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Biography for Sean Buckley
Sean Buckley is the senior editor of FierceTelecom. He joined the FierceTelecom staff in July 2009 and is responsible for covering news and trends in the wireline section of the telecom industry. Before joining the FierceTelecom staff, Sean most recently served as the Editor-in-Chief for Telecom Engine from 2006 to 2009 overseeing both the former print publication Telecommunications Magazine Americas and its transition to a web-based publication. Sean returned to Telecommunications in July 2006 after a brief one-year stint covering the public sector IT and mobile network infrastructure trends as a senior analyst at Current Analysis. In addition to writing about wireline industry trends, Sean enjoys playing with his two sons, reading history books, watching the Celtics, and listening to Grateful Dead concerts on Sirius Satellite Radio. Sean works out of his home office Dracut, Mass., and can be reached at email@example.com. Follow @FierceTelecom on Twitter and find him on LinkedIn.
Articles by Sean Buckley
Vonage enhances business play with $114M Telesphere acquisition
Vonage has reached a deal to acquire communications-as-a-service provider Telesphere Networks for $114 million, another move in its ongoing mission to take a larger piece of the growing small to medium business (SMB) sector.
CenturyLink plans to extend IPTV into new markets in 2015
CenturyLink has reiterated its plans to bring its growing Prism IPTV service into new markets next year as it continues to work with various communities to establish new franchise agreements.
Level 3's enterprise revenues offset weaker wholesale results
Level 3, which has just completed its acquisition of tw telecom, reported that Core Network Services (CNS) revenue rose 5.8 percent to $1.48 billion, helping to offset ongoing declines in its wholesale business.
Sizing up how Verizon, AT&T, Sprint, T-Mobile and TracFone performed in Q3
As the third-quarter 2014 earnings season winds down, FierceWireless is taking a look at how the top U.S.-based wireless operators performed. In partnership with Jackdaw Research analyst Jan Dawson, this new report takes a deeper dive look into how Verizon Wireless, AT&T Mobility, Sprint and T-Mobile US performed in the third quarter.
FairPoint's Q3 Ethernet revenue gains help offset local, long-distance voice losses
For FairPoint Communications, Ethernet continues to be a key element in its financial results, and the third quarter of 2014 was no exception.
Alaska Communications unveils 50 Mbps residential, business tier in Juneau
Alaska Communications is upping its broadband service offerings for both residential and business customers, announcing that it will now offer a 50 Mbps speed tier with unlimited data usage.
Cincinnati Bell's Fioptics jumps 39% to $37M on strong subscriber adds
Cincinnati Bell has taken a bet that fiber-based broadband should be its focus, one that continued to pay off in the third quarter as the demand for its Fioptics service suite totaled $37 million, up 39 percent year-over-year.
Google Fiber brings super-fast connection to Kansas City Starbucks
Google Fiber has equipped a Kansas City Starbucks coffee shop, located at the corner of 41st and Main Street, with a direct fiber connection to provide patrons with in-store Wi-Fi Internet access.
Windstream wants ILECs to price IP-based wholesale special access services fairly
Windstream is not opposed to AT&T or any traditional telco's migration from TDM to IP-based services, but it is calling for regulators to ensure that it and other competitors can get last-mile circuits for equivalent prices.
Smart light bulbs to reach quarter of a billion in shipments by 2020, says ABI Research
Connected LED or "smart" light bulbs may still be a developing market concept, with shipments totaling fewer than 2.5 million units in 2013, but a new ABI Research report reveals that a number of factors will help drive an increase in shipments.


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Originally published May 31, 2013 at 5:00 AM | Page modified May 31, 2013 at 3:25 PM
Play honors Seattle's Jewish pioneers
The theater piece "In the Land of Rain & Salmon: Jewish Voices of the Northwest: 1880-1920," drawn from oral histories and other material, debuts at 2 p.m. Sunday, June 2, at Langston Hughes Performing Arts Institute.
Among those hardy folks who set out for the Washington Territory in the 19th century were pioneering European immigrants like the Schwabachers, Jewish merchants who established major businesses in Boise, Walla Walla and Seattle. Their associate, Bailey Gatzert, opened a branch of a Schwabacher and Sons in Seattle in 1869. (Shown here is a Schwabacher Hardware baseball team, circa 1909). It was the young city's first wholesale business, and later Gatzert became Seattle's first Jewish mayor.
Jewish clans played important roles in settling Seattle, as entrepreneurs but also as civic-minded citizens and philanthropists. Some of their stories will be heard on Sunday as Book-It Repertory Theatre and the Washington State Jewish Historical Society present "In the Land of Rain & Salmon: Jewish Voices of the Northwest: 1880-1920." The hourlong theater piece is drawn from oral histories and other material preserved by WSJHS, and will likely tour locally.
"In the Land of Rain & Salmon" is based on the recent book "Family of Strangers: Building a Jewish Community in Washington State," as well as other WSJHS publications including "Yesterday's Mavens, Today's Foodies" — which boasts family recipes for such delicacies as matzoh ball soup and gefilte fish.
The show debuts at 2 p.m. Sunday (with post-show reception) at Langston Hughes Performing Arts Institute, 104 17th Ave. S., Seattle; $36 (206-774-2277 or www.wsjhs.org). The play is part of an entire "Day of Jewish Arts & Culture" in Seattle; for more info, visit http://calendar.jtnews.net/events/.
Misha Berson, Seattle Times theater critic
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Seventy years ago today Neville Chamberlain gave his famous broadcast telling the nation that we were at war, before Parliament met in emergency session that Sunday morning. Among those who spoke was the newly-appointed First Lord of the Admiralty, in one of the shortest and finest speeches of his life, one of the least known – and most relevant today.
For 10 years Winston Churchill had been out of office – through his own choice – well before he became the most prominent critic of appeasement and of the Munich agreement in September 1938. Within months of Munich, that policy was seen to have failed, as the rump of Czechoslovakia fell apart and Hitler arrived insolently in Prague. There was much clamour in the press for Churchill to be brought back into government, but Chamberlain waited until his return to the Treasury Bench became as inevitable as the war itself.
He is continually quoted and misquoted nowadays, used and abused. "I think Winston Churchill said it correctly," Joe Sestak, a former American admiral who is now a Democratic congressman, told the BBC on Monday, by way of criticising the Afghan war. Far more often Churchill has been invoked in favour of that war, and of the Iraq war, which he seemed in some eyes to preside over.
After Tony Blair lent President George Bush the Younger a bust of Churchill, which he installed in the White House, Bush could never stop spouting the great man. Donald Rumsfeld even found some, albeit garbled, words from Churchill to console himself the day he was sacked. Over and again, Churchill has been invoked in the name of waging war. Saddam Hussein must not be appeased as Hitler had been, he must be attacked, pre-emptively if need be. What else would Churchill have done?
Of course Churchill's great speeches from the summer of 1940 are part of our consciousness, with their splendid language of defiance: "Victory at all costs... we shall fight on the beaches... their finest hour." But on that first day of war, his theme was quite different: "In this solemn hour, it is a consolation to recall and to dwell upon our repeated efforts for peace."
Even a year earlier when he condemned Munich he had said that it was an unnecessary capitulation, but he didn't say that Chamberlain should have gone to war. To the contrary, he failed to see that there was any real danger of war with Germany at that juncture, as so many had claimed, if the British and French "were ready all along to sacrifice Czechoslovakia". And he added sourly but justly that the Czechs, "left to themselves and told they were going to get no help from the Western Powers, would have been able to make better terms than they have got – they could hardly have worse".
Now on that Sunday, in a speech of no more than five minutes, Churchill said that, although all the efforts of the government which he had just joined to preserve peace and avoid war had failed, "all have been faithful and sincere. This is of the highest moral value – and not only moral value, but practical value – at the present time". Only the sure and certain knowledge that we ourselves had never wanted war could provide the sustaining "strength and energy" that the British people were going to need in the "doubtful and dark days" that lay ahead.
