Tag Archive | Blog-o-versary mixtape

Blog-O-Versary #Flawless 5.0!

Click here to download our free Blog-O-Versary 5.0 Mix!

Click here to download our free Blog-O-Versary 5.0 Mix!



As I write this, I am sitting on the return flight from Portugal, where I spent an utterly transformational four days at the Invisible Places, Sounding Cities conference (deftly organized and elegantly curated by Raquel Castro), a sensory torrent that still has me buzzing.  While there, I was thrilled, provoked, taken, shaken, intrigued, pleased, taught, energized, exhausted, re-energized, puzzled, lifted up. . .all of the things I hope a truly great meeting will do (and then some). What I wasn’t prepared for—and when going to a conference featuring sound artists and performers, I imagine myself ready for anything—was the flood of gratefulness and gratitude that I felt every time I had a conversation about Sounding Out!, every time all of our stickers disappeared off the registration table, every time I introduced myself and there were nods of recognition from people I had never met—people located thousands of miles from my home IP address—and every time my scouting attempts were met with enthusiasm that matched (and often rivaled) my own.


Multimedia artist, SO! Regular Writer, and Portugal resident Maile Colbert leading Invisible Places attendees on the Radio Terramoto soundwalk co-created with her partner Rui Costa (of Binaural/Nodar).

And, while I cannot deny that I my work on Sounding Out! has generated personal pride—speaking honestly, sometimes I go to soundstudiesblog.com just to LOOK at it—but the feeling I enjoyed in Viseu was different from “accomplishment.” I felt grateful for the support of our editors, writers, and podcasters—sharing the best of themselves, tirelessly and without compensation other than mad props and ‘nuff respect—for our readers, ever stretching across the globe, sharing, liking, and ReTweeting, until this endeavor became a networked community, and for our fans—Yes! We have received fan mail!—whose enthusiasm always seems to arrive at the right time, the Hail Mary eleventh hour when the editors are fighting sleep and/or needing another reason to allow Dora the Explorer to play a little longer to steal time to finish a piece.  I also felt gratitude for the diverse and full-bodied sound studies community, particularly its rigorous but generous, inviting  embrace, which extended to the fledgling Sounding Out! experiment five lightning-quick years ago.

In that time, I hope we have expressed our gratitude in return, by deepening and extending our mutual community, binding us in new and unexpected ways, showcasing our best and giving air to our challenges, and, most importantly, enabling us to greet each other as familiar colleagues—in Viseu, Berlin, Toronto, San Juan, Los Angeles, Copenhagen, New York, Sao Paolo. . .—even if we had never before met “In Real Life.”  Know that as we continue to grow and renew the site that the function of community will always remain a prime directive of SO!. I welcome the responsibility we have collectively invested in Sounding Out!; it makes my decisions both more contemplative and surefooted. Thank you, everyone, for the last five years—lets raise a glass of Grão Vasco Dão Tinto toward many more together!

As we sip, let’s also partake in the annual SO! tradition of taking stock of the last action-packed year, with soundtrack supplied by another artist having a #flawless year, Ms. Beyoncé Knowles herself. . .

