text:
detritus 1 & 2 and V.F(i)n_1&2 : The Sounds and Images of Postnational Violence in Mexico
This April forum, Acts of Sonic Intervention, explores what we over here at Sounding Out! are calling "Sound Studies 2.0″–the movement of the field beyond the initial excitement for and indexing of sound toward new applications and challenges to the status quo.
Two years ago at the first meeting of the European Sound Studies Association, I was inspired by the work of scholar and sound artist Linda O'Keeffe and her compelling application of the theories and methodologies of sound studies to immediate community issues. In what would later become a post for SO!, "(Sound)Walking Through Smithfield Square in Dublin," O'Keeffe discussed her Smithfield Square project and how she taught local Dublin high school students field recording methodologies and then tasked them with documenting how they heard the space of the recently "refurbished" square and the displacement of their lives within it. For me, O'Keeffe's ideas were electrifying, and I worked to enact a public praxis of my own via ReSounding Binghamton and the Binghamton Historical Soundwalk Project. Both are still in their initial stages; the work has been fascinating and rewarding, but arduous, slow, and uncharted. Acts of Sonic Intervention stems from my own hunger to hear more from scholars, artists, theorists, and/or practicioners to guide my efforts and to inspire others to take up this challenge. Given the exciting knowledge that the field has produced regarding sound and power (a good amount of it published here), can sound studies actually be a site for civic intervention, disruption, and resistance?
Last week, we heard from the Assistant Director at Binghamton University's Center for Civic Engagement, Christie Zwahlen, who argues that any act of intervention must necessarily begin with self-reflexivity and examination of how one listens. In coming weeks, we will catch up with Linda O'Keeffe's newest project, a pilot workshop with older people at the U3A (University of the Third Age) centre in Foyle, Derry, "grounded in an examination of the digital divide, social inclusion and the formation of artists collectives." We will also hear from artist, theorist, and writer Salomé Voegelin, who will treat us to a multimedia re-sonification of the keynote she gave at 2014's Invisible Places, Sounding Cities conference in Viseu, Portugal, "Sound Art as Public Art," which revivified the idea of the "civic" as a social responsibility enacted through sound and listening. This week, artist/scholar Luz María Sánchez gives us the privilege of a behind-the-scenes discussion of her latest work, detritus.2/ V.F(i)n_1–1st prize winner at the 2015 Biennial of the Frontiers in Matamoros, Mexico —which uses found recordings and images to break the deleterious silence created by narco violence in Mexico.
–JS, Editor-in-Chief
There is no document of civilization which is not at the same time a document of barbarism.
Walter Benjamin, Illuminations
detritus is an open-ended art project I started in 2011, that has as its main subject the portrayal of violence in Mexico. I introduce the sounds and images of what I call the Postnational Violence in Mexico using the concept of detritus as the nucleus; I use the cultural objects I produce through my artistic practice as the vehicle. detritus actually explores violence (1) as it is portrayed through media (radio, TV, newspapers and online platforms) and (2) as it is registered, manipulated and transmitted by the different participants of it –civilians, the government, NGOs, the military, the cartels–.
The first stage of detritus deals with Mexican media, specifically online newspapers, radio and TV, during the Presidency of Felipe Calderón (2006-2012). The whole strategy of [former] President Calderón —even before he took office— was to knock down violence associated to drug trafficking in Mexico and, actually, just a few days after he did his pledge as President of Mexico, he declared the war against drug trafficking that underwent from 11December 2006 —when Calderón actually started this war by sending 5,000 soldiers and police officers to the state of Michoacán— until the last day he was in Office: 31 November 2012.
During the six years that this war took place, former President Calderón appeared in military garments as "Mexico's Drug War Commander in Chief." The main target of this military strategy was to re-claim the control on those states where Mexican cartels were in charge. As Guillermo Pereyra argues in México: violencia criminal y "Guerra contra el narcotráfico" (2012), "Mexico's Drug War" began as a decision to recover sovereignty in a context of political and social crisis. At the end of this period, there were more than 45,000 officers deployed in the states of Mexico, Baja California, Tamaulipas, Michoacán, Sinaloa and Durango, and more than 60,000 casualties. US media called this war "The Mexican War on Drugs" or "Mexico's Drug War."
The research for the visuals of detritus included every single [online] edition of Milenio and Jornada —Mexican national newspapers—from 11 December 2006 until 31 November 2012, and eventually it also included Proceso magazine and El Blog del Narco, an online independent news outlet. This research allowed me to investigate how the media has steadily been increasing the volume of news and images dealing with this war, therefore contributing to the "normalization" of the very violence it covers. As Colombian artist Doris Salcedo states the normalization of barbarism comes from the excessive number of deaths that violence is leaving to the society and, [I will add] to the excessive number of images and sounds that media and individuals put on circulation and make it viral through social networks and online independent outlets. All of us are, either as transmitters or as receivers, building this texture of violence.
At the end of 2013 detritus was completed: more than 10,200 images, all of them categorized in a database that includes: title of newspaper, section, header, author of the photograph, caption, and a brief description of the image itself. I used a very simple process of photographic manipulation to alter those 10,200 images. Once transformed, these images are projected, for a very short period of time [2 seconds each] in a large screen. We could be standing in front of this projection for hours and never see any of those images repeated. For those who are drawn to numbers, we could see that at the beginning of this war, during a whole weekend, there will be four or five images related to the subject; by the end of 2012, there were more than 40 images during the same period of time.
But the description of the horror through Mexican media does not include all the necessary voices. That is why civilians started a process to empower themselves using the tools they have at hand–such as mobile phone's cameras–a medium they can use without restrictions. Over the Internet, civilians circulated images, videos, and sounds of their day-to-day experiences dealing with extreme violence. They are not alone on this viralization of violence through audiovisual documents: members of drug cartels and self-defense groups are also uploading their combats. The big difference is each group's "agenda." Civilians are in search of an arena to share their experiences; cartels and other military groups are either in search of validation or in search of documenting the systematic violence used in order to control whole populations.
Therefore, the audio complement I designed for detritus, first detritus.2 and then its current iteration V.F(i)n_1 , features the sounds of shootings, recorded by civilians who happened to be at close range. Generally this footage was taken via mobile phone and uploaded onto YouTube, and, unlike the newspaper representations, the image is not necessarily what is most engaging, since the individual that is making the recording is usually at floor level, protected, in order to avoid being hit by a stray bullet. But the sounds are pristine: even if the image is almost motionless -in the corner of a room, looking through a small part of a window-, the sound describes better what is at stake: violence at a very close range. The sounds on these recordings are very similar: the shootings are placed in the background, and we generally listen to voices in the foreground.
Each of the twenty recordings that integrate to create detritus.2 was taken from You Tube. The shootings occurred in the cities of Nuevo Laredo, Reynosa, Zupango, Orizaba, Saltillo, Juarez, Changuitiro, Purépero, Xalapa, Jiquilpan, Santa María del Oro and Mexico City. All of them, played together, contribute to the assembly of what Salcedo calls a texture of sound. The recordings are reproduced/played by twenty portable digital speakers in the shape of guns. These sound-reproduction machines are completely autonomous–no power or sound cables attached–and each speaker is a sound component by itself. Once the battery is worn, the sound is gone until the battery is recharged, therefore restarting the process performance / sound – waste / silence. Silence is one of the worst problems when dealing with violence.The government and the drug cartels alike don't want anybody to openly discuss these issues. Working with families within specific communities in Mexico and the US will help make their stories visible -out of the anonymous data- and visibility could empower them.
