists responsible for a shift in sonic content from emcees in New York and globally. His voice is one of the most sampled in hip-hop music.
One of the most anticipated moments of the mid 1990’s was the release of Prodigy’s first solo album, H.N.I.C. P was already shaking the industry with his lethal and bone-chilling visuals in his verses. But everyone knew he was on his way to dominance upon hearing the single “Keep it Thoro.” On this Alchemist-produced record, P basically broke industry rules in regards to typical hip-hop song construction; his verses were longer than the traditional 16-bar count, and the song had no chorus.
He returned to hip-hop basics: hard-hitting rhymes with undeniable visuals served atop a sonic landscape that kept everyone’s head nodding. P ends the song with the classic line “and I don’t care about what you sold/ that shit is trash/ bang this – cuz I guarantee that you bought it/ heavy airplay all day with no chorus/ I keep it thoro” (Prodigy 2000).
It was only right for me to create a tribute mixtape for Prodigy. And it felt right to start the Fall 2017 semester with the Playlist Project that used a shared text that celebrated and honored his memory. It highlighted the soundtrack to my perfect day: having my friend back to rewind all the memories that come with every song.
“I Got a New Flex and I Think I Like It”: (Re)inventing Mixtape Sensibilities in the Comp Classroom
The Playlist Project was aimed at achieving three different outcomes. The first goal was to invite students to use audio sources to envision a soundscape that explains a thread of logic. These sonic sources would hold as much value in our academic space as text-based sources, and would allow them to (re)envision what “evidence-based academic writing” looks like. Thus, students could utilize their own cultural capital to negotiate sound sources of their choosing.
The second was to get students to use DJ framework to think about sorting, sequencing and organization in writing. In our class discussions, one of the critical objectives was to get students to understand the sequencing of divergent sound sources could drastically alter the story one is trying to tell. Overall aspects of mood, tone, and pacing all become critical components of how a message is expressed in writing, but it becomes even more evident when thinking about the sonic sources used by a DJ. Each song – a source in and of itself – is a piece of a puzzle that constructs a picture and tells a story. Starting with one source can create a completely different effect if it is reconfigured to sit in the middle or the end. Explaining these sonic choices in text-based writing would be the second step in the assignment.
Finally, students would engage in editing by joining both sound and text based on a theme they have selected. Again, sequencing becomes a critical DJ tool translated into the comp classroom. Using this pedagogical strategy echoes the ideas of using DJ techniques such as “blends” and “drops” as viable teaching tools (see Jennings and Petchauer 2017). Students would need to critically think through an important question: in creating the playlist, how does one manipulate and (re)configure sound to create a sonic landscape that “writes” its own unique story?
“But Does It Go In the Club?”: Outcomes and Initial Findings of The Playlist Project
The first iteration of the Playlist Project bore mixed results. Students found it difficult to think of this project as one whole assignment consisting of three different parts. Instead, they envisioned each of the three different pieces as isolated assignments. So the playlist was one part of the assignment. They picked the songs they liked, however ordering and sequencing to convey a logical theme or argument fell from the forefront of their composing. The essay then became its own piece divorced from the organic creation of the playlist. Thus, students weren’t “engaged in telling the story of the playlist.” Instead, students were making a playlist, then summarizing why their playlists contained certain songs.
For students who were more successful integrating the elements of the assignment, we were able to have rich and fruitful classroom conversations about both selection and sequencing. For example, one student chose the theme of “the Soundtrack to the Perfect Day.” Within that theme, the student chose the song “XO TOUR Llif3” by Lil Uzi Vert.
In the song’s hook, he croons “push me to the edge/ all my friends are dead/ push me to the edge/ all my friends are dead” (Vert 2017). When this song came up in class discussion, we were able to have a formative conversation around the idea that a perfect day entailed all of someone’s friends being “dead.” This also sparked a conversation about the double meaning of the quote; it didn’t stem from traditional print-based sources, but instead arose from a student-generated idea based in the cultural capital of the classroom community. In this moment, I was able to learn more from students about the meteoric rise in relevance of both the artist and the song which seemed to depict an extreme darkness.
