Podcasts about Phantom power

Today we share a podcast episode on the visual epistemology of astronomy by our friends at The World According to Sound. What kind of knowledge do we really gain when we look at images from space? Longtime listeners to this show will remember The World According to Sound. As we referred to them two years ago, WATS is a team of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. Tired of sound playing second fiddle to narrative on NPR, they launched a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Later, WATS became much more ambitious, producing live sonic odysseys in 8-channel surround sound and live online sound journeys during the pandemic. Since then, Harnett and Hoff have embarked on another project. For the past couple of years, they have been partnering with different universities to translate humanities research into compelling sound-designed narrative podcasts. The first season of Ways of Knowing was produced in partnership with the University of Washington and it focused on different analytical methods and disciplines in the humanities, from close reading, deconstruction, and translational analysis, to black studies, material culture, and disability studies. The second season just wrapped up. It's called Cosmic Visions and it's produced in collaboration with Johns Hopkins University and that's what we'll hear an episode from today. Just this week, they dropped the last episode of season two and now the entire series is available on The World According to Sound website. We wanted to draw your attention to this series because turning humanities research and sound art into a sonic narrative experience was the original mission of Phantom Power. We know that many of you are interested in this area of humanities podcasting as well, so if you're not already a fan of Chris and Sam's work, check it out. We also wanted to share this particular episode because it also provides one answer to a tricky question: How do you do a sonic explication of something that is entirely visual?   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today we share a podcast episode on the visual epistemology of astronomy by our friends at The World According to Sound. What kind of knowledge do we really gain when we look at images from space? Longtime listeners to this show will remember The World According to Sound. As we referred to them two years ago, WATS is a team of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. Tired of sound playing second fiddle to narrative on NPR, they launched a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Later, WATS became much more ambitious, producing live sonic odysseys in 8-channel surround sound and live online sound journeys during the pandemic. Since then, Harnett and Hoff have embarked on another project. For the past couple of years, they have been partnering with different universities to translate humanities research into compelling sound-designed narrative podcasts. The first season of Ways of Knowing was produced in partnership with the University of Washington and it focused on different analytical methods and disciplines in the humanities, from close reading, deconstruction, and translational analysis, to black studies, material culture, and disability studies. The second season just wrapped up. It's called Cosmic Visions and it's produced in collaboration with Johns Hopkins University and that's what we'll hear an episode from today. Just this week, they dropped the last episode of season two and now the entire series is available on The World According to Sound website. We wanted to draw your attention to this series because turning humanities research and sound art into a sonic narrative experience was the original mission of Phantom Power. We know that many of you are interested in this area of humanities podcasting as well, so if you're not already a fan of Chris and Sam's work, check it out. We also wanted to share this particular episode because it also provides one answer to a tricky question: How do you do a sonic explication of something that is entirely visual?   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Today we share a podcast episode on the visual epistemology of astronomy by our friends at The World According to Sound. What kind of knowledge do we really gain when we look at images from space? Longtime listeners to this show will remember The World According to Sound. As we referred to them two years ago, WATS is a team of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. Tired of sound playing second fiddle to narrative on NPR, they launched a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Later, WATS became much more ambitious, producing live sonic odysseys in 8-channel surround sound and live online sound journeys during the pandemic. Since then, Harnett and Hoff have embarked on another project. For the past couple of years, they have been partnering with different universities to translate humanities research into compelling sound-designed narrative podcasts. The first season of Ways of Knowing was produced in partnership with the University of Washington and it focused on different analytical methods and disciplines in the humanities, from close reading, deconstruction, and translational analysis, to black studies, material culture, and disability studies. The second season just wrapped up. It's called Cosmic Visions and it's produced in collaboration with Johns Hopkins University and that's what we'll hear an episode from today. Just this week, they dropped the last episode of season two and now the entire series is available on The World According to Sound website. We wanted to draw your attention to this series because turning humanities research and sound art into a sonic narrative experience was the original mission of Phantom Power. We know that many of you are interested in this area of humanities podcasting as well, so if you're not already a fan of Chris and Sam's work, check it out. We also wanted to share this particular episode because it also provides one answer to a tricky question: How do you do a sonic explication of something that is entirely visual?   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Today we share a podcast episode on the visual epistemology of astronomy by our friends at The World According to Sound. What kind of knowledge do we really gain when we look at images from space? Longtime listeners to this show will remember The World According to Sound. As we referred to them two years ago, WATS is a team of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. Tired of sound playing second fiddle to narrative on NPR, they launched a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Later, WATS became much more ambitious, producing live sonic odysseys in 8-channel surround sound and live online sound journeys during the pandemic. Since then, Harnett and Hoff have embarked on another project. For the past couple of years, they have been partnering with different universities to translate humanities research into compelling sound-designed narrative podcasts. The first season of Ways of Knowing was produced in partnership with the University of Washington and it focused on different analytical methods and disciplines in the humanities, from close reading, deconstruction, and translational analysis, to black studies, material culture, and disability studies. The second season just wrapped up. It's called Cosmic Visions and it's produced in collaboration with Johns Hopkins University and that's what we'll hear an episode from today. Just this week, they dropped the last episode of season two and now the entire series is available on The World According to Sound website. We wanted to draw your attention to this series because turning humanities research and sound art into a sonic narrative experience was the original mission of Phantom Power. We know that many of you are interested in this area of humanities podcasting as well, so if you're not already a fan of Chris and Sam's work, check it out. We also wanted to share this particular episode because it also provides one answer to a tricky question: How do you do a sonic explication of something that is entirely visual?   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

