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“KASPLASH! SLURPLOP… KPLUNK!” Charles Mingus’s Sound Effects and the Politics of Humor

In his autobiography, Beneath the Underdog, jazz musician Charles Mingus recounts his hatred of being ignored during his bass solos. When it was finally his turn to enter the foreground, suddenly musicians and audience members alike found drinks, food, conversations, and everything else more important. However, this small, and somewhat ironic, anecdote of Mingus’s relationship with the jazz community has now become a foreshadowing of his current status in sound studies–but no longer! This series re/hears, re/sounds and re/mixes the contributions of Mingus for his ingenious approach to jazz performance and composition as well as his far-reaching theorizations of sound in relation to liberation and social equality, all in honor of the 60th anniversary of Mingus’s sublimely idiosyncratic album Mingus Ah Um this month. In the third piece of this series, Jessica Teague grapples with Mingus’s 1957 Atlantic recording of “The Clown.” Her analysis reveals one of Mingus’s most critical questions: Is the only way to escape exploitation to exploit another, or worse yet, yourself? You can catch up with the full series by clicking here. –Guest Editor Earl Brooks

When jazz bassist and composer Charles Mingus first set out to write his memoirs in the mid-1950s he told his wife Judy that he “wanted a chance to write about the true jazz scene that has made our masters millions and taken the most famed to their penniless graves as the only escape from the invisible chains on black jazz as an art” (Santoro 175). By the time Beneath the Underdog saw publication nearly two decades later in 1971, it was considerably slimmed down from the 800+ page manuscript Mingus had produced. Financially strained and evicted from his downtown loft, Mingus hoped that the book would be a best seller and offer economic freedom from the music industry.

But as many have noted, Beneath the Underdog is not your typical jazz autobiography (see Krin Gabbard, Nichole Rustin-Paschal, Gene Santoro, and Daniel Stein). Here, Mingus rejects standard notions of the self declaring in the first sentence of his book: “In other words, I am three.”  By writing in a mode that wavers between the lurid world of popular pulp-heroes and psychological high-modernism, Mingus’s autobiography (like his music) treads a slender line between clowning and critique.

In one of the most infamous scenes from Beneath the Underdog, Mingus hyperbolically describes having intercourse with twenty-three prostitutes over the course of one night in Tijuana, Mexico. The incident follows the breakup of his marriage with his first wife Barbara and his affair with Nesa Morgan, the wife of a club owner. Recounting his superhuman exploits in the language of the comic book, Mingus turns what might have been a display of his sexual prowess into a clowning circus act, complete with zany sound effects and an off-kilter sense of rhythm. It’s a scene that simultaneously reinforces the stereotype of the African American male’s hypersexuality and deflates it with comedy:

KASPLASH!  SLURPLOP!

“Me, señor!”

KPLUNK!

“No!  Me, sir!”

SPLATT

“You like fooke?”

“Seventeen, eighteen, nineteen, twenty!”

SPASHOOSH!

“Two dollars, sir!”

(Beneath the Underdog 176-177)

There is a certain ambiguity to the poolside scene. Mingus the narrator is notably absent and the action proceeds without any visual clues—he gives the reader only fragments of dialogue that alternate between the prostitutes selling their wares and the side conversation between Mingus and his friend Hickey, who comments upon his sexual performance. What is more, the onomatopoetic sound effects employed are demonstrably silly and absurd. There are no moans or sighs of ecstasy here—each act is punctuated by a “BLAM! BLAM!” (178). Sex is transactional and performative for Mingus, but not pleasurable.

The pulpy, comic book quality of the Tijuana scene makes Mingus a superhuman like a character from The Fantastic Four, but it also makes him into a two-dimensional cartoon. This undercutting of the self and the performative body characterizes Mingus’s concept of the fractured self of the black jazz musician—a theme he takes up in his music as well as his writing (e.g. “Self-Portrait in Three Colors” from Mingus Ah Um). Interestingly, Mingus’s affinity for comics would surface again and in 1966 he collaborated with African American illustrator Gene Bilbrew to create a comic strip-style advertisement for the Charles Mingus Record Club that appeared in the Village Voice.

Cropped image from Dangerous Minds via Stupefaction. Click there for full strip.

Biographers have argued that Mingus included these likely fictionalized sex scenes as a way to sell more books and evade the exploitative economics of the music industry. However, the comic book sound effects that render Mingus’s sexuality humorously exaggerated comes at the expense of Latinx women. Despite having grown up in a multi-ethnic community in Los Angeles, his representation of the voices of the Mexican prostitutes flattens their identities and plays upon ethnic stereotypes. With each “Sí señor,” the women are presented as both sexually promiscuous and submissive. Mingus’s relationships with women were fraught, and his anxieties about his own sexuality were inevitably tied up with race. His tendency to treat women as sex-objects is similarly on display in the comic strip above, in which a suggestively-attired white female hipster acts as a narc, exposing a bootleg record dealer. “Uh, you got anything by Charlie Mingus? Uh-h, y’know, like uh… under the counter?” she asks, dripping innuendo.

And yet, these cringe-inducing scenes are often complicated by Mingus’s use of pimping and prostitution as metaphors for exploitation throughout his Beneath the Underdog. At various points he portrays himself as both prostitute and pimp, both masculine and feminine. When his friend Hickey seems to question Mingus’s extreme behavior, he responds: “In this white man’s society what else have I got” (178). Even in moments that indulge in humor, such as the Tijuana scene, Beneath the Underdog darkly implies a pimp or be pimped world.

Mingus would become known for writing music with a political edge—one might think of “Fables of Faubus” from Mingus Ah Um (1959)—but perhaps the closest musical relative to the satirical Tijuana scene is Mingus’s 1957 Atlantic recording of “The Clown.” In the liner notes for the album, penned by Nat Hentoff, Mingus describes that as he wrote the tune, he realized that it had two parts, and started to imagine it as the story of the clown. He then told the story to radio celebrity Jean Shepherd and allowed Shepherd to improvise the telling of the story during the recording. As Mingus described it to Hentoff, the story was

…about a clown, who tried to please people like most jazz musicians do, but whom nobody liked until he was dead. My version of the story ended with his blowing his brains out with the people laughing and finally being pleased because they thought it was part of the act. I liked the way Jean changed the ending; leaves more up to the listener.

Like the Tijuana story, “The Clown” also incorporates sound effects, and it opens with the hollow laughter of men and women in a nightclub. As auditory phenomena, sound effects are especially interesting because of their artificiality—they are performances of sound. In a cinematic or radio context, sound effects typically amplify an action. Even when sounded, rather than written, they seem to act onomatopoetically. Thus, the addition of the laugh track on “The Clown” is both performance and commentary.

But part of the genius of Mingus’s composition is the way he incorporates the logic of the sound effect into the music itself. The vocal quality of his bass, the wah-wahs of the horns, and the rim shots on the drums are but one piece of this totalizing sonic landscape. “The Clown” borrows stylistic elements from other recognizable genres (like, circus music) to evoke the playfully comedic and absurd, but a second, more serious and ironic story of exploitation runs concurrently and undercuts the first narrative’s simplicity. On the one hand, we hear the more jaunty, carnivalesque melody of the trombone (Jimmy Knepper) and the tenor saxophone (Shafi Hadi) that lilts in 6/8, but that melody is punctuated by moments of dissonance and free playing under the narration—stretching the space between comedy and tragedy. The question he seems to ask in both the Tijuana story from Beneath the Underdog and in “The Clown” is essentially the same:  Is the only way to escape exploitation to exploit another, or worse yet, yourself?

