i just read, or saw, or watched something that i need to remember

...this is how i'm doing it...

- interested in blackness as a concept
- interested in music, sound and sonic histories
- interested in mapping, networks and lines of force
auntada:


Untitled photograph by Michael P. Smith (Born: New Orleans, Louisiana 1937)

this is great…

auntada:

Untitled photograph by Michael P. Smith (Born: New Orleans, Louisiana 1937)

this is great…

Toward A Global Idea of Race (Da Silva)

“[H]istoricity cannot dissipate its own effects of power; it cannot institute subjects that signify otherwise. What I am suggesting is that racial subjection should not be conceived as a process of othering, of exclusion, in which an already historic racial or cultural other becomes the site of projection of unwanted attributes that, once specified, reveal the ideological (false or contradictory) basis upon which European particularity has been constructed…For a relevant critique of the present global (juridic, economic, and moral) configuration in which raciality rules unchecked necessitates a full engagement with universality ad historicity, one that would not stop at a critique of (the failure of juridical and economic) universality just to hold onto the promises of historicity” (7).

questions:

1 - is historicity concerned, fundamentally, with the institution of subjects/ivity? or, what is the purpose of historicity? maybe it is not merely a project to recover the subject.

2 - if historicity is the interplay of the in-between [black and blackness // or pentecostal and pentecost, for example], what does that imply about the relation of historicity to the in-between of potentia and kinesthesia?

3 - can Nahum Chandler’s writing about “originary displacement” and exorbitance of the Negro; and can Andrew Benjamin’s writing about original difference help me think about historicity?

moth’s powder [12.15.09]

from: a
to: dtim
Tuesday, December 15, 2009, 7:33 AM
Subject: Re: until i get *this* outta me

just a bit more, i guess …

i should have known something of myself based on the ways i used to love to play the tambourine. i never liked the aggressive pop as much as the flamboyant jingle, though i popped it a lot and was not shy about the percussiveness of the pigskin [and no, the newer plastic tambourines, i think, are horrible; they don’t have the same sound. don’t tell PETA, though…lol]. anyway. i would shake and shake and shake the tambourine, just so i could hear the jingles. of course, the pop-doo-loo-loo-loo-pop-doo-loo-loo-loo-pop were cool, percussive or whatever. but the shack-a-lack-shack-a-lack almost bordering on some bells that jingle for the holidays? well. the jingles are slightly noisier and a bit more incoherent, which is why i like them so much. not so much angular in their address, they’re more suffuse and diffuse. sorta just sounds like a shakeshakeshakeshakeshake or a shhshhshhshhshhshhshh and i can’t ever hear it without thinking of the ways bodies moved and bounced when they were played. breasts jiggled. asses quaked. the entire body’s gotta gyrate even if a little bit. and to be serious with playing such a sound, one would have to concentrate, pull their lips into the mouth so all you see is its crease and line, one would have to hold one’s breath while beating whenever trying to create polypercussive rhythm of the bop-bah-doo-doop-bap-bah-doo-doop really, really, really fast.

and of course, this sorta rhythmic sound could only be matched by a pair of new “church shoes” on a wooden floor. you know exactly what i mean too!  you’re probably, what, smiling a bit as you read this because you know whenever you bought a new pair of shoes, you’d say, let me find a good wooden floor because the sound of the new heel on wooden floor is so…churchy. pentecostal shouting ain’t only about the move of the spirit, it’s also about the move of sounds over the varied locations, making the building resonate with some such holiness and life. and nothing sounds better than a bunch of shoes clanking and clonking on some such wooden floor along with other hands clapping and the organ’s bass runs and the yelps and hollers and the shhshhshhshhshhshhshh of some tambourines. nothing.

pretty much, my affinity for the tambourine should have let me know, early, that i would be a bit difficult to pin down, nice to hear, but difficult to gather once sounded out. i’d need constant movement and motion for sustenance, couldn’t pop me once and think that i’d reverb. no. i needed to be jostled and handled and moved. and it was you that was able to do that. words are failing me a bit today. but i suppose i am simply trying to ask: what is it to be handled and moved? you’d gotta know something about the environment, about the social world, in order to get what was going on. and you were able to see me but once, at your daddy’s church, that one sunday and knew – and knew – after but one conversation that something about me needed something about and within you. and of course, the vice versa.

