text:
Straight Outta Compton . . .Via New York
Sounding Race in Rap Songs explores the production of musical identity in hip hop's first two decades as a commercial genre. Although I don't ignore lyrics or visual imagery, my main purpose is to analyze rap music as music, to understand how specific artistic decisions contribute to racial meaning in particular songs. My methods revolve around the study of how producers manipulate breakbeats, also commonly known as "breaks." Initially understood as short, percussion-heavy passages that appear in many songs recorded in the 1960s and 1970s, breaks have been central to hip hop from the music's earliest days in the South Bronx when DJs began isolating and looping them on their turntables to the delight of dancers. Since then, producers have tried out new approaches to working with breakbeats: hiring studio musicians to re-record them; programming drum machines to imitate them; and using sampling-sequencing technology to capture and rearrange them.
Throughout the book, I describe how producers use breaks and give rise to musical-racial codes that can be manipulated to project a variety of identities and attitudes. The following excerpt from the third chapter of Sounding Race, explains how the style of beat making popularized by the New York-based Bomb Squad (Public Enemy's production team) provided a blueprint for pioneering west coast gangsta rap group N.W.A's depiction of Compton, California. By layering multiple loops into a dense, cacophonous mix, N.W.A transposed Public Enemy's "too black, too strong" sound onto the world of Los Angeles's postindustrial streets.
N.W.A and its former members have been in the news recently thanks to the biopic Straight Outta Compton. Yet one aspect of the group's development downplayed in the film is the way that its members formulated their identities in relation to east coast rap. In the mid-1980s, New York was the undisputed center of the industry, and its influence on L.A.-based acts is easy to see and hear. Ice Cube's first group C.I.A. ( Cru' In Action) used a nasal, hocket style approach to rapping cribbed directly from the Beastie Boys 1986 album License to Ill. And the cover of N.W.A's first album N.W.A and the Posse, features numerous group members posing with the giant clock necklaces made famous by Public Enemy's Flavor Flav. In similar fashion, the beat Dr. Dre produced for "Straight Outta Compton" (the title track to their breakout 1988 album) followed the Bomb Squad's potent formula for signifying militant blackness. —Loren Kajikawa
The following is an excerpt from Chapter Three "'Let Me Ride': Gangsta Rap's Drive Into The Popular Mainstream," of Loren's Kajikawa's Sounding Race in Rap Songs, with thanks to The University of California Press. Any notes have been included in the text to conform to Sounding Out!'s style sheet.
We [Public Enemy] were in Vegas and they [N.W.A.] were on tour with us, and I had just got the vinyl in. That's what this is all about. Because Run-DMC and LL Cool J gave me energy. And if our energy happened to be transferred to N.W.A., then that's what this whole thing is for." Chuck D as quoted in Brian Coleman, Check The Technique: Liner Notes For Hip-Hop Junkies (New York: Villard Books, 2007), 354.
According to Chuck D, Public Enemy's musical style directly influenced Dre, and he recalls giving the first two copies of It Takes a Nation of Millions To Hold Us Back to Dr. Dre and Eazy-E prior to the album's official release. The recorded evidence supports Chuck D's recollection. For many of the tracks on Straight Outta Compton, Dr. Dre seems to have borrowed from the "loops on top of loops" style of Public Enemy's Bomb Squad.
In fact, when Ice Cube left N.W.A. in 1989, he hoped that Dre would continue to make beats for his solo project. When this proved impossible due to Dre's contractual obligations to N.W.A., Ice Cube began collaborating with the Public Enemy's Bomb Squad, which served as the production unit for his album Amerikkka's Most Wanted (1990). N.W.A.'s breakthrough was finding a way to put a distinctive spin on these influences, and the artistic strategy that they arrived at for their first Ruthless Records release was designed to put themselves on the map—both literally and figuratively.
Rather than shout out the multiplicity of neighborhoods where their members were actually from (as they had done in "Panic Zone"), N.W.A. chose to center their identity around Dr. Dre and Eazy-E's hometown of Compton, California. The sound of Compton as Dr. Dre imagined it, however, drew on musical practices and artistic decisions similar to those found in Public Enemy's "Rebel Without a Pause." To construct the rhythmic foundation of "Straight Outta Compton," Dre looped the breakbeat from The Winstons' "Amen Brother" (1969), one of the most sampled beats in hip hop, that also served as the foundation for dozens of songs in the UK's "jungle" (aka "drum and bass") genre.
Like other heavily sampled breaks from this era, the one-measure loop features a syncopated interlocking of snare and bass hits that is reminiscent of James Brown's "Funky Drummer (featuring Clyde Stubblefield's famous beat). As if he were following the Bomb Squad's exact formula, Dr. Dre layered a drum machine (Roland TR-808) over this break.
The 808 was programmed to add its characteristic bass boom to the first two drum kicks of the "Amen" loop, and to tick off a 16-count hi-hat pulse with a closing hi-hat clasp on the downbeat of every other measure. The "Amen" break and the two hi-hat parts, provide the rhythmic foundation around which Dr. Dre places numerous other repeating sounds. Two other ingredients stand out in this beat: a guitar ostinato and a low drone on what sounds like a baritone sax or trombone (or perhaps a downwardly pitched sample of another instrument). The guitar ostinato, which plays straight eighth-notes on E-flat except for a one step descent to D-flat on the "and" of every fourth beat, churns out tight 1-measure units of sound.
The horn drone (also on E-flat) has a raw, muddled quality, and casts an ominous cloud over the track.
By combining these layers with the dense percussion track, Dre created a tightly packed funk groove with many sonic similarities to Public Enemy's Bomb Squad. Like "Rebel Without a Pause," the track to "Straight Outta Compton" features tight 1-measure loops stacked on top of one another to create a thick and intense groove.
Except for the drone, most of the elements in the track have a punchy feel, full of rhythmic stabs and staccato attacks, including the automatic gunfire that Dre samples to follow Ice Cube's reference to an AK-47 assault rifle. Due to the "noisiness" of the beat, the way sonic space seems filled to maximum capacity, the members of N.W.A.—similar to Public Enemy's Chuck D and Flavor Flav—practically yell their verses, as if they must raise their voices in order to be heard over the cacophony. Even before the actual words to "Straight Outta Compton" are digested, the sound of the track and the group's vocals evoke the palpable tension of imminent conflict, which reinforces the theme of violent confrontation in the song's lyrics. For the chorus of "Straight Outta Compton," Dr. Dre strings together a series of samples with rapid-fire precision. The sound of screeching car tires from Davy DMX's "One for the Treble" is followed by turntable scratching; the scratching leads directly to a choppy sample of the words "City of Compton" from Ronnie Hudson's "Westcoast Poplock," which is then followed by more scratching. The whole chain of musical events is deployed over the breakbeat from Funkadelic's "You'll Like It Too," which Dr. Dre splices into the beat just for the chorus. The rapid cutting from one sample to the next exemplifies the "rupture" Tricia Rose identifies as fundamental to hip hop's post-industrial aesthetic in Black Noise: Rap Music and Black Culture in Contemporary America (39).
Thus, the music and lyrics for "Straight Outta Compton" depict the city as a place of extremes, where things happen fast and change is sudden and complete. It is a place where one is either equipped to deal or left behind. In this way, Dr. Dre exploited the spatial characteristics encoded in Public Enemy's music to depict Compton as place. The sonic characteristics that animated Public Enemy's militant blackness were rerouted and effectively transposed onto N.W.A.'s depiction of Los Angeles gangstas.
Loren Kajikawa has served on the faculty at the University of Oregon's School of Music and Dance since 2009. His main area of research and teaching is American music of the twentieth and twenty-first centuries, and he offers a variety of courses in music history, ethnomusicology, and musicology. Kajikawa's writings have appeared in American Music, Black Music Research Journal, ECHO: a music-centered journal, Journal of the Society for American Music,and Popular Music and Society, among others. His recent book Sounding Race in Rap Songs (University of California, 2015) explores the relationship between rap music's backing tracks and racial representation.
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Twitchy Ears: A Document of Protest Sound at a Distance
"I compare New York to Bangkok all the time," a young activist told me, just moments before he joined a small, media-ready protest at the Thai consulate in midtown Manhattan. On a pleasant day this past July, along a quiet side street lined with the gold plaques of consulates general, his comparison felt strained—Thailand is currently governed by a free speech-averse military junta that seized power last year, and mourning a deadly terror attack. In Thailand, the tension and fear are acute; in New York, the local delivery driver was whistling.
The young activist, an ocean removed from Bangkok, sought ways of speaking politically, knowing well that he could and would be heard across that ocean When he returns, if he returns, he may be imprisoned, intimidated, or injured. In front of the consulate in New York, those problems were imperceptible to the uninitiated. But they weighed heavily on all of us. Whenever the group chanted or sang, their voices rose through the low ambience like heavy weights, and stopping they fell away without receiving a response. There was a perverse aural disjuncture between the easy rhythms of the day and the harrowing risk that we knew was present in every utterance.
I had come to participate in the event, to speak against the military junta's recent arrest of fourteen university students for protesting peacefully. I had also come to make a sound recording, and as usual to consider the odd phenomenon of protests staged to create media artifacts rather than to influence people in the flesh. The purpose of the protest was not to negotiate risk but to invite it. It barely mattered that New York City didn't hear the protest as it occurred. Where it needed to sound potent, it would. Recorded sound surely renders all protest multi-sited; protest sound is a speech-act spatially and temporally deferred.
However, for protests staged at great physical distance from what's being protested, the specter of comparison and difference between sites and movements can be profound. New York is in certain ways friendly to protest; the city is liberal with permits, and even unpopular opinions are expressible. Relative to most of Thailand, this is a welcome distinction. Of course, such freedom can blunt the acuity of dissenting speech — protests limited to a specific place and time, accompanied by two polite cops indifferent to the issue at hand, are easy to tune out. The United States has its own instruments of containing dissenting speech.
Furthermore, as responses to both Occupy Wall Street and the Black Lives Matter movement have shown, organizational structure and subjectivity make some actions more vulnerable to state violence than others. There are moments when a single word can provoke repression here in no less crude a fashion than the Thai junta prefers. But the game has wholly different rules, and these rules engender different strategic responses. Protesting at a distance is both a way of threading multiple sites together and of reflecting on how protesters in different places and movements choose to speak. In the mind of a young activist accustomed to Thailand's particular labyrinth of political expression, the contrast with his own country can become a source of ideas.
"When I first came here," the activist continued with a note of awe in his voice, "Occupy Wall Street just started, so it's like, there is this obvious difference that really intrigued me in how people organize or react to causes. In Thailand we still kind of are using older ways to organize, kind of like really centralized, some figures pretty much
To develop a political movement in the United States is a different challenge than doing the same in Thailand, to put it mildly. In the United States the left risks triviality; in Thailand, it literally risks death. Thai communists were hunted by soldiers in the jungle in the twentieth century, and left-wing political parties are still forbidden today. Republicanism is treason. And with the ascent of the military junta, many trials are now held in secret, and intimidation of political critics is routine. A movement cannot attempt to run headlong toward whatever it wants to topple; circuitous end-runs are necessary. This explains the increased appeal of decentralized protest tactics to Thai activists. The young man I met was far from the first in his country who has espoused such an approach.
The protest began with one woman playing an acoustic guitar, leading the twenty of us assembled in a folk-style singalong. The sincere, uneven rendition of "Song of the Common Man," currently popular among anti-junta protesters in Thailand, was followed by nervous laughter, and the honk of a nearby taxi. The lyrics are mild and the structure formulaic, but the song has caught on among the junta's most outspoken critics – notably, one recording available online was made by a band whose songs are strident enough that they were pursued by the military, and forced to flee to Laos. The song lasted less than two minutes, and an American, who worked for a freedom-of-speech NGO in Southeast Asia, ensured that the group moved on to the next part of the tight half-hour schedule. Every moment was brief but assiduously documented.
We took selfies wearing masks shaped like the faces of the fourteen students who were set to appear before a military court that day. The Thai consulate employees watched with bemusement, and briefly chatted with us in the low, serious hush filled with polite participles that characterizes formal conversation in Thailand. The event ended, and the quiet side street remained undisturbed.
