[{"id":"5191","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Misha Solomon in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["Solomon, Misha"],"creator_names_search":["Solomon, Misha"],"creators":["[{\"url\":\"https://viaf.org/viaf/19160208386348620534\",\"name\":\"Solomon, Misha\",\"dates\":\"\",\"notes\":\"Misha Solomon (he/him) is a homosexual poet in and of Tiohtià:ke/Montréal. He is the author of two chapbooks, FLORALS (above/ground press, 2020) and Full Sentences (Turret House Press, 2022), and his work has appeared or is forthcoming in Best Canadian Poetry 2024, The /tƐmz/ Review, Yolk, and Vallum.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/ESqbAkKY2NRPsu4tuyhXI-wBV7JHhxFBIJNoKhTKvghQMw\",\"file_path\":\"\",\"filename\":\"Headlight24-Solomon.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:03:20\",\"precision\":\"\",\"size\":\"2.2 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Tubes,\\\" by Misha Solomon, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/tubes/, accessed on June 15, 2023.\",\"title\":\"Tubes\",\"credit\":\"Misha Solomon\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EeGekM3q1cRFmowTo126n-sBLQVWtIMoDJArltSS5vvu2Q\",\"file_path\":\"\",\"filename\":\"Headlight24-Solomon.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:03:20\",\"precision\":\"\",\"size\":\"35.4 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"Tubes,\\\" by Misha Solomon, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"Tubes\",\"credit\":\"Misha Solomon\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"contents":["Tubes\n\nby Misha Solomon\n\nI.\nThe Om Argan + Tucuma Lip Butter is a tube that contains another tube.\n\nPhoto of tube of Om Argan + Tucuma Lip Butter.\nRather, the Om Argan + Tucuma Lip Butter is a tube contained inside another tube, but this latter outer tube carries the inner tube’s name.\n\nPhoto of open tube of Om Argan + Tucuma Lip Butter.\n\nThe outer tube can be manipulated (opened, twisted) to reveal the inner tube, but the inner tube’s identity is always plainly identified upon the outer tube. The outer tube can lie, in that at any point in time the inner tube could be depleted and yet the outer tube would still advertise its contents. The inner tube, again, is the Om Argan + Tucuma Lip Butter and yet the inner tube can also not be the Om Argan + Tucuma Lip Butter, in that it can be used up entirely. The outer tube, again, carries only the name of the Om Argan + Tucuma Lip Butter, and therefore is not truly the Om Argan + Tucuma Lip Butter, and yet the outer tube can never not be the Om Argan + Tucuma Lip Butter, in that it always carries its name. It should also be noted that the Om Argan + Tucuma Lip Butter is applied to lips, which are essentially two tubes embedded in the flesh between the nose and the chin, two tubes that, when separated, allow access to a long inner tube that in turn connects to a near-endless system of inner tubes.\n\nII.\nThe Aesop Resurrection Aromatique Hand Balm is a tube in name only. Before use, the Aesop Resurrection Aromatique Hand Balm more closely resembles a conventional tube, but the object continues to be called a tube even as it is flattened and warped.\n\nPhoto of tube of Aesop Resurrection Aromatique Hand Balm.\n\nThe Aesop Resurrection Aromatique Hand Balm, rather, is a viscous liquid contained in a tube that bears its name. This outer tube, upon application of pressure, extrudes the liquid in the shape of tube.\n\nPhoto of open tube of Aesop Resurrection Aromatique Hand Balm.\n\nThe Aesop Resurrection Aromatique Hand Balm, however, quickly loses its tubal shape as it is extruded and applied to the hand. This would not be an apt time to mention that the hand is home to five tubes, known as fingers, and contains a number of tubes in the form of bones, veins, and tendons. Even less apt would be the mention of pores. The inner/outer dilemma, heretofore known as the Inner/Outer Dilemma, as explained in the discussion of Om Argan + Tucuma Lip Butter, applies here as well.\n\nIII.\nThe India Mahdavi Caran d’Ache Swiss-Made Pen is a tube contained in a tube.\n\nPhoto of tube of India Mahdavi Caran d’Ache Swiss-Made Pen.\n\nBoth the inner tube, the India Mahdavi Caran d’Ache Swiss-Made Pen, and its outer tube, the pen’s protective and decorative case, carry the name of said inner tube.\n\nPhoto of open tube of India Mahdavi Caran d’Ache Swiss-Made Pen.\n\nComplicating matters is the fact that the India Mahdavi Caran d’Ache Swiss-Made Pen almost definitely contains another tube, which in turn contains ink. Further complicating matters is the fact that the India Mahdavi Caran d’Ache Swiss-Made Pen has a golden tube, which, when pressed, reveals another pointed tube used to spread the ink, which is contained in the tube inside the tube. The doubly inner tube almost definitely does not carry the name of the tube, whereas the outer tube does carry the name of the tube. Is it relevant to add that the tube and its tube were given to me on the topmost storey of a large building, a rectangular tube, if you will, by a woman (remember the lips and hands, the tubes) who collects such tubes and who handed this tube over to me, her tubes grazing my tubes, after I remarked on the beauty of the tube, and that she did this likely because of her guilt over the dismal state of my grandfather’s finances? Guilt is in itself a tube, but I don’t know how or why."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/tubes/\",\"citation\":\"Solomon, Misha. Weeknight. Headlight Anthology, no. 24, 2023, pp. 18–21.\"}]"],"_version_":1853670549192966145,"timestamp":"2026-01-07T14:59:53.772Z","score":4.663373},{"id":"3976","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-04-17, Joseph"],"item_title_source":["Asset"],"item_title_note":["On tape labels and corroborated by Lee Gotham, who introduces the event headliner."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Joseph, Clifton"],"creator_names_search":["Gotham, Lee","Joseph, Clifton"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\"]},{\"url\":\"https://viaf.org/viaf/104182171\",\"name\":\"Joseph, Clifton\",\"dates\":\"1957-\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Marcel (?)","Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"contributors_names_search":["Duncan, Drew","Marcel (?)","Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Marcel (?)\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/34063513\",\"name\":\"Nawrocki, Norman\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106300281\",\"name\":\"Hawley, Steve (Liquid)\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Sabrina\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Paco W.\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Andy\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Unknown Performer\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Ed\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Lion Man\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Christine\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"https://viaf.org/viaf/105712077\",\"name\":\"Godin, Steve\",\"dates\":\"1956-\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Simon\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Tom\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"David J.\",\"dates\":\"\",\"notes\":\"Open-mic performer. Referred to as \\\"David Jaeger\\\" on the label of #SpokenWord_Sampler asset.\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"\",\"name\":\"Mark\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Reader\"]}]"],"performer_name":["Nawrocki, Norman","McGrail, Justin","Hawley, Steve (Liquid)"],"Recordist_name":["Duncan, Drew"],"Reader_name":["Marcel (?)","Sabrina","Paco W.","Andy","Unknown Performer","Ed","Lion Man","Christine","Godin, Steve","Simon","Tom","David J.","Mark"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/1563/Enough_Said-VHS5-19950410_19950417_19950501.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK SHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side.\",\"other_physical_description\":\"VHS #5 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EbglSQmBIXFFnO0aC_QgYuMBfiv0DqqcFLnOFTPpCIJOVQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950417-Joseph.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"02:28:14\",\"precision\":\"\",\"size\":\"4.18 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring Clifton Joseph as part of the Enough Said series, organized by Lee Gotham, with extra open-mic performances by Norman Nawrocki, Justin McGrail, Steve Godin, Steve \\\"Liquid\\\" Hawley, and others.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-04-17\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at at 01:26:02:01 of VHS #5 asset, which contains multiple events."],"Note":["[{\"note\":\"VHS #5 asset. Contains recordings of multiple events: (1) Enough Said 1995-04-10, ga press; (2) Enough Said 1995-04-17, Joseph; and (3) Enough Said 1995-05-01, Stephens, Suderman, Diamond and McGrail. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Faith Paré\",\"type\":\"Cataloguer\"},{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://www.worldcat.org/title/757290350\",\"citation\":\"Nawrocki, Norman. Rebel Moon: @narchist Rants & Poems. Edinburgh: AK Press, 1997.\"},{\"url\":\"https://www.worldcat.org/title/15946845\",\"citation\":\"Joseph, Clifton. Metropolitan blues. Toronto: Domestic Bliss, c1983.\"},{\"url\":\"https://www.worldcat.org/title/755015866\",\"citation\":\"Zetlin, Liz, & Myke Dyer (directors). Words Aloud : the spoken word festival, 2007 [DVD]. Markdale, ON & Mississauga, ON.: McNabb Connolly, 2009 [Includes performances by Clifton Joseph].\"}]"],"_version_":1853670549157314560,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:04\nVideo description: Colour video. Long-shot of host Lee Gotham on the stage of the venue Bistro 4 (Quatre), addressing audience with opening remarks. Stage is juxtaposed with four large windowpanes that look onto vehicles and passerby on Saint-Laurent Boulevard. Evening. A large orb-shaped light hangs above the stage. Orange curtains are draped at the top of the windows. A number of unknown audience members are visible in the initial camera view. \n\nLee Gotham\n00:00:05\nEvening, peoples, peoples, peoples. Thank you very much, once again, for coming out, taking in some of the sights and sounds of the Main on a Monday evening in spring. We've got a hot show for you guys tonight. [Laughs] It'll be a lot of fun, gonna be some serious fun as well. To get into things without blabbing about local events, as I'll probably find ample opportunity to do so during various points during the evening, I'd like to just say, well, you know, thanks for coming. Clifton's really going to dig it, I know you're going to dig him and, um, I got a couple special surprises, the first of who I'll introduce right now. It's Norman Nawrocki. Can you welcome Norman, he's going to kick things off for us. [Audience applause]. | Video Description: Camera zooms in as Lee Gotham addresses audience while adjusting microphone stand. Gotham wears a white collared shirt atop a graphic t-shirt, long brown hair in bun, and a beard. Gotham introduces Norman Nawrocki, and adjusts microphone.\n\nNorman Nawrocki\n00:00:57\n[Addresses audience. Introduces \"Soldiers for Jesus, Get Off!\" (later published in Rebel Moon: Anarchist Rants and Poems, AK Press, 1997). Audience laughter and applause throughout.] | Video Description: Norman Nawrocki enters via stage left. Narrocki wears a hoodie atop a collared shirt and short blond/brown hair. C. Lee Gotham exits frame.\n\nNorman Nawrocki\n00:01:30\n[Performs \"Soldiers for Jesus.\" Audience snapping, stomping, and laughter throughout. Audience applause at the end.] | Video Description: Norman Nawrocki reads poem from a sheet of paper, snapping fingers to lead audience. After performing, Nawrocki exits via stage left. Lee Gotham passes through camera view. Various unknown audience members pass back and forth through camera view, briefly blocking Gotham.\n\nLee Gotham\n00:03:40\n[Introduces Marcel (?). Audience applause.] | Video Description: Lee Gotham addresses audience. Lee Gotham introduces Marcel and exits stage left.\n\nMarcel\n00:04:17\n[Addresses audience. Reads in French and then translates to English a few lines from Victor Hugo's \"La Function du poète,\" beginning with \"Peuples ! Écoutez le poète !\"] | Video Description: Marcel enters from stage right. Marcel wears a white turtleneck, short brown hair, and a grey beard.  Addresses audience through microphone then reads poem from book.\n\nMarcel\n00:05:07\n[Addresses audience and reads \"Poem,\" beginning with the line \"There's a rustling in the silence.\" Audience applause.] | Video Description: Marcel addresses audience while flipping through publications, then reads poem from held publication.\n\nMarcel\n00:07:20\n[Addresses audience and performs Unnamed Poem 2, in English. Audience applause.] | Marcel briefly addresses audience and reads poem from publication, pacing back and forth on stage, projecting voice without using microphone. \n\nMarcel\n00:09:00\n[Performs Unnamed Poem 3, beginning in French then switching to English mid-poem. Audience applause]. | Video Description: Marcel shuffles through papers and publications then performs Unnamed Poem 3, moving from stage left to stage right throughout. Nods at audience, gathers pages and publications; then nods to Lee Gotham who walks onto stage from stage left. Marcel and Gotham briefly interact and Marcel exits stage right. \n\nLee Gotham\n00:13:26\n[Addresses audience. Introduces Mark.] | Video Description: Lee Gotham addresses audience at microphone. Introduces Mark and exits stage left. \n\nMark\n00:14:21\n[Addresses audience. Promotes Inkling Magazine. Introduces \"The Man in the Street\".] | Video Description: Mark enters stage left and addresses audience. Mark wears a black graphic t-shirt and long curly black hair.\n\nMark\n00:15:00\n[Reads \"The Man in the Street.\"] | Video Description: Mark reads short story from a stack of pages.\n\nMark \n00:22:45\n[Interacts with Lee Gotham, saying \"almost.\" Addresses audience. Resumes reading \"The Man in the Street\". Audience applause.] | Video Description: Lee Gotham leans into camera view, saying something to Mark. Mark and Gotham briefly interact. Gotham exits frame. Mark addresses audience and finishes reading, before exiting stage left.\n\nLee Gotham\n00:26:45\n[Addresses audience. Introduces Justin McGrail, from Fluffy Pagan Echoes.] | Video Description: Lee Gotham adjusts microphone stand and addresses audience. Lee Gotham walks off via stage left. \n\nJustin McGrail\n00:27:36\n[Interacts with an offscreen audience member. Addresses audience. Introduces the dance-poetry show \"Of Fire and Sword\" as context for his first piece.] | Video Description: Justin McGrail walks on stage from stage left. McGrail wears a brown coat or blazer with pins on collar and short brown hair. McGrail briefly interacts with unseen audience member before addressing audience through microphone.\n\nJustin McGrail\n00:28:13\n[Begins performing \"Of Fire and Sword\" but immediately laughs and addresses audience. Audience laughter. Resumes performing \"Of Fire and Sword.\" Audience applause.] | Video Description: Justin McGrail closes eyes and recites words. Turns face away and mutters before laughing. Then addresses audience into microphone and resumes reciting the poem.\n\nJustin McGrail\n00:29:45\n[Addresses audience. Introduces and performs \"Circle\". Thanks audience. Audience applause. | Video Description: Camera zooms in on Justin McGrail addressing audience. McGrail reads poem from piece of paper. Addresses audience before exiting via stage left.\n\nLee Gotham\n00:31:02\n[Addresses audience. Promotes next edition of Enough Said. Announces fifteen-minute break.] | Video Description: Lee Gotham enters stage via stage right and addresses audience. Lee Gotham adjusts microphone. Audience members passing in front of camera briefly obscures view.\n\n[Bistro 4 stage]\n00:31:55\nAmbient sounds, voices. | Video Description: Camera cuts to a close up shot of the lone mic.\n\nLee Gotham\n00:31:57\n[Addresses audience. Promotes Norman Nawrocki's Human Life International counterprotests. Introduces Clifton Joseph. Audience applause.] | Video Description: Lee Gotham walks onto stage via stage right and addresses audience at microphone.\n\nClifton Joseph\n00:34:16\n[Interacts with Lee Gotham. Addresses audience. Audience laughter throughout.] | Video Description: Clifton Jospeh enters stage via stage left, drinking from glass. Joseph wears a brown button-up vest atop a light green short-sleeved shirt, black-framed glasses, and short black hair. Lee Gotham adjusts microphone to Clifton Joseph's height. Clifton Joseph addresses audience.\n\nClifton Joseph\n00:35:57\n[Recites from Samuel Taylor Coleridge's \"The Rime of the Ancient Mariner.\" Addresses audience throughout. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience and recites poetry, making occasional gestures that emphasize portions of the poem.\n\nClifton Joseph\n00:36:30\n[Laughs. Addresses audience, mentioning Allen Ginsberg, John Giorno, Jack Kerouac, LeRoi Jones/Amiri Baraka, Jayne Cortez, bill bissett, and The Four Horsemen (sound poetry group), among others. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience.\n\nClifton Joseph\n00:41:25\n[Performs poem beginning with singing and the line, \"When I look at the situation\".] | Video Description: Clifton Joseph performs poem, occasionally using pointing, snaps, and other gestures to emphasize the performance.\n\nClifton Joseph\n00:42:26\n[Performs a poem with vocalizing a melody and the line \"See, you never know what a man may do\". Audience clapping along to beat.] | Video Description: Clifton Joseph performs poem.\n\nClifton Joseph\n00:43:07\n[Performs poem beginning with the line \"Damn, damn, damn, what a scam, what a sham\". Addresses audience. Audience laughter and applause.] | Video Description: Clifton Joseph performs poem. Sips from glass. Addresses audience.\n\nClifton Joseph\n00:44:11\n[Imitates R&B singing group. Sings from \"Harlem Blues\". Addresses audience. Asks audience for lighter. Audience laughter throughout.] | Video Description: Clifton Joseph addresses audience. Clifton Joseph takes out a pack of cigarettes and lights one with a match from an audience member.\n\nClifton Joseph\n00:46:30\n[Resumes addressing audience. Introduces and performs \"I Remember Back Home\". Audience applause.] | Video Description: Clifton Joseph addresses audience. Performs poem. Ashes cigarette and drinks from glass. \n\nClifton Joseph\n00:49:30\n[Performs \"Pimps.\"] | Video Description: Clifton Joseph performs poem. \n\nClifton Joseph\n00:52:05\n[Initiates call-and-response with audience.] | Video description: Cups hand to ear.\n\nClifton Joseph\n00:53:29\n[Addresses audience. Audience applause; audience laughter throughout.] | Video Description: Clifton Joseph smokes cigarette and crushes it under foot. Drinks from glass. Addresses audience.\n\nClifton Joseph\n00:55:35\n[Performs \"Chuckie Prophesy\". Audience applause. Addresses audience. Audience laughter.] | Video Description: Clifton Joseph performs poem. Drinks from water glass. Addresses audience.\n\nAudience_Member1\n00:58:10\n[Interacts with Clifton Joseph.] | Video Description: Audience_Member1 interacts with Clifton Joseph.\n\nClifton Joseph\n00:58:16\n[Addresses audience.] | Video Description: Camera zooms out as Clifton Joseph addresses audience.\n\nClifton Joseph\n00:59:13\n[Performs \"Slo-Mo\". Audience applause.] | Video Description: Clifton Joseph performs poem. Drinks from glass. \n\nClifton Joseph\n01:04:00\n[Begins performing \"A Chant for Monk\". Interacts with unknown audience member off-screen. Laughs. Audience laughter. Resumes performing \"A Chant for Monk\".] | Video Description: Clifton Joseph performs poem. Camera zooms in as Clifton Joseph interacts briefly with offscreen audience member.