Brian Harnetty's recent record, Words and Silences, takes voice recordings made by the famed American Trappist monk Thomas Merton and sets them within Harnetty's musical compositions. The meditative and revealing result has been lauded by critics in The Wire, MOJO, and Aquarium Drunkard.  In this episode, we share a Phantom Power exclusive: a brand new narrative piece that Brian created about the making of his record. “Words and Silences: The Thomas Merton Hermitage Tapes” is much more than a behind-the-scenes look at Brian's process. Harnetty's audio diary is its own moving meditation on Merton, solitude, sound, media, and the self.  This is the second piece that Brian has shared with Phantom Power–you may remember his Forest Listening Rooms episode. Like that episode, this is something special. We highly recommend taking a walk in the woods or finding a quiet space to listen to this beautiful meditation. And after we listen, Mack talks to Brian about what we've heard.  (And, of course, we'll have a longer version of the interview and our What's Good segment for our Patrons.) Who was Thomas Merton? Thomas Merton was an author, mystic, poet, and comparative religion scholar who lived from 1915 to 1968. It's hard to imagine a spiritual superstar quite like Merton appearing in America today. His first book, 1948's “The Seven Storey Mountain,” became a best-seller and led to a flood of young men applying to join Catholic monasteries.  Merton had a major influence on spaces such as the progressive Catholic church Mack grew up going to. He was outward facing, committed to leftist causes, and fascinated by other religions, but at the same time, he retreated from his fame into his hermitage in KY. In The New Yorker, Alan Jacobs called him “perhaps the proper patron saint of our information-saturated age, of we who live and move and have our being in social media, and then, desperate for peace and rest, withdraw into privacy and silence, only to return.” Brian Harnetty Brian Harnetty is an interdisciplinary sound artist who uses listening to foster social change. He is known for his recording projects with archives, socially engaged sound works, sound and video installations, live performances, and writings. His interdisciplinary approach has been compared to “working like a novelist…breathing new life into old chunks of sound by radically recontextualizing them” (Clive Bell, The Wire). Brian is currently a Faculty Fellow at Ohio State University's Global Arts and Humanities Discovery Theme (2022-23), Harnetty is a two-time recipient of the MAP Fund Grant (2021, 2020), and received the A Blade of Grass Fellowship for Socially Engaged Art in Contemplative Practices (2018) and the Creative Capital Performing Arts Award (2016). He has also twice received MOJO Magazine's “Underground Album of the Year” (2019, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Brian Harnetty's recent record, Words and Silences, takes voice recordings made by the famed American Trappist monk Thomas Merton and sets them within Harnetty's musical compositions. The meditative and revealing result has been lauded by critics in The Wire, MOJO, and Aquarium Drunkard.  In this episode, we share a Phantom Power exclusive: a brand new narrative piece that Brian created about the making of his record. “Words and Silences: The Thomas Merton Hermitage Tapes” is much more than a behind-the-scenes look at Brian's process. Harnetty's audio diary is its own moving meditation on Merton, solitude, sound, media, and the self.  This is the second piece that Brian has shared with Phantom Power–you may remember his Forest Listening Rooms episode. Like that episode, this is something special. We highly recommend taking a walk in the woods or finding a quiet space to listen to this beautiful meditation. And after we listen, Mack talks to Brian about what we've heard.  (And, of course, we'll have a longer version of the interview and our What's Good segment for our Patrons.) Who was Thomas Merton? Thomas Merton was an author, mystic, poet, and comparative religion scholar who lived from 1915 to 1968. It's hard to imagine a spiritual superstar quite like Merton appearing in America today. His first book, 1948's “The Seven Storey Mountain,” became a best-seller and led to a flood of young men applying to join Catholic monasteries.  Merton had a major influence on spaces such as the progressive Catholic church Mack grew up going to. He was outward facing, committed to leftist causes, and fascinated by other religions, but at the same time, he retreated from his fame into his hermitage in KY. In The New Yorker, Alan Jacobs called him “perhaps the proper patron saint of our information-saturated age, of we who live and move and have our being in social media, and then, desperate for peace and rest, withdraw into privacy and silence, only to return.” Brian Harnetty Brian Harnetty is an interdisciplinary sound artist who uses listening to foster social change. He is known for his recording projects with archives, socially engaged sound works, sound and video installations, live performances, and writings. His interdisciplinary approach has been compared to “working like a novelist…breathing new life into old chunks of sound by radically recontextualizing them” (Clive Bell, The Wire). Brian is currently a Faculty Fellow at Ohio State University's Global Arts and Humanities Discovery Theme (2022-23), Harnetty is a two-time recipient of the MAP Fund Grant (2021, 2020), and received the A Blade of Grass Fellowship for Socially Engaged Art in Contemplative Practices (2018) and the Creative Capital Performing Arts Award (2016). He has also twice received MOJO Magazine's “Underground Album of the Year” (2019, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Brian Harnetty's recent record, Words and Silences, takes voice recordings made by the famed American Trappist monk Thomas Merton and sets them within Harnetty's musical compositions. The meditative and revealing result has been lauded by critics in The Wire, MOJO, and Aquarium Drunkard.  In this episode, we share a Phantom Power exclusive: a brand new narrative piece that Brian created about the making of his record. “Words and Silences: The Thomas Merton Hermitage Tapes” is much more than a behind-the-scenes look at Brian's process. Harnetty's audio diary is its own moving meditation on Merton, solitude, sound, media, and the self.  This is the second piece that Brian has shared with Phantom Power–you may remember his Forest Listening Rooms episode. Like that episode, this is something special. We highly recommend taking a walk in the woods or finding a quiet space to listen to this beautiful meditation. And after we listen, Mack talks to Brian about what we've heard.  (And, of course, we'll have a longer version of the interview and our What's Good segment for our Patrons.) Who was Thomas Merton? Thomas Merton was an author, mystic, poet, and comparative religion scholar who lived from 1915 to 1968. It's hard to imagine a spiritual superstar quite like Merton appearing in America today. His first book, 1948's “The Seven Storey Mountain,” became a best-seller and led to a flood of young men applying to join Catholic monasteries.  Merton had a major influence on spaces such as the progressive Catholic church Mack grew up going to. He was outward facing, committed to leftist causes, and fascinated by other religions, but at the same time, he retreated from his fame into his hermitage in KY. In The New Yorker, Alan Jacobs called him “perhaps the proper patron saint of our information-saturated age, of we who live and move and have our being in social media, and then, desperate for peace and rest, withdraw into privacy and silence, only to return.” Brian Harnetty Brian Harnetty is an interdisciplinary sound artist who uses listening to foster social change. He is known for his recording projects with archives, socially engaged sound works, sound and video installations, live performances, and writings. His interdisciplinary approach has been compared to “working like a novelist…breathing new life into old chunks of sound by radically recontextualizing them” (Clive Bell, The Wire). Brian is currently a Faculty Fellow at Ohio State University's Global Arts and Humanities Discovery Theme (2022-23), Harnetty is a two-time recipient of the MAP Fund Grant (2021, 2020), and received the A Blade of Grass Fellowship for Socially Engaged Art in Contemplative Practices (2018) and the Creative Capital Performing Arts Award (2016). He has also twice received MOJO Magazine's “Underground Album of the Year” (2019, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices

Brian Harnetty's recent record, Words and Silences, takes voice recordings made by the famed American Trappist monk Thomas Merton and sets them within Harnetty's musical compositions. The meditative and revealing result has been lauded by critics in The Wire, MOJO, and Aquarium Drunkard.  In this episode, we share a Phantom Power exclusive: a brand new narrative piece that Brian created about the making of his record. “Words and Silences: The Thomas Merton Hermitage Tapes” is much more than a behind-the-scenes look at Brian's process. Harnetty's audio diary is its own moving meditation on Merton, solitude, sound, media, and the self.  This is the second piece that Brian has shared with Phantom Power–you may remember his Forest Listening Rooms episode. Like that episode, this is something special. We highly recommend taking a walk in the woods or finding a quiet space to listen to this beautiful meditation. And after we listen, Mack talks to Brian about what we've heard.  (And, of course, we'll have a longer version of the interview and our What's Good segment for our Patrons.) Who was Thomas Merton? Thomas Merton was an author, mystic, poet, and comparative religion scholar who lived from 1915 to 1968. It's hard to imagine a spiritual superstar quite like Merton appearing in America today. His first book, 1948's “The Seven Storey Mountain,” became a best-seller and led to a flood of young men applying to join Catholic monasteries.  