From the Archives: Iowa Ear Music, 1976

The overabundance of great experimental and electronic pop music being made and/or released in the Iowa City scene right now—most of it by people unaffiliated with the University—tends to make me forget about just how deep the history of more “academic” experimental music runs at Iowa’s Music Department, specifically at the Center for New Music (hilariously outdated website alert).

I was happily reminded of that this morning when a routine cruise through the UI Digital Library (whistling research, obviously), took a long-overdue procrastination detour through the “Iowa Sounds” collection. I haven’t been in a hurry to check it out, because I had a feeling I knew what I would find there: concert and marching bands, various traditional ensembles, and perhaps a handful of mid-century classical/avant-garde performances. I was mostly right.

But one recording in particular caught my eye for having an alluring title, and then caught my ear for being deliciously weird and awesome: Iowa Ear Music. Recorded over a period between 1967 and 1976, the album’s first half consists of improvisational recordings, including jams that were recorded in 4 different rooms simultaneously and then mixed into quadrophonic sound (!). Also, this album gets huge bonus points for the vanity label name and logo, which, according to the liner notes, was also sold on T-shirts (see above image). Corn pride, indeed.

In doing a bit of online research, I learned that the album has a kind of cult status now, but was also heralded at the time in the popular press, receiving 5 out of 5 stars in Downbeat magazine. Rather than waste a whole lot of my breath, I’d strongly encourage you to check out this blog post, which does a track-by-track rundown, and then read the full Downbeat review, which I included here. Download link after that. Enjoy!

There has always been a tendency to think that the most significant artistic innovations and accomplishments come from urban cauldrons like New York, Chicago and Los Angeles. While the intensity and diversity of these megalopolitan centers cannot be denied, it has become increasingly clear that important enclaves exist elsewhere. Of these, one of the most vital is, yes, Iowa City, Iowa.

The hub in Iowa City around which most experimental music swirls is the adventurous music department of the University of Iowa. A Center for New Music (directed by Bill Hibbard and Richard Hervig), a sophisticated Electronic Music Studio (set up by Peter Lewis), a vigorous jazz program (nurtured by Tom Davis and Jon English) and an impressive new multi-million dollar plant are the outward signs of life. More important however is the open searching attitude of both students and faculty. As Corn Pride amateur Will Parsons says, “‘Iowa Ear Music’ means we heard about music and thought we should try some.” In documenting their efforts, the album reveals the extraordinary range and depth of the Iowans’ omni-directional musical quests.

The music itself was recorded in various formal and informal settings between 1967 and 1976. Derived from several procedures (free collective improvisation, synthesizer generation and tape manipulation), each side is a pulsating collage of contrasting and complementary music events.
The noteworthy aspects are many. There are fine individual efforts, such as those by bassist/trombonist Jon English, percussionist Parsons, violist Bill Hibbard and vocalist Candace Natvig. There is also the fresh synthesizer work of Peter Lewis and Michael Lytle. And, there are the four years of painstaking editing and trial mixes made by Parsons (and Lytle). Most significant, however, is the Iowans’ indomitable spirit of exploration and free-flowing imagination.

Listen via Iowa Libraries, University login required

Listen via download

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Site and Social Media Updates

Well, it appears as if a lot of people out there are interested in grad school, or, more likely, interested in a somewhat critical opinion on it. My post from last Friday has sent site traffic to an all-time high, generating more views in the last few days than this blog has gotten in the last year. Obviously, I’m excited and inspired by that, and wanted to keep things going by making two small changes to the site and to my social media feeds.

Tumblr
Based on the savvy and inspiring web work of Austin Kleon, I’ve made an attempt to incorporate my seldom-used Tumblr page directly into this site. You can find the link up in the nav bar, or right here. My integration isn’t nearly as tight as Austin’s, but I’m cool with it, and I hope it reminds me to update and get more linked up with that community.

Twitter
Maintaining two Twitter accounts—one solely for this blog—doesn’t make sense to me anymore (and I’m not sure why it did in the first place). So I’m going to be phasing out the @fieldnoise account and attempting to lure my followers over to @craigeley. Hope to see some of you there!

Next on the docket are some posts about plain text workflows for academic writing, including discussions of MultiMarkdown, Pandoc, and Zotero, and how to make them all work together. Keep your eyes peeled for those in the near future.