One moment was particularly chilling. The American was leading the group in a series of "what-do-we-want-when-do-we-want-it" chants, which though adapted to concerns of the anti-junta movement felt pro forma and out of place. That cadence and call-and-response pattern is almost never heard at protests in Thailand, and the protesters were not accustomed to it. When someone suggested chanting in Thai rather than English, the group naturally fell into a different rhythm. The repetition of Prayuth aawk bpai, an insulting demand that coup leader General Prayuth Chan-Ocha go away, was much sharper. The chant hearkened to protests of recent years against illegitimate Thai governments. A recording of it would, without doubt, be very risky once heard by the wrong ears in Thailand. Its potency was not only in its direct semantics, but in the connection it formed between the current protest and protests of the recent past. Protest in an age of ubiquitous media tends to form such links across boundaries of time and space.
But a curious thing happens when protest movements can readily observe one another. Comparisons are made all the time, but so are convergences. Rhetoric and strategy become cosmopolitan, not native to any place, and protests increasingly echo other protests. Contemporary Thai dissidents have been influenced by Argentinian horizontalism, and they swap documentaries about the Arab Spring online, for example. The watertight conditions of a geopolitical place have more leaks than was thought. And as ideas travel, the places themselves can become fertile grounds for the growth of those ideas in practice.
Sound is vital to this process. Perhaps because it is often regarded as the most visceral expression of the body, sound has a special relationship to protest. Sound and self need not be romanticized as coterminous in order to appreciate that speech acts feel very close to the body. But listen again. Sound can both feel immediate and be radically disembodied. It can be a material for experimentation, for feeling out how to speak in the immediate present, and be by the same stroke a final product to be audited by the twitchy ears of the junta. The July protest was and will be both.
Benjamin Tausig is assistant professor of ethnomusicology at Stony Brook University, where he works on sound studies, music, and protest in Bangkok and other urban spaces. He is on Twitter @datageneral
Featured image: Picture of #FreeThe14 protest in New York City this past July. From Thai Students Center for Democracy(@TSCD_EN) tweet on July 7, 2015.
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Sound at SEM 2014
Hot on the heels of the American Musicological Society and Society for Music Theory's joint annual meeting in Milwaukee, the Society for Ethnomusicology will hold its 59th Annual Meeting in Pittsburgh, November 13-16, 2014, hosted by the University of Pittsburgh. SEM is arguably one of the conferences most hospitable to sound studies, and several panels feature strong papers.
On Wednesday, Nov. 12, the "Music and Labor" pre-conference symposium features some fascinating papers of interest to sound scholars and includes a keynote address by Dr. Marcus Rediker, Distinguished Professor of Atlantic History at the University of Pittsburgh. With panels titled "(Re) Conceptualizing Music and Labor," "The Labor of Music in Transitioning Economies," "Art as Work: Defying Capitalist Hegemony and National Narrative through Musical Activism and Creative Adaptation," and "Transformation of Music Labor Regimes in Socialist and Post-Socialist Southeastern Europe," even the papers that aren't especially sound studies-related have the potential to demonstrate deft interdisciplinary approaches that would be applicable (and fruitful) in sound studies research.
One of the first sound studies events of the conference program is the annual meeting of the Sound Studies Special Interest Group. Dr. Allen Roda, Jane and Morgan Whitney Research Fellow at the Metropolitan Museum of Art in New York City, and I are currently co-chairs of the SIG; anyone interested in sound studies will not want to miss our meeting on Thursday, November 13 at 12:30-1:30 PM in the Duquesne Room. This year's meeting will mark the SIG's 6th anniversary since it was formed in 2009. The group now has over 100 members and is represented on several panels at the 2014 conference in Pittsburgh. One co-chair seat will become vacant this year, and the group will hold elections to fill this position at the meeting; we also plan to discuss plans for more visibility online and among the academic community.
Before the meeting, come early to the 8:00-10:30 AM session in that same room to catch Molly McBride's paper, "The Sounds of Humor: Listening to Gender in Early Barn Dance Radio," or see a whole sound studies panel titled "Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past" in the Alleghany Room.
If you can't make those early panels on the first day, the convention boasts numerous, high-quality sound studies sessions, many of which convene simultaneously. There have been several sound studies-related panels and individual papers at past meetings, but the number of high-quality papers is certainly trending in favor of more sound studies.
Also, the last several annual meetings have featured a soundwalk hosted by the Sound Studies SIG. This year is no different; however, rather than having a guided walk around the host city, this year's soundwalk will be self-guided. Using the Twitter hashtag #semsoundwalk, participants will listen to Pittsburgh, the acoustic environment of the conference itself, the coffee shop where they stop for refreshment, or wherever they happen to find themselves between 1:15 – 6:00PM on Friday, Nov. 14. Be sure to follow the hashtag – even if you're not in Pittsburgh – to "listen" along with conference participants.
I am delighted to see that this year's conference unites the SEM's commitment to the study of world musics and cultures and sound studies, particularly in panels such as "Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past," "Contemplating Voice in Cross-Cultural Perspective," and "Regulating Space, Regulating Sound: Musical Practice and Institutional Mediation in São Paulo, Brazil." This year also highlights the SEM's strong interdisciplinary bent and makes even more room at the epistemological table for the examination of technoculture and its implications for sound studies and the larger ethnomusicological community.
Because of the sheer volume of sound studies activities, rather than listing my "picks" for the conference, I've listed most of the relevant papers and sessions, leaving the hard decision up to you. In fact, there are so many genuine sound studies panels and papers (or papers on closely related topics) its easy to see why the blurry line that demarcates "sound studies" from "music studies" seems blurriest at SEM. For those who cannot attend the conference, some of this year's panels will be live-streamed. The Special Interest Groups for Sound Studies and Ecomusicology are also co-hosting a roundtable on Saturday morning. For more information about the conference and to catch the live-streamed sessions, visit the conference website at http://www.indiana.edu/~semhome/2014/.
Michael Austin is Assistant Professor of Media, Journalism, and Film and coordinator of the Interdisciplinary Studies Program in the School of Communications at Howard University where he teaches courses in music production, sound design for film and audio production. He holds a Ph.D. in Humanities – Aesthetic Studies (with a specialization in Arts and Technology) from the University of Texas at Dallas and music degrees from UT-San Antonio and UT-Austin. He is also affiliated with the Laboratoire Musique et Informatique de Marseille, an audio/music technology and informatics lab in Marseille, France, and is co-chair of the Society for Ethnomusiciology's Special Interest Group for Sound Studies.
Featured image: "Musician" by Flickr user Joanna, CC BY-NC 2.0
WEDNESDAY, November 12
8:00 am – 8:00 pm
Ballroom 3, Wyndham Grand Pittsburgh Downtown Hotel
Pre-Conference Symposium: "Music and Labor"
THURSDAY, November 13
8:30 – 10:30 am
Duquesne Room
"The Sounds of Humor: Listening to Gender on Early Barn Dance Radio," Molly McBride, Memorial University of Newfoundland
Alleghany Room
Session: Auditory Histories of the Indian Ocean: Hearing the Soundworlds of the Past
"Wonders and Strange Things: Practices of Auditory History before Recorded Sound," Katherine Butler Schofield, King's College London
"Notes in the Margins: Sumatran Religious Hybridity and the Efficacy of Sound, " Julia Byl, King's College London
"Contact, Contestation and Compromise: Sound and Space in 19th-Century Singapore," Jenny McCallum, King's College London
"A 'Wayang of the Orang Puteh'?: Theatres, Music Halls and Audiences in High-Imperial, Calcutta, Madras, Penang and Singapore," David Lunn, King's College London
10:45am -12:15 pm
Sterling 3 Room
"Sounding Neoliberalism in the Richmond City Jail," Andrew C. McGraw, University of Richmond
Heinz Room
"The Color of Sound: Timbre in Ralph Ellison's Invisible Man," Sydney A. Boyd, Rice University
12:30 – 1:30 pm
Duquesne Room
Special Interest Group for Sound Studies
1:45 – 3:45 pm
Sterlings 1 Room
"Radio Archives and the Art of Persuasion: Preserving Social Hierarchies in the Airwaves of Lima" Carlos Odria, Florida State University
Ft. Pitt Room
Session: Mediated Musics, Mediated Lives
"Uploading Matepe: The Role of Online Learning Communities and the Desire to Connect to Northeastern Zimbabwe," Jocelyn A. Moon, University of Washington; Zachary Moon, Independent Scholar
"Staging Overcoming: Disability, Meritocracy, and the Envoicing of Dreams," William Cheng, Dartmouth University
"As Time Goes By: Car Radio and Spatiotemporal Manipulations of the Travel Experience in 20th-Century America," Sarah Messbauer, University of California, Davis
"'How Can We Live in a Country Like This?' Music, Talk Radio, and Moral Anxiety," Karl Haas, Boston University
Sterling 3 Room
Session: Oxide and Memory: Tape Culture and the Communal Archive
Oxide and Memory: Tape Culture and the Communal Archive
"Magnetic Tape, Materiality, and the Interpretation of Non-Commercial Cassette and Reel-to-Reel Recordings from Quebec's Gaspé Peninsula," Laura Risk, McGill University
"Family Sense and Family Sound: Home Recordings and Greek-American Identity," Panayotis League, Harvard University
"The Memory of Media: Autoarchivization and Empowerment in 1970s Jazz," Michael C. Heller, University of Massachusetts, Boston
"Reimagining the Community Sound Archive: Cultural Memory and the Case for 'Slow' Archiving in a Gaspesian Village," Glenn Patterson, Memorial University of Newfoundland
4:00 – 5:30 pm
Sterlings 1 Room
Panel: Contemplating Voice in Cross-Cultural Perspective
"The Gravest of Female Voices: Women and the Alto in Sacred Harp," Sarah E. Kahre, Florida State University
"Re-sounding Waljinah: Aging and the Voice in Indonesia," Russ P. Skelchy, University of California, Riverside
"Katajjaq: Between Vocal Games, Place and Identity," Raj S. Singh, York University
Sterlings 3 Room
Session: Rumors, Sound Leakages and Individual Tales: Disruptive Listening in Zones of Conflict
"From the Struggle for Citizenship to the Fragmentation of Justice: Reflections on the Place of Dinka Songs in South Sudan's Transitional Justice Process," Angela Impey, School of Oriental and African Studies (SOAS), University of London
"Internet Rumors and the Changing Sounds of Uyghur Religiosity: The Case of the Snake Monkey Woman," Rachel Harris, School of Oriental and African Studies (SOAS), University of London
"The Cantor and the Muezzin's Duet at the Western Wall: Contesting Sound Spaces on the Frayed Seams of the Israel-Palestine Conflict," Abigail Wood, University of Haifa
Heinz Room
Session: Historiography, Historicity, and Biography
"A Sonic Historiography of Early Sample-Based Hip-Hop Recordings," Patrick Rivers, University of New Haven
"Biography as Methodology in the Study of Okinawan Folk Song," Kirk A. King, University of British Columbia
"Sounding the Silent Image: Uilleann Piper as Ethnographic Object in Early Hollywood Film," Ivan Goff, New York University
FRIDAY, November 14
7:00 – 8:00 am
Special Interest Group for Voice Studies
8:30 – 10:30 am
Commonwealth 1-2 Room, live streaming
Session: Sound Networks: Socio-Political Identity, Engagement, and Mobilization through Music in Cyberspace and Independent Media
*Sponsored by the Popular Music Section and Special Interest Group for Sound Studies
"Technological Factors Conditioning the Socio-Political Power of Music in Cyberspace," Michael Frishkopf, University of Alberta
"Cyber-Mobilization, Informational Intimacy, and Musical Frames in Ukraine's EuroMaidan Protests," Adriana Helbig, University of Pittsburgh
"Countering Spirals of Silence: Protest Music and the Anonymity of Cyberspace in the Japanese Antinuclear Movement," Noriko Manabe, Princeton University
"Living (and Dying) the Rock and Roll Dream: Alternative Media and the Politics of 'Making It' as an Iranian Underground Musician," Farzaneh Hemmasi, University of Toronto
Sterling 1 Room
Session: Affective Environments and the Bioregional Soundscape
*Sponsored by the Special Interest Group for Ecomusicology
"'Landscape is Not Just What Your Eyes See': Battery Radio, the Technological Soundscape, and Sonically Knowing the Battery, Kate Galloway, Memorial University of Newfoundland
"Re-sounding Caribou: Musical Posthumanism in Being Caribou," Erin Scheffer, University of Toronto
"Cold, Crisp, and Dry: Inuit and Southern Concepts of the Northern Soundscape," Jeffrey van den Scott, Northwestern University
Discussant, Nancy Guy, University of California, San Diego
Duquesne Room
"The Sound of Affective Fact," Matthew Sumera, University of Minnesota
1:15 – 6:30 pm
Soundwalk: A Sonic Environmental Survey of the SEM Annual Meeting
*Sponsored by the Special Interest Groups for Sound Studies and Ecomusicology. Follow the walk on Twitter: #semsoundwalk
(Meet in Wyndham Grand main lobby at 1:15pm. Reconvene in lobby at 6:00)
1:45 – 3:45 pm
Smithfield Room
Session: Strident Voices: Material and Political Alignments
*Sponsored by the Special Interest Group for Voice Studies
"Registering Protest: Voice, Precarity, and Assertion in Crisis Portugal,"Lila Ellen Gray, University of Amsterdam
"Quiet, Racialized Vocality at Fisk University," Marti Newland, Columbia University
