IASPM-US and Sounding Out! are proud to bring you a collaboration that represents the first official panel of the the 2013 IASPM-US conference. While the rest of the conference will be held in Austin, TX (2/28-3/3), this first panel will feature six essays from Sounding Out! and four from IASPM-US during the months of January and February – a discourse in cyberspace that addresses and enacts the theme of the conference, “Liminality & Borderlands.” “Sonic Borders” features scholars from sound studies and popular music studies (many of whom work in both disciplines) discussing the two disciplines’ shared principles, disparate ideologies, and un/common purposes. The results should be exciting, as we invite not only the panelists to contribute their essays but also conference participants and readers of both sites to join in the conversation as we prod the connective tissue of popular music studies and sound studies.
Many thanks to the three co-founders of Sounding Out!: Liana Silva, Managing Editor, Jennifer Stoever-Ackerman, Editor-in-Chief, and Aaron Trammell, Multimedia Editor, as well as Kwame Harrison, chair of the IASPM-US conference program committee, and all of our panelists. A full schedule will be included at the bottom of each essay we publish to this site.
Today’s post at Sounding Out! comes from Airek Beauchamp, who considers the ensonicment of Diamanda Galás’s rage against the silence surrounding HIV/AIDS.
I first heard Diamanda Galás’s The Plague Mass (1991) around 1994, when I would have been about 20 years old. Equal parts mass and babble, The Plague Mass is an elegiac tribute to Galás’s brother and other victims of the HIV/AIDS epidemic, a sonic rage against the silence surrounding the disease that redefines “the elegy” in the process. I suppose that I should make a confession here and say that contracting HIV was one of my biggest fears at the time. I was fresh out of the closet and ready to experiment, yet the media coverage of the crisis had pretty much told me that, as a gay man, an active sex life was a death sentence, a message I had been receiving since I was in fourth grade. There was something in Galás’s record to which I automatically, deeply connected. Although this brand of desire was new to me, there was also something deeply familiar about it–ancient even–and this feeling was produced by the horror of her work, not in spite of it.
Sonic Borders Schedule
1/21 – Liana Silva, Sounding Out! – “I’m on My New York Sh*t”: Jean Grae’s Sonic Claims on the City
2/4 – Marcus Boon, Sounding Out! – One Nation Under a Groove?: Music, Sonic Borders, and the Politics of Vibration
2/11 – Tavia Nyong’o, Sounding Out! – Freedom Back: Sounding Black Feminist History, Courtesy the Artists
2/13 – Theo Cateforis, IASPM-US – No Control, or: How I Learned to Start Worrying about Sound
2/18 – Tara Betts, Sounding Out! – They Do Not All Sound Alike: Sampling Kathleen Cleaver, Assata Shakur, and Angela Davis
2/20 – Shana L. Redmond, IASPM-US – The Sounds We Make Together: Chuck Berry’s Onomatopoeia
2/27 – Devon Powers, IASPM-US