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What does the opposition to global Trumpism sound like? Or the opposition to neoliberalism? With extreme centrist Emmanuel Macron the frontrunner and eventual winner of the French presidential elections, there were calls from the Left to take the struggle to the streets, rejecting both the fascism of the Front National and the continuation of the neoliberal status quo. This podcast puts the listener into the midst of the many demonstrations in Paris and its suburbs during the presidential election campaign. By listening in on these recordings (made over the course of three months of fieldwork) we hear a determination to fight for a genuine alternative to state repression alongside the difficulties in uniting a divided left. These recordings also provide a testament to the horror of police violence and an opportunity to reflect on the value and limitations of black-bloc tactics.
Naomi Waltham-Smith is Assistant Professor Music at the University of Pennsylvania. A graduate of the University of Cambridge and King’s College London, her research sits at the intersection of music theory, recent European philosophy, and sound studies. Music and Belonging Between Revolution and Restoration comes out with Oxford University Press on July 1, 2017 and she is writing a second monograph on The Sound of Biopolitics. She has published articles in journals including Music Theory Spectrum, Music Analysis, Journal of Music Theory, and boundary 2, and writes reviews for the LA Review of Books and b2o. She is currently engaged in a multi-site, comparative project on “Listening under global Trumpism” that involves building a sound archive of resistance on the streets in the US, the UK, and France; for more information or to contribute recordings, please send an email to email@example.com.
Featured image is of a black bloc demonstration on May Day in Paris. Image used with permission by the author.
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Sounding Out! Podcast #59: Soundwalk of the Women’s March, Santa Ana — Aaron Trammell
Sounding Out! Podcast #51: Creating New Worlds From Old Sounds – Marcella Ernest
Dr. Marie Thompson is currently a Lecturer at the Lincoln School of Film and Media, University of Lincoln. Her new book Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism has just been published by Bloomsbury. We’ve been following each other on Twitter for a while(@DrMarieThompson and @AbstractTruth) and I have become very interested in her ideas on noise. I’m David Menestres, double bassist, writer, radio host, and leader of the Polyorchard ensemble (“a vital and wonderfully vexing force of the area’s sonic fringes”) currently living in the Piedmont region of North Carolina.
In her new book, Dr. Thompson covers a wide variety of ideas from Spinoza to Michel Serres’s cybernetic theory, acoustic ecology and the politics of silence to the transgressiveness of noise music, and many other concepts to show how we are affected by noise. Thompson is also the co-editor of Sound, Music, Affect: Theorizing Sonic Experience (Bloomsbury, 2013). Here is a conversation we had over email in February 2017 about Beyond Unwanted Sound.
David Menestres (DM): Why now? Why did you feel compelled to write this book? What do you hope this book will accomplish?
Marie Thompson (MT): I think my ‘academic’ interest in noise began as an undergraduate music student – I was interested in thinking ‘beyond’ distinctions of avant-gardism and popular culture and noise, as something that traverses such separations became an evermore appealing concept. So I’ve been circling some of these ideas for quite a while.
I felt compelled to write the book partly due to what I perceived as a gap between some of my ‘everyday’ experiences of noise and how noise was represented in discourse – particularly noise’s representation as an essentially negative phenomenon; or as a shocking, sublime, radical, overwhelming, transgressive force. Noise seems to be one of those topics that makes ordinarily quite progressive thinkers revert to quite uncritical and reactionary tropes – there’s something about it that ‘touches a nerve’. Consequently, much of the discourse around noise is underlined by an often-unacknowledged conservatism. I’ve always found the grandiose rhetoric of noise comparatively quite seductive but at the same time, more often than not, noise is quotidian and banal rather than overwhelming or sublime (which isn’t to say it can’t also be those things). Likewise, I felt like this grandiose rhetoric resulted in an amplification of certain sonic arts practices, while silencing others. I guess I was compelled by a desire to expand the (material and discursive) universe of noise while also trying to maintain some consistency in definition.
Quite simply, I hope the book will contribute something helpful to the recent discussions around noise in media theory, acoustic ecology and music.
DM: What is the difference between a subjective-oriented definition of noise vs. an object-oriented definition and how do both lead to the ethico-affective approach that you champion in the book?