 

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Why I Don’t Care If You Go to Graduate School

I was recently catching up on two blogs by Iowa humanities alums, and it was interesting to see that they had each waded into the whole “Should you go to grad school?” debate, with David Morris taking the side of pro, and Lauren Whitehead taking con. As a current grad student (and one who has recently had a degree of success/luck), it’s a question I’m invested in, but when I thought about it for a week or so, and considered my recent responses to two friends who were addressing the question themselves, I came to a simple conclusion: I don’t care.

Obviously, the title of this post is pure Google bait, but I mean it: I don’t care if you go to grad school. For some people it’s the absolute right choice, because they’ve done the work, asked around, and have maintained both realistic expectations and a deep passion for what they hope to investigate. To them, I say best of luck and prepare for debt. Others approach grad school on a lark, with passing interest, with a sense that it might help their job prospects someday. To those people, I say stay the hell out.

But when I say I don’t care if you go to grad school, it’s not a case of those two choices (which, of course, are the only two) canceling each other out in specific instances. I mean that on a deeper, more general level (the level of “should ‘you’ go to grad school”) I truly don’t care. And my reason is simple: all of the people I’ve gravitated toward while in graduate school—as friends, colleagues, and collaborators—didn’t define themselves or allow themselves to be defined by the trope of the “the grad student.” To resist that, they either implicitly or explicitly rejected the notion of higher education as some kind of “calling,” and instead chose to see it for what it was (or perhaps should be): a tool to help (re)shape and (re)imagine the ideas, people, and places that they care about. And it’s only one tool of many. Is it a good tool for you? Maybe. But probably not.

If you think higher education and/or teaching is your life’s true work, then you’re doomed to 5-10+ years of serious disappointment and bitterness. But when you stop romanticizing self-loathing, and stop worrying about whether or not all of your “good deeds” will pay off “in the end” (on graduation day, with a tenure-track job, perhaps?), then you can actually start getting things done. What kinds of things? Almost anything—including truly original and exciting academic work. But the structure of grad school also allows you to engage, seriously, with things that are supplementary, tangential, or even wholly unrelated to your fields. Some of the best—indeed my favorite—grad students are activists, artists, and tinkerers. People with big, crazy ideas on a whole range of topics. People who run small literary presses, DJ nights, and marathons. People who raise families. People who work to redefine “the family.” These people are grad students. But if they weren’t grad students, they would be working just as hard somewhere else, probably on something similar. And when they stop being grad students, they’ll be good at that too, whatever the hell “that” is.

If you’re a current or former grad student, I know what you might be thinking: 1) It’s not that fucking simple, and 2) I don’t have the time. On point 1 you are absolutely right. I know, first hand, that this not entirely a matter of personal choice, even though up to here I’ve framed it that way. I’m keenly aware of the serious structural flaws with the economics of the current university, the problem of debt, the near-nonexistent job prospects for graduate students, and the intense amount of mental and emotional labor that goes into grad school. There is no way around that. But on point 2 you are dead wrong. One of the ways that this (often brutal, dehumanizing) system exerts its power, perhaps the most insidious way, is by convincing graduate students that they cannot, indeed should not, have a life outside of the University/TA/grad student system.

But you can. Believe it. Because if you don’t, you can and will start to really, deeply believe that grad school takes up all of your time. This is precisely one of the things that happened to Lauren, whose articulations of the reasons why she quit grad school are recommended reading for anyone considering going in the first place. In one post, she writes:

Quitting is thrilling. Think of the books you will read. The marathon you never ran? Check. Think of the creative projects that have lay dormant that you can now take up: finish that half-knitted shawl, start that podcast, join that improv group.

In a way, she’s absolutely right, but that’s exactly the problem: to be a better, more well-rounded human, and an active, engaged member of the community where your graduate school is located, you have to be a “bad” grad student. Because you absolutely can do all of those things while in grad school. You just have to be willing to say “no” inside a system that doesn’t take no for an answer. You have to be willing to take a longer time to get your degree, which in some programs potentially means losing funding and being ostracized from your department. In my experience, these risks are worth it. Your mileage may vary. It may have already.

So, when thinking about your future (whomever ‘you’ are out there), I would suggest first figuring out what tools you need—as in actually, truly need—to help you get where you think you want to go. One of those tools might be grad school, but again, it’s probably not. And either way, I still won’t care.

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Can’t You Hear My Heartbeat?

I did a new post for The Wag that went live yesterday…it’s about heartbeats, and was inspired by my a friend of mine’s dad, a noted cardiologist who passed away recently.

And speaking of The Wag, according to the editors over there, soon there will be a system in place to link directly to all posts by me, which isn’t possible right now. Once that happens I’ll just throw a link to that somewhere over here and stop doing posts to tell you to read other posts.

In the meantime, I’m working on some new original content for this site, including a post that tentatively wades into growing online discussion of “whether or not people should go to grad school.” So, yeah, if that sort of thing interests you, keep your eyes peeled.

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2012 Smithsonian Fellowship

I couldn’t be more happy to end the posting drought on this blog by announcing that I’ve been named a 2012 Smithsonian Predoctoral Fellow. I’ll be working at the Center for Folklife and Cultural Heritage with Jeff Place, listening to a ton of old science records and generally beefing up my dissertation. I’m really looking forward to exploring DC—it’s a city I haven’t spent much time in but have heard great things about. And if you know someone with an apartment for rent…

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‘One Knob Twiddling’

Last week, my good friends over at Wag’s Revue launched a new blog component of their already great literary mag, and they’re calling it The Wag. I’ll be contributing a monthly column called “One Knob Twiddling,” which is a play on a classic music nerd masturbation joke inspired by my recent discovery of this song.

In my first column I muse on music and cooking shows. It’ll probably be a little more “pop culture” than the writing here, but we’ll see how it goes. The Wag doesn’t have a commenting system, but they are open here for any feedback.

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Vinyl Rip: Air Force – A Portrait in Sound

…and we’re back. Sorry for the long hiatus between posts—I’ve actually (read: finally!) been working on my dissertation, which has meant listening to and digitizing a ton of weird old records. In the section I just finished, I situate public reactions to the sonic boom within broader auditory cultures of the 1950s and 1960s, including hi-fi stereo culture, the science of psychoacoustics, and the developing environmental movement. One of the things I focus on are audio “demonstrations,” including Air Force demonstrations of fighter jets and sonic booms, and so-called “demonstration records,” which were meant to showcase home stereo equipment and help people calibrate their gear. These things intersect in the jet airplane record, which was essentially a sub-genre of hi-fi records.

The Air Force itself was involved in the production of some of these records, including the 1957 Vox album United States Air Force: A Portrait in Sound, produced by Ward Botsford. In the liner notes, Botsford tells the story of approaching Air Force brass: “When I approached the Air Force my idea was just for a good old-fashioned Hi-Fi record,” he wrote. “When I got through talking—and listening—I found the Air Force ready, willing, and able to help me…since one of the greatest public relations problems in the Air Force happens to be sound.” So instead of an “old-fashioned Hi-Fi record,” what Botsford ends up making is an pro-Air Force propaganda record.

To convey this message, Botsford enlists the help of Arthur Godfrey, a well-known radio broadcaster and aviation enthusiast who often used his airtime to discuss his love of airplanes. With Godfrey as the narrator, Botsford uses his microphones to create a sonically dense audio essay that attempts to retell the entire history of flight. The album opens on a beach, seagulls circulating in the stereo field, while Godfrey begins his dramatic narration: “Anyone who has taken a few quiet moments to watch the graceful and almost effortless flight of the seagull knows, or should know, why man had to fly.” As the gulls caw in the background, Godfrey continues: “Men solved the mysteries of flight, not with the beauty of birds, but with the majesty of power. Man, in creating powered flight, leaves a trail of sounds. Sounds that easily identify his every step of progress.”

Check out the sounds of “progress” by downloading this zip file. I included Air Force: A Portrait in Sound (including liner notes) as well as Air Force: Sounds of America’s Air Defense in Action! (Riverside, 1958).

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Field Recording: Unsilent Night in Iowa City

20111219-154840.jpgOn Friday I took part in the Iowa City premier of Unsilent Night, a 1992 composition by Phil Kline which was organized locally by Mark Rushton (who posted his thoughts on it here). The composition is a 4-channel, 45-minute piece designed to be played back on multiple boomboxes while walking around town. Wikipedia calls it a “moving sound sculpture,” but that actually implies something less dynamic than my experience last weekend. (Admittedly, I know nothing about the current state of “sculpture,” it’s theories and practices, etc.) Within the rhetoric of sound studies it felt more like an anti-soundwalk—in a good way—where rather than passively listening to our environment we were actively broadcasting sounds into it.

Anyway, this created some interesting moments, especially in combination with the holiday-themed music. While Kline’s composition is decidedly avant-garde, it relies pretty heavily on familiar Christmastime sonic motifs such as bells, chimes, and choirs. At one point when we were in the quieter Northside neighborhood, it felt like we were carolers. Later, as were were getting strange stares from parents collecting blearly-eyed, post-final exam first-years from their dorms, it felt like a public art project. At other times it felt decidedly cultish. I mean, the music has chanting. A pretty significant amount of chanting.

Adding to that cultish feeling was the fact that the 8 of us participating seemed pretty of unsure how much we were “allowed” to talk during the “performance,” myself included. This was at least partially my fault, as my presence with a recorder and headphones invariably changed the group dynamic. But speaking of that recording, it came out pretty well. You can hear different channels of the composition as I walk among the participants; you can hear that Chad Vollrath is using a old tape deck with a crazy amount of wow and flutter; you can hear passing traffic, me sniffling, etc. After about the 25 minute mark, you can also hear a lot of wind noise, because my muff fell off and I decided that putting it back would have cause even more trouble. So I just went with it. As a technical note, this was recorded using the internal mics of a Tascam DR-40.

Thanks again to Mark for organizing. You can download the audio here.

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fieldnoise05: border warfare and the chase

The fifth installment of the fieldnoise mix series is finally here, and this one is extra special since it was accepted for the Wag’s Revue music issue. That issue came out this morning, and is filled with fantastic articles, especially the contributions from Victor Vazquez (of Das Racist), Sean Moeller (the man behind Daytrotter), and my good friend David Morris. There is also a great interview with EMA by Andre Perry. I mean, the whole issue is gold, so just go read it.

The theme for this mix was “nonfiction audio,” which is an idea I’d been kicking around with Wag’s editor Sandra Allen since back in May. I’m glad I followed through with it, because not only did it end up being my favorite mix yet, it also gave me a chance to digitize some old records that I had been meaning to. In constructing this mix, those records are underlaid with music from Tellus Tape #22, “False Phonemes” and/or “Extended Voices,” both of which seemed appropriate. Feel free to link and share widely. Download and full notes are after the break.

Continue reading

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Town and Gown Sound: Iowa City’s Noise Laws

About a week ago, I noticed an article on the front page of the Daily Iowan about noise in Iowa City. It turns out that people as far as three miles away from Hubbard Park called in complaints about an outdoor concert featuring mash-up duo The White Panda (er…). Reading a bit further, I discovered that those complaints exposed an interesting loophole in Iowa City soundscape laws: while the City of Iowa City has a hilariously strict and wholly subjective noise ordinance in place meant to punish student partiers (“any noise that interferes with the comfortable enjoyment of life or property of the neighborhood”), the University has no noise ordinance whatsoever.  Since University events are not within the City’s jurisdiction, these noise complaints literally fell on deaf ears (or, perhaps, ears whose hands were tied?). To me, this exposes a really obvious truth that is nevertheless worth restating: those who have the money get to make the noise.

Several scholars have noted the ways that noise ordinances have long been mobilized by middle- and upper-class whites to punish or relocate lower-class and minority groups, from 19th century street peddlers to contemporary deep bass and car stereo enthusiasts.  Since very few U of I students are members of the subaltern class, however, the City’s noise ordinance seems to be fueled more by finance: noise tickets to student house parties = $$$ in city coffers (though, at least in certain neighborhoods, there is also a healthy dose of the “get off my lawn” mentality at work).  But by far the loudest events in town are produced not by students, but by the University itself. A home football game at Kinnick Stadium can easily be heard for miles around and goes unregulated; the subsequent revelers at parties are subjected to fines.

I mean, I like outdoor rock and roll and I also like sleeping at night, so I don’t feel particularly strongly here—it’s interesting, though, and I would love to hear your thoughts in the comments.

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