The Inferno
But exploring the "normalization" of violence through media is not my only intervention with detritus and detritus.2. Far from the sound art movement, where soundscape often functions as a neutral label that includes organized sounds taken from the surroundings, detritus.2 deals with Mexican contemporary cities' sounds, recorded and disseminated by the same individuals that live within these acoustic situations. Those are the sounds that [also] construct the Mexican landscape, telling the story of the failed nation. Taken together, the sounds of detritus.2 amplifies the fact that we are standing in front of the failure of the Mexican state as we know it, and its civilian population has been dealing with this irregular situation for many decades. We have witnessed drug cartels infiltrate every layer of life; and just because many civilians end up surviving —with and around it—does not make the problem disappear. On the contrary, every broken boundary makes the problem harder and harder to be resolved.
The failure of the Mexican State, or the "inferno" as is being called now, is something Mexico can no longer hide. When I say Mexico here, I am not referring to its general population–already exhausted already from decades on "survival mode"– but rather the Capitol elite: the government, investors, intellectuals, and journalists alike. This situation is not new to civilians living outside of Mexico City. Entire communities in the north of Mexico have been abandoning their belongings-jobs-lives, in extremely fast exodus, either to the US or to tranquil states like Yucatán. Thousands of mothers and fathers are looking for their sons and daughters taken by the cartels, in the best-case scenario they are put to work as slaves either at the drug camps or as prostitutes, in the worst they may be in the thousands of mass graves that pollute the country. Civilians understood early in the story that any complaint to the police would result in an even worse situation. For years, it has been known in the bus industry that a lot of young male and female travelers have been kidnapped to make them join this industry of slaves, and only recently they started to admit it: tons of luggage at bus terminals on the northern states of Mexico speak for those that went missing, and nobody said a word. Just the past 19 October 2014 a corpse of a went-missing-police-officer's mother was placed in front of the Ministry of the Interior's building: they never pursued an investigation over the disappearance of the young officer, and the last will of this ailing mother was her coffin to be placed in the street outside of the Ministry of the Interior as a way of extreme protest.
Listening Ahead: V. (u)nF_2
In the next phase of detrius.2, V. (u)nF_2–an acronym for Vis. (un) necessary force–I am making sculptural objects and sounds to construct a multi-channel sound-installation exploring the question: how do civilians in Mexico live through the extreme violence product of the fight against drug cartels in a state that has revealed its own failure? The artwork consists of a multiple series of custom-made ceramic-sound devices/megaphones in the shape of human heads/faces, molded after living family members of civilians that are still on the "missing" lists, maybe kidnapped and/or killed by drug cartels. In order to make an archive that includes each family's data, I will collaborate with organizations that assist civilians on finding their relatives. To make a representative selection, I plan to analyze data through a mathematic-algorithm; chosen families will be invited to be part of the project. Each family will designate a member to participate symbolically as the "missing" person. A 3D-scan data portrait will be made of each participant, followed by a ceramic-3D-print. I will then install an electronic-circuit and megaphone inside of the hollow-human-head/faces-ceramic-objects. To develop the sound element –a thick stratum of noise– I will digitally modify a multiple-layered-construction of sounds after the stored data. The specifics of each story/participant will be presented at the exhibition space through an interactive database. Custom-made ceramic-objects/megaphones will be resting on the floor; in in order to cross the exhibition-space, visitors will have to carefully move these 3D-ceramic-portraits, each one representing an individual story.
V. (u)nF_2 is a gesture that listens forward, taking those 24,000–and counting–missing-individuals outside of data-archives and rehumanizing them through storytelling, 3D-scan/print technology and sound. The fact that I will use traditional methods to approach my subject —the horror of this war against civilians– but will also use state-of-the-art-technology in order to shape the hardware needed for sound-installation, combines a human-scale project with the possibilities of the digital-world, which places this project within the so-called Third-Industrial-Revolution but grounds it in the real.
Listen to other sound installations by Luz María Sánchez:
Frecuencias Policiacas// Police Frequencies: "Las grabaciones que forman parte del audio multicanal de la instalación, fueron llevadas a cabo en la central de radiocomunicación de la policía de Nuevo Laredo, y fueron facilitadas a la artista por reporteros del diario El Mañana en agosto de 2005. Los audios registran una confrontación entre la policía de Nuevo Laredo y un grupo criminal no identificado, y por las características de los mismos, se pueden escuchar a diversos elementos policiacos, así como a las controladoras de la radiocomunicación. La re-transmisión de estos sonidos en una matriz multi-líneal, colocan a la obra en nuevos niveles de codificación en los que la complejidad visual, auditiva y político social de esta realidad, se hacen patentes." –Description by Roberto Arcaute y Manuel Rocha Iturbide
Frecuencias Policiacas// Police Frequencies: "The recordings are part of the multichannel audio installation carried out in the central police radio Nuevo Laredo, provided to the artist by El Mañana newspaper reporters in August 2005. The audio recorded a confrontation between police and an unidentified criminal Nuevo Laredo group. . .The re-transmission of these sounds in a multi-linear matrix placed to work in new levels of encryption that make evident the social visual, auditory and political complexity of this reality." –Description by Roberto Arcaute y Manuel Rocha Iturbide
2487: "2487 speaks the names of the two thousand four hundred eighty seven people who died crossing the U.S./Mexico border . The work employs digital technology and sound as a means for transborder memorialization and protest, imposing the absence of those lost into the public sphere. Sánchez' immersive sound environment remaps social history as the names of the deceased fly across the border through soundscape and digital media. Drawing from data acquired from activist websites, Sánchez created a sound map of names which she recorded digitally. Her final score, along with the database, has been exhibited widely but lives permanently on the world wide web, in commemoration and quiet protest. Sánchez' work connects the digital and geographic landscape to the listener's body, gaining entry through sound and transcending political and physical barriers"– Description from UCR Critical Digital 8/19/2012
Sound and visual artist Luz María Sánchez studied both music and literature. Through her doctoral studies Sánchez has focused on the role of sound-in-art since its inception in the 19th century through its evolution as an independent art practice in the 20th century. Sánchez then examined the radio-plays of Samuel Beckett linking them to the sound-practices that emerged in the mid-20th century. Sánchez has continued her research on technologized-sound: she was part of the conference Mapping Sound and Urban Space in the Americas at Cornell University, and her book Technological Epiphanies: Samuel Beckett's Use of Audiovisual Machines will be published in 2015. Her artwork has been included in major sound-and-music festivals such as Zéppellin-Sound-Art-Festival (Spain), Bourges-International-Festival-of-Electronic-Music-and-Sonic-Art (France), Festival-Internacional-de-Arte-Sonoro (Mexico), and has presented exhibitions at Marion-Koogler-McNay-Art-Museum, Dallas Center for Contemporary Art, Galería de la Raza (San Francisco), John-Michael-Kohler-Arts-Center (Sheboygan), Illinois State Museum (Chicago/Springfield), and Centro de Cultura Contemporánea (Barcelona) amongst others. She was granted a special distinction in the category Nouvea-Musiques at the Phonurgia-Nova-Prix (Arles), was the recipient of a Círculo-de-Bellas-Artes-de-Madrid's grant, and Yuko Hasegawa selected her for the Artpace-International-Artist-in-Residence. She is member of the Board-of-the-Sound Experimentation-Space at Museum-of Contemporary-Art (MUAC). Sanchez was recently awarded the First Prize of the Frontiers Biennial (2015).
