Tag Archive | american studies association

Sound at ASA 2014

The 2014 American Studies Association meeting will be held in Los Angeles, an appropriate setting for this year’s theme, “Fun and the Fury: Dialectics of Pleasure and Pain in the Post-American Century.” The conference, which will take place from November 6-9, will offer panels of interest to Sound Studies scholars. The City of Angels has long served as a muse for artists and thinkers interested in creating innovative worlds. Los Angeles is a place of experimentation and futuristic transformation, or as Norman Mailer called it, a constellation of plastic. Part of Mexico until 1848, Los Angeles is a global metropolis that embodies the keen contradictions of national and capital in the 21st century, often exposing the nuts and bolts that hold together these structures. Fun, fury, and the “dialectics of pleasure and pain” are useful for conceptualizing the sharp contrasts that characterize the city of LA itself. A panel on Sunday, Central Avenue Breakdown: Gender, Race, and Coming of Age in a Los Angeles Jazz Community, will discuss the historical complexities of the city of Los Angeles by way of the African American entertainment district of Central Avenue (Sunday 2:00-3:45).

This year’s ASA program features an increase in sound and music-related papers in comparison to last year’s conference in Washington, D.C., which was concerned with the logic of debt. The upswing is partially due to the 2014 theme, which emphasizes the production of alternative spaces that counter repressive forces. As the program committee, comprised of co-chairs J. Jack Halberstam, Fred Moten, and Sandra Soto, writes, “The critical power of ‘fun’ in this unconventional convention theme seeks nothing less than the reimagining of possibility, impossibility, probability and freedom.” Sound Studies is already geared toward thinking about how careful listening can offer new ways of being-in-the-world, so the increase in music-themed panels this year is not surprising. As music scholars and listeners have long insisted, music is foundational to embodied experiences of pleasure and fun. Music’s ability to transport listeners and to cultivate collectivity makes it uniquely relevant to discussions of pleasure.

"So Much Noise" by Flickr user Doran, CC BY-NC-ND 2.0 http://www.flickr.com/photos/dopey/9260000239

“So Much Noise” by Flickr user Doran, CC BY-NC-ND 2.0

One notable exception to the musical focus is the second of the two ASA Sound Studies Caucus panels, “The Racial Politics of Listening: ‘Accents,’ Hate Speech, and Language in the U.S. Media,” which will take place on Saturday from 2:00-3:45. Featuring Dolores Inés Casillas, Sara Hinojos, Marci McMahon, and SO! Editor-in-Chief, Jennifer Stoever, The panel will examine the role of speech and auditory cues in constructing racial representations. An individual paper by Craig Eley in the Environment and Culture Caucus panel Ecologies of Pleasure and Pain: Deviance, Destruction and Desire in Environmental History, entitled Psychologically Ultimate Seashores: Natural Sound, Personal Pleasure, and Recording Technologies is also worth mentioning (Sunday 10:00-11:45).

This year’s call for papers asked for participants to formulate creative modes for presenting their work, and Sound Studies scholars are stepping up. The first panel hosted by the ASA Sound Studies Caucus (Saturday 10:00-11:45) is an exciting listening dialogue entitled “Power Ballads and Blurred Lines: Songs from the Boundaries of Fun.” The commentators, Jeff Chang, Alice Echols, Evelyn McDonnell, Oliver Wang, and Rubén Martinez, will each play a song and discuss how pop music that is treated as harmless fun may nevertheless speak to social dynamics in real and important ways. A roundtable on Music, Fashion and the Power of (Queer) Nightlife (Friday 12:00-1:45) will include scholars of nightlife as well as party promoters and DJs, discussing the possibility for belonging in subcultural “nightworlds.”

"Hotel Bonaventure" by Flickr user S. N. Johnson-Roehr, CC BY-NC 2.0

“Hotel Bonaventure” by Flickr user S. N. Johnson-Roehr, CC BY-NC 2.0

This year there are a number of notable African American Studies panels, including After the Rain: Vanguardist Jazz in the Seventies (Thursday 10:00-11:45) organized in memory of Amiri Baraka, Stomp, Swerve, Rattle, and Roll: Fun and Pleasure as Political Resistance in American Blues Music (Thursday 4:00-5:45), What Words Can’t Do: Instrumentals, Identity, and Interpretation (Sunday 10:00-11:45), and Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans (Sunday 12:00-1:45). The category of pleasure provides a framework for panels on The Aesthetics of Pleasure in California Funk (Sunday 10:00-11:45) and Performative Pleasures of Blackness: The Creation, Consumption, and Conflict of Pleasurable Blacknesses. Sound scholars also continue to investigate transnational modes of listening, in panels such as The Transnational Movements of Hip-Hop (Thursday 12:00-1:45), Fugitive Preludes: Chicana/o Popular Music and the Neoliberal City (Friday 10:00-11:45), and Performing Decolonial Aesthetics and the Politics of Pain and Pleasure in Music Across the Americas (Friday 12:00-1:45).

Two years ago, Jennifer Stoever mentioned that work in the field of Sound Studies was entering a period of reflection and becoming more nuanced and robust with sub-fields starting to develop. It is clear from this year’s program that the field is both broadening and deepening its focus. After two years of official recognition under the ASA Sound Studies Caucus and three years after the publication of Sound Clash, the special issue of American Quarterly, scholarship on sound in American Studies is developing in a myriad of ways and is coming into its own as a field.

Jump to THURSDAY, November 6
Jump to FRIDAY, November 7
Jump to SATURDAY, November 8
Jump to SUNDAY, November 9

Featured image: “Carmaheaven” by Flickr user waltarrrrr, CC BY-NC-ND 2.0

Please comment to let SO! know what you think–both before and after ASA 2013.  If we somehow missed you or your panel in this round up, please let our Managing Editor know!: lms@soundingoutblog.com

Meghan Drury is a fifth-year Ph.D. candidate in the Department of American Studies at the George Washington University. She received an MA in ethnomusicology from UC Riverside in 2006. She is currently working on a dissertation tentatively titled “Aural Exotics: The Middle East in American Popular Music 1950-2011.” This project examines the interplay between popular music and American cultural representations of the Middle East from the mid-20th century to the present, illustrating how music and sound acted a means of consolidating and disseminating a range of ideas about Middle Eastern culture in the American mainstream. She is particularly interested in the way that sound increased the visibility of Arab Americans both before and after 9/11, offering a space for negotiations of identity. More broadly, Meghan’s interests include sound studies, U.S.-Middle East cultural relations, and Arab American cultural performance. 

 

"Echo Park September 2010" by Flickr user Calvin Fleming

“Echo Park September 2010” by Flickr user Calvin Fleming

THURSDAY, November 6th, 2014

8:00 am – 9:45 am

Religiosity and Altered States
Westin Bonaventure, Los Feliz (L1)

—Richard Cullen Rath, University of Hawai’i, Manoa (HI)
Dangerous Fun in Puritan New England: Mary Ross and the Singing Quakers

Riots, Radios, and the Historical Record: Mass Media and Crisis in Twentieth American Literature and Art
Westin Bonaventure, San Bernardino (L1)

—Hadji Bakara, University of Chicago (IL)
Guernica on the Radio: Anti-Fascism, Mass Media, and the Emergence of Human Rights Activism

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10:00 am – 11:45 am

Playing with Rules: Having Fun and Keeping Order in Mid-Century Racial Liberalism
Westin Bonaventure, San Fernando (L1)

—Yusuke Torii, Setsunan University (Japan)
S. I. Hayakawa’s Jazz Credentials and Racial Liberalism in Mid-Century America

—Masayoshi Yamada, Doshisha University (Japan)
Jazz, Fans, and the Pleasure of Listening during Turbulent Times

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After the Rain: Vanguardist Jazz in the Seventies (in memory of Amiri Baraka)
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Ronald Radano, University of Wisconsin, Madison (WI)

PAPERS:
Paul A. Anderson, University of Michigan, Ann Arbor (MI)
“Thunder Blossoms Gorgeously”: Abstracting the Pastoral in Marion Brown’s Georgia Trilogy

Robert Maclean, The College of Wooster (OH)
Ensemble After Eventuality: Neoliberalism and the Duo Form

Brent Hayes Edwards, Columbia University (NY)
Notes Toward a “Loft” History of Jazz

COMMENT:
Ronald Radano, University of Wisconsin, Madison (WI)

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12:00 pm – 1:45 pm

Fun in Public: The Cultures of Amateur Labor
Westin Bonaventure, Palos Verdes (L1)

—Alexander W. Corey, University of Colorado, Boulder (CO)
Impulsive Triads: Frédéric Chopin, Amateur Pianists, and The Autobiography of an Ex-Colored Man

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The Transnational Movements of Hip-Hop
Westin Bonaventure, Santa Monica D (L3)

CHAIR:
Alexander Weheliye, Northwestern University (IL)

PAPERS:
Lenna Tayseer Odeh, University of California, San Diego (CA)
Acts of Sumud: Exploits of Resistance Through the Palestinian Hip-Hop Youth and Political Prisoner Movements

Najwa Mayer, Yale University (CT)
Muhammad was a punk rocker: Seeking Faith, Fun, and Form in Taqwacore

Elliott H. Powell, University of Minnesota, Twin Cities (MN)
The Sounds of Afro-South Asian Pleasure: Hip Hop, 9/11, and South-South Connections

Halifu Osumare, University of California, Davis (CA)
Play and Pain in Black Atlantic Hip-Hop: Hiplife in Ghana as Case Study

COMMENT:
Alexander Weheliye, Northwestern University (IL)

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2:00 pm – 3:45 pm

alt. Black Musical History
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Courtney Michael Brown, California State University, Fullerton (CA)

PAPERS:
Matthew Hayden Anthony, Pennsylvania State University, Harrisburg (PA)
I Got Country Roots: Race, Identity and Black Country Singers in the 1970s

Kreg Abshire, Johnson & Wales University (CO)
On Sonic Nostalgia: Making Sense of alt.country’s Hip Traditionalism

Keith D. Leonard, American University (DC)
Who Stole the Soul: An Avant-Garde History of the Dark Room Collective

Christa Holm Vogelius, University of Alabama, Tuscaloosa (AL)
The Jennie C. Lee Archive and the Silent Musical History of the Tuskegee Institute

COMMENT:
Courtney Michael Brown, California State University, Fullerton (CA)

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The Choreography of Protest
Westin Bonaventure, Santa Barbara B (L1)

—Sarah Ehlers, University of Houston (TX)
The Joys of the Picket Line: Reading the Rhythms of the Left

—Robert Michael Zecker, Saint Francis Xavier University (Canada)
A Mandolin Orchestra Could Attract a Lot of Attention: Interracial Fun with Radical Immigrants, 1930–1954

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Empire of Funk: Hip Hop and Representation in Filipina/o America—A Roundtable
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Dawn Bohulano Mabalon, San Francisco State University (CA)

PANELISTS:
Roderick Labrador, University of Hawai’i, Manoa (HI)
Mark Villegas, University of California, Irvine (CA)
Mario “Nomi” De Mira, Artist
Stephen Bischoff, Washington State University, Pullman (WA)

COMMENT:
Dawn Bohulano Mabalon, San Francisco State University (CA)

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On Athletes and Outlaws: Asian Americans in Popular Culture and the Pleasures of Recognition
Westin Bonaventure, Santa Monica C (L3)

—Douglas S. Ishii, University of Maryland, College Park (MD)
Not about race, per se: Dave Boyle’s Asian American Music Film

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4:00 pm – 5:45 pm

Love and Rage: Cultural Strategies in Postwar U.S. Anarchism
Westin Bonaventure, San Bernardino (L1)