Close up from the cover of Charles Mingus – The Black Saint and the Sinner Lady (1963)

Black musicians who pushed back were often called “angry,” even as music didn’t always sound that way. One might think of the contrast between seemingly jaunty, upbeat rhythm of Nina Simone’s “Mississippi Goddam” and its devastating lyrics. It is the sound of political and existential crisis. Both “The Clown,” and the Tijuana scene indicate Mingus’s heightened awareness that, as much as he was known for his music, he was also known for his explosive behavior at performances—the “angry man of jazz.” As Eric Porter has pointed out, Mingus’s “irrational behavior appealed to audiences at a moment when many members of American society (of whom Beat writers were emblematic) were looking to the oppositional aspects of black culture for solutions to their dissatisfaction with consumerism, conservative politics, repressed sexuality, constrictive gender roles, and other social ills” (130-131). 1957, the year Mingus recorded The Clown, was the same year that Norman Mailer published his infamous essay “The White Negro” and Jack Kerouac published On the Road. It was also the year that Governor Faubus of Arkansas attempted to halt the integration of Central High School in Little Rock.

Subtle they may be, but the use of comic sound effects in works like Beneath the Underdog and “The Clown” highlight the absurdity of the roles black jazz musicians had come to play within American culture. In worrying the line between the comic and the tragic, the explosive and the reflective, Charles Mingus refused to concede to the identity that had been shaped by the music industry, by the press, and by institutionalized racism.

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Featured Image: Charles Mingus 1976, Courtesy of the Wikimedia Commons, Colorized by SO!

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Jessica Teague specializes in 20th and 21st-century American Literature and has taught courses on Jazz and American Literature, Modern American Drama, Modern American Novel, as well as surveys of American Literature, World Literature, and Theory. The intersections between literature, sound, and technology are the focus of her research, and she is currently working on a book titled Ears Taut to Hear: Listening to American Literature after the Phonograph. Her teaching and research is interdisciplinary and engages with modernism, sound studies, jazz, theatre and performance, new media, and African American studies. Her work has been published in American Quarterly and Sound Studies, and she has also been the recipient of research fellowships from the ACLS and the Harrison Institute at the University of Virginia. 

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Open Book Publishers

Why the politics of language needs examples from beyond the Global North

Why the politics of language needs examples from beyond the Global North

I was invited to reflect on and situate The Politics of Language Contact in the Himalaya in the broader multidisciplinary debate on the politics of language. Let me preface my thoughts and comments with two important caveats. The first is that I am a political scientist, particularly a political theorist, whereas most of the authors involved in this book project are anthropologists, linguists and sociolinguists. My training in contemporary political theory and theories of linguistic justice necessarily influences my reading of the broader debates and of the chapters in this edited volume.

The second caveat is that most of my research has focused on the politics of language in Canada. I have studied the political claims of linguistic minorities, as well as the language policies enacted by the federal government and the provinces. To put the matter more directly, I have never studied the politics of language in the Himalaya region, and I will not dare in these comments to speak to the specific languages and linguistic identities that are covered in this edited volume.

I divide my thoughts and comments on The Politics of Language Contact in the Himalaya into two main parts. The first is about how, in many ways, the edited volume fits seamlessly into ongoing debates on the politics of language. The second set of comments will focus on what I have learned from the project, particularly what I believe it contributes to the broader debates on the politics of language.

From the perspective of political science, the politics of language encompasses political action from below, that is, individuals and groups organizing and mobilizing to demand recognition or rights or support to ensure that their language survives and even flourishes, as well as political action from above, which takes the form of laws, policies, measures and decisions where government seeks to impact language use and linguistic identities.

I see these two processes at work in this edited volume. The chapters detail how nation-building efforts, language standardization efforts, but also a globalized market that promises economic benefits, have impacted linguistic identities and produced language shifts. These impacts are unequal across language communities, non-elite communities are generally the ones who bear the burden of the responsibility to learn a new language or to switch their register to access public services.

At the same time, the chapters also detail processes from below, that is, how local actors are working to revitalize their language, to contest processes of social exclusion and political disenfranchisement, and to affirm, and, in some cases, redefine their belonging to language and language community.

In other words, the edited volume participates in broader conversations about the politics of language and adds exciting cases from a region that is far too absent in the literature.

Let me turn to a few theories and concepts that are original and that would travel well in the broader debates. First, I see several applications and implications for Tunzhi, Suzuki and Roche’s conceptual distinction between the horizontal and vertical dimensions of language politics. For example, in studies on the French language in Canada, the horizontal dimension could help better theorize the variation in language contact—the contact with English is not the same in BC as it is in Saint-Boniface, Manitoba as it is in Québec City—and the vertical dimension would help problematize the recognition of some language practices (higher status French) and the non- or mis-recognition of other language practices (lower status French).

Second, Bendi Tso and Turin’s theoretical framework founded on linguistic hegemony, coercion and consent has many affinities with Selma Sonntag and Linda Cardinal’s recent work on language regimes and state traditions. One the one hand, the concept of state traditions may help illuminate and explain why some language ideologies become dominant and not others, and on the other hand, Bendi Tso and Turin’s dual concepts of coercion and consent may help further theorize language regimes and their effects on populations and linguistic identities.

Finally, in reading this collection, especially Pradhan’s chapter on the reshaping of the Dangaura Tharu language system and Daurio’s chapter on the Tarali, I could not help but think of a book that was published about 7-8 years ago, one that has been extremely influential in the debates on linguistic justice. This is Philippe Van Parijs’ Linguistic Justice for Europe and for the World. The two basic arguments of that book are first, that English will become the lingua franca of Europe and of the world, and that this is inevitable and desirable, and second, that to survive, language groups must ‘grab a territory’ and impose their language on that territory.

I thought of this book because when confronted with the rich and localized cases featured in The Politics of Language Contact in the Himalaya, these two arguments are out of touch, and frankly, absurd. Many before me have remarked how normative theories of equality and justice, including theories of linguistic justice, are centered on Global North experiences, and are inadequate to guide policymakers in the Global South. Reading about languages and linguistic communities in Tibet, Nepal and Northern India really hit that point home for me.

In their preface, the editors write: “the detailed introduction and concluding commentary make the collection accessible to all social scientists concerned with questions of language, and we anticipate that the book as a whole will be of interest to scholars in anthropology, sociolinguistics, political science and Asian studies” (xi-xii). I can indeed confirm that this political scientist found the edited volume of great interest, and I hope that many of my colleagues in political science and beyond will read and digest this collection.

Rémi Léger is an Associate Professor in the Department of Political Science at Simon Fraser University, Canada. His research examines the recognition and empowerment of linguistic minorities in comparative perspective. He currently serves as Editor of the journal Francophonies d’Amérique, as well as Chair of the research committee on The Politics of Language at the International Political Science Association. He tweets @ReLeger.