"Outside, the storms of war may blow and the lands may be lashed with the fury of its gales, but in our own hearts this Sunday morning there is peace. Our hands may be active, but our consciences are at rest."
Rather more than a year later, Churchill returned to this theme in a greater speech, perhaps the most moving he ever made. After the "phony war" had ended abruptly with the German attack on Scandinavia and then the Low Countries and France, Chamberlain resigned and was was succeeded by Churchill, who called upon the nation to "brace ourselves to our duty", as invasion threatened and the Battle of Britain was fought.
Having loyally remained in Churchill's government (and leader of the Conservative party), Chamberlain was diagnosed with incurable cancer in the autumn, and died on 9 November 1940. In the Commons three days later, Churchill delivered a eulogy, a most delicate task given the former differences between them. He did this superbly, saying firstly that no one was obliged "to alter the opinions which he has formed or expressed upon issues which have become a part of history in order to pay such tribute." Then he went on: "It is not given to human beings, happily for them, for otherwise life would be intolerable, to foresee or to predict to any large extent the unfolding course of events. In one phase men seem to have been right, in another they seem to have been wrong. Then again, a few years later, when the perspective of time has lengthened, all stands in a different setting. There is a new proportion. There is another scale of values. History with its flickering lamp stumbles along the trail of the past, trying to reconstruct its scenes, to revive its echoes, and kindle with pale gleams the passion of former days."
After those general – though brilliant and profound – introductory phrases, Churchill presented Chamberlain as a tragic but honourable figure. It had been his misfortune "in one of the supreme crises of the world to be contradicted by events, to be disappointed in his hopes, and to be deceived and cheated by a wicked man.
"But what were these hopes in which he was disappointed? What were these wishes in which he was frustrated? What was that faith that was abused? They were surely among the most noble and benevolent instincts of the human heart – the love of peace, the toil for peace, the strife for peace, the pursuit of peace".
And then Churchill echoed what he had said on 3 September 1939. We had waited until the last possible moment before going to war – "even at a great cost to ourselves in technical preparation" – until Hitler provided us with no choice at all. But it was just because we had done so that we now knew we were "guiltless of the bloodshed, terror and misery which have engulfed so many lands and peoples". Anything Hitler said about having wanted peace was contemptibly absurd. "What do these ravings and outpourings count before the silence of Neville Chamberlain's tomb? Long and hard, hazardous years lie before us, but at least we entered upon them united and with clean hearts."
Both speeches, and above all those last italicised words, were a complete repudiation of any doctrine of pre-emptive war. Churchill was distinguishing between a war of choice, which he did not want, and a war of necessity, which had been forced upon us. And he recognised the crucial fact that only an absolutely necessary war can be waged with proper strength of purpose and readiness for sacrifice.
While many things have been argued about the Iraq war, for and against, no one who supported it can any longer claim as Bush once did that it was a "war of necessity". And could he or Blair now possibly say that we, the British and the Americans, entered upon it "united and with clean hearts"? Might not that be the key to all the woes that have befallen us?
Geoffrey Wheatcroft's books include 'The Strange Death of Tory England' and 'Yo, Blair!' He is writing a book on Churchill's reputation and legacy
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Originally published Friday, August 3, 2012 at 11:43 AM
Gordon wins Heisman Humanitarian Award
Jeff Gordon is NASCAR's charitable champion.
The Associated Press
Jeff Gordon is NASCAR's charitable champion.
The four-time Cup champion was honored Friday as the seventh recipient of the Heisman Humanitarian Award. The award will be formally presented at the 78th annual Heisman Memorial Trophy Dinner on Dec. 10 in New York.
Gordon was joined by Heisman Trophy winners George Rogers and Tim Brown at Friday's announcement at Pocono Raceway.
The Jeff Gordon Children's Foundation has raised more than $11 million for children's charities through the years. As part of the award, the Heisman Trophy Trust will donate $50,000 to Gordon's foundation.
Gordon's primary sponsor in the Sprint Cup Series is the AARP Foundation's Drive to End Hunger, an initiative that seeks to end hunger for nine million people over the age of 50.
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Major Lazer (Diplo + Switch) to Release "Digital Reggae" LP
By Ryan Dombal on March 13, 2009 at 3:00 p.m. EDT
When Diplo isn't giving the peace sign in photographs, he's usually making supposedly cool people dance. That trend continues with his new collaboration with fellow M.I.A. producer Switch under the moniker Major Lazer. The duo's talked-about debut LP, Guns Don't Kill People-- Lazers Do, now has a release date: June 16 on Downtown. As previously reported, the reggae'n'dancehall-themed affair features a few riot-ready females-- M.I.A., Santigold and Kelis-- [UPDATE: Apparently, Kelis isn't on the record after all] along with dancehall mainstays Vybz Cartel, Ward 21, and Busy Signal.
A press release describes Major Lazer as "a renegade commando with a lazer arm and a rocket-powered skateboard who fights the spoils of vampires, zombies, pimps, mummies, and other unsavory forces of evil." Think The Terminator + Back to the Future + Twilight + The Mummy: Tomb of the Dragon Emperor and you're damn close, apparently. Too bad this is an album and not a movie.
Slightly less absurdly, Diplo says the music sounds like "digital reggae and dancehall from Mars in the future!" in a statement (exclamation point, his). Safe to say this thing will be upbeat.
While you're waiting for the record to leak, catch Diplo on his current tour, which includes a set with A-Trak at the 4th Annual Pitchfork/Windish Austin Bash next Friday, March 20.
Diplo, Switch Do Dancehall With M.I.A., Santogold
By Tom Breihan on January 27, 2009 at 11:45 a.m. EST
More fire! More fire! Airhorn noise! Siren noise!
Superstar Philly DJ Diplo has been throwing Jamaican dancehall records down in white-hipster dance clubs since the current idea of white-hipster dance clubs first became a thing, and he even managed to score a guest spot from reggae superstar Vybz Kartel on his otherwise downbeat Florida LP. Still, reggae's always been just one of the weapons in Diplo's DJ crate. But that could be about to change.
If Major Lazer, Diplo's dancehall project with fellow M.I.A./Santogold producer Switch, actually gets around to releasing an album, it could be the biggest white-hipster/reggae crossover since Chris Blackwell hired Sly & Robbie as the Compass Point Studio house rhythm section. (Let's all just pretend Matisyahu never existed.)
At any given moment, Diplo's juggling about a bazillion different projects, and he tends to update his MySpace blog in a way that makes a 15-year-old with a Blackberry look like Bob Woodward. (Seriously: "YOYOYOYOYO MYSPACE . ITS OUT OF CONTROL OVER HERE. I TOT 12 SONGS MAN I HAD TO FREAKIN GIVE TOM ONE OF MY LIVERS FOR IT BUT ITS WORTH CHECK OUT ALL MY NU CRAZY SONGZ..") But if Diplo's latest blog post is to be believed, this Major Lazer album is going to be nuts.
Here's the list of guests Diplo names: ex-girlfriend M.I.A., mixtape collaborator Santogold, missing-too-long R&B cyborg Kelis, breezy Queens hooksmith twins Nina Sky, and a seriously ridiculous list of dancehall mainstays: Busy Signal, T.O.K., Ward 21, Lexxus, Ms. Thing, Dr. Evil, Skerrit Bwoy.
Meanwhile, Decent Work for Decent Pay, Diplo's collection of remixes, is out this week on Big Dada/Ninja Tune.