\n\nClifton Joseph\n01:08:08\n[Initiates audience call-and-response. Resumes performing \"A Chant for Monk\".] | Video Description: Clifton Joseph performs, with gestures that accentuate performance. \n\nClifton Joseph\n01:09:12\n[Finishes performing \"A Chant for Monk\". Audience applause.] | Video Description: Clifton Joseph interacts with Lee Gotham. Clifton Joseph bows for audience applause.\n\nLee Gotham\n01:09:51\n[Addresses audience. Promotes upcoming events, including Clifford Duffy’s \"The Invention of God.\"] | Video Description: Camera zooms in as Lee Gotham adjusts microphone and addresses audience. \n\nLee Gotham\n01:11:06\n[Introduces Clifton Joseph's second set. Audience applause.] | Video Description: Jump cut. Extreme close-up on Lee Gotham addressing audience. \n\nClifton Joseph\n01:12:14\n[Addresses audience. Audience applause and laughter throughout.] | Video Description: Camera zooms in and out on Clifton Joseph speaking into microphone, addressing audience. \n\nClifton Joseph\n01:13:32\n[Introduces and performs \"Lookin' for a Job.\" Audience laughter. Audience applause.] | Video Description: Clifton Joseph drinks from a glass in front of the microphone, then continues addressing audience. Camera zooms in and out on Clifton Joseph performing. Joseph improvises various gesticulations for emphasis, such as raising glasses off his face on the word \"sight.\" \n\nClifton Joseph\n01:16:06\n[Addresses audience. Interacts with audience member. Audience laughter throughout. Introduces and performs \"(Metropolitan Blues?).\" Audience applause.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Camera zooms in and out on Clifton Joseph performing and laughing into microphone.\n\nClifton Joseph\n01:24:00\n[Briefly performs from \"Special Request\" before addressing audience.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Briefly gesticulates as he performs lines from a song. Adjusts and speaks into microphone.\n\nClifton Joseph\n01:24:45\n[Performs poem beginning with the line \"It is dumb, dumb, dumb.\" Concludes with audience call-and-response. Audience applause.] | Video Description: Clifton Joseph performing into microphone. Clifton Joseph points toward audience to initiate call-and-response.\n\nClifton Joseph\n01:26:13\n[Addresses audience, interacting with individual audience members throughout. Audience laughter throughout.] | Video Description: Clifton Joseph walks around the microphone to drink from a glass. Camera zooms in and out as Clifton Joseph addresses audience. Accepts glass from unseen audience member and drinks from it. \n\nClifton Joseph\n01:30:27\n[Performs poem beginning with loud vocalizations that turn from singing to screaming. Audience applause.] | Video Description: Camera zooms out as Clifton Joseph removes microphone from stand, places down glass, and holds microphone in hand. Camera pans across stage as Clifton Joseph performs, facing away from audience. Joseph turns toward audience and places microphone in stand. Lee Gotham briefly adjusts microphone as Joseph performs. Joseph moves microphone stand to stage right. Camera follows Joseph as he walks through audience performing. Audience applauds. Joseph wipes face with hand and walks through the crowd, exiting the camera's view. Camera pans back toward the stage. Lee Gotham enters frame and approaches microphone from stage left.\n\nLee Gotham\n01:34:23\n[Addresses audience. Audience applause.] | Video Description: Camera zooms in on Lee Gotham, who speaks into microphone and claps along with audience. He exits the frame. Camera pans across audience applauding. Joseph reenters frame. Camera pans, following Joseph walking toward the stage. Camera zooms in as Lee Gotham and Joseph embrace, and Joseph dances on stage. Joseph bows.\n\nClifton Joseph\n01:35:00\n[Addresses audience. Audience laughter.] | Video Description: Clifton Joseph speaks into microphone, addressing audience. Drinks from glass before walking off stage via stage left. Lee Gotham walks to stage.\n\nLee Gotham\n01:35:21\n[Addresses audience and announces break. Laughs.] | Video Description: Lee Gotham adjusts microphone stand and addresses audience. Brief VCR static.\n\nLee Gotham\n01:36:02\n[Addresses audience. Reads from Unnamed Periodical. Addresses audience member (\"See you later, Bob\") and resumes addressing audience. Announces open mic and its first performer, Steve Hawley.] | Video Description: Close-up on Lee Gotham speaking into microphone and reading from a periodical. Lee Gotham exits frame and returns with a dictionary. Waves to an audience member off-screen before addressing audience again. \n\nSteve \"Liquid\" Hawley\n01:37:38\n[Addresses audience. Addresses Audience_Member2.] | Video Description: Lee Gotham moves out of frame. Steve \"Liquid\" Hawley enters stage from stage left. Hawley wears a black sweatshirt and backward baseball cap on short dark hair. Hawley holds a cigarette. Hawley lifts microphone from stand and holds it close to mouth while addressing audience. Camera zooms out, revealing Hawley holding a glass.\n\nSteve \"Liquid\" Hawley\n01:38:21\n[Performs a piece beginning with the line \"We got (?) children's candy.] | Video Description: Steve \"Liquid\" Hawley raps into microphone.\n\nSteve \"Liquid\" Hawley\n01:38:46\n[Addresses audience. Interacts with unknown audience member. Introduces and performs piece beginning with the line \"I see people on a mission every day of their lives\". Laughs; audience laughter.] | Video Description: Steve \"Liquid\" Hawley speaks to audience and briefly dances while making a joke. Places down glass. Camera zooms in to close-up as Hawley introduces and performs next piece. Hawley raps into microphone, briefly laughs, and continues performing.\n\nSteve \"Liquid\" Hawley\n01:41:14\n[Introduces and performers piece beginning with the line \"It's rough, growing up without peers.\" Addresses audience. Audience applause.] | Video Description: Steve \"Liquid\" Hawley raps into microphone. Camera zooms out as Hawley exits frame. Lee Gotham claps while walking up to microphone.\n\nLee Gotham\n01:43:27\n[Addresses audience. Announces Sabrina. Audience applause.] | Video Description: Lee Gotham adjusts microphone. Camera zooms in as Gotham speaks to audience. Sabrina moves across screen, walking toward stage. Gotham adjusts microphone to Sabrina's height and exits stage left. \n\nSabrina\n01:43:45\n[Addresses audience. Introduces and performs \"(?) Blues.\" Laughs and addresses audience mid-poem. Audience laughter and applause.] | Video Description: Camera zooms in and out as Sabrina addresses audience. Sabrina wears a dark jacket, patterned scarf around neck, and brown, shoulder-length hair with a clip. Reads poem from a piece of paper. Looks toward applauding audience members off-screen. Stops reading and addresses audience, making \"finger-gun\" motions. Laughs and looks behind left shoulder, away from audience, then recites the rest of the poem. Walks out of frame.\n\nLee Gotham\n01:47:35\n[Addresses audience. Announces Andy. Interacts with Andy, before announcing Paco W.] | Video Description: Sabrina moves across camera view as Lee Gotham arrives at microphone. Lee Gotham addresses audience. Gotham exits frame.\n\nPaco W.\n01:48:31\n[Reads a piece beginning with the line \"I will telling of nothing, nothing, I'll tell you.\" Audience applause.] | Video Description: Paco walks to microphone and makes brief \"sign of the horns\" gesture. Paco wears a collared shirt, an earring in left ear, and short brown hair. Paco adjusts microphone before reading poem from a stack of pages.\n\nPaco W.\n01:50:26\n[Introduces and reads from \"Fragments of Our (Kin?).\" Audience applause.] | Video Description: Paco steps briefly away from microphone. Passing audience member obscures camera view. Paco looks down toward pages and steps back in front of microphone. Reads into microphone from stack of pages. Walks off-screen. Lee Gotham returns to microphone and adjusts stand.\n\nLee Gotham\n01:51:51\n[Addresses Andy. Introduces Andy. Audience applause.] | Video Description: Lee Gotham addresses Andy (who is off-screen) before walking off-screen.\n\nAndy\n01:52:13\n[Addresses audience. Reads Unnamed Piece. Audience applause.] | Video Description: Camera tilts upward as Andy walks to microphone. Andy wears a red shirt, black toque, a necklace, and curly chin-length hair. Andy reads from notebook.\n\nAndy\n01:53:35\n[Reads \"Quiet.\" Audience laughter throughout. Audience applause.] | Video Description: Andy closes notebook and turns around to grab a piece of paper before speaking into microphone. Looks down at page while reading. Moves away from microphone and walks out-of-frame via stage left. Lee Gotham moves to microphone.\n\nLee Gotham\n01:55:20\n[Addresses and introduces David J.] | Video Description: Lee Gotham speaks into microphone addressing David J. (who is off-screen) before exiting stage-left, out of frame. \n\nDavid J.\n01:55:29\n[Addresses audience. Introduces and reads \"Who Do?\" Audience laughter, applause.] | Video Description: David J. walks to microphone and addresses audience. J. wears a black sweater atop a grey collared shirt and short black hair. Camera zooms out as David speaks to audience while flipping through a notebook. Reads from notebook.\n\nDavid J.\n01:56:10\n[Introduces \"Cadillac Bomb.\" Audience applause.] | Video Description: David J. speaks to audience while flipping through notebook. Reads from notebook. \n\nDavid J.\n01:56:55\nIntroduces and reads \"The Devil's Got the Goods\". Audience applause.] | Video Description: David J. steps away from microphone and flips through notebook. Speaks, inaudibly, to off-screen audience member. Addresses audience. Camera zooms in as David reads from notebook. David steps away from microphone and nods to audience, before walking stage left, off-screen. Lee Gotham approaches microphone.\n\nLee Gotham\n01:58:42\n[Addresses audience. Asks about Jeff, then invites Unknown_Reader1 to the stage.] | Video Description: Lee Gotham speaks to audience. An unnamed audience member briefly passes in front of Lee Gotham. \n\nUnknown_Reader1\n01:59:23\n[Introduces and reads (\"Also Badge\"?).] | Video Description: Unknown_Reader1 approaches microphone with a stack of papers. Unknown_Reader1 wears a pink t-shirt and long straight brown hair. Reads from stack of papers.\n\nUnknown_Reader1\n01:59:55\n[Introduces and reads \"For Salman\" (Salman Rushdie). Audience applause.] | Video Description: Unknown_Reader1 briefly steps away from microphone before introducing another poem. Reads from stack of papers.\n\nUnknown_Reader1\n02:00:32\n[Introduces and reads Unnamed Poem. Thanks audience. Audience applause.] | Video Description: Unknown_Reader1 briefly steps away from microphone before introducing another poem. Reads from stack of papers. Addresses audience and walks from microphone, exiting stage left. Camera zooms out as Lee Gotham approaches microphone.\n\nLee Gotham\n02:01:41\n[Addresses audience. Interacts with Ed.] | Video Description: Lee Gotham speaks to audience before interacting briefly with Ed off-screen. Ed enters from stage left as Lee Gotham adjusts microphone. Camera zooms in as Ed moves toward microphone and Lee Gotham exits stage left.\n\nEd\n02:01:59\n[Introduces and reads \"Open Hand, Empty Hand.\" Thanks audience. Audience applause.] | Video Description: Ed addresses audience. Ed wears a dark trench coat atop a collared shirt and brown hair in bowl-cut style. Reads poem. Addresses audience and exits stage left. Lee Gotham enters and moves to microphone.\n\nLee Gotham\n02:04:06\n[Addresses audience. Announces Lion Man.] | Video Description: Lee Gotham speaks into microphone, addressing audience and Lion Man. Gotham adjusts microphone as Lion Man enters frame from stage right.\n\nLion Man\n02:04:25\n[Makes purring noise into microphone. Audience laughter.] | Video Description: Lion Man addresses audience. Lion man wears an emerald green vest, a brown collared shirt, and straight chin-length brown hair. \n\nLion Man\n02:04:30\n[Performs \"Impropaganda.\" Audience applause.] | Video Description: Lion Man recites poem into the microphone.\n\nLion Man\n02:06:28\n[Addresses audience. Audience laughter. Introduces and reads Unnamed Poem, about \"if water and plant life could speak to us.\" Audience applause.] | Video Description: Lion Man steps away from microphone and smiles. Addresses audience. Flips through notebook before addressing audience. Reads poem from notebook. Closes notebook and steps away from microphone, exiting stage right. Camera zooms out as Lee Gotham enters from stage left, clapping, and walks up to microphone.\n\nLee Gotham\n02:09:33\n[Thanks Lion Man. Announces Christine. Promotes upcoming event, Clifford Duffy’s \"The Invention of God,\" at the Woodstock Bar.] | Video Description: Lee Gotham addresses audience, speaking into microphone. Christine enters frame from stage left and flips through papers. Gotham adjusts microphone and walks off-camera, exiting stage left.\n\nChristine\n02:10:04\n[Addresses audience. Audience response. Laughs and resumes addressing audience.] | Video Description: Christine stands to the side of microphone, flipping through pages. Christine wears a black collared shirt, light-wash jeans with a large belt buckle, and short blonde hair. Christine walks up to the microphone and addresses audience. Christine laughs at and flips through pages. \n\nChristine\n02:10:43\n[Reads a poem beginning with the line \"Why do I feel so (?) like a little girl.\" Audience applause.] | Video Description: Camera zooms in and out on Christine reading from notebook. Looks down away from audience. Camera zooms out as Christine flips to a new page.\n\nChristine\n02:11:52\n[Reads a poem beginning with the line \"Okay, it's all over now.\" Audience applause.] | Video Description: Christine reads from notebook. Flips through notebook pages before settling on a new page.\n\nChristine\n02:13:30\n[Reads from \"Unfinished Poems.\" Audience applause.] | Video Description: Christine reads from notebook. Walks from microphone and off-screen via stage left. Christine is seen again passing through camera's view. Lee Gotham enters from stage left and walks to microphone.\n\nLee Gotham\n02:14:37\n[Addresses audience. Thanks Christine. Announces Steve Godin.] | Video Description: Lee Gotham addresses audience. An unknown audience member passes briefly through camera view. Gotham exits as Steve Godin walks toward the microphone from stage right.\n\nSteve Godin\n02:14:57\n[Addresses audience. Introduces and reads Unnamed Poem 1. Audience applause. Thanks audience.] | Video Description: Steve Godin addresses audience while looking through pages. Godin wears a black leather jacket atop a black t-shirt and long grey straight hair. Reads from a stack of pages. Addresses audience and exits via stage right. Lee Gotham approaches microphone from stage left.\n\nLee Gotham\n02:18:47\n[Thanks Steve Godin. Announces Simon.] | Video Description: Lee Gotham addresses audience and exits stage left. \n\nSimon\n02:19:05\n[Addresses audience. Introduces and reads \"Pulling Me In.\" Audience applause.] | Video Description: Camera tilts down as Simon approaches microphone. Simon wears a blue long sleeve t-shirt, round glasses, and collar-length straight brown hair. Camera zooms in as Simon addresses audience. Simon reads into the microphone.\n\nSimon\n02:19:50\n[Addresses audience. Introduces and reads \"The Day with the Face.\" Thanks audience. Audience applause.] | Video Description: Simon steps briefly away from microphone before stepping back and addressing audience. Simon raises stack of pages higher, into frame. Reads from stack of pages. Steps away from microphone and looks down. Speaks briefly into microphone before exiting stage left. Camera zooms out as Lee Gotham approaches microphone from stage right. Gotham takes cigarette out of mouth.\n\nLee Gotham\n02:23:43\n[Thanks Simon. Interacts with off-screen audience member (Jean-Luc). Introduces Tom. Audience applause.] | Video Description: Lee Gotham addresses audience, laughing throughout. Gotham moves from microphone and exits stage right. \n\nTom\n02:24:31\n[Addresses audience. Audience laughter] Introduces and performs \"Call Before You Dig.\"] | Video Description: Tom enters from stage left. Tom wears a navy flannel jacket, black backwards baseball cap, and blond hair. Reads from pages.\n\nTom\n02:26:20\n[Addresses audience. Audience applause. Introduces and reads \"The Conspiracy of the (?) Dentist.\" Laughs. Addresses audience. Audience laughter and applause.] | Video Description: Tom steps away from microphone and shuffles through pages. Approaches microphone and addresses audience. Reads from pages. Then exits stage left. Camera zooms out as Lee Gotham approaches microphone clapping. Lee Gotham adjusts microphone.\n\nLee Gotham\n02:27:56\n[Addresses audience with concluding remarks.] | Video Description: Lee Gotham addresses audience, removes cigarette from mouth, and resumes speaking. An audience member briefly passes through camera view.\n\nEND\n02:28:05\n[End of recording.]"],"score":4.3418603},{"id":"7217","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Bill Bissett  \"London Life\" with Chris Meloche"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bissett, Bill","Meloche, Chris"],"creator_names_search":["Bissett, Bill","Meloche, Chris"],"creators":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\"]},{\"url\":\"http://viaf.org/viaf/53831869\",\"name\":\"Meloche, Chris\",\"dates\":\"1957-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Publication_Date":[1991],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12289/Warren Tallman Fonds_MsC 26.44_218.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"218 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:54:44\",\"precision\":\"\",\"size\":\"50.1 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"218 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:21:09\",\"precision\":\"\",\"size\":\"19.3 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1991\",\"type\":\"Publication Date\",\"notes\":\"This album was released in 1991\",\"source\":\"Internet\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"Track listing:\\nTh Monster In Th Wall Makes Me Type\\tThees Jets Wer Flying\\nWhat Can We Dew With Our Hearts\\t\\nToxic Blobs Calld Potenshul Disastr\\t\\nLondon Life\\nRunning With Th Liquid Dansrs In Th Sky\\t\\nKaribu Road\\t\\nLife Etc...\\t\\nFevr Thots In Th Arktik\\t\\nIt Sz In Th London Free Press\\t\\nMovees Can Be Veree Edukaysyunal\\t\\nWindigo\\nDew What Yu Want\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670556701818882,"timestamp":"2026-01-07T15:00:00.983Z","score":3.9999707},{"id":"5195","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Headlight Anthology Collection"],"source_collection_label":["Headlight Anthology Collection"],"collection_contributing_unit":[""],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Paz O’Farrell in Headlight 24, 2023"],"item_title_source":["Asset"],"item_title_note":["As published in Headlight Anthology. \n*Genre: nonfiction, CNF."],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Headlight 24"],"item_subseries_title":["Headlight 24 Pieces"],"item_identifiers":["[]"],"rights":["In Copyright Educational Use Permitted (InC-EDU)"],"rights_notes":["Copyright by Headlight Anthology and contributor. Online reproduction and archiving allowed. Republications under different publishers must be authorized by the contributor."],"creator_names":["O’Farrell, Paz"],"creator_names_search":["O’Farrell, Paz"],"creators":["[{\"url\":\"\",\"name\":\"O’Farrell, Paz\",\"dates\":\"\",\"notes\":\"Paz O’Farrell is a writer from Buenos Aires pursuing a Creative Writing Master’s at Concordia. Her work has been published in the Scripps Journal and In Media Res, selected as a finalist for the DISQUIET non-fiction prize and the Adroit Prose Prize. She has received the Hollfelder Award.