As pundits increasingly speculate about the likelihood and character of another recession, I’m thinking about the one from which we’re still recovering. Specifically, I’m thinking about a certain strain of American pop music—or a certain sentiment within pop music—that it seems to me accelerated and concentrated just after the 2008 financial collapse.

For a number of semesters, I invited composition students to explore the idea of using the mixtape as a lens for envisioning a writing assignment about themselves.

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.

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.

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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.

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.

While most books are confined to the pages held within them, Tsitsi Jaji’s Africa in Stereo (2014) begins with a link to an aural space: the book’s companion site, hosted by Oxford University Press. There, readers find a range of images and recordings referenced in the text: an excerpt from Bob Marley’s 1979 “Zimbabwe,”

Since its inception at the World Soundscape Project in the 1970s, soundwalking has emerged as a critical method for sound studies research and artistic practice.

Kawa is a reggae group from Yunnan’s Ximeng, an autonomous county for the Wa people in the southwest of China, bordering Myanmar. When I learned about Kawa’s story in 2016, I was first intrigued by the geographical similarities between Yunnan and Jamaica: both regions are characterized by tropical climates, lush vegetations, and perhaps most prominently, proximities to marijuana plantations.

Since its inception at the World Soundscape Project in the 1970s, soundwalking has emerged as a critical method for sound studies research and artistic practice.