You can now read ‘The Politics of Language Contact in the Himalaya’ by Selma K. Sonntag and Mark Turin here. You can also read the second post of this series ‘The Shifting Politics of Representations of the Himalaya: From Colonial Authority to Open Access’ by Mark Turin here.

Photo: Eastern Himalaya: white-on-red patchwork between rivers in south-western China

Sounding Out!

SO! Podcast #78: Ethical Storytelling in Podcasting

CLICK HERE TO DOWNLOAD: SO! Podcast #78: Ethical Storytelling in Podcasting/strong>

SUBSCRIBE TO THE SERIES VIA ITUNES

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Here at Sounding Out! we think that it’s best to learn from the experts. That’s why we sat in as a fly on a wall for a panel on ethics in podcasting put together by Laura Garbes at Brown University. Please join Laura as she discusses the politics of sound, podcasts, and more with SO! Editor-in-Chief Jennifer Lynn Stoever, storyteller Alex Hanesworth, and radio producer Babette Thomas.

Laura Garbes was awarded a 2019 Engaged Scholarship award by the Swearer Center for Public Service. She’s recently published an academic essay entitled “Sound Archive Access: Revealing Emergent Cultures.” for the Journal of Radio and Audio Media. In addition to this, check out Laura’s more public facing scholarship: Both the excellent “How a CPB task force advanced a prescient vision for diversity in public radio” for Current and “Excellence, Reflexivity, and Racism: On Sociology’s Nuclear Contradiction and Its Abiding Crisis,” with Michael D. Kennedy and Prabhdeep S. Kehal for Critical Historical Sociology.

If you want to learn more about Laura’s excellent work, check out

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Featured image is “Podcast” by Aristocrat @Flickr CC BY-NC-ND.

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Laura Garbes is a PhD student in sociology at Brown University, where she studies racism, whiteness, and cultural organizations. Her research explores the racialization of sound in public broadcasting. She is also a fellow at Brown University’s Swearer Center for Public Service, and a member of the Du Boisian Scholar Network.

Alex Hanesworth grew up listening to audiobooks in a nook somewhere on Fidalgo Island, WA and now spends her days studying, teaching, and making radio for Now Here This and the RISD Museum. She mostly makes stories about art, history, intimacies, and the intersection of the three.

Babette Thomas is a Black radio producer originally from Oakland, California and is also one of the current managing editors of Now Hear This. Her work is largely concerned with using sound and narrative to bring Black history in conversation with the present.

Jennifer Lynn Stoever received her PhD in American Studies and Ethnicity from USC. She serves on the editorial boards of Sound Studies, Senses and Society, and Social Text. She has published in Social Text, Social Identities, Sound Effects, Modernist Cultures, American Quarterly and Radical History Review among others; her most recent research, “Crate Digging Begins at Home: Black and Latinx Women Collecting and Selecting Records in the 1960s and 1970s Bronx” was published in The Oxford Handbook of Hip Hop Studies  (and is FREE to download as of this bio revision in March 2019).

Currently Associate Professor at SUNY Binghamton, Jennifer teaches courses on African American literature and race and gender representation in popular music.  During 2011-2012, she was a fellow at The Society for the Humanities at Cornell University, participating in the research group on Sound: Culture, Theory, Politics. In 2016, she published her first book, The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press).
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Janneke Adema

Peer review of Pubfair framework

Peer review of Pubfair framework:

Ross-Hellauer, T.; Fecher, B.; Shearer, K.; Rodrigues, E. (2019). Pubfair: a framework for sustainable, distributed, open science publishing. White paper, version 1: Sept. 3, 2019. Confederation of Open Access Repositories (COAR).m Retrieved September 23, 2019 from https://www.coar-repositories.org/news-media/inviting-community-input-pubfair/

by: Dr. Heather Morrison, sustainingknowledgecommons.org

Highlights

“Science” is only one type of knowledge. There are nine faculties at the University of Ottawa; only one is named “science”, and this is typical at a large university. I strongly recommend replacing “science”, “scientists” and “open science” with more inclusive terminology such as “open scholarship” or “open knowledge”, “scholar” or “researcher” in the title and throughout the document. The Pubfair framework is an excellent beginning for a needed profound transformation in how scholars work together and disseminate research. This is the kind of approach most likely to achieve significant savings based on current spend on scholarly publishing, and these savings will be needed to support innovation in scholarly production and dissemination. My recommendation is to proceed with an iterative approach and an initial focus on helping scholarly communities with unmet needs for new forms of review and publishing, such as scholars who create and share datasets or tools using artificial intelligence, digital humanists, and scholarly bloggers. The specific needs for community input whether through review or collaboration in the planning process will vary by discipline and type of product. The work of defining needs and identifying potential solutions should be led by the scholarly community in consultation with repository managers. This is a reversal of the proposed leadership / consultation approach in the framework document. Finally, while I recommend an immediate start to this approach, my advice is to see this as a long-term radical transformation that will likely take decades to complete.

Details

Scholarship includes, but is not limited to, science. I suggest changing the title and wording throughout the document to more inclusive terminology such as “open scholarship” or “open knowledge”. To illustrate why this matters: the University of Ottawa (uO) is an indirect membership of the Confederation of Open Access Repositories (COAR) through our membership in the Canadian Association of Research Libraries (CARL).  uO has 9 faculties: Arts, Education, Engineering, Health Sciences, Law, Medicine, Sciences, Social Sciences, and the Telfer School of Management. If this framework for “open science publishing services” is to become a reality, is it intended to serve only one of our 9 faculties? This seems unlikely. This conflation of “science” with “knowledge” or “scholarship” is not unique to this group but reflects a broader trend in the open movements. The problem is much larger than mere semantics, it reflects a tendency in our society to devalue types of knowledge other than science. I argue that this is a danger to our collective knowledge of all types, including science. For example, would it be wise to practice science without ethics or logic? Ethics and logic are branches of philosophy. Readers of this review will probably agree that governments should base policy on scientific evidence. However, politics per se is not science, and achieving and maintaining a goal of basing policy on scientific evidence requires understanding of history, political science, society, and communications. I discussed this in a recent conference presentation called knowledge as a human right (Morrison, 2019a).

The Pubfair conceptual model of building a framework to transform scholarly publishing building on a distributed network of repositories is a timely initiative and worthy of support. This is the kind of approach most likely to facilitate transformative transition in terms of both technology and economics. Houghton et al. (2009) conducted the most comprehensive study of the potential for transformation for a single country (the UK), comparing potential costs of 3 models: gold open access publishing, green open access archiving, and a third more transformative approach involving a new publishing system building peer review on top of archives. The transformative approach was calculated as having the potential to substantially reduce costs and was seen as the most cost-effective approach. However, at the time the UK did not think the country was ready for this transformation and opted for a focus on gold and maintenance of a pre-existing green system.

Much has changed in the past 10 years. The number of open access repositories listed in the vetted OpenDOAR list has grown from 1,419 on June 20, 2009 to 4,150 on June 30, 2019. OpenDOAR lists repositories on 5 continents. The largest metasearch service for repositories and open access journals is the Bielefeld Academic Search Engine (BASE). From 2009 to 2019 (June 30 each year) BASE grew from 1,730 content providers and just over 25 million documents searched to 7,211 content providers and just under 150 million items searched. (Morrison, 2019b).