REWIND!…If you liked this post, you may also dig:
"A Listening Mind: Sound Learning in a Literature Classroom"–Nicole Brittingham Furlonge
"Soundscapes of Narco Silence"—Marci R. McMahon
"Listening to the Border: '"2487″: Giving Voice in Diaspora' and the Sound Art of Luz María Sánchez"-D. Ines Casillas
As Loud As I Want To Be: Gender, Loudness, and Respectability Politics
Editor's Note: Here's installment #2 of Sounding Out!'s blog forum on gender and voice! Last week we hosted Christine Ehrick's selections from her forthcoming book; she introduced us to the idea of the gendered soundscape, which she uses in her analysis on women's radio speech from the 1930s to the 1950s. In the next few weeks we'll have SO regular writer Regina Bradley, with a look at how music is gendered in Shonda Rhimes' hit show Scandal, A.O. Roberts with synthesized voices and gender, Art Blake with his reflections on how his experience shifting his voice from feminine to masculine as a transgender man intersects with his work on John Cage, and lastly Robin James with an analysis of how ideas of what women should sound like have roots in Greek philosophy.
As I planned for SO!'s February forum, I wondered about my own connection to the topic: how is the loudness of a voice gendered? Does it matter who we call "loud"? As a Latina, I'm familiar with the stereotypes of the loud Latina, and as a Puerto Rican I faced them at every gathering. So for this week I decided to reflect upon my experiences in a personal essay. Lean in, close your eyes, and don't let the voices startle you.–Liana M. Silva, Managing Editor
I was 22 years old when someone called me deaf. I was finishing my bachelor's degree at the University of Puerto Rico, Rio Piedras campus. After four years of living in San Juan, I still hadn't gotten used to the class and race microaggressions I encountered regularly because I was a brown girl who grew up in the country and was going to school in the urban capital, el área metropolitana. These microaggressions were usually assumptions about who I was based on how I talked: I called pots a certain way, I referred to nickels in another way, and I couldn't keep my voice down–all indications, according to my "urban" friends, that I grew up in the country. But being called "deaf" was a new one.
My boyfriend at the time had no cellphone, and his mother would call me regularly to see if he was on his way home from a gig or to ask him to run an errand. She and I were not close, but we were cordial. I always felt we didn't click on some level. This particular weekend day, she had called to ask if he had left San Juan already to come visit her, and I told her I had just seen him that morning before he left. Somehow she and I went from small talk into a conversation.
In my head, I thought I was making headway with her and that this was a huge step forward in our relationship. We talked about his gig the night before, about how my family was doing, things like that. Then she asked me if my family had a medical history of people losing their hearing. "No? I don't think so. Why do you ask?" I said in Spanish.
"Because you talk so loud, and so do your father and your sister. Your mom isn't loud."
That was over 10 years ago, but the comment still stings. I am certain that wasn't the only time someone called me "loud" or pointed out the tone of my voice, but it's the one time that still rings in my ears when I think about the intersection of gender and sound. It wasn't just that I spoke at a high volume, it was that I was a woman who spoke at a high volume. I was the girlfriend who was loud.
Of course we're not born loud- or soft-speakers – we learn to use the volume level that prevails in our culture, and then turn it up or lower it depending on our subculture and peer group.
-Anne Karpf, The Human Voice
What does "loud" mean, anyway? Denotations fade into connotations. As I write this, I struggle to think of how to describe loud in a way that doesn't feel negative. Because every time I think of "loud" its negative connotations float up to the surface. Just take this Merriam-Webster online dictionary entry for "loud." Aside from the reference to volume, "loud" also means sounds that are offensive, obtrusive—annoying.
To be fair, I've always been self-conscious of my voice, and not in the way most people hate the sound of their voice. I always felt my voice was not girly enough. I always felt as a teenager and a young adult not "pretty" enough, not thin enough, not "feminine" enough, so my insecurities also extended to my voice.
Growing up, I heard people tell me time and time again to keep my voice down, that I was talking too loud, that people next door could hear me, et cetera. Grandparents, cousins, parents, friends: I got it from every corner. Shush. But I don't recall anybody saying that about the boys/men I hung out with. Add to that the comments I got about my appearance: "you're too fat," "your hair is too frizzy," 'you're ugly." I associated being loud with being unattractive. Just another flaw.
It's no coincidence then that describing a woman as loud is almost never said as a compliment. Although a man can be loud—he might even be expected to have a deep, booming, commanding voice, as the above video describes—when a woman is described as loud, it's almost never in a good light. Karpf mentions in The Human Voice: The Story of a Remarkable Talent that "Loudness certainly seems to be judged differently depending on the sex of the speaker. Talking loudly is considered an act of aggression in women, but in men as no more than they're entitled to." In other words, society deems men to be allowed to be loud, and by extension loudness comes off as a masculine feature. So loudness, something that at its base means high volume, ends up being constructed as more than just decibels. Women who are "loud" become noisy, rude, unapologetic, unbridled.
Mija pero que duro tu hablas.
In Puerto Rico, the word for "loud" was alto (high) but also duro (hard). I knew early on that when someone told me that I spoke duro they didn't mean it in a kind way. The voice was described as hard, harsh, shards of glass. It hurt to be called loud. It hurt to be called hard. Especially when you understand that society accepts only certain ways of being a woman: soft, delicate, fragile, dainty. It was never meant as a compliment to have someone call your voice "hard."
If I was listening to my mother and my aunts or cousins speaking, and then chimed in, I would get the "shhhh" or if they wanted to be discreet they would make a gesture with their hands to indicate to me that I should bring my voice down. I learned early on that a lower voice was more appealing than the loud voice hiding in my vocal box.
I am Puerto Rican, and even though I was born in New York City, I was raised in a small town on the western side of Puerto Rico. I was already well-aware of stereotypes and digs about my being born in New York, even at a young age. My cousins would tell me I was stuck up, I thought I was better than other people because I had cable, I only listened to music in English (I guess that was a bad thing to them). When I moved to San Juan, I was no longer a displaced Nuyorican but a country bumpkin. Peers, friends, and new acquaintances would not classify me as a Nuyorican but, because I was living in San Juan at the time, would categorize me as an islander, de la isla, which basically meant I was not from el "area metro." I was, in short, a country bumpkin to them.
The loudness of my voice was not just a marker of where I came from (the country, with all of the classicism that the phrase entails) but for me became conflated with gender. I knew that even when I wasn't living in the city, I had been called loud. It's just that when my peers asked me to lower my voice or to not speak so "duro" it was also because they thought of me as jíbara, country.
Sometimes I would get carried away when I was telling a joke among my female roommates, or I'd be excited to share some news, and eventually someone would tell me to tone it down. Baja la voz. As I reflect upon my college years living with roommates in a crowded apartment in a crowded city, I remember that we often got together and laughed, talked over each other, shouted across the apartment. But I would get carried away and then someone would say something about it. Mira que nos van a mandar a callar. Someone's gonna tell us to shut up.