MT: When I refer to subject- and object-oriented definitions I’m referring, quite simply, to noise being defined either in relation to the ear of the beholder, or in relation to the sound-itself. [MT also defines her “ethico-affective approach” as a perspective that “recognises the entanglement of the ethical and the affective: affective relations are also ethical relations.” –ed.]
What I think is useful about a subject-oriented definition is that it remains open to what noise might be, what form it might take – it might be your neighbour hoovering, it might be a fellow travelers mobile phone, or it might be a buzzing wasp. However, subject-oriented definitions of noise are typically wedded to liberal notions of subjectivity and the politics that carries. Noise becomes an issue of personal taste – one person’s music is another’s noise etc. Subject-oriented definitions also struggle to account for noise that isn’t ‘unwanted’, ‘bad’, ‘negative’, and so on; and for noise that might not be perceptible, or noticeable.
Object-oriented definitions which treat noise as a type of sound are helpful insofar as there is a consistency of definition and it does not assume noise to be a solely negative phenomenon; however, to my mind, they risk losing sight of context: a particular sound is noise irrespective of how it is heard, what it does.
The ethico-affective approach I develop can be understood to maintain aspects of both these definitional approaches. It maintains the separation created by an object-oriented definition of noise between noise and negativity, so that noise’s ‘unwantedness’ becomes secondary and contingent. It also maintains the contextual focus of a subject-oriented definition, so that noise is not tethered to particular types of sound or sound sources.
DM: I’ve been very interested in the idea of noise as a weapon: the use of sound cannons to silence and sicken protestors, the use of the “Mosquito” device (which produces high frequency pitches thought to be audible only to teenagers in order to keep them from loitering), or the use of classical music to annoy young people.
You talk in one section about the noise of neighbors and the “policed silence of the suburbs.” I am also interested in the use of noise as protest. At the Women’s March in Raleigh on January 21, there were so many fascinating sounds: the sounds of thousands of voices bouncing off tall buildings, drummers, people leading chants with the crowd shouting back, the singing of classic protest songs (“A Change is Gonna Come,” “This Land Is Your Land,” etc.).
What do you think the role of noise will be in our current political climate? I can definitely see noise being used as a weapon by both sides: the government trying to use it as a weapon against the people and the people using noise to amplify their voice against the government. But there is a stark difference between these two sides: the use of sound weapons is clearly for their intended negative affect on people (both the physical effects of sound weapons and the psychological effects of the endless noise that comes from Trump’s press conferences and general bullshit), but I see the protestors intending to use sound in a positive way, to amplify their message, to make sure those in charge hear their voices, to ensure the message arrives intact.
MT: As a concept, noise seems evocative of much about our current political climate: be it the ‘noise’ of ‘fake news’, and ‘alternative facts’ (how does one determine ‘signal’ from ‘noise’, and who gets to determine that distinction); be it the ‘white noise’ of the Trump campaign administration (I recently saw a performance lecture with Barby Asante which effectively performed the ‘tuning out’ the noise of recently-bolstered white supremacy); or be it the collective noise of protest against the brutality of borders, white supremacy and police-state violence.
That noise can be both a force of domination and resistance is revealing of its ambiguity more generally – what I refer to as the ‘both-and’ of noise. Of course, that is not to conflate these uses of sonic force. One of the ways in which I’ve thought about this ethico-political difference in sonic forces is through the Spinozist distinction of power-over/power-to. The ethico-political entangles ethical questions (good-bad) with political questions (power over/power to).
So, when sound is weaponized to exert authority, to bring people into line, by diminishing their capacity to act and do, then this can be thought of as an exertion of power-over. Likewise, when sound becomes a means of collective resistance, or of connectivity (I’m thinking partly here of various ‘noise-protests’ at prisons and detentions centres, where sound is used to traverse walls and borders) then it might be understood as an expression of ‘power-to’ – a (collectivized) body’s capacity to act, to be, to do.
DM: You talk in the book of the “conservative politics of silence.” How does this conservativism affect both how people perceive sound and how we relate to it? Is there something at the other end of the scale, a “liberal politics of silence” so to speak?
MT: To my mind, the conservative politics of silence informs a number of assumptions that are frequently made about what are ‘good’ and ‘bad’ sonic environments; it relates to a preference for the simple over the complex, sameness over difference, past over present, predictability over unpredictability, the ‘synthetic’ over the ‘natural’ (whatever that might mean) and, ultimately, quietude over noise. This ideological framework underlines much ‘common sense’ about auditory experience, however it frequently remains unacknowledged.