Scholarly works and their dissemination appear to be undergoing a period of rapid transformation in a way that has not been addressed by traditional approaches to evaluating scholarship, the traditional publishing business, or even the open access movement. In the digital humanities, scholars are creating collections of electronic works and developing innovative means of searching, processing, and displaying material. Scholars in a wide range of disciplines from art to engineering are using artificial intelligence to create new knowledge and practical tools. The disciplines themselves are undergoing change with new forms of scholarship often overlapping what used to be separate disciplines. A few researchers, like me, are publishing open research using blogs and likely other formats and sharing open data; more would likely follow suit if they could be confident that they would receive appropriate recognition for doing so when it comes time for tenure and promotion.

Given this context, for practical reasons I recommend an iterative approach, beginning with scholars who are interested in exploring alternatives and motivated to do so because current approaches do not meet their needs. There may be common themes across disciplines and types of research, but it will also be important to recognize differences based on the type of work and the nature of the communities that would need to configure or re-configure to accomplish this work.

Four examples:

  • Peer review of open datasets might focus on quality and completeness of data and documentation, and/or adherence to relevant standards, reference to related work, and/or importance of the dataset. Qualified peer reviewers need some expertise in quantitative data and the relevant domain; comments from those who might benefit from results would be helpful as well. The ideal outcome might involve collaboration in the process of developing datasets rather than peer review after publication, to avoid duplication or fully benefit from triangulation from different approaches to the same underlying problem.
  • Peer review of a digital humanities dataset and portal for users might focus on the quality of metadata, quality and comprehensiveness of content, usability and accessibility of the users’ portal, preservation planning, interoperability with relevant databases, or how licensing for re-use has been addressed. Here, different aspects of review involve different types of expertise, from content subject knowledge to user experience to electronic preservation. The benefits of collaboration in the planning process appear obvious.
  • Peer review of tools developed through AI to support the work of health professionals and/or to help patients monitor their own conditions may require triangulation using other methods to ensure accuracy of results, user experience analysis of the tools and/or periodic evaluation of the ongoing accuracy of AI assuming ongoing machine learning.
  • Peer review of scholarly and research blogs such as Retraction Watch, my scholarly blog The Imaginary Journal of Poetic Economics, and my research blog org might focus on the accuracy, originality, and/or importance of the contributions. In this case, review by subject experts is essential, and technical advice, which may be provided by different reviewers, is useful. Individual authors or groups of authors may or may not see collaboration in the planning process as useful. As a researcher-blogger, I can see situations where different types of blogs and authors would benefit from different types of review.

These examples are just a few of many possible new types of scholarship made possible by the digital environment. The optimal form of review and publishing such new types of works is, at present, unknown. This is another reason to seek an iterative approach and look for leadership within the communities of scholars pursuing these approaches. To understand what kind of review is most helpful for the community, it is necessary to understand in depth the nature of the research and/or creative works that are being developed.

Finally, this transition is a major cultural shift in how academics might work in future. It will take time to figure out the questions that will arise in the process, and more time to develop solutions. In summary, while I see this as a long-term transition, an approach along the lines of Pubfair is the right direction and steps should be taken to move in this direction as soon as possible.

Thank you for providing the opportunity to comment and best wishes for Pubfair.

About me

I write as a researcher focused on the transition of scholarly communication from the demand (subscriptions / purchase) to the supply side to support a global open access knowledge commons. My research project, funded by Canada’s Social Sciences and Humanities Research Council from 2014 – 2021, is called Sustaining the Knowledge Commons. My comments will be posted in the uO institutional repository and cross-posted to my open research blog, sustainingknowledgecommons.org.

References

Houghton, J.; Rasmussen, B.; Sheehan, P.; Oppenheim, C.; Morris, A.; Creaser, C.; Greenwood, H.; Summers, M. & Gourlay, A. (2009). Economics implications of alternative scholarly publishing models: Exploring the costs and benefit. A report to the Joint Information Systems Committee. UK. Retrieved July 11, 2019 from:

https://pdfs.semanticscholar.org/45dd/cb9ebb9c8505a4ac86718734dda3311f91d8.pdf

Morrison, H. (2019a). Knowledge as a human right. Presentation Jan. 30, 2019, University of Ottawa, cc-UNESCO Science as a human right series. http://hdl.handle.net/10393/38890

Morrison, H. (2019b). The Dramatic Growth of Open Access. June 30, 2019 full dataset. https://hdl.handle.net/10864/10660

September 24, 2019.

Cross-posted: cite as:

Morrison, H. (2019). Peer review of Pubfair framework. Sustaining the Knowledge Commons. https://sustainingknowledgecommons.org/2019/09/24/peer-review-of-pubfair-framework/

 

 

Sounding Out!

Mingus Ah Um (1959) and An Ethics of Care in Jazz

In his autobiography, Beneath the Underdog, jazz musician Charles Mingus recounts his hatred of being ignored during his bass solos. When it was finally his turn to enter the foreground, suddenly musicians and audience members alike found drinks, food, conversations, and everything else more important. However, this small, and somewhat ironic, anecdote of Mingus’s relationship with the jazz community has now become a foreshadowing of his current status in sound studies–but no longer! This series–featuring myself (Earl Brooks), Brittnay Proctor, Jessica Teague, and Nichole Rustin-Paschal— re/hears, re/sounds and re/mixes the contributions of Mingus for his ingenious approach to jazz performance and composition as well as his far-reaching theorizations of sound in relation to liberation and social equality, all in honor of the 60th anniversary of Mingus’s sublimely idiosyncratic album Mingus Ah Um this month. In the second installment of this series, Brittnay Proctor challenges us to view Mingus through the discourse of ethical care. She argues that we have often “confused Mingus’s care for the future of jazz music and black jazz artists for an ornery and grouchy disposition.” You can catch up with the full series by clicking here.–Guest Editor Earl Brooks

One thing I’d like to clear up a little more in case I haven’t is the fact that all those eras in the history of jazz, like Dixieland, Chicago, Moten swing, all those styles, man, are the same and as important as classical music styles are. —Charles Mingus, “Avant-Garde and Tradition” in Mingus Speaks (2013)

My present working methods use very little written material. I ‘write’ compositions on mental score paper, then I lay out the composition part by part to the musicians. I play them the ‘framework’ on piano so that they are all familiar with my interpretation and feeling and with the scale and chord progressions to be used…I can keep my own compositional flavor in the pieces and yet allow the musicians more individual freedom in the creation of their group lines and solos. –Charles Mingus quoted by Diane Dorr-Dorynek, Original Liner Notes, Mingus Ah Um (1959)

Released in 1959 in the same orbit as Miles Davis’s Kind of Blue (August 1959) and Ornette Coleman’s The Shape of Jazz to Come (October 1959), Charles Mingus’s Mingus Ah Um (September 1959) showcased Mingus’s range both as a composer and bassist. Intimate both in its sound and session composition (only seven sessions players worked on the album), the album provides a purview into Mingus’s commitment to the idiomatic (“interconnected”) and collaborative nature of the black jazz tradition and the stakes of/for black art and artists. His investment in jazz’s black idiomatic structure stood at odds with the increasing importance of the singular jazz man to the marketing of jazz music.