Merton had a major influence on spaces such as the progressive Catholic church Mack grew up going to. He was outward facing, committed to leftist causes, and fascinated by other religions, but at the same time, he retreated from his fame into his hermitage in KY. In The New Yorker, Alan Jacobs called him “perhaps the proper patron saint of our information-saturated age, of we who live and move and have our being in social media, and then, desperate for peace and rest, withdraw into privacy and silence, only to return.” Brian Harnetty Brian Harnetty is an interdisciplinary sound artist who uses listening to foster social change. He is known for his recording projects with archives, socially engaged sound works, sound and video installations, live performances, and writings. His interdisciplinary approach has been compared to “working like a novelist…breathing new life into old chunks of sound by radically recontextualizing them” (Clive Bell, The Wire). Brian is currently a Faculty Fellow at Ohio State University's Global Arts and Humanities Discovery Theme (2022-23), Harnetty is a two-time recipient of the MAP Fund Grant (2021, 2020), and received the A Blade of Grass Fellowship for Socially Engaged Art in Contemplative Practices (2018) and the Creative Capital Performing Arts Award (2016). He has also twice received MOJO Magazine's “Underground Album of the Year” (2019, 2013). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Just in time for Black History Month, we share an episode we've been excitedly working on for a number of months now. Ethnomusicologist Maya Cunningham brings us “The Sound World of Harriet Tubman.” Maya Cunningham is an activist and jazz singer currently completing a Ph.D. at the University of Massachusetts, Amherst, in Afro-American studies with a concentration in ethnomusicology.  We first came across Maya's work last year as part of The Harriet Tubman Bicentennial Project, an online initiative from Ms. magazine honoring the 200th anniversary of Harriet Tubman's birth in 1822. It's a remarkable package that adds many dimensions of understanding of the underground railroad conductor and feminist icon: Her experience of disability due to a blow to the head by a white overseer; her creation of a home for the aged; her love of the natural world; and much more. And to us, the richest of these essays was Maya's the “Sound World of Harriet Tubman,” which used field recordings, historical research, and ethnomusicological research to explore the roles of sound and music, and voice in Tubman's life and leadership. The piece included a Spotify playlist so you could listen as you read.  Today, we're thrilled to bring you what we hope will be an even more immersive experience: Maya Cunningham reading her essay, and thanks to the editing and mixing skills of Phantom Power producer Ravi Krishnaswami, her field recordings and playlist selections are mixed into the story.  And just a quick note, you're going to hear about the American Christian revival known as the Second Great Awakening, which stirred both Black and white people from the late 1700s to the mid-1800s. You'll also hear about the Invisible Church, where enslaved African Americans were able to worship secretly and autonomously and through the singing of folk spirituals, which differed greatly from white religious music at the time, but would go on to influence not only gospel music but pretty much every form of popular music we know today. If you want to learn more about this history, a great place to start is a book edited by two professors Mack studied with at Indiana University, Drs. Mellonee V. Burnim and Portia K. Maultsby. It's called African American Music: An Introduction.  And today, we share our Patrons-only segment, “What's Good,” in our main feed. Maya will recommend something good to read, listen to, and do.  Today's musical selections and soundscapes are by Maya Cunningham. The show was mixed and edited by Ravi Krishnaswami. The Harriet Tubman image was created by Maddie Haynes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

The Shortwave Collective describe themselves as “an international feminist group using the radio spectrum as artistic material.” I was first intrigued by their piece Receive-Transmit-Receive, an exquisite corpse of audio, in which members each contributed their own recordings of sounds from across the radio spectrum. But what really affected me was their ongoing public education project of teaching people to make their own no-power, low-budget radios called open-wave receivers. They've held radio-making workshops in Portugal, France, and the UK and they've published a how-to in Make magazine. I wanted to talk to the Shortwave Collective because they are presenting a radically different vision of what radio is and can be. Radio's history can be thought of as an extended expression of military, political, commercial, and cultural dominance. But the Collective embraces play, experimentation, failure, community, and open listening in their feminist radio practice. So, let's talk to the Shortwave Collective and see if we can rethink radio–what it's for and what it can do.   And in the second half of the show, we'll hear an audio documentary in which the Shortwave Collective teaches you how to make your own open-wave receiver. Special thanks for appearing on the show to Shortwave Collective members Lisa Hall, ​Alyssa Moxley, Georgia Muenster, and Maria Papadomanolaki. The other Collective members are Sally A. Applin, Kate Donovan, Brigitte Hart, and Hannah Kemp-Welch.  Today's show was written and edited by Mack Hagood with technical assistance from Craig Eley. Today's music is by Graeme Gibson with additional sound design elements by Cris Cheek and Shortwave Collective. Phantom Power's production team includes Craig Eley, Ravi Krishnaswami, and Amy Skjerseth. Our Production Coordinator and transcriber is Jason Meggyesy.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

This summer, sound artist and “guerrilla academic” Ben Coleman got in touch to say how much he enjoys Phantom Power. He also suggested we check out another podcast he's into called Love is the Message.  We're glad we did! Love is the Message: Music, Dance & Counterculture is a fantastic show from Tim Lawrence and Jeremy Gilbert, both of them authors, academics, DJs and audiophile dance party organisers. I recognized Tim Lawrence's name from his great book on Arthur Russell. Jeremy Gilbert is Professor of Cultural and Political Theory at the University of East London and a prolific author. Tim and Jeremy have been longtime collaborators and when the clubs closed and universities cut faculty hours due to covid, they started podcasting.  The way I'd describe their show is, imagine the amazing college class you never got to take where you learn about the intersections of global dance music and radical politics, from the 1960s to today. They do shows on disco, Motown, reggae, tropicalia, funk, you name it with a strong cultural studies perspective. And I think the episode we're going to hear today is a perfect example of their approach—it's ostensibly an episode about Fela Kuti, but it's also terrific seminar on the Black Atlantic and the political history of Nigeria.  So thanks, Ben, for the recommendation. Thanks, Tim and Jem for sharing the pod with me and doing this episode swap. And thanks everyone for listening. Talk next month! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This summer, sound artist and “guerrilla academic” Ben Coleman got in touch to say how much he enjoys Phantom Power. He also suggested we check out another podcast he's into called Love is the Message.  We're glad we did! Love is the Message: Music, Dance & Counterculture is a fantastic show from Tim Lawrence and Jeremy Gilbert, both of them authors, academics, DJs and audiophile dance party organisers. I recognized Tim Lawrence's name from his great book on Arthur Russell. Jeremy Gilbert is Professor of Cultural and Political Theory at the University of East London and a prolific author. Tim and Jeremy have been longtime collaborators and when the clubs closed and universities cut faculty hours due to covid, they started podcasting.  The way I'd describe their show is, imagine the amazing college class you never got to take where you learn about the intersections of global dance music and radical politics, from the 1960s to today. They do shows on disco, Motown, reggae, tropicalia, funk, you name it with a strong cultural studies perspective. And I think the episode we're going to hear today is a perfect example of their approach—it's ostensibly an episode about Fela Kuti, but it's also terrific seminar on the Black Atlantic and the political history of Nigeria.  So thanks, Ben, for the recommendation. Thanks, Tim and Jem for sharing the pod with me and doing this episode swap. And thanks everyone for listening. Talk next month! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