“Big Big Tings a Gwaan”: Future Tweaks and Goals for The Playlist Project
Moving forward with this assignment, I have considered breaking the assignment up into three pieces for more introductory composition courses: constructing the playlist, sequencing the playlist, and writing the meta-text. In this configuration, the meta-text would truly become the afterthought (instead of the forethought) of the sonic creation. As well, more in-depth soundwriting could emanate from the playlist construction, manipulation, (re)sequencing and editing. I also plan to use the assignment with a more advanced-level composition course to gauge if the assignment unfolds differently. Using an upper-level course to attain the trajectory of the assignment may be helpful in walking backwards to calibrate the assignment for students in introductory-level classes.
Another objective will be to move away from just a “playlist” and back into a “digital mixtape” format, where the playlist songs and sequencing become the fodder for a one-track, “one-take” DJ-inspired mixtape. While students don’t have to be DJs, creating a singular sonic moment digitally may imbed students in marrying the idea of soundwriting to depicting that sonic work in a meta-text. This work may also engage students in constructing sonic meta-texts, thereby submersing themselves in soundwriting practices. This work can be done in Audacity, GarageBand and any other software students are familiar with and comfortable using.
Featured Image: By Flickr User Gemma Zoey (CC BY-NC-ND 2.0)
Dr. Todd Craig is a native of Queens, New York: a product of Ravenswood and Queensbridge Houses in Long Island City. He is a writer, educator and DJ whose career meshes his love of writing, teaching and music. Craig’s research examines the hip-hop DJ as twenty-first century new media reader and writer, and investigates the modes and practices of the DJ as creating the discursive elements of DJ rhetoric and literacy. Craig’s publications include the multimodal novel tor’cha, a short story in Staten Island Noir and essays in textbooks and scholarly journals including Across Cultures: A Reader for Writers, Fiction International, Radical Teacher and Modern Language Studies. He was guest editor of Changing English: Studies in Culture and Education for the special issue “Straight Outta English” (2017). Craig is currently working on his full-length manuscript entitled “K for the Way”: DJ Literacy and Rhetoric for Comp 2.0 and Beyond. Dr. Craig has taught English Composition within the City University of New York for over fifteen years. Presently, Craig is an Associate Professor of English at Medgar Evers College, where he serves as the Composition Coordinator and City University of New York Writing Discipline Council co-chair.
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CLICK HERE TO DOWNLOAD: SO! Podcast #78: Ethical Storytelling in Podcasting
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Here at Sounding Out! we think that it’s best to learn from the experts. That’s why we sat in as a fly on a wall for a panel on ethics in podcasting put together by Laura Garbes at Brown University. Please join Laura as she discusses the politics of sound, podcasts, and more with SO! Editor-in-Chief Jennifer Lynn Stoever, storyteller Alex Hanesworth, and radio producer Babette Thomas (Now Hear This).
Laura Garbes was awarded a 2019 Engaged Scholarship award by the Swearer Center for Public Service. She’s recently published an academic essay entitled “Sound Archive Access: Revealing Emergent Cultures.” for the Journal of Radio and Audio Media. In addition to this, check out Laura’s more public facing scholarship: Both the excellent “How a CPB task force advanced a prescient vision for diversity in public radio” for Current and “Excellence, Reflexivity, and Racism: On Sociology’s Nuclear Contradiction and Its Abiding Crisis,” with Michael D. Kennedy and Prabhdeep S. Kehal for Critical Historical Sociology.
If you want to learn more about Laura’s excellent work, check out the page “A Pedagogical Approach to Storytelling and Technology” that details her collaboration with Dr. Nic John Ramos (now of Drexel University) in Spring 2019
for a course taught within the Department of Africana Studies at Brown University called African American Health Activism from Colonialism to AIDS. We have crafted this page to provide guidance and help to educators interested in experimenting with podcasting as a pedagogical tool, particularly in courses where sound or radio is not the primary object of study.