Works like Mingus Ah Um prompt listeners to listen attentively to collaboration and collaborative efforts, both in the setting of a jazz ensemble/collective and in the historicity of black (jazz) men caring for one another. While the imposition of white gender prerogatives sometimes foreclosed intimate, homosocial (same-gender, social) relationships between black jazz men that revolved around what Christina Sharpe terms in In the Wake: On Blackness and Being as an “ethics of care,” Mingus Ah Um is not only an ode to black jazz ancestors and elders, but performative of Mingus’s deep care about the black jazz tradition and its futurity. (131)

In histories of jazz, Charles Mingus is often characterized as volatile and dismissive of young black jazz artists. His purported critique of neo-jazz movements of the late 1950s and early 1960s, like the free jazz (“The New Thing”)/avant-garde jazz movement, narratively put him at odds with emerging jazz artists like Ornette Coleman and Miles Davis. But as demonstrated by Mingus Ah Um, Mingus profoundly cared about black jazz men and the future of black jazz music. Given these histories, what would it mean for listeners to not dismiss Mingus altogether, but hold in tension his anxieties, deemed dogmatic and peremptory, with his often careful and honorific sonic confabulation with black jazz men? How does re-listening to Mingus Ah Um make us empathetic to Mingus’s pursuit in preserving a waning black jazz tradition that was ever increasingly ridiculed and mocked (by way of anti-blackness) for its presumed anti-intellectualism and placation to whiteness? The undercurrent of Mingus’s care is not always expressed in histories or interviews, which begs the question: what is rooted in, yet exceeds the autobiographical, when we listen?

When listening to Mingus Ah Um the album’s ethics of care might be heard most explicitly on tracks like “Fables of Faubus,” a protest song in the most righteous sense, aimed at Orval Faubus, the former Arkansas governor who deployed the state’s national guard to barricade Central High School in Little Rock from the threat of integration (which is also to say the threat of miscegenation). A tune steeped in dissent and once with lyrics that made Columbia ask Mingus to re-record the tune: “Boo! Nazi Fascist supremists!/Boo! Ku Klux Klan (With your Jim Crow plan).” (“Original Faubus Fables,” Charles Mingus Presents Charles Mingus, 1960)

Listening to the cluster of “Goodbye Pork Pie Hat,” “Open Letter to Duke,” and “Jelly Roll” (it has been written that “Bird Calls” was composed in honor of Charlie Parker, but Mingus composed the song to sound like birds) you realize these tracks are his oeuvre to the “eras in the history of jazz, like Dixieland, Chicago, Moten swing.” (See first epigraph) The tracks are less about mimicry and reproducing the exact sound of Lester Young, Jelly Roll Morton, or Duke Ellington, but are rooted in Mingus’s ethics of care. With these works, he demonstrates how black jazz men enabled him to invent and play his own idiom of jazz. But most importantly, Mingus uses these compositions to argue that Young, Morton, and Ellington should not be treated as disposable or as an obstruction to “harder” or more radical avant-garde jazz sounds and forms. For Mingus, without Duke, Jelly Roll, or Lester, there is no Mingus, or jazz for that matter.

“Goodbye Pork Pie Hat,” a tribute to tenor saxophonist Lester Young, the oft cited creator of “cool jazz,” is somber in tone, but masterfully weds mournful playing by way of saxophonists Booker Ervin, Shafi Hadi, and John Handy with Young’s confident, melodic, and smooth style of play. A buoyant, bouncy encomium is forgone for a tranquil, cool, serenade. The song does not reference Young in name but is deeply personal; Young was slated to play on Mingus Ah Um but died shortly before recording sessions started. The song narrates the kinship between Mingus and Young, as well as, the devastating loss to Mingus and black jazz communitas. Sensually euphonious, listeners feel spatially close, nearly inside of the track.  The physically intimate resonances of the song make it undoubtedly, a Lester Young track on a Mingus album.

“Jelly Roll” pays homage to Jelly Roll Morton, the founder of New Orleans Dixeland jazz. Embodying a slow drag emblematic of Jelly Roll Morton’s play and compositions, the song revolves around the bounce of the trombone and ragtime play of the piano. His version of “boogie-woogie” (“Boogie” = black rent parties of the twentieth century) is characterized by a lower register bassline (a left-hand bass figure) and leisurely tempo (appositional to hard bop). The dedication to Jelly Roll Morton is also honorific of jazz’s history as an “unacceptable” form of popular music; “Jelly Roll” both in name and sound alludes to the black sexual subcultures and vernacular that were once an integral part of jazz music.

“Open Letter to Duke” is a salute to Mingus’s greatest musical influence, Duke Ellington. The bounce and accelerated trot of the track reminds listeners that jazz music was once dance music. A piano solo that leads into woodwinds, marks flight and movement, while Mingus’s bass play resembles Ellington’s use of Afro-Latinx rhythm’s later in his career; an “ethnic” turn (“Spanish tinge”) in Ellington’s big band sound and an allusion to the diasporic connection between black music in the U.S. and the Caribbean. Similar to Duke Ellington’s body of work and composition, the sum of the track is greater than its parts.

We have often confused Mingus’s care for the future of jazz music and black jazz artists for an ornery and grouchy disposition. He was quite cognizant of the fraught relationship black jazz artists had with the financialization of black performance, writing in his autobiography Beneath the Underdog: His World as Composed by Mingus that the music industry was a “system those that own us use. They make us famous and give us names—the King of this, the Count of that, the Duke of what! We die broke anyhow—and sometimes I think I dig death more than I dig facing this white world.” (9)

still from Mingus Sextet live in Europe 1964, Eric Dolphy on alto sax, bass clarinet and flute, Johnny Coles on trumpet, Clifford Jordan on tenor sax, Jaki Byard on piano and Dannie Richmond on drums.

Likewise, Mingus’s “working methods” for the album were deeply embedded in an ethics of care. As a bandleader, his compositions were structural, but tailored to each players style of play. What does it mean for the bandleader to care about the ensemble as much as, if not more, than himself? For example, John Handy “met Mingus in December [1958] at a jam session at the Five Spot…the musicians on the stand thought he looked too square. Mingus asked them to give him a chance to play, and they did. A day later Mingus asked him to join his group.” (Original Liner Notes, Mingus Ah Um) How does care and assistance change how we understand Mingus and his relationship to young, black jazz men?

What Charles Mingus (maybe) understood most or at least more than his contemporaries, is that you cannot “think” or intellectualize away the conditions of black life, as Christina Sharpe reminds us, “all we have [is care]” (131).  For each other, in the most intramural (situated or done within community.) Mingus’s compositions, especially on Mingus Ah Um, reflects this ethics. He composed pieces in a way that allowed young, passed over, and unacknowledged black jazz men to shine.

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Featured Image: Still from Mingus 1959 by the BBC, colorized by SO!