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Originally written on The Purple Chaos | Last updated 11/10/14
BALTIMORE - DECEMBER 13: Kevin Smith #34 of the Detroit Lions is stopped by Dannell Ellerbe #59 of the Baltimore Ravens at M&T Bank Stadium on December 13, 2009 in Baltimore, Maryland. The Ravens defeated the Lions 48-3. (Photo by Larry French/Getty Images)
In Friday's injury report, the Baltimore Ravens listed linebacker Dannell Ellerbe and wide receiver Lee Evans as being officially out for Sunday night's contest in Pittsburgh. Neither of the two have done much this season for the Ravens. Ellerbe, who has just four tackles this season in limited playing time, has been bothered a thigh [...]
Original Story: http://feedproxy.google.com/~r/ThePur...
PLAYERS: Dannell Ellerbe, Lee Evans
TEAMS: Baltimore Ravens
TEAMS: Baltimore Ravens
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text:
Tags chamber pop, folk, indie electronic
Genres indie, folk, singer-songwriter, alternative, lo-fi (beta)
(flag as incorrect)
October 06, 2012
...left empty in Autumn
I've been listening to this playlist every October (and regularly, monthly) since it has been published. Thank you for creating such a great mix.
8) chamber pop ambush...didn't see that coming ^_^
New tracks!
these feverish hands, this restless heart by ghoulnextdoor
Photo by Andrea Buia.
dream pop, chamber pop, folk, dreamwave
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A tribute to Junji Ito.
psychedelic, horror, doom, junji ito
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Image by Jason Blake.
dream pop, chamber pop, folk, experimental, indie
all of them witches by ghoulnextdoor
Image: The Three Witches in Orson Welles' Macbeth ( 1948).
occult rock, doom metal, psychedelic, witches, halloween


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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
Sound at ASA 2014
The 2014 American Studies Association meeting will be held in Los Angeles, an appropriate setting for this year's theme, "Fun and the Fury: Dialectics of Pleasure and Pain in the Post-American Century." The conference, which will take place from November 6-9, will offer panels of interest to Sound Studies scholars. The City of Angels has long served as a muse for artists and thinkers interested in creating innovative worlds. Los Angeles is a place of experimentation and futuristic transformation, or as Norman Mailer called it, a constellation of plastic. Part of Mexico until 1848, Los Angeles is a global metropolis that embodies the keen contradictions of national and capital in the 21st century, often exposing the nuts and bolts that hold together these structures. Fun, fury, and the "dialectics of pleasure and pain" are useful for conceptualizing the sharp contrasts that characterize the city of LA itself. A panel on Sunday, Central Avenue Breakdown: Gender, Race, and Coming of Age in a Los Angeles Jazz Community, will discuss the historical complexities of the city of Los Angeles by way of the African American entertainment district of Central Avenue (Sunday 2:00-3:45).
This year's ASA program features an increase in sound and music-related papers in comparison to last year's conference in Washington, D.C., which was concerned with the logic of debt. The upswing is partially due to the 2014 theme, which emphasizes the production of alternative spaces that counter repressive forces. As the program committee, comprised of co-chairs J. Jack Halberstam, Fred Moten, and Sandra Soto, writes, "The critical power of 'fun' in this unconventional convention theme seeks nothing less than the reimagining of possibility, impossibility, probability and freedom." Sound Studies is already geared toward thinking about how careful listening can offer new ways of being-in-the-world, so the increase in music-themed panels this year is not surprising. As music scholars and listeners have long insisted, music is foundational to embodied experiences of pleasure and fun. Music's ability to transport listeners and to cultivate collectivity makes it uniquely relevant to discussions of pleasure.
One notable exception to the musical focus is the second of the two ASA Sound Studies Caucus panels, "The Racial Politics of Listening: 'Accents,' Hate Speech, and Language in the U.S. Media," which will take place on Saturday from 2:00-3:45. Featuring Dolores Inés Casillas, Sara Hinojos, Marci McMahon, and SO! Editor-in-Chief, Jennifer Stoever, The panel will examine the role of speech and auditory cues in constructing racial representations. An individual paper by Craig Eley in the Environment and Culture Caucus panel Ecologies of Pleasure and Pain: Deviance, Destruction and Desire in Environmental History, entitled Psychologically Ultimate Seashores: Natural Sound, Personal Pleasure, and Recording Technologies is also worth mentioning (Sunday 10:00-11:45).
This year's call for papers asked for participants to formulate creative modes for presenting their work, and Sound Studies scholars are stepping up. The first panel hosted by the ASA Sound Studies Caucus (Saturday 10:00-11:45) is an exciting listening dialogue entitled "Power Ballads and Blurred Lines: Songs from the Boundaries of Fun." The commentators, Jeff Chang, Alice Echols, Evelyn McDonnell, Oliver Wang, and Rubén Martinez, will each play a song and discuss how pop music that is treated as harmless fun may nevertheless speak to social dynamics in real and important ways. A roundtable on Music, Fashion and the Power of (Queer) Nightlife (Friday 12:00-1:45) will include scholars of nightlife as well as party promoters and DJs, discussing the possibility for belonging in subcultural "nightworlds."
This year there are a number of notable African American Studies panels, including After the Rain: Vanguardist Jazz in the Seventies (Thursday 10:00-11:45) organized in memory of Amiri Baraka, Stomp, Swerve, Rattle, and Roll: Fun and Pleasure as Political Resistance in American Blues Music (Thursday 4:00-5:45), What Words Can't Do: Instrumentals, Identity, and Interpretation (Sunday 10:00-11:45), and Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans (Sunday 12:00-1:45). The category of pleasure provides a framework for panels on The Aesthetics of Pleasure in California Funk (Sunday 10:00-11:45) and Performative Pleasures of Blackness: The Creation, Consumption, and Conflict of Pleasurable Blacknesses. Sound scholars also continue to investigate transnational modes of listening, in panels such as The Transnational Movements of Hip-Hop (Thursday 12:00-1:45), Fugitive Preludes: Chicana/o Popular Music and the Neoliberal City (Friday 10:00-11:45), and Performing Decolonial Aesthetics and the Politics of Pain and Pleasure in Music Across the Americas (Friday 12:00-1:45).
Two years ago, Jennifer Stoever mentioned that work in the field of Sound Studies was entering a period of reflection and becoming more nuanced and robust with sub-fields starting to develop. It is clear from this year's program that the field is both broadening and deepening its focus. After two years of official recognition under the ASA Sound Studies Caucus and three years after the publication of Sound Clash, the special issue of American Quarterly, scholarship on sound in American Studies is developing in a myriad of ways and is coming into its own as a field.
Jump to THURSDAY, November 6
Jump to FRIDAY, November 7
Jump to SATURDAY, November 8
Jump to SUNDAY, November 9
Featured image: "Carmaheaven" by Flickr user waltarrrrr, CC BY-NC-ND 2.0
Please comment to let SO! know what you think–both before and after ASA 2013. If we somehow missed you or your panel in this round up, please let our Managing Editor know!: firstname.lastname@example.com
Meghan Drury is a fifth-year Ph.D. candidate in the Department of American Studies at the George Washington University. She received an MA in ethnomusicology from UC Riverside in 2006. She is currently working on a dissertation tentatively titled "Aural Exotics: The Middle East in American Popular Music 1950-2011." This project examines the interplay between popular music and American cultural representations of the Middle East from the mid-20th century to the present, illustrating how music and sound acted a means of consolidating and disseminating a range of ideas about Middle Eastern culture in the American mainstream. She is particularly interested in the way that sound increased the visibility of Arab Americans both before and after 9/11, offering a space for negotiations of identity. More broadly, Meghan's interests include sound studies, U.S.-Middle East cultural relations, and Arab American cultural performance.