This summer, sound artist and “guerrilla academic” Ben Coleman got in touch to say how much he enjoys Phantom Power. He also suggested we check out another podcast he's into called Love is the Message.  We're glad we did! Love is the Message: Music, Dance & Counterculture is a fantastic show from Tim Lawrence and Jeremy Gilbert, both of them authors, academics, DJs and audiophile dance party organisers. I recognized Tim Lawrence's name from his great book on Arthur Russell. Jeremy Gilbert is Professor of Cultural and Political Theory at the University of East London and a prolific author. Tim and Jeremy have been longtime collaborators and when the clubs closed and universities cut faculty hours due to covid, they started podcasting.  The way I'd describe their show is, imagine the amazing college class you never got to take where you learn about the intersections of global dance music and radical politics, from the 1960s to today. They do shows on disco, Motown, reggae, tropicalia, funk, you name it with a strong cultural studies perspective. And I think the episode we're going to hear today is a perfect example of their approach—it's ostensibly an episode about Fela Kuti, but it's also terrific seminar on the Black Atlantic and the political history of Nigeria.  So thanks, Ben, for the recommendation. Thanks, Tim and Jem for sharing the pod with me and doing this episode swap. And thanks everyone for listening. Talk next month! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This summer, sound artist and “guerrilla academic” Ben Coleman got in touch to say how much he enjoys Phantom Power. He also suggested we check out another podcast he's into called Love is the Message.  We're glad we did! Love is the Message: Music, Dance & Counterculture is a fantastic show from Tim Lawrence and Jeremy Gilbert, both of them authors, academics, DJs and audiophile dance party organisers. I recognized Tim Lawrence's name from his great book on Arthur Russell. Jeremy Gilbert is Professor of Cultural and Political Theory at the University of East London and a prolific author. Tim and Jeremy have been longtime collaborators and when the clubs closed and universities cut faculty hours due to covid, they started podcasting.  The way I'd describe their show is, imagine the amazing college class you never got to take where you learn about the intersections of global dance music and radical politics, from the 1960s to today. They do shows on disco, Motown, reggae, tropicalia, funk, you name it with a strong cultural studies perspective. And I think the episode we're going to hear today is a perfect example of their approach—it's ostensibly an episode about Fela Kuti, but it's also terrific seminar on the Black Atlantic and the political history of Nigeria.  So thanks, Ben, for the recommendation. Thanks, Tim and Jem for sharing the pod with me and doing this episode swap. And thanks everyone for listening. Talk next month! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Jonathan Sterne is one of the most influential scholars working on sound and listening. His 2003 book, The Audible Past: Cultural Origins of Sound Reproduction, had a formative influence on the then-nascent field of sound studies. His 2012 book, MP3: The Meaning of a Format, was both a fascinating cultural history and a deep meditation on the purpose of compression technology in capitalism. Today, Sterne talks to Phantom Power about his new book, Diminished Faculties: A Political Phenomenology of Impairment (Duke UP 2022). Specifically, he tells the story of the “Dork-o-phone,” a vocal amplifier he wears to give talks or communicate in loud spaces. Jonathan explains why he wears the Dork-o-phone, what it's taught him about voice, technology, and disability, and how his experience informs Diminished Faculties' “phenomenology of impairment.” This is the third and final part of our series, Voices. Although you don't need to listen to the other episodes first to enjoy this one, here are the links to part one and part two. All of this episode's sound art and music are performed by Jonathan Sterne and/or groups he appears in: Cancerscapes: Recordings made during Sterne's thyroid cancer treatment Volte: An instrumental post rock band The Buddha Curtain: solo electronic music Jonathan Sterne is Professor and James McGill Chair in Culture and Technology at McGill University. He does research in sound studies; media theory and historiography; science and technology studies; new media; disability studies; music; and cultural studies. You can read Jonathan Sterne's cancer diaries at https://www.cancerscapes.ca. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Robert Arzola is a freelance composer and music supervisor for Phantom Power based in the Atlanta, GA metropolitan area. After injury interrupted his plans of being a classical performer, Robert pivoted to composing. As a freelance composer, Robert has scored feature films for Reel One Entertainment, Lifetime, Lionsgate, and Feifer Worldwide along with the video game Tactical Breach Wizards. Robert has landed numerous placements in trailers as a composer, sound designer, and editor. As the music supervisor for Phantom Power, Robert helped release multiple albums and has helped Phantom Power acquire placements for various major campaigns. He is also a contributor for the YouTube channel, The Samplelist, where he does overviews of sample libraries. Today we talk about his career, his pivot to composing, and we do a deep dive into his score for the game Tactical Breach Wizards. https://robertarzola.com/

Jonathan Sterne is one of the most influential scholars working on sound and listening. His 2003 book, The Audible Past: Cultural Origins of Sound Reproduction, had a formative influence on the then-nascent field of sound studies. His 2012 book, MP3: The Meaning of a Format, was both a fascinating cultural history and a deep meditation on the purpose of compression technology in capitalism. Today, Sterne talks to Phantom Power about his new book, Diminished Faculties: A Political Phenomenology of Impairment (Duke UP 2022). Specifically, he tells the story of the “Dork-o-phone,” a vocal amplifier he wears to give talks or communicate in loud spaces. Jonathan explains why he wears the Dork-o-phone, what it's taught him about voice, technology, and disability, and how his experience informs Diminished Faculties' “phenomenology of impairment.” This is the third and final part of our series, Voices. Although you don't need to listen to the other episodes first to enjoy this one, here are the links to part one and part two. All of this episode's sound art and music are performed by Jonathan Sterne and/or groups he appears in: Cancerscapes: Recordings made during Sterne's thyroid cancer treatment Volte: An instrumental post rock band The Buddha Curtain: solo electronic music Jonathan Sterne is Professor and James McGill Chair in Culture and Technology at McGill University. He does research in sound studies; media theory and historiography; science and technology studies; new media; disability studies; music; and cultural studies. You can read Jonathan Sterne's cancer diaries at https://www.cancerscapes.ca. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Jonathan Sterne is one of the most influential scholars working on sound and listening. His 2003 book, The Audible Past: Cultural Origins of Sound Reproduction, had a formative influence on the then-nascent field of sound studies. His 2012 book, MP3: The Meaning of a Format, was both a fascinating cultural history and a deep meditation on the purpose of compression technology in capitalism. Today, Sterne talks to Phantom Power about his new book, Diminished Faculties: A Political Phenomenology of Impairment (Duke UP 2022). Specifically, he tells the story of the “Dork-o-phone,” a vocal amplifier he wears to give talks or communicate in loud spaces. Jonathan explains why he wears the Dork-o-phone, what it's taught him about voice, technology, and disability, and how his experience informs Diminished Faculties' “phenomenology of impairment.” This is the third and final part of our series, Voices. Although you don't need to listen to the other episodes first to enjoy this one, here are the links to part one and part two. All of this episode's sound art and music are performed by Jonathan Sterne and/or groups he appears in: Cancerscapes: Recordings made during Sterne's thyroid cancer treatment Volte: An instrumental post rock band The Buddha Curtain: solo electronic music Jonathan Sterne is Professor and James McGill Chair in Culture and Technology at McGill University. He does research in sound studies; media theory and historiography; science and technology studies; new media; disability studies; music; and cultural studies. You can read Jonathan Sterne's cancer diaries at https://www.cancerscapes.ca. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