It was in college, however, that I learned to modulate my voice. I am physically capable of whispering, but when I spoke in English in a classroom setting (I was an English major in a school whose language of instruction was Spanish) I felt even louder in English. So I made the effort to tone down my voice, literally. I equated English with career, and by extension with my professional persona.
Ultimately, English would be the language I spoke (and still speak) in academic circles; with the language came also the tone and the volume. Men in my classes seemed more often to initiate conversations in my classes, and sometimes even in the ones where they were a minority. Meanwhile, the driven graduate student that I was, I wanted to step in but not stand out because of my voice. I didn't want to give them (or the professor for that matter) a chance to discount me because I was a loud Puerto Rican woman at an American school. Eventually I learned how to switch back and forth. So did my fellow female classmates.
I remember as a teacher modulating my voice so I would be less loud and less abrasive in a college classroom. I wanted to assert my authority. If some women resort to vocal fry in order to be taken seriously, as this 2014 article in The Atlantic (online) suggests, I resorted to modulating my voice. That was my way of passing: passing for creative elite, passing for feminine, passing for authoritative. I tried to assert my credibility as a burgeoning scholar and professor by tweaking my voice. I laughed a little softer, I spoke a little slower, I sounded a little lower. I teetered between trying to sound feminine and trying to downplay my femininity through my voice.
Was I trying to sound more like the stereotype of a woman so I could be more credible in the classroom? Was this my own version of respectability politics? "Don't be so loud and they'll listen to you"?
"White supremacy grants white people the ability to be understood as expressing a dynamic range; whites can legitimately shout because we hear them/ourselves as mainly normalized. At the same time, white supremacy paints black people as always-already too loud."
-Robin James, "Some philosophical implications of the "loudness war" and its criticisms"
The negative rhetoric about women and loudness is also connected to respectability politics. Take for example the stereotype of the angry black woman (which is in the vicinity of the loud Latina). If women must be delicate and feminine, being loud would be unattractive, unseemly. Loud also means "not being silent," in other words, speaking when not spoken to. Robin James touches upon "loudness" in contemporary music, and how the turn toward less loud tracks also has to do with racialized ideas about who can speak and who can be loud–in other words, what counts as noise and what counts as harmonious sound. She cites Goldie Taylor's piece in The Daily Beast about how, regardless of how angry she felt about the racial injustices in the United States, she would never be able to scream and shout without consequences. Loudness is something racialized people cannot afford.
The stereotype of the angry woman points to how the notion of who is loud and what tone of voice is considered loud are constructed. Although there are studies that point out that the sound of one's voice indicates to others that one is in a position of authority or that one's voice can make or break one's career, there is yet to be a study that shows how the biology of the body that produces the voice affects what one can or cannot do. In other words, the connection between voice and our abilities, or our social class, is constructed—in our heads.
Assertive, aggressive, leader: these descriptions benefit men, for the most part. Aggressiveness is seen as a masculine trait, and along with that a loud tone of voice is also seen as masculine. (This idea is also problematic, for it sets anything that isn't aggressive and assertive as female, and therefore negative.) The opposite applies to women; the same way our society associates fragile delicate things with femininity, a fragile, soft, low tone of voice is the acceptable range for a woman. And James and Taylor's comments point to how race also changes the equation. Damned if we speak, damned if we don't.
Over the years, I've become more comfortable with the way I sound. I've also become more comfortable switching between my aural codes, like I do with English, Spanish, and Spanglish. I know that there's a volume that I use in certain spaces. I also know that in other spaces I don't have to watch over how loud I am. If I am in a familiar space, with people I am close to, I feel less inclined to watch myself. I feel safe, not judged. I can be as loud as I want to be. But loudness is also an accepted way of speaking around my family. If I spoke in a low tone, I'd probably be picked on for that. My father, for one, has a booming, deep, loud voice, and so do many of my family members.
For me, embracing my voice is also a kind of body acceptance. My body, plus-sized and all, takes up space. My voice takes up space too. As a teenager and an adult I was constantly shamed for the way I look (skin too brown, voice too loud, face too painted, hair too short), and for a time tweaking my voice became a way to try to fit in. But I later learned how to respond to the remarks. I learned to be sarcastic. I learned to make jokes. I learned to talk back. I didn't find my voice; I embraced my voice.
Dear readers, let us know in the comments: have you been chastised for being loud? Or for not speaking loudly enough?
Featured image: property of the author.
Liana M. Silva is co-founder and Managing Editor of Sounding Out!.
REWIND! . . .If you liked this post, you may also dig:
I Been On: BaddieBey and Beyoncé's Sonic Masculinity–Regina Bradley
Learning to Listen Beyond Our Ears: Reflecting Upon World Listening Day—Owen Marshall
An Ear-splitting Cry: Gender, Performance, and Representations of Zaghareet in the U.S.–Meghan Drury
LMGM's "Lost: Choirboy" & El Jefe's "Muñoz & La Mission: A Sermon. . ." (in memoriam José Esteban Muñoz)
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 queer significance, his brown sensibility. But we're still committed to singing—or at least to music—well, to sound and noise, in any case. José Esteban Muñoz often wrote about queer scenes where music and sound were central to participants' world-making activities. His archives buzzed with the sounds of West Coast punk, vogue-ball house, cruisy toilets, genderqueer burlesque, and salsa echoing down the barrio streets. And so, for this Round Circle of Resonance, we at La Mission are here to make some noise about a badass thinker who deeply impacted the way we dance/sing/talk/write/sweat about dance music, identity, and politics.
And this is just the beginning of our cacophonous, four-part response to Muñoz's intellectual holler. The first installment, written by La Mission's resident essayist / deranged propagandist LMGM (Luis-Manuel Garcia) provides a brief introduction to our collective, some reflections on Muñoz's relevance to our activities, and a frame for the next three missives from our fellow cultists. It is backed with a rousing sermon-cum-manifesto from our charismatic cult-leader/prophet, El Jefe (Pablo Roman-Alcalá). In the coming weeks, our Naked Mennonite/randy dramaturge (Mandie O'Connell) will prepare and film a urinary performance piece; and our saucy Choir Boy/Linguist (Johannes Brandis) will compose a dirge to our dearly departed José (August 9, 1967- December, 4, 2013).
LMGM a.k.a. Luis-Manuel Garcia
Lost: Choirboy (in memoriam José Esteban Muñoz)
La Mission
Named after San Francisco's Latino barrio, La Mission is a satirical utopian doomsday cult, a music label, a queer situationist art-gang, a magazine, and a group of dancers with a very dirty sense of humor. We release music on vinyl, publish DIY 'zines, and make performance art, aiming to re-politicize genres of dance music that have been important to queer people of color. La Mission's identity is perhaps best summed up by cult-leader El Jefe's manifesto-sermon, "The Sermon for the Steps of the Ziggurat in our Hearts," published in our first La Mission magazine:
La Mission is a Community. La Mission is a Collective. La Mission is a Cult. La Mission is a Situationist Art Gang. La Mission is a Anarcho-Syndicalist terror cell. La Mission is a Family. La Mission is You. La Mission is Us. La Mission is gonna strip you butt nekkid, gonna check all your body cavities, gonna give you a shower, gonna give you a goodie bag, gonna give you a clean sheet and a towel. You at home with us now children, you understand me? You home with us now.