THURSDAY, November 6th, 2014
8:00 am – 9:45 am
Religiosity and Altered States
Westin Bonaventure, Los Feliz (L1)
—Richard Cullen Rath, University of Hawai'i, Manoa (HI)
Dangerous Fun in Puritan New England: Mary Ross and the Singing Quakers
Riots, Radios, and the Historical Record: Mass Media and Crisis in Twentieth American Literature and Art
Westin Bonaventure, San Bernardino (L1)
—Hadji Bakara, University of Chicago (IL)
Guernica on the Radio: Anti-Fascism, Mass Media, and the Emergence of Human Rights Activism
10:00 am – 11:45 am
Playing with Rules: Having Fun and Keeping Order in Mid-Century Racial Liberalism
Westin Bonaventure, San Fernando (L1)
—Yusuke Torii, Setsunan University (Japan)
S. I. Hayakawa's Jazz Credentials and Racial Liberalism in Mid-Century America
—Masayoshi Yamada, Doshisha University (Japan)
Jazz, Fans, and the Pleasure of Listening during Turbulent Times
After the Rain: Vanguardist Jazz in the Seventies (in memory of Amiri Baraka)
Westin Bonaventure, San Gabriel C (L1)
Ronald Radano, University of Wisconsin, Madison (WI)
Paul A. Anderson, University of Michigan, Ann Arbor (MI)
"Thunder Blossoms Gorgeously": Abstracting the Pastoral in Marion Brown's Georgia Trilogy
Robert Maclean, The College of Wooster (OH)
Ensemble After Eventuality: Neoliberalism and the Duo Form
Brent Hayes Edwards, Columbia University (NY)
Notes Toward a "Loft" History of Jazz
Ronald Radano, University of Wisconsin, Madison (WI)
12:00 pm – 1:45 pm
Fun in Public: The Cultures of Amateur Labor
Westin Bonaventure, Palos Verdes (L1)
—Alexander W. Corey, University of Colorado, Boulder (CO)
Impulsive Triads: Frédéric Chopin, Amateur Pianists, and The Autobiography of an Ex-Colored Man
The Transnational Movements of Hip-Hop
Westin Bonaventure, Santa Monica D (L3)
Alexander Weheliye, Northwestern University (IL)
Lenna Tayseer Odeh, University of California, San Diego (CA)
Acts of Sumud: Exploits of Resistance Through the Palestinian Hip-Hop Youth and Political Prisoner Movements
Najwa Mayer, Yale University (CT)
Muhammad was a punk rocker: Seeking Faith, Fun, and Form in Taqwacore
Elliott H. Powell, University of Minnesota, Twin Cities (MN)
The Sounds of Afro-South Asian Pleasure: Hip Hop, 9/11, and South-South Connections
Halifu Osumare, University of California, Davis (CA)
Play and Pain in Black Atlantic Hip-Hop: Hiplife in Ghana as Case Study
Alexander Weheliye, Northwestern University (IL)
2:00 pm – 3:45 pm
alt. Black Musical History
Westin Bonaventure, San Gabriel C (L1)
Courtney Michael Brown, California State University, Fullerton (CA)
Matthew Hayden Anthony, Pennsylvania State University, Harrisburg (PA)
I Got Country Roots: Race, Identity and Black Country Singers in the 1970s
Kreg Abshire, Johnson & Wales University (CO)
On Sonic Nostalgia: Making Sense of alt.country's Hip Traditionalism
Keith D. Leonard, American University (DC)
Who Stole the Soul: An Avant-Garde History of the Dark Room Collective
Christa Holm Vogelius, University of Alabama, Tuscaloosa (AL)
The Jennie C. Lee Archive and the Silent Musical History of the Tuskegee Institute
Courtney Michael Brown, California State University, Fullerton (CA)
The Choreography of Protest
Westin Bonaventure, Santa Barbara B (L1)
—Sarah Ehlers, University of Houston (TX)
The Joys of the Picket Line: Reading the Rhythms of the Left
—Robert Michael Zecker, Saint Francis Xavier University (Canada)
A Mandolin Orchestra Could Attract a Lot of Attention: Interracial Fun with Radical Immigrants, 1930–1954
Empire of Funk: Hip Hop and Representation in Filipina/o America—A Roundtable
Westin Bonaventure, Santa Barbara C (L1)
Dawn Bohulano Mabalon, San Francisco State University (CA)
Roderick Labrador, University of Hawai'i, Manoa (HI)
Mark Villegas, University of California, Irvine (CA)
Mario "Nomi" De Mira, Artist
Stephen Bischoff, Washington State University, Pullman (WA)
Dawn Bohulano Mabalon, San Francisco State University (CA)
On Athletes and Outlaws: Asian Americans in Popular Culture and the Pleasures of Recognition
Westin Bonaventure, Santa Monica C (L3)
—Douglas S. Ishii, University of Maryland, College Park (MD)
Not about race, per se: Dave Boyle's Asian American Music Film
4:00 pm – 5:45 pm
Love and Rage: Cultural Strategies in Postwar U.S. Anarchism
Westin Bonaventure, San Bernardino (L1)
—Shon MeckFessel, University of Washington, Seattle (WA)
From a Disavowal of Commitment to a Commitment of Disavowal: (Non)Left Positionalities in 1980s Post-Punk and Anarchy-Punk
Alternative Economies of Pleasure in Contemporary Southern Working-Class Cultures
Westin Bonaventure, San Pedro (L1)
—Nicholas Neil Gorrell, University of Mississippi (MS)
Economies of Scarcity and Abundance in Contemporary Southern Blues
—Anne Gessler, University of Texas, Austin (TX)
Second Lines, Creative Economies, and Gentrification: Music Cooperatives in Post-Katrina New Orleans
Stomp, Swerve, Rattle, and Roll: Fun and Pleasure as Political Resistance in American Blues Music
Westin Bonaventure, Santa Monica A (L3)
Daphne Brooks, Yale University (CT)
Mark Anthony Neal, Duke University (NC)
"Let Me Bang Your Box": The "Erotic Life" of the Blues
Sonnet Retman, University of Washington, Seattle (WA)
Memphis Minnie's Jukebox Blues
Kimberly Mack, University of California, Los Angeles (CA)
"That Natural Blues Man Look": Black Elvis and the Demythologization of the Black Blues Figure
R. J. Smith, Independent Scholar
Calling All Freaks!: The Licentious Blues Spirit of the Rent Party and the Buffet Flat
Adam Gussow, University of Mississippi (MS)
**Wildness: The Fun and the Fury of Anarchy**
Westin Bonaventure, San Gabriel C (L1)
Mel Y. Chen, University of California, Berkeley (CA)
Peter Coviello, Bowdoin College (ME)
The Wild Less Than the Good: Erotics and Biopolitics in Thoreau
Jack Halberstam, University of Southern California (CA)
'Wildness at the End of the World'
Tavia Nyong'o, New York University (NY)
William Blake's Wild America
Mel Y. Chen, University of California, Berkeley (CA)
FRIDAY, November 7th
8:00 am – 9:45 am
Feeling Queer
Westin Bonaventure, San Gabriel B (L1)
—Elias Krell, Northwestern University (IL)
Mixing Sound: Technologies of Fem(me)ninity and Mixed Race in Kelly Moe
Life-Writing, Musical Lives
Westin Bonaventure, San Gabriel C (L1)
Ulrich Adelt, University of Wyoming (WY)
Nassim Winnie Balestrini, Karl-Franzens-University (Austria)
Fun, Fury, Fans: Affective Strategies in Intermedial Hip-Hop Life Writing
Mercy Romero, Sonoma State University (CA)
Two Lives in Music
Petra Rivera-Rideau, Virginia Polytechnic Institute and State University (VA)
The Pleasures and Pains of Love: Listening to La Lupe and Ivy Queen
Jessica Elaine Teague, University of Nevada–Las Vegas (NV)
Charles Mingus and the Serious Fun of Jazz Autobiography
Ulrich Adelt, University of Wyoming (WY)
**Caucus: War and Peace Studies: Reconsidering the 'R and R': Dialectics of Violence and Pleasure in Militarism**
Westin Bonaventure, Santa Anita B (L1)
—Patricia Stuelke, University of Massachusetts, Boston (MA)
You're a Criminal as Long as You're Mind: The U.S. Invasion of Panama and the Sounds of Bad Romance
**ASA Program Committee: Uncontrolled Substances/Altered States**
Westin Bonaventure, Level 1, San Bernadino
—Josh Kun, University of Southern California (CA)
The Musical Más Allá: Narco/Necro/Anarco