We might consider a liberal politics in opposition to this conservative politics of silence, which recognises responses to sonic environments as ‘personal’ and therefore refuses overarching moral judgements about ‘good’ and ‘bad’ sound. However, I’m also wary of endorsing a politics that treats the individual, autonomous subject as the primary site of the political. Indeed, the conservative politics of silence that we see in the work of figures such as R. Murray Schafer is often indebted to a liberalism that prioritises control and the freedoms and rights of the individual – I’m thinking here of Schafer’s complaint that you can rid your private property of a physical intruder but not an aural one: “A property-owner is permitted by law to restrict entry to his private garden or bedroom. What rights does he have against a sonic intruder?” (1993, 214)
DM: One of the sections I particularly liked was the “What does noise do?” section where you delved into information theory through the work of Claude Shannon to show how noise was an essential part of a communications system, how noise can be a necessary, amplifying presence, needed to successfully transmit a message (voice over phone lines, data packets over the internet, etc.), how noise can enrich a system. I found myself thinking about this section a lot, often in relation to R. Murray Schaffer’s Platonic ideal state of silence. (“a Platonic, transcendent realm of a pure and ideal sonority, which paradoxically exists as undisturbed and eternal silence”).
I was also thinking about Cosmic Microwave Background radiation, the residual signature of the Big Bang, the background noise that carried all the information that formed our universe. It seems like noise is an intrinsic part of our world, both human made and naturally occurring, and fighting against it seems like such a waste of energy.
MT: It strikes me that when Schafer and other acoustic ecologists talk about fighting noise, they’re fighting a symptom rather than a cause. In these discourses, there is much talk of noise and environmental destruction but very little on how these processes relate to capitalism and settler-colonialism. In that regard, while I don’t think fighting against noise in absolute terms is futile, I do maintain that there are still fights to be had against high levels of noise. While I am critical of liberal notions of privacy and control and the ‘right’ to silence, I do also recognise that noise can feel oppressive in some contexts. That said, more often than not high levels of noise is a symptom of bigger social and political problems – for example, of poor quality housing, and a lack of economic choice over where one lives.
DM: One of the themes explore in the book is the idea of the parasite, based on the work of Michel Serres. How does the parasite relate to your idea of noise?
MT: I take from Serres’ figure of the parasite the idea of noise as a relational, transformative and ambiguous in its necessity. In Serres’ reading, the parasite changes things, for better or for worse. Either way, the parasite does something, it adds something to the mix. In other words, it is affective. And yet, there is no ‘mix’ without it. Parasitic noise is the ‘excluded middle’ that must be included: it is the necessary ‘third term’, which pertains to the necessity of the material medium/milieu. From this perspective, there is no original state of calm, which is then broken by noise. If there is mediation there is noise, if there is the relation there is the parasite.
DM: Could you talk some about “the poetics of transgression” as you call it? How does this “transgression” relate to your ethico-affective approach?
MT: The poetics of transgression refers to the centrality of ‘line-crossing’ narratives in accounts of noise’s use in the sonic arts and art more generally. It’s predicated on what Henry Cowell calls the ‘time-honoured axiom’ that noise and music are opposites. Bringing noise into music, or music into noise relies on the crossing of boundaries, of material and discursive borders. This ‘line-crossing’ is often accompanied by a rhetoric of extremity and radicalism, shock and awe.
While different notions of transgression have certainly been influential for various noise music practitioners, I seek to decentre it as a way rather than the way of understanding noise’s use as an artistic resource. I argue that the dominance of the poetics of transgression has risked reducing noise music to its most ‘extreme’ manifestations. In light of the ethico-affective approach to noise that I develop throughout the book, which understands noise as a transformative force and necessary component of mediation, I suggest that noise music can be understood as an act of exposure, which, rather than bringing noise into music (or vice versa) exposes, extends and foregrounds the noise that is within the techno-musical system so as to generate new sonic sensations. With this approach, I hope to make more space for noise music practices that do not fit comfortably with the poetics of transgression and its aesthetics and rhetoric of extremity.