This panel, “Ethical Audio Stories: Teaching in the Age of the Sonic Color Line” was convened in conjunction with this course on April 18th, 2019 at the John Nicholas Brown Center for Public Humanities. The panel discussed questions such as:
If we are to be coming at the practice through a racial justice lens, does the code of ethics differ from journalistic professional ethics? Does it change the questions we ask? The way we interact with stories? How does this affect our notions of objectivity? How to make the audio storytelling more accessible: When we say audio storytelling has a “low barrier to entry,” what aren’t we considering in terms of resources and in terms of more complex cultural barriers?
and also offered general tips to audio storytelling and a Q and A with the audience. For a full transcript of the podcast, click here: AFRI0550 ethical considerations panel transcript final
Featured image is “Podcast” by Aristocrat @Flickr CC BY-NC-ND.
Alex Hanesworth is the managing editor for Now Hear This. She grew up listening to audiobooks in a nook somewhere on Fidalgo Island, WA and now spends her days studying, teaching, and making radio for Now Here This and the RISD Museum. She mostly makes stories about art, history, intimacies, and the intersection of the three.
Babette Thomas is a Black radio producer originally from Oakland, California and is also one of the current managing editors of Now Hear This. Her work is largely concerned with using sound and narrative to bring Black history in conversation with the present.
Jennifer Lynn Stoever is Associate Professor at SUNY Binghamton where she teaches courses on African American literature and race and gender representation in popular music. She has published in Social Text, Social Identities, Sound Effects, Modernist Cultures, American Quarterly and Radical History Review among others; her most recent research, “Crate Digging Begins at Home: Black and Latinx Women Collecting and Selecting Records in the 1960s and 1970s Bronx” was published in The Oxford Handbook of Hip Hop Studies (and is FREE to download as of September 2019). In 2016, she published her first book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press).
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Since its inception at the World Soundscape Project in the 1970s, soundwalking has emerged as a critical method for sound studies research and artistic practice. Although “soundwalking” now describes a diversity of activities and purposes, critical discussions and reading lists still rarely represent or consider the experiences of people of color (POC). As Locatora Radio hosts Diosa and Mala have argued in their 2018 podcast about womxn of color and the sound of sexual harassment in their everyday lives and neighborhoods, sound in public space is weaponized to create “sonic landscapes of unwelcome” for POC.
While we often think of soundwalks as engines of knowledge production, we must also consider that they may simultaneously silence divergent worldviews and perspectives of space and place. In “Black Joy: African Diasporic Religious Expression in Popular Culture,” Vanessa Valdés explored alternate conceptions of space held by practicioners of Regla de Ocha, epistemologies rarely, if ever, addressed via soundwalks. “Within African diasporic religions . . . including Palo Monte, Vodou, Obeah, Macumba, Candomblé – there is respect for the seemingly inexplicable,” Valdés remarks, “there is room for the miraculous, for that which can be found outside the realms of what has been deemed reasonable by systems of European thought. There is room for faith.” Does current soundwalk praxis—either as research method, public intervention, artistic medium, field recording subject, or pop culture phenomenon—impose dominant ideas about space and knowledge production as much as—if not more–they offer access to alternatives? Are there alternate historiographies for soundwalking that predate the 1970s? Can soundwalks provide such openings, disruptions, and opportunities without a radical rethinking? What would a decolonial/decolonizing soundwalk praxis look and sound like?
Soundwalking While POC explores these questions through the work of Allie Martin, Amanda Gutierrez, and Paola Cossermelli Messina. To read the series from the beginning click here. Today, Paola Cossermelli Messina revisits the São Paolo of her youth. —JS
When at home in São Paulo, Brazil, I rarely walk to where I’m going. In a city plagued by mobility issues, a private car is the most efficient way of getting around. Other factors in opting out of public transportation include the limited reach of the subway system, overcrowdedness on buses, sexual harassment of women on public transport going unpunished, and price hikes that lead to no infrastructural improvements. The 2013 protests in Brazil, the largest demonstration in two decades, were initially set off by increased ticket prices for the bus, train, and metro, and later encompassed additional concerns such as corruption and police brutality.