\",\"nation\":[],\"role\":[\"Author\",\"Performer\"]}]"],"contributors_names":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors_names_search":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"contributors":["[{\"url\":\"\",\"name\":\"Elbanhawy, Sherine\",\"dates\":\"\",\"notes\":\"Co-managing editor of Headlight 24.\\n\\n\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Eastwood, Miranda\",\"dates\":\"\",\"notes\":\"Sound editor of Headlight 24.\",\"nation\":[],\"role\":[\"Producer\",\"Recordist\"]},{\"url\":\"https://viaf.org/viaf/97149659658506830525\",\"name\":\"Pittella, Carlos A.\",\"dates\":\"1983-\",\"notes\":\"Co-managing editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Andrews, Olive\",\"dates\":\"\",\"notes\":\"Poetry editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Affonso, Alexandre\",\"dates\":\"\",\"notes\":\"Nonfiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]},{\"url\":\"\",\"name\":\"Ruby, Ariella\",\"dates\":\"\",\"notes\":\"Fiction editor of Headlight 24.\",\"nation\":[],\"role\":[\"Publisher\",\"Producer\"]}]"],"Producer_name":["Elbanhawy, Sherine","Eastwood, Miranda","Pittella, Carlos A.","Andrews, Olive","Affonso, Alexandre","Ruby, Ariella"],"Recordist_name":["Eastwood, Miranda"],"Publication_Date":[2023],"material_description":["[{\"side\":\"\",\"image\":\"\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Digital\",\"storage_capacity\":\"\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"\",\"physical_composition\":\"\",\"accompanying_material\":\"\",\"other_physical_description\":\"\"}]"],"recording_type":["Digital"],"AV_type":["Audio"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/ERuTHOhj0npPiBquhhtxZ6gBdhzrPDrFuaPsX4u1gMVR2A\",\"file_path\":\"\",\"filename\":\"Headlight24-O'Farrell.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:11:19\",\"precision\":\"\",\"size\":\"6 MB\",\"bitrate\":\"145-185 kbps\",\"encoding\":\"MP3\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"I don’t even know what to do about all this,\\\" by Paz O’Farrell, as published in Headlight Anthology, no. 24.\",\"notes\":\"MP3 also available at https://headlightanthology.ca/archive/n24/i-dont-even-know-what-to-do-about-all-this/, accessed on June 15, 2023.\",\"title\":\"I don’t even know what to do about all this\",\"credit\":\"Paz O’Farrell\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"Yes\",\"public_access_url\":\"\"},{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:u:/g/personal/carlosa_pittella_concordia_ca/EWn4qg1PYMpJnWX-t-tg9bkBLAGJLoqALxDoG-BVduaZ7g\",\"file_path\":\"\",\"filename\":\"Headlight24-O'Farrell.wav\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:11:19\",\"precision\":\"\",\"size\":\"119.8 MB\",\"bitrate\":\"1411 kbps\",\"encoding\":\"WAV\",\"contents\":\"This is file 1 of 1 containing an audio-recording of the piece \\\"I don’t even know what to do about all this,\\\" by Paz O’Farrell, as published in Headlight Anthology, no. 24.\",\"notes\":\"\",\"title\":\"I don’t even know what to do about all this\",\"credit\":\"Paz O’Farrell\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"2023-06-02\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"Headlight website\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1192154219\",\"venue\":\"Concordia University, Department of English\",\"notes\":\"Headlight Anthology operates out of Concordia’s graduate English Literature & Creative Writing department.\",\"address\":\"1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8\",\"latitude\":\"45.4969331\",\"longitude\":\"-73.5783742\"}]"],"Address":["1455 Boul. de Maisonneuve O., LB 641, Montréal, QC, H3G 1M8"],"Venue":["Concordia University, Department of English"],"City":["Montreal, Quebec"],"content_notes":["*CW: eating disorders"],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"Genre should be updated to \\\"Reading: nonfiction\\\" or \\\"Reading: CNF\\\" when one of this options is available.\",\"type\":\"General\"}]"],"Related_works":["[{\"url\":\"https://headlightanthology.ca/archive/n24/i-dont-even-know-what-to-do-about-all-this/\",\"citation\":\"O’Farrell, Paz. I don’t even know what to do about all this. Headlight Anthology, no. 24, 2023, pp. 37–47.\"}]"],"_version_":1853670549180383233,"timestamp":"2026-01-07T14:59:53.772Z","contents":["I don’t even know what to do about all this\n\nby Paz O’Farrell\n\n*CW: eating disorders\n\nEvery fact I have learned about food, since that little pyramid diagram from primary, has been against my will. Even the useful ones, like how one should order tomato juice on airplanes for maximum hydration. Now I can’t bear to ask for any other drink when they roll down the carts through the carpeted aisles, even though the whole time I watch them approach, slowly, like a menace, I’m thinking I’d kill for a 7UP.\n\nAnother liquid example is beer. A German exchange student I met one autumn night of my life, walking down the Quebecois streets, chose to spend that time telling me about how back home they call beer “liquid bread.” The next few hours I glared at a pitcher of IPA. At my thighs. At the machine that charged me 11 CAD, because everyone is charged individually in Canada. Not at him because he was happy. Liquid bread. I think about this every time my lips kiss the neck of a bottle or I hear a can crack like ice.\n\nMy ex-roommate (freshman year in California, got sent to the hospital that first weekend on account of tequila inexperience) told me avocados are healthy fats. Never mind the “healthy”—I can’t get over the fat part. I used to love putting them in my salads.\n\nMe and my salads. The fucking salads. I am a Sisyphus of kale.\n\n*\n\nHere’s the best one: pineapples eat you back.\n\n*\n\nI know no one really wants to hear about it, but that’s never really been a deterrent in any regard of my life, has it?\n\n*\n\nThese holidays I heard a phrase I hadn’t heard in a while: hacerse la flaca. It means to act like you are skinny, either by pretence or as flaunting. Both are dangerous. Weight has weight back home.\n\n*\n\nI have fruit every now and then. I delight in sugar, but I can’t have too much of it because it’ll make me freak out, so it’s not really delight. It’s like having sex with someone you know you shouldn’t, and you are left with all the bad parts as they keep snoring in the morning. Or like the ring of grime in a bathtub.\n\nYou know, I once had a birthday party where we all sat at a long table and decorated cupcakes. I still remember the purple sprinkles. This must have been eleven years ago. The day after Valentine’s day, a sweltering summer in Buenos Aires made tolerable by the icy pool (refrigerated by a formidable araucaria), the chlorine was drying in our hair—blonde girls turning green—and we dipped our fingers in whipped egg whites and sugar, dulce de leche, melted milk chocolate. I can guarantee I licked all my fingers, and this was all before the birthday cake.\n\n*\n\nThe same girls, two years later, would have a different outlook on cupcakes. The first year of middle school, three classmates of mine had to miss the three-day trip to San Clemente del Tuyú because they had been diagnosed as anorexic. I wasn’t really sure how anorexia would prevent them from whale watching, yet I have to say I remember the sticks they had for legs under the tunics we had to wear. I’d watch them walking down the hallway and imagine them tripping and shattering. It was hard not to. I thought of it as fragility then. My views have changed too.\n\n*\n\nI think potatoes are okay. A dermatologist told me grains break you out. The ex-college roommate said the same about dairy. Everything is bad for something.\n\n*\n\nI know it’s not original to write about eating and its disorders. How it’s bourgeois, even. Hunger as a choice when the world is consuming itself. I’m not sure what defence there is, other than pain. A weak defence. I’d like a moat.\n\nWe know it’s not really about vanity. We know it’s not even about my body! We all know that, like most people, I hated myself and so I designed a daily mechanism to exercise cruelty—figurative flagellation, femininity and catholicism being important factors to consider in light of the virtue of restriction. My American friend who did ballet and is still under its grip tried to convince me that I was alimentally fucked up like her, and I told her: “If that’s true, everyone I know back home has an eating disorder.”\n\nWhat worries me is this: Argentina is #2 in anorexia cases, internationally. Japan has us beat. I think it’s quite literally the opposite end of the world from where I’m writing this, although we are united by a fictional thread that crosses the Earth’s nucleus. #1. God help the Japanese.\n\n*\n\nLet me tell you about my collarbones. Let me tell you about feeling confident most items in the dressing room will look good on my little body. Let me tell you how people break their backs to help me out and buy me drinks. Let me tell you about getting my period about every 110 days and always worrying I’ve gotten fat when I do, and that no one else will ever get me a gin tonic or lift up my suitcase up a step or smile at me in the street or want to hold my hand, quietly, at night, just to feel me.\n\n*\n\nI know a man who got an operation where they cut off half his intestine, or they shrunk his stomach the way grapes get shrivelled. I’m not sure. Something violent and clinical and cosmetic. He did lose weight, but, apparently, every three months he has to pass a stone. My uncle just went on a fishing trip with him and they had to drive him to the hospital two nights in a row.\n\n*\n\nHave you heard about the K-pop idol diet? An apple for glucose, a protein bar for self-explanatory reasons, a potato. Why the fuck do I hold myself to the standard of a Korean pop star, you may wonder, as I do sometimes. And then sometimes I find a lot of comfort in the idea that I am a normal person, allowed to have some garlic butter. Or, obscenely, a slice of carrot cake, with icing, and the world does not swallow me whole.\n\nSince I left Argentina to go north and then even further north, I would throw in a line or two about my weight to my psychologist. Like a report, like a bone, before we moved on to my actual problems, which I had several of (not in the scope of this edible clusterfuck). We didn’t video-call, so it’s not like she saw my flesh and bones and had any grounds to be worried or suspicious. Pick a reason: I didn’t want to magnify it, it wasn’t a big deal, I didn’t want anyone to stop me.\n\nI really liked making myself skinny; it was something I could do as opposed to the aforementioned Actual Problems.\n\nUntil I didn’t and some months it felt excruciating because I had to eat and have a body every single day. I was tired. I am tired. To my bones, visible and near. When my psychologist saw me in person for the first time in years, that was that.\n\n*\n\nNot my mom, though. She didn’t congratulate me explicitly but you should hear the way she glows with pride when she says “this is my daughter” these days. She didn’t sound like that when I was fifteen and fat, I will tell you that. Seven years ago, the best way to get me to smile was an Oreo McFlurry.\n\n*\n\nSomeone explained to me what their keto cousin ate and I had a moment of recognition, except I knew what I had and it sounded like the cousin didn’t. If it isn’t a disguised disorder, what is it with keto? Moral superiority? Masochism?\n\nI used to tell people bread was my favourite food when I was younger. Any kind. I didn’t even put butter on it. Bread and circus, all I needed. I read a poem about bread being inevitable and I think about it like a prayer, as forgiveness, a caloric mantra.\n\n*\n\nDid you know that apparently my mother forbade my sisters from commenting on my weight? I think about that a lot. The sick sense of validation I predicted I’d get from her when my ribs started showing like the arches of the neighbourhood church. Being proven right. Then again, sometimes she frowns at the way a shirt hangs on me, or if I turn down ice cream.\n\nI’ve never understood the woman.\n\n*\n\nI’ve lived with someone who has a similar story. It’s hers to tell. She saw it in me.\n\nCooking for her was one of my favourite things to do. I spent an inflatable-mattress summer in San Francisco doing nothing but planning our meals, scouting recipes, going to the Safeway across the street daily. Bitching when she bitched that I got gluten free flour. Going to the treadmill most mornings.\n\nShe told me, you know, I never want to say anything about your weight (I knew where this was going), but you’re really very skinny. You could use a hamburger.\n\nI spouted some lie about endorphins.\n\nI did not feel really very skinny. I felt monstrous. Vile. I don’t think I saw my reflection that entire summer.\n\nShe said: it’s not on your body, it’s in your head. She tapped her temple twice.\n\nThat helped. But then she too will call me and tell me about gaining weight, mainly in her stomach but not her limbs, so that she feels like a spider. This is objectively funny. I just wish she could hold a mirror to the kind and wise things she tells me about the bullshit we share.\n\n*\n\nThe respect I have for people who don’t worry about any of this. For not applying these ridiculous standards to their body, for living outside of the mental chokehold. It rivals the respect I have for anyone thinner than I am. Our intimate acquaintance with the pain of restriction, like an invisible mutual friend in the room.\n\n*\n\nAt some point I looked at the kind strangers around me and I realized: These people are congratulating me on being thin.\n\nThen I realized further: It’s the discipline. My work ethic.\n\nLastly I realized that if my body is mine and not theirs, then I can look however I want. I can be ugly! I can have acne! I can have a bad haircut! I can even have meat and fat on my bones! And I’m trying to congratulate myself for knowing that, except, you know, everything you’ve read.\n\n*\n\nI haven’t read Delphine de Vigan so if she writes about any of this I’m sorry, it’s not on purpose.\n\n*\n\nLast week I wrote the worst essay of my life on Samuel Beckett and self consumption. Tomorrow I will watch the Timothée Chalamet cannibal movie. For years, one of my favourite stories to tell has been about the Chilean plane crash survivors, who report that human meat tastes like chicken.\n\nI am twenty-two and I am eating myself alive, like my loved ones before me.\n\n*\n\nThe anorexic ex-ballerina who now does pole, a bulimic former high school athlete, and I walk into a Korean barbecue joint. It’s the start of a joke and its punchline too.\n\n*\n\nAt the beach, I pulled out the saltines and offered them to said people. The bulimic said my diet was saltines and gum and I said that’s all you need to live. Are you okay, said the anorexic. A question I had gotten used to after shaving my head the week before. My hip bones were filed and I wore them like accessories. I laughed as a response.\n\n*\n\nI clock anyone skinnier than me. It’s an odd mix of fear and resentment and kinship. One April day I skimmed and scanned the entire populace at Disneyland with satisfaction, given I was the skinniest person at the rat amusement park. Until 5 PM, on the way out. A girl with toothpick legs. She was far younger than me and in a wheelchair. She looked like she was on her Make a Wish foundation trip or something. I don’t know what the fuck was wrong with me, being jealous of that unhealthiness. I wanted to apologize to her. I still do.\n\n*\n\nI remember which part of my tongue to send teriyaki sauce to, which glands thrive with ginger, the sector that blooms with the sweetness of peaches. One of these days I will have chocolate."],"score":3.8354347},{"id":"1479","cataloger_name":["Emma,Telaro"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Alan Lord collection"],"source_collection_label":["Alan Lord collection"],"collection_contributing_unit":["SpokenWeb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Alan Lord collection contains all the archives regarding the Ultimatum poetry readings and the Ultimatum & Ultimatum II festivals, including film, sound and documentation."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Michel Lefebvre at Ultimatum Festival 1985-05-01"],"item_title_source":["Container and Brochure "],"item_title_note":["On tapes \"U-1-2\" and \"U-1-3\" and festival schedule corroborated in brochure. 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Brochure.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/1296620055\",\"venue\":\"Foufounes Électriques\",\"notes\":\"\",\"address\":\"87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5\",\"latitude\":\"45.5109472\",\"longitude\":\" -73.5640102\"}]"],"Address":["87 Rue Sainte-Catherine E, Montréal, QC H2X 1K5"],"Venue":["Foufounes Électriques"],"City":["Montreal, Quebec"],"content_notes":["Transcription by Emma Telaro. \n\nBilingual \"Ultimatum Programme\" pamphlet announces the performance of \"Les Tables de Babylone\". "],"contents":["Ultimatum_Mixdown_Michel Lefebvre_U-1-2_T5_T6_T8_U-1-3_T1_T2.mp3\n\nThe following is a transcription of Michel Lefebvre’s performance at Ultimatum, Monday May 1st, 1985 at the Foufounes Electriques. The Ultimatum festival program titles the performance as “Les Tables de Babylone” and Alan Lord describes the scene in his memoirs: “A quite visibly and audibly tipsy Michel Lefebvre dressed as a space alien, knocking over vials of liquid on a table, with a girl in a Hugo Ball costume hovering robotically nearby”. She is possibly the source of a woman’s voice in the recording, who chants and recites poetry as Lefebvre performs sounds, poems and various theatrical noises.\n\nTRANSCRIPTION\n\nMichel Lefebvre\n00:00:00\nPerforms as female voice chants and recites poetry throughout [electric guitar, music, chanting, yelling, recorded voices, human voices, female voice, poetry, electronic noises].\n\n[Unknown]\n00:3:57 \nPause [ambient sounds].\n\nMichel Lefebvre\n00:04:24\nContinues to perform sounds [chanting, poetry, drums, electronic sounds, vocal performance, group, female voice, drums, recorded voices, human voices] Keywords: orgueil, organe, bistoury, chirurgie.\n\nUnknown\n00:16:09\n[tape cut]\n\nMichel Lefebvre \n00:16:12\nContinues performance [recording cuts into electric guitar, human voices, singing, chanting, drums].\n\nUnknown\n00:18:53 \nPause [ambient sounds and mumbling into microphone]. \n\nMichel Lefebvre\n00:19:06\nPerforms instrumental [electric guitar].\n\nEND\n00:23:08\n"],"Related_works":["[{\"url\":\"https://files.spokenweb.ca/concordia/alanlord/1/ALAN%20ARCHIVES%20DOCUMENTATION/07%20-%20ULTIMATUM/1%20-%20PHOTOS%20%26%20DOCUMENTATION/0%20-%20ULTIMATUM.pdf\",\"citation\":\"Ultimatum Program/me [Pamphlet] \"},{\"url\":\"\",\"citation\":\"Alan Lord unpublished memoirs.\"},{\"url\":\"\",\"citation\":\"Lefebvre, Michel. Facsimiled copy of \\\"Les tables de Babylone,\\\" 1985, Alan Lord fonds (F039), Box 1, folder AL-Folder1_lef. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Lefebvre, Michel. Proposal and résumé for Ultimatum, 1984–1985, Alan Lord fonds (F039), Box 1, folder AL-Folder2_lef. Concordia University Library, Special Collections, Montréal, QC.\"},{\"url\":\"\",\"citation\":\"Pattibo. Contact sheets of photos taken during the Ultimatum Festival, 1–5 May 1985, Alan Lord fonds (F039), Box 1, folder AL-U85_pat-sheets. 