maybe it was in my reticence and astonishment at the very suggestion that we should “exchange numbers” and “hang out” in such a public space, with everyone seemingly looking on. you know there were all those rumors that you might be a bit “funny,” that you were a “tambourine beater” for a very long time – or so you said after we’d hung out – so your presumption and gumption in front of all those people was telling. and that is to say nothing of the ways you knew that i would comply, that something in me leapt out toward you and needed you when we spoke. your astonishment and surprise and that surprised gesture of the brows going up, rapidly, quickly, and the way your mouth formed that shape? i could not take my eyes off your mouth when i looked at you so, of course, i looked around and up and down and past you as we spoke. i did not want people to think i was flirting with you but i was so confused by what was happening. but you, of course, knew something of the church and the rumor and the gossip in that location to which i did not yet have access. so i just sorta inhabited it as best i could. and you said don’t go anywhere. let me put this tambourine back and you winked so faintly that even i almost did not notice it.

well.

of course it was when New Dawns added the tambourines that things really took off for us. we had that sound of spiritual quest and Bobby, of course, gave the down beat with the bass drum, hi-hat, snare and cymbal. but there was still some such lacking quality, in our fast songs at least, that needed some other diffusion, some sound that would have us sound more “churchy” given our, how can we say, extrabiblical commitments and ideations.

it’s sorta like Abbey Lincoln. in the beginning of her career, it seems she was much more focused on being and becoming another sorta Marilyn Monroe figure for black folks, focused a lot on outward beauty, but also the notion of reproducing and re-performing Monroe’s visual look. i mean, Ebony Magazine did this entire spread in 1957 pretty much saying that Abbey was nothing other than the black [and of course, more beautiful] version of Monroe. the problem, of course, is that she had to comport and composer her self in the Monroe-esque, her more beatifulness depended upon aspiring to mirror as closely as possible that which came before her. of course, all of this was before the tambourine. by the time Abbey performed with Max Roach in triptych: prayer, protest, peace, well, she was changed. some might even say converted to a particular black consciousness. after we saw her live performance – Jaylah was all into black radicalism and making us listen to it, to use it in our own music; i’m not complaining! – in one such live performance of driva man in Europe, Abbey looks almost like we should be calling her Sister Lincoln.the long, mute dress, the plain hair in a afropuff bun, the two-inch heels the lack of makeup and the tambourine; the picture of pentecostal holiness and modesty.

what was in the transition to the tambourine for her? what social life did the tambourine index? Max, of course, played the saxophone while Oscar Brown, Jr. played the drums. her voice and her tambourine were her instruments of choice and as she sung driva man, punctuating each phrase with a hit of the pigskin? well. if we wanted to get saved? it was that sorta salvation.

so New Dawns singing songs with lyrics about Zelophehad’s daughterswas one thing; singing the words of Baby Suggs, holy? well. that was another complication altogether. but knowing that the tambourine could be some kinda sound that worked against the common assumptions of New Dawns as “unsaved?”  [we weren’t, not in some conventional sense, at least.]  folks just chalked us up to some sorta it’s not about their lyrics, it’s about their quality and tone.  and as true as that was, it was also false. we could not give the same tone without lyrics that would allow us to break free from all sorts of normative theologies and ideologies. our unexpected lyrics gave a way to explore sound differently. we contested and agreed in all new modes and forms. maybe it was something about the insistent jingle of the tambourine? or maybe some such conversion to blackness. who knows.

i’ve been trying to say something but i think i’m failing. i know i have.