  • me new hair“Irreplaceable” (Goodbye, Liana):  I write this first update completely under protest.  I know I am not supposed to admit to affective reactions, especially in cyberspace and especially as a woman with her feet in several male dominated fields, but when Liana Silva-Ford, our stalwart and smoothly bad-ass Managing Editor and Co-Founder, told me she was considering leaving SO!, my eyes welled up instantaneously.  Okay, so she very straightforwardly told me she was leaving—even now I still have to sneak in the modifier “considering.”  Liana was recently named Editor-in-Chief of the longstanding publication Women in Higher Education (now on Wiley-Blackwell)—read her first “Editor’s End Notes” here—and she is embarking on a book project on her not-so-secret passion, postcards.  Liana has, rightly and deservedly, decided to bestow more of her time on these two *amazing ventures.  Even though none of us has yet to successfully visualize SO! without her, we know this is right and we wish her all and only the best.  Thank you, Liana for your steady hand but light touch, your sharp yet generous editorial eye, and the intelligence, professionalism, and enthusiasm you brought to every meeting, every challenge, and every writer.  Working (and SO!-hiveminding) with you has been an exquisite pleasure.  And thank you for letting me twist your arm into a permanent “Editor-at-Large” position (whew!).
  • clc“Green Light” (Welcome Cara, Neil, Will): On the other hand, I am pleased to announce that the O.G. SO! triumvirate has happily expanded to a sextet.  Media scholar Neil Verma (Visiting Assistant Professor in the Department of Radio/Television/Film at Northwestern University) our new ASA/SCMS Special Editor, came on board in late 2013, curating our new Thursday stream that launched in January 2014.  Neil has already proved himself to be a skilled editor, an intuitive curator, and a natural at the brand of humor and enthusiastic tomfoolery we thrive on behind the scenes.  We initiated our “L.A. Office” in December with the addition of William Stabile, our new Assistant Visual Editor, who is responsible for many of the mighty fine layouts that that you have seen this year. He is flexible, patient, and extremely gifted in the visual arts, with a wit dryer than Riverside, California this time of year.  We value his work and presence immensely.   And, drum roll please (especially with our crowd), we are pleased to announce right here today, that Cara Lynne Cardinale is our new Managing Editor, coming to us live from the East Bay in Northern California with a soaring collection of great ideas and her feet firmly planted on the ground of spreadsheets, calendars, and deadlines.  Cara graduated in 2010 with her Ph.D. in English from the University of California, Riverside, with a brilliant dissertation that I am constantly telling my graduate students to seek out: “‘Through the Eyes’: Reading Deafened Gestures of Look-Listening in Twentieth Century Narratives.”  A unanimous selection for her intensity, sharpness, and style-for-miles, Cara will undoubtedly turn this mother out!.
  • The Wobble Frequency2“Upgrade U” (Thursday Stream!): You may have noticed that there has been twice the SO! to love in 2014, thanks to Neil Verma’s work on the Thursday stream, with his cadre of guest editors and an array of media-related subjects that has greatly expanded and deepened the site’s threshold.  The year is only a little more than half-over and already we have been treated to forums on Cuban radio history (Tom McEnaney’s “Radio de Acción”), Lou Reed’s voice and sonic influence (NV’s “Start a Band”), and Justin Burton’s rumbling “The Wobble Continuum” of dubstep sounds and scholarship.   Jump on the most current series of the stream, “Sculpting the Film Soundtrack” (guest edited by Katherine Spring), a collection of posts that re-frames the cinematic soundtrack to to be heard anew.  The media stream + our monthly podcast series + SO!’s monthly pass-the-mic “Sound Off! // Comment Klatsch” = vibrant sounding Thursdays.  We like this new math.
  • SO! Reads3“Check on It” (“SO! Amplifies”) b/w “Schoolin’ Life” (Book Reviews): Sounding Out!, by design, is not a clearing house for any-and-all sound-related events [however, you CAN get all that information by following us on Twitter, liking us on Facebook, and Tumbling with us too].    BUT, we realized this year that relationships are built and connections are made through support of one another’s work, and, more often than not, it takes more than 140 characters to properly accomplish this important task.  So, in 2014, we launched two new ongoing series, Sounding Out! Reads,” reviewing the latest monographs of interest to Sound Studies peeps, and a curatorial series called SO! Amplifies” that enables selected makers, artists, authors, researchers, designers, and other creative/creating folks to introduce their work and tell SO! readers how/why it is important to them (and should be to us). In addition to amplifying the signal sent out by our featured works, we also hope to enable the production of new research, art, and other types of projects and connections through the introduction of these new tools, models, information, and archives.  At the very least, we will be hipping your ears and eyes to some seriously cool new ish.
  • Buffet“Satellites” b/w “Rocket” (War of the Worlds collabo extravaganza): Neil Verma came to the SO! team last summer in search of a site to host observations on the occasion of the 75th Anniversary of Orson Welles’ 1938 broadcast of War of the Worlds.  Knowing the brilliance and exceptional quality of Neil’s work—please buy and devour his 2012 Theater of the Mind (University of Chicago Press, SCMS First Book Award Winner) ASAP—I automatically said an enthusiastic “YES.”  BOOM. Just like that, an international multimedia fandango was born. On the ground, or since we are talking radio, terrestrially, #WOTW75 sounded like a three-hour radio broadcast on Binghamton University’s WHRW 90.5 with 2 hours of original content produced by Team SO! (one of them live!) bookending a re-broadcast of Welles’ original at the precise date and time of its debut, 8:00 PM EST, October 30th [1.5 hours are available via our podcast series: EPISODE XXII: Remixing War of the Worlds presents an original creative sound composition by Monteith McCollum and his Performative Processes class at Binghamton University that re-imagined act three of WOTW and EPISODE XXIII: War of the Worlds Revisited, the new 60-minute audio documentary featuring interviews with top media scholars engineered by our very own Multimedia editor Aaron Trammell].  BUT, out in the aether and Twittersphere, #WOTW75 looked like so much more: simultaneous listening parties dotting the globe—a special shout out to Jake Smith’s event at Northwestern U in Chicago—a months-long supergroup collabo between the WelleswTower_squareSounding Out! crüe and the University of Wisconsin-Madison’s Antenna—mad props to Andrew Bottomley—a real-time Twitter conversation using the hashtag #WOTW75 that sparked myriad reactions from excitement to snark—NV has curated the best of these for the upcoming sound special issue of Velvet Light Trap—academic panels, radio interviews, podcasts—thank you Aca-Media!—TV interviews, live dramatic radio performances—you rock, Charles Berman and the WHRW drama dept—a live collaging project put on by Toronto’s Collage Collective at the Textile Museum of Canada, martian-themed cupcakes, commemorative T- shirts by artisanal screen printers Muckles Ink, a theme-song (!!) written and performed by Binghamton’s finest ambient surf-noise band The Short Waves, and, we dearly hope, renewed excitement for the experience of “liveness” in the twenty-first century, an experience greatly changed since 1938, but no less vital in importance and thrilling in affect.