10:00 am – 11:45 am
Fugitive Preludes: Chicana/o Popular Music and the Neoliberal City
Westin Bonaventure, San Gabriel C (L1)
Christina Zanfagna, Santa Clara University (CA)
Wanda Alarcón, University of California, Berkeley (CA)
Variations on a Theme: Performing América on the National Stage
Jonathan Gomez, University of California, Santa Barbara (CA)
Teen Post to Rainbow Alley: Facing Unexpectancy with Unexpectant Punk Rock Social Spaces
Kurt Newman, University of California, Santa Barbara (CA)
Undoing the Math: Chingo Bling, the "Not-All," and the Politics of Parody
Christina Zanfagna, Santa Clara University (CA)
Willful Subjects: Action, Agency, and Politics
Westin Bonaventure, San Anita B (L1)
—Neil Roberts, Williams College (MA)
It's Bigger than Hip Hop: Decoding the Trayvon Martin Event
12:00 pm – 1:45 pm
Music, Fashion and the Power of (Queer) Nightlife
Westin Bonaventure, Los Cerritos (L1)
Madison Moore, King's College London (England)
Ananya Jahanara Kabir, King's College London (England)
Matthew D. Morrison, Columbia University (NY)
Victor P. Corona, Fashion Institute of Technology (NY)
Gregory Alexander, Artist
Loren Granic, Artist
Amy Cakes Danky Dank, Artist
High on Crack: Surveillance, Loss and Addiction in Black Communities
Westin Bonaventure, San Fernando (L1)
—Andreana Clay, San Francisco State University (CA)
"Kick in the Bass": Sonic Navigation of Pleasure and Pain in Crack Lyrics
Performing Decolonial Aesthetics and the Politics of Pain and Pleasure in Music Across the Americas
Westin Bonaventure, San Pedro (L1)
Jaime Cardenas, Seattle Central Community College (WA)
Marie "Keta" Miranda, University of Texas, San Antonio (TX)
Polka Dawgs: Tejana/o Dance as Pleasure in Response to Racial and Class Subordination
Marco Cervantes, University of Texas, San Antonio (TX)
Third Root Poetics Through Hip Hop Aesthetics: Performative Autoethnographies and Musical Empowerment
Jaime Cardenas, Seattle Central Community College (WA)
2:00 pm – 3:45 pm
Twelve Years a Slave: Sounds and Spectacles of Slavery
Westin Bonaventure, Santa Anita A (L1)
—Paul Fess, City University of New York, Graduate Center (NY)
"The most excruciating noise": Power Structures of Music in Solomon Northup's Twelve Years a Slave
4:00 pm – 5:45 pm
Bittersweet: Remaking the Exhibit "American Sabor: Latinos in U.S. Popular Music" for the Smithsonian Institution
Westin Bonaventure, San Gabriel A (L1)
Juan Flores, New York University (NY)
Marisol Berrios Miranda, Independent Scholar
Shannon Dudley, University of Washington, Seattle (WA)
Njoroge Njoroge, University of Hawai'i, Manoa (HI)
Victor Hugo Viesca, California State University, Los Angeles (CA)
We're Listening: Surveillance Technologies and Non-Private Publics
Westin Bonaventure, Santa Monica B (L3)
Gus Stadler, Haverford College (PA)
Andrew Hamsher, University of Texas, Austin (TX)
Controlling Fantasyland: Surveillance and Freedom in Transmedia Storyworlds
Jason Farman, University of Maryland, College Park (MD)
Creative Misuse as Resistance: Surveillance, Mobile Technologies, and Locative Games
Brian Hochman, Georgetown University (DC)
Eavesdrop Nation: The Rise of 'Private Ear' Wiretap, 1959-1974
Stephen Knadler, Spelman College (GA)
Kerry's OMG Washington: Re-Scandalizing Racial Surveillance in the Obama Era
SATURDAY, November 8th
8:00 am – 9:45 am
Indigeneity and Difference
Westin Bonaventure, Santa Barbara B (L1)
Elizabeth Sine, University of California, San Diego (CA)
Native Jazz: Radical Multiraciality and the Politics of Desire in an Age of Global Crisis
10:00 am – 11:45 am
Caucus: Sound Studies: Power Ballads and Blurred Lines: Songs from the Boundaries of Fun
Westin Bonaventure, Santa Barbara C (L1)
Eric Weisbard, University of Alabama, Tuscaloosa (AL)
Jeff Chang, Stanford University (CA)
Alice Echols, University of Southern California (CA)
Evelyn McDonnell, Loyola Marymount University (CA)
Oliver Wang, California State University, Long Beach (CA)
Rubén Martínez, Loyola Marymount University (CA)
2:00 pm – 3:45 pm
Caucus: Sound Studies: The Racial Politics of Listening: "Accents," Hate Speech, and Language in the U.S. Media
Westin Bonaventure, San Fernando (L1)
Isabel Molina-Guzman, University of Illinois, Urbana-Champaign (IL)
Sara Veronica Hinojos, University of California, Santa Barbara (CA)
Reading Lupe Vélez, Mexicanness, and Her Fiery "Accent"
Dolores Inés Casillas, University of California, Santa Barbara (CA)
Inglés Sin Barreras, Rosetta Stone, and the Politics of Language Learning
Marci McMahon, University of Texas, Pan American (TX)
Staging the Sound of Citizenship in Josefina Lopez's Detained in the Desert
Jennifer Stoever-Ackerman, State University of New York, Binghamton (NY)
"You. Got. To. Un. Der. Stand": Rachel Jeantel, "Reasonable" Listening, and the Sonic Color-line
Isabel Molina-Guzman, University of Illinois, Urbana-Champaign (IL)
To Be Young, Global, and Black: The Global Circulations of Blackness and Americanness
Westin Bonaventure, San Pedro (L1)
Jeff K. Chang, Stanford University (CA)
—Samir Meghelli, University of Illinois, Urbana-Champaign (IL)
Rapping and Race-ing Across the Atlantic: Hip Hop and Racial Politics in Postcolonial France
—H. Samy Alim, Stanford University (CA), Shaheen Ariefdien, Independent Scholar (South Africa)
Whaddup, San?: Hip Hop, "Colouredness," and the Construction of Khoisan Identity in Post-Apartheid South Africa
4:00 pm – 5:45 pm
Racial Meanings and Musical Performance in Film: Uses of Folk, Calypso, and Jazz in Films, 1944–1965
Westin Bonaventure, Beaudry B (L1)
Kevin Gaines, University of Michigan, Ann Arbor (MI)
Geoffrey Jacques, Independent Scholar
Jazz, Film, and the Black Hipster
Shane Vogel, Indiana University–Bloomington (IN)
Trinidad Goes Hollywood: The Ersatz Epistemology of the Calypso Craze
Judith E. Smith, University of Massachusetts, Boston (MA)
Using, and Being Used by Hollywood: Harry Belafonte on Film, 1953–1959
Jacqueline Stewart, University of Chicago (IL)
The Cry of Jazz and The Corner: Filming Music of Everyday Black Life in Chicago
Kevin Gaines, University of Michigan, Ann Arbor (MI)
Liberating Encounters: Cultural Consumption as Agent of Pleasure and Social Change in Contemporary Asian, Latin-American, and U.S. Popular Culture
Westin Bonaventure, San Fernando (L1)
—Patty Ahn, University of Southern California (CA)
Detours of Indebtedness: South Korean Pop Music and Neoliberal Logics of Race
Arab Worlds: Then and Now
Westin Bonaventure, Santa Monica C (L3)
—Meghan E. Drury, George Washington University (DC)
The Belly of the Wail: Feminism and Arab Hybridity in 1990s World Music
SUNDAY, November 9th
8:00 am – 9:45 am
Sports, Sex, and Music across the Pacific during the Cold War
Westin Bonaventure, Beaudry B (L1)
—Mari Yoshihara, University of Hawai'i, Manoa (HI)
Lenny Blows Up the World: Classical Musicians Play the Cold War
Sonics of Black Excess, 1940s to 1980s
Westin Bonaventure, Los Cerritos (L1)
Imani D. Owens, Princeton University (NJ)
Brian Lefresne, University of Guelph Canada
A Fool in Space: Sun Ra the Jester at the Carnival
Charles McGovern, College of William and Mary (VA)
I Want a Lavender Cadillac: Fun, Excess and Labor in Black Popular Music, 1940–1970
Terrion L. Williamson, Michigan State University (MI)
I'm Not Your Superwoman: Black Female Embodiment and the Sites of Social Intimacy