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Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"playback_mode":["Stereo"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"528-side-1.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:30:17\",\"precision\":\"\",\"size\":\"29.7 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"528-side-2.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:20:54\",\"precision\":\"\",\"size\":\"20.8 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online 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some real life developments, as reported in newspapers\n\t\t044\tStory set in Cambridge, Mass.; “the wall is the wall around Howard yard…”\n\t\t048\tDescription of Canadian and American covers\n\t\t068\tGroups like the “Moral Majority” would be eliminated by a powerful sect like the one depicted in the back\n\t\t080\tWhat would become of non-fertile women in such a regime\n\t\t\tWhat is going on in Canada While events unfold around Howard; the top of the “underground female-road”; Canada’s official position in neutral\n\t\t125\tPossible reactions to the book of U.S. women\n\t\t138\t“We take our freedom for granted…”\n\t\t157\tLiquid cash done away with in the book; any power group in control of appartatus can freeze individual’s assets over night\n\t\t174\t“A Coventry Carol” is introduced and played\n\t\t221\tInterview continues: Atwood wrote book in England\n\t\t274\tFinds it easier to write books outside of Canada\n\t\t302\tTalks about being a poor typist, taking Home Economics in school, etc.\n\t\t340\tAtwood introduces Offenbach piece, which is played\n\t\t403\tInterview resumes: Atwood’s involvement in P.E.N.; the Can-Lit Cookbook as a fundraiser\n\t\t450\tAnother fund raising idea\n\t\t477\tTalks about annoying questions from non-writing public\n\t\t511\tTalks about West Berlin where Atwood started The Handmaid’s Tale\n\t\t534\tTalks about learning German\n\t\t564\tTalks about current activities, past jobs, etc.\n\t\t608\tSong “I don’t want your millions, mister” is introduced and played (Atwood interview is over)"],"Note":["[{\"note\":\"Margaret Atwood on \\\"Gabereau\\\"\\nGabereau May 19, 1986\\nMargaret Atwood Discussing The Handmaids Tale, Life in England, The Canlit Cookbook\\nOriginally Broadcast October 1985 \\nHas some crackles due to thunderstorm\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670553744834561,"timestamp":"2026-01-07T14:59:58.173Z","score":2.9297793},{"id":"7282","cataloger_name":["Maya,Schwartz"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Adeena Karasick Fonds "],"source_collection_label":["Adeena Karasick Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC162"],"persistent_url":[""],"item_title":["Liquid Waze: a language event, bill bissett and Adeena Karasick, April 2, 1990 Duplicate 1 of 2"],"item_title_source":["cassette tape"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Bissett, Bill"],"creator_names_search":["Karasick, Adeena","Bissett, Bill"],"creators":["[{\"url\":\"https://viaf.org/viaf/76188856/#Karasick,_Adeena,_1965-\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/96127023/#Bissett,_Bill,_1939-....\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/7282/Adeena Karasick Fonds_MsC 162_16.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"clear tape box, insert\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC162-016 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:46\",\"precision\":\"\",\"size\":\"51.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC162-016 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:51\",\"precision\":\"\",\"size\":\"51.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-04-02\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"A duplicate of this tape exists in the Adeena Karasick Fonds (MsC162-17)\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670556903145474,"timestamp":"2026-01-07T15:00:01.192Z","score":2.7716813},{"id":"7950","cataloger_name":["Linara,Kolosov"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Adeena Karasick Fonds "],"source_collection_label":["Adeena Karasick Fonds "],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_id":["MsC162"],"persistent_url":[""],"item_title":["Liquid Waze: a language event, bill bissett and Adeena Karasick, April 2, 1990 - Duplicate 2 of 2"],"item_title_source":["cassette tape"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Karasick, Adeena","Bissett, Bill"],"creator_names_search":["Karasick, Adeena","Bissett, Bill"],"creators":["[{\"url\":\"https://viaf.org/viaf/76188856/#Karasick,_Adeena,_1965-\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/96127023/#Bissett,_Bill,_1939-....\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"contributors":["[]"],"Performance_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/7950/Adeena Karasick Fonds_MsC 162_17.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Excellent\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"clear tape box, insert\",\"other_physical_description\":\"\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC162-016 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:46\",\"precision\":\"\",\"size\":\"51.5 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"MSC162-016 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T00:46:51\",\"precision\":\"\",\"size\":\"51.9 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-04-02\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[]"],"City":["Other"],"Note":["[{\"note\":\"A duplicate of this tape exists in the Adeena Karasick Fonds (MsC162-17)\",\"type\":\"Related Version\"}]"],"Related_works":["[]"],"_version_":1853670557455745024,"timestamp":"2026-01-07T15:00:01.720Z","score":2.7716813},{"id":"5189","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-02-06, Brulé"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the two event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Brulé, E.J.","Gotham, Lee"],"creator_names_search":["Brulé, E.J.","Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/317000493\",\"name\":\"Brulé, E.J.\",\"dates\":\"\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham also MCs and performs at this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Unknown_Reader1","Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4","Hawley, Steve \"Liquid\""],"contributors_names_search":["Duncan, Drew","Unknown_Reader1","Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4","Hawley, Steve \"Liquid\""],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Unknown_Reader1\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible. \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member1\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member2\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member3\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member4\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/106300281\",\"name\":\"Hawley, Steve \\\"Liquid\\\"\",\"dates\":\"\",\"notes\":\"Open mic performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Unknown_Reader1","Hawley, Steve \"Liquid\""],"Recordist_name":["Duncan, Drew"],"Speaker_name":["Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/3980/Enough_Said-VHS2-19950116_19950130_19950206_19950213.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #2 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EeThGn6x4VhNmOhUqNQ9xiQB5DskoKL8GCpvcsvP59EY2Q\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950206-Brulé.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"1:05:24\",\"precision\":\"\",\"size\":\"1.85 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring E.J. Brulé as part of the Enough Said series, organized by Lee Gotham, with performances by Gotham himself and several open-mic participants.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-02-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 03:51:57:01 of VHS #2 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #2 asset. Contains recordings of multiple events: (1) Enough Said 1995-01-16, bissett and Nelson; (2) Enough Said 1995-01-30, Stanton and Stephens; (3) Enough Said 1995-02-06, Brulé; and (4) Enough Said 1995-02-13, Benefit Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Jade Palmer\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/oclc/938096272\",\"citation\":\"Brulé, E.J. Alternative Scat-Singer [vinyl]. Montréal: Transmission Records, 1986.\"},{\"url\":\"https://worldcat.org/oclc/1006543875\",\"citation\":\"Brulé, E.J. Freedom of Speech [music cassette]. Montréal: E.J. Brulé [self-published], [1989?].\"}]"],"_version_":1853670549188771841,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:03\nVideo Description: Color video of the stage with mic stand at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nE.J. Brulé\n00:00:04\n[Skips to Brulé midperformance, mouth percussing a slow hip hop beat. Says he will introduce new band. Introduces the drummer and mouth percusses a fast drum solo. Vocally mimics an upright bass playing walking jazz bassline and introduces bass player. Introduces the “hardcore guitar” player and vocally mimics a heavily distorted guitar holding a low note.] | Video Description. Medium closeup as Brulé mouth percusses drumbeat with his back turned to camera. Brulé wears a white button-down shirt with thin vertical stripes, a purple scarf with fringe at both ends wrapped once around neck, dark pants with a dark belt, reddish beard and mustache, short reddish hair with one piece curling on forehead, and a headset mic, holding a long scoop shovel with a handle on one end, a wooden shaft, and a black plastic blade.  Zooms out to medium shot then zoom into closeup as Brulé speaks into mic. Zooms out to medium long shot as Brulé, turned away from camera, mouth percusses drumbeat. Turns back, and vocally mimics an upright bass while pretending to play upright bass with shovel. Vocally mimics a guitar while pretending to play guitar with shovel, shaking the shaft of the shovel quickly.\n\nE.J. Brulé\n00:00:57\n[Explains that “the digital” (which seems to be a looping machine) was cold when he was warming up, it has a memory time of eight seconds which slows down when it is cold, but it warms up when everyone is in the room.] | Video Description: Medium long shot as Brulé speaks to audience while turning knobs on a large grey machine that is on his right with knobs and switches and ¼ inch and XLR cables plugged into the top. Zooms into medium shot.\n\nE.J. Brulé\n00:01:40\n[Mouth percusses same slow hip hop beat, records on looper, looper plays back. Performs a piece beginning with the line “The people by (?) tell me who can say.” Vocally mimics a guitar playing a fill in between lines. Recites line “I need a manager” that the looper repeats twice. Vocally mimics a trumpet playing a short melody, records on looper, looper plays back. Vocally mimics a trumpet playing a higher melody that harmonizes with the first, records on looper, looper plays back. Changes delivery of piece; lines become closer together with less space in between. Stumbles and recovers. Applause. Thanks the audience.] | Video Description: Medium shot as Brulé mouth percusses and adjusts knobs on looper. Picks up something behind him. Zooms out to medium long shot as Brulé pretends to play guitar with shovel. Performs a piece, while playing shovel in between lines. Pretends to play a trumpet. Periodically adjusts knobs on looper. Zooms into medium shot and closeup as the lines get closer together, then zooms out to medium long shot as the piece concludes.\n\nAudience_Member1\n00:04:54\n[Loud crashing sound.] | Video Description: Black baggy sweater with collar, beige pants, nearly completely shaved head. Holding a video camera, walks behind Brulé and equipment from Brulé’s right to left as if stepping over something. Knocks over something not visible. \n\nE.J. Brulé \n00:04:57\n[Addresses Audience_Member1, saying “no problem.” Explains he doesn’t perform at comedy clubs anymore because “they don’t know anything about music.” Suggests that pop music has gotten worse, while he has gotten better. Notes he is influenced by blues, bebop, and jazz.] | Video Description: Medium long shot as Brulé talks to audience and gestures. Lee Gotham can be seen in the audience on the bottom left corner of the frame taking his jacket off and adjusting in chair.\n\nAudience_Member1\n00:06:09 \nVideo Description: Walks behind Brulé again, this time from Brulé’s left to right, carrying more camera equipment. \n\nE.J. Brulé \n00:06:17 \n[Asks Gotham if he wants to plug in another mic to Brulé’s left.] | Video Description: Medium long shot as Brulé speaks to Gotham who is in the audience, gesturing to the mic cable hanging from ceiling. \n\nLee Gotham \n00:06:20\nVideo Description: Medium long shot as Gotham gets up from chair, walks across stage, and stands on chair to reach mic cable hanging from ceiling. Gotham wears a black unzipped sweater atop a yellow shirt, black pants, black taqiyah-style hat with a small folded visor, and shoulder-length brown hair.\n\nE.J. Brulé\n00:06:22\n[Scores Gotham setting up mic by vocally mimicking a guitar and then a trumpet playing a circus-like melody.] | Video Description: Medium long shot as Brulé speaks to audience. Turns to look at Gotham. Pretends to play guitar on shovel. Gestures as if he were playing a trumpet. \n\nLee Gotham\n00:06:54\nVideo Description: Smiles while walking off stage on the right side of the frame.\n\nE.J. Brulé\n00:06:54\n[Vocally mimics a guitar playing a driving riff that repeats the same note in quick succession.] | Video Description: Medium long shot as Brulé pretends to play guitar on shovel, shaking the shaft of shovel gradually more violently. \n\nE.J. Brulé\n00:07:17\n[Criticizes how people “get the gig” if they can play Led Zeppelin or Pink Floyd. Encourages people to write their own music.] | Video Description: Medium long shot as Brulé speaks to audience. Adjusts knobs on the looper. \n\nE.J. Brulé\n00:07:26\n[Vocally mimics guitar playing single notes with reverb. Makes a popping sound that the looper repeats to resemble a steady driving bass drumbeat. Vocally mimics a guitar playing a simple upbeat hard rock riff in a major key. Performs a piece beginning with the line “I’m young, I’m white, and I’m stupid,” vocally mimicking the guitar riff in between lines. Periodically stops the looper, recreates the drumbeat, and resumes performing piece. Repeats the line “How do you do? Tell it to you.” Resumes performing piece. Applause.] | Video Description: Medium long shot as Brulé pretends to play guitar with shovel. Puts hand over mouth to make popping sound. Adjusts knobs on looper. Performs a piece while pretending to play guitar on shovel. Periodically returns to looper to recreate drumbeat. Momentarily grabs mic and stand on his left and leans it towards an audience member while repeating one line. \n\nLee Gotham \n00:10:02\nVideo Description: Medium long shot as Gotham tests mic, talks to someone slightly out of frame, and walks away.\n\nE.J. Brulé \n00:10:02\n[Mentions that he has a selection of beats that can accompany open mic performers’ readings. Vocally mimics a guitar playing a fast punk song into standing mic.] Video Description: Medium long shot as Brulé sips water. Grabs paper from off-screen. Gestures with it while talking to audience. Walks over to mic. Tests it. Walks back to looper then back to mic. Zooms into medium shot as Brulé vocally mimics a guitar. Accidentally pulls cord out of mic. \n\nLee Gotham \n00:11:12\n[Apologizes for technical “quandries.” Thanks venue employees. Says they will “continue this as long as possible.” Announces they will request cash from audience next week to donate to En Marge, a homeless youth shelter below St. Catherine, and that over ten poets, including Raymond Filip and Endre Farkas, will perform. Announces the break. Mentions that the Peter Turret Trio plays every Friday and Saturday night. Mentions a film and video evening that a Concordia group hosts events every second Sunday. Mentions they have no open mic participants and encourages people to sign up. Brulé mouth percusses a jazz beat and vocally mimics a jazz bassline periodically throughout.] | Video Description: Medium shot as Gotham plugs cord back into mic. Tests it. Picks up notebook from off-stage. Adjusts mic. Zooms into medium closeup as Gotham speaks into mic. \n\nE.J. Brulé\n00:14:53\n[Encourages audience to applaud Gotham. Explains his selection of beats that can accompany open mic performers’ readings. Vocally mimics a bass playing a simple Motown bassline.] | Video Description: Medium shot as Brulé speaks to audience and gestures with a pad of paper. Vocally mimics a bass while pretending to play the upright bass with shovel. \n\nLee Gotham\n00:16:32\nI want to do the slow wuthering gospel. | Video Description: Gotham off-screen. Medium shot as Brulé looks into audience and walks back to looper. \n\nE.J. Brulé\n00:16:34\n[Says he will prepare the sample. Mouth percusses a galloping rhythm, records it on looper, looper plays back. Slows tempo on looper. Vocally mimics a heavily distorted guitar holding long low notes.] | Video Description: Medium long shot as Brulé mouth percusses and vocally mimics guitar while adjusting the knobs on the looper. \n\nLee Gotham \n00:16:56 \n[Says “I see no reason why we shouldn’t embrace chaos” citing the frequency of burning buildings and ambulances.] | Video Description: Medium long shot as Gotham speaks into mic while holding a piece of paper while Brulé, on Gotham’s left, adjusts knobs on looper. \n\nE.J. Brulé\n00:17:02\n[Tells Gotham “slower, slower.”] | Video Description: Medium long shot as Brulé steps towards Gotham, who is on his right, and points at Gotham’s sheet of paper. \n\nLee Gotham \n00:17:05\n[Explains to Brulé that he is doing a preamble, not reading yet.] Video Description: Medium long shot as Gotham speaks to Brulé and gestures with his hands. \n\nE.J. Brulé\n00:17:07\n[Remarks that Gotham’s preamble sounded “deep.” Slows tempo on looper. Resumes vocally mimicking a heavily distorted guitar holding long low notes.] | Video Description: Medium long shot as Brulé pulls the papers in Gotham’s hand towards himself, speaks to Gotham, and turns back to looper.\n\nLee Gotham \n00:17:22\n[Says it is a short piece so he will read slowly. Performs a piece beginning with the line “Breaking broken buried remnants hiding from the sky.” Repeats the same collection of lines three times, each with differing deliveries. Thanks audience. Applause. Remarks how easy it is, encourages audience to participate.] | Video Description: Medium long shot gradually zooms into medium closeup as Gotham performs a piece. Zooms out to medium long shot as Gotham leaves stage. Gotham returns, speaks into the mic, adjusts it, and leaves stage again. \n\nAudience_Member2\n00:19:30\n[Asks for examples of Brulé’s beats.] \n\nE.J. Brulé \n00:17:07\n[Agrees, says he wants to “earn the respect of the mentally elite” poets in the room. Mouth percusses a sultry jazz drumbeat, records on looper, looper plays back. Vocally mimics a trumpet playing a sparse line with reverb. Performs a piece in French. Vocally mimics a bass playing a simple ascending line.] | Video Description: Medium long shot zooms into closeup as Brulé speaks into the mic. Zooms out to medium shot as Brulé mouth percusses and vocally mimics instruments while adjusting knobs on looper. Zooms out to medium long shot as Brulé vocally mimics a trumpet. Performs piece.\n\nE.J. Brulé\n00:21:10\n[Says that’s the farthest he has gotten in writing the song. Audience begins applauding, but he says “no, no.” Offers punk film score music, an RnB (bop?), and New York art school jazz as beats to accompany open mic performers’ readings. Prepares to play another song.] | Video Description: Medium long shot as Brulé speaks to audience, picks up pad of white paper, sips water, and prepares to play another song. \n\nVarious Audience Members\n[Ask Brulé to play a punk beat.]