Featured Image: Noise Music
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The Noises of Finance–N. Adriana Knouf
“Genres, styles form around places of cohesion, of transport, of passage. Not an instrumental mathematics (though it can be that too), but a speculative one that seeks out locations of collective affect, of resonance between micro and macro spheres.” –Marcus Boon, “One Nation Under a Groove”
Yes. Punk, is a way of living, being, thinking, and relating to the world. Yes, it is bigger than borders. . .greater than the sum of than any number of bands or even the label of “musical genre” altogether. Its dynamic style visually signifies; its DIY mode-of-operations can empower, even as its more capitalist-oriented versions can frustrate and exploit.
YES YES YES.
But also, NO!
Even if punk’s sound intentionally evades classification and clichéd high-fidelity top-ten lists like Keanu Reeves dodges bullets in the Matrix, it nonetheless exists. and means. and incites. and motivates. and creates powerful structures of feeling that resonate through entire lifetimes, reverberations of that one all-ages basement show.
How do we know? Because, at the absolute very least, both of us have heard it with–and through–our bodies. It has moved us, and not just symbolically, intellectually, politically, and metaphorically. It has quite literally vibrationally, kinesthetically, heart-throbbingly, finger bleedingly, head-bangingly, body-smashing-up-against-others-bodily, in the pit of our stomachs-y, angry tear cryingly, skin tinglingly moved us.
Without universalizing our respective experiences in the Jersey and Inland Empire/SoCal punk scenes of the 1990s/early 2000s–and our wide listenings and local involvements since then–we want to say simply that punk sound is not an abstract and negative entity. Punk sounds–and punk’d sounds–form distinct sonic calls to some of us out there in the world that our bodies yearn to answer.
And its listeners’ understanding of and relationship to punk’s sound(s) matters. In her essay “On Not Playing Dead,” Bikini Kill, Le Tigre, and (the) Julie Ruin lead singer Kathleen Hanna described one of the key powers of punk’s live sound as creating a threshold of physical exchange, a vibration drawing folks into “one of the only spaces where we give and receive pleasure publicly” to friends and strangers alike, which she argues “seems radical for a myriad of reasons, especially because it challenges the idea that sexuality/pleasure is only for people in straight/monogamous relationships and not something we as a community can have through music.” Punk sound constructs, enables, and sometimes downright demands a variety of participatory responses, both individual and social.
In short, just ask a punk about what punk sounds like! They know! And they will tell you about it! It’s up to us to figure out how to listen. And what better space to try in the audiovisual ‘zine that is Sounding Out!, started by folks whose scenes taught them how to forge and sustain community with and through sound.
This series (and its follow up in Spring 2017) calls bullshit on the related notions that punk sound is either simple presence–ye olde “three chords,” a misnomer that is always already more geographically and historically specific than popular discourse allows–or overdetermined absence, a too-open, too-inclusive sound that, to riff on Green Day, is simultaneously “nothing and everything all at once.” And we very deliberately use “sound” rather than “music” as our guiding framework to think through punk’s sonic pull, not because punk “isn’t music” (a stale but ever present dis on the genre), but because punk itself sounds out the limitations of musical study ( in addition to Alice Bag’s musical manifesto below, see Leandro Donozo’s “MANIFIESTO POR UNA MUSICOLOGÍA PUNK” suggested to us by Alejandro Madrid).
Our Punk Sound series implicitly argues that sound studies methodologies are better suited to understanding how punk works sonically than existing journalistic and academic conversations about musical genre, chord progressions, and/or genealogies of bands. Alexandra Vasquez’s sound-oriented work on Cuban music, for example, in Listening in Detail (2014) opens up necessary conversations about the “flashes, moments, sounds” in music that bear its meanings and its colonial, raced, classed, and gendered histories in material ways people can hear and feel. While retaining the specificity of Vasquez’s argument and the specific sonic archive bringing it forth, we too insist on “an ethical and intellectual obligation to the question: what do the musicians sound like” (12) and how do folks identifying with and through these musical sounds hear them?
In this series, we invite you to amplify varied historicized “details” of punk sound–its chunk-chunk-chunk skapunk riffs, screams, growls, group chants, driving rhythms, honking saxophones–hearing/feeling/touching these sounds in richly varied locations, times, places, and perspectives: as a pulsing bead of condensation dripping down the wall of The Smell in Downtown LA (#savethesmell), a drummer making her own time on tour, a drunk sitting too near the amp at a backyard party, a queer teenager in their bedroom being yelled at to “turn it down” and “act like a lady[or a man]”. . .and on and on. Today’s essay is by Yetta Howard. Yetta discusses the pre-, post- and proto- punk movements that resisted the hegemony of a dominant punk sound from within. How is resistance be productive of a radical identity?