—Shon MeckFessel, University of Washington, Seattle (WA)
From a Disavowal of Commitment to a Commitment of Disavowal: (Non)Left Positionalities in 1980s Post-Punk and Anarchy-Punk

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Alternative Economies of Pleasure in Contemporary Southern Working-Class Cultures
Westin Bonaventure, San Pedro (L1)

—Nicholas Neil Gorrell, University of Mississippi (MS)
Economies of Scarcity and Abundance in Contemporary Southern Blues

—Anne Gessler, University of Texas, Austin (TX)
Second Lines, Creative Economies, and Gentrification: Music Cooperatives in Post-Katrina New Orleans

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Stomp, Swerve, Rattle, and Roll: Fun and Pleasure as Political Resistance in American Blues Music
Westin Bonaventure, Santa Monica A (L3)

CHAIR:
Daphne Brooks, Yale University (CT)

PAPERS:
Mark Anthony Neal, Duke University (NC)
“Let Me Bang Your Box”: The “Erotic Life” of the Blues

Sonnet Retman, University of Washington, Seattle (WA)
Memphis Minnie’s Jukebox Blues

Kimberly Mack, University of California, Los Angeles (CA)
“That Natural Blues Man Look”: Black Elvis and the Demythologization of the Black Blues Figure

R. J. Smith, Independent Scholar
Calling All Freaks!: The Licentious Blues Spirit of the Rent Party and the Buffet Flat

COMMENT:
Adam Gussow, University of Mississippi (MS)

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**Wildness: The Fun and the Fury of Anarchy**
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Mel Y. Chen, University of California, Berkeley (CA)

PAPERS:
Peter Coviello, Bowdoin College (ME)
The Wild Less Than the Good: Erotics and Biopolitics in Thoreau

Jack Halberstam, University of Southern California (CA)
‘Wildness at the End of the World’

Tavia Nyong’o, New York University (NY)
William Blake’s Wild America

COMMENT:
Mel Y. Chen, University of California, Berkeley (CA)

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"Busker (street musician) #2" by Flickr user Sunny Lapin, CC BY-NC-SA 2.0

“Busker (street musician) #2” by Flickr user Sunny Lapin, CC BY-NC-SA 2.0

FRIDAY, November 7th

8:00 am – 9:45 am

Feeling Queer
Westin Bonaventure, San Gabriel B (L1)

—Elias Krell, Northwestern University (IL)
Mixing Sound: Technologies of Fem(me)ninity and Mixed Race in Kelly Moe

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Life-Writing, Musical Lives
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Ulrich Adelt, University of Wyoming (WY)

PAPERS:
Nassim Winnie Balestrini, Karl-Franzens-University (Austria)
Fun, Fury, Fans: Affective Strategies in Intermedial Hip-Hop Life Writing

Mercy Romero, Sonoma State University (CA)
Two Lives in Music

Petra Rivera-Rideau, Virginia Polytechnic Institute and State University (VA)
The Pleasures and Pains of Love: Listening to La Lupe and Ivy Queen

Jessica Elaine Teague, University of Nevada–Las Vegas (NV)
Charles Mingus and the Serious Fun of Jazz Autobiography

COMMENT:
Ulrich Adelt, University of Wyoming (WY)

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**Caucus: War and Peace Studies: Reconsidering the ‘R and R’: Dialectics of Violence and Pleasure in Militarism**
Westin Bonaventure, Santa Anita B (L1)

—Patricia Stuelke, University of Massachusetts, Boston (MA)
You’re a Criminal as Long as You’re Mind: The U.S. Invasion of Panama and the Sounds of Bad Romance

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**ASA Program Committee: Uncontrolled Substances/Altered States**

Westin Bonaventure, Level 1, San Bernadino

—Josh Kun, University of Southern California (CA)
The Musical Más Allá: Narco/Necro/Anarco

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10:00 am – 11:45 am

Fugitive Preludes: Chicana/o Popular Music and the Neoliberal City
Westin Bonaventure, San Gabriel C (L1)

CHAIR:
Christina Zanfagna, Santa Clara University (CA)

PAPERS:
Wanda Alarcón, University of California, Berkeley (CA)
Variations on a Theme: Performing América on the National Stage

Jonathan Gomez, University of California, Santa Barbara (CA)
Teen Post to Rainbow Alley: Facing Unexpectancy with Unexpectant Punk Rock Social Spaces

Kurt Newman, University of California, Santa Barbara (CA)
Undoing the Math: Chingo Bling, the “Not-All,” and the Politics of Parody

COMMENT:
Christina Zanfagna, Santa Clara University (CA)

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Willful Subjects: Action, Agency, and Politics
Westin Bonaventure, San Anita B (L1)

—Neil Roberts, Williams College (MA)
It’s Bigger than Hip Hop: Decoding the Trayvon Martin Event

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12:00 pm – 1:45 pm

Music, Fashion and the Power of (Queer) Nightlife
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Madison Moore, King’s College London (England)

PANELISTS:
Ananya Jahanara Kabir, King’s College London (England)
Matthew D. Morrison, Columbia University (NY)
Victor P. Corona, Fashion Institute of Technology (NY)
Gregory Alexander, Artist
Loren Granic, Artist
Amy Cakes Danky Dank, Artist

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High on Crack: Surveillance, Loss and Addiction in Black Communities
Westin Bonaventure, San Fernando (L1)

—Andreana Clay, San Francisco State University (CA)
“Kick in the Bass”: Sonic Navigation of Pleasure and Pain in Crack Lyrics

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Performing Decolonial Aesthetics and the Politics of Pain and Pleasure in Music Across the Americas
Westin Bonaventure, San Pedro (L1)

CHAIR:
Jaime Cardenas, Seattle Central Community College (WA)

PAPERS:
Marie “Keta” Miranda, University of Texas, San Antonio (TX)
Polka Dawgs: Tejana/o Dance as Pleasure in Response to Racial and Class Subordination

Marco Cervantes, University of Texas, San Antonio (TX)
Third Root Poetics Through Hip Hop Aesthetics: Performative Autoethnographies and Musical Empowerment

COMMENT:
Jaime Cardenas, Seattle Central Community College (WA)

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2:00 pm – 3:45 pm

Twelve Years a Slave: Sounds and Spectacles of Slavery
Westin Bonaventure, Santa Anita A (L1)

—Paul Fess, City University of New York, Graduate Center (NY)
“The most excruciating noise”: Power Structures of Music in Solomon Northup’s Twelve Years a Slave

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4:00 pm – 5:45 pm

Bittersweet: Remaking the Exhibit “American Sabor: Latinos in U.S. Popular Music” for the Smithsonian Institution
Westin Bonaventure, San Gabriel A (L1)

CHAIR:
Juan Flores, New York University (NY)

PANELISTS:
Marisol Berrios Miranda, Independent Scholar
Shannon Dudley, University of Washington, Seattle (WA)
Njoroge Njoroge, University of Hawai’i, Manoa (HI)
Victor Hugo Viesca, California State University, Los Angeles (CA)

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We’re Listening: Surveillance Technologies and Non-Private Publics
Westin Bonaventure, Santa Monica B (L3)

CHAIR:
Gus Stadler, Haverford College (PA)

PAPERS:
Andrew Hamsher, University of Texas, Austin (TX)
Controlling Fantasyland: Surveillance and Freedom in Transmedia Storyworlds

Jason Farman, University of Maryland, College Park (MD)
Creative Misuse as Resistance: Surveillance, Mobile Technologies, and Locative Games

Brian Hochman, Georgetown University (DC)
Eavesdrop Nation: The Rise of ‘Private Ear’ Wiretap, 1959-1974

Stephen Knadler, Spelman College (GA)
Kerry’s OMG Washington: Re-Scandalizing Racial Surveillance in the Obama Era

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"2nd Street Tunnel, Los Angeles -- Dec 30, 2010" by Flickr user Ray_from-LA, CC BY 2.0

“2nd Street Tunnel, Los Angeles — Dec 30, 2010” by Flickr user Ray_from-LA, CC BY 2.0

SATURDAY, November 8th

8:00 am – 9:45 am

Indigeneity and Difference
Westin Bonaventure, Santa Barbara B (L1)

Elizabeth Sine, University of California, San Diego (CA)
Native Jazz: Radical Multiraciality and the Politics of Desire in an Age of Global Crisis

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10:00 am – 11:45 am

Caucus: Sound Studies: Power Ballads and Blurred Lines: Songs from the Boundaries of Fun
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Eric Weisbard, University of Alabama, Tuscaloosa (AL)

PANELISTS:
Jeff Chang, Stanford University (CA)
Alice Echols, University of Southern California (CA)
Evelyn McDonnell, Loyola Marymount University (CA)
Oliver Wang, California State University, Long Beach (CA)
Rubén Martínez, Loyola Marymount University (CA)

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2:00 pm – 3:45 pm

Caucus: Sound Studies: The Racial Politics of Listening: “Accents,” Hate Speech, and Language in the U.S. Media
Westin Bonaventure, San Fernando (L1)

CHAIR:
Isabel Molina-Guzman, University of Illinois, Urbana-Champaign (IL)

PAPERS:
Sara Veronica Hinojos, University of California, Santa Barbara (CA)
Reading Lupe Vélez, Mexicanness, and Her Fiery “Accent”

Dolores Inés Casillas, University of California, Santa Barbara (CA)
Inglés Sin Barreras, Rosetta Stone, and the Politics of Language Learning

Marci McMahon, University of Texas, Pan American (TX)
Staging the Sound of Citizenship in Josefina Lopez’s Detained in the Desert

Jennifer Stoever-Ackerman, State University of New York, Binghamton (NY)
“You. Got. To. Un. Der. Stand”: Rachel Jeantel, “Reasonable” Listening, and the Sonic Color-line

COMMENT:
Isabel Molina-Guzman, University of Illinois, Urbana-Champaign (IL)

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To Be Young, Global, and Black: The Global Circulations of Blackness and Americanness
Westin Bonaventure, San Pedro (L1)

CHAIR:
Jeff K. Chang, Stanford University (CA)

PAPERS:
—Samir Meghelli, University of Illinois, Urbana-Champaign (IL)
Rapping and Race-ing Across the Atlantic: Hip Hop and Racial Politics in Postcolonial France

—H. Samy Alim, Stanford University (CA), Shaheen Ariefdien, Independent Scholar (South Africa)
Whaddup, San?: Hip Hop, “Colouredness,” and the Construction of Khoisan Identity in Post-Apartheid South Africa

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4:00 pm – 5:45 pm

Racial Meanings and Musical Performance in Film: Uses of Folk, Calypso, and Jazz in Films, 1944–1965
Westin Bonaventure, Beaudry B (L1)

CHAIR:
Kevin Gaines, University of Michigan, Ann Arbor (MI)

PAPERS:
Geoffrey Jacques, Independent Scholar
Jazz, Film, and the Black Hipster

Shane Vogel, Indiana University–Bloomington (IN)
Trinidad Goes Hollywood: The Ersatz Epistemology of the Calypso Craze

Judith E. Smith, University of Massachusetts, Boston (MA)
Using, and Being Used by Hollywood: Harry Belafonte on Film, 1953–1959

Jacqueline Stewart, University of Chicago (IL)
The Cry of Jazz and The Corner: Filming Music of Everyday Black Life in Chicago

COMMENT:
Kevin Gaines, University of Michigan, Ann Arbor (MI)

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Liberating Encounters: Cultural Consumption as Agent of Pleasure and Social Change in Contemporary Asian, Latin-American, and U.S. Popular Culture
Westin Bonaventure, San Fernando (L1)