\n\nE.J. Brulé\n00:22:11 \n[Vocally mimics guitar playing a fast punk riff. Explains that these are the kinds of things he would improvise while an open mic performer was performing.] | Video Description: Medium long shot as Brulé vocally mimics guitar and speaks with a group in the audience. Returns briefly to looper. Leans slightly out of frame to talk to group in audience again, who seem to be looking at his list of beats.\n\nAudience_Member3\n00:22:39\nBo Diddley. \n\nE.J. Brulé\n00:22:40\n[Vocally mimics guitar playing a Bo Diddley riff. Asks audience if they remember his mentors, the duo Deja Voodoo. Resumes vocally mimicking guitar playing a Bo Diddley riff, records on looper, looper plays back improperly. Records again. Performs a piece beginning with the line “Out in the swamp near Montreal.”] | Video Description: Medium long shot as E.J. Brulé vocally mimics a guitar while pretending to play guitar with shovel. Adjusts knobs on looper. Talks to audience. Resumes vocally mimicking a guitar while pretending to play guitar with shovel. Adjusts knobs on looper. Zooms into medium closeup as Brulé performs a piece. \n\nAudience_Member4\n00:24:00\n[To the tune of “I Want Candy” (The Strangeloves, single, Bang Records, 1965)] I want candy. I want candy.\n\nE.J. Brulé\n00:24:12\n[Says people think the riff was made up five years ago.] | Video Description: Medium closeup as Brulé talks to audience, walking around stage and gesturing. \n\nSteve \"Liquid\" Hawley\n00:24:31 \nVideo Description: Hawley rises from seat.\n\nE.J. Brulé \n00:24:40\n[Asks Hawley if they want “a slow slow rap.” Introduces song written for a hairy woman. Says he imagined if Prince produced a song for Leonard Cohen. Mouth percusses a Prince-like drumbeat, records on looper, looper plays back. Performs a piece beginning with the line “You don’t have to [rip?] your lip” and vocally mimics a standup bass playing a Prince-like bass fill in between stanzas. Vocally mimics a trumpet playing a quick motif. Mouth percusses a shaker playing eighth notes. Vocally mimics a bass fill to end song. Applause.] | Video Description: Medium long shot as Brulé vocally mimics many instruments, speaks to audience, and adjusts knobs on looper. Performs a piece while pretending to play guitar with shovel. Zooms into medium shot partway through. \n\nE.J. Brulé  \n00:27:09\n[Says he has been saving his favourite beat. Pauses. Mouth percusses an upbeat 90s hip hop beat.] | Video Description: Medium long shot as Brulé sips water, accidentally knocks mic battery pack out of pocket, and resituates it. Mouth percusses a drumbeat while adjusting knobs on looper and pretending to play guitar with shovel. \n\nSteve \"Liquid\" Hawley\n00:27:46\n[Says he wrote poetry before he started singing but no one wanted to hear it.] | Video Description: Medium long shot as Hawley walks to stage, shakes Brulé’s hand, and speaks into mic. Hawley wears an oversized black sweater with a hood, no zipper, and white and red logo on the left side of chest that reads “TW SHOW,” dark pants, and a black bandana with white accents tied around head. \n\nE.J. Brulé \n00:28:04\n[Says he can play the beat slower or faster. Beat speeds up to comical level. Says “no, a little slower.” Beat slows down to comical level. Audience laughter throughout.] | Video Description: Brulé off-screen. Medium long shot zooms into closeup as Hawley smiles and laughs into mic. \n\nSteve \"Liquid\" Hawley\n00:28:30\n[Introduces and performs piece about a bumblebee beginning with the line “Fly, come and fly with me.” Says partway though that it is freestyle. Resumes performing. Applause.] | Video Description: Medium closeup as Hawley speaks into mic and performs a piece. \n\nE.J. Brulé\n00:30:53\n[Says people can improvise, but asks that if someone brings a prewritten piece, to let him look. Says that people think one needs to be young, black, and misogynistic to be a rapper. Says he had to think about how to tackle accusations of cultural appropriation. Mouth percusses a faster version of the same 90s hip hop beat that Hawley performed over, records on looper, looper plays back. Vocally mimics a more complex bassline. Performs a piece titled “How Can You Be So White (And Be So Funky?) (Freedom of Speech, self-released audio cassette, 1989). Vocally mimics guitar playing fills between the verses. Audience laughter throughout. Applause.] | Video Description: Medium long shot zooms into medium shot as Brulé speaks to audience. Mouth percusses drumbeat and vocally mimics bass while adjusting knobs on looper. Performs a piece while pretending to play guitar with shovel.  \n\nE.J. Brulé\n00:34:19\n[Says he can never get the samples right for Led Zeppelin. Vocally mimics the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back. Stops looper and says he needs someone to do Robert Plant’s scream in “Immigrant Song.”] | Video Description: Medium shot as Brulé speaks to audience. Vocally mimics instruments while adjusting knobs on looper and pretending to play guitar with shovel. Makes a “come hither” motion with hand towards audience member. Throws up hands exasperatedly. \n\nLee Gotham\n00:35:32\nVideo Description: Medium shot as Gotham hugs Brulé and stands on his left. \n\nE.J. Brulé\n00:35:40\n[Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back. Tells Gotham to get close to his headset mic.] | Video Description: Medium shot zooms into closeup as Brulé vocally mimics instruments, adjusts knobs on the looper, and talks to Gotham.\n\nLee Gotham\n00:36:00\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Audience cheers. Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:36:13\n[Tells Gotham to not “do it so long this time.”] | Video Description: Medium long shot as Brulé speaks to Gotham, who is off-screen, making a “come hither” motion with hand toward Gotham. \n\nLee Gotham\n00:36:22\nVideo Description: Medium long shot as Gotham walks back on stage on Brulé’s left, holding up his shirt with one hand and gyrating hips seductively, seemingly looking at one audience member.\n\nE.J. Brulé\n00:36:36\n[Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back.] | Video Description: Medium long shot zooms into closeup as Brulé vocally mimics bass and guitar while pretending to play the guitar with shovel. Motions for Gotham to come closer. \n\nLee Gotham\n00:36:43\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:36:36\n[Apologizes to audience, saying Gotham “fucked [him] up with the start of that.”] | Medium long shot as Brulé speaks to audience and adjusts knobs on looper. \n\nLee Gotham \n00:36:52\nVideo Description: Medium shot as Gotham walks away from Brulé and hovers in front of the camera, nodding his head to the beat. \n\nE.J. Brulé\n00:37:01\n[Asks Lee to do one more.] | Video Description: Medium shot as Brulé adjusts knobs on looper and gestures for Lee to return to stage. \n\nLee Gotham \n00:37:02\nVideo Description: Medium shot zooms into closeup caused by Gotham walking towards camera, sips drink, hops back towards stage and stretches arms upwards. \n\nE.J. Brulé\n00:37:14\n[Tells Gotham to “not get so close to the mic.” Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back.] | Video Description: Medium long shot zooms into closeup as Brulé vocally mimics bass and guitar while pretending to play guitar with shovel. \n\nLee Gotham\n00:37:23\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:37:30\n[Says “that’s a little more like it” and slows down tempo which lowers the pitch of Gotham’s recorded scream. Vocally mimics a bass playing a slow simple bassline, records on looper, looper plays back.] | Video Description: Medium long shot as Brulé adjusts knobs on looper and vocally mimics a bass while pretending to play guitar with shovel.\n\nLee Gotham \n00:37:45\nVideo Description: Medium long shot as Gotham walks up to mic. Directs a questioning look at Brulé. Walks away from mic. \n\nE.J. Brulé\n00:37:52\n[Speaks to Gotham, indiscernible.] | Video Description: Medium long shot as Brulé speaks to Gotham as Gotham passes. \n\nLee Gotham\n00:38:04\n[Returns to mic and performs a piece beginning with the line “The dubious occasion I recall I said.”] | Medium long shot zooms into medium closeup as Gotham returns to mic and performs a piece. Directs a look at Brulé.\n\nE.J. Brulé\n00:38:27\n[Slows down looper’s playback.] \n\nLee Gotham\n00:38:29\n[Resumes performing a piece. Gradually delivers piece more rhythmically and song-like on Brulé’s beat.] | Video Description: Medium closeup as Gotham performs a piece. Directs a look at Brulé. \n\nE.J. Brulé\n00:38:27\n[Speeds up looper’s playback.] \n\nLee Gotham \n00:38:56\n[Resumes performing a piece.] | Video Description: Medium closeup as Gotham performs a piece. \n\nE.J. Brulé\n00:39:14\n[Mouth percusses a 90s hip hop drumbeat, records on looper, looper plays back overtop previous beat. Repeating one of Gotham’s last lines, says “rhythmic demise, that’s what that sounds like.”] | Video Description: Brulé off-screen. Loose closeup as Gotham smiles and nods. \n\nLee Gotham\n00:39:20\n[Asks Brulé to “do it one more time.” Performs same piece again, with a very rhythmic, rap-like delivery to Brulé’s beat. Applause. Tells audience that making a fool of yourself on stage is “good for the soul.”] | Video Description: Loose closeup as Gotham performs a piece zooms out to medium long shot as Gotham speaks into mic.\n\nE.J. Brulé\n00:40:49\n[Addressing unheard audience member, says “no more covers.”] | Video Description: Medium long shot as Brulé addresses unseen audience member and adjusts knobs on looper. \n\nTom Walsh\n00:40:57\nHow about “Land of 1000 Dances”? (Chris Kenner, single, Instant Records, 1962).\n\nE.J. Brulé\n00:40:58\n[Pauses to think, says a long drawn-out “oh.”] | Video Description: Medium long shot as Brulé thinks. \n\nSteve \"Liquid\" Hawley\n00:40:58\nVideo Description: Walks to Brulé. \n\nE.J. Brulé\n00:41:05 \n[Speaks to Hawley. Vocally mimics bassline from “Land of 1000 Dances,” records on looper, looper plays back. Asks Walsh “something like that?”] | Video Description: Medium long shot as Brulé speaks to Hawley, vocally mimics a bass, and speaks to Walsh.\n\nSteve \"Liquid\" Hawley\n00:41:14\nVideo Description: Dances in front of the camera, smiling widely. \n\nE.J. Brulé\n00:41:27\n[Mouth percusses a horse galloping, records on looper, looper plays back. Performs piece beginning with the line “Got a new horse.” Vocally mimics a standup bass playing a solo. Asks Audience_Member5 if they have any “barnyard epics.”] | Video Description: Medium long shot as Brulé mouth percusses and adjusts knobs on looper. Zooms into closeup as Brulé pretends to play the upright bass with shovel. Speaks to Audience_Member5. \n\nAudience_Member5\n00:42:03\nNo, I don’t think so. \n\nE.J. Brulé\n00:42:15\n[Asks Walsh if he wants a Motown beat.] | Video Description: Medium closeup as Brulé talks to Walsh. \n\nTom Walsh\n00:42:21\nUh, yeah! \n\nE.J. Brulé\n00:42:22\n[Laughs, asks Walsh if he has a woman in his life because he also says “yeah” like that when he is confused. Mouth percusses a drumbeat with a strong snare backbeat. Vocally mimics a guitar playing sparse single low notes. Asks Walsh if he wants to perform.] | Video Description: Zooms out to medium long shot as Brulé speaks to Walsh. Adjusts knobs on looper. Mouth percusses a drumbeat, records on looper. Pretends to play guitar on shovel. Zooms into medium closeup as Brulé speaks to Walsh. \n\nTom Walsh\n00:43:15\nOh no I’m not-\n\nE.J. Brulé\n00:43:16\n[Cutting Walsh off, says he can’t request a beat and not perform. Vocally mimics a guitar playing a simple low riff. Says he won’t improvise unless an open mic participant performs. Talks to audience about how people are worried he will “represent[] them” if he “gets somewhere.” Says musical comedy duo Bowser and Blue are representing anglophone Montrealers on the world stage. Mentions alternative band Doughboys.] | Video Description: Medium shot as Brulé speaks to Walsh. Vocally mimics a guitar playing a simple low riff. Speaks to audience.\n\nSteve \"Liquid\" Hawley\n00:44:10\n[Says “Tom Walsh is a poet.”] | Video Description: Medium shot zooms into closeup as Hawley walks up to mic and speaks into it, smiling.\n\nE.J. Brulé\n00:44:21\n[Mouth percusses an upbeat hip hop drumbeat, records on looper, looper plays back. Vocally mimics a distorted guitar playing a pentatonic riff, records on looper, looper plays back.] | Video Description: Brulé off-camera. Closeup of Hawley smiling and preparing to perform. \n\nLee Gotham \n00:44:25\n[From the crowd] Tom’s in the house! \n\nSteve \"Liquid\" Hawley\n00:44:36\n[Says “this is improv.” Asks Brulé to slow down the beat.] | Video Description: Closeup as Hawley addresses audience and then Brulé. \n\nE.J. Brulé\n00:44:41\n[Slows down looper’s playback.] | Video Description: Brulé off-camera. Closeup of Hawley preparing to perform. \n\nSteve \"Liquid\" Hawley\n00:44:48\n[Improvises a piece beginning with the line “Lonely child, now check it, lonely child.” Applause.] | Video Description: Closeup as Hawley improvises a piece while holding a beer and a cigarette. Zooms out to medium shot as Hawley takes mic off stand and continues performing. \n\nE.J. Brulé\n00:48:30\n[Encourages audience to further applaud Hawley. Explains how he was inspired by Tibetan throat singers. Mouth percusses drum beat with shaker. Vocally mimics distorted guitar playing simple distorted pentatonic riff. Performs a piece titled “St. Thomas’ Mantra” (Freedom of Speech, self-released audio cassette, 1989) with heavy reverb on voice, mouth percussing and vocally mimicking guitar between lines. Applause.] | Video Description: Medium closeup as Brulé speaks to audience. Adjusts mic that unclipped from lapel. Mouth percusses drum beat and vocally mimics guitar. Performs a piece while pretending to play guitar with shovel. Zooms into closeup as piece concludes. \n\nE.J. Brulé\n00:52:55\n[Thanks audience. Vocally mimics distorted guitar playing a simple rock riff, records on looper, looper plays back. Mouth percusses a drumbeat with emphasis on beat three, records on looper, looper plays back. Performs a piece beginning with the line “Let me tell you about the cruelest thing that I have ever done,” in which first stanzas are rhythmically tied to the beat, and are later conversationally spoken. Applause.] | Video Description: Medium shot as Brulé speaks to audience. Vocally mimics guitar and adjusts knobs on looper. Mouth percusses a drumbeat and adjusts knobs on looper. Performs piece while pretending to play guitar with shovel. Partway through, pretends that shovel is a baseball bat. \n\nE.J. Brulé\n01:00:11\n[Speaks to audience member about them performing.] | Medium long shot as Brulé leans down to talk to audience member. \n\nSteve \"Liquid\" Hawley\n01:00:25\nVideo Description: Medium long shot as Hawley approaches Brulé and asks a question. Brulé nods affirmatively. \n\n\nE.J. Brulé\n01:00:50\n[Mouth percusses a reggae drumbeat, records on looper, looper plays back.] | Video Description: Medium shot as Brulé mouth percusses a drumbeat and adjusts knobs on looper. \n\nUnknown_Reader1\n01:01:09\n[Greets audience, asks “is everybody cool?” Heavy Jamaican accent. Performs a piece overtop Brulé’s beat. Applause.] | Video Description: Oversized leather jacket atop a white button-down shirt, a large leather top hat/baseball cap hybrid with red accents, large silver rings with jewels. Holds black mittens in one hand and the mic in the other. Loose closeup as Unknown_Reader1 speaks to audience and performs a piece. Dancing audience member briefly obscures camera. \n\nLee Gotham\n01:04:44\n[Asks audience whether they want a break. Announces a break.] | Video Description: Medium long shot zooms into medium closeup as Gotham speaks to the audience. \n\nEND \n01:05:24\n[End of recording.]"],"score":2.686384},{"id":"7222","cataloger_name":["Mozhgan,Nourafkan"],"partnerInstitution":["Simon Fraser University"],"collection_source_collection":["Warren Tallman Fonds"],"source_collection_label":["Warren Tallman Fonds"],"collection_contributing_unit":["SFU Library"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Warren Tallman (7 November 1921 - 1 July 1994) was an American-born poetry professor who inspired the Canadian Tish movement and influenced the mid-20th century poetry scene in Canada. Born in Seattle attended the University of California, Berkeley on the G.I. Bill. There he met Ellen King; they married in 1951. In 1956, the Tallmans accepted teaching jobs in the English department at the University of British Columbia, where they helped Earle Birney and Roy Daniells to organize the creative writing department. In 1963, they hosted a poetry conference attended by Denise Levertov, Charles Olson, Allen Ginsberg, Robert Duncan, Margaret Avison, and Philip Whalen. The Tallman home itself also served as a poetry enclave of sorts. It was there that Jack Spicer gave some of his now legendary lectures. Two years later, they held another poetry conference in Berkeley, California. Sometimes criticized by Canadian literary nationalists for turning the Vancouver poetry circle into a California branch plant, Tallman embraced the Black Mountain school approach to poetry, and also was influenced from the Beats and other New American Poets. The fonds consists of correspondence, manuscripts, teaching papers, personal and financial records, material pertaining to the Vancouver Poetry Centre, photographs, audiotapes, ephemera, etc."],"collection_source_collection_id":["MsC 26"],"persistent_url":[""],"item_title":["Bill Bissett and Adeena Karasick reading and performing poetry at Liquid Waze a language event at Rivoli, Toronto on April 2, 1990"],"item_title_source":["cassette and j-card"],"item_language":["English"],"item_production_context":["Documentary recording"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Bissett, Bill","Karasick, Adeena"],"creator_names_search":["Bissett, Bill","Karasick, Adeena"],"creators":["[{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"Bissett, Bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\",\"Speaker\"]},{\"url\":\"http://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\",\"Reader\",\"Speaker\"]}]"],"contributors":["[]"],"Production_Date":[1990],"material_description":["[{\"side\":\"\",\"image\":\"../Uploads/12313/Warren Tallman Fonds_MsC 26.44_223.jpg\",\"other\":\"\",\"extent\":\"1/8 inch\",\"AV_types\":\"Audio\",\"tape_brand\":\"\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"\",\"physical_condition\":\"Good\",\"track_configuration\":\"\",\"material_designation\":\"Cassette\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"J-card\",\"other_physical_description\":\"Black and white clear jewel case with J-card\"}]"],"material_designations":["Cassette"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Audio"],"digital_description":["[{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"223 Side A.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:44:17\",\"precision\":\"\",\"size\":\"95.4 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"},{\"file_url\":\"\",\"file_path\":\"\",\"filename\":\"223 Side B.mp3\",\"channel_field\":\"Stereo\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"T01:16:35\",\"precision\":\"\",\"size\":\"81.6 MB\",\"bitrate\":\"32 bit\",\"encoding\":\"WAV for master files and .MP3 for online files\",\"contents\":\"\",\"notes\":\"\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-04-02\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"J-card\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/161835042\",\"venue\":\"Rivoli, Toronto\",\"notes\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" at [Rivoli, Toronto?] on April 2, 1990.