–Aaron SO! (Sounding Out!) + Jenny SO! (Sounding Out!)
The radical impulses of punk sound are generally thought to encompass noisiness, inaccessibly, and inconsistency. Beyond the three chords, anti-virtuosity, and “fuck you” to dominant culture that came to define punk is its spirit of provocation. Punk’s ability to be categorized as a type of identifiable chaos is both what allows it to be readily commodified (in the case of pop-punk), and paradoxically what allows it to coalesce as identity (insofar as punk is the sound of marginal experience). Perhaps, in punk, we can listen for a sense of cultural libertinism, in line with what José Muñoz discusses as “the desire, indeed the demand, for ‘something else’ that is not the holding pattern of a devastated present, with its limits and impasses” (98). Where we hear musical norms challenged in terms of non-heteronormative erotics, like in Bad Brains’ “Pay to Cum,” or as reflecting authoritarian violence, as in the Dead Kennedys’ “Police Truck,” is equally where we may locate punk’s fluidity and refusal to maintain a uniformity of sound.
While punk’s sonic offense to authority and legitimacy was initially cast as a mode of rejecting mainstream politesse and a reflection of a class-specific youth revolt, I want to suggest that these offenses can be made palpable as non-visually-inclined gendered and sexual incitements–inhabitations of sound that are physically felt as anti-normative auditory expression. We hear these expressions today in Xiu Xiu’s “Stupid in the Dark” (2014), set to an uncontrollable pulse “in the moonlight,” the non-normative embrace of violence and the erotic are tangible within the texture of this sinister sound. By listening here to punk’s fringes, I aim to highlight how it actively distorts normativity, disrupts readability, and refuses consistency. I propose that when disobedience is cast as a sexual or gendered event, punk incoherence moves closest toward sounding like a stiff middle finger to dominant uptake–an incoherence that signifies radical identity formation outside the dominant.
While punk became and continues to be legible as one of the most significant cultural upheavals of late-twentieth-century music, its anti-establishment ethos is most pronounced when it reflects gender and sexual transgression. This is most clear in a handful of punk’s first wave and, counterintuitively, in contexts that would not necessarily be called punk. Indeed, its proto-punk predecessors and postpunk experimenters become compelling places to listen to punk’s sonic spirit.
Embodying sexual and ethnic difference as audible protest, Alice Bag of the Bags and the Alice Bag Band, cultivated punk anger as both a menacing scream and a revision of white masculinist rage. As documented in Penelope Spheeris’s The Decline of Western Civilization (1981), while performing “Gluttony,” Bag aggressively meshes with the crowd and, wearing a pink mod dress, pushes slam-dancers out of her way. Uttering “watch the calories,” she fiercely shifts from a reproachable timbre to strident shrieks. In her Violence Girl: East L.A. Rage to Hollywood Stage: A Chicana Punk Story (2011) memoir, Bag includes stories about witnessing her father abuse her mother as well as her struggles with dieting and abortion, all of which obliquely and explicitly informed the female bodily revolt we hear in her raw, counter-melodic vocalizations. As gendered, these forceful contestations of conformity extend to the rejection of homogenizing punk style heard on “We Don’t Need the English” (1979).
Also moving against social-sexual normativity, The Cramps’ version of Hasil Adkin’s psychobilly “She Said” on their Smell of Female (1983) live album—featuring a sex theater on its cover—conspicuously emerges as a sonic resistance to the status quo of mid-eighties sexuality. Alongside the frenzied vibrations of Poison Ivy’s and Kid Congo Powers’s sharp guitar plucking, Lux Interior narrates the hungover morning after a one-night stand using explosively orgasmic, hysterical repetitions of “wooo, eeee, ah, ah!” What we hear in these oppositionally tuned shrieks, grunts and cries is punk loudly throwing its disregard for accessibly and popularity into the ears of general decorum.