—Patty Ahn, University of Southern California (CA)
Detours of Indebtedness: South Korean Pop Music and Neoliberal Logics of Race

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Arab Worlds: Then and Now
Westin Bonaventure, Santa Monica C (L3)

—Meghan E. Drury, George Washington University (DC)
The Belly of the Wail: Feminism and Arab Hybridity in 1990s World Music

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"Capitol Records Building" by Flickr user Wieland Van Dijk, CC BY-ND-SA 2.0

“Capitol Records Building” by Flickr user Wieland Van Dijk, CC BY-ND-SA 2.0

SUNDAY, November 9th

8:00 am – 9:45 am

Sports, Sex, and Music across the Pacific during the Cold War
Westin Bonaventure, Beaudry B (L1)

—Mari Yoshihara, University of Hawai’i, Manoa (HI)
Lenny Blows Up the World: Classical Musicians Play the Cold War

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Sonics of Black Excess, 1940s to 1980s
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Imani D. Owens, Princeton University (NJ)

PAPERS:
Brian Lefresne, University of Guelph Canada
A Fool in Space: Sun Ra the Jester at the Carnival

Charles McGovern, College of William and Mary (VA)
I Want a Lavender Cadillac: Fun, Excess and Labor in Black Popular Music, 1940–1970

Terrion L. Williamson, Michigan State University (MI)
Im Not Your Superwoman: Black Female Embodiment and the Sites of Social Intimacy

Brian Edward Jones, College of William and Mary (VA)
Big Fun with the Prince of Darkness: Miles Davis and the Death of the American Dream

COMMENT:
Imani D. Owens, Princeton University (NJ)

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10:00 am – 11:45 am

What Words Can’t Do: Instrumentals, Identity, and Interpretation
Westin Bonaventure, Los Cerritos (L1)

CHAIR:
Shana L. Redmond, University of Southern California (CA)

PANELISTS:
Shana L. Redmond, University of Southern California (CA)
Tsitsi Jaji, University of Pennsylvania (PA)
Guthrie Ramsey, Jr., University of Pennsylvania (PA)
Tamara Roberts, University of California, Berkeley (CA)

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The Pleasures and Pains of Hip Hop Listening: New Aesthetic Approaches
Westin Bonaventure, San Bernardino (L1)

CHAIRS:
Jill Toliver Richardson, City University of New York, Borough of Manhattan Community College (NY)

James Ford, Occidental College (CA)

PAPER:
Karen Jaime, University of Illinois, Urbana-Champaign (IL), Jonathan Gray, City University of New York, John Jay College of Criminal Justice (NY), Candice Jenkins, City University of New York, Hunter College (NY), James Ford, Occidental College (CA)
The Pleasures and Pains of Hip Hop Listening: New Aesthetic Approaches

COMMENT:
Michael Jeffries, Wellesley College (MA)

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“All the Way Live”: The Aesthetics of Pleasure in California Funk
Westin Bonaventure, Santa Barbara C (L1)

CHAIR:
Laura Harris, Pitzer College (CA)

PAPERS:
Scot Brown, University of California, Los Angeles (CA)
“All the Way Live”: The Live Funk Aesthetic of Lakeside

Cheryl L. Keyes, University of California, Los Angeles (CA)
From Mademoiselle Mabry to Betty Davis: The Reigning Funk Diva from the Underground

Tony Bolden, University of Kansas (KS)
Are You Funkified?: The Choreopoetics of Pleasure in the Music of Sly and the Family Stone

COMMENT:
Laura Harris, Pitzer College (CA)

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**Caucus: Environment and Culture: Ecologies of Pleasure and Pain: Deviance, Destruction, and Desire in Environmental History**
Westin Bonaventure, Santa Barbara A (L1)

—Craig Eley, University of Wisconsin, Madison
Psychologically Ultimate Seashores: Natural Sound, Personal Pleasure, and Recording Technologies

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12:00 pm – 1:45 pm

Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans
Westin Bonaventure, Palos Verdes (L1)

CHAIR:
Gayle Wald, George Washington University (DC)

PANELISTS:
Ruth Feldstein, Rutgers University, Newark (NJ)
Emily Lordi, University of Massachusetts, Amherst (MA)
Cherise Smith, University of Texas, Austin (TX)
Gayle Wald, George Washington University (DC)

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Performative Pleasures of Blackness: The Creation, Consumption, and Conflict of Pleasureable Blacknesses
Westin Bonaventure, San Fernando (L1)

—Danielle C. Heard, University of California, Davis (CA)
Feeling Good: Nina Simone and the Pleasures of Live Performance, Montreux 1976

—Scott Poulson-Bryant, Harvard University (MA)
The ‘Unruly Delights’ of the Great Black Way: Contradiction, Pleasure and Black Musicals of the 1970s

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Can Black Women Have Fun?: Beyond Mammies and Martyrs
Westin Bonaventure, San Gabriel A (L1)

—Margo Crawford, Cornell University (NY)
Erykah Badu’s Black Fantastic Re-invigoration of Black Cultural Nationalism

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2:00 pm – 3:45 pm

Central Avenue Breakdown: Gender, Race, and Coming of Age in a Los Angeles Jazz Community
Westin Bonaventure, Beaudry B (L1)

CHAIR:
Farah Jasmine Griffin, Columbia University (NY)

PAPERS:
Maxine Gordon, Fordham University (NY)
Dexter Gordon and Melba Liston: The ‘Mischievous Lady Session’, June 5, 1947, Dial Records

Monica Hairston-O’Connell, Columbia College (IL), Sherrie Tucker, University of Kansas (KS)
Revisiting Central Avenue through Melba Liston’s Oral Histories

Nichole T. Rustin, Independent Scholar
Playing with Dynamics: Racialized Masculinity, Jazz, and Coming of Age on 1940s Central Avenue

COMMENT:
Farah Jasmine Griffin, Columbia University (NY)

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What Beyoncé (and Her Stans) Can Teach Us About The Pleasures of Intersectional Identity
Westin Bonaventure, Santa Barbara A (L1)

CHAIR:
Deborah Paredez, University of Texas, Austin (TX)

PANELISTS:
Clare Croft, University of Michigan, Ann Arbor (MI)
Micah Salkind, Brown University (RI)
Kristen Warner, University of Alabama, Tuscaloosa (AL)
Chelsea Bullock, University of Oregon (OR)
Deborah Paredez, University of Texas, Austin (TX)

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"DSCN9630" by Flickr user Carsten Titibach, CC BY 2.0

“DSCN9630” by Flickr user Carsten Titibach, CC BY 2.0

Sound at ASA 2013

Although this year’s American Studies Association conference location is not as warm and sunny as last year’s (can we have all November conferences in warm, sunny places, please?), Washington DC has a lot to offer this year’s conference attendees. The title for this year’s annual meeting, which takes place from November 21 to November 24, 2013, is “Beyond the Logic of Debt, Toward an Ethics of Collective Dissent.” The focus on debt in all of its dimensions couldn’t be more timely, considering that the conference comes on the heels of a government shutdown that the United States is still getting over, in addition to formal and informal conversations about recovery. In this sense, Washington DC seems an ideal setting for the topic: it’s the center of many of these national conversations about debt.

It is no surprise then that, according to the co-chairs of this year’s programming committee, Roderick Ferguson, Lisa Lowe and Jodi Melamed, many of the panels chosen for this year’s ASA revolve around keywords such as “debt, obligation, ethics, collectivity, and dissent.” The focus on such topics may explain why there are less panels and papers that fall under Sound Studies. The connection between debt and sound may not be immediately apparent for some, which may either keep panels or papers that focus on sound out of the conversation. It may also be the case that the overall topic may not immediately resonate for those who work on or write about sound matters. Sound Studies is still staking its claim, loud and clear. For example, bright and early at 8:00 am on Thursday, November 21st, there’s the Sonic Lives of Debt panel, which looks at how debt is represented in music and sound in general. Another highlight from Thursday is one of two American Studies Journal panels, titled Chocolate Spaceship: Gender Politics and Afro-Futurism in Funk, with papers on Patti Labelle, Meshell Ndegeocello, and Roger Troutman.

For artists and scholars of Sound Studies, the conference theme summons Jacques Attali’s famed text, Noise: The Political Economy of MusicHis theoretical arguments about music as an audible mirror of capitalism, a structured representation of noise, and a means of understanding “debt” through sound, serve as an academic companion to this year’s lineup of panels and papers that address sound.  Some sound-related panels complicate ideas of “dissent” and “debt.” Sonic Ledgers of Dissent (Saturday, 4:00-5:45 pm), chaired by Deborah R. Vargas, focuses on dissent addresses not only the State (FBI), but also gay rapper Caushun, racial musical miscegenation, and Black/Brown alliances in Los Angeles.

However, it’s not just a matter of the connection of the theme with sound. Last year, SO! Editor-in-Chief Jennifer Stoever-Ackerman pointed out in her ASA 2012 conference round-up that there were less sound studies panels than other years, and suggested that this turn may indicate that the field is entering a moment of reflection.  Stoever-Ackerman rightfully argues that academic presentations related to Sound Studies are moving beyond making the presence of the field known and moving toward engaging with sound on a deeper, more complicated level. Consider how some of the panels listed below may not be precisely about sound studies, but include a sound-oriented approach. The panel Debts of Spirit and Substance includes a paper that looks at songs of protest: Glenda Goodman’s “Unsung Songs of the ‘Swinish Multitude’: Transnational Tunes of Eighteenth-Century Political Protest.” Another example is Sunday’s Latinas/os Onscreen and On/Off Air: Rethinking Contemporary Media Audiences and Discourses panelwhich includes a presentation by Dolores Inés Casillas titled “Lost in Translation: The Politics of Spanish-language Radio Ratings.” It is encouraging to see how cultural critiques also include sound as a way to analyze and understand cultural phenomena.

"Washington DC - National Museum of American History: Fireside Chat microphone" by Flickr user Wally Gobetz, CC BY-NC-ND 2.0

“Washington DC – National Museum of American History: Fireside Chat microphone” by Flickr user Wally Gobetz, CC BY-NC-ND 2.0

The ASA Sound Studies Caucus is bringing it this year with three panels that carry the caucus’s stamp of approval. The three panels (two on Friday and one on Saturday) address questions of listening, recording, and memory. The Friday panel at 2:30, chaired by Nicole Hodges Persley, is titled Sampling Phonographies: Sonic Memory and the Long History of Sampling and stars two SO! contributors: Gustavus Stadler (“Charles Chesnutt, Sonic Memory, and Racial Terror”) and Meghan Drury (“Across Time and Space: Hearing Sun Ra’s Egypt”). Each of the papers on this panel discuss the intimate relationship between music’s ritual of sampling and racial memory. That 2:30 presentation is immediately followed by Musical Debts: Appropriations, Reparations, or New Traditions?, chaired by Barry Shank. Shank participated in this year’s cross-blog (and only!) virtual IASPM-US Conference panel on popular music and Sound Studies, Sonic Borders Virtual Panel. Musical Debts explores how music trespasses across racialized, global boundaries for capitalist gains. On Saturday, you can catch the last of the SSC panels, on listening and community: Connected Listening: Re-imagining Community Through Sound. Chaired by Michelle Habell-Pallan, the papers in that panel delve into the role of listening for communities of color.