Having spent most of my childhood and all of my high school years (between 1987 and 2005) in São Paulo, I find myself looking back at my sensory experience of the city as one mediated by fear, segregation, and vigilance. I have become interested in Vincent Adrisani’s (2015) idea of sonic citizenship—ordinary, everyday auditory interactions and experiences through which presence in and claim over public spaces is asserted. Consequently, I recorded the following soundwalks on two specific routes to engage with what were once-familiar surroundings as a “sonic citizen.” These soundwalks made me revisit fears and privileges from my life as a queer, white/POC, expatriate/immigrant on the edges of color, as I walked through a microcosm of São Paulo, recording the urban soundscapes that enveloped my day-to-day.
The audio clips included in this essay were sampled from a morning walk between my former high school and home in the Zona Oeste (Western Region), and also from a brief walk on Avenida Paulista. This is a bustling, iconic avenue at the top of one of the steepest hills in the city, located at the crux of the Western, Central and Southern regions of São Paulo. Where one soundwalk ends is merely a ten minute walk from where the other begins. These are physically close, but sonically contrasting, public spaces, both of which are significant to my experiences in the city.
Rua Juquiá is a tree-lined street with walled-off houses and, in my memory, filled to the brim with cars as early as seven in the morning. My school was the only non-residential building on that street. During the day, personal security guards and drivers would find a place to park and nap until the final school bell rang. I recall making a bee line from my mother’s car to the school gate, motivated by word-of-mouth tales of “sequestros relâmpagos” (literally translated to “lightning kidnappings”). Young people going to private schools were said to be the focus of these kidnappings, in which they would be picked off the street by kidnappers and held for ransom. There was one occurrence of this while I was a student at that school.
With these stories in mind (and sometimes also in my dreams), a sensory engagement with my surroundings was often limited in time and scope, as I moved cautiously between interiors – private vehicles, school, thirty-story buildings towering high above the streets, and shopping centers patrolled by armed guards. At night as I laid down to sleep, the sounds of trucks straining to make their way up the steep slope of my street and motorcycle exhaust pipes blasting echoed in lively conversation with each other.
The relationship between my privilege and racial identity were, at that time, quite different from how it would come to be in the United States. Being of mixed Middle Eastern and European descent in Brazil is an identifier of whiteness and, more often than not, an indicator of a comfortable living situation. My school uniform with its red blazer and dark grey skirt, the uncommonly green neighborhood where most of my daily routines took place, and the double-gated apartment building I lived in, were all indicators of my status.
Identifying as queer is the only aspect that overlaps the boundaries between Brazil and the United States, where I currently reside. In both nations, the expression of this identifier is mediated by different levels of fear of violence—not of violence like the one I feared in Brazil, but violence nonetheless. Throughout my youth, it lurked beneath the surface of my consciousness, compounding the fear I already carried in my body. In the U.S., the compounding factors are my mixed racial features and immigration status (or as the USCIS dubs us ‘aliens’). In the eyes of all major institutions of this country, I am a person of color. As such, the soundwalk in São Paulo also became an experiment in juxtaposing these varying experiences at the intersection of privilege, queerness, and race.
In listening to the soundwalk clips below, I find that the absence of people’s voices and sounds, rather than the presence of supposed ‘dangerous people’, per se, is the most disconcerting thing. Though nature sounds predominate in the clips from this walk, they seem to exist in a cement vacuum.
On the morning of December 29th, 2018, there were only a few parked cars and hardly any people on the street. I looked up at the wall obstructing my school from view. These were initially put up at some point during my senior year in 2005, but have been given added height recently, with cameras like bulbous black eyes surveilling the streets from every one of its angles. On Rua Jacupiranga, perpendicular to Rua Juquiá, there is a new addition – a set of ‘city cameras’, curiously placed at eye level. This is hardly what Jane Jacobs meant by “eyes on the street” and their contribution to a feeling of safety in public spaces. In this case, the eyes are cameras and the listening experiences within these spaces are subsequently fractured into the reassured and criminalized. As Robin Sheriff (2000) observed, “silence demands collaboration” and is “both a consequence and an index of an unequal distribution of power.” Although Sheriff was referencing the silence around the discussion of racism in Brazil, I can see a connection with the street level silence.