La Mission was first formed in 2012, in a small café in the Neukölln district of Berlin. The collective initially began with just three of us—Pablo Roman-Alcalá, Mandie O'Connell and Luis-Manuel Garcia—but like any good charismatic doomsday cult, it quickly expanded to include a broad network of lovers and collaborators, led by a core of four instigators (Johannes Brandis joined us later in the year). After a fundraising run in the fall of 2012 (witness our surrealist fundraising video here), we held our first two performances in the winter and spring of 2013, which involved experimental performance art pieces held in unusual spaces. The performances incorporated music and text from our vinyl EPs and their corresponding 'zines, which were released at around the same time. These multi-channel productions were also conceptually coherent, with (kunst/WORK)001 introducing La Mission's "mission" and (kunst/WORK)002 focusing on the relevance of utopianism to dance music. After a "quiet spell" where we released an out-of-series vinyl record of "lost remixes," 2014 has been dedicated to preparing the next volume in the series (due in February 2015), which examines the depredations of capitalism, forced austerity, and false scarcity on music.
Hearing José
La Mission has no idols, but we do have influences—and José Esteban Muñoz is foremost among them. We share with Muñoz a focus on queer nightlife-worlds, a non-classical take on utopianism, a commitment to intellectual interventions outside of academic channels, and a certain brassy tone of voice. His revival of Ernst Bloch's notion of a utopia based in real-life struggles was crucial in helping us reconcile revolutionary politics with dancefloor utopianism; or, put differently, Muñoz helped us find the critical politics latent in the queer, brown, sweaty gatherings that form the core of our scene of commitment. As "EDM" continues to blow up into a primarily white, hetero, cis, mainstream phenomenon, his insights have helped us maintain clarity and critical focus.
From the outset, we have also been profoundly influenced by Muñoz's lifelong theorizations of brownness, affect, and (dis)identification. Since three of our four core members are Latina/os in varying states of stripped identity, we have been especially interested in Muñoz's notion of the "brown commons," as he was developing the concept in the last years of his life. In promotional texts that circulated ahead of his speaking engagements on the topic, he described brownness as "an expansive sense of the world, a feeling and being in common that surpasses the limits of the individual and the subject." Notably, he understands brownness and the brown commons as being shaped not only by suffering and struggle, but also by thriving, providing a pool of resources for a better, more vibrant kind of life.
The significance for La Mission's project in dance music culture should be clear already, but we also take great inspiration in how Muñoz developed an expansive view of brownness and the brown commons, using Latina/o experience as an entry-point for "a vaster consideration of the ways in which people and things suffer and experience harm under the duress of local and global forces that attempt to diminish their vitality and degrade their value." We here at La Mission are committed to exploring brownness for its potentials for lateral solidarities among people of color, who may have diverse cultural backgrounds but nonetheless share post-migrant experiences of struggle, devaluation, displacement, and inauthenticity. In fact, Muñoz's work was a direct inspiration for the "Brown Corner" in our La Mission 'zine (a parody of the "ladies' corner" and "kid's corner" of American mid-century lifestyle magazines). Published bilingually and featuring post-migrant authors, the Brown Corner reflects on aspects of brownness, as both specific to their contexts and generalizable to a wider "commons" of brown experience. In the process, we hope to highlight shared feelings, narratives, and resources for brown survival in a world of white supremacy.
Singing into the Horizon
Brother Muñoz, what are we supposed to do with the vinyl records, the zines, the performance videos we had been accumulating for you? We're trying to sing our way into a queer utopian horizon, and we had been counting on your voice. We know you're not coming back. As a radical lefty utopian doomsday cult, we're not so invested in the afterlife, anyway. But it still sucks for us and everyone else you left behind, left in the "here and now" that we struggle to turn into something less suffocating. The party was just getting started, dammit. Besides, we had such a kickass choirboy outfit picked out for you.
LUIS-MANUEL GARCIA aka "LMGM": LMGM/Luis-ManuelLMGM/Luis-Manuel is a Canadian of Peruvian-Colombian origins, currently an Assistant Professor in Popular Music at the University of Groningen (NL), after migrating between Toronto, Berlin, Chicago, and Paris. He has managed to turn his love of electronic dance music into a PhD in Ethnomusicology at the University of Chicago, and into post-doctoral fellowships at the Max Planck Institute for Human Development and the Freie Universität Berlin. On the side, he writes about food and dances every chance he gets.
Muñoz & La Mission: A Sermon for the Imagined Sanctuary We Built Together
Welcome. La Mission is a family. A family of chosen comrades, chosen brethren, chosen hermanos, chosen сестры, chosen lovers, chosen students, chosen teachers, and chosen arms. Arms, linked and brandished through common thought, common feeling, common goals. It is with a heavy heart that we find ourselves here, remembering one of our family who (though never officially an acolyte or collaborator) was one who contributed to the ecstasy that we have felt and will feel for many years. José Esteban Muñoz was said to be a believer. Ernst Bloch and the New Revolutionary Epoch. Our utopias were described and imagined and realized and experienced. Rise up, my brown brethren, and let us celebrate Brother Muñoz's legacy!
The words and deeds of this fellow freedom-fighter, who infiltrated the bourgeois güero academy and infected it with a polylateral program for de- and reprogramming, has been our parallel and our inspiration. Colleague and comrade. A representative of our struggle. Not quite a patron saint—that honor we've reserved for communarde Louise Michel—but no less a visionary. As queers, as minorities stripped of identity, as angry and happy children in revolt for something better, we must all learn from each other as equals.
Brother Muñoz made utopia political again and located that utopianism in performance. La Mission's performances bring forth utopias from our queer future through fleeting mindfuck happenings in the present. Through the work of Sister O'Connell and her band of terrorizing miscreants, we present a non-narrative and non-paternalistic path towards redemption, one of our own making. Can I get a "Fuck, yeah!"?
Brother Muñoz loved music and dancing and life-worlds connected by the beat and said, "Take Ecstasy with Me." He revealed to us the connections between collective dancing and feeling utopian. In his spirit, La Mission's music strives to bring forth utopia through that ever-lasting beat. Through disassociation and reassociation, through transcendental repetition, and through getting the fuck down! Can I get a "Fuck, yeah!"?
Brother Muñoz believed in learning and critical thinking. Analysis and the great revolutionary trek through the jungle of our critically thinking minds. La Mission's tracts enact utopia through a constant vomiting out of our recently digested learnings into the baby-bird mouths of those who read them. The brother was also a hilarious motherfucker, and from this we realize that it is not through the shrill screams of egoism disguised as activism that we will prevail. It is through the joy of laughter combined with thought that we will win our bread. Can I get a "Fuck, yeah!"?
Brother Muñoz loved fucking. La Mission's fucking creates utopias through the ecstatic act in and of itself. If you aint fucking to make yourself a Temporary Autonomous Zone of happiness, then you aint doing it right. Can I get a copulatory "Fuck, yeah!"?
It is not all loss, though. The ideas live on. Caminamos juntos. On the dancefloor. In the reclaimed Torre David skyscraper and the Taller Tupac Amaru collective; in the informal classrooms and the sweaty bedrooms. Our hearts must burst after sagging, our heads must fill after hanging low, and our linked arms will raise! Oh honey, please don't give your heart to a world system based on exploitation of the luckless, give your heart to US!
All images courtesy of La Mission
PABLO ROMAN-ALCALA: Yo. I am Pablo aka "Beaner" aka "Skirtchaser" aka "El Frijolero" etc. I am an internationally working musician and dj who has enjoyed a modicum of success, but who doesn't like what has happened to the musical landscape vis-a-vis "conservatism" in respect to both Money and Art. I mean the relationship of the two, okay? It sucks. And I want to change it.
REWIND!…If you liked this post, check out:
Karaoke and Ventriloquism: Echoes and Divergences–Karen Tongson and Sarah Kessler
Freedom Back: Sounding Black Feminist History, Courtesy the Artists– Tavia Nyong'o
"New Wave Saved My Life*"-Wanda Alarcon
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!: email@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)