If you can’t make any of the sound studies panels, make sure to check out the ASA Sound Studies Caucus+Journal of Popular Music Studies Happy Hour Meet and Greet on Friday, November 22, 2013. We’re big fans of the work going on at JPMS, and we’re thrilled to see them partner up with the Sound Studies Caucus. The Caucus’s co-conveners, Roshanak Kheshti, Deb Vargas, SO!’s own Jennifer Stoever-Ackerman and D. Ines Casillas, welcome colleagues equally steeped in topic of sound to help build this important caucus. From the get go, this Caucus has set out to not only bring scholars together under the umbrella of sound but to also push ideas of gender, race, and sexuality as integral components of Sound Studies. Sadly, the editorial crew of SO! will not be present for this year’s SSC Happy Hour, but be sure to swing by and meet some of our guest writers who will be at Glen’s Garden Market from 5:30 to 7:00 pm!

Lastly, if you are not presenting at ASA, not attending the conference, or simply want to check in on the action, take a glance at the official Twitter hashtag #2013ASA . Hopefully we’ll get to meet you at the next ASA meeting: Los Angeles, 2014!

Please comment to let SO! know what you think–both before and after ASA 2013.  If we somehow missed you or your panel in this round up, please let our Managing Editor know!: lms@soundingoutblog.com

This post was co-authored. Liana M. Silva-Ford is co-founder and Managing Editor of Sounding Out!. Dolores Inés Casillas is Assistant Professor in the Department of Chicana and Chicano Studies at UC Santa Barbara this fall. She writes and teaches on Latino media, language politics, and sound practices.

Featured photo: “Stormy Salute” by Flickr user Joey Gannon, CC BY-SA 2.0

"Robert A. Taft Memorial and Carillon" by Flickr user Cliff, CC BY 2.0

“Robert A. Taft Memorial and Carillon” by Flickr user Cliff, CC BY 2.0

Jump to THURSDAY, NOVEMBER 21, 2013
Jump to FRIDAY, NOVEMBER 22, 2013
Jump to SATURDAY, NOVEMBER 23, 2013
Jump to SUNDAY, NOVEMBER 24, 2013
 
THURSDAY, November 21, 2013

 
8:00 am – 9:45 am

004. Debts of Spirit and Substance

Washington Hilton, C – Cardozo (T)

CHAIR: Elisa Tamarkin, University of California, Berkeley (CA)

PAPERS:

James Deutsch, Smithsonian Institution (DC)
In Debt to The Poor of New York: Dion Boucicault and the Panics of 1837/1857

Gino Conti, University of Southern California (CA)
Oh, I feel, I feel, I feel: Moravians, Wasted Labor, and the Afterlives of Enthusiasm

Glenda Goodman, University of Southern California (CA)
Unsung Songs of the “Swinish Multitude”: Transnational Tunes of Eighteenth-Century Political Protest

Tanja Aho, State University of New York, Buffalo (NY)
Wives and/as Debt: Women’s Lived Dissent in the Eighteenth Century

COMMENT: Elisa Tamarkin, University of California, Berkeley (CA)

 

007. Sonic Lives of Debt

Washington Hilton, F1 – Fairchild West (T)

CHAIR: Alexandra Theresa Vazquez, Princeton University (NJ)

PAPERS:

Ray Allen, City University of New York, Brooklyn College (NY)
Holy Ground: Woody Guthrie’s Unsung Lyrics

Elliott H. Powell, New York University (NY)
Sampling among the Margins: Hip Hop, Indian Film Music, and the Sonic Life of Debt

Joshua Jelly-Schapiro, University of California, Berkeley (CA)
Sound Nation Empire: Emory Cook’s “Sounds of Our Times”

Mark Krasovic, Rutgers University, Newark (NJ)
Steve Reich’s “Come Out” and the Sound of Evidence in the Long Hot Summers

COMMENT: Alexandra Theresa Vazquez, Princeton University (NJ)

 

014. Televising Multiculturalism and its Discontents

Washington Hilton, Georgetown East (C)

CHAIR: Sharon M. Leon, George Mason University (VA)

PAPERS:

Allison McCracken, DePaul University (IL)
Blind Auditions and Vocal Politics: Enacting and Exposing Vocal Essentialism on NBC’s The Voice

Janani Subramanian, Indiana University/Purdue University at Indianapolis (IN)
Mindy Kaling and Television Multiculturalism

Gregory Zinman, Georgia Institute of Technology (GA)
Nam June Paik and the Aesthetics of Interventionist Media

COMMENT: Sharon M. Leon, George Mason University (VA)

 
10:00 am – 11:45 am
 
019. Nineteenth-Century Public Lecturing, New Media, and Technologies of Orality

Washington Hilton, D – Du Pont (T)

CHAIR: Thomas Augst, New York University (NY)

PAPERS:

Carolyn Eastman, Virginia Commonwealth University (VA)
Speechless: America’s First Celebrity Orator and the Origins of Nineteenth-Century Platform Culture

Granville Ganter, Saint John’s University (NY)
Anne Laura Clarke, Lecturer on History, 1822–1835

Tom F. Wright, University of Sussex (United Kingdom)
How Silence Spoke for Lucy Parsons

COMMENT: Thomas Augst, New York University (NY)

 

2:00 pm – 3:45 pm

048. Song, Screen, Stomach: Cultural Debt and Transnational Italian Americanism

Washington Hilton, D – Du Pont (T)

CHAIR: Grace Hale, University of Virginia (VA)

PAPERS:

Joseph Sciorra, City University of New York, Queens College (NY)
“Core ‘ngrato,” a Wop Song: Mediated Renderings and Diasporic Musings

Benjamin Cawthra, California State University, Fullerton (CA)
Under the Volcano: Gordon Parks, the Bergman-Rossellini Romance, and Postwar U.S.-Italian Relations

John Gennari, University of Vermont (VT)
The Knife and the Bread, the Brutal and the Sacred: Family Trauma and Retaliatory Gastronomy in Louise DeSalvo’sCrazy in the Kitchen

COMMENT: Grace Hale, University of Virginia (VA)

 

050. American Studies Journal: Chocolate Spaceship: Gender Politics and Afro-Futurism in Funk

Washington Hilton, F1 – Fairchild West (T)

CHAIR: Randal Maurice Jelks, University of Kansas (KS)

PAPERS:

Tammy Kernodle, Miami University of Ohio (OH)
Deconstructing the Groove: Meshell Ndegeocello and the Politics of Funk in Post–Civil Rights America

Francesca T. Royster, DePaul University (IL)
Labelle: Funk, Afrofuturism, Feminism and the Politics of Flight and Fight

Scot Brown, University of California, Los Angeles (CA)
Roger Troutman and Blues Afrofuturism

COMMENT: Randal Maurice Jelks, University of Kansas (KS)

 

4:00 pm – 5:45 pm

077. Transpacific Dissent

Washington Hilton, Monroe (C)

CHAIR: Yu-Fang Cho, Miami University of Ohio (OH)

PAPERS:

Chris Suh, Stanford University (CA)
Beyond the Logic of International Indemnity: How an American-educated Korean Became an Anti-American Leader

Fritz Schenker, University of Wisconsin, Madison (WI)
Imperial Producers: Filipino Jazz Musicians in 1920s Colonial Asia

Elizabeth Son, Northwestern University (IL)
Monuments of Dissent: Transpacific Memorializations of Sexual Slavery and Social Justice Struggles

Jennifer Sun Kwak, University of Michigan, Ann Arbor (MI)
Spam, Sex Work, and U.S. Militarism: Consumption and Conscriptions of Empire in Nora Okja Keller’s Fox Girl

COMMENT: Yu-Fang Cho, Miami University of Ohio (OH)

 

"Washington DC - Shaw - U Street Corridor: True Reformer Building" by Flickr user Wally Gobetz, CC BY-NC-ND 2.0

“Washington DC – Shaw – U Street Corridor: True Reformer Building” by Flickr user Wally Gobetz, CC BY-NC-ND 2.0

Back to menu

FRIDAY, NOVEMBER 22, 2013

2:00 pm – 3:45 pm 

144. Caucus – Sound Studies: Sampling Phonographies: Sonic Memory and the Long History of Sampling

Washington Hilton, Columbia Hall 9 (T)

CHAIR: Nicole Hodges Persley, University of Kansas (KS)

PAPERS:

Gustavus Stadler, Haverford College in Pennsylvania (PA)
Charles Chesnutt, Sonic Memory, and Racial Terror

Alexander William Corey, University of Colorado, Boulder (CO)
Collaborative Sampling: The John Coltrane Quartet’s Favorite Thing

Meghan Drury, George Washington University (DC)
Across Time and Space: Hearing Sun Ra’s Egypt

Jack Hamilton, Harvard University (MA)
Making Beats, Making Wakes: Loss, Memory, and Style in the Music of RZA and DJ Premier

COMMENT: Nicole Hodges Persley, University of Kansas (KS)

 

4:00 p– 5:45 pm

160. Caucus – Sound Studies: Musical Debts: Appropriations, Reparations, or New Traditions?

Washington Hilton, Columbia Hall 9 (T)

CHAIR: Barry Shank, Ohio State University, Columbus (OH)

PANELISTS:

Kirstie Dorr, University of California, San Diego (CA)

Sumanth Gopinath, University of Minnesota, Twin Cities (MN)

Roshanak Kheshti, University of California, San Diego (CA)

COMMENT: Jonathan Sterne, McGill University (Canada)

 

5:30 pm – 7:00 pm

 

 

Glen’s Garden Market PUB

 

2001 S Street NW, Washington DC
"50.MakeSomeNoise.Newseum.NW.WDC.17August 2013"  by Flickr user Elvert Barnes, CC BY-SA 2.0

“50.MakeSomeNoise.Newseum.NW.WDC.17August 2013” by Flickr user Elvert Barnes, CC BY-SA 2.0

 
Back to menu

SATURDAY, NOVEMBER 23, 2013

 
8:00 am – 9:45 am
 
180. Caucus – Early America Matters: Commons Democracy

Washington Hilton, F1 – Fairchild West (T)

CHAIR: Dana Nelson, Vanderbilt University (TN)

PAPERS:

Joanna Brooks, San Diego State University (CA)
Why We Left: Archives of Common Memory, Martial Power, and Peasant-Class Anglo-American Communities

Elizabeth Maddock Dillon, Northeastern University (MA)
Performative Commons in the Atlantic World

Melissah Pawlikowski, Ohio State University, Columbus (OH)
Endeavors for The Common Good: The Communitarian Foundation of Frontier Republicanism and the Populist Push West

COMMENT: Dana Nelson, Vanderbilt University (TN)

 
181. Repudiating Debt Across the Americas: Latinidades, Embodied Performance, and the Archive as Site of Contestation

Washington Hilton, F2 – Fairchild East (T)

CHAIR: Ernesto Javier Martínez, University of Oregon (OR)

PAPERS:

Magdalena Barrera, San Jose State University (CA)
Refusing Pedagogical Debts: Mexican Women in the Verbal and Visual Archives of Americanization

Laura G. Gutiérrez, University of Arizona (AZ)
Sell Your Love Steep: Prostitution, Indebtedness, and other Transnational Transactions in Rumbera Iconography

Marisol Negron, University of Massachusetts, Boston (MA)
Tributo a “El Cantante”: The Making and Unmaking of Héctor LaVoe’s Abjection

Micaela Díaz-Sánchez, Mount Holyoke College (MA)
From the Page to the Stage and Screen: Queer Chicana Cultural Production, Spectatorship, and Community

COMMENT: Ernesto Javier Martínez, University of Oregon (OR)

 

193. American Studies Journal: Groove Theory: Funk, Feminism, and Afro-Beat

Washington Hilton, Monroe (C)

CHAIR: Deborah Whaley, University of Iowa (IA)