"'The Rough Voice of Tenderness': Chavela Vargas and Mexican Song," Kelley Tatro, North Central College
Discussant: Amanda Weidman, Bryn Mawr College
4:00 – 5:30 pm
Heinz Room
Session: Celebratory Sounds and the Politics of Engagement
"Creating Zakopower in Postsocialist Poland," Louise J. Wrazen, York University
"Merry-Making and Loyalty to the Movement: Conviviality as a Core Parameter of Traditionalism in Aysén, Chile," Gregory J. Robinson, George Mason University
"Sounding the Carnivalesque: Changing Identities for a Sonic Icon of the Popular," Michael S. O'Brien, College of Charleston
SATURDAY, November 15
8:30 – 10:30 am
Sterlings 1 Room
Roundtable: Sound Studies, Ecomusicology, and Post-Humanism In/For/With Ethnomusicology
*Sponsored by the Special Interests Groups for Ecomusicology and for Sound Studies
P. Allen Roda, The Metropolitan Museum of Art
Jennifer Post, University of Arizona
Mark Pedelty, University of Minnesota
Michael Silvers, University of Illinois at Urbana-Champaign
Ben Tausig, Stony Brook University
Zeynep Bulut, King's College London
10:45 am – 12:15 pm
Benedum Room, live streaming
Musical Instruments, Material Cultures, and Sound Ecologies
"Bulgarian Acoustemological Tales: Narrativity, Agrarian Ecology, and the Kaval's Voice," Donna A. Buchanan, University of Illinois at Urbana-Champaign
Sterling 1 Room
Session: Theorizing Sound
"Water Sounds: Distance Swimmers and Ecomusicology," Niko Higgins, Columbia University
"Telephone, Vacuum Cleaner, Couch: Senses and Sounds of the Everyday in Postwar Japan," Miki Kaneda, Boston University
Discussant: Benjamin Tausig, Stony Brook University
SUNDAY, November 16
8:30 – 10:30 am
Birmingham Room
Session: Regulating Space, Regulating Sound: Musical Practice and Institutional Mediation in São Paulo, Brazil
*Sponsored by the Latin American and Caribbean Section
"Music under Control? São Paulo's Anti-Noise Agency in Action," Leonardo Cardoso, University of Texas at Austin
"Music Producers in São Paulo's Cultural Policy Worlds," Daniel Gough, University of Chicago
"'Small Universes': The Creation of Social Intimacy through Aesthetic Infrastructures in São Paulo's Underground," Shannon Garland, Columbia University
Discussant, Morgan Lurker, Reed College
Heinz Room
"Hear What You Want: Sonic Politics, Blackness, and Racism-Canceling Headphones," Alex Blue, University of California, Santa Barbara
Alleghany Room
"Sound and Silence in Festivals of the French Revolution: Sonic Analysis in History," Rebecca D. Geoffroy-Schwinden, Duke University
10:45 am – 12:15 pm
Liberty Room
Session: Sounding Nations
"Building the Future through the Past: The Revival Movement in Iranian Classical Music and the Reconstruction of National Identity in the 1960s and the 1970s," Hadi Milanloo, Memorial University of Newfoundland
"Sounding Citizenship in Southern Africa: Malawian Musicians and the Social Worlds of Recording Studios and Music Education Centers," Richard M. Deja, University of Illinois
"Unity in (Spite of) Diversity: Tensions and Contradictions in Performing Surinamese National Identity," Corinna S. Campbell, Williams College
Musical Encounters and Acts of Audiencing: Listening Cultures in the American Antebellum
Editor's Note: Sound Studies is often accused of being a presentist enterprise, too fascinated with digital technologies and altogether too wed to the history of sound recording. Sounding Out!'s last forum of 2013, "Sound in the Nineteenth Century," addresses this critique by showcasing the cutting edge work of three scholars whose diverse, interdisciplinary research is located soundly in the era just before the advent of sound recording: Mary Caton Lingold (Duke), Caitlin Marshall (Berkeley), and Daniel Cavicchi (Rhode Island School of Design). In examining nineteenth century America's musical practices, listening habits, and auditory desires through SO!'s digital platform, Lingold, Marshall, and Cavicchi perform the rare task of showcasing how history's sonics had a striking resonance long past their contemporary vibrations while performing the power of the digital medium as a tool through which to, as Early Modern scholar Bruce R. Smith dubs it, "unair" past auditory phenomena –all the while sharing unique methodologies that neither rely on recording nor bemoan their lack. The series began with Mary Caton Lingold's exploration of the materialities of Solomon Northup's fiddling as self-represented in 12 Years a Slave. Last week, Caitlin Marshall treated us to a fascinating new take on Harriet Beecher Stowe's listening practice and dubious rhetorical remixing of black sonic resistance with white conceptions of revolutionary independence. Daniel Cavicchi closes out "Sound in the Nineteenth Century" and 2013 with an excellent meditation on listening as vibrant and shifting historical entity. Enjoy! —Jennifer Stoever-Ackerman, Editor-in-Chief
"To listen" is straightforward enough verb, signifying a kind of hearing that is directed or attentive. Add an "er" suffix, however, and "listen" moves into a whole new realm: it is no longer something one does, an attentive response to stimuli, but rather something one is, a sustained role or occupation, even an identity. Everybody listens from time to time, but only some people adopt the distinct social category of "listener."
And yet listeners have emerged in diverse historical and social contexts. Arnold Hunt, in his recent book The Art of Hearing, for example, points to the congregants of the Church of England in the late sixteenth and early seventeenth centuries, whose sermon-gadding and intense repetitive listening to preachers became a form of popular culture. Shane White and Graham White, in The Sounds of Slavery, argue that early nineteenth-century black slaves adopted listening, or "acting soundly," as a way of being that gave everyday sounds—conversation, cries of exertion, hymns—multiple layers of meaning and a power unknown to white overseers. Jonathan Sterne, in The Audible Past, describes the post-Civil War culture of sound telegraphy, in which young working class men trained themselves to employ "audile technique" for bureaucratic purposes, rendering their hearing objective, standardized, and networked.
We might add our own contemporary iPod era to these examples. We live in a time, after all, when it entirely acceptable to appear alone in public, ears connected to an iPod, head bobbing to the grooves of a vast archive of recorded music. Sampling, playlists, streaming–thanks to playback technologies, the U.S. has become a nation of obsessive listeners, and the power to "capture" a sound and re-hear it, something that began with the phonograph, remains a time-bending drama that can awaken people to their own aurality. Technologized listening, in fact, has spawned many of the icons of music discourse in the past 100 years: Edison's tone testers in 1910s, record-collecting jitterbugs in the 1930s, audiophiles of the Hi-Fidelity era in the 1950s, Beatles fans with their bedroom record players in the 1960s, the "chair guy" in Memorex's famous ad campaign of 1980, dancing listeners silhouetted in iPod posters since 2003.
But I think also that phonograph-centric narratives have obscured earlier, equally powerful cultures of listeners. The focus of my recent research, for example, has been the world of antebellum concert audiences. Between 1830 and 1860, the United States developed concentrated population centers filled with boosters and recent migrants eager to embrace a life based on new kinds of economic opportunity. Shaping much of the urban experience was a growing commercialization of culture that generated new and multiple means of musical performance, including parades, museum exhibitions, pleasure gardens, band performances, and concerts. Together, these performances significantly enhanced the act of listening: for people used to having to make music for themselves in order to hear it, a condition common to most Americans before 1830, access to public performances by others provided an opportunity for working and middle-class whites (women, African Americans, and the poor were another matter) to stop worrying about making music and, with the purchase of a ticket, to solely, and at length, assume an audience role.
The odd circumstance of purchasing the experience of listening provided class-striving urbanites with new possibilities for self-transformation. For many young, rural, white men, for example, arriving to the city for the first time to take clerking jobs in burgeoning merchant houses, being able to hear diverse performances of music was associated with a cosmopolitanism that brimmed with social possibility. Thus, for instance, Nathan Beekley, a young clerk, recently arrived in Philadelphia in 1849, found himself attending multiple performances of music several nights a week, including more and more appearances at the opera as a way to avoid "rowdies." In New York City during the 1840s, George Templeton Strong, a young lawyer in Manhattan, derided his own musical abilities and instead attended every public musical event he could find, carefully chronicling his listening experiences and analyzing his reactions in a multi-volume journal. Walt Whitman, a young man on the make in Brooklyn and New York between 1838 and 1853, regularly attended every sound amusement he could, including the Bowery Theatre, dime museums, temperance lectures, political rallies, and opera, writing in Leaves of Grass, "I think I will do nothing for a long time but listen/And accrue what I hear into myself."
This culture of listening was, in many ways, very much unlike ours. Despite an expanded access to performance, for instance, professional concerts before the mid-1850s were often understood as part of a wider ecology of sound. Very few listened to music in ways that we might expect today–focused on a "work," in a concert hall, without distraction. Listening, in fact, was as much a matter of local happenstance as personal selection—a passing marching band, echoes of evening choir practice at a nearby church, an impromptu singing performance at a party. Such experiences were marked by the momentary thrill of spontaneity and discovery rather than the studied appreciation of familiarity; in any moment of hearing, it was difficult to know how long the encounter might be, or even what sounds, exactly, were being heard. Cities like Boston and New York were especially rich with such surprise encounters.
Francis Bennett, a young arrival to Boston in 1854, for example, encountered, in his first night in the city, a band concert and the "cries" from a "Negro meeting house," and within weeks became enamored of fife and drum bands, often leaving work to follow one and then another as far as he dared. Young writer J. T. Trowbridge was more stationary but equally enthusiastic about what he heard from his New York rooming house in 1847: "The throngs of pedestrians mingled below, moving (marvelous to conceive) each to his or her 'separate business and desire;' the omnibuses and carriages rumbled and rattled past; while, over all, those strains of sonorous brass built their bridge of music, from the high café balcony to my still higher window ledge, spanning joy and woe, sin and sorrow, past and future…."
Music listeners were also often listeners of other forms of commercial sound, especially theater, oratory, and church services, which, together, comprised a complex sonic culture. This was especially reinforced by the physical spaces in which they shared such diverse aural experiences. In a rapidly-growing society, there often was not time or immediate resources to construct buildings dedicated to specific uses; instead, existing structures–typically a "hall" or "opera house"–served mixed uses.
As historian Jean Kilde noted in When Church Became Theater, evangelists in the Second Great Awakening often rented urban theaters for services; and congregations, in turn, rented churches to drama troupes, ventriloquists, and musicians to raise money. This "mixed-use" of buildings was reinforced by hearers, who often engaged in their own "mixed-use" understandings of what they heard. They evaluated sermons as they would a theatrical performance or found church choirs thrillingly entertaining rather than piously inspirational. Conversely, they listened to symphonic concerts with a religious solemnity.
This culture of antebellum, middle-class urban listeners didn't last long, succumbing to the class sorting by post-Civil War social reformers, who mocked the indiscriminate over-exuberance of antebellum listeners as a kind of "mania" and a form of social disorder. As Lawrence Levine explains in Highbrow Lowbrow, over the course of the nineteenth century, developing a "musical ear" became increasingly paramount, reverence for great works of art shaped audience response, and listening became a specific skill to be learned. Music became something to appreciate not simply hear. By the 1890s, a true listener was someone who, in the words of critic Henry Edward Krehbiel (in his enormously popular How to Listen to Music, from 1897), "will bring his fancy into union with that of the composer" (51).
In many ways, the controlled silent listening favored by reformers directly paved the way for music technologies, like the phonograph, that similarly sought to control and manipulate listening. But it was the urban music listeners of the 1840s and 1850s who were responsible, in the first place, for identifying and accentuating the joys and possibilities of "just listening."
Featured Image: Etching of Jenny Lind Singing at Castle Garden in New York City, 1851
Daniel Cavicchi is Dean of Liberal Arts and Professor of History, Philosophy, and the Social Sciences at Rhode Island School of Design. He is author of Listening and Longing: Music Lovers in the Age of Barnum and Tramps Like Us: Music and Meaning Among Springsteen Fans, and co-editor of My Music: Explorations of Music in Daily Life. His public work has included Songs of Conscience, Sounds of Freedom, an inaugural exhibit for the Grammy Museum in Los Angeles; the curriculum accompanying Martin Scorcese's The Blues film series; and other projects with the Public Broadcasting System and the National Park Service. He is currently the editor of the Music/Interview series from Wesleyan University Press and serves on the editorial boards of American Music and Participations: the Journal of Audience Research.
REWIND! . . .If you liked this post, you may also dig:
"Como Now?: Marketing 'Authentic' Black Music," –J. Stoever-Ackerman
Hearing the Tenor of the Vendler/Dove Conversation: Race, Listening, and the "Noise" of Texts –Christina Sharpe
How Svengali Lost His Jewish Accent––Gayle Wald