Brian Edward Jones, College of William and Mary (VA)
Big Fun with the Prince of Darkness: Miles Davis and the Death of the American Dream
Imani D. Owens, Princeton University (NJ)
10:00 am – 11:45 am
What Words Can't Do: Instrumentals, Identity, and Interpretation
Westin Bonaventure, Los Cerritos (L1)
Shana L. Redmond, University of Southern California (CA)
Shana L. Redmond, University of Southern California (CA)
Tsitsi Jaji, University of Pennsylvania (PA)
Guthrie Ramsey, Jr., University of Pennsylvania (PA)
Tamara Roberts, University of California, Berkeley (CA)
The Pleasures and Pains of Hip Hop Listening: New Aesthetic Approaches
Westin Bonaventure, San Bernardino (L1)
Jill Toliver Richardson, City University of New York, Borough of Manhattan Community College (NY)
James Ford, Occidental College (CA)
Karen Jaime, University of Illinois, Urbana-Champaign (IL), Jonathan Gray, City University of New York, John Jay College of Criminal Justice (NY), Candice Jenkins, City University of New York, Hunter College (NY), James Ford, Occidental College (CA)
The Pleasures and Pains of Hip Hop Listening: New Aesthetic Approaches
Michael Jeffries, Wellesley College (MA)
"All the Way Live": The Aesthetics of Pleasure in California Funk
Westin Bonaventure, Santa Barbara C (L1)
Laura Harris, Pitzer College (CA)
Scot Brown, University of California, Los Angeles (CA)
"All the Way Live": The Live Funk Aesthetic of Lakeside
Cheryl L. Keyes, University of California, Los Angeles (CA)
From Mademoiselle Mabry to Betty Davis: The Reigning Funk Diva from the Underground
Tony Bolden, University of Kansas (KS)
Are You Funkified?: The Choreopoetics of Pleasure in the Music of Sly and the Family Stone
Laura Harris, Pitzer College (CA)
**Caucus: Environment and Culture: Ecologies of Pleasure and Pain: Deviance, Destruction, and Desire in Environmental History**
Westin Bonaventure, Santa Barbara A (L1)
—Craig Eley, University of Wisconsin, Madison
Psychologically Ultimate Seashores: Natural Sound, Personal Pleasure, and Recording Technologies
12:00 pm – 1:45 pm
Pleasure, Pain, Politics, and Performance: Black Women Artists and Their Fans
Westin Bonaventure, Palos Verdes (L1)
Gayle Wald, George Washington University (DC)
Ruth Feldstein, Rutgers University, Newark (NJ)
Emily Lordi, University of Massachusetts, Amherst (MA)
Cherise Smith, University of Texas, Austin (TX)
Gayle Wald, George Washington University (DC)
Performative Pleasures of Blackness: The Creation, Consumption, and Conflict of Pleasureable Blacknesses
Westin Bonaventure, San Fernando (L1)
—Danielle C. Heard, University of California, Davis (CA)
Feeling Good: Nina Simone and the Pleasures of Live Performance, Montreux 1976
—Scott Poulson-Bryant, Harvard University (MA)
The 'Unruly Delights' of the Great Black Way: Contradiction, Pleasure and Black Musicals of the 1970s
Can Black Women Have Fun?: Beyond Mammies and Martyrs
Westin Bonaventure, San Gabriel A (L1)
—Margo Crawford, Cornell University (NY)
Erykah Badu's Black Fantastic Re-invigoration of Black Cultural Nationalism
2:00 pm – 3:45 pm
Central Avenue Breakdown: Gender, Race, and Coming of Age in a Los Angeles Jazz Community
Westin Bonaventure, Beaudry B (L1)
Farah Jasmine Griffin, Columbia University (NY)
Maxine Gordon, Fordham University (NY)
Dexter Gordon and Melba Liston: The 'Mischievous Lady Session', June 5, 1947, Dial Records
Monica Hairston-O'Connell, Columbia College (IL), Sherrie Tucker, University of Kansas (KS)
Revisiting Central Avenue through Melba Liston's Oral Histories
Nichole T. Rustin, Independent Scholar
Playing with Dynamics: Racialized Masculinity, Jazz, and Coming of Age on 1940s Central Avenue
Farah Jasmine Griffin, Columbia University (NY)
What Beyoncé (and Her Stans) Can Teach Us About The Pleasures of Intersectional Identity
Westin Bonaventure, Santa Barbara A (L1)
Deborah Paredez, University of Texas, Austin (TX)
Clare Croft, University of Michigan, Ann Arbor (MI)
Micah Salkind, Brown University (RI)
Kristen Warner, University of Alabama, Tuscaloosa (AL)
Chelsea Bullock, University of Oregon (OR)
Deborah Paredez, University of Texas, Austin (TX)
The Sonic Roots of Surveillance Society: Intimacy, Mobility, and Radio
It's an all too familiar movie trope. A bug hidden in a flower jar. A figure in shadows crouched listening at a door. The tape recording that no one knew existed, revealed at the most decisive of moments. Even the abrupt disconnection of a phone call manages to arouse the suspicion that we are never as alone as we may think. And although surveillance derives its meaning the latin "vigilare" (to watch) and French "sur-" (over), its deep connotations of listening have all but obliterated that distinction.
Rounding out our series on surveillance, Kathleen Battles offers a historical perspective that shows how early twentieth century crime drama naturalized practices of citizen surveillance. A million eyes were activated as millions of listeners learned that the immediacy of radio and telephone allowed for an unprecedented level of participation in law enforcement. Calling all cars…Calling all cars… -AT
Police Headquarters, a 1932 radio crime drama, was produced in the infancy of narrative radio. Containing barely 12 minutes of narrative content, the program opened each episode with a repeating segment of call, connection, and dispatch to quickly establish both the crime committed and how the police responded to it. For example, in the "Payroll Robbery" episode it takes just over a minute and a half to hear a phone call to the titular headquarters, its connection to the proper unit, a radio call to a specific police car, and the responding officers arriving at the assigned location. Compared with the graphically and visually intense images of modern surveillance in contemporary popular culture, this brief exchange no doubt sounds quaint, simplistic, and even banal. After all, radios, cars, and telephones have served as the routine backdrop of most police dramas for some 70 years. But in 1932 the interlinking of these technologies was factually, as well as imaginatively, novel. This essay shows how radio, as "new media," was central to imagining surveillance in sonic terms, prefiguring many features of contemporary surveillance practices.
The introduction of radio and cars into police work took place in the first decades of the twentieth century, especially during the years between the two world wars that Richard Popp (2011) calls "the machine age". He argues that this period witnessed vast transformations brought on by cars and radios, which, when combined with existing technologies like the telephone, forged new communication networks that transformed both work and leisure. These changes were central to the narratives of criminality and policing that emerged during the interwar years. Police were the focus of radio dramas, including Police Headquarters and Calling All Cars. These dramas played with the intermingling of automobility, telephony, and radio in ways that spoke to the main problems police forces saw themselves facing: organized, professional, mobile, machine-age criminals. Cars, telephones, and automobiles were not just tools to criminals, but they were also the building blocks for a machine age surveillance made possible by the sonic power of radio.