We also congratulate our writers on their recent news and updates!


  • Regina Bradley released her video dialogue series called Outkasted Conversations. She has a chapter titled “Kanye West’s Sonic [Hip Hop] Cosmopolitanism” in the collection The Cultural Impact of Kanye West. She also has an article forthcoming on Edward P. Jones’ The Known World and the Hip Hop Imagination in Southern Literary Journal.
  • Dolores Inés Casillas was promoted to Associate Professor with tenure at the University of California at Santa Barbara.
  • Kariann Goldschmitt will be a Visiting Lecturer in the Faculty of Music at the University of Cambridge this upcoming October. Her essay on mobile tactics in the Brazilian independent music industry has been published in The Oxford Handbook of Mobile Music Studies, Volume 1.
  • Jonathan Sterne is co-organizing, with Nick Mirzoeff and Tamar Tembeck, the first-ever sound studies-meets-visual culture studies conference.  Called Sound, Vision, Action, it puts scholars and artists in dialogue across sonic and visual traditions. They are especially interested in how each field addresses questions of power.  The lineup is still being confirmed, but it will be hosted by Media@McGill in Montreal, 14-15 November 2014.  Sterne is teaching a graduate seminar in conjunction with the conference in the Fall.  More details will be available at http://media.mcgill.ca.
  • Jennifer Stoever was promoted to Associate Professor with tenure at the State University of New York, Binghamton where she was also awarded a 2014 Chancellor’s Award in Teaching.

Eff-yallAnd now. . .because this is how we do year after year, roll up your rug or roll down your partition, please, it is time to celebrate our #flawless 5.0 blog-o-versary, ‘Yonce-style. –JS, Editor-in-Chief

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

Click here for Sounding Out!‘s Blog-O-Versary #Flawless 5.0 mix with track listing

(Just in case you missed last year’s 4.0 celebration and mix click here; 3.0 click here; for year two, click here; and for our first Blog-O-Versary party mix click here)

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

Solid Gold (1)

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

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

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


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

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

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

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

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

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

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

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


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

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

SO! swag in Eugene, OR

SO! swag in Eugene, OR

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


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

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

–JSA, Editor-in-Chief

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

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

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


Team SOUNDING OUT! Highlights Reel:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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