text:
Patio Dip
|Orange marmalade
|1⁄2 Cup (8 tbs)
|Firmly packed dark brown sugar
|1 Tablespoon
|1 Tablespoon
|Worcestershire sauce
|1⁄2 Teaspoon
|1⁄2 Teaspoon
|Curry powder
|1⁄4 Teaspoon
|Dairy sour cream
|1 Cup (16 tbs)
|Assorted vegetables
|1⁄2 Cup (8 tbs), cut in bite-size pieces (Use Oranges, Apples, Pears)
|Assorted fruits
|1⁄2 Cup (8 tbs), cut in bite-size pieces (Use Raw Beans, Broccoli, Cauliflower)
Combine marmalade, brown sugar, vinegar, Worcestershire sauce, salt and curry powder in 1 quart casserole.
MICROWAVE 1 to 2 MINUTES on HIGH, or until mixture boils.
MICROWAVE 2 MINUTES on HIGH, or until sugar is dissolved.
Stir to blend.
Refrigerate 10 minutes.
Blend in sour cream.
Serve with fruit and vegetables for dipping.
Recipe Summary
Rate It
Nutrition Rank
Nutrition Facts
Serving size: Complete recipe
Calories 1002 Calories from Fat 404
% Daily Value*
Total Fat 46 g70.7%
Saturated Fat 26.6 g132.8%
Trans Fat 0 g
Cholesterol 119.6 mg39.9%
Sodium 1308.3 mg54.5%
Total Carbohydrates 153 g51.1%
Dietary Fiber 5.4 g21.7%
Sugars 130.1 g
Protein 8 g16.7%
Vitamin A 109.2% Vitamin C 55.6%
Calcium 35.4% Iron 10.4%
*Based on a 2000 Calorie diet