text:
A neighborhood in the city that I live in managed to reduce it's crime rate by 20% over a one year period by joining the community in protest to crime. Now, I'm not saying they eliminated crime, but they did at least manage to change the minds of some would-be criminals. I'm using this as an example because you can't underestimate the importance of voicing an opinion. If people get used to racism, they may see it as a norm. If people get used to peace, tranquility, kindness and compassion, they may see that as a norm. Politicians can only wield power if they have a foundation that supports them. If you have like minded individuals, people that are opposed to racism just as much as you are, then use that as a foundation for yourself. Just a thought.
About Anes
Comments & conversations
Countries that experience economic hardship have several resulting symptoms in common, and often times the symptoms are of the type that you surface with this post. Whether it's an increase in crime or a decrease in disposable income, human nature is to place blame on that which they don't relate to.This is the type of behavior that results in oppression toward minorities and extremism. What to do about it? Harness the energy that's created and channel it toward something productive. If people used the energy created from fear, anger, and resentment toward creating something, rather than destroying, a much better outcome would result. I would suggest inviting people from all walks of life to create focus groups, think tanks, and other organizations of the like in your community. Build something, start a program, do something productive and people will learn to live better by thinking together.

subset: commoncrawl


text:
A collection of news and information related to Consultancy Service published by this site and its partners.
Top Consultancy Service Articles
Displaying items 23-33
City to name new director of financeStory | Jan 29, 2012 | 8:31 PMA former District of Columbia and Richmond, Va., finance official will be named Baltimore's new director of finance on Monday, city officials said. Harry E. Black, a Baltimore native who wrote a guide to economic development for cities, will replace...
City finance nominee had turbulent record in RichmondStory | Jan 30, 2012 | 5:39 PMBaltimore Mayor Stephanie Rawlings-Blake's nominee for city finance director spent a tumultuous three years as top financial official in Richmond, Va., during which he oversaw the forced ejection of the school board from City Hall and was sued by the...
Marjorie G. Gilbert, jewelry store owner
70 backpacks of school supplies donated to Edgewood ElementaryStory | Sep 28, 2011 | 7:50 AMEmployee volunteers from Booz Allen Hamilton's Aberdeen office recently delivered 70 backpacks filled with school supplies, in addition to several boxes of additional supplies, to support Edgewood Elementary School. For the second year, Edgewood...
Slalom Consulting
Richard Paul Sullivan, chairman and CEO of Easco Corp.
Field has mulled selling artifacts
Government, unions offer advice, answers on furloughsStory | Apr 5, 2013 | 6:17 PMAs thousands of federal workers prepare to be furloughed, many are concerned about how to deal with a pay cut. Keith Everett, a chief steward with the American Federation of Government Employees, said his union held two meetings in recent weeks at...
O.C. financial consultant to stand trial in Santa Monica killing
Thomas M. Wirth named vice president at Geo-Technology AssociatesStory | Feb 4, 2013 | 9:39 AMProfessional engineer Thomas M. Wirth has been promoted to vice president of Geo-Technology Associates Inc., a mid-Atlantic geotechnical engineering and environmental consulting firm. With 12 years of professional experience, Wirth specializes in...
Dinosaur-size debt


text:
Stock Photo:
WARSAW - MAY 20: The stadium layout at the entrance to the National Stadium on May 20, 2012 in Warsaw, Poland. The stadium is one of the venues for the UEFA Euro 2012 hosted by Poland and Ukraine.
- Image ID: 103490102
- Copyright: Stanislaw Tokarski
- Editorial Credit: Stanislaw Tokarski / Shutterstock.com
Release Information:
Editorial Use Only.
Use of this image in advertising or for promotional purposes is prohibited.


text:
Visit : Recreation Park
© Serge HENRY
- Address:
Rond-point M. Thonar 1
- MAPS: Google Maps
On top of the Namur Citadel, in a wonderful protected and renovated green setting, the amusement park Queen Fabiola offers many diversions for everybody: large playground and inflatable castles, go-carts, trampolines, electric cars, mini-golf, rock climbing trails...Cafeteria and barbecue area.
Visits for school groups on request, in between 10 am and 4 pm.
Closed on the weekend of the Motocross Grand Prix.
Groups as from 15 pers.
Barbecue area on request.
Banqueting hall (September to March).
Children smaller than 1 meter: free of charge.
Tourist information on the town NAMUR
Visit our partners' webpages
- The Citadel of Namur: new visitors centre Terra Nova
- Domain of the Caves of Han - PrehistoHan
- The Trois Vallées steam railway, Mariembourg and Treignes
- The Fagnes Brewery
- Yellow Libert Kayaks - Kayak Down the River Lesse


text:
All lost in the supermarket. www.beautypill.com
Face Tags
Simple Nestor Diaz photo of Basla during Beauty Pill's museum sessions. Dunno why I love this photo, but I do.
Sensuous shot of Jean during Beauty Pill's Immersive Ideal sessions. Photo by @pjsykes.
Excellent photo of Ryan Nelson taken during Beauty Pill's Immersive Ideal sessions. Photo by Nestor Diaz.
Make that eleven.
For a little while, this was the entrance to my office(!). #grateful
Abram Goodrich playing percussion on "Afrikaner Barista." Working with Abram again feels natural and right.
Took this photo of Jean at the piano with vibraphone and AC30 in background. Faint Velvet underground feel.
A photo of the room. Photo from Jean's phone, taken this morning before the band arrived. #immersiveideal
Hilarious photo of @johnvanderslice and me in a '07 Tape Op Conference hotel room. I'm pretty good at zombie face.
Throwing this in the trash. Wondered: Will it someday come back as a fashionable ironic kitsch item?
Reading a book about the civil rights movement and my dad's name comes up.
Yours truly dropping science like Galileo dropped the orange. Looking for the photographer who took this.
Holly Montoya at the trap set. Looking for the photographer who took this.
Children's book found at the public library. The title doesn't have quite the same... sense of... menace...
A shot from the making of the new Studio G in McCarren Park (nickname Studio G5000.) Francisco Botero with vacuum.
Note the Matchless in the corner, found used and cheap, pre-Ebay. I was into the idea of confrontational clarity.
"Yes, I know. But TV On The Radio will be here in only three short years and you'll stop looking at me that way."
Smart Went Crazy in Seattle circa '98. Maybe I... shouldn't have... sold this... guitar...
I was at the DMV last weekend. Saw this in a driver training pamphlet. Definitely one of the scarier graphics.
It is encouraging that USA TODAY keeps its cool in a crisis. Definitely interested in that wedding checklist.
©2015 Twitpic Inc, All Rights Reserved


text:
Wilmington man sentenced for possession of firearm-Dominic king
GREENVILLE - United States Attorney Thomas G. Walker announced that in federal court today DOMINIC C. KING, 25, was sentenced by Senior United State's District Judge Malcolm J. Howard to 200 months imprisonment; 5 years supervised release, and was ordered to pay a $100.00 special assessment.
On July 9, 2012, KING pled guilty to Possession of a Firearm by a Felon in violation of Title 18, United States Code 922(g).
KING, is an armed career criminal having two prior convictions for Assault With a Deadly Weapon Intent to Kill and Conspiracy to Commit Robbery With a Dangerous Weapon.
On January 31, 2011, the Wilmington Police Department responded to an armed robbery call.  The officer met with two victims who said they were in the parking lot of the Seahawk Square apartments when a male approached their car and demanded their money at gun point.  The male later identified as King was also accompanied by two females at the time of the robbery that did not approach the victims car.  After the victims gave KING their money, they drove to the Cook-Out restaurant to call the police.  The Wilmington Police Department along with the University of North Carolina at Wilmington Police Department set up a perimeter in order to find the suspect.  They found Mr. King close to the scene of the crime and he was with one of the females that had been with him in the parking lot at that time.  In the ditch directly behind where Mr. King was found, police located a High Point, Model C9, .9mm semi-automatic firearm.  On Mr. King's person was a pill bottle bearing the name of one of the victims.  Mr. King denied involvement although the two females he was with, who were both found and questioned by law enforcement, ultimately said they had been with KING at the time of the robbery and saw him rob the two people in the car.
Investigation of this case was conducted by the Wilmington Police Department, the Bureau of Alcohol, Tobacco, Firearms, and Explosives, and the University of North Carolina at Wilmington Police Department.  Special Assistant United States Attorney Charity Wilson is serving as prosecutor for the government. Ms. Wilson is a prosecutor with the New Hanover County District Attorney's Office.  District Attorney Ben David has assigned her to the United States Attorney's Office to prosecute federal Project Safe Neighborhood cases and other violent crime cases.