PAPERS:

Nikki A. Greene, Wellesley College (MA)
Don’t Call Her No Tramp: The Feminist Funk Power of Betty Davis and Renée Stout

Tony Bolden, University of Kansas (KS)
Groove Theory: A Vamp on the Epistemology of Funk

Alex Stewart, University of Vermont (VT)
Funky Drummer: Fela Kuti, James Brown, and the Invention of Afrobeat

COMMENT: Deborah Whaley, University of Iowa (IA)

 
12:00 pm – 1:45 pm

222. ASA Artist in Residence Ricardo Dominguez: Disturbance Research Lab: Digital Disobedience (Practicum)

Washington Hilton, International Ballroom West (C)

 
2:00 pm – 3:45 pm

246. ASA Women’s Committee: Critical Conjunctures of Debt: Women of Color, Healthcare Disparities, and Advocacy

Washington Hilton, Jefferson West (C)

CHAIR: Alondra Nelson, Columbia University (NY)

PAPERS:

Shirley Tang, University of Massachusetts, Boston (MA)
Invisible Debt: Digitizing and Voicing The Health Disparities and Experiences of Asian American Women

Jacki Rand, University of Iowa (IA)
Native Dissent and Debts of Imperialism: Choctaw Women, Violence, and Health Disparity in the Southeast

Koritha Mitchell, Ohio State University, Columbus (OH)
Pay Yourself First and Pay it Forward: The Black Girls RUN! Project

COMMENT: Alondra Nelson, Columbia University (NY)

 

 4:00 pm – 5:45 pm

258. Caucus – Sound Studies: Connected Listening: Re-imagining Community Through Sound

Washington Hilton, Columbia Hall 9 (T)

CHAIR: Michelle Habell-Pallan, University of Washington, Seattle (WA)

PAPERS:

Jessica Schwartz, Columbia University (NY)
No Longer Can I Stay, It’s True: The Politics of Hearing Harmony in Marshallese “Free Association” Diaspora

Kevin Fellezs, Columbia University (NY)
You Listen But Don’t Ask Question: Listening for the Sounds of Hawaiian-ness

Eric Porter, University of California, Santa Cruz (CA)
Bill Dixon’s Voice

COMMENT: Michelle Habell-Pallan, University of Washington, Seattle (WA)

 
263. Sonic Ledgers of Dissent

Washington Hilton, Jefferson West (C)

CHAIR: Deborah R. Vargas, University of California, Riverside (CA)

PAPERS:

Andreana Clay, San Francisco State University (CA)
Searching for Caushun: Homo Thuggery and the Search for Queer Black Masculinity

Gaye Theresa Johnson, University of California, Santa Barbara (CA)
The Future has a Past: Spatial Entitlement, Race, and Cultural Expression in Black and Brown Los Angeles, 1940–Present

Sherrie Tucker, University of Kansas (KS)
Following the State on the Dance Floor of the Nation: The FBI at the Hollywood Canteen

Shana Redmond, University of Southern California (CA)
All Around the World, Same Song: The Trials of Black Musical Genre and Racial Solidarity in the Twentieth Century

COMMENT: Herman Gray, University of California, Santa Cruz (CA)

 

"Washington DC_cherry blossoms on the Tidal Basin" by Flickr user robposse, CC BY 2.0

“Washington DC_cherry blossoms on the Tidal Basin” by Flickr user robposse, CC BY 2.0

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Back to menu

SUNDAY, NOVEMBER 24, 2013

 

8:00 am – 9:45 am

 288. Folklorization on the National Mall: Representations of Culture through the Smithsonian Folklife Festival

Washington Hilton, Georgetown West (C)

CHAIR: William S. Walker, State University of New York, College at Oneonta (NY)

PAPERS:

Virginia Myhaver, Boston University (MA)
Institutionalizing the Folk: Emergent Neo-Liberalism and the Mixed Legacy of the Bicentennial Folklife Festival

Jesse Pearlman Karlsberg, Emory University (GA)
Participation on Folklore’s Terms: Sacred Harp Singing at the 1970 Smithsonian Festival of American Folklife

Olivia Cadaval, Smithsonian Institution (DC)
Negotiating Cultural Representations through the Smithsonian Folklife Festival

Diana Baird N’Diaye, Smithsonian Institution (DC)
Curating Crucial Conversations about Twenty-first-Century African American Diversity at the Smithsonian Folklife Festival

COMMENT: William S. Walker, State University of New York, College at Oneonta (NY)

  

10:00 am – 11:45 am

300. Latinas/os Onscreen and On/Off Air: Rethinking Contemporary Media Audiences and Discourses

Washington Hilton, D – Du Pont (T)

CHAIR: Mari Castañeda, University of Massachusetts, Amherst (MA)

PAPERS:

Jillian Báez, City University of New York, College of Staten Island (NY)
Losing Weight, Balancing, and Aging: Intergenerational Readings of the Mediated Latina Body

Dolores Inés Casillas, University of California, Santa Barbara (CA)
Lost in Translation: The Politics of Spanish-language Radio Ratings

María Elena Cepeda, Williams College (MA)
Latinidad as Transnational Marketing Construct and Performative Category: Latina/o Youth Interpret Los Tigres del Norte and Calle 13’s “América”

Hannah Noel, University of Michigan, Ann Arbor (MI)
Imagining NPR’s National Publics: Latinas/os and Neoliberal Models of Social Regulation

COMMENT: Mari Castañeda, University of Massachusetts, Amherst (MA)

 

"Washington DC Day 2 - a bit blurry" by Flickr user H. Michael Miley, CC BY-SA 2.0

“Washington DC Day 2 – a bit blurry” by Flickr user H. Michael Miley, CC BY-SA 2.0

Sound at ASA 2012

This year, #ASA2012 is being held in San Juan, Puerto Rico at the Puerto Rico Convention Center from November 15-18.  San Juan provides a historic opportunity for the interdisciplinary scholars working under the banner of “American Studies” to ponder the theme, “Dimensions of Empire and Resistance: Past, Present, and Future,” from a site that has been an “unincorporated territory” of the United States since it was seized from Spain (its former imperial occupiers) after the Spanish American War in 1898.  According to the U.S. Supreme Court’s Insular Cases an “unincorporated territory” is “a territory appurtenant and belonging to the United States, but not a part of the United States.” Puerto Ricans have been citizens of the United States since 1917, despite not having voting representatives in Washington D.C. and being unable to vote in mainland presidential elections.  Just a few days ago, Puerto Ricans voted on yet another referendum to become a state—there have been 3 such votes, one in 1967, 1993, and 1998, but this is the first where statehood won a majority of the votes—an issue that both U.S. presidential candidates were all but silent on in their recent campaigns.  This vote suggests a sea change in Puerto Rican-U.S. relations–what an exciting time to hold ASA in San Juan!–and I’d also like to think this particular meeting portends an exciting shift in sound studies as well.

For one thing, sound studies scholars in particular will be discussing power and imperialism loudly and clearly at this meeting. Sounding Out!’s Managing Editor, Liana Silva, will be participating in a roundtable at 8:00 a.m Sunday morning entitled “Doing Disciplinarity: Puerto Rican Studies is/as/with American Studies” where she, along with Marta S. Rivera Monclova (Framingham State College), Leonardo L. Flores Feliciano (University of Puerto Rico, Mayaguez), and Sara Poggio (University of Maryland, Baltimore County) will discuss the fraught relationship between the two fields of study, particularly in relation to America’s imperial history.

And then, the fully signed-sealed-and delivered ASA Sound Studies Caucus hosts two official panels that explicitly consider the politics of sound and listening.  The first is on on Friday from 4:00-5:45: Resisting Silences: Re-sounding Race, Gender, and Empire” chaired by Sherrie Tucker (University of Kansas) and featuring the research of Marci McMahon (University of Texas, Pan American), Genevieve Yue (University of Southern California and yours truly, Jennifer Stoever-Ackerman (SUNY Binghamton); and the second on Saturday from 4:00-5:45: “Sound and the State: The Politics of Acoustic Power” chaired by Jonathan Sterne (McGill University) and featuring the research of David Suisman (University of Delaware) and Peter Tschirhart (University of Virginia) with a comment by Mara Mills (New York University).   From the racial dynamics of postwar New York City’s noise laws to “Noise Exposure Maps,” Sonic Booms to the technics of female silence, ASA’s sound studies scholars continue the sociopolitical interventions of last year’s “Sound Clash: Listening to America Studies” special issue of American Quarterly.  This issue, edited by Josh Kun and Kara Keeling, explicitly focused on issues of race, gender, class sexuality, and nation (by the way, if you misplaced your copy, Johns Hopkins press has just released the issue in book volume form).

The Sound Studies Caucus also continues its very important organizational role this year by bringing scholars together for its second annual Sound Studies Caucus Meet-and-Greet, which will be co-hosted by none other than Sounding Out! !!! We have been thrilled to work with co-organizers Inés Casillas (UCSB), Roshanak Kheshti (UCSD) and Deb Vargas (UCR) to plan a get together at the District Bar of the nearby Sheraton (200 Convention Way, 787-993-3500, Map) where we will solicit volunteers and chat about the activities of the caucus this year and next.  Sounding Out! will be officially welcoming the members of its new advisory board at the meet-and-greet, as well as sharing details about current and future Calls for Posts, and pumping up the crowd for what’s ahead in the blog for 2013.  If you are in San Juan for the conference, please join us!

“Grupo Mania and My Puerto Rican Flag,” by Flickr User Photo Prodigy

Overall, while sound studies work is somewhat lighter than in years past—a trend I also noted at the Society for Cinema and Media Studies meeting earlier this year—the research on sound, listening, and aurality at this year’s #ASA2012 is, more than ever before, focused on questions of race, gender, and sexuality in ways that, as Keeling and Kun stated in their introduction to Sound Clash: “can enable an interdisciplinary American studies in which knowledges and insights that have not been perceptible to our dominant intellectual paradigms might be heard or heard anew” (453).  I am particularly enthused about what promises to be excellent new research in African American Studies—especially the panels “Ask Your Mama: The Sound(ed) Poetics and Politics of Black Feminist Internationalism” (Saturday, 12:00-1:45) andBlackness and the Sacred Performative” (Thursday 4:00-5:45, featuring SO! writer Ashon Crawley [Duke]—and Chican@/Latino Studies—notably roundtables on The Talking Cure for Empire? Oral History and Testimonio in the Twenty-first Century” (Friday, 10:00-11:45) and “Subjectivity and Sound: Rethinking Genre in Chicano/a Music” (Friday, 2:00-3:45).  There are also multiple panels that elicit transnational conversations about audio culture—Resisting Silences: Re-sounding Race, Gender, and Empire” (Friday 4:00-5:45) and “Jazz and the Voices of Empire and Resistance” in particular (Saturday, 10:00-11:45)—and enable transmedia comparisons—especially “Terrains of Modernity, Aural Research, and Critique” (Sunday, 2:00-3:45).

