One of the main ways I try to think about the political implications of improvisations is through Rancière. I won’t go into all of it here, but part of what this involves is linking up Rancière’s political thought with affect theory. I do this not only because Rancière’s politics make sense with the kind of … Continue reading RANCIÈRE AND AFFECT
About a month ago, I had another essay published on BLARB. Since then, the world has changed again, and the moment I was writing about feels distant. Still, I’m really happy with how it came out, and thanks again to those of you who have read and shared. In other news, tomorrow I’ll be presenting … Continue reading ESSAY AND CONFERENCE
The bass drum alone is worth the price of admission. That tubby, flabby bonk, produced through a tightly tuned and what I’m assuming is a quite thin drumhead, sounds simultaneously ludicrous and the purest expression of the spirit that animates The Bad Plus. Combined with the metal snare drum, also stunningly resonant, the sound of … Continue reading TUESDAY TUNES: SUSPICIOUS ACTIVITY?
I’m giving a lecture on The Ophelias next week for an entire hour. I am really excited about this, not only because I will be able to try out some new ideas for the first time in public, but also because I’ll get to talk about many of my favorite things: feminist rock, music history, … Continue reading BIG FEELINGS, QUEER PHENOMENOLOGY, AND THE OPHELIAS
I wrote about postmodernism, neoliberalism, and jazz in a recent review for BLARB. You can read it here. I really enjoyed working on that review, and have decided to keep up doing them on this blog. I’ll post short reviews here periodically, starting next Tuesday.1 This spring, I’ll be presenting early research on feminist indie … Continue reading BRIEF UPDATE AND TUESDAY TUNES
I am starting to do some work around feminism in indie-rock. This spring I’ll be road-testing some ideas, primarily through conference presentations on the music of The Ophelias. I’m sure I’ll write more about this band here at a later point, but I also want to think through where I see a band like The … Continue reading FOUR PROPOSITIONS RE: FEMINIST ALT-ROCK
I am curious to know when and how extended chords1 appear in rock music, specifically from the 90s onward. Chord extensions are certainly not unheard-of in rock, but nor are they standard or even common, depending on what sub-genre we’re talking about.2 And that’s the curiosity that I have: when, where, and why do extended … Continue reading A VERY PRELIMINARY IDEA
In case you missed it, my essay on the popular music of the great recession was published on Sounding Out! a couple of weeks ago. I’m really happy with how it turned out, and really grateful for everyone who’s taken some time to read it. As you may be able to tell from that piece, … Continue reading MUSIC AND TIME, OR: THE INESCAPABLE PRESENT (?)
Ever since I first read it in the spring of last year, I have returned time and again to Marie Thompson’s brilliant essay, “Whiteness and the Ontological Turn in Sound Studies” (2017), not only because it lays out an incisive argument against a certain strain of thinking in sound studies, but also because of its … Continue reading ONTOLOGY AND MUSIC