\\nAs it's written on the j-card and mentioned by Warren Tallman on #134, this language event happened at Rivoli Toronto, but we are not sure if it's the same as the location we put in here\",\"address\":\"Rivoli, 332-334, Queen Street West, Queen West, Spadina—Fort York, Old Toronto, Toronto, Golden Horseshoe, Ontario, M5V 2A2, Canada\",\"latitude\":\"43.64943\",\"longitude\":\"-79.39495\"}]"],"Address":["Rivoli, 332-334, Queen Street West, Queen West, Spadina—Fort York, Old Toronto, Toronto, Golden Horseshoe, Ontario, M5V 2A2, Canada"],"Venue":["Rivoli, Toronto"],"City":["Toronto, Ontario"],"Note":["[{\"note\":\"Adeena Karasick reading \\\"Manipulating Stairs\\\" at Rivoli, Toronto on April 2, 1990.\\nAs it's written on the j-card and mentioned by Warren Tallman on #134, this language event happened at Rivoli Toronto, but we are not sure if it's the same as the location we put in here\\n\\nRivoli is a bar, restaurant and performance space. \",\"type\":\"\"}]"],"Related_works":["[]"],"_version_":1853670556702867458,"timestamp":"2026-01-07T15:00:00.983Z","score":2.5867753},{"id":"9689","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast ShortCuts 1.5, Audio of the Month – Then and Now, 18 May 2020, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/audio-of-the-month-then-and-now/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast ShortCuts"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Katherine McLeod"],"creator_names_search":["Katherine McLeod"],"creators":["[{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-  \",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2020],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da/28a9da1f-8cca-410c-b5d7-8165a73f9394/58452fcb-56ec-4594-bb2b-e732c0fcbafc/sw-minisode-5-then-and-now_tc.mp3\",\"file_path\":\"\",\"filename\":\"sw-minisode-5-then-and-now_tc.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:07:38\",\"precision\":\"\",\"size\":\"7,406,281 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"SW Minisode 5_Then and Now\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/audio-of-the-month-then-and-now/\"}]"],"Dates":["[{\"date\":\"2020-05-18\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/22080572#map=16/45.49381/-73.58233\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve Ouest, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670549827354625,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This month our SpokenWeb minisode features Canadian poet Daphne Marlatt reading “Lagoon” from Vancouver Poems (1972), a deeply local collection that she had not yet published when this reading took place at Sir George Williams University (now Concordia) in Montreal. When listening to Marlatt reading “Lagoon,” we can hear the many futures of her listening, then and now.\n\n(00:00)\tMusic\t[Piano Overlaid With Distorted Beat]\n(00:10)\tHannah McGregor\tWelcome to our SpokenWeb minisodes. Each month on alternate fortnights—that’s every second week following the monthly SpokenWeb Podcast episode—join me, Hannah McGregor, and minisode host and curator Katherine McLeod for SpokenWeb’s Audio of the Month miniseries. We’ll share with you specially curated audio clips from deep in the SpokenWeb archives. This is an extension of Katherine’s Audio of the Week series at spokenweb.ca. Katherine brings her favourite audio each month to the SpokenWeb Podcast. So if you love what you hear, make sure to head over to spokenweb.ca for more. As the cherry blossoms fall in Vancouver and the snow melts away to spring flowers in Montreal, we’re reminded that spring is a time of renewal, to reflect on the past and celebrate new beginnings from coast to coast. While we find ourselves in uncertain times the season beckons us to collectively celebrate and regenerate in the then and now. No matter where you are listening from, take a deep breath of crisp, spring air and join Katherine in listening back with our ears towards the future. Here is Katherine McLeod with May’s SpokenWeb Audio of the Month: ‘mini’ stories about how literature sounds.\n(01:25)\tTheme Music\t[Instrumental Overlapped With Feminine Vocals]\n(01:30)\tKatherine McLeod\tIn this Audio of the Month, we’re going to be listening to the poem “Lagoon” by Daphne Marlatt. In 1970 in Montreal at Sir George Williams University (now Concordia), Daphne Marlatt read in the Sir George Williams Poetry Series. She began her reading with Vancouver Poems. These poems are from a deeply local collection that she had not yet published when this reading took place.\n(02:00)\tAudio Recording\t[Audio, Daphne Marlatt] I thought that what I’d do first is read to you from the Vancouver Poems.\n(02:05)\tKatherine McLeod\tBefore reading the first poem, “Lagoon,” she tells her Montreal audience that she’ll explain the local references as she goes along, starting with the first poem that refers to Lost Lagoon in Vancouver’s Stanley Park.\n(02:20)\tAudio Recording\t[Audio, Daphne Marlatt] I’ll just try and explain allusions as I go along for those people who have never been to Vancouver or know it because the poems tend to be pretty local as they were intended to be.\n(02:34)\tKatherine McLeod\tMarlatt could not have anticipated that those poems from Vancouver Poems published in 1972 would become pathways to revisit the city when republishing many of them, years later, in Liquidities: Vancouver Poems Then and Now published by Talon Books in 2013. Akin to Marlatt’s revisiting of place in the book Steveston, Liquidities _revisits and revises the city and the poetic voice. As Marlatt writes in her introduction to _Liquidities, “Vancouver Poems was a young woman’s take on a young city as it surfaced to her gaze.” By the way, she calls this introduction “Then and Now.” Marlatt’s return to the poems is not unlike the poet listening again to her own recorded voice. And that’s exactly what Marlatt did in November 2014 at Concordia when she read alongside and responded to her voice from that 1970 recording in the Sir George Williams Poetry Series. And again, five years later in September 2019 at UBC Okanagan, when Marlatt listened and responded to recordings of her voice and other voices in the Sir George Williams Poetry Series and in the UBC Okanagan-based SoundBox collection.’\n(04:01)\tKatherine McLeod\tI met Marlatt here in Montreal when she read alongside that recording of her voice from 1970. She signed my copy of _Liquidities _with the words “Vancouver connection.” Now, by now, if you’ve been listening to these Audio of the Months, you may have figured out that I’m from Vancouver and that the Vancouver-Montreal connection is a meaningful one. I open this book now and read these poems of Vancouver here in Montreal. And I think of the then and the now and whether to hold them together in my reading and in my listening, or let them go, move, slip, liquid, changing, and to listen to the poems, listening to this change. With that, let’s listen to Marlatt reading “Lagoon” in 1970 here in Montreal, listening to her reading in a voice that she will later listen to in a reading, and listening to the many futures of her listening then and now.\n(05:11)\tAudio Recording\t[Audio, Daphne Marlatt reciting “Lagoon.” Some words are absent or different than the version in _Liquidities_] Lagoon, / down a cut on the city side, apartments / shacked uphill, through shadow and hulls and ribs we walk. / You’ve come home. On either side dark nets remember / how a wind fishing for that extent both left and right / ruffles your hair. Here. The city drinks what it collects. / Water or ducks, a nesting place. A neck of land. / Whose profile somehow looks more narrow in the street. / Our eyes reflect … kites, banners, a populous sky. / What you or others brought, come back to / Lie when we / outwalk our dragons, thus, their future tails: catch / fire. / You confirm that we sail to the east at nine, shore wise / having no place, antique, a houseboard. Wind ships our / ship, stands, having completed its turn to, gather to / the bridge… / Wait! I can’t get my hand out of green / pockets green, dissected, frogs. The edges of their / vision littoral. We skirt red. I’m half in, wanting to / pull up reeds to plant. / Your coin proves nothing, no / bottom, don’t. Go (in shoes sucked under). Water / scuttles old men on benches dangle under conifers. Listen: / their edges are always murmuring, Marshes, Your / forced march. / Could we afford your going? A salmon run? On the / corner there, half indecisive, tarnish of atrophied / fish in raffia swung: a house sign, a place to / enter. / Where I’d make tea, your lips on the future, / caught, so you could read me.\n(07:16)\tMusic\t[Piano Overlaid With Distorted Beat]\n(07:16)\tKatherine McLeod\tHead to spokenweb.ca to find out more about where this recording is from. My name’s Katherine McLeod and tune in next month for another deep dive into the sounds of the SpokenWeb archives."],"score":1.6437271},{"id":"5188","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-01-23, Wiernik and Anderson"],"item_title_source":["Asset"],"item_title_note":["Corroborated by Lee Gotham, who introduces the event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee","Wiernik, Neil (aka Naw)","Anderson, Fortner"],"creator_names_search":["Gotham, Lee","Wiernik, Neil (aka Naw)","Anderson, Fortner"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham was also the MC and one of the headliners of this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]},{\"url\":\"https://viaf.org/viaf/814159474065427660323\",\"name\":\"Wiernik, Neil (aka Naw)\",\"dates\":\"\",\"notes\":\"Event headliner. 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Opening-act.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"http://viaf.org/viaf/106255768\",\"name\":\"McGrail, Justin\",\"dates\":\"1968-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Stanton, Victoria","Tinguely, Vincent (Vince)","Duncan, Scott","Stephens, Ian","Phil","Unknown_Reader1","Ian","Mike","Natasha","Sophie","Tom","Joelle Ciona and Monique","McGrail, Justin"],"Recordist_name":["Duncan, Drew"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/5183/Enough_Said-VHS1-19941219_19950123_19950109.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK SHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #1 asset. 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Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #1 asset. Contains recordings of multiple events: (1) Enough Said 1994-12-19, Gotham and Diamond; (2) Enough Said 1995-01-23, Wiernik and Anderson; and (3) Enough Said 1995-01-09, Swifty Lazar. Note the recordings in VHS #1 are not in chronological order. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Jade Palmer\",\"type\":\"Cataloguer\"}]"],"Related_works":["[]"],"_version_":1853670549178286080,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:00 \nVideo Description: Color video of the stage with mic stand at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nLee Gotham \n00:00:01\nThank you so much for coming out. Well, welcome to, I’m losing count, but the next and last, most recent, not last, most recent evening of Enough Said spoken word event series. Gee, you know, we’re in for a miracle, I’ve got a mouthful just introducing it all, maybe I’ll gloss it over a bit. We’re launching a cassette among other things, Broken Spoken features Neil Wiernik and Fortner Anderson, both of whom you’ll see up here before long. Before them, we have a couple of other treats, and I hope everyone is more or less comfortable, and if they’re not, that they take the initiative, wander up to the bar, pick what you’d like. Because of the crowds, of course, you won’t see a waiter with any regularity. And yeah so it’s a wonderful crowd, it’s nice to see everybody here, and let’s just kind of segue into the evening. There will be a brief pause, but don’t despair, everything will happen before very long. | Video Description: Camera varies between loose closeups and medium shots as Gotham speaks into the mic. Gotham wears a black sweater, sunglasses with clear frames and black lenses on head, with shoulder-length hair loose. \n\nJoelle Ciona and Monique\n00:01:39\n[Ciona performs a piece beginning with the line “Sometimes I just can’t stand the city. There’s too many people.” No microphone, so volume is low. Partway through, Ciona and Monique alternate who is delivering the piece. Laughter throughout. Applause.] | Video description: Medium shot as Ciona pours steaming hot liquid from brown pitcher into a cup and begins performing a piece. Monique enters and sits on a chair on the stage while Ciona wanders through the audience, passing out white bowls and filling them from the pitcher. Ciona wears a black long-sleeved shirt with sleeves rolled up to the elbows, black gloves, grey denim jeans, a black belt with a large silver buckle, silver and black glasses, and short blonde hair. Monique wears a white t-shirt with thin black stripes, black pants, and medium brown hair with bangs. Ciona stops at the stage to clean Monique’s hand with a white washcloth and trim their nails while delivering the piece. Closeup as Ciona begins biting Monique’s nails, periodically spitting out the pieces. Monique takes over delivering the piece. Ciona puts down Monique’s hand and resumes delivering the piece. The two performers go back and forth delivering the piece, with Ciona chewing Monique’s nails and sucking or licking Monique’s fingers when they are not speaking. Long shot to show (Johnathon Ascensio?) and (Angela Dora?) in fairy wings holding glowing lanterns approach the window outside, bite their nails, and attempt to fog up the window with breath. Closeup on the figures outside as the piece ends.\n\nLee Gotham\n00:07:50\n[Says he hopes the audience in the back “wasn’t completely disappointed,” assuming they were unable to hear. Mentions Ciona is a performance artist. Apologizes for not knowing the second performer’s name. Monique shouts from the audience, “Monique!” Laughter. Sees Ciona approaching the stage from the audience to collect props from the stage and asks if they want to explain the piece.] | Video Description: Closeup zooms out to medium shot zooms out to long shot as Gotham speaks into the mic.\n\nJoelle Ciona\n00:08:34\n[Explains that their nail-biting habit inspired the work. Credits (Johnathon Ascensio?) and (Angela Dora?) as the “angels” outside. Applause.] | Video Description: Long shot zooms out to medium shot as Ciona speaks into the mic that Gotham holds.  \n\nLee Gotham\n00:09:04\n[Invites “resident favourite” and Fluffy Pagan Echoes member, Victoria Stanton, to the stage.] | Video Description: Long shot as Gotham speaks into the mic. \n\nFluffy Pagan Echoes (Victoria Stanton, Scott Duncan, and Vince Tinguely)\n00:09:29 \n[Stanton explains they will perform with two other Fluffy Pagan Echoes members, Scott Duncan and Vince Tinguely. Tinguely begins reading what seems to be a scientific journal article titled “Compatible Quirks: How Yeast (?) Cold Virus Replication.” Stanton and Duncan interrupt with a dialogue about sickness. All three performers repeat “too much vomiting.” Stanton and Duncan repeat “mucous and puke” quietly as Tinguely resumes reading the journal article. Applause.] | Video Description: Closeup as Stanton speaks into the mic zooms out to medium shot as Tinguely reads from a white paper. Duncan, on Tinguely’s right, and Stanton, on Tinguely’s left, alternate delivering a dialogue piece with no microphone. Stanton wears a black button-down shirt with sleeves rolled up to elbows atop a black shirt, black pants, and a dark bob with bangs parted in the middle. Duncan wears a plaid button-down shirt with sleeves rolled up to the elbows, grey trousers, and short dark brown hair. Tinguely wears a white t-shirt, dark pants, and white wispy hair. Tinguely gradually steps back from the mic. Stanton holds up a white sign that reads, “TOO MUCH VOMITING.” Tinguely resumes reading from the paper as Stanton and Duncan recede into the background.\n\nLee Gotham \n00:13:10\n[Cuts to Gotham mid-speech] wider applications of what we’re saying of spoken work performance, but some of its roots as well, I think I can safely say. So as first the widest applications of (poetry?) then the root, it feels I could take the opportunity to expound upon what I think happens here. Enough Said implies that the words that we’ve all been taking in perhaps aren’t enough, that they require some delivery, some engaging accompaniment or just the expression involved, so they’re accompanied with images. Now, that image is perhaps evocative at best, but like words, not the ideal vehicle or a good true representation. An image can represent a human being, inaccurately at best, and well, like a government can represent a people, inaccurately at best. Representations have been a problem it seems, so why can’t we just present ourselves more often? I suppose that there perhaps aren’t enough born anarchists and we’re too fond of our image, anyways, the representation. We aren’t looking at ourselves, we like looking at representations of ourselves. This is great, and a great problem simultaneously, I think. So it’s really nice when here, I find a whole lot of wonderful words accompanied by often just as many thought-provoking and engaging images, and yet there’s still space, although it may be hard to grasp the concept with the number of us all here in one room, but space between those images and those words nonetheless, and in that space I think there’s room for that presentation, there’s a community of sorts and that’s what I’m finding most magical about Enough Said. [Introduces Neil Wiernick as a performance and radio artist.] | Video Description: Skips to long shot zooming into varying degrees of closeup as Gotham speaks into the mic. Neil Wiernick sets up a stereo in the background. Zooms into stereo and a medium shot of Wiernick momentarily \n\nNeil Wiernick\n00:16:13\n[Ambient noise. Music plays from stereo. Tests handheld mic that seems to be connected to stereo. Speaks into mic and stereo squeals and distorts voice.] | Video Description: Medium and long shots as Wiernick sets up microphone in front of stereo and tests the microphone. Wiernick wears a grey long-sleeved button-down shirt over a grey t-shirt, glasses, and dark brown thinning hair with long sideburns.\n\nNeil Wiernick \n00:20:16\n[Introduces and performs a piece including the line, “are you listening to me?” with the stereo squealing throughout. Audio becomes suddenly clear at the line “This is language, language you can understand.” Distortion resumes for the remainder of the piece. Intentionally plays static from the stereo. Resumes performing. Intentionally plays static again.] | Video Description: Closeup and medium shot as Wiernick introduces and performs a piece. Periodically activates and deactivates static sound using controls on back of stereo.\n\nNeil Wiernick \n00:22:59\n[Explains that the next two pieces are dedicated to a philosopher and artist whose name is indiscernible in the video. Performs piece beginning with stuttering fragments of the word “spectacular,” beginning with “s” and adding a letter or syllable periodically, until full word is said.] | Video Description: Medium shot to closeup to medium shot as Wiernick performs a piece.\n\nNeil Wiernick   \n00:24:28\n[Stereo squeals. Static. Plays recording of a voice repeating an indiscernible word, gradually increasing in volume, until ceasing. Plays recording of a conversation very quietly along with alarm-like sounds. Static. Volume of all parts gradually decreases.] | Video Description: Long and medium shots as Wiernick adjusts something on the back of the stereo, then sits on a chair on the left side of the stereo.