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Brittnay L. Proctor received her PhD in African American Studies from Northwestern University and is a Visiting Assistant Professor in the Department of Gender and Sexuality Studies at the University of California—Irvine. Her research interests include: Black Studies, Gender and Sexuality Studies; black feminist theory, black popular music, sound studies, visual culture(s), and performance. Her work has been published in the Journal of Popular Music Studies, The Journal of Popular Culture, American Literature and is forthcoming in Feminist Formations.

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REWIND! . . .If you liked this post, you may also dig:

SO! Amplifies: The Blues and Jazz Dance Book Club–Chelsea Adams

Spaces of Sounds: The Peoples of the African Diaspora and Protest in the United States–Vanessa Valdés

becoming a sound artist: analytic and creative perspectives–Rajna Swaminathan 

 

 

Janneke Adema

Les voies du récit. Pratiques biographiques en formation, intervention et recherche

Sous la direction de Marie-Claude Bernard, Geneviève Tschopp et Aneta Slovik

Pour accéder au livre en version html, cliquez ici.
Pour télécharger le PDF sur Zenodo, cliquez ici. Le PDF est aussi disponible sur le site LEL du CRIRES et corpus.ulaval.ca
Pour commander le livre en version imprimée, cliquez sur le bouton Paypal ci-dessous.

Acheter un livre, c’est nous soutenir et permettre à ceux et celles qui ne peuvent l’acheter de le lire en libre accès.

Les récits de vie sont bien connus en recherche. Ils permettent de construire une vision fine et subtile du monde vécu, de la société vue de l’intérieur. Mais ils sont utilisés dans bien d’autres milieux, notamment en formation professionnelle, dans des interventions visant la transformation sociale ou dans le champ de l’éducation. Les seize chapitres de cet ouvrage proposent d’explorer de tels usages des pratiques biographiques et autobiographiques dans des contextes variés. Les auteurs et les autrices, venant des deux côtés de l’Atlantique (Suisse, Pologne, France, Allemagne, Portugal, Cameroun, Gabon, Brésil et Canada), témoignent ainsi de la diversité et de la fécondité de ces pratiques. Cet ouvrage est le fruit d’un partenariat de trois années entre l’Université de Basse-Silésie (Pologne), l’Université de Tours (France) et l’Université Laval (Québec, Canada).

Publications associées :

  • Slowik, A., Rywalski, P. et de Souza E.C. (coord.) (2019). Approches (auto)biographiques et nouvelles épreuves de transitions. Construire du sens avec des parcours de vie. Paris : L’Harmattan.
  • Slowik, A., Breton, H. et Pineau, G. (coord.) (2019). Récits de vie et approches biographiques. Histoire et vitalité d’un paradigme en sciences sociales. Paris : L’Harmattan.

ISBN PDF : 978-2-921559-38-6
ISBN version imprimée : 978-2-924661-88-8
ISBN ePub : 978-2-924661-90-1
DOI : 10.5281/zenodo.3473735
318 pages
Couverture réalisée par Kate McDonnell à partir d’un tableau de Charlotte Salomon, Collection Jewish Historical Museum, Amsterdam © Charlotte Salomon Foundation Charlotte Salomon ®
Date de publication : octobre 2019

Table des matières

Préambule – Hervé Breton, Marie-Claude Bernard, et Florence Piron

Préface – Olga Czerniawska

Introduction – Marie-Claude Bernard, Geneviève Tschopp, et Aneta Slowik

Partie I. Expériences en formation professionnelle et histoires de vie

Vitalités des formations par les histoires de vie – Hervé Breton

Apports de la démarche biographique en formation de 35 formateurs et formatrices d’adultes – Patrick Rywalski

Touches biographiques et formation d’enseignant(e)s – Anne-Marie Lo Presti et Sabine Oppliger

Fécondité de l’approche biographique dans la sphère scolaire – Marie-Claude Bernard, Jean-Jacques Demba, Ibrahim Gbetnkom et Isabelle Lavoie

La voix de l’enseignant(e) et de l’enfant dans la construction des identités professionnelles – Conceição Leal da Costa et Teresa Sarmento

Récit de formation continue performative. Reconnaissance du savoir-faire d’enseignant(e)s autochtones d’une communauté en Amazonie – Gilvete de Lima Gabriel, Charliton José dos Santos Machado et Maria da Conceição Passeggi

La dimension formative des recherches biographiques – Olga Czerniawska

Cercle de femmes : du récit oral à la ritualisation pour faire communauté – Monyse Briand

Partie II. Approches biographiques et leur impact social

L’histoire de vie collective, une stratégie citoyenne pour contrer la marginalisation sociale – Jacques Rhéaume

Approches narratives et accompagnement professionnel des personnes âgées – Marie-Emmanuelle Laquerre

De la transmission à la reconnaissance d’une histoire de vie collective – Michel Rival

Théâtre et histoires de vie. Se former à la rencontre de soi et de l’autre par la représentation de récits de vie transculturels – Daniel Feldhendler

Les récits de vie peuvent-ils être des outils de changement social et de résistance aux injustices épistémiques? – Florence Piron

Partie III. Autour de l’usage des approches biographiques en éducation

Souvenirs dormants : l’écriture de soi dans des cahiers d’écoliers – Ana Chrystina Mignot

De l’entredit à l’entre-eux-dit : craintes, impasses et bonnes surprises – Corinne Chaput-Le Bars

Tour et détour d’un cueilleur de récits affecté. Être impliqué, être engagé, être affecté : avions-nous le choix d’une autre posture? – Thierry Chartrin

Postface. Les approches autobiographiques au cœur des transformations paradigmatiques compréhensives et réflexives
Pascal Galvani

Résumés multilingues

Autrices et auteurs

***
Pour acheter le livre, choisissez le tarif en fonction de l’endroit où le livre devra être expédié. Des frais de 15 $ sont ajoutés pour le transport. Le ePub (pour lire sur une tablette ou un téléphone) revient à 16 $ et est expédié par courriel.


Les voies du récit



Janneke Adema

Comparing the APC for random sample of journals on publishers website to DOAJ

by Hamid Pashaei and Heather Morrison

We review article processing charge (APC) for approximately 4,000 open access journals from more than 20 major publishers and a lot of small publishers on an annual basis. But our spreadsheet includes about 9,000 journals on the Directory of Open Access Journals (DOAJ) that we have not collected data as of August 2019. Most of these journals do not charge APCs.

Although APC data for open access journals is mentioned on the DOAJ website, we are not sure whether these data are up to date. Based on the previous year’s experience, DOAJ APC data can be quite different from what we see on publisher websites.

In order to test the usability of the data on DOAJ website and see how much we could actually rely on this information, we decided to randomly compare the data for 100 journals on the publishers websites to the data on DOAJ.

Research Randomizer (https://www.randomizer.org) was used to select a set of 100 row numbers within the range of journals with DOAJ provenance.

The comparison of data on publishers websites to DOAJ website for the 100 sample journals showed that the information for 7 journals did not match at all, 23 journals were matched substantially (e.g. it was mentioned as no APC on the DOAJ website while there was nothing mentioned about the cost on the publisher website), and 70 journals had exact match.