subset: commoncrawl


text:
I've painted every room in a house, tiled a whole floor, and landscaped four times. Why? I get bored. I have a store credit card. And because these big box stores exist to rope you into totally unnecessary home improvement projects that never, ever end. Yet we keep going back! We must secrete some hormone that lets us forget just how time-consuming and torturous home improvement projects really are, just like pregnancy, moving, and homemade lasagna.
The next time your nearest home improvement superstore sings its siren song, keep these things in mind:
They lie. Home improvement projects are NEVER easy.
If you've ever seen a commercial for one of these megacenters you know that a friendly-looking person will flash some pearly whites at you while they hand you a trowel for your simple new tile backsplash.
What they do not tell you is that grouting is the most godawful task known to man and you will never, ever be done with that "weekend project" before Monday. You will rinse and squeeze and wipe and rinse and squeeze and wipe and even the gentlest of souls will find themselves pretending it isn't a giant sponge but instead a neck they are wringing.
If you do finally finish a project, however, you will be rewarded with a newfound sense of satisfaction in your home just the goddamn way it is.
::grasps crotch::
Got your home improvement right here, pal.
The stores themselves reinforce antisocial behavior.
"Can I help you find something?"
Why yes, but only if you actually know where it is. If you're just going to drag me back to the aisle I was just in and stare at the wall of items like a drunk chimpanzee hoping the right thing will leap off the shelf and into my hands I ALREADY TRIED THAT AND IT DIDN'T WORK.
After losing twenty minutes waiting for a staff member to turn around and shrug at you you'll find yourself nurturing your inner introvert. You avoid eye contact. You hold very still when they pass by, feigning fascination in the product in front of you.
"Can I help you find something?"
No, no I don't think you can.
Mind your receipts; they track your mental and relationship decline over time.
Trip 1: Gallon of paint. Primer. Paintbrushes.
Trip 2: Blue painter's tape. Tinted primer. Two Dr. Peppers.
Trip 3: More painter's tape. Foam rollers. More paint. Two Kit-Kats. Two more Dr. Peppers.
Trip 4: Sandpaper. Trim brush. More painter's tape. Another gallon of paint. Paint trays.
Trip 5: Five-gallon bucket of paint. Power paint roller. Bottle of Valium from the dealer in back.
Trip 6: Rubber gloves. Axe. Shovel. Bags of concrete. One Dr. Pepper.


text:
Second Annual Belleview Invitational a big success
The Belleview Golf and Country Club hosted their 2nd annual golf tournament this past weekend. The weather cooperated and thirty-four 3-man teams were able to complete the 18 hole scramble during morning and afternoon rounds.
The tournament was composed of 3 flights with 3 places being rewarded in each flight. The Championship flight was once again won by the defending champs with a low score of 14 under par and was made up of David Church, Cheyenne Burns and Garret Burns.
Following in 2nd place with a 12 under par was the team consisting of Kenny Granger, Ty Burdett and Brandon Burdett and in 3rd place with an 11 under par were Elray Granger, Rickey Granger and Fabian LeMaire. The 2nd flight was determined by a three team scorecard playoff with three teams shooting a 7 under par.
In 1st place was the team of Brian, Lacey and Jason Louviere. They were followed in 2nd place by Murphy Pontiff, Butch Bergeron and Terry Boyer. The 31 (1 place team consisted of Henry Giroir, Wayne LeBlanc and Bret Senette. The 3rd flight was won by Emery Thibodeaux, David Thibodeaux and Russ Walmsley with a score of 4 under par. Second and third place teams tied with a score of 3 under par and on a scorecard playoff 2nd place went to the team of Shade Ratcliff, Louis Spitale and Lee Lamury while 3rd place consisted of Charlie and Geoff Ibert and Jeremiah Furher.
During the tournament several prizes were given for Closest to the Hole and Long Drive. Todd Viator took home Closest to the Hole awards on both par 3s putting the ball 5 feet 1 inch on number 16 and 24 inches on hole number eight. On the move up hole number 1, Brad Dubuc put it 3 feet. The Long Drive Contest was won by Kenny Granger.
After the tournament a great time was had late into the night with dancing to the music provided by Ruben Rivera.
The management of The Belleview wishes to thank everyone who came out to participate and volunteer their time to help. They also want to thank the many sponsors who helped to provide prizes.
We will be taking out a personal ad later in the week in the Banner Tribune to thank them personally.
There will be many other tournaments coming up this summer and fall so come out and have a great time. Also, the swimming pool is now open so come out and cool off also.
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text:
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Does this restaurant have waiters and waitresses?
Does this restaurant specialize in Cantonese food?
Does this restaurant specialize in Hunan food?
Is this restaurant appropriate for Kids?
Are the prices at this restaurant low or inexpensive?
Is this restaurant good for dining on a budget?
Does this restaurant specialize in Szechuan food?
Is this restaurant good for lunch?
Is this restaurant good for dinner?
Is this restaurant wheelchair accessible?
Thanks for helping!
Tina the owner makes certain that the food served in her restaurant is the best tasting and of the highest quality. I really enjoy the vegetarian dishes that they make to order. Lots of fresh veggies and spiced just right.
When you're looking for predictable, American style Chinese food, then China Ruby is a great choice. I often opt for the Almond Boneless Chicken, which is fresh and delicious. I wouldn't say it will take your breath away, but the food is consistent and decent for the price. The major problem with China Ruby is the lack of parking. Ownership...
Tina always greets me and even though the place is small, there is usually seating available. Take out also available. Food is consistently good and very reasonable. Worth the trip.
I used to go here all the time. The service was fast and the food was good. Very small restaurant, perhaps 7 or 8 tables. The last time I was here the service was horrible for that small of an establishment. We were basically ignored and had to get up several times to find our waitress. The food was just...
Everything I've ever had here was outstanding! My personal favorite is the Szechuan Chicken. The lunch or dinner menu are both very reasonably priced. Try the dumpling soup too.
I've been eating here for 10 years now and I live in California! Every time I go visit Detroit my two boys and I make it a must to come have the delicious wonton soup. My kids love how simple the ingredients are. However you must order the pork pan fried dumplings, it's those yummy guys that keep us commuting...
Go to this restaurant for delicious Asian cuisine! I always go for Cashew Tofu or Curry Tofu....Whatever you choose will be fresh and delicious and don't forget the fortune cookies! The owner and all the staff are very friendly and courteous!
You're hungry, perhaps on a date, and don't have loads of money to spend on a meal. My best recommendation is visiting China Ruby, a Chinese restaurant in downtown Ferndale.
In a storefront that once housed an American-style diner, China Ruby is noted for its delicious and inexpensive Szechuan, Hunan and Cantonese cuisine. For starters, try the tangy hot-and-sour soup...
There's a reason why this restaurant wins a handful of the local media awards for their food. While pretty short on atmosphere, they still sling some of the best round eye Chinese food around. Don't expect other Chinese people to come here for authenticity because it isn't that sort of place; it's strictly Americanized Chinese food. Don't expect dim sum....
The food here is always good, nice selection, lightning fast friendly service, and inexpensive. Maybe not the candlelight and tablecloth biz --it is extremely informal -- but for a nice tasty sit down meal or carryout it can't be beat --easily one of the best Chinese places around
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text:
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text:
130a Rockingham Rd (ol-666/rl-211), Londonderry, NH 03053Request info Add to list
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Judy M. T.
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Building Details:
• Year Built: 1941
130a Rockingham Rd (ol-666/rl-211) is aretail property for lease in Londonderry, NH.
Approximately 700 s/f office/retail with signage on building and one yard sign allowed. Travel plaza across the street includes a 9000s/f liquor and wine outlet, 3000s/f diner and truck retail center. Great exposure.
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I have come not to mourn Francesca Hogi's unprecedented second first elimination from the game of "Survivor." I have come to celebrate the fact that she was not content to coast as so many have done before.
'Survivor: Caramoan' Favorite Francesca: 'I'm Not Thrilled to See Phillip'
By: Gordon Holmes on January 15, 2013 in Black Entertainment, RealityTV, Survivor, TV News
I had a chance to sit down with all twenty of the "Fans vs. Favorites" competitors the day before they left for the Caramoan Islands. I'll be posting exclusive interviews with each contestant every weekday until we get through all of them.
'Survivor: Redemption Island' Power Rankings: Round 3
By: Gordon Holmes on March 8, 2011 in Survivor, TV News
Each week, "Survivor: Nicaragua" finalist Matthew "Sash" Lenahan and XFINITY TV's "Survivor" loudmouth Gordon Holmes will create separate power rankings.
'Survivor' Castaway Interview: Francesca Hogi
By: Gordon Holmes on March 3, 2011 in Survivor, TV News
I had a chance to chat with Francesca the morning after her elimination to get her thoughts on her relationship with Boston Rob, what life was like on Redemption Island, and Jeff Probst's rapping skills.