\n\nNeil Wiernick \n00:26:44\n[Stereo plays recording of a voice repeating the same few indiscernible words overlayed with static and distortion. Volume gradually decreases. Applause.] | Video Description: Closeup as Wiernick rises from chair and picks up stereo. Medium shot zooms out to long shot as the camera follows Wiernick carrying stereo through the crowd towards the back of the venue. \n\nLee Gotham \n00:27:39\n[Skips to audience applause. Announces that Ian Stephens will perform before Fortner Anderson. Invites Ian to the stage.] | Video Description: Skips to medium shot as Wiernick leaves the stage, Gotham adjusts the mic, and speaks into it. \n\nIan Stephens\n00:29:13 \n[Introduces and performs a piece titled “(Reegan’s?) Mind”. Laughter throughout. Applause.] | Video Description: Loose closeup of Stephens on stage. Stephens wears a black parka over a black sweater; a red, black, and yellow scarf; a white cloth face mask tied around his head; red nail polish on some fingernails; and close-cropped light-brown hair. Medium shot of Stephens taking off parka and putting up hood of sweater. Closeup zooms into extreme closeup as Stephens places two fake eyes over his eyelids and squints to keep them in place. Varying degrees of closeup as Stephens performs a piece. Gestures close to face throughout. Takes off hood partway through. Medium shot zooms out to long shot as Stephens extends arms upwards, finishes the piece, and puts on parka.\n\nLee Gotham\n00:35:58\n[Introduces Fortner Anderson as the “other half of ‘Broken Spoken.’” Promotes cassettes and publications for sale. Invites Anderson to the stage. Applause.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic. \n\nFortner Anderson\n00:37:11\n[Performs a piece beginning with the line “I’m a man. I’m a good man.” Laughter throughout. Applause.] | Video Description: Closeup as Anderson takes mic off stand, turns away from the camera briefly, and turns back to perform the piece. Anderson wears a dark grey suit jacket atop a black button-down shirt, black leather belt, black and gold glasses, and dark brown hair that sweeps across forehead and waves away from face. Zooms into medium shot as Anderson casually walks around the stage. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson \n00:42:35\n[Performs a piece beginning with the line “Every day, I don’t care, and I will never care.” Applause.] | Video Description: Camera alternates between long shots and medium shots as Anderson performs a piece and casually walks around the stage. Walks out of frame for a moment partway through. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson \n00:45:52\n[Performs a piece beginning with the line “Sometimes I think I’m a young boy staring into a distant, sepia-toned future.” Alternates between full voice, whispering, and shouting. Applause.] | Video Description: Camera alternates between medium shots and loose closeups as Anderson performs a piece and casually walks around the stage. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson\n00:54:59\n[Performs a piece beginning with the line “I got hurt so bad today.” Applause.] | Video Description: Medium shot as Anderson performs a piece and casually walks around the stage.\n\nFortner Anderson\n00:59:18\n[Thanks Ian, Neil, Joelle, and the Fluffy Pagan Echoes. Directs audience to table to buy “souvenirs.” Applause.] | Video Description: Long shot zooms into medium shot as Anderson speaks into the mic. Places mic on stool. \n\nLee Gotham\n00:59:45\n[Thanks Anderson for “the climax of the evening’s offerings.” Announces brief pause and that the open mic will continue afterwards.] | Video Description: Medium shot as Gotham puts mic back on stand and speaks into it while smoking a cigarette. \n\nUnknown_Reader1 \n01:00:20\n[Skips to Unknown_Reader1 performing a piece ending with the line “fantasies, hot fucking, same difference.” Applause.] | Video Description: Skips to medium closeup of Unknown_Reader1 performing a piece. Unknown_Reader1 wears a black outerwear jacket with pink lining and a light brown hood atop a black shirt, rectangular wire-rimmed glasses, and short dark hair.\n\nUnknown_Reader1\n01:00:30\n[Mentions they are used to the audience laughing more. Performs a piece beginning with the line “When the thick sticky glob of ovulation is there for me to remove with my fingers, I like to hold it.” Laughter throughout. Applause.] Video Description: Medium closeup as Unknown_Reader1 performs a piece. Zooms out to longshot as Unknown_Reader1 turns away from the camera and pauses after piece concludes.\n\nUnknown_Reader1\n01:02:51\n[Says they will get serious because the audience is. Performs a piece beginning with the line “I’m not kidding, I’m not kidding, I’m not kidding anyone anymore.” Applause.] | Video Description: Camera zooms into medium closeup as Unknown_Reader1 performs a piece and turns away from the camera and pauses after piece concludes.\n\nUnknown_Reader1 \n01:04:41\n[Thanks audience. Introduces and performs a piece titled “One Twenty Two Ninety Five.” Applause. Thanks audience again.] | Video Description. Medium closeup as Unknown_Reader1 speaks into the mic, performs a piece, and speaks into the mic again.\n\nLee Gotham\n01:07:02\n[Says he “hope[s] that’s only a debut.” Invites Ian and Mike to the stage.] | Video Description: Medium closeup as Gotham speaks into the mic. \n\nIan\n01:07:19\n[Introduces and performs a piece titled “Remembrance Day.”] Video Description: Camera alternates between medium shots and closeups as Ian introduces a piece, sits down far from mic, and performs a piece. Ian wears a grey and black long-sleeved plaid shirt atop a black and white graphic t-shirt, and a short afro. Gotham adjusts the mic from Ian’s left partway through.\n\nIan \n01:08:01\n[Introduces and performs a piece titled “Town Square” about west Indian culture. Applause.] | Video Description: Closeup as Ian introduces and performs a piece. Gotham adjusts the mic from Ian’s left partway through.\n\nMike\n01:08:46 \n[Mike walks on stage. Gotham quickly adjusts mic from Mike’s left. Mike begins speaking and promptly clears throat. While introducing piece titled “Crazy,” glass smashes off-screen. Laughter. Says “good job, opener,” or “job opening.” Performs piece. Stutters and mentions that they’re “nervous” and “shaking.” Resumes performing. Applause.] | Video Description: Medium shot zooms into closeup as Mike pulls papers from inner pocket of coat, speaks into mic, and performs a piece. Mike wears an oversized black coat over a black sweater with a rolled collar and a grey flat cap backwards with brown hair only slightly visible on the sides. \n\nMike\n01:10:47\n[Introduces and performs a piece titled “Christmas Fears.” Applause.] | Video Description: Medium closeup as Mike performs a piece. \n\nLee Gotham \n01:11:52\n[Thanks Mike and Ian. Asks (Julian?) (Jillian?) and Bill to read next open mic performer’s name on list. Next performer not present. Invites Sophie to stage.] Video Description: Medium closeup as Gotham speaks into the mic.\n\nSophie\n01:12:21\n[Performs a piece beginning with the line “I dream of you a day after you leave for Florida.” Unknown metallic rattling sound in background during first two lines. Applause.] | Video Description: Medium shot zooms into closeup as Sophie adjusts the mic and performs a piece. Sophie wears a brown striped sweater over a white shirt, a hoop earring with a gem in left ear, and a very short buzz cut. \n\nSophie\n01:13:25\n[Mentions that all poems are untitled. Begins performing piece. Stumbles. Resumes performing piece beginning with the line “The (speech?) twenty minutes southwest of Tel Aviv is nondescript enough to remain unnamed.” Applause.] | Video Description: Closeup as Sophie speaks into the mic, begins performing a piece, sticks out tongue momentarily, and resumes performing. \n\nSophie \n01:14:24\n[Mentions next poem is part of a series exploring “how shitty everything is in winter.” Performs a piece beginning with the line “This far North is cold, (raw?), and slushy this far into December.” Applause. | Video Description: Closeup as Sophie performs a piece.  \n\nLee Gotham \n01:15:34\n[Thanks Sophie. Invites Natasha, the open mic performer who was previously called but not present, to the stage.] | Video Description: Medium closeup as Gotham speaks into the mic.\n\nNatasha \n01:16:03\n[Mentions first poem is about a roommate who “split recently.” Performs a piece titled \"Jay.” Pauses intentionally throughout for a jerky effect. Applause.] | Video Description: Closeup as Natasha speaks into the mic and performs a piece. Natasha wears a white button-down shirt, rings, bronze nail polish, a necklace with large dark beads, small hoop earrings, and long dark brown hair parted in the middle. \n\nNatasha \n01:16:58\n[Performs a piece titled “Madonna.” Applause.] | Video Description: Closeup as Natasha performs a piece. \n\nNatasha \n01:17:34\n[Dedicates last poem to their dad. Performs a piece titled “Union Solidarity.” Applause.] | Video Description: Closeup as Natasha performs a piece. \n\nLee Gotham\n01:19:13\n[Announces that featured reader on February 6th’s event wants to collaborate with poets interested in rap who want their readings accompanied with “beats.” Encourages those interested to come out. Invites Phil to the stage.] | Video Description: Medium closeup as Gotham speaks into the mic. Rubs outer corner of right eye with thumb of right hand throughout. \n\nPhil\n01:20:26\n[Mentions he hasn’t decided what he wants to read. Pauses at length. Mutters. Performs a piece that begins with the line “Riding backwards, flying skywards.” Silence. Delayed applause.] | Video Description: Medium closeup zooms into closeup as Phil peaks into the mic, adjusts mic, pauses, and flips through papers off-screen. Phil wears a dark plaid button-down shirt with a hood over a white t-shirt and a very short buzzcut with a receding hairline. Performs a piece. Turns away from camera, going off-screen.\n\nSpokenWeb notes\n01:22:40\nThe following performance contains suggestions and descriptions of sexual violence.\n\nPhil\n01:22:44\n[Mentions that they write about things that are “too real” because “the more I deny it the more real it becomes.” Performs a piece beginning with the line “Destroy it, destroy, big boy.” CW: sexual violence. Laughter throughout.] | Video Description: Closeup as Phil performs a piece.\n\nAudience_Member1 \n01:24:49\nFuck me! [Yelling loudly.]\n\nAudience\n01:24:51\nLaughter.\n\nPhil \n01:24:55\n[Addresses Audience_Member1] Not you.\n\nAudience_Member1\n01:24:58\nPlease! [Yelling loudly.]\n\nPhil\n01:24:59\n[Resumes performing. Laughter throughout. Applause.] | Video Description: Closeup as Phil performs a piece. Pauses. Smiles. Speaks into the microphone. Resumes performing. Turns away from camera, going off-screen. \n\nPhil \n01:26:03\n[Mentions that the last poem was “not supposed to be funny.” Laughter. Long pause. Performs a piece beginning with the line “A man is there for (fucking?), or so the story goes.” Audio cuts midperformance.] | Video Description: Closeup as Phil speaks into the mic, turns away from camera, licks lips, claps six times, and performs a piece. Video cuts midperformance.\n\n[SpokenWeb edits]\n1:27:55\nVideo Description: Black screen with white text that reads \"Six minutes of this video have been removed.\"\n\nLee Gotham \n01:28:02\n[Invites Justin McGrail to the stage.] | Video Description: Medium shot zooms into medium closeup as Gotham speaks into the mic. Holds left forearm to forehead to shield eyes from light. \n\nJustin McGrail \n01:28:10\n[Promotes Fluffy Pagan Echoes event at Café Phoenix. Performs a piece beginning with the line “Out eastern, flowing, dapples sowing, tread gashes, behind heel, head, cloistered lashes.” Applause.] | Video Description: Medium shot as McGrail speaks into mic, wipes face, and performs a piece, gesturing with both hands. McGrail wears a white hooded jacket with two large pockets, no zipper, and sleeves rolled up to elbows, black suspenders, a watch, gold bracelet, grey newsboy cap with decorative pins on the front, brown hair poking out from edges.\n\nLee Gotham \n01:30:31\n[Thanks Justin. Invites Tom to the stage.] | Video Description: Medium shot as Gotham speaks into the mic. Holds left forearm to forehead to shield eyes from light. \n\nTom \n01:30:54\n[Makes a joke about musical group The Eagles. Laughter. Introduces and performs piece titled “Call Before You Dig,” about “taking too many art history classes.” Applause.] | Video Description: Medium shot zooms into medium closeup as Tom speaks into the mic and performs a piece. Tom wears a dark brown cable-knit sweater with sleeves rolled up to elbows, backwards dark brown newsboy cap, light brown hair poking out the sides. \n\nTom\n01:32:50\n[Introduces and performs a piece titled “The Sun Always Rises on One Side of my Head.” Laughter throughout. Applause.] | Video Description: Medium closeup as Tom speaks into the mic and performs a piece. \n\n[No signal]\n01:33:44\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nTom\n01:33:55\n[Skips to Tom in medias res performing a piece including the line “I am their link to the joys and the harrows of an experiential world.”] | Video Description: Camera zooms in from medium closeup to extreme closeup and back again as Tom performs a piece.\n\nEND \n01:35:14\n[End of recording.]"],"score":0.6686539},{"id":"4338","cataloger_name":["Megan,Butchart"],"partnerInstitution":["University of British Columbia, Okanagan"],"collection_source_collection":["Peter Quartermain fonds"],"source_collection_label":["Peter Quartermain fonds"],"collection_contributing_unit":["SpokenWeb at UBCO"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["Fonds consists of 180 cassette tapes."],"collection_source_collection_id":["2022.002"],"persistent_url":[""],"item_title":["PRISM International: Contemporary writing from Canada and around the world. Sound issue magazine&cassette. July 1990. $8.00. 28.4"],"item_title_source":["Title written on container."],"item_title_note":["Title on case: PRISM International: Contemporary writing from Canada and around the world. Sound issue magazine&cassette. July 1990. $8.00. 28.4\n\nSide A title: Sound Issue - PRISM international 28:4. Theresa Clark & Carletta Wilson. Attila the Stockbroker. Peter Courtemanche. Scott McLeod. G.P. Skratz & Bob Davis.\n\nSide B title: Sound Issue - PRISM international 28:4. Steve McCaffrey [sic]. Dick Bakken. Wes Robertson. bill bissett. Howard Brookfield. Jay O'Callahan.\n\nJ-card description:\nSIDE A:\nTheresa Clark & Carletta Wilson\n-Shadows 1:44\n-Naked with Thorns 6:26\n-This Light Called Darkness 3:58\nAttila the Stockbroker\n-Contributory Negligence 1:50\n-Death in Bromley 1:16\n-A Bang and A Wimpy 1:30\n-Libyan Students from Hell 3:08\nPeter Courtemanche\n-Excerpt from Radio Journal 1:35\nScott McLeod\n-Excerpts from The Drunken Jungle with Leo Downey, Abigail Van Allyn, Julian Lopez-Morillas. Produced for North American Radio by John Rieger, 1989. 3:03\nG. P. Skratz & Bob Davis\n-Excerpts from Mass of the Scattered Almonds 2:30\nSIDE B:\nSteve McCaffery\n-Anticollabora 1:58\n-Childe Harold's Phonemage 2:05\nDick Bakken\n-Ya Hi Yu Niva - New El Paso Poetry Series, home of Eli & Jalili, El Paso, Texas, April 17, 1982, recorded by Eli Camhi :23\n-How to Eat Corn - Tucson Poetry Festival II: Los Cantos de Sonora, El Rio Neighbourhood Centre, Tucson, Arizona, April 29, 1984, recorded by Dennis Williams :52\n-Om Raksha - A Spell of Word Sound, KOAP-FM, Portland, Oregon, January 10, 1978, recorded by Bob Roberts :20\nWes Robertson\n-\"Stopping by the Woods on a Snowy Evening\" by Robert Frost, read in alphabetical order 1:05\nbill bissett\n-liquid dansrs 1:22\n-caribu rd 2:50\nHoward Brookfield\n-Excerpt from In Doig Peoples Ears 6:20\nJay O'Callahan\n-The Cliffs of Culdurragh 9:46"],"item_language":["English"],"item_production_context":["Studio recording"],"item_series_title":["Commercial/Professional Recordings"],"item_identifiers":["[]"],"rights":["Copyright Not Evaluated (CNE)"],"creator_names":["Clark, Theresa","Wilson, Carletta","Attila the Stockbroker","Courtemanche, Peter","MacLeod, Scott","Skratz, G.P.","Davis, Bob","McCaffery, Steve","Bakken, Dick","Robertson, Wes","bissett, bill","Broomfield, Howard","O'Callahan, Jay"],"creator_names_search":["Clark, Theresa","Wilson, Carletta","Attila the Stockbroker","Courtemanche, Peter","MacLeod, Scott","Skratz, G.P.","Davis, Bob","McCaffery, Steve","Bakken, Dick","Robertson, Wes","bissett, bill","Broomfield, Howard","O'Callahan, Jay"],"creators":["[{\"url\":\"\",\"name\":\"Clark, Theresa\",\"dates\":\"\",\"notes\":\"Reader with Carletta Wilson\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/309844989\",\"name\":\"Wilson, Carletta\",\"dates\":\"\",\"notes\":\"Reader with Theresa Clark\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/35145970211432251614\",\"name\":\"Attila the 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Wes\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/96127023\",\"name\":\"bissett, bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/105149388\",\"name\":\"Broomfield, Howard\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Reader\"]},{\"url\":\"http://viaf.org/viaf/305232946\",\"name\":\"O'Callahan, 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July 1990. $8.00. 28.4_Side B_(MA).wav\",\"channel_field\":\"\",\"sample_rate\":\"96 000\",\"duration\":\"T00:28:51\",\"precision\":\"\",\"size\":\"997 MB\",\"bitrate\":\"24\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"Side B of Master Access file. Do not edit. \",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1990-07\",\"type\":\"Publication Date\",\"notes\":\"Date of copyright.\",\"source\":\"Date listed on tape.\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/27989181\",\"venue\":\"Dept. of Creative Writing, UBC\",\"notes\":\"\",\"address\":\"Buchanan Tower, 1873 E Mall #397, Vancouver, BC V6T 1Z51\",\"latitude\":\"49.26858\",\"longitude\":\"-123.25345\"}]"],"Address":["Buchanan Tower, 1873 E Mall #397, Vancouver, BC V6T 1Z51"],"Venue":["Dept. of Creative Writing, UBC"],"City":["Vancouver, British Columbia"],"contents":["PRISM international: Contemporary writing from Canada and around the world sound issue with magazine and cassette from July 1990, vol. 28, no. 2, with Teresa Clark, Carletta Wilson, Attila the Stockbroker, Peter Courtemanche, Scott MacLeod, G. P. Skratz, Bob Davis, Steve McCaffery, Dick Bakken, Wes Robertson, bill bissett, Howard Broomfield, and Jay O'Callahan."],"Note":["[]"],"Related_works":["[]"],"_version_":1853670550757441538,"timestamp":"2026-01-07T14:59:55.332Z","score":0.56792444},{"id":"9616","cataloger_name":["Gloriah,Onyango"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S3E3, Forced Migration, 6 December 2021, Wilson"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/forced-migration/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 3"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Michelle Wilson"],"creator_names_search":["Michelle Wilson"],"creators":["[{\"url\":\"\",\"name\":\"Michelle Wilson\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2021],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/90aa09d2-eddd-4ff8-8ef9-b401cde0a6c6/audio/0eab67ed-3d02-4825-a7f7-3c1d6483e027/default_tc.mp3\",\"file_path\":\"\",\"filename\":\"final-swp-s3e3-forced-migration.