Whereas the downturn in sound studies work at SCMS 2012 was due primarily to a scheduling snafu—doublebooked with the 2012 EMP—I think the ASA’s is perhaps due to the beginnings of a sea change (a new wave?)  in sound studies.  It is certainly not attributable to a lack of interest or scholarship—the emails I get for Sounding Out! alone can attest to growing numbers of truly enthusiastic scholars working on sound and listening—therefore, I put forth that sound studies is entering a moment of reflection. It is no longer enough to breathlessly sound out new sonic terrain; we are moving beyond the period when sound alone could be the binding theme in a conference panel.  The work is getting more nuanced, robust sub-fields are developing—voice studies, for example—vocabularies are becoming shared, and more than ever, scholars are engaging with each other’s work on a deeper level, complicating and texturing the just-established histories, narratives, and canons of the field. Whereas Michele Hilmes’s foundational 2005 review essay in American Quarterly “Is there a Thing Called Sound Culture Studies? And Does it Matter?” noted that “various venues of academic work on sound phenomena so rarely speak to or take heed of each other” (252), I noted no fewer than twelve sound-related roundtables at #ASA2012 where scholars will be doing the difficult-but-rewarding work of acknowledging conflicts, hashing out shared interests, and forging what comes next.  Please take good notes, sound studies folks, because ASA has enacted an official ban on recording:

The papers and commentaries presented during this meeting are intended solely for the hearing of those present and should not be tape-recorded, copied, or otherwise reproduced without the consent of the authors. Recording, copying, or reproducing a paper/presentation without the consent of the author(s) may be a violation of common law copyright and may result in legal difficulties for the person recording, copying, or reproducing (ASA Program PDF, 17).

Unfortunately, this means that the 2012 sound roundtables will be one-time-only, be-there-or-be-square affairs.  But as we know from so much research in our vibrant field, even while the vocal grains and tones will fade away into the air of San Juan, these unscripted scholarly performances can’t help but have lasting reverberations.

The Liner Notes for the ASA Sound Studies Caucus “Cassette” Flyer.  This and Featured Image by Frank Bridges, fbridges@eden.rutgers.edu

Scroll down for the sound-related conference listings.  For the virtual experience, look for my live tweets via our Facebook and Twitter pages, Liana Silva’s live tweets (@literarychica) or on the official ASA backchannel: #ASA2012. Please comment to let SO! know what you think–both before and after ASA 2012.  Finally, If I somehow missed you or your panel in this round up, please let me know!: jsa@soundingoutblog.com

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

Jump to THURSDAY, NOVEMBER 15, 2012
Jump to FRIDAY, NOVEMBER 16, 2012
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THURSDAY, NOVEMBER 15, 2012

THURSDAY, November 15, 2012

10:00 am – 11:45 am

 

007. Crimson and Clover: Hope and Dread in the Musical Countercultures of the 1960s

 Puerto Rico Convention Center 102C

CHAIR:  Eric Avila, University of California, Los Angeles (CA)

PAPERS: Rachel Rubin, University of Massachusetts, Boston (MA), “I Think That Maybe I’m Dreaming: Music, Counterculture, and the Renaissance Pleasure Faire”

Andrew Green Hannon, Yale University (CT), “Huey Digs Bob Dylan: The Black Panthers, Highway 61 Revisited, and Making Revolutionary Meaning”

Jeffrey Melnick, University of Massachusetts, Boston (MA), “The Ballad of Terry Melcher: Famous and Rising Sons in the LA Counterculture”

Will Spires, Santa Rosa Junior College (CA), “The Musical Holdouts of Colby Street: Formation and Legacy of an Old Time Music Community”

COMMENT:  Eric Avila, University of California, Los Angeles (CA)

INDIVIDUAL PAPERS:

Shane Vogel, Indiana University–Bloomington (IN), “Being a Fad: Black Performance and the Calypso Craze,” Puerto Rico Convention Center 104A

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12:00 pm – 1:45 pm

031. Invisible Structures and the Experience of Music

 Puerto Rico Convention Center 103B

 CHAIR:  Lisa Brawley, Vassar College (NY)

PAPERS: Carlo Rotella, Boston College (MA), “The Home of the Blues”

Eric Weisbard, University of Alabama, Birmingham (AL), “Structuring the Eclectic: Radio and Entertainment Formats (Not Genres)”

 Hua Hsu, Vassar College (NY), “Sounds of Confusion: H. T. Tsiang and Ruth Crawford Seeger’s Protest Music”

COMMENT:  Lisa Brawley, Vassar College (NY)

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 037. Blogging as Public Pedagogy: A Roundtable with GayProf, Historiann, Roxie, and Tenured Radical

Puerto Rico Convention Center 202B

CHAIR:  Martha Nell Smith, University of Maryland, College Park (MD)

PANELISTS:  Marilee Lindemann, University of Maryland, College Park (MD)

Ann Little, Colorado State University (CO)

 Anthony Mora, University of Michigan, Ann Arbor (MI)

Claire Bond Potter, New School University (NY)

Martha Nell Smith, University of Maryland, College Park (MD)

 

INDIVIDUAL PAPERS:

Jack Hamilton, Harvard University (MA), “House Burning Down: Jimi Hendrix, Race, and the Limits of Sixties Music,” Puerto Rico Convention Center 104A

Mecca Jamilah Sullivan, University of Pennsylvania (PA), “Feeling Colors and Seeing Speech: Black Women’s Choreopoetic Diasporas of Difference,” Puerto Rico Convention Center 209C

 

2:00 pm – 3:45 pm

INDIVIDUAL PAPERS:

Nadja Millner-Larsen, “Black Synaesthesia: The Anarcho-Aesthetics of Black Mask,” Puerto Rico Convention Center 104B

Mary Beltrán, University of Texas, Austin (TX), “Blacking Up for Laughs: Televisual Blackface and ‘Post-Racial’ Cultural Memory,” Puerto Rico Convention Center 208B

 

 4:00 pm – 5:45 pm

 077. Blackness and the Sacred Performative

 Puerto Rico Convention Center 104A

CHAIR:  Michelle D. Commander, University of Tennessee, Knoxville (TN)

PAPERS: Amey Victoria Adkins, Duke University (NC), “‘Ain’t I A Woman’: Black Madonnas, Mammys, and the Performative Aesthetics of Darkness”

 Ashon Crawley, Duke University (NC), “Breathing Towards Lynching Critique: Whooping in Black Pentecostal Praying and Preaching”

 Terrion L. Williamson, Michigan State University (MI), “Black Sacred Dance and the Reverberations of Christian Sexuality”

COMMENT:  Johari Jabir, University of Illinois, Chicago (IL)

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INDIVIDUAL PAPERS:

Molly McGlennen, Vassar College (NY), “Re-imagining “Domestic Dependency”: The Transnational Motivations of Rebecca Belmore’s Sound Performances,” Puerto Rico Convention Center 209C

 

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Memorial to Salsa Composer Catalino (Tite) Curet Alonso (1926-2003) in the Plaza de Armas, Image by Flickr User roger4336

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FRIDAY, NOVEMBER 16, 2012

FRIDAY, NOVEMBER 16, 2012

8:00 am – 9:45 am

 105. Mixtape Logics: Listening to Empire and Resistance

Puerto Rico Convention Center 104B

CHAIR: Matthew Carrillo-Vincent, University of Southern California (CA)

PANELISTS: Priya Jha, University of Redlands (CA)

Van Truong, Yale University (CT)

Chris Nielsen, University of Pittsburgh (PA)

COMMENT: Joshua Guild, Princeton University (NJ)

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108. Caucus: Digital Humanities: What Can the Digital Humanities Bring to American Studies, and Vice Versa?

Puerto Rico Convention Center 202A

CHAIR: Susan Garfinkel, Library of Congress (DC)

PANELISTS: Natalia Cecire, Yale University (CT)

Alex Gil, University of Virginia (VA)

Matthew K. Gold, City University of New York, Graduate School (NY)

Kathleen Fitzpatrick, Modern Language Association (NY)

Lauren Klein, Georgia Institute of Technology (GA)

Miriam Posner, University of California, Los Angeles (CA)

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117. Performance as Power and Critique: Social Change in African Diasporic Performance

Puerto Rico Convention Center 208C

CHAIR: Jennifer Devere Brody, Stanford University (CA)

PAPERS: Tisha Brooks, Tufts University (MA) ,“Performing Power and Privilege: The Spiritual Itinerant Practice of Amanda Berry Smith”

Shanesha R. F. Brooks-Tatum, Interdenominational Theological Center (GA), “Sonic Bridges: Conversion Narratives in Diasporic Christian Hip-Hop Performance”

Tanya Saunders, Lehigh University (PA), “Global Hip Hop, Black Feminism, and the Queer of Color Critique: An Analysis of Women-Centered Arts-Based Activism in Cuba and Brazil”

Lori Lynne Brooks, University of Michigan, Ann Arbor (MI), “It’s Empire Time!: Black Popular Performance and the Temporality of Imperialism”

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10:00 am – 11:45 am

125. The Talking Cure for Empire? Oral History and Testimonio in the Twenty-first Century

Puerto Rico Convention Center 102B

CHAIR: Theresa Delgadillo, Ohio State University, Columbus (OH)

PANELISTS: Tami Albin, University of Kansas (KS)

Maylei Blackwell, University of California, Los Angeles (CA)

Thuy Vo Dang, University of California, Irvine (CA)

Theresa Delgadillo, Ohio State University, Columbus (OH)

Linda Garcia Merchant, Artist

Joseph Rodríguez, University of Wisconsin, Milwaukee (WI)

Sonia Saldívar-Hull, University of Texas, San Antonio (TX)

Janet Weaver, University of Iowa (IA)

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127. ASA Program Committee: Dimensions of Empire and Resistance: Speculation, Futurity, New Materialisms

Puerto Rico Convention Center 103A

CHAIR: Tavia Nyong’o, New York University (NY)

PANELISTS: Jayna Brown, University of California, Riverside (CA)

Tavia Nyong’o, New York University (NY)

Dana Luciano, Georgetown University (DC)

José Esteban Muñoz, New York University (NY)

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131. Caucus: Science and Technology: What is the Future of Technology in American Studies?: A Roundtable

Puerto Rico Convention Center 104C

CHAIR: Jason Weems, University of California, Riverside (CA)

PANELISTS: Carolyn de la Pena, University of California, Davis (CA)

Lisa Nakamura, University of Illinois, Urbana-Champaign (IL)

Joshua Shannon, University of Maryland, College Park (MD)

Elena Razlogova, Concordia University (Canada)

Joel Dinerstein, Tulane University (LA)

COMMENT: Jason Weems, University of California, Riverside (CA)

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133. Caucus: Digital Humanities: Digital Shorts: New Platforms of Knowledge Production and Resistance

Puerto Rico Convention Center 202A

CHAIR: A. Joan Saab, University of Rochester (NY)

PANELISTS: Susan Smulyan, Brown University (RI)

Stewart Varner, Emory University (GA)

A. Joan Saab, University of Rochester (NY)

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INDIVIDUAL PAPERS

Thomas George Sowders, Louisiana State University, Baton Rouge (LA), Puerto Rico Convention Center 208C, “Martin Delany’s Sonic Transnationalism: Genres of Poetry and Sound in Blake; or, the Huts of America

 12:00 pm – 1:45 pm

146. Ask Your Mama: The Sound(ed) Poetics and Politics of Black Feminist Internationalism

Puerto Rico Convention Center 101A

CHAIR: Farah Griffin, Columbia University (NY)

PAPERS: Daphne Ann Brooks, Princeton University (NJ), “‘A Woman is a Sometime Thing’: Leontyne and Sarah’s Sonic Temporalities’

Salamishah Tillet, University of Pennsylvania (PA), “Hush and Listen: Mama Africa and Nina Simone’s Global Civil Rights Sound”

Imani Perry, Princeton University (NJ), “Sounding Like a Movement: The Advance of Miriam Makeba’s Retreat Song”

COMMENT: Farah Griffin, Columbia University (NY)

12:00 pm – 1:45 pm

168. Business Meeting of the Digital Humanities Caucus

Puerto Rico Convention Center Foyer A

 

