... This chapter explores the polarized reception of mid-1960s free jazz by focusing on its most instantly recognizable timbral gesture: the “saxophonic scream.” Music critics’ reactions to John Coltrane’s iconic use of the saxophonic scream variously read it as hysterical noise or as transcendent...

... aesthetics Afro-diaspora Caribbean Screaming Jay Hawkins Exuma ...

... reception of mid-1960s free jazz by focusing on its most instantly recognizable timbral gesture: the “saxophonic scream.” Music critics’ reactions to John Coltrane’s iconic use of the saxophonic scream variously read it as hysterical noise or as transcendent. Using an interpretive model that synthesizes...

... witness to the screams and the dreams of the population, it teaches endurance, witnesses pain, and stokes visions of presents otherwise, in which people and things can be counted on, in which life is less fragile. body wounds pain hospital healing ...

... as artists “find their way back to the first point of origin of creative activity.” To this end Constant delivers a striking formula: “A painting is not a construction of colors and lines, but an animal, a night, a scream, a human being, or all of these.” This intimates that the creaturely is a cipher...

... Afro-diaspora Caribbean Screaming Jay Hawkins Exuma ...

... Marvin Gaye's “Trouble Man” elicits dual amazement: its presentation, predominantly performed in his falsetto, and the moment of a primal scream. The opening lyrics engender confusion as one discerns what exactly Marvin sings; this perplexity situates how his queer childhood sets a precedent...

... This chapter develops a theory of Black cacophony as an aesthetic of noise within language, at its limits. Black cacophony is black sonic radicality and resistance expressed via textual enactments of screaming, wailing, blabbering, moaning, howling. Reading cacophonous moments in literary...

... claims that he rarely visited the prison and did not hear the screams of prisoners, even though he acknowledged visiting the prisoner artisan workshop on occasion. Bou Meng also testified that Duch once ordered another prisoner and Bou Meng to fight. Drawing on these narratives and the stories...

... freedom,” as long as artists “find their way back to the first point of origin of creative activity.” To this end Constant delivers a striking formula: “A painting is not a construction of colors and lines, but an animal, a night, a scream, a human being, or all of these.” This intimates...

..., including his claims that he rarely visited the prison and did not hear the screams of prisoners, even though he acknowledged visiting the prisoner artisan workshop on occasion. Bou Meng also testified that Duch once ordered another prisoner and Bou Meng to fight. Drawing on these narratives and the stories...