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";s:4:"text";s:4005:"Reads: Steph Ceraso’s Sounding Composition: Multimodal Pedagogies for Embodied Listening, Introduction to Sound, Ability, and Emergence Forum, SO! Allerdings hatte Mingus kaum Auftrittsmöglichkeiten, da ihm – u. a. wegen seiner Übergriffe auf Musiker und seiner Publikumsbeschimpfungen – Agenturen und Plattenfirmen Schwierigkeiten machten. Reads: Norma Mendoza-Denton’s Homegirls, Kawa: Rediscovering Indigeneity in China via Reggae, Can’t Nobody Tell Me Nothin: Respectability and The Produced Voice in Lil Nas X’s “Old Town Road”, Heard Any Good Games Recently? // Comment Klatsch #11: The Sounds of Family, Calling Out To (Anti)Liveness: Recording and the Question of Presence, Saving Sound, Sounding Black, Voicing America: John Lomax and the Creation of the “American Voice”. Change ), You are commenting using your Google account. Zwei Bands setzen Mingus’ Musik nach seinem Tode fort: ab 1982 die Mingus Dynasty, ab 1988 vor allem die Mingus Big Band, u. a. mit Randy Brecker, Lew Soloff, John Stubblefield, beide organisiert von seiner Witwe Sue Mingus. Yes, God Must Be a Boogie Man, sending me messages to write and write some more through the sight of this man looking so much like Mingus. Amplifies: Sounding Board Curated by Leonardo Cardoso, The Firesign Theatre’s Wax Poetics: Overdub, Dissonance, and Narrative in the Age of Nixon, Beat-ification: British Muslim Hip Hop and Ethical Listening Practices, Prison Music: Containment, Escape, and the Sound of America, Yellow Rain and The Sound of the Matter: Kalia Yang’s Sonorous Objection to Radiolab, Easy Listening: Spreading and the Role of the Ear in Debating, Audio Culture Studies: Scaffolding a Sequence of Assignments, “KASPLASH! 1959 beschimpfte er im Five Spot das Publikum, das sich während seines Auftritts angeregt unterhielt, als Bande von Knalltüten. Shortly after his death, graffiti was seen remarking “Bird Lives.” Parker’s death hit Mingus, like so many others, quite hard. In his quick, low rumbling of voice Mingus proclaimed that he “was lucky, man. Mingus mourned by celebrating the deaths of other musicians in his compositions like the aforementioned “Goodbye Pork Pie Hat” for Lester Young and “So Long Eric” for Eric Dolphy. Oktober und am 11. . Reads: Tsitsi Jaji’s Africa in Stereo: Modernism, Music, and Pan-African Solidarity, G.L.O.S.S., Hardcore, and the Righteous White Voice, Tape Hiss, Compression, and the Stubborn Materiality of Sonic Diaspora, Gender and the First Sound Films in 1930s Bombay, The Idea (of an Idea) of North (Of the North): Glenn Gould’s Piece at 50, Beyond the Grave: The “Dies Irae” in Video Game Music, Enacting Queer Listening, or When Anzaldúa Laughs, Mouthing the Passion: Richard Rolle’s Soundscapes, “We wanted to tell stories about sound”: Opening Ears Through the “Everything Sounds” Podcast, The Acoustics of Passing: Harriet Beecher Stowe’s Uncle Tom’s Cabin as Supremacist Remix, SO! On Prince (1958-2016) and Interpretive Freedom, Twitchy Ears: A Document of Protest Sound at a Distance, Reproducing Traces of War: Listening to Gas Shell Bombardment, 1918, Sounding Out! . [12], 1951 kam es zur Zusammenarbeit mit Miles Davis und Charlie Parker, die er 1946 in Los Angeles kennengelernt hatte – mit Davis war er damals eng befreundet. Sein großorchestrales Werk Epitaph, das er 1962 als Townhall Concert nur unvollkommen realisieren konnte, wurde unter Leitung von Gunther Schuller nach dem Wiederauffinden und Rekonstruieren der Partitur 1989 in einer mustergültigen Fassung eingespielt. Coconut Clops and Motorcycle Fanfare: What Sounds Medieval? The final installment of this series presents Nichole Rustin-Paschal and her gripping reflection on jazz, death, and mourning. Und in Bremen beschimpfte er die Zuhörer als Nazis. Der Durchbruch gelang 1956 mit dem Album Pithecanthropus Erectus und der Überwindung der Formensprache des konventionellen Jazz. 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