shhshhshh,
a.-

— — —  

from: dtim
to: a
Tuesday, December 15, 2009, 12:40 PM
Subject: Re: until i get *this* outta me

this was so beautiful. but like, what do you want this to be? what are you DOING with this? what are you trying to write? i get this … but what are you trying to make with this? do you even know? i mean, i’m asking because i keep doing all this painting with no goal in mind, so it’s a bit confusing but i keep discovering all this cool shit in the middle of playing with your goddaughter’s interrupting me. her interruptions are helping me create different kinds of art. and, well, your writing is doing the same. it’s forcing me to deal with my on-again, off-again boo a bit better. so what IS THIS?! lol…

— — — 

from: a
to: dtim
Tuesday, December 15, 2009, 12:51 PM
Subject: Re: until i get *this* outta me

i dunno what it is…i’m just, afraid or some shit. what i had with mp, i’m afraid i won’t ever find again. i mean, i read this shit from Baldwin last night  in Just Above My Head right before i went to bed and it’s been bothering the hell outta me

Thirty.  And I was alone, had been for a while, and might be for a while, but it no longer frightened me the way it had.  I was discovering something terrifyingly simple: there is absolutely nothing I could do about it.  I was discovering this in the way, I suppose, that everybody does, but having tried, endlessly, to do something about it.  You attach yourself to someone, or you allow someone to attach themselves to you.  This person is not for you, and you, really, are not for that person - and that’s it, son.  But you try, you both try.  The only result of all your trying is to make absolutely real the unconquerable distance between you: to dramatize, in a million ways, the absolutely unalterable truth of this distance.  Side by side, and hand in hand, your sunsets, nevertheless, are not occurring in the same universe.  It is not merely that the rain falls differently on each of you, for that can be a wonder and a joy: it is that what is rain for the one is not rain for the other.

i mean, it annoyed the hell outta me. here i am, a dude who has found love, that good shit, the shit where the fucking was transcendent and the conversation was cool and the hand-holding was butterfly-inducing and the staring at each other in public was so fucking ridiculously lovely and i lost it…i lost him. and i’m afraid and annoyed that i’ll never find shit like that again. EVER again! and like, Baldwin just made that shit so very real and hurtful and apparent for me. because if he could write that shit out of his experience and i could feel something so very similar while radically different, do i have hope of finding love again? like, seriously…i just think i’m looney to keep looking for something like i had with mp … lost cause or some shit … i mean, i’m all about letting go of shit, of giving up anxiety as to be liberated.  but hell…reading that yesterday made me want to call a shit load of dudes in my phone just to see if something was there. anything. scared? very possibly. vulnerable? hell yeah. i just don’t know … i just don’t.

— — —  

from: dtim
to: a
Tuesday, December 15, 2009, 2:35 PM
Subject: Re: until i get *this* outta me

::::::::biiiiighugs::::::::

boo! i hope you know that i feel you sooooooooooooooo much right now! but you’ve gotta open your hand. i realized a few days ago that i keep clenching my fists when in my pocket, sorta just holding them hella tense or whatever. stressed out about the boo. and finances. and your godchild. and just everything. but when i realize that my fist is clenched, i just open up my hand. you need to do the same. i know my metaphor ain’t deep but open yourself up to finding something. i think the beauty of you and mp was the fact that after all that searching, you found him and he found you. it means that possibility IS out there. keep looking, babes…but be honest with yourself too. are you even open to someone else right now?

— — — 

from: a
to: dtim
Tuesday, December 15, 2009, 2:51 PM
Subject: Re: until i get *this* outta me

i know i know i know … i’m not and i think all this writing is proof of that … i’m trying though … really

moth’s powder [12.15.09]

from: a
to: dtim
Monday, December 15, 2009, 10:49 PM
Subject: until i get *this* outta me

i gotta keep writing, i suppose. i’ve been listenin to all these youtube videos the group did so i’ve been thinking and writing and thinking and writing a lot about it. this sorta just popped outta me earlier today. shit. feels like i’m just supposed to write this … so i’m doing it or whatever…anyway.

part of me just thinks this is hella heavy-handed. but then the other part of me doesn’t care because ain’t nobody gonna see this shit anyway…so yeah

miss you…xoxo!

mp,

it’s like i’m embarrassed by having the desire to keep writing you. but what’s the use in trying to act like i don’t still feel shit? i can’t afford therapy – or, well, you know, i never liked going to it anyway…that shit was definitely your idea…lol – so anyway, i write.

and i guess we could say that i’ve only partially been honest or, at the very least, i haven’t been entirely forthcoming. i have been rather obsessed with New Dawns music lately, listening to recordings of us, though we only performed for a little over two years. and i have of course been listening to it lately because our anniversary is quickly approaching – not of our coming together but of our breaking apart. and so i’ve been watching these recordings, listening to them with the volume on up as high as possible because i’ve been trying to rediscover you, so to speak. like, i wanted to know if there was something in your gestures, in your face, in your smile that i could know and seize, on which i could think and meditate. so i’ve been looking and listening to instances and inflections.

to say i miss you would be the most vulgar of misstatements and half-truths ever. it is not merely that i miss you, it is that i am no longer me, that i no longer play the same musics, that i do not inhabit the social-sonic space that made me, we. you know i don’t necessarily believe in soul mates but something certainly happened that first day we went to the diner. the shy eyes, the reticent gestures, the bashful but ongoing pleasure of jumping headlong from one conversation to the next. who knew that that sorta calm conversation and knowing comfort were possible between strangers? who knew that that sorta wordplay and game, inflection and voice were attainable for two people not even yet acquaintances? i had butterflies.

and of course, and thus, i knew. and of course, you told me you trusted me. and of course, that made no sense if we were bound and restricted to some sorta linear time progression.

our meeting, i think, at least for me, was the disruption of such linearity. it’s as if i’d known you many moons ago, some half-life agone, that our communion and conversation could be traced back to some such agora. [and i’ve been quietly working on this speculative fiction about a character named Xenith who finds life and love after he comes to earth as a created human being…the life and love he finds is with the king’s son but they’d “known” each other before their birth or whatever. it’s like, rather than meeting for the first time, they “found” each other on their earth planet. but the whole fucked up part was because they were both dudes and people couldn’t understand it and so they had to make all sorts of cosmic conclusions about the nature of love and sex and connectedness that precedes time and exists long after time ceases. anyway. our love was the inspiration.]

what was most weird and cool and most interesting was that that non-date – whatever it was – was the first time you asked me, right before you left, if we could pray together and it made me quite afraid. i was not one prone to pray. [and still am not, truth be told; because if prayer will fix it every time, and i’ve prayed ceaselessly for you, for you to come back to me, for me to be able to smell and taste and touch you just one more time? just one more time? well? well prayer must not work. prayer, in this case and if anything, makes me long more for that which i do not have; prayer becomes the perpetual, ongoing index of loss and lack.]  of course, i grew up saying grace and going to prayer and bible band on tuesday nights and wednesday night prayer meetings [Mingus was entirely too correct], so i knew and know how to pray. i just didn’t then. and don’t. i did not then because i felt it inefficacious, a joke, folly that tried to escape this life. prayer was infelicitous at best, a performative utterance that did not do what it purported.

then i met you and our communion, at the very least, introduced me to the notion of focus. of course, other traditions privilege meditation as a means to focus thought and breath but i had never conceived of those loud prayers from my mother and father along this wise.

you showed me and whispered to me and spoke in tongues to me and demonstrated for me how wrong i was. just because we’re loud doesn’t mean we’re not focused or not contemplative is what you said to me. focused thought and breath is not only found in the quietude of buddhist meditational practice, in the soft hum or brush of yoga chaturanga poses and the like. it is found when my mother would be in the microphone and i’d be on the organ backing her up, her saying something like  

satan!  the lord rebuke you! 

wherein she’d punctuate words with the letter and the sound tuh! along with the intentional singularity of such words that were plural [think of rebuke rather than rebukes]for dramatic purpose and pause. so it’d sound like she was saying

satan’tuh!  the lord rebuke’tayuh! 

as some sorta melismatic break of word and augment with new sound. what do you think prayers are? you’d ask me, then making me listen to my mother a bit differently because, well, she did not say satan’tuh when she was speaking, only when she was praying or preaching or, generally, when she was convicted. so, and of course, you forced me to think about the intentionality of such breath and vocablic rupture and suspension.

well.

we stood outside the diner, and you asked can we pray right quick? i mean, before we leave? and there was no way i could say no to you. you were insistent while asking but once. you were energetic by some sorta withdrawal. it was in your face. you became gravely serious as we stood out there, not knowing how to say goodbye, whether we should shake hands or hug or kiss, right there, in the lot, outside, for all to see. i wanted to do all those things but i did not yet really even know you, i just knew that i felt things that were either dormant or dead or demonic, all concurrently, all for you. so much boldness displayed by your query. so much strength. and conviction, i suppose. i just sorta stood there and you just continued by standing right in front of me, looking me clear into my eyes – i almost began to have tears forming right there, in the bottom of my heart – grabbing my hands with your hands, you lowered your voice a bit and said, ever so gently, we should…we should pray. i know this may a bit strange but i’d like to pray with you. for me? please?

i did not say a thing. i sorta stood there stunned by what was happening. loss of control. then a tear, before you even uttered a word, a tear formed and it dropped and, i suppose because you did not want me to feel embarrassed, you bowed your head and closed your eyes. the dropped tear, you felt and were correct to know, was assent and ascent. i bowed, closed eyes. then we stood there. and the wind blew a bit. and the street lamp overhead in the parking light buzzed a bit, almost backgrounded to the edge of nothingness. faint, ever so faint. you began to moan a bit, really quickly. then father, i’m thankful for the two of us having met today. keep him and me as we leave here. i would certainly like to see him again. in jesus’s name. amen.

but all i heard was i would certainly like to see him again. and you hugged me. then: i hate to sound all James Baldwin-y but, bye-bye baby, so long, and flashed a smile, and got in your car. i never told you but i stood in that parking lot for nearly ten minutes after you drove off. i could not figure out what had just occurred with me, with you, with us. i just knew that i’d see you again. and so, i was very, very happy. so happy that i cried.

these thoughts of that first experience and prayer came to me today as i listened to the first song our group sang at that first concert some years ago, the one i’d written prayer for zelophehad’s children. to say that mount zion church of god in christ knew not what to make of this motley crew of singers, musicians and songs is no misstatement. i don’t think most of them had heard of zelophehad so they were confused about who we were singing to or for. this mattered less when i descended the scales on the b-3 but, still, most of the congregation remained wary of us throughout the two songs we rendered. [render, of course, is the best word for what we did because we had decided – you, i, Salim, Jaylah, Jalisa and Bobby – that we would literally improvise our way through the entire song; we made it up on the fly, though we practiced the structure of the song and knew the keys, we would allow you to lead us from tonal center to tonal center, and the harmonic progressions were up to us to provide as you gave the melody [we might call it the new way to line a hymn]; and, of course, i refused to sing and only sang that one time because i always hated singing in front of people; but i did what i could do on the b-3 in order to cut and augment the sounds you all made. Zelophehad, and his daughters i suspect, would have been proud.]

breathing into our microphones and using the atonal sound of our breath as much as the harmonies, Bobby’s percussive operations and the sonic architectonics provided by your melody and my response? well. we gave the meaning to Zelophehad’s daughters going to Moses, telling him that he should be open to the spirit, to giving them what rightfully belonged to them, even if the laws and customs of their age dictated that women were not able to inherit land. our song was all about contesting conventional notions of the sacred, of the gospel, of the love of christ and the power of community. so we breathed a bit on and off, before and after the beat. we sang harmonies that clashed. and we hummed and buzzed. the congregation wasn’t ready but neither was Moses, so we were alright. the video is funny. you can see the congregation sorta just sitting there and you can see us not paying them any attention. just kept singing, kept insisting, kept pushing through with improvisation and caprice. threw in a couple of Jesus’s for good measure. i suppose it worked. i miss that sorta blending and disagreement, that kinda sound and sociality, that prayer, that praise.