text:
List of tofu dishes
From Wikipedia, the free encyclopedia
This is a list of tofu dishes. Tofu, also called bean curd, is a food made by coagulating soy milk and then pressing the resulting curds into soft white blocks. It is a component in many East Asian and Southeast Asian cuisines.[1][2]
Tofu dishes[edit]
This is an incomplete list that may not be able to satisfy particular standards for completeness. You can help by expanding it with reliably sourced entries.
- Agedashi tofu
- Bai ye
- Bún ốc
- Chanpuru
- Doenjang jjigae
- Douhua
- Doufunao
- Dubu gui – grilled tofu rectangles[3]
- Dubu jjigae – Korean tofu stew[4]
- Dubu kimchi
- Ganmodoki
- Hiyayakko
- Huai'an Pingqiao tofu
- Inarizushi
- Mapo doufu
- Pidan Doufu
- Shiping tofu
- Stinky tofu
- Sundubu jjigae
- Taho
- Tahu sumedang
- Tahu goreng
- Tofu skin roll
- Tokwa't baboy
- Yong Tau Foo
Tokwa't baboy, with crusted, deep fried soft tofu atop
Fermented bean curd is a form of processed, preserved tofu used in East Asian cuisine as a condiment made from soybeans.
See also[edit]
- ^ Du Bois at al. (2008), pp. 13–14
- ^ Knopper, (Jan. 2002), p.16
- ^ 실곤약야채무침과 두부구이 (in Korean). seoul.go.kr. Retrieved 2013-04-12.
- ^ Seoul - Martin Robinson. p. 97.
- Du Bois, Christine M.; Tan, Chee-Beng. Mintz, Sidney Wilfred (2008), The World of Soy, University of Illinois Press, ISBN 0-252-03341-8
- Knopper, Melissa. (Jan 2002), The joy of soy, The Rotarian, Vol. 180, No. 1, p. 16, ISSN 0035-838X
External links[edit]
- Media related to Tofu dishes by country at Wikimedia Commons


text:
Search Results for "htc sense"
The HTC "phablet" is real, and it's coming
Earlier today I mentioned HTC's recent ego-boost, and their plans to take on Samsung once again with a line up of three new devices in the future. One of those
HTC One Google Edition release 'imminent', source claims
Reportedly, the stock Android experience HTC One will be announced within the next few weeks.
HTC announces Desire 600 dual sim for June launch
This morning HTC unveiled the new HTC Desire 600 dual sim, a mid-range handset that includes their latest Sense 5 interface. Even though HTC is aiming to give consumers a
HTC One to receive Android 4.2.2 "very soon", source indicates
The HTC One is set to receive its Android 4.2.2 update in the very near future, according to trusted tweeter @LlabTooFeR. A number of tweets over the last few days
HTC M4 rumored with metal-alloy chassis, June release
A mid-range take on the HTC One flagship experience, the HTC "M4", has been tossing about the rumor mill for a few months. Once reported to be an HTC First
HTC taking the HTC One on an eleven city tour of the U.S.
HTC will take the flagship Android-powered HTC One on a tour of the United States this spring, giving consumers a chance to see try out the new experience. Coinciding with
AT&T: HTC One arrives on April 19 with $199 price tag
Pre-orders begin starting from April 4 for the 32GB and 64GB models.
Comparing the HTC One to the HTC One X+
After much hype and considerable fanfare, the HTC One is now an officially recognized smartphone. HTC today announced the Android handset for release in the coming weeks. With a name
T-Mobile pledges HTC One support for coming weeks
T-Mobile has become the first carrier to hit our inbox with word of support of the HTC One. Pricing and availability will be shared at a later date. T-Mobile is excited to
HTC announces flagship device for 2013, the HTC One
HTC today officially announced the new flagship Android experience for 2013, unveiling the HTC One. The specs are pretty much everything we've seen leaked on the internet over the last
Black HTC One render leaks
There are but a few days left before HTC officially announces the flagship Android device so that means there's time for last minutes leaks and rumors. The latest, as you
What we expect: HTC M7
As one of the most rumored and anticipated devices of the year, the HTC M7 is expected to make its formal debut on February 19 at a joint press event
HTC will follow M7 with M4 and G2, rumor suggests
HTC will announce a mid-range and entry-level Android smartphone in the weeks following the M7, reports Unwired View (@evleaks). Just as they have in previous years, the handset maker will
T-Mobile the only carrier not confirmed to offer HTC M7
T-Mobile USA is the only major carrier that has yet to sign on for the upcoming HTC M7, according to the often-correct @evleaks. AT&T is the third wireless provider to
HTC M7 gets photographed in the wild
The HTC M7 scene seems to be picking up steam as of late, what with two renders of the soon-to-be-announced smartphone. Just as the second one looks more legit than


text:
Originally written on Next Impulse Sports | Last updated 4/13/12
The first round of the RBC Heritage in Hilton Head, South Carolina got crashed by a not invited guest. A 10-foot alligator made an appearance on the 10th hole as golfer Brian Gay was getting ready to play the hole. Brian's caddy was the hero of the day and somehow pushed the alligator back into the water hazard with a rake. Kudos to Kip Henley, the bravest caddy we know.
Video via SportsGrid
Article found on: Cosby Sweaters
Comments are closed.
What do you think?To leave a comment, you can:
Golf News
Delivered to your inbox
You'll also receive Yardbarker's daily Top 10, featuring the best sports stories from around the web. Customize your newsletter to get articles on your favorite sports and teams. And the best part? It's free!
Follow us on Twitter
|Best of Yardbarker
|NFL News
|MLB News
Today's Best Stuff
For Bloggers
Join the Yardbarker Network for more promotion, traffic, and money.
Company Info
What is Yardbarker?
Yardbarker is the largest network of sports blogs and pro athlete blogs on the web. This site is the hub of the Yardbarker Network, where our editors and algorithms curate the best sports content from our network and beyond.
|© 2015 Yardbarker, Inc. All rights reserved. Use of this website (including any and all parts and components) constitutes your acceptance of these Terms of Use and Privacy Policy. (What's New?)


text: Publications Search Results Users may wish to consult What's Included in the Bibliography. Results 1 - 2 Results per page: 25 50 100 Sort by: Pub Date (newest) Title Recent Additions Author Clear All Pub. Year Citation 2003 Hutchinson, M.K. . Ecology of Adolescent Risk Behaviors: Theoretical Models and Family-Based Approaches. University of Michigan School of Nursing. Ann Arbor, MI. Export Options: RIS EndNote XML 2003 Hutchinson, M.K. . Family Approaches to Reducing Adolescent Sexual Risk. Primary Care and Prevention Conference. Atlanta, GA. Export Options: RIS EndNote XML [1]


text:
Sign in now to view, license and download this image or contact us to see this image without a watermark. Want to embed this image on a non-commercial website or blog? Learn more.
Similar imagesView all
Drowning Vector ArtAdult,Boys,Cartoon,Child,Danger,Distraught,Emergencies and Disasters,Fear,Lake,Men,Outdoors,Photography,Problems,Reaching,Screaming,Sea,Shouting,Sinking,Splashing,Struggle,Suffocated,Swimming,Teenager,Terrified,Vector,WaterPhotographer brett lambCollection: Digital Vision Vectors brett lambSwimmer in trouble. Colour & strokes on separate layers.