Recently, Robin James (2014) has suggested that the acousmatic is a useful metaphor for understanding the emerging practices of data based surveillance. Acousmatic surveillance listens for patterns in "ambient data environments" instead of profiling individuals in the panoptic sense. At the turn of the twentieth century, radio allowed for a panacoustic mastery of spaces that bridged both panoptic and acousmatic surveillance. Radio also speaks to another key feature of information age surveillance, what Mark Andrejevic (2011) describes as the "redoubling of tools for communication and leisure as technologies for surveillance and security." (165-66) The technical capabilities and imaginative potentials of radio help us to consider it both as a police technology and entertainment medium. The sonic power of radio was often figured as an "Invisible Man Hunter," whose realignment of spatial and temporal arrangements rendered criminal escape impossible. As an entertainment medium, radio's aurality was key to understanding its imaginative potential as highly intimate and mobile: invasive and expansive.
In Police Headquarters we hear how radio's sonic and aural qualities come together. Radio acts as the link between the telephone and car, allowing for a swift response to a citizen request. The tactical use of sound effects and narrative compression in the broadcast situate the listener inside a machine like apparatus that presents the police as always available. At their broadest level, radio crime dramas aurally situate communication and transportation technologies, like radio, as key to both the narrative organization of the story and as a plot element. In the opening to the "Stop That Car" episode of Calling All Cars, a dispatcher advises for cars to be on the lookout for a specific car involved in a hit and run, including the address of the crime and possible location of the vehicle. Overlaid with sound effects made to signify a car, these openings situate listeners as riders eavesdropping on the adventures of mobile police officers. As the program's title suggests, each episode opened with a police radio call, often voiced by real life LAPD dispatcher, Jessie Rosenquist. The program's sponsor was the gasoline company that supplied the fuel for LAPD patrol cars – further linking cars and radio as a key theme. In the opening to the "Two Man Crime Wave Episode," the very ad for the product is performed as a police radio call.
The conceit of eavesdropping on a police adventure did much to link private life and the police. This theme runs tandem to radio's sonic immediacy, which allowed listeners to imagine a seemingly instantaneous response to citizen phone calls.. For example, the "July 4th in a Radio Car" episode of Calling All Cars situates radio listeners as sonic participants, able to ride along with police from the comfort of their own living rooms. Here, cars respond to a number of calls made by private citizens that bring the policing function into daily life. There is even one call that involves domestic violence, in particular. Throughout the episode, police are situated as an available force – thanks to the telephone, radio, and automobile – to adjudicate all manner of private disputes. In these particular instances the intimacy of radio as a machine age technology is "redoubled" with radio as a police technology. Radio's intimate address allowed the voices of police officers to enter the private space of the home. At the same time, the machinery of crime fighting required citizen participation, most often figured through the phone call from within the space of the home to the police.
If the intimacy of radio served to cross the divide between public and private, the spatial-temporal collapse achieved by radio made it ideal for sonically monitoring great swaths of space. Intimately linked with cars, radio was understood as especially mobile. Radio's ability to compress the relationship between space and time is frequently dramatized. For example, in the "Crime vs. Time" episode of Calling All Cars, the host explains how radio has rendered the average response time to a police call for help only two minutes and forty seconds. The episode then proceeds to show how radio was used by the police to track and apprehend two men who robbed a movie theater. Representing phone and radio calls, while specifically referencing geographic locations, radio dramatists used radio's aural dimensions to render radio's sonic power of surveillance. Capable of reaching everywhere, police radio, when linked with the telephone and automobile, could be used to sonically pinpoint any somewhere that a criminal might try to escape to.
In our era of high-tech and sophisticated technologies, visually rich narratives, and algorithmically driven methods of tracking, there is certainly something simple, comforting, and even nostalgic in these tales of low-tech machine age criminal apprehension. Depression era true crime dramas certainly do not offer the kind of sophistication as information age narratives, such as The Wire. The medium's sonic qualities were key to linking together its use as both a police instrument and as a domestic entertainment technology. With sonic forces invisibly and silently crossing the into intimate domestic spaces and covering large swaths of territory, radio became key to imagining many features that we take for granted as "new" about the information age: the control of movement across space, the constant availability of communicative connection, the promise of perfect coordination across a field of institutional actors, the marshaling of citizen participation in surveillance efforts, and the construction of increasingly intimate links between domestic life and law enforcement procedures. In serving as central node in refiguring shifting notions of space and time that existing institutions were not prepared to handle, radio's sonic qualities remapped the meaning of police work and helped to establish a relationship between the police and citizen body that still resonates today. While not as technologically sophisticated, machine age policing and police narratives took advantage of radio's double function as both a machine of coordination and medium of entertainment to extend the policing function into more areas of life. This reflects a sonic mode of power that allows neither the interior space of the home nor the exterior world of the road relief from police presence. This moment of technological interconnection, however, evoked the excitement and anxiety that made sonic surveillance at once thrilling and calming; a salve to soothe the woes of a world that now seemed intensely close and impossibly far flung. Is it any wonder that while some fret over the power of corporate and state dataveillance today, that some continue to find comfort in the possibility of being recognized as someone in a world of ever more intense interconnection?
Featured image "Radio for Backup" by Jonathan Flinchbaugh CC BY-NC-SA.
Kathleen Battles is Associate Professor and Graduate Director in the Department of Communication and Journalism at Oakland University. Her research focuses on radio history, especially as it relates to issues of policing, sound and surveillance, questions concerning technology and culture, and sexuality and the media. She is the author of Calling All Cars: Radio Dragnets and the Technology of Policing (University of Minnesota Press, 2010); co-editor (with Joy Hayes and Wendy Hilton-Morrow) of War of the Worlds to Social Media: Mediated Communication in Times of Crisis (Peter Lang, 2013); and co-author (with Wendy Hilton-Morrow) of Sexual Identities and the Media: An Introduction (Routledge, 2015). In addition, her work has appeared in Critical Studies in Media Communication, The Radio Journal, and the Journal of Homosexuality.
REWIND!…If you liked this post, check out:
Acousmatic Surveillance and Big Data-Robin James
The Dark Side of Game Audio: The Sounds of Mimetic Control and Affective Conditioning–Aaron Trammell
À qui la rue?: On Mégaphone and Montreal's Noisy Public Sphere-Lilian Radovac
SO! Amplifies: Maile Colbert, Rui Costa, and Jeff Cain's "Radio Terramoto"
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!
This November 1st will mark the 259th anniversary of the Great Lisbon Earthquake on All Saints Day, 1755, which destroyed a quarter of the city and beget consequential tsunamis and fires. "Radio Terramoto" is a soundwalk research and art project designed to bring this seemingly distant devastation into contemporary consciousness. Based on the idea of listening to sound from a past historical event, "Radio Terramoto" is a traveling audience immersive event. It's inaugural procession, made up of the creators and audience members, followed a path from the Convento do Carmo down to the River Targus in Lisbon, Portugal. It was also performed this summer in the town of Viseu, Portugal, as part of the Invisible Places, Sounding Cities Symposium in July 2014.
"Radio Terramoto" is a radio transmission from All Saints Day, 1755. We are not sure how or why the forty minutes were recorded, but having been discovered aaccidentallyit has proven to be an important record of the experience of the people caught in the earthquake. We follow our mysterious ghost recorder from the Convento, where people were gathered for mass. The first wave hits and the convent crumbles. As people run to the river, we follow their path as the buildings around us burst into flames and collapse. Upon reaching the river in a panic, we are only to be greeted by the water pulling out, revealing flopping fish and shipwrecks, pulling towards the ocean to fuel the giant wave that would finally overcome our poor recorder. From here, the transmission stops. (To read this summary in Portuguese click here).