still,

a.- 

from: dtim
to: a
Tuesday, December 15, 2009, 1:22 AM
Subject: Re: until i get *this* outta me

boo! i hope you KNOW that you can send me stuff whenever you want! i sooooo love this and i sooooooo feel you on all of this! and i’m sad you’re not making music anymore, and i know you’re so sad about the way things went down but you’ve gotta know that he loved you…loves you. you’ve GOTTA know that!

don’t feel bad about writing this stuff, this much or whatever. you’re not obsessing. i just know that when i write out my feelings sometimes i understand them better…which is why i’ve been loving the emails you’ve been sending to me. i might not have much to say in response but i’ve been thinking about it a LOT!

write soon…!

black studies & ecstatics [ramblings]

where is the “black studies” [as a set of disciplines concerned with the study — which is to say, the becoming a student of — the social life of the marginalized] that does this … that, in its very sitting in the audience, the very becoming a student in the congregation, a black studies that gives way, yields, opens itself up to being moved by that which it is studying?

i’m not asking if Black Studies can study this in terms of sociology, ethnography, religious comportment, class, racial configurations, musicology. that has been done, of course, many times over and again. Black Studies is successful with turning this moment into an object of knowledge to be studies. the question that looms for me is this :: can — and what would be such consequence of this doing — Black Studies open itself up to becoming this object that is studied in its very studying and pondering of this social field? 

like…what would a Black Studies look like that gains in momentum and pace, as this song above does, the more and more and more one delves into the repetition of the phrase “set me free”? what would a Black Studies do if it opened itself up to being so moved by its very inhabitation of the critical space of study that it cannot contain itself to propriety — sorta like what the dude does at 2:54 when he stands and stomps three times because it got to be too good to him; or sorta like what the woman does at 4:44 when she leaps from her seat, claps three times, and speaks the words a bit behind and before the beat?

could Black Studies cry? could it weep? could it laugh? what would that even mean? how would that be realizable? and this is important for me because “words don’t go there” particularly when “there” is the index of a particular form of life that is often thought to be nothing other than social death.  

so so so cute! 

so so so cute! 

(via fameatitsfinest)

(Dis)Forming the American Canon: African-Arabic Slave Narratives and the Vernacular (Judy)

Allan Bloom, E.D. Hirsch, and William Bennet “are all correct when they remark the emergence of African American studies as a rupturing of the social formation, a violation of the circulation of cultural value. But they are deluded in their assessment of how to repair that rupture. Its occurrence was not merely the effect of the inclusion of a new canon in the classroom, so it cannot be repaired by rigidly enforcing a privileged circulation. The thing about circulation is that once it gets under way there is really no controlling where it may lead” (290).

yes. indeed. on point. amen. 

(Dis)Forming the American Canon: African-Arabic Slave Narratives and the Vernacular (Judy)

“…what Kebe is asserting is that, in spite of frequent immediate (sensible) representations of Africa, which ought to serve as the examples for the realization of the concepts and propositions of Reason, there persists a failure to transcribe the appearance of Africa as phenomenal materiality into an experience subject to the determinant interests of theoretical or practical Understanding. When it comes to Africa the good men of America seem to have no other recourse than their unbridled Imagination, unfettered from any of the determinant concepts of Understanding” (175-6).

what is interesting here is how otherwise, Kant is thought to police and clip the wings of imagination. so the clipped wing of Imagination [politics of curtailment] in order to gain Understanding is nothing other than a ruse, or it fails when it approaches the concept of Africa, of the Negro, of blackness. in order to come up with a concept for Africa, the Negro, for blackness, Kant must employ the very thing - Imagination - that he seeks to amputate in the service of Understanding as a rationalist project … he must, indeed, make the “imaginative leap” …

W.E.B. Du Bois [sketchy thoughts]

dismissal [forced resignation; tense experience] from atlanta university in 1944 …

phylon journal & radicalism 

marxism

class