The silence that this incredibly visible form of surveillance imposes, and the replacement of human bodies with vehicles warrants the question: who and where are the “sonic citizens” of these streets? The only other people outside, besides me, were a few construction workers, shoveling bits of cement into a bin and security guards standing outside walled-off houses. They watched me for a brief moment, concluding soon enough that I was no threat to the houses they were employed to protect. The heightened level of security on the street made me wonder if I was going to be questioned by them, but sure enough, I was deemed unthreatening.
On Rua Juquiá and in the neighborhood of my childhood home, about a seven-minute drive away, the bem-te-vi is heard above everything else. The surrounding neighborhood, known as Jardins (‘gardens’), is one of the greenest in the city, yet only the birds seem to be voicing their presence and delight. The name of this species of bird (which translates to “I see you well”) is an onomatopoeia for what their cries sound like. I can’t help but think of them as true sonic citizens of these streets. That citizenship practices have to do with the less powerful establishing their presence in a public space is an idea echoed by Saskia Sassen (2006) and others quoted by Vincent Adrisani (2015). The bem-te-vi, the construction workers and I, as a listener, were momentarily engaged in this practice, though questions such as, “Why are you here?” and “Do you want to know why I am here?” remained between the human participants.
As I ventured further away from my school, the baseline hum of traffic slowly shifted into the background. Up until this point, I had my recording equipment – a Zoom H6 and Rode NTG 2 shotgun microphone – hidden in my bag in order to draw less attention to myself. This is certainly a decision informed by the same fear that would make me hurry from the car to the school gate. As a consequence of this, in the audio clips there may be a light, rhythmic thudding from the microphone hitting the inside of my tote bag.
I decided to record a second soundwalk roughly twenty minutes from my school to present dichotomous soundscapes and ways of living, in proximity. Avenida Paulista is a nearly two mile long avenue with ample sidewalks, modelled on those in Manhattan. It used to be more of a dividing line between different sides of São Paulo. When I was growing up and even now, I know that if I take Rua Augusta towards Baixo Augusta (‘low’ Augusta), I’ll find LGBTQ friendly bars and clubs. I remember driving by them with my parents when I was a teenager; there was an implied danger there, too, though it was never uttered out loud like the kidnapping stories.
Though during the day it is a hub for office workers, on the night I recorded this soundwalk the air was buzzing with voices, live music, skateboard decks grating on cement, and street vendors announcing their wares. The abundance of human sounds is clearly in stark contrast to Rua Juquiá, but there is an increase in the sheer number and variety of sounds, too. The surveillance that before stood out like a sore thumb – at eye level and identified with signs – is quite inconspicuous on this soundwalk. Generally, police presence is high on Avenida Paulista – in contrast to the privately hired security on Rua Juquiá’s and that of other wealthy, residential streets.
As a walker and listener, it is clear that the second soundwalk presented a wealth of opportunities to engage as a sonic citizen, while the first – as it was in the past – remained complicated by fear, vigilance, and a vacuum of human activity. I contend that when sonic citizenship is articulated it is, in turn, reflected back to the listener. This exchange is what makes it so valuable on both the level of the community and individual. It made me wonder if having walked Avenida Paulista and its offshoots more often in my youth would have lessened fears and brought me closer to embracing certain aspects of my identity sooner.
Instead, I find parts of myself are sonically engaged in one part of the world and others someplace else. If future soundwalks bridge those gaps in the future, I will be able to listen back to these recordings as the first steps I took in that direction.
Paola Cossermelli Messina is a sound designer and audio engineer with research interests that fall in the intersections between music, politics and gender. As Project Manager of Sound Thinking NYC, a program of the CUNY-Creative Arts Team, she has recently gained interest in ties between her work in music and technology to initiatives in education. She holds a B.A. in Music and Writing from Sarah Lawrence College and an M.A. in Media Studies from The New School, with a specialization in sound. Her Master’s thesis on the oral histories of Iranian women musicians received an award from the Middle East Studies Association and was later presented and published by Yale University. For the past 5 years, she has also worked as a Producer and Editor of the Arab Studies Institute podcast Status Hour.
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