The project and research for "Radio Terramoto" asks the question, what can listening to the past reveal about the now, both in artistic practice and scientific research? Its site-based (yet mobile) sound design weaves between the present and the past and is based on research on the earthquake, using documents of first hand experiences and the first seismic and "earthquake"-proof architecture that came after what may be the largest earthquake recorded in history.
For the original "Radio Terramoto" soundwalk in Lisbon, first performed November 1, 2013, we walked with the audience bearing a transmitter; the audience carried radios and cell phones tuned into the specific frequency of the transmission. The soundwalk also included hand-held sculptural octahedra created using a geometric framing system designed by Jake Dotson, assembled as a singular form approximating a Pombaline cage, the first modern earthquake resistant architecture. The radio transmitter, and other key electrical devices were suspended in these 1 foot 3 inch octahetra made of brightly colored sticks of wood held together with friction and tension. The large cage broke apart into the individual octahedra to aid in the transportation of equipment and in providing a visual wayfinding aide for the participants.
Like Maile's "Passageira em Casa," a traveling intermedia work that explores the concept of "home," "Radio Terramoto" changes to be site and context specific with each presentation. When we led a performance in Viseu, Portugal, for example, we began at the Sé de Viseu, moved through the old city center, and ended at a small body of water off the Avenida Emídio Navarro.
Planned future performances of "Radio Terramoto" include a version in Los Angeles that will unite the original team in collaboration with Jesse Gilbert. Gilbert created the program SpectralGL, a cell phone app that enables sound to visually affect the landscape from the video camera as the audience member walks. As Los Angeles has its own fraught relationship with earthquakes, we expect this performance to be particularly resonant and thought provoking.
Images courtesy of the artists and Jennifer Stoever (Viseu shots)
Rui Costa is a sound artist from Lisbon, Portugal. He is a founding member and artistic director of Binaural/Nodar, an arts organization founded in 2004 and dedicated to the promotion of context-specific and participatory art projects in rural communities of the Gralheira mountain range, northern Portugal. Rui has been performing and exhibiting his work since 1998 in festivals, galleries and museums across Portugal, Spain, Italy and the United States and has been collaborating regularly with the Italian vocal performer Manuela Barile and the American intermedia artist Maile Colbert. Rui Costa is also a regular speaker in conferences and gives workshops dedicated to sound art. For more from Binaural/Nodar, please check out the organization's soundcloud, vimeo, and flickr.
Maile Colbert is a multi-media artist with a concentration on sound and video who relocated from Los Angeles, US to Lisbon, Portugal. She is a regular writer for Sounding Out!
Jeff Cain is an artist, designer, curator and director of the Shed Research Institute a multidisciplinary art, research, curatorial, and design studio in Lincoln Heights, Los Angeles.
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Six Years in Nodar: Sound Art in a Rural Context–Rui Costa
SO! Amplifies: Eric Leonardson and World Listening Day 18 July 2014


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Added Oct 4, 2007
By burdastyle
New York, New Yo...
This is one technique for sewing pin tucks that run the full length of the fabric. [There are others that use only 1 thread (for pin tucks that end in the middle of the fabric) and other techniques using twin needles.] If you want to quickly add pin tucks to a piece of a garment, sew them into your fabric before laying the pattern on it. This is a very nice and easy detail for pieces like yokes and insets, since you can do it on small pieces of fabric.
Mark your pleats on the fabric. For this first set, I want larger pleats with a final size of 1/4" (6 mm), so mark the pleat lines 2 times that intake- 1/2" (12 mm). Mark with hand basting stitches or a tailor's chalk, and use a ruler to make sure they are straight.
Jan 31, 2010, 07.03 AMby maado
can anyone explain how to do a bound button hole
thanks Maado
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Lebanon's flag-carrier, Middle East Airlines (MEA), has announced plans to join SkyTeam, one of the world's biggest alliances.
The airline will sign a deal on 28 February, paving the way for MEA to be granted full membership in 2012.
"SkyTeam is actively working to strengthen its presence in the Middle East, one of the world's most important economic regions," the alliance said, in a press statement.
"MEA will be a valuable addition to the alliance by offering customers increased access to the Middle East and Western Africa."
The move comes a year after Saudi Arabian Airlines also moved to join SkyTeam.
The Lebanese airline will join up with some of the biggest names in aviation when it becomes a SkyTeam member. Among the alliance's carriers are Air France, Delta Airways, Korean Air and Delta.
Altogether, the alliance flies 385m passengers annually, with a worldwide system of 12,500 daily flights to 898 destinations.
Disclaimer:The view expressed here by our readers are not necessarily shared by Arabian Business, its employees, sponsors or its advertisers.
Please post responsibly. Commenter Rules
Yes please remove the rent cap, let the prices get even more jacked up. In the end it will burst, and no one will benefit. Neither tenants nor landlords... moreSunday, 23 November 2014 7:01 PM - david-bp
Everybody is indeed taxed via DEWA bills, but there is also taxation on pork, alcohol, dining out at restaurants as in municipality tax, car tax (registration... moreSunday, 23 November 2014 4:03 PM - Red Snappa
Nicely written!
I think its time for private and VIP personalities in the Middle East to step in and boost this sport up. But of course, the F1 Management... more
Yes please remove the rent cap, let the prices get even more jacked up. In the end it will burst, and no one will benefit. Neither tenants nor landlords... moreSunday, 23 November 2014 7:01 PM - david-bp
The death sentence is a free pass. The purpose of punishment has always been to provide a lesson for misbehaving. No one learns a lesson by dying. Life... moreFriday, 21 November 2014 2:02 PM - LordLands
Its a vessel...big deal moreSunday, 23 November 2014 12:44 PM - John Doe
Our prayers are with you Allan, justice shall prevail and things will be different once it is solved as these banks will be taught a lesson. If not today... moreSunday, 9 November 2014 12:37 PM - Arjun
It's such a superficial life, but that's up to you, some love it & some hate it. Rather go to other restaurants that offer value for money with great ambiance... moreMonday, 17 November 2014 8:51 AM - Ash
Good to know that.. God Bless U.A.E. and its Rulers and all the concerned in the Govt. Authority..
Our good wishes to all who has done this..... more


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Thursday, Nov. 27 and Friday, Nov. 28 for Thanksgiving.
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These photographs are from the Port of Milwaukee, Milwaukee Public Library Historic Photo Collection, and the Great Lakes Marine Collection of Milwaukee Public Library and the Wisconsin Marine Historical Society.…
The first recorded Latino to settle in Milwaukee is one Rafael Baez, born originally in May of 1863 in Pueblo, Mexico
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expecting a decent ending but got boring hallmark 10 second like greeting card commercial! why would she have to run away a second time she's going to come back for the birth of her friends baby! Does she think she could easily run off again w/o rain not finding out since her friends are hoping 4them 2get 2gether!Usually, the guy's the 1 that doesn't express feelings as much as the girl lead. But this time this girl was just so ice cold to anything rain pored out 2her!It was so true when Rain said I LOVE U MORE THAN U LOVE ME! Hands down, the DOG should get the academy award for best supporting actor. He literally carried the show so viewers could stomach the very unimpressive ending!3 stars for overall drama & 10 stars for the DOG'S overall Outstanding performance in this mediocre Kdrama production!
I don't get is y the girl had to leave!wasnt he & others teamin up against the bastard dad goin to save them.how many times do we have to see lying girls sayin I trust u but turn & do the opposite thing!y not just murder the asshole & b done with him ! murder


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JAPAN: Nissan to sell Datsun in South Africa
Nissan has announced it will sell its revived Datsun brand, now a low-cost alternative in South Africa, starting with a new passenger vehicle for launch by the end of 2014.
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