text:
Book your room at Citytrip Poble Nou Beach II
Get an overview of this hotel3-star Barcelona apartment in Sant Marti, near Mar Bella Beach
Located in Sant Marti, this apartment is within 1 mi (2 km) of Parc del Centre del Poblenou and Mar Bella Beach. Sagrada Familia and Palau de la Musica Catalana are also within 2 mi (3 km).
Property Features
This apartment features multilingual staff.
Room Amenities
Apartments feature free WiFi and kitchens with refrigerators, microwaves, and dishwashers. Other amenities available to guests include balconies, sofa beds, and living rooms. Housekeeping is available once per stay.Information missing or incorrect? Tell us!
Hotel Amenities
Hotel Amenities
Citytrip Poble Nou Beach II features multilingual staff. For a surcharge, a shuttle from the airport to the hotel (available on request) is offered to guests.
- Airport transportation - pickup (surcharge)
- Front desk (limited hours)
- Airport transportation
- Multilingual staff
- Free parking nearby
Family Friendly Amenities
- Separate living room
- Free Wi-Fi
- Kitchen
- Sofa bed
- Full-sized refrigerator/freezer
- Microwave
Available in all rooms: Free WiFi
Free parking nearby
Room Amenities
- Separate living room
- Housekeeping - once per stay
- Full-sized refrigerator/freezer
- Free WiFi
- Private bathroom
- Microwave
- Cookware, dishware, and utensils
- Shower only
- Hair dryer (on request)
- Balcony
- Climate control
- Air conditioning
- Kitchen
- Iron/ironing board
- Sofa bed
- Dishwasher
- Satellite TV service
- Cribs/infant beds (surcharge)
- Separate bedroom
Hotel Policies
Check-in time starts at 4 PM
Minimum check-in age is 18
Special check-in instructions:
- Monday - Friday: 9 AM - 6 PM
Check-out time is 10 AM
Payment types
Children and extra beds
- Children are welcome.
- Cribs (infant beds) are available for EUR 15 per stay.
Pets allowed, Only dogs are allowed, Pet maximum weight in kg is 5
You need to know
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
- No onsite parking is available.
Service animals exempt from fees/restrictions
24-hour check-in
- A tax is imposed by the city: EUR 0.72 per person, per night, up to 7 nights. This tax does not apply to children under 17 years of age.
- Towels/sheets: EUR 5 per person, per stay
- Airport shuttle fee: EUR 39 per vehicle (one way)
- Deposit: EUR 200 per stay
- Crib (infant bed) fee: EUR 15 per stay
We should mention
Cash transactions at this property cannot exceed EUR 2500, due to national regulations. For further details, please contact the property using information in the booking confirmation. This property offers transfers from the airport (surcharges may apply). Guests must contact the property with arrival details before travel, using the contact information on the booking confirmation.


text:
The Seven Best Patriotic Things About Houston
It's July 4, Independence Day. A day for Americans to get drunk in the name of patriotism.
And in that patriotic spirit, we know every city in the United States is American, but Houston might be the most 'Merican of them all. Here are seven reasons why:
7. The city's namesake, Sam Houston, is a big part of this country's history. Not only was he a leader in the Texas Revolution, Houston is the only person ever to serve as governor of two U.S. states. He served terms as governor of Tennessee and of Texas.
6. We're fat. Americans are known for being obese. Houston had in past years been ranked America's Fattest City by Men's Fitness, but it's getting better. This year, Men's Fitness ranked Houston No. 31 among America's 50 most populous cities, putting it somewhere between fit and fat (just a little flabby?).
5. President's heads You thought the coolest sculpture of Lincoln was in Washington? Nope, it's in Houston, made by artist David Adickes.
4. Widest highway in the world Americans love conquest, and the Katy Freeway makes it easy. It's the widest highway in the world, with as many as 26 lanes in certain parts.
3. NASA, duh. Neil Armstrong phoned into Houston when he first set foot on the moon. That's one small step for man, one giant leap for proving how steeped in patriotism this city is.
Photo by U.S. Embassy New Delhi
2. Speaking of space, President John F. Kennedy made an important speech here.
JFK delivered a historic speech in Houston, saying, "We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard." He also asked an important question: "Why does Rice play Texas?"
Photo by Mike Rastiello
1. The Texas flag is just the American flag zoomed in. Never thought about it like that, huh? The more you know, the more American you feel.
Get the This Week's Top Stories Newsletter
Every week we collect the latest news, music and arts stories — along with film and food reviews and the best things to do this week — so that you'll never miss Houston Press' biggest stories.
Sponsor Content
More NEWS
- Drilled Hard: For Thousands of Jobless Texans, Cheap Oil Comes With a Hefty Price
Upcoming Events
Houston Astros vs. Boston Red SoxTue., Jul. 21, 7:10pm
Houston Astros vs. Boston Red SoxWed., Jul. 22, 7:10pm
Houston Astros vs. Boston Red SoxThu., Jul. 23, 7:10pm
Legacy KickboxingFri., Jul. 24, 7:00pm
- Tickets
- Not So Fast With The Expansion Talk, UH Fans
- Ken Paxton, Texas' Top Lawyer, Ignores the Law. Again.


text:
All articles for '
Helen Hunt'
All the featured articles about Helen Hunt. News, articles, net worth profile, and all biography about Helen Hunt.
Helen Hunt Net Worth
Helen Hunt Net Worth: Helen Hunt is an American actress, film director, and screenwriter who has a net worth of $55 million dollars. Helen Hunt was born June 15, 1963 in Culver City, California to an entertainment industry family. Hunt's family moved to New York City when she was three years old. She began working as a child actress in the 1970s with appearances on classic television shows includ...
Helen Hunt
Helen Elizabeth Hunt is an American actress, film director, and screenwriter. She starred in the sitcom Mad About You for seven years, and played single mother Carol Connelly in the 1997 romantic comedy film As Good as It Gets, for which she won the
Carroll O'Connor Net Worth
Carroll O'Connor Net Worth: Carroll O'Connor was an American actor, producer and director who had a net worth of $20 million. Born John Carroll O'Connor
Wood Harris Net Worth
Sherwin David Harris, better known as Wood Harris, has an estimated net worth of $2 million. The American actor's net worth rocketed after snapping
Alexa Vega Net Worth
Alexa Vega is an American actress, singer and pianist and has a net worth of $12.5 million. Alexa Vega earned her net worth
Bryan Lourd Net Worth
Bryan Lourd, Partner, Managing Director and Co-Chairman of Creative Artists Agency, has a net worth of $35 million. He's accumulated that net worth by
Kristy McNichol Net Worth
Kristy McNichol Net Worth: Kristy McNichol is an American singer and actress who has a net worth of $7 million. Born in Los Angeles, California, in 1962, Christina
Paul Reiser Net Worth
Paul Reiser net worth: Paul Reiser is an American actor, comedian, writer, and author who has a net worth of $40 million. Paul Reiser
Shannen Doherty Net Worth
Shannen Doherty Net Worth: Shannen Doherty is an American actress, producer, director and author who has a net worth of $10 million.
Search completed in 0.095 seconds


text:
Adams set for London
A Blackall cattle grazier says his form is better than ever, as he gears up for his fifth Paralympics.
- Print page
- Email this
- Permalink
Ashley Adams is leaving Western Queensland this week for a training camp in Switzerland, ahead of the London Games.
He says his preparations are going right to plan, but some things are out of his control.
"That's the biggest problem I've got, is uncontrolled muscle reactions," Mr Adams says.
"But over the 30-odd years that I've had a broken back, you get to know when it could strike you".
Mr Adams broke his back in a motorcycle accident 30 years ago, but is now one of the nation's best 22 rifle and air rifle competitors.
He will compete in four shooting events in London, including 22 rifle and air rifle events.
He's ranked number one in the world in one competition and won medals in Athens in 2004, but says one little mistake could jeopardise his chances of a spot on the podium.
"I've missed out on four Olympic medals by point one of a point, so we just don't want that to happen again.
But Mr Adams says his biggest problem this week is finding room in his bag for all his gear
"It is just amazing the amount of gear that we have got," he says.
"I've got to leave some of it at home because there is just too much".
Mr Adams is one of the only athletes who has already been given his uniform, because he is leaving from the outback.
His first event will be the day after the opening ceremony.
Latest videos
Latest audio
- Mark O'Brien talks about the success of cluster fencing in boosting sheep production
- Matt Peters, Kenton Peart and Trader Schmidt talk cattle prices in Charleville
- Members of the Qld Country Women's Association discuss their bus trip through drought stricken parts of the state
- Vendors, agents and the local mayor are pleased about the record price achieved at the Roma Saleyards
- Western Queensland grazier Pat Hegarty discussing wool prices


text:
- Contempo Collection
- Our Story
- ZipSak
- Carry-Ons
- Uprights
- Collections
- Press
Who says that a durable four wheeled spinner can't look stylish too? Our Contempo collection with its jewel toned nylon with EVA foam padding allows for the perfect blend of durability and style. Contempo's unique fabric and fabulous colors, are going to turn heads wherever you go.