Tag Archive | Blog-O-Versary

¡¡¡¡Resist!!!!: Blog-o-Versary 8.0

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

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

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

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

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

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

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

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

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

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

 

 

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

 

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

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

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


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

Keep on Pushin5

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

Happy 6th Blog-o-Versary Team SO!

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

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

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

AND. clapWE. clapCLAP. clapBACK.clap

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

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

***

SB

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

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

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

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

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

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

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

Team SO!

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

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

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

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

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

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

SPEAKING OF. . .

Sound and Affect

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

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

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

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

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

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


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Sounding Out ! Podcast #19: Solid Gold Summer

CLICK HERE TO DOWNLOAD: Solid Gold Summer Mix

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Amber lights at 3AM on a humid July night. Hamburger buns, potato salad, and mustard. A nice beer at sundown. It ain’t summer without these golden moments which drip flavor and stand, timeless, in our memories. We keep a playlist of classics which can only be described as “solid gold.” For Sounding Out!’s fourth blog-o-versary, here is a mix  of songs which will forever sound summer.

-AT

Solid Gold Summer (Just the Hits):

“Metal Guru” – T Rex (Aaron Trammell)
“Sail to the Sun” – Wavves (Jennifer Stoever-Ackerman)
“212” – Azaelia Banks (Justin Burton)
“Unfair” – Pavement (Airek Beauchamp)
“John, I’m Only Dancing (again)” – David Bowie (Brooke Carlson)
“I.C.E. (El Hielo)”- La Santa Cecilia (Santa Perversa)
“Computer Love” – Zapp & Roger (Tara Betts)
“In the Park” – Ghostface Killah feat. Black Thought (Carter Mathes)
“Go Wild in the Country” – Bow Wow Wow (Seth Mulliken)
“Kill Surf City” – The Jesus and Mary Chain (D. Travers Scott)
“Pretty Girl Rock” – Keri Hilson (R.N. Bradley)
“Another Love” – Alice Smith (Roshanak Kheshti)
“‘Foreign Bodies’ Astoria-Megler Bridge” – Radiation City (Osvaldo Oyola)
“Summer Can’t Come Too Soon” – A.J. Croce (Bill Kirkpatrick)
“I Love It” – Icona Pop (Liana Silva-Ford)

#Blog-O-Versary 3.0

Click Phonograph to Download #Blog-O-Versary 3.0 Mix!
(Image by Mafleen; tunes picked by SO! writers & editors!)

Happy happy #Blog-O-Versary 3.0 to our readers, writers, retweeters, and supporters of all kinds!!  This year proves that, to quote De La Soul quoting Schoolhouse Rock, “three is the magic number.”  Of course a mic check also has to go out to another important trio, SO!‘s editorial crüe: Plug One: yours truly JSA, Editor in Chief and Guest Posts Editor, Plug Two: Liana Silva, Managing Editor, and Plug Three: Aaron Trammell, Multimedia Editor.

Here’s just a sample of the goodness that SO! has brought to y’all this past year, with some hints of how we “can’t stop won’t stop (the awesomeness)” on into year four!

  • #itoughttobeillegaltolookthisgood: After copious troubleshooting meetings and readers’ polls–thanks for the great feedback, btw–we changed to our new layout on January 1st, 2012, an effort spearheaded by Managing Editor Liana Silva.  #lovingit #ohsoreadable
  • #ontheregular: SO! welcomed two new regular writers to our roster this year, multimedia artist Maile Colbert, who works out of Binaural Nodar in Lisbon, Portugal. and African American Studies scholar Regina Bradley, coming to you out of Florida State University. Look for their posts on full regular rotation in 2013.

Close-up of image by Flickr user Thomas Hawk

  • #seriesandforumsandCFPsohmy!: In addition to plotting our more broad general coverage, I began organizing special “Series” and “Forums” that took more lingering listens to specific issues and particular sites.  In February 2012, SO! hosted a month-long forum on Deafness; throughout Spring 2012 we featured a series of dispatches, “Live From the SHC” that shared the new scholarship from the Sound Studies fellows gathered at Cornell’s Society for the Humanities.  We just wrapped up a July forum on Listening in observation of World Listening Day and are in the midst of a summer series on radio history, “Tune in to the Past,” that sifts through the legacy of Norman Corwin.  Look for a pedagogy forum to ring in the start of the academic school year in August, featuring the winner of our recent Call for Posts, “Sound and Pedagogy: Amplifying the Teachable Moment.”  In fact, we received so many great pitches, we will offer a “refresher course” forum in spring 2013!

courtesy of Flickr user Stencil Terrorists

And that’s just a glimpse of how Sounding Out! “Can’t Stop, Won’t Stop (the Awesomeness)”  on and on until the break of dawn (or at least until 9:00 a.m. every Monday morning). Now go ahead and take a listen with our annual downloadable mixtape–a seriously kick ass 90 minute TDK tape super-megamix that spans six decades and a dizzying array of genres–courtesy of Team SO!  You’ve earned it!

 –JSA, Editor in Chief

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Click here for Sounding Out!‘s Blog-O-Versary 3.0 mix with track listing

(Just in case you missed last year’s 2.0 celebration–and mix–click here; for our first Blog-O-Versary party mix click here)

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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.

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