The seven journals that did not have the same information on the publishers websites comparing to DOAJ website are listed in the following table:

Title of the journal APC on the publisher website APC on the DOAJ website
Advances in Applied Agricultural Sciences
75 USD No article processing charge

Share: Jurnal Ekonomi dan Keuangan Islam 70 USD No article processing charge



Journal of Educational Sciences
750,000 IDR

500,000 IDR


Revista de Economia e Sociologia Rural 150 USD No article processing charge


Volt: Jurnal Ilmiah Pendidikan Teknik Elektro 40 USD No article processing charge


Journal of Business Management (مدیریت بازرگانی) 35 USD No article processing charge


Bìznes Inform 50 UAH (per page) No article processing charge


In conclusion, 93 percent of the 100 titles matched either exactly or substantially. This is sufficient to consider the data usable with a note to the effect that some data may have changed since the DOAJ entry. It may be worth noting that when change is noticed the direction is from non-charging to charging. As context note that data obtained directly from publisher’s websites frequently changes as well.

Sounding Out!

Charles Mingus, Rotary Perception, and the “Fables of Faubus”

In his autobiography, Beneath the Underdog, jazz musician Charles Mingus recounts his hatred of being ignored during his bass solos. When it was finally his turn to enter the foreground, suddenly musicians and audience members alike found drinks, food, conversations, and everything else more important. However, this small, and somewhat ironic, anecdote of Mingus’s relationship with the jazz community has now become a foreshadowing of his current status in sound studies–but no longer! This series–featuring myself (Earl Brooks), Brittnay Proctor, Jessica Teague, and Nichole Rustin-Paschal— re/hears, re/sounds and re/mixes the contributions of Mingus for his ingenious approach to jazz performance and composition as well as his far-reaching theorizations of sound in relation to liberation and social equality, all in honor of the 60th anniversary of Mingus’s sublimely idiosyncratic album Mingus Ah Um this month. In the first piece of this series, I offer a meditation on the audible imagery of The Little Rock Nine and the potency of Mingus’s ideas for sound studies and beyond. — Guest Editor Earl Brooks

Jazz composer and bassist Charles Mingus’s infamous protest song “Fables of Faubus,” (1959) channeled the anger and frustration of the Black community in response to the staunch racism of Orval Faubus, Governor of Arkansas, who refused to acknowledge the U.S. Supreme Court’s decision to support school integration in the 1954 case Brown v. Board of Education. Faubus infamously used the Arkansas National Guard to prevent Black students from attending Little Rock Central High School. The visual imagery of “The Little Rock Nine” walking to school, bombarded by riotous mobs and surrounded by cameras and military escorts, remains permanently seared into the American collective memory of the Civil Rights Movement.

What makes the imagery of “The Little Rock Nine” so sonically distinctive is the contrast between the silent procession of the students and the loud and intimidating screams from the white racist protestors. When images contain explicit visual references to particular sounds, there is an inescapable cognitive referent that allows one to experience that sound through the vehicle of one’s “sonic imagination”–or the mechanism that allows us to “hear” a song in our heads even when there is only silence. Listening involves an active–not passive–engagement with sounds real and imagined. In the same vain as comic books, which rely on visual sound-cues to enhance the experience of the text, the optical power of “The Little Rock Nine” invites viewers to process both the visual and aural data presented by the image. In other words, the image is empowered by its multimodality. When combined with related source material, such as “Fables,” we stand to gain a greater sense of its meanings and an awareness of why sound, especially music, is critical to the recording, or archiving of the kinds of lived experiences that exceed easy translation.

“Fables,” as well as the album on which it appears, Mingus Ah Um, invites questions about the sonics of racism in public and private spheres. Racism oscillates between modes of silence and silencing (unjust systemic processes, othering, isolation), subtle vibrations (micro-aggressions), as well as piercing, cacophonous noise that is as disorienting as it is terrifying. In many ways, this moment made audible (and public) the noise of racism so often confined to the personal encounters of African Americans with white institutions and Jim Crow segregation.

“Fables” ridicules the defense of segregation through its caustic, satiric edge. Listeners hear an early articulation of Terrence T. Tucker’s notion of comic rage, a mixture of pain, frustration, and fear encapsulated by humor and a burgeoning militancy and articulated by comedians such as Richard Pryor. Black musicians, such as Mingus, were not only in tune with the magnitude of the historical moment they were witnessing but also attuned to its sonic dimensions.

Positioning Mingus within the evolving discussion of sonic studies opens productive inquiry into what it means to center musicians of color in relation to critical historical moments in the American soundscape. Mingus’s concept of “rotary perception,” mentioned in his autobiography Beneath the Underdog (1971), suggests one way this positioning can occur. Here’s how Mingus defines “rotary perception” and uses it to describe his musical evolution:

There once was a word used–swing. Swing went in one direction, it was linear, and everything had to be played with an obvious pulse and that’s very restrictive. If you get a mental picture of the beat existing within a circle, you’re more free to improvise. People used to think the notes had to fall on the center of the beats in the bar at intervals like a metronome, with three or four men in the rhythm section accenting the same pulse. That’s like parade music or dance music. But imagine a circle surrounding each beat–each guy can play his notes anywhere in that circle and it gives him a feeling he has more space. The notes fall anywhere inside the circle but the original feeling for the beat isn’t changed. (350)

The value of this “rotary”– or “circular”–orientation exceeds the technical, musical application discussed in the book. Mingus offered this explanation in response to claims that the music created by younger musicians was more innovative or distinctive than his generational counterparts. What the media and industry insiders were seeking to characterize as the “new” wave in jazz wasn’t all that new. In fact, as Mingus argued, one could hear the “avant garde” major sevenths over minor sevenths from Charlie Parker and free forms in Duke Ellington if they were paying attention.

However, “rotary perception” also correlates with the central ethos of Black cultural production Amiri Baraka referred to as “the changing same,” a phrase describing the cyclical return to the roots of Black music and culture as a source of futurity, innovation, and regeneration. Rotary perception, as a way of engaging experiential source material, is a useful tool for sound studies as it relates to centering the work of musicians, theorists, and scholars of color whose work contains untapped, or, in this case, unheard critical vistas from which to expand the enterprise of defeating the scourge of racism. The poetic disconsolance and biting jocularity of Mingus’s oeuvre challenges us all to do some soul searching.

Image by Flickr User Connor Lawless (CC BY 2.0)

As thematic motif, rotary perception renders Mingus Ah Um as a presentation of the sonics of Black life. The “head” or main melody of “Fables” is buttressed by bluesy, bebop, instrumental solos that–quite literally–translate the racism of those such as Governor Faubus into a canvas of rebellious, free expression. The gospel inflections of “Better Get It in Your Soul” emerge from Mingus’s exposure to the reservoir of traditional Black worship and performance styles preserved by the “Holiness” or “Sanctified” denominations within the Black church. What questions would emerge if current discussions of racism and political power in white evangelical communities began with such songs as hermeneutic tools to explore the relationship between theology and race?