text:
Conference Information
|Full Title:
|Representing Alterity in Society in Crisis
|Genoa, Italy
|Start Date:
|28-Jul-2014 - 31-Jul-2014
|John Douthwaite
|Meeting Email:
|click here to access email
|Meeting URL:
|Meeting Description:
|Representing Alterity in Society in Crisis: The construction and representation of the Other in society and in texts.
Despite claims of progress being made in the removal of barriers to equal opportunity, the facts often belie the situation, since the creation and maintenance of Alterity continues to represent a mode of subjugation and/or an instrument employed to keep social groups divided and so create or maintain inequality among them.
Indeed, in the world we live in boundaries are always in a state of flux, 'responding' to (reacting to and shaping) socio-economic and historical forces and adapting to meet new 'needs'. In this light, the Other has been variously identified in terms of class, gender, age, religion, ethnicity, depending on time and place, and Otherness has certainly not been overcome as a means of division. What should not be forgotten is that the opposition to the Other has always represented an efficacious tool to divide and rule, as the racist discourses on class, ethnicity, gender, age or religion bring out forcefully, and Otherness continues to be exploited to political, economic and social ends, a phenomenon whose importance increases in most societies, where the divide between rich and poor is growing continually, where the earth's resources are continually wasted, and exploited to the benefit of the richer parts of the globe.
Keynote speakers include Prof. Lesley Jeffries (Chair of English, University of Huddersfield), Prof. Zoltan Kovecses (Professor of Linguistics, University of Budapest), Prof. Abioseh Porter (Head of English, Drexel University), Prof. Vincenzo Ruggiero (Professor of Sociology, Middlesex University), Prof. Michael Toolan (Professor of English Language, University of Birmingham).
The conference language is English, as will be the ensuing publication.
|Linguistic Subfield:
|Discourse Analysis; Historical Linguistics; Ling & Literature; Philosophy of Language; Sociolinguistics
|LL Issue:
|Calls and Conferences main page


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Voting starts in March for the Drupal Association Board election.
Posted by heshanlk on
What is "Video" module
Video module allows you to embedded videos from YouTube, Vimeo, Facebook, Vine etc (Drupal 8 only) and upload videos and play using HTML5 video player.
It also allows you to upload video in any format, play video in any format, transcode video to H.246, Theora, VP8(Web compatible formats) using Zencoder or FFMPEG automatically creates video thumbnails, deliver videos from Cloud file systems, Mobile device compatibility.
Module providers a reliable API for converting videos and create thumbnails, embed video to node body using WYSIWYG module (D7 only) and many more.
Supporting 3rd party providers (8.x only)
- YouTube
- Vimeo
- Vine
- Dailymotion
- Wistia
Tutorials and resources
Required modules
- Content Construction Kit (Drupal 6 only)
- Filefield (Drupal 6 only)
- Chaos Tools Suite (Version 6.x-5 only)
- Libraries API (Drupal 7 or older)
Optional modules
- Flysystem File Storage (Drupal 8 only)
- Video Presets (Drupal 7 only)
- Filemime (Drupal 7 only)
- Video.js (Drupal 7 and up)
- SWFTools (Drupal 7 or older)
- Amazon S3 (Drupal 7 only)
- WYSIWYG (Drupal 7 only)
- Rules (Drupal 7 or older)
- JW Player 5 with HTML5 (Drupal 7 only)
- JW Player Module (Drupal 7 and up)
- FileField Sources (Drupal 7 or older)
- Integration with Media Browser (sandbox project, Drupal 7)
- Colorbox (with this patch #1155628: Colorbox integration or from 7.x-2.11+) (Drupal 7 only)
- Manual upload of multiple sources (sandbox project, Drupal 7)
Developers (8.x only)
Similar modules
Supporting organizations:
Project Information
- Maintenance status: Seeking co-maintainer(s)
- Development status: Under active development
- Module categories: Fields, File Management, Media, Third-party Integration
- Reported installs: 23,402 sites currently report using this module. View usage statistics.
- Downloads: 323,494
- Automated tests: Enabled
- Last modified: January 14, 2017
- Stable releases are covered by the security advisory policy.
Look for the shield icon below.
|tar.gz (25.86 KB) | zip (45.9 KB)
|tar.gz (155.72 KB) | zip (180.83 KB)


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Principal Architect, Systems - End to End DesignAPPLY NOW
The end to end design team within Enterprise IT drives delivery of complex initiatives supporting the Un-Carrier vision! This role will be focused on delivering business critical initiatives across supply chain, order to cash, procure to pay, campaign management, customer messaging, business intelligence, consumer financing, payments, credit, enterprise resource planning, human resources, corporate and legal systems. The end to end team is comprised of holistic thinking analysts, architects and managers who leverage their experience, business literacy, technical depth, and pragmatic "do whatever it takes" mentality to deliver complex technology solutions for our business. Excited to bring in leaders who will help align the enterprise, promote great design, challenge the status quo, frame decisions, negotiate good outcomes and do what it takes to fill gaps to deliver!
The Principal Systems Architect – End to End Design is responsible for designing creative and scalable systems and software solutions that address business/technical needs or challenges on the web from End to End. Defines and maintains architecture and technology standards and best practices for applications, middleware, and databases including both in-house development as well as third-party applications. Provides guidance and direction to project teams to ensure compliance with the standards and best practices. Evaluates and recommends technologies and techniques for applicability to T-Mobile systems.
- Provides direct technical evaluation of third party products for inclusion in T-Mobile solutions. Helps define software development processes.
- Updates job knowledge by participating in educational opportunities; reading professional publications; maintaining personal networks; participating in professional organizations.
- Understands the business processes on projects assigned.
- Accomplishes organization goals by accepting ownership for accomplishing new and different requests; exploring opportunities to add value to job accomplishments.
- Translates business requirements into technical requirements and assist other team members in implementing the solution
- Minimum 8+ years in business environment.
- Minimum 8+ years as software or systems architect, engineer, programmer.
- Ability to direct the work of other architects in a lead role.
- Experience in B2C online e-commerce systems architecture and design, preferably with background in Commerce Engine Platform such as IBM WebSphere Commerce.
- Experience in web experience management technologies included but not limited to self-services, content management, search, analytics, and marketing automation preferably with knowledge in Adobe Experience Manager.
- Experience in architecture and design of mobile web applications included responsive design and hybrid model for device native applications.
- Knowledgeable about Wireless telephony business processes, strategic technologies and industry best practices.
- Strong analytic and problem solving skills.
- Strong understanding of software development methodologies.
- Competent in two or more of the following technical disciplines: Expert Knowledge of Object Oriented Languages & Concepts; Java required Expert Knowledge of ecommerce platforms; n-Tier required, Expert Knowledge of Middleware and SOA Technologies; Expert Knowledge of Presentation tier technologies: web portal required. Expert Knowledge of systems Security technology. Expert Knowledge of Business Process Management technologies.
- Strong Understanding on DevOps, Microservice, Cloud Native Service and API based architecture.
Minimum Required
- Bachelors Degree. Minimum 4-year degree in computer science or related discipline. Technology certifications (such as Java, Microsoft, Oracle) are a plus.
74800BRReq ID
NoTravel Required
1Position(s) remaining
Check out what we have to offer
Health Benefits
Medical, dental, and vision are just the start. We also offer health pro consultants, flexible spending accounts, and more.
Kick back with paid time off. We want you to have flexibility, convenience, and control over how you recharge.
We've ditched old-school performance reviews for a tailored approach to career health that includes training for better career and leadership skills.
Naturally, we offer steep discounts on our consumer rate plans and all the fantastic accessories we carry.
Kids rock. But child care, adoption, and surrogacy aren't cheap. We offer programs that help reduce those burdens.
Options include a 401(k) plan, an annual Employee Stock Grant, and a purchase plan that gives you the chance to grab T-Mobile stock at a discount.
What's it like to work at T-Mobile?Find out
"Great culture"
Current Senior Technician in Rowlett, TX
Laid back, easy going, very relaxed and opportunities for advancement and career enhancement if the individual applies him/herself. They INSIST on a healthy work-life balance. And the CEO is entertaining and has done amazing things for the company.
They really like to promote from within, which is great, if you're "in", but it can be incredibly difficult to get in. Pay can be a little on the low end of the scale, but benefits are great.
Advice to Management
Make sure that everyone on the teams are pulling their share of the weight; policies come out because of the intermittent 'bad apple'
"Fun, Exciting, Big Company"
Current Business Analyst in Bellevue, WA
There are many good reasons to work for T-Mobile. Discounted phone bill, discount towards accessories, and good benefits package to name a few. The company is growing and will soon be in the hunt for the top spot in the telecommunication world.
Just like other large corporate environments, its not what you know its who you know in order to advance your career further. Pay is fair could be better.
Advice to Management
Stop managing and be leaders! Listen to your employees, be proactive in identifying issues rather than ignoring them.
As America's Un-carrier, T-Mobile US, Inc. (NASDAQ: "TMUS") is redefining the way consumers and businesses buy wireless services through leading product and service innovation. The company's advanced nationwide 4G and 4G LTE network delivers outstanding wireless experiences for customers who are unwilling to compromise on quality and value. Based in Bellevue, Washington, T-Mobile US provides services through its subsidiaries and operates its flagship brands, T-Mobile and MetroPCS. For more information, please visit http://www.t-mobile.com.
EOE Statement
We Take Equal Opportunity Seriously - By Choice
T-Mobile USA, Inc. is an Equal Opportunity Employer. All decisions concerning the employment relationship will be made without regard to age, race, color, religion, creed, sex, sexual orientation, gender identity or expression, national origin, marital status, veteran status, the presence of any physical or mental disability, or any other status or characteristic protected by federal, state, or local law. Discrimination or harassment based upon any of these factors is wholly inconsistent with our Company values and will not be tolerated. Furthermore, such discrimination or harassment may violate federal, state, or local law.