In part two of our three-part series “Voices,” we feature an exciting new voice in the world of sound studies, Stacey Copeland.  In part one last month, we examined the role voices play in professional sports and unpacked some of the understandings of ability and masculinity that inform the sound of the quarterback's voice in the NFL. Copeland's audio documentary, “This is the Sound of My Voice,” examines another group of professionals—women broadcasters and podcasters, who struggle with sonic sexism from male colleagues, audiences, and sometimes, even themselves. The documentary was originally presented on radio in three parts, but Stacey graciously edited a shorter version for this episode of Phantom Power. Stacey Copeland is a media producer and Joseph-Armand Bombardier (CGS) Ph.D. candidate at Simon Fraser University's School of Communication in Vancouver, Canada. She received her Master of Arts from the Ryerson York joint Communication and Culture graduate program where she studied with a focus on radio production, sound studies, media culture and gender studies. She completed her Bachelor of Arts in Radio and Television Arts from Ryerson University with a minor in English and a specialization in audio production for radio, music and film. It was during her Master's work that Copeland co-founded FemRadio, a Toronto, Canada based feminist community radio collective. Currently, she is the supervising producer at Amplify Podcast Network, a collaborative project dedicated to reimagining the sound of scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In part two of our three-part series “Voices,” we feature an exciting new voice in the world of sound studies, Stacey Copeland.  In part one last month, we examined the role voices play in professional sports and unpacked some of the understandings of ability and masculinity that inform the sound of the quarterback's voice in the NFL. Copeland's audio documentary, “This is the Sound of My Voice,” examines another group of professionals—women broadcasters and podcasters, who struggle with sonic sexism from male colleagues, audiences, and sometimes, even themselves. The documentary was originally presented on radio in three parts, but Stacey graciously edited a shorter version for this episode of Phantom Power. Stacey Copeland is a media producer and Joseph-Armand Bombardier (CGS) Ph.D. candidate at Simon Fraser University's School of Communication in Vancouver, Canada. She received her Master of Arts from the Ryerson York joint Communication and Culture graduate program where she studied with a focus on radio production, sound studies, media culture and gender studies. She completed her Bachelor of Arts in Radio and Television Arts from Ryerson University with a minor in English and a specialization in audio production for radio, music and film. It was during her Master's work that Copeland co-founded FemRadio, a Toronto, Canada based feminist community radio collective. Currently, she is the supervising producer at Amplify Podcast Network, a collaborative project dedicated to reimagining the sound of scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In part two of our three-part series “Voices,” we feature an exciting new voice in the world of sound studies, Stacey Copeland.  In part one last month, we examined the role voices play in professional sports and unpacked some of the understandings of ability and masculinity that inform the sound of the quarterback's voice in the NFL. Copeland's audio documentary, “This is the Sound of My Voice,” examines another group of professionals—women broadcasters and podcasters, who struggle with sonic sexism from male colleagues, audiences, and sometimes, even themselves. The documentary was originally presented on radio in three parts, but Stacey graciously edited a shorter version for this episode of Phantom Power. Stacey Copeland is a media producer and Joseph-Armand Bombardier (CGS) Ph.D. candidate at Simon Fraser University's School of Communication in Vancouver, Canada. She received her Master of Arts from the Ryerson York joint Communication and Culture graduate program where she studied with a focus on radio production, sound studies, media culture and gender studies. She completed her Bachelor of Arts in Radio and Television Arts from Ryerson University with a minor in English and a specialization in audio production for radio, music and film. It was during her Master's work that Copeland co-founded FemRadio, a Toronto, Canada based feminist community radio collective. Currently, she is the supervising producer at Amplify Podcast Network, a collaborative project dedicated to reimagining the sound of scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

This episode, we take you behind the scenes of Phantom Power. Producer/host Mack Hagood was invited by Dario Llinares and Lori Beckstead to be a guest on their show, The Podcast Studies Podcast. As you may or may not know, there are a lot of academics out there not only making podcast themselves but also studying podcasts and podcasting as a genre and an industry–and Dario and Lori are in that camp. Their podcast is a tremendous resource for those who want to understand this emerging academic field. In the interview, Dario prompted Mack to go pretty deep into the production of Phantom Power, exploring the techniques and philosophy behind the show, as well as the potential Mack sees for podcasting as a format for generating scholarly knowledge. And after the interview, Lori had some intriguing comments about what counts as “original scholarship” when we do it in sound. So, as we prepare our 2022 season of Phantom Power, we thought we'd share this discussion of how our sonic sausage gets made. And we'll be back next month with a new original episode! Things we talk about in this episode: Hush: Media and Sonic Self-Control by Mack Hagood (Duke, 2019) “Emotional Rescue” by Mack Hagood (Real Life, December 3, 2020) “The Scholarly Podcast: Form and Function in Audio Academia” by Mack Hagood in Saving New Sounds: Podcast Preservation and Historiography, Jeremy Wade Morris and Eric Hoyt, Eds (University of Michigan Press, 2021). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

This episode, we take you behind the scenes of Phantom Power. Producer/host Mack Hagood was invited by Dario Llinares and Lori Beckstead to be a guest on their show, The Podcast Studies Podcast. As you may or may not know, there are a lot of academics out there not only making podcast themselves but also studying podcasts and podcasting as a genre and an industry–and Dario and Lori are in that camp. Their podcast is a tremendous resource for those who want to understand this emerging academic field. In the interview, Dario prompted Mack to go pretty deep into the production of Phantom Power, exploring the techniques and philosophy behind the show, as well as the potential Mack sees for podcasting as a format for generating scholarly knowledge. And after the interview, Lori had some intriguing comments about what counts as “original scholarship” when we do it in sound. So, as we prepare our 2022 season of Phantom Power, we thought we'd share this discussion of how our sonic sausage gets made. And we'll be back next month with a new original episode! Things we talk about in this episode: Hush: Media and Sonic Self-Control by Mack Hagood (Duke, 2019) “Emotional Rescue” by Mack Hagood (Real Life, December 3, 2020) “The Scholarly Podcast: Form and Function in Audio Academia” by Mack Hagood in Saving New Sounds: Podcast Preservation and Historiography, Jeremy Wade Morris and Eric Hoyt, Eds (University of Michigan Press, 2021). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

The Road to the Top 40 - Episode 7Welcome to The Road to the Top 40! I'm jD, your host, here with Episode 7 as we continue counting down The Tragically Hip's most beloved songs, based on fan-selected ballots. In this episode, we're exploring songs 139 through 135, featuring tracks from iconic albums like Fully Completely, Day for Night, Phantom Power, and Man Machine Poem.This series is a celebration of Canadian rock music and The Tragically Hip's 40-year legacy. Every Monday, Wednesday, and Friday, join us as we revisit TTH classics and hidden gems, with fresh insights and stories from the fan community. Get ready for the Tragically Hip Top 40 Countdown launch on January 6th, 2025, where we'll reveal the top 40 songs one by one, each week, joined by special guests.Connect with us and join the conversation:• Instagram, Twitter: @tthtop40• Website: dewvre.com/tthtop40• Email: tthtop40@gmail.com• Facebook Group: facebook.com/groups/tthtop40Thank you for tuning in, and let's keep celebrating the music and legacy of The Tragically Hip on The Road to the Top 40!Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The World According to Sound is the brainchild of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. It began as a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Then it became something much more ambitious: a live sonic Odyssey in 8-channel surround sound. Starting January, Harnett and Hoff bring their realtime soundtrips direct to your home headphones via the internet in their winter listening series. We are sure that Phantom Power listeners will love this experience. And right now, you can buy tickets for 25% off with the promo code phantompower25. (As a public university employee, I should probably note that I am not receiving financial compensation through this promo code. –Mack) In this episode, host Mack Hagood talks to Harnett and Hoff about why they grew frustrated with working in public radio and how they now assemble sonic experiences that don't impose a fixed narrative on their listeners. We also listen to some fantastic excerpts from their upcoming listening series. We also briefly discuss a sound art classic, I am sitting in a room by Alvin Lucier. You can hear Lucier perform the piece in this video from an MIT symposium in 2014. Shortly after our interview, Lucier passed away at the age of 90. May he Rest In Peace. Today's show was written and edited by Mack Hagood. Music by Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Road to the Top 40 - Episode 7Welcome to The Road to the Top 40! I'm jD, your host, here with Episode 7 as we continue counting down The Tragically Hip's most beloved songs, based on fan-selected ballots. In this episode, we're exploring songs 139 through 135, featuring tracks from iconic albums like Fully Completely, Day for Night, Phantom Power, and Man Machine Poem.This series is a celebration of Canadian rock music and The Tragically Hip's 40-year legacy. Every Monday, Wednesday, and Friday, join us as we revisit TTH classics and hidden gems, with fresh insights and stories from the fan community. Get ready for the Tragically Hip Top 40 Countdown launch on January 6th, 2025, where we'll reveal the top 40 songs one by one, each week, joined by special guests.Connect with us and join the conversation:• Instagram, Twitter: @tthtop40• Website: dewvre.com/tthtop40• Email: tthtop40@gmail.com• Facebook Group: facebook.com/groups/tthtop40Thank you for tuning in, and let's keep celebrating the music and legacy of The Tragically Hip on The Road to the Top 40!Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The World According to Sound is the brainchild of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. It began as a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Then it became something much more ambitious: a live sonic Odyssey in 8-channel surround sound. Starting January, Harnett and Hoff bring their realtime soundtrips direct to your home headphones via the internet in their winter listening series. We are sure that Phantom Power listeners will love this experience. And right now, you can buy tickets for 25% off with the promo code phantompower25. (As a public university employee, I should probably note that I am not receiving financial compensation through this promo code. –Mack) In this episode, host Mack Hagood talks to Harnett and Hoff about why they grew frustrated with working in public radio and how they now assemble sonic experiences that don't impose a fixed narrative on their listeners. We also listen to some fantastic excerpts from their upcoming listening series. We also briefly discuss a sound art classic, I am sitting in a room by Alvin Lucier. You can hear Lucier perform the piece in this video from an MIT symposium in 2014. Shortly after our interview, Lucier passed away at the age of 90. May he Rest In Peace. Today's show was written and edited by Mack Hagood. Music by Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

The World According to Sound is the brainchild of two rogue audionauts who rebelled against the NPR mothership: Chris Hoff and Sam Harnett. It began as a micro podcast that held one unique sound under the microscope for 90 seconds each episode. Then it became something much more ambitious: a live sonic Odyssey in 8-channel surround sound. Starting January, Harnett and Hoff bring their realtime soundtrips direct to your home headphones via the internet in their winter listening series. We are sure that Phantom Power listeners will love this experience. And right now, you can buy tickets for 25% off with the promo code phantompower25. (As a public university employee, I should probably note that I am not receiving financial compensation through this promo code. –Mack) In this episode, host Mack Hagood talks to Harnett and Hoff about why they grew frustrated with working in public radio and how they now assemble sonic experiences that don't impose a fixed narrative on their listeners. We also listen to some fantastic excerpts from their upcoming listening series. We also briefly discuss a sound art classic, I am sitting in a room by Alvin Lucier. You can hear Lucier perform the piece in this video from an MIT symposium in 2014. Shortly after our interview, Lucier passed away at the age of 90. May he Rest In Peace. Today's show was written and edited by Mack Hagood. Music by Graeme Gibson. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

The Road to the Top 40 - Episode 1Welcome to the first episode of The Road to the Top 40! I'm jD, your host, and I couldn't be more excited to take you along as we kick off the countdown of the Tragically Hip's top songs, leading up to the ultimate Tragically Hip Top 40 Countdown.In this episode, we start with songs 169 through 165, including rare and beloved tracks from Phantom Power and We Are the Same. Each Monday, Wednesday, and Friday, we'll be releasing five new songs, moving closer to the top of this iconic list of Top TTH songs that fans like you helped create.This podcast is for fans of The Tragically Hip and anyone who loves Canadian rock music. Dive into Canadian music history with us, hear the stories behind the songs, and celebrate the 40-year legacy of one of Canada's most influential bands.Be sure to subscribe so you're ready for January 6th, 2025, when we'll start counting down the Top 40, one song per week. Each episode will feature a superfan sharing their TTH origin story and helping break down the song of the week. We're also looking forward to wrapping up the countdown with a fundraising event for the ALS Society of Canada in October 2025.Follow us on socials and join the community: • Instagram, Twitter: @tthtop40 • Website: dewvre.com/tthtop40 • Email: tthtop40@gmail.com • Facebook Group: facebook.com/groups/tthtop40Thanks for joining us on The Road to the Top 40 – let's keep flying the flag!Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Road to the Top 40 - Episode 1Welcome to the first episode of The Road to the Top 40! I'm jD, your host, and I couldn't be more excited to take you along as we kick off the countdown of the Tragically Hip's top songs, leading up to the ultimate Tragically Hip Top 40 Countdown.In this episode, we start with songs 169 through 165, including rare and beloved tracks from Phantom Power and We Are the Same. Each Monday, Wednesday, and Friday, we'll be releasing five new songs, moving closer to the top of this iconic list of Top TTH songs that fans like you helped create.This podcast is for fans of The Tragically Hip and anyone who loves Canadian rock music. Dive into Canadian music history with us, hear the stories behind the songs, and celebrate the 40-year legacy of one of Canada's most influential bands.Be sure to subscribe so you're ready for January 6th, 2025, when we'll start counting down the Top 40, one song per week. Each episode will feature a superfan sharing their TTH origin story and helping break down the song of the week. We're also looking forward to wrapping up the countdown with a fundraising event for the ALS Society of Canada in October 2025.Follow us on socials and join the community:• Instagram, Twitter: @tthtop40• Website: dewvre.com/tthtop40• Email: tthtop40@gmail.com• Facebook Group: facebook.com/groups/tthtop40Thanks for joining us on The Road to the Top 40 – let's keep flying the flag!Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

What can sound technologies tell us about our relationship to media as a whole? This is one of the central questions in the research of Phantom Power‘s host, Mack Hagood. To find its answer, he studies devices that get little attention from media scholars: noise-cancelling headphones, white noise machines, apps that make nature sounds, tinnitus maskers–even musical pillows. The story these media tell is rather different from the standard narrative, in which media are conveyors of information and entertainment. In his book Hush: Media and Sonic Self-Control, Mack argues that media are the way we control how–and how much–we let the world affect us. On Phantom Power, Mack has always focused on presenting the ideas of other scholars and sound artists. However, during our summer break we thought we'd share a piece by Mack that appeared in another podcast, the audio edition of Real Life, a razor-sharp magazine on digital culture. “Emotional Rescue” begins with the odd example of pillow-based audio technology to make the point that media are really about something more intimate than information: The cozy conflation of content and comfort… is not a recent digital development. Nor is it, I would argue, a quirky edge case of media use. In fact, this is what media are: tools for altering how the body feels and what it perceives, controlling our relationship to others and the world, enveloping ourselves, and even disappearing ourselves. Misunderstanding the true nature of our media use isn't merely of academic concern–it has had disastrous effects on our politics and social cohesion. The article was written for the Real Life website, then subsequently dropped in podcast form. Writing for the eye is quite different from writing for the ear, but podcast producer and narrator Britney Gil is amazing at elucidating written prose for the listener. If you listen to nonfiction audiobooks and/or want to hear a great narrator reading insightful takes on digital life, be sure to subscribe to Real Life: Audio Edition.  “Emotional Rescue” by Mack Hagood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What can sound technologies tell us about our relationship to media as a whole? This is one of the central questions in the research of Phantom Power‘s host, Mack Hagood. To find its answer, he studies devices that get little attention from media scholars: noise-cancelling headphones, white noise machines, apps that make nature sounds, tinnitus maskers–even musical pillows. The story these media tell is rather different from the standard narrative, in which media are conveyors of information and entertainment. In his book Hush: Media and Sonic Self-Control, Mack argues that media are the way we control how–and how much–we let the world affect us. On Phantom Power, Mack has always focused on presenting the ideas of other scholars and sound artists. However, during our summer break we thought we'd share a piece by Mack that appeared in another podcast, the audio edition of Real Life, a razor-sharp magazine on digital culture. “Emotional Rescue” begins with the odd example of pillow-based audio technology to make the point that media are really about something more intimate than information: The cozy conflation of content and comfort… is not a recent digital development. Nor is it, I would argue, a quirky edge case of media use. In fact, this is what media are: tools for altering how the body feels and what it perceives, controlling our relationship to others and the world, enveloping ourselves, and even disappearing ourselves. Misunderstanding the true nature of our media use isn't merely of academic concern–it has had disastrous effects on our politics and social cohesion. The article was written for the Real Life website, then subsequently dropped in podcast form. Writing for the eye is quite different from writing for the ear, but podcast producer and narrator Britney Gil is amazing at elucidating written prose for the listener. If you listen to nonfiction audiobooks and/or want to hear a great narrator reading insightful takes on digital life, be sure to subscribe to Real Life: Audio Edition.  “Emotional Rescue” by Mack Hagood. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Today we present the first episode of Jacob Smith's new eco-critical audiobook, Lightning Birds: An Aeroecology of the Airwaves. In this audio-only book, Smith uses expert production to craft a wildly original argument about the relations between radio and bird migration. The rest of the book is available, free of charge, from The University of Michigan Press, but this introduction is a great standalone experience that we think Phantom Power listeners will delight in. It tells a truly unique cultural history of radio, describes important scientific discoveries about bird migration through interviews with key researchers, and continues exploring Smith's singular mode of ecocriticism, combining text-based scholarship with sound art, music, and audio storytelling. Professor Jacob Smith is Director of the Masters in Sound Arts and Industries Program at Northwestern University and author of numerous books. He is a cultural historian focused on media and sound who never fails to come at his subject matter from an oblique and completely original angle. His first three books focused on the relationship between the media technologies that developed over the course of the twentieth century—the phonograph, radio, film, and TV—and the kinds of performance styles we have come to expect from performers. For example, his 2008 book Vocal Tracks  tackles questions such as how radio changed acting and why fake laugh tracks developed on television—and why we feel so weird about canned laughter. In recent years, Jacob Smith's work has changed in a couple of ways. Thematically, he took a hard turn towards environmental criticism. His 2015 book Eco-Sonic Media lays out an agenda for studying the negative environmental effects of media culture while also telling a strange alternate history of “green” sound technologies: hand-cranked gramophones with eco-friendly shellac records and needles sourced from cacti instead of diamonds. His next book maintained this eco-critical perspective while revolutionizing the format of the scholarly book. 2019's ESC: Sonic Adventure in the Anthropocene was a 10-part audiobook that mined golden age radio shows and sound art to explore the dawn of the Anthropocene era, in which humans emerged as the primary force affecting earth systems. In episode 12 of this podcast, we played an excerpt of that book and interviewed Jake about the process of crafting a book-length scholarly argument in sound by sampling sounds from other eras. Lightning Birds continues this Smith's work in this innovative vein. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Today's guest, Kate Carr, is an accomplished sound artist and field recordist whose recent work grapples with issues of communication and longing—themes we can all relate to in the Covid era.  In part one of the show, we mark Phantom Power's three-year anniversary and 25th episode. Mack does a little thinking out loud about the different kinds of audio work that we've featured over the past three years. The terminology and practices for audio work always seem to be in flux—and people can have completely different terms for similar kinds of work. Mack imagines a spectrum of sound work, from more materialist genres like musique concrete to more conceptual or idealist genres like the audiobook, which emphasize meaning over form. In the end, the spectrum eats its own tail—the material is always conceptual and the conceptual is always material. Sound is always both resonance and meaning and the two can never be completely teased apart. Signal and noise are one.  In part two, we meet Kate Carr, an artist the critic Matthew Blackwell describes as a “sound essayist.” Since she began it in 2010, Kate Carr's work as a musician and field recordist has taken her around the world, from her native Australia to a doctoral program at University of the Arts London. She's been featured in The New York Times, The New Yorker, The Wire, and Pitchfork. She also runs the field recording label Flaming Pines.  Since slightly before the pandemic, the theme of communication at a distance—always implicit in field recording—has taken center stage in her work. We examine three such pieces by Kate Carr. Each one explores how sound helps us communicate at a distance and how it comforts us in moments of loneliness: “Contact”—a meditation on sonic connection through radio, morse code, and digital technology. “Where to Begin”—a study of love letter writing, which Carr says has profound similarities with field recording. “For Some Odd Reason”—an exploration of the kinds of noise we came to miss during social distancing and the mediated ways we've tried to add it back.  Together, these three pieces—one from before the pandemic, one from its beginning, and one from its interminable middle—explore how earnestly we try to connect across distance—and how heightened these attempts have become over the past year. Huge thanks to our co-producer on this episode, Matthew Blackwell. He is a Visiting Assistant Professor of English at the University of Iowa and a freelance music writer. He writes and edits Tusk Is Better Than Rumours, a newsletter that covers the discographies of experimental musicians.  He is also a contributor to Tone Glow, a newsletter featuring interviews with experimental musicians.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today's guest, Kate Carr, is an accomplished sound artist and field recordist whose recent work grapples with issues of communication and longing—themes we can all relate to in the Covid era.  In part one of the show, we mark Phantom Power's three-year anniversary and 25th episode. Mack does a little thinking out loud about the different kinds of audio work that we've featured over the past three years. The terminology and practices for audio work always seem to be in flux—and people can have completely different terms for similar kinds of work. Mack imagines a spectrum of sound work, from more materialist genres like musique concrete to more conceptual or idealist genres like the audiobook, which emphasize meaning over form. In the end, the spectrum eats its own tail—the material is always conceptual and the conceptual is always material. Sound is always both resonance and meaning and the two can never be completely teased apart. Signal and noise are one.  In part two, we meet Kate Carr, an artist the critic Matthew Blackwell describes as a “sound essayist.” Since she began it in 2010, Kate Carr's work as a musician and field recordist has taken her around the world, from her native Australia to a doctoral program at University of the Arts London. She's been featured in The New York Times, The New Yorker, The Wire, and Pitchfork. She also runs the field recording label Flaming Pines.  