As Mingus traces his roots, the musical themes on the album look back as much as their execution points toward a new era of soul-infused jazz through a series of homages paid to Lester Young (“Goodbye Pork Pie Hat”), Charlie Parker (“Bird Calls“), Jelly Roll Morton (“Jelly Roll“), and Duke Ellington (“Open Letter To Duke“). Mingus delineates the kind of fictive kinship Eric Pritchard theorizes as a mode of constructing community and resisting social isolation and historical erasure as a byproduct of the Black experience. While Mingus’s allegiance to continuity is clear, rotary perception encourages us to consider the expansive scope of heretofore unexplored frontiers of African diasporic subjectivities.

Sound is a unique and worthwhile vehicle to recover the lived experiences of black communities often marginalized or completely ignored by the archives. The value of such experiences lies with their potential transgression of ontological and phenomenological investments in conceptions of time, space, and identity that ultimately undergird the sterilized normativity of white supremacist thought. The idea that people of color contributed nothing to history and the march of progress, or that the lands of indigenous peoples hold no value outside of capitalist ends, form the foundations of white supremacy. Questions such as: Who owns time? How much is time worth? and Who has the power to grant or retain space? form the structures beneath structural racism. Yet, through black music, black musicians reclaim that time, (Maxine Waters reference intended) as responsive to the needs of the community and the occasion and also something powerful enough to be distributed equally. Such music creates space–ideologically, spiritually, mentally–for a broader humanity that accompanies differences, like a swinging rhythm section, instead of fearing them.

“Raided the new vinyl inventory” by Flickr User Magic Trax (CC BY-NC-ND 2.0

Although large portions are fictional, the authenticity of Mingus’s experience of racism as described in Beneath the Underdog illuminates the sonic qualities of the album including its innovative fusions of musical traditions. For example, Mingus characterized his father as a parent who preached racial prejudice and forbade him and his siblings from engaging children from his neighborhood with darker skin complexions. Additionally, Mingus’s youth was fraught with discriminatory incidents heightened by the irony of his light skin color: too dark to pass as white and too light to take any solidarity with his darker companions for granted. Mingus Ah Um represents an important waypoint on Mingus’s journey to political consciousness and Black identity. This was a journey constantly freighted by what would become a lifelong quest to reconcile the self he saw as fractured, or the “two-ness” that W.E.B. Du Bois famously described as the psychic consequences of life behind the “veil” within racially oppressive social order. Responding to this veil (or mask according to Paul Laurence Dunbar) became particularly complicated for Mingus. For musicians such as Louis Armstrong or Duke Ellington, the deference to white audiences belied a defensive posture and a recognition that the interiority of their lives would always remain—like Ralph Ellison’s proverbial protagonist–invisible.

However, the subversive “creative mockery,” that Mingus conjures in “Fables” coincided with the operationalization of Black Nationalist sentiment and discourse brewing within the Black community. What Mingus wanted more than money or fame from his music was to be taken seriously as an artist and for jazz to be seen as equal to classical music in terms of cultural stature. In many ways, Mingus’s music gave a sonority and texture to this tension.  This search for artistic authenticity dovetails with the racial solidarity showcased on the album, expanding the scope of its introspection.

One of the great misconceptions of post-Civil-Rights-Era America is the assumption that the decline of such public and audible displays of racism includes a decline of such phenomena in private spheres. However, the recent barrage of viral videos depicting the weaponization of police toward Black bodies quickly dispels any such assumption. Rotary perception, beyond its use in sound studies, offers a critical tool useful for grounding current analyses of liberatory struggle against racial and social oppression. It reminds us of the value of returning to, and listening again, to songs like “Fables.” It also urges us to continue fingering what Ellison called “the jagged grain” of the “painful details and episodes of a brutal experience …” in order to squeeze from it a “near-tragic, near-comic” transcendence.

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Featured Image: By Flicker user Matthew Venn, (CC BY-SA 2.0)

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Earl H. Brooks is a saxophonist and Assistant Professor of English at the University of Maryland, Baltimore County. His research interests include jazz, rhetoric and composition, black popular culture, and media studies.

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REWIND! . . .If you liked this post, you may also dig:

SO! Reads: Nicole Brittingham Furlonge’s Race Sounds: The Art of Listening in African American Literature

SO! Amplifies: The Blues and Jazz Dance Book Club–Chelsea Adams

SO! Reads: Tsitsi Jaji’s Africa in Stereo: Modernism, Music, and Pan-African Solidarity–Celeste Day Moore

Living with Noise–Osvaldo Oyola

“Music More Ancient than Words”: W.E.B. Du Bois’s Theories on Africana Aurality — Aaron Carter-Ényì

 

Sam Moore

Collaborative Open-Source Bookstand, ROAC flash drives and postcards

The Radical Open Access Collective is always looking for collaborative ways to promote and support our publishing projects. Our members are mostly working academics without the resources of commercial publishers, and so mutual reliance between member presses can be really beneficial. We have always envisaged the ROAC as being a space where we can share resources and cross-promote one another’s work – and conference attendance is the perfect place to try this out.

Our friends at the ScholarLed consortium have been developing resources to further support this. Recently Julien McHardy (Mattering Press) together with Cristina Garriga (My Bookcase), have ‘open-sourced’ the design templates and files they previously created to develop the ScholarLed bookstand. The ROAC have adapted this bookstand to promote both ScholarLed and ROAC member publications. Now that the design of the bookstand is openly available here, other members might be interested in duplicating (elements of) this design to promote their and other presses publications.

This is how the bookstand looks in the wild:

The downloadable zip file on Github contains InDesign templates for all the elements that make up the bookstand, including a template to promote individual books, event lists, info sheets and a template for a bookmark. These items are currently tailored for ScholarLed members but can be easily adapted to suit your own press or project. ScholarLed uses coloured paper maps to present their books on, along with plastic stands to display them.

Flash drives and postcards

To further promote ROAC members publications we have recently ordered branded Radical Open Access Collective flash drives and information postcards (see below). The flash drives will allow us to share member publications with attendees at various conferences. The way we envision this to work is similar to the set-up used for the ‘Book of Books’ in the ScholarLed book stand, in that Sam will send all ROAC members a Dropbox link to a folder where they can upload those of their publications they would like to make available via the flash drives. We will then copy the contents of this Dropbox folder to the flash drives, which we will share with conference attendees who visit the bookstand, allowing them to upload ROAC publications to their personal devices. You can add new publications to the Dropbox folder on a continuous basis if you like, as we will regularly update the contents of the flash drives.

Sam and Janneke will add these flashdrives to the ScholarLed bookstand version currently maintained on behalf of ScholarLed member Open Humanities Press at Coventry University.

In a similar vein you can create your own ROAC branded flash drives (logos available in the Dropbox) and use the Dropbox folder to load them with member publications to promote at your own iteration or adaptation of the ScholarLed bookstand. Similarly, if you would like to produce some ROAC postcards you can also find the InDesign files of the postcards in the Dropbox.

For those of you who lack the funds to create your own flash drives or postcards, we are happy to send some to you but note that we only have a very limited number available at the moment.

There is no obligation whatsoever for you to add your publications to the flash drives of course, but please do let Sam know if you haven’t heard from him (in the next week) and would like access to the Dropbox.

In doing this, the ROAC hopes to raise the profile of alternative forms of publication and share and cross-promote all the excellent work our members are doing. Please do get in touch if you have any other ideas on how we could explore this further!