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David Cameron will today appeal directly to Conservative supporters who have defected to the UK Independence Party to return to the Tory fold.
Launching the Conservatives' campaign for the 22 May European and local elections, he will say that Ukip cannot deliver the in/out referendum on Europe he has promised if he remains in power. A Tory poster shows a referendum ballot box with the words: "Labour and the Lib Dems won't. Ukip can't. We will in 2017."
Speaking in the West Midlands, the Prime Minister will ask Eurosceptic voters who doubt he will deliver his referendum pledge to judge him on his record of vetoing an EU treaty, cutting the EU budget and pulling the UK out of the eurozone bailout scheme.
"Others talk about acting in the national interest or standing up to Europe, I do it, time and again - often In the teeth of opposition in Brussels and with a backdrop of uncertainty about whether it can really happen at home," he will say.
Mr Cameron will promise voters that he would not form another coalition with the Lib Dems after next year's general election unless they backed a 2017 referendum. "For me this is a fundamental principle. And I would not be Prime Minister of a Government unless we could carry out our pledge of an in-out referendum. Because the British people deserve their say, and I will make sure they get it," he will say.
Mr Cameron's move is a clear sign that the Tories are rattled by the remarkable rise of Nigel Farage's party. Despite a series of embarrassing and offensive remarks by some Ukip candidates and activists, the latest opinion polls suggest it is on course to come top in the Euro elections, relegating the Tories to a humiliating third place in a national election for the first time.
Ukip will counter Mr Cameron's appeal by reminding voters that he promised a referendum on the EU's Lisbon Treaty before the 2010 election but failed to deliver it. Ukip leaders are confident that the lack of trust in mainstream parties will limit the impact of the Prime Minister's latest pledge.
Launching Labour's European and local election effort in Redbridge yesterday, Ed Miliband made only a passing reference to Europe, making clear he would put "the cost of living crisis" at the heart of his party's campaign. He told voters that Labour MEPs' priority would not be "leaving the EU, but changing it, so that it can work to raise living standards for hardworking families in Britain" and to work for growth and jobs.
Mr Miliband has rejected internal Labour pressure to match Mr Cameron's pledge of an in/out referendum. Labour would hold such a vote before Britain transferred more power to Brussels but admits a referendum in the 2015-20 parliament would be "unlikely" under a Labour government. If Labour does not do well at the Euro elections, some Labour MPs will press him to make a firm commitment to a referendum.
The Lib Dems admit they have taken a "big gamble" by brandishing their pro-European credentials rather than adopting the safety-first approach of not talking much about Europe in a European election.
In effect, Nick Clegg is asking pro-Europeans to lend their votes to his party to try to raise its nine per cent average poll rating into double figures, so it avoids the meltdown of losing all 12 of its MEPs. But some Lib Dems fear the party could even come fifth behind the Greens.Reuse content


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Project 6 Project 6 proposes novel clinical trials to reduce non-leukemic mortality associated with allogenic HSCT for treatment of leukemias and myelodysplasia (MDS), particularly in older patients and in patients lacking an HLA-matched sibling donor and to treat post transplantation viral disease and leukemic relapse. There are 6 clinical trials under 2 specific aims.
Aim1 includes 3 phase II clinical trials of TCD grafts to speed marrow and immune reconstitution.
Aim 1 A will evaluate the ability of TCD-PBSC (CliniMACS) given after one of 2 reduced intensity regimens using only chemotherapy, as compared to our standard high intensity, TBI containing regimen to secure consistent engraftment, low rates of GVHD, TRM and relapse and high DFS.
Aim 1 8 clinically translates Dr. van den Brink's studies done during this grant period to use palifermin and leuprolide to protect the thymic stroma and promote early, robust recovery of T cell immunity, thereby reducing TRM due to infection in older patients (median age >50).
Aim I C, also derived from trials conducted in the current grant, will evaluate whether addition of haplotype disparate TCD-PBSC to a double cord blood (CB) graft provides earlier hematopoietic reconstitution, thereby reducing early TRM while maintaining the low incidence of relapse observed following double CB grafts.
Aim 2 includes 3 trials of adoptive cellular therapy. Effective prevention of GVHD, as developed at our center, allows for adoptive cell therapies in the absence of post-transplant immuno-suppressive drugs to prevent GVHD.
Aim 2 A is a 2- armed Phase II extension ofthe Phase I trial conducted in the current grant period to evaluate treatment of CMV infections with a) CMVpp65-specific T-cells derived from seropositive HSCT donors of b) partially HLA matched 3rd party CMV-CTL for patients receiving CBs or transplants from CMV seronegative donors.
Aim 2 B derives from studies conducted in the current grant and extends our Phase I trial of single dose WT1 -CTL to multiple dosing for treatment of patients with recurrence of WT-1 + leukemias.
Aim I C is a phase I trial of donor-derived EBV-CTL transduced to express a CD19-specific chimeric antigen receptor for the treatment of GDI 9+ leukemias.
These trials test novel transplant and post transplant strategies which show promise of improving prospects for sustained DFS in adults and children with acute leukemia, MDS and lymphoma, particularly older patients and patients lacking an HLA matched sibling donor. They will also test adoptive therapies which may be broadly applied to patients with severe viral infection or leukemia relapse.
|Tarek, N; Gallagher, M M; Chou, J F et al. (2015) KIR and HLA genotypes have no identifiable role in single-unit dominance following double-unit umbilical cord blood transplantation. Bone Marrow Transplant 50:150-2
|Hubbard-Lucey, Vanessa M; Shono, Yusuke; Maurer, Katie et al. (2014) Autophagy gene Atg16L1 prevents lethal T cell alloreactivity mediated by dendritic cells. Immunity 41:579-91
|Dubrovsky, Leonid; Pankov, Dmitry; Brea, Elliott Joseph et al. (2014) A TCR-mimic antibody to WT1 bypasses tyrosine kinase inhibitor resistance in human BCR-ABL+ leukemias. Blood 123:3296-304
|Maguire, William F; McDevitt, Michael R; Smith-Jones, Peter M et al. (2014) Efficient 1-step radiolabeling of monoclonal antibodies to high specific activity with 225Ac for ?-particle radioimmunotherapy of cancer. J Nucl Med 55:1492-8
|Olson, Amanda L; Dahi, Parastoo B; Zheng, Junting et al. (2014) Frequent human herpesvirus-6 viremia but low incidence of encephalitis in double-unit cord blood recipients transplanted without antithymocyte globulin. Biol Blood Marrow Transplant 20:787-93
|Curran, Shane A; Romano, Emanuela; Kennedy, Michael G et al. (2014) Phenotypic and functional activation of hyporesponsive KIRnegNKG2Aneg human NK-cell precursors requires IL12p70 provided by Poly(I:C)-matured monocyte-derived dendritic cells. Cancer Immunol Res 2:1000-10
|Dahi, P B; Ponce, D M; Devlin, S et al. (2014) Donor-recipient allele-level HLA matching of unrelated cord blood units reveals high degrees of mismatch and alters graft selection. Bone Marrow Transplant 49:1184-6
|Dahi, Parastoo B; Ponce, Doris M; Devlin, Sean et al. (2014) "No wash" albumin-dextran dilution for double-unit cord blood transplantation is safe with high rates of sustained donor engraftment. Biol Blood Marrow Transplant 20:490-4
|Tyler, Eleanor M; Jungbluth, Achim A; Gnjatic, Sacha et al. (2014) Cancer-testis antigen 7 expression and immune responses following allogeneic stem cell transplantation for multiple myeloma. Cancer Immunol Res 2:547-58
|Pai, Sung-Yun; Logan, Brent R; Griffith, Linda M et al. (2014) Transplantation outcomes for severe combined immunodeficiency, 2000-2009. N Engl J Med 371:434-46
Showing the most recent 10 out of 304 publications