Since slightly before the pandemic, the theme of communication at a distance—always implicit in field recording—has taken center stage in her work. We examine three such pieces by Kate Carr. Each one explores how sound helps us communicate at a distance and how it comforts us in moments of loneliness: “Contact”—a meditation on sonic connection through radio, morse code, and digital technology. “Where to Begin”—a study of love letter writing, which Carr says has profound similarities with field recording. “For Some Odd Reason”—an exploration of the kinds of noise we came to miss during social distancing and the mediated ways we've tried to add it back.  Together, these three pieces—one from before the pandemic, one from its beginning, and one from its interminable middle—explore how earnestly we try to connect across distance—and how heightened these attempts have become over the past year. Huge thanks to our co-producer on this episode, Matthew Blackwell. He is a Visiting Assistant Professor of English at the University of Iowa and a freelance music writer. He writes and edits Tusk Is Better Than Rumours, a newsletter that covers the discographies of experimental musicians.  He is also a contributor to Tone Glow, a newsletter featuring interviews with experimental musicians.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Today's guest, Kate Carr, is an accomplished sound artist and field recordist whose recent work grapples with issues of communication and longing—themes we can all relate to in the Covid era.  In part one of the show, we mark Phantom Power's three-year anniversary and 25th episode. Mack does a little thinking out loud about the different kinds of audio work that we've featured over the past three years. The terminology and practices for audio work always seem to be in flux—and people can have completely different terms for similar kinds of work. Mack imagines a spectrum of sound work, from more materialist genres like musique concrete to more conceptual or idealist genres like the audiobook, which emphasize meaning over form. In the end, the spectrum eats its own tail—the material is always conceptual and the conceptual is always material. Sound is always both resonance and meaning and the two can never be completely teased apart. Signal and noise are one.  In part two, we meet Kate Carr, an artist the critic Matthew Blackwell describes as a “sound essayist.” Since she began it in 2010, Kate Carr's work as a musician and field recordist has taken her around the world, from her native Australia to a doctoral program at University of the Arts London. She's been featured in The New York Times, The New Yorker, The Wire, and Pitchfork. She also runs the field recording label Flaming Pines.  Since slightly before the pandemic, the theme of communication at a distance—always implicit in field recording—has taken center stage in her work. We examine three such pieces by Kate Carr. Each one explores how sound helps us communicate at a distance and how it comforts us in moments of loneliness: “Contact”—a meditation on sonic connection through radio, morse code, and digital technology. “Where to Begin”—a study of love letter writing, which Carr says has profound similarities with field recording. “For Some Odd Reason”—an exploration of the kinds of noise we came to miss during social distancing and the mediated ways we've tried to add it back.  Together, these three pieces—one from before the pandemic, one from its beginning, and one from its interminable middle—explore how earnestly we try to connect across distance—and how heightened these attempts have become over the past year. Huge thanks to our co-producer on this episode, Matthew Blackwell. He is a Visiting Assistant Professor of English at the University of Iowa and a freelance music writer. He writes and edits Tusk Is Better Than Rumours, a newsletter that covers the discographies of experimental musicians.  He is also a contributor to Tone Glow, a newsletter featuring interviews with experimental musicians.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn't get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970's Fly, and recording artist of experimental pop albums such as that Fly's soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day. As Amy points out, much of this criticism centered on the sound of Yoko Ono's voice. Of course, as we've explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono's case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming. The vast majority of listeners immediately dismissed these sounds as a punchline. On today's show, we're going to actually listen. What is the purpose and meaning and effect of Ono's vocal artistry? We're exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.  This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies. Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist. You can hear Yoko Ono's Twitter response to Trump (November 11, 2016) here.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today, Phantom Power‘s Amy Skjerseth brings us the story of perhaps the most famous vocal performance artist and avant-garde musician whose actual work probably doesn't get the attention it deserves: Yoko Ono. Collaborator with the Fluxus group in the early 60s, creator of performances such as Cut Piece and her Bed In with John Lennon in the late 1960s, director of experimental films such as 1970's Fly, and recording artist of experimental pop albums such as that Fly's soundtrack… Despite this large body of work, her most famous role was that of wife to that guy in that band—a performance that made her the target of misogynous and racist criticism that persists to this day. As Amy points out, much of this criticism centered on the sound of Yoko Ono's voice. Of course, as we've explored on this show before, listening to the other with a racist or sexist ear is nothing new. But in Ono's case, this prejudicial listening is compounded by the fact that, years before the emergence of punk rock, she was pushing the boundaries of acceptable vocal expression for anyone, let alone a woman—moaning, wailing, chortling, and screaming. The vast majority of listeners immediately dismissed these sounds as a punchline. On today's show, we're going to actually listen. What is the purpose and meaning and effect of Ono's vocal artistry? We're exploring it in her recorded work, in her feminist and pacifist political agenda, and most of all, in her film Fly, in which she uses her voice to destroy boundaries between sound and touch, human and animal, self and other.  This episode includes elements from an audio essay Amy published at [in]Transition: Journal of Videographic Film & Moving Image Studies. Music by Yoko Ono, John Lennon, John Cage, Tanya Tagaq, and Graeme Gibson, as well as “Crickets, Birds, Summer Ambient” by Nikodemus Christian. You can hear most of the music again on this Phantom Power Spotify Playlist. You can hear Yoko Ono's Twitter response to Trump (November 11, 2016) here.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian's music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions. For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn't just document Shawnee's narrative—he intervenes in it. He's an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I'll speak to Brian about his project.  Learn more: Visit Brian Harnetty's studio in Ohio. Check out his Bandcamp page. Visit his website.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What would happen if you took red state rural voters on a walk into the woods with left-wing environmental activists and experimental music fans? Our guest this episode knows the answer. BRIAN HARNETTY is a composer and an interdisciplinary artist using sound and listening to foster social change.  While Brian studied composition at the Royal Academy of Music, London, one of his teachers, Michael Finnissy, suggested he look for musical inspiration in his home state of Ohio. Brian took that advice and the result has been eight internationally acclaimed albums. Brian's music combines archival recordings of interviews and singing—often from the Berea College Appalachian Sound Archives—with his original compositions. For the past decade, Brian has focused on the myth, history, ecology, and economy of Shawnee, a small Appalachian town in Ohio. His 2019 album Shawnee, Ohio was praised by the BBC, the Wire, and named 2019 Underground Album of the Year by MOJO. The album engages with the social and environmental impacts felt by the town and nearby Wayne National Forest in their long history with extractive industries from timber to coal mining to fracking.  But Brian doesn't just document Shawnee's narrative—he intervenes in it. He's an environmental activist of a gentle kind, one who gets area residents of different political stripes to walk in the woods together to listen—to one another and to the forest. All in service of protecting and healing the land. In this episode, we are  thrilled to present an audio documentary that Brian Harnetty has produced for Phantom Power about this quietly radical experiment, called Forest Listening Rooms. And afterwards I'll speak to Brian about his project.  Learn more: Visit Brian Harnetty's studio in Ohio. Check out his Bandcamp page. Visit his website.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies