Sounding Out!
SO! Reads: Danielle Shlomit Sofer’s Sex Sounds: Vectors of Difference in Electronic Music
“Just for a Few Hours, We Was Free”: The Blues and Mapping Freedom in Sinners (2025)
“Keep it Weird”: Listening with Jonathan Sterne (1970-2025)
Faithful Listening: Notes Toward a Latinx Listening Methodology
SO! Reads: Zeynep Bulut’s Building a Voice: Sound, Surface, Skin
Taters Gonna Tate. . .But Do Platforms Have to Platform?: Listening to the Manosphere
The Techno-Woman Warrior: K-pop and the Sound of Asian Futurism
The Sonic Rhetoric of Quincy Jones (feat. Nasir Jones)
Clapping Back: Responses from Sound Studies to Censorship & Silencing
The Sounds of Equality: Reciting Resilience, Singing Revolutions
Top Ten Sounding Out! Posts of 2024!
“This AI will heat up any club”: Reggaetón and the Rise of the Cyborg Genre
The Braids, The Bars, and the Blackness: Ruminations on Hip Hop’s World War III – Drake versus Kendrick (Part Three)
The Braids, The Bars, and the Blackness: Ruminations on Hip Hop’s World War III – Drake versus Kendrick (Part Two)
The Braids, The Bars, and the Blackness: Ruminations on Hip Hop’s World War III – Drake versus Kendrick (Part One)
Sonic Homes: The Sonic/Racial Intimacy of Black and Brown Banda Music in Southern California
Boom! Boom! Boom!: Banda, Dissident Vibrations, and Sonic Gentrification in Mazatlán
Listening to MAGA Politics within US/Mexico’s Lucha Libre
Technologies of Communal Listening: Resonance at the Museum of Contemporary Art Chicago
to follow an invisible creek: in search of a decolonial soundwalk praxis
Music Video as Process: “Revitalize” by T-Rhyme
Rhetoric After Sound: Stories of Encountering “The Hum” Phenomenon
Echoes of the Latent Present: Listening to Lags, Delays, and Other Temporal Disjunctions
Wingsong: Restricting Sound Access to Spotted Owl Recordings
Listening Together/Apart: Intimacy and Affective World-Building in Pandemic Digital Archival Sound Projects
The Top Ten Sounding Out! Posts of 2023!
“In My Life”: Loving Queerly and Singing Across Generations
SO! Reads: Todd Craig’s “K for the Way”: DJ Rhetoric and Literacy for 21st Century Writing Studies
Listening to Digitized “Ratatas” or “No Sabo Kids”
From Spanish to English to Spanish: How Shakira’s VMA Performance Showcases the New Moment in Latin Music “Crossover”
Echoes in Transit: Loudly Waiting at the Paso del Norte Border Region
Xicanacimiento, Life-giving Sonics of Critical Consciousness
Ronca Realness: Voices that Sound the Sucia Body
The Cyborg’s Prosody, or Speech AI and the Displacement of Feeling
Your Voice is (Not) Your Passport
“Hey Google, Talk Like Issa”: Black Voiced Digital Assistants and the Reshaping of Racial Labor
Beyond the Every Day: Vocal Potential in AI Mediated Communication
“Caught a Vibe”: TikTok and The Sonic Germ of Viral Success
Tuning In to the Desi Valley: Getting to Know a Community via Radio
Robin Williams and the Shazbot Over the First Podcast
The Top Ten Sounding Out! Posts of 2020-2022!
“So Jao”: Sound, Death and the Postcolonial Politics of Cinematic Adaptation in Vishal Bhardwaj’s “Haider” (2014)
What Do We Hear in Depp v. Heard?
Voice as Ecology: Voice Donation, Materiality, Identity
SO! Amplifies: Immigrants Wake America Podcast and the Work of Engaged Digital Humanities
The Sound of What Becomes Possible: Language Politics and Jesse Chun’s 술래 SULLAE (2020)
Singing Cowboys and Musical Podcasters: Defining Country Music Through Public History
Mapping the Music in Ukraine’s Resistance to the 2022 Russian Invasion
SO! Amplifies: An Interactive Map of Music as Ukrainian Resistance to the 2022 Russian Invasion
A Feast of Silence: Listening as Stoic Practice