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Music Meant to Make You Move: Considering the Aural Kinesthetic
“Dance!” by Flickr user Clearly Ambiguous, under Creative Commons License 2.0 In the two weeks prior to my drafting this piece, the world lost Adam “MCA” Yauch, Robin Gibb, Donna Summer, and Chuck...
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One Nation Under a Groove?: Music, Sonic Borders, and the Politics of Vibration
Welcome to week three of our February Forum on “Sonic Borders,” a collaboration with the IASPM-US blog in connection with this year’s IASPM-US conference on Liminality and Borderlands, held in...
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Freedom Back: Sounding Black Feminist History, Courtesy the Artists
Welcome to week four of our February Forum on “Sonic Borders,” a collaboration with the IASPM-US blog in connection with this year’s IASPM-US conference on Liminality and Borderlands, held in Austin,...
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Going Hard: Bassweight, Sonic Warfare, & the “Brostep” Aesthetic
[Editor's Note 01/24/14 10:00 am: this post has been corrected. In response to a critique from DJ Rupture, the author has apologized for an initial misquoting of an article by Julianne Escobedo...
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The (Magic) Upper Room: Sonic Pleasure Politics in Southern Hip Hop
After a rockin’ (and seriously informative) series of podcasts from Leonard J. Paul–a three part “Inside the Game Sound Designer’s Studio”– our summer Sound and Pleasure series keeps giving you the...
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SO! Amplifies: Yvon Bonenfant’s Voice Bubbles App
SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome! — During a preview of the...
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Resounding Silence and Soundless Surveillance, From TMZ Elevator to Beyoncé...
This September, Sounding Out! challenged a #flawless group of scholars and critics to give Beyoncé Knowles-Carter a close listen, re-examining the complex relationship between her audio and visuals...
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Beyoncé’s New Weave Swing, or How to Snatch Wigs With Hair Choreography
This September, Sounding Out! challenged a #flawless group of scholars and critics to give Beyoncé Knowles-Carter a close listen, re-examining the complex relationship between her audio and visuals and...
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SO! Amplifies: Shizu Saldamando’s OUROBOROS
SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome! — Shizu Saldamando’s solo...
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LMGM’s “Lost: Choirboy”& El Jefe’s “Muñoz & La Mission: A Sermon. . .” (in...
Come, let us sing of great men. Well, just one man, not men—and masculine gender is not essential for our purposes. Come to think of it, his greatness isn’t nearly as important as his fierceness, his...
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Music to Grieve and Music to Celebrate: A Dirge for Muñoz
Here is part four of the series “Round Circle of Resonance,“from the Berlin-based arts collective La Mission, who performs connections between the theory of José Esteban Muñoz and sound...
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Black Mourning, Black Movement(s): Savion Glover’s Dance for Amiri Baraka
I don’t worry about the look of it so much. Choreography comes later, when I’m putting together a piece. I’m into the sound; for me, when I’m hittin’, layin’ it down, it’s all about the sound. –Savion...
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Sonic Connections: Listening for Indigenous Landscapes in Kent Mackenzie’s...
In April 2015, ten American Indian extras walked off the set of Adam Sandler’s new film The Ridiculous Six, a spoof on the classic Magnificent Seven (1960), in protest over the gross misrepresentation...
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Deaf Latin@ Performance: Listening with the Third Ear
This is the fourth and final post in Sounding Out!’s 4th annual July forum on listening in observation of World Listening Day on July 18th, 2015. World Listening Day is a time to think about the...
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Straight Leanin’: Sounding Black Life at the Intersection of Hip-hop and Big...
Marginalized bodies produce marginalized sounds to communicate things that escape language. The queer body is the site of sounds that engage pleasure, repression, rage, isolation, always somehow...
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Ritual, Noise, and the Cut-up: The Art of Tara Transitory
Marginalized bodies produce marginalized sounds to communicate things that escape language. The queer body is the site of sounds that engage pleasure, repression, rage, isolation, always somehow...
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Spaces of Sounds: The Peoples of the African Diaspora and Protest in the...
The slaves who were ourselves had known terror intimately, confused sunrise with pain, & accepted indifference as kindness. – Ntozake Shange, Sassafrass, Cypress & Indigo Sanford. Baltimore....
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Re-orienting Sound Studies’ Aural Fixation: Christine Sun Kim’s “Subjective...
Editors’ note: As an interdisciplinary field, sound studies is unique in its scope—under its purview we find the science of acoustics, cultural representation through the auditory, and, to perhaps...
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Unapologetic Paisa Chingona-ness: Listening to Fans’ Sonic Identities
For the full intro to the series by Michelle Habell-Pallan, click here. The forum’s inspiring research by scholars/practioners Wanda Alarcón, Yessica Garcia Hernandez, Marlen Rios-Hernandez, Susana...
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“Oh how so East L.A.”: The Sound of 80s Flashbacks in Chicana Literature
For the full intro to the forum by Michelle Habell-Pallan, click here. For the first installment by Yessica Garcia Hernandez click here. For the second post by Susana Sepulveda click here. The...