The lo-fi and brutish contours of punk have existed for decades along the margins of the genre. Before punk was called punk, before industrial became recognizable as its own genre within postpunk, Throbbing Gristle, which included members Genesis P-Orridge, Peter “Sleazy’ Christopherson, Cosey Fanni Tutti, and Chris Carter, crafted their sound with a broken bass, a homemade modular synthesizer, and a set of cassette-players fed through a keyboard. Using “industrial” to describe their noise pieces and eventually to name their label, the group had a creative friendship with Brion Gysin and William Burroughs. Burroughs employed Gysin’s cut-up technique in/as his writing, which he described/subsequently cut-up: “Images shift sense under the scissors smell images to sound sight to sound sound to kinesthetic” (RE/Search #4/5, 36). If the literary extremes of Burroughs’s words operate in the same scope as their synesthetic ambiguity, then the anti-music provocations that they suggest become something heard in Throbbing Gristle as gender non-normativity, bodily lawlessness, and erotically minoritarian practices.
In an early performance art show and exhibition titled “Prostitution” (1976), members of Throbbing Gristle (who began in 1970 as COUM Transmissions) made full use of accoutrements associated with the abject body: the exhibition featured images from the Playbirds series, pornographic magazine layouts of Tutti, and P-Orridge’s TAMPAX ROMANA, a mixed-media installation that included used tampons. The volume of these images is disruptive, their performative effects straddling the sonic-visual extremes of artistic practice. Appearing in Marie Losier’s The Ballad of Genesis and Lady Jaye (2011), the more recent bodily equivalent is P-Orridge and the late Jaye’s “Pandrogeny” project, a corporeal cut-up: both underwent plastic surgery to look like each other—the physical reference points, like Throbbing Gristle’s sounds’ connections with its sources, became lost as they became one, with P-Orridge getting tattoos of Jaye’s beauty marks, for instance. This is the anti-legibility that characterizes punk’s visionary sonic limits. In their modification of flesh, they embody the material alteration of what is heard in heavily processed tape, ruthless loops, and use of non-musical objects as modes of radical resignification.
Contemporaneous with Throbbing Gristle, Chrome’s formation in 1975 firmly placed its industrial experiments in anticipation of punk with their sonic legacy continuing as postpunk sound. In what is a typical two-ish minute duration of a punk song—say, the Germs’ “Manimal”—Chrome’s “Animal” from Red Exposure (1980) sounds as if it were made of chrome. Tinny, metallic tape manipulations and synthesized guitar make each note sound as if it were sinking in deep, murky water. It is a groove emerging from a bath of acid. For the less-vanilla-inclined ear, this combination of sounds is also immensely erotic. Listening to these multiple sonic elements against the logic of normative arrangement means listening to queer forms of relationally. Here, aural encounters are defined by misalignment rather than complementarity.
The equally confrontational sounds of proto-punk duo Suicide, consisting of the late Alan Vega’s often-terrifying vocals and alarming sparseness of Martin Rev’s keyboard work, ushered in what became No Wave. No Wave, New York’s downtown art-film-performance underground of the 1970s, was a cultural anti-movement that contested the increasing popularity of New Wave as subcultural sound. Visually documented in Kris Needs’s Dream Baby Dream: Suicide: A New York Story (2015), Suicide was one of the first to put “punk music” on fliers for their early 1970s gigs at avant-jazz venues and underground art spaces. We hear punk in Suicide when listening for deviations from punk’s dominant formulae of masculine, churning guitar-rock.
While Suicide’s shows were notoriously destruction-inviting as performances, the antagonism of their sound was established through the use of drum machines instead of drums, incorporation of shadowy forms of disco’s repetition, and, at times, a crooning gone awry. Accordingly, “Girl” on their self-titled 1977 album chill-drips sex as Rev’s opening sequence of full-bodied, low tones undulate at angles for its listeners. Less expected as an accompaniment is Vega’s quivery “turn me on,” murmured “yeahs,” and carnal utters of “oh girl,” which reassign any sense of typically gendered desire. He pleads “touch me soft” before fully offering himself up: these tortured requests morph into submissive orgasmic expressions of desire. Here we might call up the temporally correct yet misplaced mixture of black female sexual agency as disco rhythm and vocal moan-cries in Donna Summer mixed with Iggy Pop’s gravelly appeal on The Stooges’ “Penetration.” Punk’s transgressions are not merely sexual in this case, rather, they embody auditory forms of a sexual avant-garde.