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MP told to cover up for Page 3 debate
12 June 2013 Last updated at 13:12 BST
An MP has been reprimanded for wearing a T-shirt displaying the slogan "No More Page Three" in large lettering during a parliamentary debate.
Caroline Lucas, Britain's only Green MP, was speaking on sexism in the media.
But the MP chairing the session, Labour's Jimmy Hood, told her she was in breach of Westminster's dress code, and ordered her to cover up.


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The story of two vampire brothers, obsessed with the same girl, in a small town where supernatural beings live in secret amongst its residents. Read more about "The Vampire Diaries."
The Vampire Diaries
Nina Dobrev Looks Amazing At Elle Women In Television Party
A pair of TVD actresses made an appearance at a swanky West Hollywood, California event Tuesday. Kat Graham and Nina Dobrev attended Elle's Annual Women in Television Celebration at Sunset Tower.
Christmas Through Your Eyes – The Vampire Diaries
With the holidays approaching, Bonnie attempts to replicate her favorite traditions, while reminiscing about happier times with her friends.
I Alone – The Vampire Diaries
Damon (Ian Somerhalder) finds himself in hot water after he carries out a plan that requires Alaric's (Matt Davis) unwilling participation.
Fade Into You – The Vampire Diaries
As Caroline (Candice Accola) and Elena (Nina Dobrev) prepare to host Friendsgiving at the dorm, they receive some hopeful news from Alaric (Matt Davis) and Stefan (Paul Wesley), who have traveled to Portland to gather some information regarding the Gemini Coven.
Do You Remember the First Time? – The Vampire Diaries
When the past comes back to haunt her, Elena (Nina Dobrev) is forced to face her problems head on. After a night out at the annual Whitmore Medical Center Fundraiser, Jo (guest star Jodi Lyn O'Keefe) opens up to Alaric (Matt Davis) about her own tragic past.
The More You Ignore Me, the Closer I Get – The Vampire Diaries
When Alaric (Matt Davis) realizes that Jo (guest star Jodi Lyn O'Keefe) can't be compelled, he asks Elena (Nina Dobrev) to do some digging into her background.
The World Has Turned and Left Me Here – The Vampire Diaries
The Vampire Diaries – Thursday October 30th at 8 p.m. on CW50 – IT'S HOMECOMING — With Homecoming around the corner, Elena (Nina Dobrev) invites Liam (guest star Marco James) to attend a party at […]
Black Hole Sun – The Vampire Diaries
When Damon (Ian Somerhalder) and Bonnie (Kat Graham) realize that uncovering a time in Damon's past may provide clues to finding their way home, Damon is forced to relive one of the worst days of his life.
Welcome to Paradise – The Vampire Diaries
THE VAMPIRE DIARIES – Thursday, October 16th at 8 p.m. on CW50 – TROUBLE AT THE SWIMMING HOLE — In an attempt to bring some fun back into their lives, Elena (Nina Dobrev) persuades Caroline […]
Home – The Vampire Diaries
Heartbroken by an unexpected tragedy, Damon is focused on holding himself together, while pushing Bonnie harder than ever to find a way to stop the disintegration of the Other Side.


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Download document:
First-Tier Tribunal considers the application of section 75A - .PDF file.
In Project Blue Ltd v HMRC [2013] UKFTT 378 (TC), the First-Tier Tribunal considered for the first time the application of section 75A to a complex and high-profile property transaction.
The significance of the case is that: it is the third consecutive victory for HMRC in its battle against SDLT planning and resulted in the appellant paying more SDLT than had they not adopted any planning; HMRC did not have matters all its own way and the scope of section 75A, a wide anti-avoidance provision, has been narrowed in a couple of important respects; and it is unclear whether the taxpayer will appeal but, with fine points of law involved and £50m at stake, it would seem likely.
The tribunal decision runs to some 72 pages in total. It considers various arguments, including human rights, in addition to section 75A…
If you are registered and logged in to the site, click on the link below to read the rest of the Nabarro briefing. If not, please register or sign in with your details below.


text: Meizu MiniOne Out Next YearMark Wilson6/30/07 10:16amFiled to: iphone's estranged cousinCellphonesGadgetsMeizuSmartphonesCorrectionminiONE11EditPromoteShare to KinjaToggle Conversation toolsGo to permalink Meizu has confirmed that their MiniOne will be released early next year. Meanwhile, importers like Negri Electronics are still listing a December 7th launch date (which looks to be jumping the gun at this point) along with their revealed price of $989. So much for our New Year's resolution of picking up a cheap iPhone knock-off and bragging to everyone that we're better than them. Instead we'll have to rely on booze for feelings of self-worth, just like last year. CORRECTION: Meizu's formerly announced price is $450 for this model. Don't buy from Negri. iPhone Rival Coming... [pmptoday] Negri ElectronicsReply11 repliesLeave a reply


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This Lent, take a 40-day devotional journey with Dietrich Bonhoeffer. Click here to sign up.
1Co 5:9-10 See also 1Co 7:1-2; Rev 9:21
Gal 5:19 See also Mt 15:19-20 pp Mk 7:21-23; Eph 4:17-19
Pr 6:32 See also Pr 5:3-5,20; Pr 6:26
Heb 13:4 See also Lev 20:10-21; Pr 2:16-19; Pr 22:14; Eze 16:38; Ro 1:24-27; Eph 5:5; Col 3:5-6; 1Th 4:3-6; Jude 7; Rev 21:8; Rev 22:15
1Th 4:3,7 See also Ac 15:20,29; Ac 21:25; Ro 13:13; 1Co 6:9-11,13-20; 1Co 10:8; Eph 5:3; Col 3:5; Heb 12:16
1Co 6:11 See also Lk 7:36-39; Jn 8:3-11
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Added to Cart
Sports Gel Insoles (Men's)
Sports Gel Insoles (Men's)
Supportive and shock absorbing.
See delivery information
Supportive and shock absorbing, these gel insoles are perfect for a long day on your feet.
- Feel supported all day long
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Keep your feet feeling supported all day long with these Sports Gel Insoles. Made from silica gel, these insoles provide arch support and cushioning while absorbing shock for extra comfort during a long day spent on your feet.
Cut-to-fit sizing allows you to ensure your insoles fit perfectly into your shoes.
- Cut-to-fit sizing
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- Silica Gel
Due to health and safety regulations we are unable to accept this product for return under the terms of our Returns Policy for 'change of mind' purposes.
Returns for these products will only be accepted where the goods are deemed faulty under the terms of our Warranty Terms & Conditions .
This Product is offered and supplied by Kogan Australia Pty Ltd pursuant to the Terms and Conditions.
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Whats jolly, red, and super-drunk? Find out today when hundreds of Santas take over the sidewalks for the annual debauched gathering known as SantaCon. Not so much a bar crawl as a wild pack of Santas (and elves and reindeer and indefinable holiday creatures) staggering around the streets and into bars, Santacon has grown into a worldwide event, happening everywhere from Tokyo to the McMurdo Station in Antarctica. And anyone can join in the absurdity. Check nycsantacon.com for songs to sing (doesnt everyone love Deck My Balls?) and rules on costumes (No. 1 rule: Dont just wear a Santa hat and jeans). And try not to scare the kids, OK?
Sat., Dec. 12, 10 a.m., 2009
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JERRY McBRIDE/Durango Herald
Durango Fire & Rescue Authority firefighters responded Tuesday afternoon to Hilltop House, 1050 Avenida del Sol, after a dryer caught fire. The fire filled the residence with smoke, causing staff members and residents to evacuate.
Junior National Qualifier Nordic races at Durango Nordic Center.
Fort Lewis College men's take on Colorado School of Mines.
Fort Lewis College Lady Hawks take on Colorado School of Mines.
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text: Would You Fuck a Goat for Your True Love?Ashley Feinberg2/19/16 6:10pm91526EditPromoteGo to permalinkYou find your soulmate. You're a perfect match in every possible way, and it is an absolute, immutable fact that without this person in your life, you would be markedly less happy. You never knew it could be this good. Except now, it's time to fuck the goat.


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Ladies Double Angel Crystal Wing Necklace is crafted from quality surgical grade stainless steel. The perfect pendant for any style. The unique designs range from classic to contemporary to edgy and urban.
19" Link Chain Included9/16" Wide
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