Sound Clash

Preface
Introduction
Part I: Sound Technologies and Subjectivities
Chapter 1. Splitting Sight and Sound: Thomas Dewing's A Reading, Gilded Age Women, and the Phonograph
Chapter 2. Intimacy Threats and Intersubjective Users: Telephone Training Films, 1927–1962
Chapter 3. "What, for me, constitutes life in a sound?": Electronic Sounds as Lively and Differentiated Individuals
Chapter 4. Audible Citizenship and Audiomobility: Race, Technology, and CB Radio
Chapter 5. The Recording Studio on Stage: Liveness in Ma Rainey's Black Bottom
Chapter 6. Quiet Comfort: Noise, Otherness, and the Mobile Production of Personal Space
Part II: Sounding Race, Ethnicity, and Gender
Chapter 7. "An Indian in a White Man's Camp": Johnny Cash's Indian Country Music
Chapter 8. Abolitionism's Resonant Bodies: The Realization of African American Performance
Chapter 9. Marian Anderson and "Sonic Blackness" in American Opera
Chapter 10. Soul Vibrations: Black Music and Black Freedom in Sound and Space
Chapter 11. Back Door Man: Howlin' Wolf and the Sound of Jim Crow
Chapter 12. Touching Listening: The Aural Imaginary in the World Music Culture Industry
Part III: Sound, Citizenship, and the Public Sphere
Chapter 13. The "War on Noise": Sound and Space in La Guardia's New York
Chapter 14. Forced Listening: The Contested Use of Loudspeakers for Commercial and Political Messages in the Public Soundscape
Chapter 15. Reproducing U.S. Citizenship in Blackboard Jungle: Race, Cold War Liberalism, and the Tape Recorder
Chapter 16. Sounds of Surveillance: U.S. Spanish-Language Radio Patrols La Migra
Chapter 17. The Political Agency of Musical Beauty
Contributors
Index