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Sounding Out Tarima Temporalities: Decolonial Feminista Dance Disruption
For the full intro to the forum by Michelle Habell-Pallan, click here. For the first installment by Yessica Garcia Hernandez click here. For the second post by Susana Sepulveda click here. For last...
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“Don’t Be Afraid to Pogo!”: Chicana Hollywood Punks Negotiate ‘h/Home’ After...
For the full intro to the forum by Michelle Habell-Pallan, click here. For the first installment by Yessica Garcia Hernandez click here. For the second post by Susana Sepulveda click here. For the...
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Gender and the First Sound Films in 1930s Bombay
co-edited by Praseeda Gopinath and Monika Mehta Our listening practices are discursively constructed. In the sonic landscape of India, in particular, the way in which we listen and what we hear is...
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My Time in the Bush of Drones: or, 24 Hours at Basilica Hudson
Ed. Note: We wanted to run this piece in advance of the Basilica Hudson’s SoundScape event taking place this Friday, September 14 – Sunday, September 16, 2018. Our Amplifying Du Bois at 150 forum will...
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SO! Reads: Kirstie Dorr’s On Site, In Sound: Performance Geographies in...
“World Music,” both as a concept and as a convenient marketing label for the global music industry, has received a fair deal of deserved criticism over the last two decades, from scholars and musicians...
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“How Many Latinos are in this Motherfucking House?”: DJ Irene, Sonic...
How Many Latinos are in this Motherfucking House? –DJ Irene At the Arena Nightclub in Hollywood, California, the sounds of DJ Irene could be heard on any given Friday in the 1990s. Arena, a 4000-foot...
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Femmes Fucking the Camera: Listening to the Sonics of Boudoir Photography
Pictured above areRaven Von Scrumptious (right) an Sepia Jewel (left), two burlesque dancers from San Diego, California. Raven and Sepia started “eye fucking” in burlesque classes with Coco L’Amour and...
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Cardi B: Bringing the Cold and Sexy to Hip Hop
In “Asesina,” Darell opens the track shouting “Everybody go to the discotek,” a call for listeners to respond to the catchy beat and come dance. In this series on rap in Spanish and Sound Studies,...
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SO! Reads: Steph Ceraso’s Sounding Composition: Multimodal Pedagogies for...
Pedagogy at the convergence of sound studies and rhetoric/composition seems to exist in a quantum state—both everywhere and nowhere at the same time. This realization simultaneously enlightens and...
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SO! Amplifies: The Blues and Jazz Dance Book Club
SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome! — Breaking down the...
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Flâneuse>La caminanta
Since its inception at the World Soundscape Project in the 1970s, soundwalking has emerged as a critical method for sound studies research and artistic practice. Although “soundwalking” now describes a...
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Listening in Plain Sight: The Enduring Influence of U.S. Air Guitar
The mention of “air guitar” might conjure images of the Bill and Ted series. Or Risky Business. Or maybe even Joe Cocker at Woodstock. You might think of air guitar as an embarrassing fan gesture. So...
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The Sound of What Becomes Possible: Language Politics and Jesse Chun’s 술래...
“To this day I think about all the strange words I missed out on, all the losses I’m still carrying from faraway…I still think of the time when I spoke one language, and that language was whole.” Chun...
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Ronca Realness: Voices that Sound the Sucia Body
This series listens to the political, gendered, queer(ed), racial engagements and class entanglements involved in proclaiming out loud: La-TIN-x. ChI-ca-NA. La-TI-ne. ChI-ca-n-@. Xi-can-x. Funded by...
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Technologies of Communal Listening: Resonance at the Museum of Contemporary...
In both sound studies and the sonic arts, the concept of “resonance” has increasingly played a central role in attuning listeners to the politics of sound. The term itself is borrowed from acoustics,...
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“Just for a Few Hours, We Was Free”: The Blues and Mapping Freedom in Sinners...
In the 2025 blockbuster Sinners, Ryan Coogler has a vampire story to tell. But before he can begin, he needs to tell another story—a blues one. Sinners opens with a voiceover thesis statement...
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SO! Reads: Danielle Shlomit Sofer’s Sex Sounds: Vectors of Difference in...
Distance, therefore, preserves a European austerity in recorded musical practices, and electroacoustic practice is no exception; it is perhaps even responsible for reinvigorating a colonial posterity...
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SO! Reads: Marisol Negrón’s Made in NuYoRico: Fania Records, Latin Music, and...
I began reading Marisol Negrón’s Made in NuYoRico: Fania Records, Latin Music, and Salsa’s Nuyorican Meanings (Duke University Press, 2024) in earnest this summer, as Bad Bunny’s “NUEVAYol” flooded...
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Ill Communication: Hip Hop Studies & Sound Studies @ Show And Prove
“The engaged voice must never be fixed and absolute but always changing, always evolving in dialogue with a world beyond itself” –bell hooks, quoted by d. Sabela Grimes at Show and Prove, 9.18.10 DOI:...
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