2:00 pm – 3:45 pm

 182. ASA Committee on Graduate Education: Digital Dimensions of Graduate Education in American Studies (co-sponsored by the Digital Humanities Caucus and ASA Students’ Committee)

Puerto Rico Convention Center 202A

CHAIR: Robert W. Snyder, Rutgers University, Newark (NJ)

PANELISTS: Clarissa J. Ceglio, Brown University (RI)

Douglas Lambert, State University of New York, Buffalo (NY)

Sharon Leon, George Mason University (VA)

John Carlos Rowe, University of Southern California (CA)

Stephen Brier, City University of New York, Graduate School (NY)

 

187. Subjectivity and Sound: Rethinking Genre in Chicano/a Music

Puerto Rico Convention Center 208A

CHAIR: Tyina Steptoe, University of Washington, Seattle (WA)

PANELISTS: Anthony Macias, University of California, Riverside (CA)

Marie Miranda, University of Texas, San Antonio (TX)

Michelle Habell-Pallan, University of Washington, Seattle (WA)

INDIVIDUAL PAPERS

Marisol Negrón, University of Massachusetts, Boston (MA) “The Good, the Bad, and the Ugly: Fania Records, Intellectual Property Rights, and Royalties,” Puerto Rico Convention Center 104B

Isabel Porras, University of California, Davis (CA) “Hypersexual and Excessive: Carmen Miranda and Sofia Vergara and Performing Latinidad,” Puerto Rico Convention Center 203

4:00 pm – 5:45 pm

208. Caucus: Sound Studies: Resisting Silences: Re-sounding Race, Gender, and Empire

Puerto Rico Convention Center 204

CHAIR: Sherrie Tucker, University of Kansas (KS)

PAPERS: Marci McMahon, University of Texas, Pan American (TX), “Tanya Saracho’s El Nogalar: Staging Soundscapes of Silence and Imperialism”

Genevieve Yue, University of Southern California (CA), “Technics of Female Silence”

Jennifer Lynn Stoever-Ackerman, State University of New York, Binghamton (NY), “‘Just Be Quiet Pu-leeze’: New York’s Black Press Fights the Postwar ‘Campaign Against Noise’

COMMENT: Sherrie Tucker, University of Kansas (KS)

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213. I’m a MuthaFking Monster: Alter Egos, New Media, and Black/Queer Performativity

Puerto Rico Convention Center 209B

CHAIR: Gabriel Peoples, University of Maryland, College Park (MD)

PAPERS: Treva Lindsey, University of Missouri, Columbia (MO), “I Am… Sasha Fierce: Resistive Alterity and African American Respectability Politics”

Uri McMillan, University of California, Los Angeles (CA), “Gone Campin’: The Campy Paradox of Nicki Minaj”

Kismet Nunez / Jessica Marie Johnson, University of Maryland, College Park (MD), “On Alter Egos and Infinite Literacies, Part 2 (An #AntiJemimas Imperative)”

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INDIVIDUAL PAPERS:

Omi/Joni Jones, University of Texas, Austin (TX); Sharon Bridgforth, DePaul University (IL), “Conjuring Jazz”

Fiestas de la Calle San Sebastián, San Juan, Puerto Rico, by Flickr User Jorge Rodriquez

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SATURDAY, NOVEMBER 17, 2012

SATURDAY, NOVEMBER 17, 2012

 8:00 am – 9:45 am

237. Empires of Funk: U.S. Colonialism, Filipina/o Resistance, and Hip Hop

Puerto Rico Convention Center 202A

CHAIR: Victor Hugo Viesca, California State University, Los Angeles (CA)

PAPERS: Mark Villegas, University of California, Irvine (CA), “From Indios to Morenos: Exploring the Poetics and Memory of Postcolonial Racial Positioning”

Lorenzo Perillo, University of California, Los Angeles (CA), “Maganda at Malakas: Gendered Choreographies in Manila”

Roderick Labrador, University of Hawai‘i, Manoa, (HI) “Agitation Propaganda: Toward a Filipina/o Revolutionary Internationalism”

COMMENT: Brian Chung, University of Notre Dame (IN)

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242. Aesthetics in the Belly of the Beast: Reading American Carceral Art

Puerto Rico Convention Center 208A

CHAIR: Doran Larson, Hamilton College (NY)

PAPERS: Alessandro Porco, State University of New York, Buffalo (NY), “The ‘And’ After Every Sentence: Hip-Hop, Incarceration, and Creativity”

Imani Kai Johnson, New York University (NY), “B-Boying Behind Bars: A Profile of Batch from The Bronx Boys Rocking Crew”

Marcella Runell Hall, New York University (NY), “Assessment Data on ‘Lyrics from Lockdown,’”

COMMENT: Doran Larson, Hamilton College (NY)

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INDIVIDUAL PAPERS:

Sarah Perkins, Stanford University (CA), “‘Bound to trabble’: The Circulation of ‘Dixie,’ 1880–1910,” Puerto Rico Convention Center 201A

 Nicholas Bauch, California State University, Los Angeles (CA), “Practicing Geography Through Art Performance: Urban Interventions and the Renaissance of the Vernacular,” Puerto Rico Convention Center 209B

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10:00 am – 11:45 am

263. ASA Program Committee: Dimensions of Empire and Resistance: Language Ideologies, Spanish in the U.S., and Latinidad

Puerto Rico Convention Center 202B

CHAIR: Ana Celia Zentella, University of California, San Diego (CA)

PAPERS: Lourdes Maria Torres, DePaul University (IL), “Spanish in Chicago: Dialects in Contact”

Jonathan Daniel Rosa, University of Massachusetts, Amherst (MA), “Racializing Language, Regimenting Latinidad:Latina/o Ethnolinguistic Emblems in Diasporic Perspective”

Lillian Gorman, University of Illinois, Chicago (IL). “The (New) Mexican Familia: Ethnolinguistic Contact Zones in Northern New Mexico”

COMMENT: Ana Celia Zentella, University of California, San Diego (CA)

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12:00 pm – 1:45 pm

278. Black Independent Cinema Before and After Pariah

Puerto Rico Convention Center 101B

CHAIR: Kara Keeling, University of Southern California (CA)

PANELISTS: Jennifer DeClue, University of Southern California (CA)

Yvonne Welbon, Bennett College (NC)

Jacqueline Najuma Stewart, Northwestern University (IL)

Roya Z. Rastegar, University of California, Los Angeles (CA)

Kara Keeling, University of Southern California (CA)

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287. West Side Story: A Roundtable Discussion

Puerto Rico Convention Center 202A

CHAIR: Julia Foulkes, New School University (NY)

PANELISTS: Julia Foulkes, New School University (NY)

Alberto Sandoval-Sánchez, Mount Holyoke College (MA)

Deborah Paredez, University of Texas, Austin (TX)

Elizabeth Wells, Mt. Allison University (Canada)

Brian Eugenio Herrera, Princeton University (NJ)

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INDIVIDUAL PAPERS:

Rashida K. Braggs, Williams College (MA), “From Limited to Alternate Citizenship: How Image and Song Perform Historical Resistance in Bayou,” Puerto Rico Convention Center 208A

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2:00 pm – 3:45 pm

2nd Annual Sound Studies Meet and Greet! Co-Sponsored by the ASA Sound Studies Caucus and Sounding Out!: The Sound Studies Blog

The District Bar
SHERATON PUERTO RICO HOTEL & CASINO
200 Convention Center Boulevard, San Juan, PR 00907
Cash Bar
Appetizers! Drink Specials! VIP area!

303. Musical Movements

Puerto Rico Convention Center 102B

CHAIR: Ulrich Adelt, University of Wyoming (WY)

PAPERS: John Cline, University of Texas, Austin (TX), “Familiar Islands: The U.S., the Bahamas, and the Permeable Boundaries of ‘Folk’ Music”

Mikiko Tachi, Chiba University (Japan), “Folk Music and the Racial Imaginary in the U.S. and Japan”

Shana Goldin-Perschbacher, Stanford University (CA), “‘I need another world’: Queer Singer-Songwriters in Transnational Collaboration Post-9/11”

COMMENT: Ulrich Adelt, University of Wyoming (WY)

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314. Re-thinking Red, Yellow, Black, and Chicana/o Power through Oral History

Puerto Rico Convention Center 204

CHAIR: Rhonda Williams, Case Western Reserve University(OH)

PAPERS: Lorena Oropeza, University of California, Davis (CA), “He Said, She Said, But Who’s Right?: Oral History Unlocks Anti-Colonialism in 1960s New Mexico”

May Fu, University of San Diego (CA), “Oral History and the Asian American Radical Tradition”

Elizabeth Castle, University of South Dakota (SD), “Talking Back: Native Women’s Oral Histories in the Red Power Movement”

Lauren Araiza, Denison University (OH), “Oral Histories and Multiracial Coalitions in the UFW and the Black Freedom Struggle”

COMMENT: Rhonda Williams, Case Western Reserve University, (OH)

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INDIVIDUAL PAPERS

Rachel Donaldson, Vanderbilt University (TN), “Seeking the ‘Sensual’  and the ‘Significant’: Alan Lomax in Haiti”

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4:00 pm – 5:45 pm

325. Chavela Vargas, La Bamba, and Morrissey: Mapping Queer Musical Diasporas and Desires

Puerto Rico Convention Center 102A

CHAIR: Stacy Macias, University of Texas, Austin (TX)

PAPERS: J. Frank Galarte, University of Arizona (AZ), “‘Que soy muy canalla dice la gente’: The Pleasure of Queer Love, Desire, and Dolor in Chavela Vargas’ Repertoire”

Micaela Díaz-Sánchez, Mount Holyoke College (MA), “Yo también quiero bailar la bamba”: The Policing of Gender in the Chicana/o Son Jarocho Diaspora”

Melissa Hidalgo, Pitzer College (CA), “Complicated Colonial Legacies: Mapping the Queer Chicano Contours of Morrissey’s Los Angeles Fanscape in “Gay Vatos in Love”

COMMENT: Stacy Macias, University of Texas, Austin (TX)

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326. Marginal Digital Knowledges: A Workshop on Technology, Transformation, and Resistance

Puerto Rico Convention Center 102B

CHAIR: Tara McPherson, University of Southern California (CA)

PANELISTS: Simone A. Browne, University of Texas, Austin (TX)

Fiona Barnett, Duke University (NC)

Amanda Phillips, University of California, Santa Barbara (CA)

Tanner Higgin, University of California, Riverside (CA)

Moya Bailey, Emory University (GA)

Alexis Lothian, Indiana University of Pennsylvania (PA)

 

327. Caucus: Sound Studies: Sound and the State: The Politics of Acoustic Power

Puerto Rico Convention Center 102C

CHAIR: Jonathan Sterne, McGill University (Canada)

PAPERS: David Suisman, University of Delaware (DE), “Shock Wave Politics: The Battle Over Sonic Booms”

Peter Tschirhart, University of Virginia (VA), “Part 150 ‘Noise Exposure Maps’ and the Closing of the Acoustic Commons”

COMMENT: Mara Mills, New York University (NY)

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329. Between Island and Diaspora: Locating, Creating, and Performing Afro–Puerto Rican Bomba

Puerto Rico Convention Center 104A

MODERATOR: Tamara Roberts, University of California, Berkeley (CA)

This roundtable brings together bomba practitioners, cultural workers, and scholars from Puerto Rico and California. Rafael Maya and Pablo Luis Rivera will discuss their work as the founders of Proyecto Unión and Restauración Cultural. Sarazeta Ragazzi, Tamara Roberts, and Denise Solis will detail their work in the all-women’s performance ensemble Las Bomberas de la Bahia (San Francisco Bay Area). And Jade Power Sotomayor will extend the discussion of cross-cultural connections byconsidering the large Chicano participation in the form in the U.S., underscoring the ways that Latinidad and more specifically, Afro-Latinidad are corporeally articulated through this embodied practice.

