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The Clash, “Guns of Brixton”—The Editorial Collective
Alice Bag, “Programmed”—Jenny Stoever
Speedy Ortiz, “Raising the Skate”—Liana Silva
OutKast, “Humble Mumble”—Regina Bradley
The Staple Singers, “Freedom Highway”—Shakira Holt
El Jornaleros del Norte, “Serenata a un Indocumentado”—Dolores Inés Casillas
A Tribe Called Red (feat. Yasiin Bey, Narcy & Black Bear), “R.E.D.”—reina alejandra prado
Body Count, “No Lives Matter”—Holger Schulze
Pega Monstro, “Partir a Loiça”—Carlo Patrão
Björk, “Declare Independence”—Chris Chien
Green Velvet and Prok & Fitch, “Sheeple”—Justin Burton
Pet Shop Boys, “Go West”—Airek Beauchamp
Kate Bush, “Waking the Witch”—Gretchen Jude
Cabaret Voltaire, “Do the Mussolini (Headkick)”—Yetta Howard
Lucid Nation (feat. Jody Bleyle), “Fubar”—Tamra Lucid
Resorte, “Opina o Muere”—Aurelio Meza
Leonard Cohen, “You Want it Darker”—Ariel B Taub
Charlie Haden & Liberation Music Orchestra, “We Shall Overcome”—Elizabeth Newton
Joe Strummer and the Mescaleros, “Johnny Appleseed”—Aaron Trammell
***Click here to read our Blog-o-versary year-in-review by Ed. in Chief JS
Last July 27th, our pithy editorial trio decided to press “publish” on their goal to curate the best new writing about sound and its cultural, emotional, and political resonance in our everyday lives, and thus, Sounding Out! was born, screaming and kicking, into the blogosphere. Since then, we have kept our ears open and our fingers tapping the keys in order to bring you consistent, well-written, and provocative think-pieces that push the field of sound studies into productive new territory. We thank our writing crew, past, present and future for making it all happen; here’s to more great ideas, words, and recordings. We also hope that you, dear readers, have enjoyed year one as much as we have and are looking forward to lots more, because we—like L.L. Cool. J.—are dedicated to doing it (and doing it) and doing it well. In honor of our first Blog-O-Versary, we have created a collaborative podcast for your aural pleasure with songs handpicked by all of us and put together by AT. Its theme, “A Celebration of Awesomeness,” holds for you as much as us and we thank you for your ears, eyes, tweets, retweets and facebook support. We also appreciate your very thoughtful (and thought-provoking) comments. . .keep them coming! In the meantime, celebrate with us by checking out an older post you may have missed and letting your ears enjoy our downloadable editorial mixdown.
Track Listing: (Anniversary/Tony! Toni! Toné!; We’re Coming Out/The Replacements; Divine Hammer/The Breeders; Everlasting Light/The Black Keys; I Wanna Holler (But the Town’s Too Small)/The Detroit Cobras; It was a good day(remix)/Ice Cube; Electric Feel/MGMT; No One Lives Forever/Oingo Boingo; Decouvert De Soleil/Pavement; Rudie Can’t Fail/The Clash; Busted/Jens Lekman; Birthday/Sugarcubes; There is a Light That Never Goes Out/The Smiths)
As someone who actively self-identifies against the form of cinema, I sure write a lot about it. I saw Pirate Radio last Thursday and it was great! Here’s the plot: Set in 1966, a group of British DJs are forced to the high seas to broadcast rock and roll music in a country where the airwaves are increasingly censored. In this context of surveillance and control, every time a record needle set into a groove, it was sexy. This got me thinking about context – music is always contextualized, and I suspect that when it fits within a drab or unappealing context, it becomes less glamourous.
So flash back, forward, or sideways into any example of rebellious music. Is the music itself glamourous, or is it the context? Rebellion has always been a central concept to the mythos of rock and roll, and often contextualized within ideas of censorship. Be it issues of race, class, gender, government, geography, technology, or mobility; the history of rock is littered with examples of ‘rebel’ musicians overcoming whatever forces of censorship attempt to limit and control their influence. This is a history that I identify with, and a mythology which I love. I worry however, that it has been largely staged, appropriated, and contextualized, in such a way that the industries driving it remain invisible.
Now, more than ever before, it has become clear that the theme of rock and roll rebellion has become moot – even deceptive. Rebellion has never been an artistic production, instead it has always been critical – subject to the contexts and biases of music critics and anthologies. If this seems pessimistic, that is because it is a challenge; who are the true rock and roll ‘rebels,’ and do they still make music?