Coming out of New York’s No Wave milieu, Sonic Youth, whose “The Good and the Bad” from their self-titled EP Sonic Youth (1982) defines punk in the negative, by forcing us to revel in dissonance. Thurston Moore plays heavy bass as Kim Gordon and Lee Ranaldo continuously build endless dissonance. The song collapses onto itself until it becomes a rebellious pleasure, an oppositionally melodic omen. The song ends with the heavy bass that initially introduced the song. In opposition to the three-minute Ramones single, it is eight minutes of exhilaratingly wrong notes and inconsistent drumming. The song doesn’t champion “bad,” it breaks down the binary: it refuses to be read as good or bad. Similarly, a live version of this song featuring some vocal work by Moore and Gordon is named “Loud and Soft”—a key description functioning all at once to signal the refusal to be named or the need for classificatory stability—sonic, social, or otherwise.
The musical analogue to Jamie Reid’s Nowhere Buses (1972) image, used for The Sex Pistols’ “Pretty Vacant” (1977) single, is the vocalization of “no future.” Perhaps there was no future for punk’s initial impact if comprehensibility implied watering it down for dull masses. At stake in the politics of punk sound are the identities negotiated at its incomprehensible fringes–they productively and spiritually account for marginal experience. In Xiu Xiu’s “Stupid in the Dark”, we can detect a dark renewal of The Pistols’ not wanting a “holiday in the sun.” Like the others I have pointed to in this essay, Xiu Xiu recognizes how the prurient dangers of night are necessary for non-normativity and discordant strangeness to flourish. In Dirty Beaches’ distanced echoing we can listen for a bloody smirk in the muffled vocal of “Night Walk” (2013) and, rather than necessarily take that bus to nowhere, go somewhere by taking that walk on the other sides of the conventional.
Cover image is “Cramps-3” by Chad Johnson CC BY-NC-ND.
Yetta Howard is Assistant Professor of English and Comparative Literature at San Diego State University. She specializes in gender and sexuality studies, queer studies, and feminist theories of race and ethnicity. Emphasizing visual and auditory texts, her research and teaching focuses on 20th- and 21st-century American cultural studies with an investment in unpopular, experimental, and underground cultural production. Some of Howard’s work appears in TSQ: Transgender Studies Quarterly, The Journal of Popular Culture, and Women & Performance: A Journal of Feminist Theory. Her book manuscript, Ugly Differences: Queer Female Sexuality in the Underground, is under contract with the University of Illinois Press.
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Enacting Queer Listening, or When Anzaldúa Laughs – Maria P. Chaves Daza
Feeling Through the Keen and Grind: Team Dresch’s Personal Best – Gretchen Jude
Live Through This: Sonic Affect, Queerness, and the Trembling Body – Airek Beauchamp
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In this podcast Marcella Ernest discusses the cultural use of sound in Hula and other Native languages with discussants Candace Gala and Nancy Marie Mithlo. They consider the role of silence in understand an Indigenous intellectual system. How do we use silence as a tool in Native creative processes? What does silence demand from us? Tune in as Ernest tackles these demanding questions!
Candace Gala, PhD, The University of British Columbia, Language and Literacy Education
Nancy Marie Mithlo, PhD, Occidental College, Art History and Visual Arts
Marcella Ernest is a Native American (Ojibwe) interdisciplinary video artist and scholar. Her work combines electronic media with sound design with film and photography in a variety of formats; using multi-media installations incorporating large-scale projections and experimental film aesthetics. Currently living in California, Marcella is completing an interdisciplinary Ph.D. in American Studies at the University of New Mexico. Drawing upon a Critical Indigenous Studies framework to explore how “Indianness” and Indigenity are represented in studies of American and Indigenous visual and popular culture, her primary research is an engagement with contemporary Native art to understand how members of colonized groups use a re-mix of experimental video and sound design as a means for cultural and political expressions of resistance.
Featured image “Silenced” by János Csongor Kerekes @Flickr CC BY-SA
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Sounding Out! Podcast #57: The Reykjavik Sound Walk – Andrew J. Salvati
Sounding Out! Podcast #47: Finding the Lost Sounds of Kaibah — Marcella Ernest
Sounding Out! Podcast #51: Creating New Worlds From Old Sounds – Marcella Ernest