Congas, Image courtesy of Flickr User Richard Alexander Caraballo

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SUNDAY, NOVEMBER 18, 2012

SUNDAY, NOVEMBER 18, 2012

8:00 am – 9:45 am

 365. Doing Disciplinarity: Puerto Rican Studies is/as/withAmerican Studies

Puerto Rico Convention Center 204

CHAIR: Marta S. Rivera Monclova, Framingham State College (MA)

PANELISTS: Marta S. Rivera Monclova, Framingham State College (MA)

Liana Marie Silva, State University of New York, Binghamton (NY)

Leonardo L. Flores Feliciano, University of Puerto Rico, Mayaguez (PR)

Sara Poggio, University of Maryland, Baltimore County (MD)

 

INDIVIDUAL PAPERS

Nadia Ellis, University of California, Berkeley (CA), “Dancehall’s Urban Possessions,” Puerto Rico Convention Center 101A

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10:00 am – 11:45 am

377. Jazz and the Voices of Empire and Resistance

Puerto Rico Convention Center 102A

CHAIR: John Gennari, University of Vermont (VT)

PAPERS: Daniel Stein, University of Goettingen (Germany), “Onkel Satchmo Behind the Iron Curtain: The Politics of Louis Armstrong’s Visit to East Germany”

Elliott H. Powell, New York University (NY), “Solidarity in Sound: John Coltrane, Indian Music, and Global Freedom Struggles”

Matthew B. Karush, George Mason University (VA), “Transnational Routes: Argentine Encounters with Jazz, 1959–1972”

COMMENT: John Gennari, University of Vermont (VT)

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INDIVIDUAL PAPERS:

Daphne Lamothe, Smith College (MA), “Trauma, Silence, and the Language of Resistance in Danticat’s Brother, I’m Dying”

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12:00 pm – 1:45 pm

INDIVIDUAL PAPERS:

 Imani D. Owens, Columbia University (NY), “The Politics of Sound: Race, Space, and Cuban Identity in the Poetry of Nicolás Guillén,” Puerto Rico Convention Center 209A

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2:00 pm – 3:45 pm

420. Terrains of Modernity, Aural Research, and Critique

Puerto Rico Convention Center 104C

CHAIR: Michele Hilmes, University of Wisconsin, Madison (WI)

PAPERS: Art Blake, Ryerson University (Canada), “John Cage’s Voice and New York’s Postwar Urban Sensorium”

Derek Vaillant, University of Michigan, Ann Arbor (MI), “The Power of Piaf: Racial Formation and Nostalgia in Postwar U.S.-France Aural Culture”

Jason Loviglio, University of Maryland, Baltimore County (MD), “Radio Localism 2.0”

Benjamin Aslinger, Bentley College (MA), “Listening In to Web 2.0: Subjectivity, Alterity, and Power”

COMMENT: Michele Hilmes, University of Wisconsin, Madison (WI)

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423. Los Nombres: Puerto Rican Popular Music in Lorain, Ohio

Puerto Rico Convention Center 202C

CHAIR: Petra R. Rivera-Rideau, Virginia Polytechnic Institute and State University (VA)

PANELISTS: Petra R. Rivera-Rideau, Virginia Polytechnic Institute and State University (VA)

Eugene Rivera, Jr., Independent Scholar

José Pepe Rivera, Sr., Artist

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INDIVIDUAL PAPERS:

Mike Amezcua, Northwestern University (IL), “Brown Bop: Mexican American Jazzmen, Race, and the Quest for a Transnational Jazz Movement”

San Juan, Puerto Rico, Image courtesy of Ricymar Fine Art Photography

Sounding Out! Occupies the Internet, or Why I Blog

Ticker Tape Parade, New York City Financial District, by Kitty Wallace

Welcome to our 100th post! It’s me, Jennifer Stoever-Ackerman, Editor-in-Chief, Guest Posts Editor, and Co-Founder of Sounding Out! : The Sound Studies Blog, which has been faithfully “pushing sound studies into the red since 2009.”  Together with Liana Silva, Co-Founder and Managing Editor, and Aaron Trammell, Co-Founder and Multimedia Editor, we thank you for your faithful readership, your enthusiasm, and of course, your likes, shares, retweets, and good, old-fashioned word-of-mouth!! We are going to keep serving up sound studies’ latest and greatest for a long time to come, for anyone who wants to listen.  Keep a look out for our site redesign coming in January 2012: same good stuff, just that much easier on the eyes.

In honor of this momentous occasion, I am going to get all “meta-“ on you and take you behind the scenes of Sounding Out!,  sharing some of the reasons why we decided to start a public conversation about sound studies on the Internet.  A manifesto of sorts, this post is adapted from a talk I gave a few weeks back at the American Studies Association annual meeting in Baltimore as part of an excellent panel called “Digital Displays: Women Imagining The Blogosphere as Alternative Public Spheres,” sponsored by the American Studies Women’s Committee, organized by Nicole Hodges Persley (University of Kansas) and featuring the excellent work of Tanya Golash-Bolaza, Judy Lubin, and Jamie Schmidt Wagman.

With all that has happened in the short time that has passed since mid-October—especially at #Occupy sites across the country and around the world—I am only more convinced of the need to empower ourselves by building our own microphones, platforms, and audiences, rather than wait for “official” channels to open up; more often than not, they are cut off, nonresponsive, non-existent or just plain hijacked. Without stretching the metaphor too far or confusing what we do with front-line activism—no one is pepper spraying SO!, let’s be real—I’d like to think that the story of  Sounding Out! is also a tale of occupation in its own way.  In that spirit of solidarity and D.I.Y. information exchange, here’s a bit about why I blog. I hope to inspire you to join in the conversation.

(P.S. Check our November 2011 coverage of the acoustics of the #Occupy movement thanks to guest writers Gina Arnold and Ted Sammons)

***

In their introduction to the hot-off-the presses special issue of American Quarterly on sound studies—which actually mentions Sounding Out!, on page 451! Yes!—editors Kara Keeling and Josh Kun report receiving an unusual number of submissions from junior faculty members and graduate students, which they describe as “a sign not only of sound’s quantitative currency but the promise of its future as a field of ongoing inquiry, and its importance and relevance to the future of American Studies itself” (452). Keeling and Kun’s editorial openness to newer work is a wonderful exception in traditional academic publishing, where issues of access can loom large for emerging scholars struggling to publish and build a national reputation, particularly for women, scholars of color and/or first-generation scholars, whose expertise in their particular fields is rarely taken for granted.  I use the term access here to refer to breaking into the centers of power on our campuses and/or in our respective fields.  When you are a “nontraditional” scholar frequently isolated at and from your institution, marginalized in your field, and excluded from formal and informal networks of power, all key characteristics cited by Rosabeth Kanter’s influential study of “Tokenism,” gaining a foothold in the increasingly bleak academic landscape can seem insurmountable.

The Logo of the Women's Audio Mission: Changing the Face of Sound

Because Sound Studies is not yet fully institutionalized—there are beginning to be sound studies masters’ concentrations at a few schools like NYU and the New School, but there are still no “sound studies” departments in the United StatesI believe the kind of intervention that I am helping to stage with Sounding Out! is even more important.  Scholars working in audio cultures are spread across, and often isolated in, many fields that are themselves identified as white and male dominated, both in terms of demographics and research agenda: media studies, the history of science and technology, popular music, sound art and design, and film studies, to name a few.  When considered alongside the abysmal numbers of many professional fields for sound practitioners, like video game design, radio announcing, and audio recording—the Women’s Audio Mission reports that 95% of the professional recording industry is currently male—the need is even more clear for two-way channels that increase the access of women and people of color to the central conversations of their industries and academic fields while improving the access of other scholars and wider reading publics to our work.

Blast from the Pre-Sounding Out! Past: BU Sound Studies Collective Logo Circa 2008

Blast from the Pre-Sounding Out! Past: BU Sound Studies Collective Logo Circa 2008

Rather than wait for a platform for our sound studies scholarship to arise, I helped to build a public conversation in a medium that could not only be more responsive to the lightning-paced nature of sound studies’ breakthrough moment, but also one that could be more responded to: open, collaborative, and in conversation with a wide range of interested parties. Way back in 2009, there were few traditional publication venues for research on sound; sound studies scholars had to rely on rare special issues or occasional essays on the margins of various disciplines’ journals. The first print journal primarily devoted to sound launched in Summer 2008, Music, Sound, and the Moving Image, but it still left large gaps for those not working in film. Not only did we lack the considerable resources necessary to start a print journal, but the medium wasn’t quite up to our tasks.  A blog seemed much more flexible, able to build a continuously updated, networked, public archive of sound studies scholars, while sustaining what Kathleen Fitzpatrick describes as “an open, post-publication review process [that] is a non-anonymous discussion by a community of scholars working together on collective issues” in her September 30th, 2011 interview with Inside Higher Ed.

Paul Krugman called such interventions “breaking in from anywhere” in his October 18th, 2011 blog for the New York Times, “Our Blogs, Ourselves,” arguing that the blogosphere makes academia’s “magic circles” seem “less formal and less defined by where you sit or where you went to school.” Krugman argues blogging has “showed what things are really like. If some famous economists seem to be showing themselves intellectually naked, it’s not really a change in their wardrobe, it’s the fact that it’s easier than it used to be for little boys to get a word in.”  We at Sounding Out! like to think we’re also helping women (little, big, or otherwise) to join this conversation, and more importantly, to change it.

While voices like those on Team Sounding Out! are often central to the “ground floor” conversations that shape a new field at conferences, online, and/or at our home institutions, they are often left behind when a field crystallizes in print journal publishing, which, given its limited space and slower-pace, favors the seasoned scholar. Publishing a blog can both complement peer-reviewed research and intervene in its recalcitrant institutional practices.  As Claire Potter, author of the blog Tenured Radical, writes, the blogosphere “works against the stultifying tendency of the academy to keep untenured people in as subservient a state as possible for the longest possible time.”  Sounding Out! enables our untenured but knowledgeable editorial crew to approach the field with agency and gusto, actively seeking out the “ground floor” intellectual labor and innovation happening in sound studies, making it audible and visible in a public forum that is far from ghettoized.  We deliberately curate an integrated, and dynamic collaboration between junior scholars, senior scholars, graduate students, and sound professionals. Thanks to you, we’ll be topping 50,000 hits this week.

Before this all sounds too rosy, I should also be clear that running Sounding Out! is plenty of work, even with a brilliant editorial team. I am constantly surprised at how much time I spend just wrestling with WordPress, let alone the cooler parts of the gig. Not to mention, its role in my tenure case remains to be seen.  However, even when the hours get long (squeezed in on nights and weekends after already impossibly long days and weeks), I will also say that it is work that is deeply satisfying and creative, work that feels both truly my own and yet deeply connected to a worthy collective goal.

I am also thrilled to report that several members of my non-academic family have told me that, thanks to the blog, they “finally understand what the hell it is I do,” which is one of the highest compliments I have received in a long while. As Editor-in-Chief, one of my main missions for Sounding Out! has always been for the blog to become—and remain—a smart, well-written, and informative-yet-irresistible venue for the work of emerging sound studies scholars for academics and non-academics alike. That is ultimately why we work so hard over here at SO!: to share the most vital and important findings of our field in a way that impacts lives as well as careers.

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

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