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:48:21\",\"precision\":\"\",\"size\":\"46,487,554 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"final-swp-s3e3-forced-migration\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/forced-migration/\"}]"],"Dates":["[{\"date\":\"2021-12-06\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/way/161607238\",\"venue\":\"Western University Ontario\",\"notes\":\"\",\"address\":\"1151 Richmond Street, London, ON, N6A 3K7\",\"latitude\":\"43.00937\",\"longitude\":\"-81.2618335\"}]"],"Address":["1151 Richmond Street, London, ON, N6A 3K7"],"Venue":["Western University Ontario"],"City":["London, Ontario"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"In the Spirit of Atatice:\\nhttps://csktribes.org/more/videos/in-the-spirit-of-atatice/in-the-spirit-of-atatice\\n\\nTo Wood Buffalo, With Love, by Chloe Dragon-Smith and Robert Grandjambe:\\nhttps://briarpatchmagazine.com/articles/view/to-wood-buffalo-national-park-with-love\\n\\nForced Migration:\\nhttps://scalar.usc.edu/works/remnants-wallows-and-outlaws-a-multidisciplinary-exploration-of-bison/forced-migration\\n\\nGardenShip and State at Museum London:\\nhttps://www.gardenship.ca/exhibition\\n\\nBuffalo Treaty:\\nhttps://www.buffalotreaty.com/\"}]"],"_version_":1853670549706768384,"timestamp":"2026-01-07T14:59:54.290Z","contents":["Forced Migration: Bison stories and what they can tell settlers about a past, present, and future on stolen land\n\nAs uninvited guests on Indigenous land, we are continually told that national parks, and our conservation system in general, are a benevolent inheritance from our settler ancestors. The creators of parks and conservation societies crafted archives in the form of magazines and biographies to document the salvation of charismatic species like the bison. In this episode, artist and researcher Michelle Wilson mines these archives to create alternative stories of the bison’s path to conservation. These audio essays reveal how ideologies around capitalism, human exceptionalism, and white supremacy have influenced settler relations to the more-than-human world.\n\nIn this episode, we will hear from poet Síle Englert who helped distill Michelle’s more extended essays into these shorter, affective pieces of prose, and musician and composer Angus Cruikshank whose score enriches Michelle’s audio storytelling.\n\nMichelle’s project seeks to extract narratives from a white supremacist, patriarchal written tradition and play with the immediate and affective possibilities of audio performance and sound design.\n\nThe audio artworks featured in this episode were originally created as part of Michelle’s interactive textile map “Forced Migration”. It is on view at Museum London as part of the GardenShip and State exhibition until January 23rd, 2022.\n\n00:18\tSpokenWeb Podcast Theme Music:\t[Instrumental Overlapped With Feminine Voice] Can you hear me? I don’t know how much projection to do here.\n \n\n00:19\tHannah McGregor:\tWhat does literature sound like? What stories will we hear if we listen to the archive? Welcome to the SpokenWeb Podcast: stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music].\n \n\n00:35\tHannah McGregor:\tMy name is Hannah McGregor, and each month I’ll be bringing you different stories of Canadian literary history, and our contemporary responses to it, created by scholars, poets, students, and artists from across Canada.\n \n\n00:49\tHannah McGregor:\tThere are sounds in the archive, and there are also silences. Here on the podcast, our producers engage closely with what we can hear in archived recordings, but also ask hard questions about the stories behind and around the sounds. When and why was the recording made? Who created this old record, and what story were they trying to tell? How does power function in the archive to uplift some beings and stories, erase others? For everything that we can hear or read in an archive, there are just as many questions about what has not been included, and who has been left out.\n \n\n01:29\tHannah McGregor:\tThe episode we bring you today takes a creative and critical approach to archival records to present a collection of stories about bison, violence, and the history of Canadian conservation. Artist and researcher Michelle Wilson uses archival records to trace what happened to the bison whose descendants ended up on the land now designated as Wood Buffalo National Park in Northern Alberta and in most other conservation herds across Turtle Island. Almost all the plains bison in the North American conservation system are descendants from the herds Michelle investigates in her research. With the help of sound designer, Angus Cruickshank and poet Síle Englert, Wilson brings us a collage of critically interpreted and creatively imagined stories. These stories strive to grapple with the impacts of colonialism and to give voice to the more-than-human characters at the heart of the research. Michelle and her collaborators on this episode are special guests from beyond the SpokenWeb network. Their work builds on conversations we have had on this podcast about critically engaging with archival artifacts, the practice of research creation and audio work as a form of scholarship. In addition to appearing here on the podcast, the sound works in this episode are also part of an exhibition called “GardenShip and State” on display at Museum London until late January, 2022. We are delighted to bring you producer Michelle Wilson with Season 3 Episode 3 [Start Music: SpokenWeb Podcast Theme Music] of the SpokenWeb Podcast: Forced Migration. [End Music: SpokenWeb Podcast Theme Music]\n \n\n03:06\tMichelle Wilson:\tHi, my name is Michelle Wilson. I’m an artist, mother and researcher.\n \n\n03:12\tMichelle Wilson:\tBack in 2016, I was lucky enough to be invited to do an artist residency at Riding Mountain National Park. I intended to listen to, record, and learn from bison communication and speak to the people who work with them. It was a thrill to find the bison each day and to sit and watch and listen. I learned so much from those who shared their knowledge about these bison, but just as instructive was what was left unsaid about how they came to be corralled for display at a national park. I have been tracing the story of these bison’s ancestors ever since.\n \n\n03:50\tMichelle Wilson:\tThe audio artworks I’d like to share with you today come together to tell this story; the forced migration of a lineage of bison. I will take you from so-called Saskatchewan to Manitoba, Kansas and Texas, Montana, then Alberta, and finally to Wood Buffalo National Park, which straddles Alberta and the Northwest Territories. This story spans centuries and zooms in and out from microbes on a blade of grass tickling a bisons nose to national policies.\n \n\n04:24\tMichelle Wilson:\tThese short vignettes emerged from a collaboration with poet Síle Englert, who took my 8 to 10-page essays, found their essence, and remixed them into short affective pieces of prose, and Angus Cruickshank, who created layered soundscapes that in a way, bring their own parallel narratives to the pieces. We will hear more from them later.\n \n\n04:47\tMichelle Wilson:\tA note before we listen to these works; I identify as a woman of settler descent, so it was vital for me to tell the story of what settlers did to the bison and their kin. It seemed fitting for me to draw my research from the colonial archive, infuriating as it often was. What I have created here, however, is not a recitation of facts. It is an alternative archive that centers specific and bodied perspectives.\n \n\n05:16\tMichelle Wilson:\tI have found in my research that citing practices did not prevent the transmission of false information and faulty worldviews, so I am taking these stories out of a written tradition. I’m not using the trappings of the academy to give myself authority. My voice as the narrator is never softened by the need to appear objective. On the contrary, it is impassioned and personal. Sometimes I even take on the perspective of a bison. This recentering of the inherited “facts” changes stories of salvation and domination into stories of connection, empathy, and survival.\n \n\n05:56\tMichelle Wilson:\tOur first story takes us to the banks of the north Saskatchewan river in 1873, where the circuitous route to colonial conservation starts.\n \n\n06:08\tMichelle Wilson + Voice Actor:\t[Michelle and a low, gravely voice recite simultaneously] Charles Alloway tried to hold onto a bison bull, to place to anchor them post. But the bull dragged the man, and the rope lacerated his hands, cutting to the bone.\n \n\n06:21\tMichelle Wilson:\t[Start Music: Low-pitched String Instrumental] Until his dying day, Alloway controlled the myth of how he “saved the buffalo.” His story: the white hero, the repentant slaughterer. His words are the ones that survive in the colonial record.\n \n\n06:33\tMichelle Wilson:\tOne word – half-breed –tried to obscure the body of the Honourable James McKay, Scottish and Cree, trader and guide with the piercing grey eyes.\n \n\n06:45\tMichelle Wilson:\tTogether, McKay and Alloway drove their oxcart down the rutted mud streets and out of Winnipeg to meet a convoy of Métis hunters. Searching for bison to slaughter for hides and pemmican.\n \n\n06:56\tMichelle Wilson:\tA matriarchal band of cows and calves moved through meadows, just emerging from winter’s grip. Grandmothers, aunties, mothers. The bison and must’ve stampeded as the first round of bodies fell. Brown-headed cowbirds took to the sky, their liquid chirps and trills drowned out by hooves and bellows as they abandoned their posts on the bison’s backs.\n \n\n07:22\tMichelle Wilson:\tEncamped at a distance, the women and children heard what they couldn’t see: “a sound deep and moving like a train moving over a bridge… acontinuous deep, steady roar that seems to reach the clouds.”\n \n\n07:36\tMichelle Wilson:\tClose to the carnage, McKay and Alloway felt the guttural calls of anguished mothers resonating in the cavities of their chests. The hunter’s sought cows, their flesh more palatable than the bulls’. Which meant the next generation were in their bellies when they fell.\n \n\n07:54\tMichelle Wilson:\tWomen were brought in to butcher and process the bodies. Calves lingered near their fallen mothers, watching.\n \n\n08:05\tMichelle Wilson + Voice Actor:\t[Michelle and a low, gravely voice recite simultaneously] These “pitiful creatures” were run down or lassoed at McKay’s and Alloway’s command. The partners recognized that the current rate of slaughter could not be maintained.\n \n\n08:16\tMichelle Wilson:\tFive freeborn bison calves were captured, survived, and reproduced, forcibly adopted by domestic cows. But their relationship to the land died.\n \n\n08:28\tMichelle Wilson:\tOn the establishment of Buffalo National Park, Alloway said:\n \n\n08:33\tMichelle Wilson + Voice Actor:\t[Michelle and a low, gravely voice recite simultaneously] “The animals will increased under natural conditions of peace contentment. Everyone of them came from my original group three heifers and two bulls.”\n \n\n08:43\tMichelle Wilson:\tWhen the last Canadian bison were being slaughtered in 1878, Alloway sent out a hunter who brought him back 30 bison hides –\n \n\n08:52\tMichelle Wilson + Voice Actor:\t[Michelle and a low, gravely voice recite simultaneously] “We cannot see distant things from the all absorbing present sometimes,”\n \n\n08:56\tMichelle Wilson:\t–he lamented. In trying to anchor the bison bull, Charles Alloway was left with scars on his hands that he carried –\n \n\n09:04\tMichelle Wilson + Voice Actor:\t[Michelle and a low, gravely voice recite simultaneously] –to his grave. [End Music: Low-pitched String Instrumental]\n \n\n \n\n09:08\tAngus Cruikshank:\tHi, my name is Angus Cruikshank. I’m a musician and composer. I’m Michelle’s partner as well. I did the score for “Bedson” and all the other tracks to this project and I also did a bit of editing and some of the mixing.\n \n\n09:23\tMichelle Wilson:\tHey Angus, thanks so much for talking to us about your process. Can you speak to the track we’re about to hear, “Bedson” and tell us a bit about what the story means to you and how you approached composing a score for it?\n \n\n09:38\tAngus Cruikshank:\tI think “Bedson” is my favourite track because it’s a very –I don’t know – moving story that has so many different parts to it, and it just comes together so well. And so, I think when I approach the track and listen back to Michelle’s performance of the reading, it’s like this very bittersweet tale of the bison and obviously their relationship to Bedson Stoney Mountain, and the plains in general. And so, I didn’t want to necessarily create like a doom and gloom type sound to it or composition to it, I wanted there to be almost like a pensive reflective type sound where you’re – it is kind of in a minor chord but there are like major chords in it that maybe convey some sort of, not hope but empathy to the story?\n \n\n10:39\tMichelle Wilson:\tI do like how you haven’t made it just a simple minor score because there are moments of lightheartedness in this piece and so I was wondering if you could talk to us about what you were doing with those upper register notes.\n \n\n10:54\tAngus Cruikshank:\tUpper register notes that are just really kind of holding down a beat and so it kind of gives this it – it kind of gives the piece sort of like a galloping feel to it, which I guess you know you could link back to maybe the bison, but also just sort of this running feel. Its like a [Sings] “duhn duhn dat dat dat dat dat”. So I don’t know I just it felt really right and it felt like it really worked for the mood and the theme of the piece.\n \n\n11:25\tMichelle Wilson:\tWhat do you see as the themes in “Bedson” and how did that influence the kind of sonic imagery you came up with?\n \n\n11:32\tAngus Cruikshank:\tI think the theme of the song “Bedson” is one of incarceration and the penitentiary, the structure that still exists today and is still a penitentiary and one of the oldest in Canada if not the oldest. I think a lot of people aren’t aware of that and how it played a role in essentially isolating, confining people who resisted colonization. And kind of the isolation of the penitentiary itself within this vastness. And having lived out there, and sort of seen vastness, that isolation of winter in the prairies, it’s sort of a very beautiful yet morose vibe, because nothing can really survive out there, yet the sun is shining and its 40 below. Yeah, nothing except bison can survive out there and it’s beautiful. And I think it worked really well with, when I picture Stoney Mountain Penitentiary just sort of sitting there alone, or when you listen to it you sort of maybe hear that maybe hopelessness, but maybe frustration, but also like an empathy towards those who are incarcerated there, both human and nonhuman such as the bison. I think musically it works so well, and I think why it is my favourite is because it really captures that vastness I was talking about, the use of delay it’s really just like kind of two chords, and then yeah then a slight variation as the song progresses.\n \n\n13:23\tMichelle Wilson:\tOkay Angus, one last question. We’ve collaborated together for a very long time. I was wondering if you could tell me a bit about what it’s like to collaborate by layering on someone else’s words?\n \n\n13:38\tAngus Cruikshank:\tYou’re really interpreting and trying to compliment what is being said, and that can be kind of hard sometimes because the music is there to support the story. You have a lot of leeway, but at the same time it’s really hard to capture the essence of what is being said and it does take time to kind of get that right feeling. Because if you don’t have it then it could distract from the actual story itself, and that is really the most important part.\n \n\n14:13\tMichelle Wilson:\tWell thanks so much Angus, I really do think that you bring life and texture to these pieces and a lot of the empathy that people perceive in them comes from your compositions so thank you, and here is “Bedson”. [Start Music: “Bedson” by Angus Cruikshank] It is a testament to how remarkable the sight of bison were, that in 1880, 800 people attended the auction that determined the fate of just 13. Because the bison were once so plentiful here that at a distance, they could have been mistaken for a churning, brownish-black river surging across the plain. The winner of the auction was Samuel L. Bedson, the warden of Stony Mountain Penitentiary. In the early hours of a frigid morning, a tawny bison calf was born onto trembling legs. Still wet with afterbirth, he had barely taken his first tentative steps when his herd, now 14 in number, was roused from slumber by men sent to drive them to their new home.\n \n\n15:22\tMichelle Wilson:\tImagine the wind whipping across a sea of flat, uniform ground on a painfully bright February day. On top of a sudden swell in the land sits a three-story sandy brick building. Dozens of elegant arched windows peer down upon you, the bars not discernable from a distance—that’s what those 14 bison saw. The bison were often corralled in a stone pen near the farm on the prison grounds. This complex was nicknamed “the castle,” and Bedson was its king. He was no great hunter; he was a collector, always trying to domesticate wild animals for the amusement of his family and neighbours. The farm at Stony Mountain housed a collection of wolves, deer, bears, and badgers, but Bedson’s moose were local favourites; a pair had even been trained to pull a handsome sled in the winter.\n \n\n16:17\tMichelle Wilson:\tOn a Christmas afternoon, Bedson tried a similar trick with a two-year-old bison bull. His shaggy brown body was hitched to a toboggan. Eight merry makers loaded on the sled while five or six of the incarcerated men held onto a rope tied around the bison’s neck. Imagine this ludicrous game of inter-species tug-of-war, the free laughing and playing while the prisoners, human and bison, were scared for their lives. A tense calm lasted for about 15 or 20 minutes until suddenly the bull leapt into the air, scattering prisoners and guests into the snow. There was no catching the bull once he had gained his freedom. Months later, Bedson received a letter from North Dakota that a lone young bull had been found grazing with an old rope tied around his neck. Bedson sent a hired man across the border to bring his property back. [End Music: “Bedson” by Angus Cruikshank]\n \n\n17:32\tSíle Englert:\tMy name is Síle Englert. I am a writer, editor, and visual artist, and I feel very grateful to be a small part of this project, in that it was my work to edit in a sort of cut and paste way, like a collage, to take these longer pieces describing the history of the bison and rework them into shorter narratives to be recorded, like storytelling.\n \n\n17:55\tMichelle Wilson:\tSíle, could you tell us a bit about the story you most enjoyed working on?\n \n\n18:00\tSíle Englert:\t“Fight or Flight”, I think is the piece that probably affected me and stayed with me the most. Maybe, because you’ve written it in a first-person perspective from the mind of one of the bison and that means you brought an immediacy to the history. It changed the language you were able to use to describe the experience, allowing human emotions and familial relationships so that the listener completely empathizes with the bison’s and experience. I think the shift to a first-person perspective makes the process of creating this piece, step-by-step even more interesting too. You’ve done an incredible amount of research, collecting historical accounts, stories, and statistics. And collected, the picture that all of this information paints is sad and disturbing, evocative of the horrors and the pointless suffering that humans put these animals through. But in “Fight or Flight” in particular, we hear the story from one of the bison herself. And it’s a sort of magic, I think, to take this pile of numbers and information and create a first person account of some of these moments where you can feel the pain of it right in your chest.\n \n\n19:30\tSíle Englert:\tAnd then you sent the longer story to me and my part I think was another kind of archaeological process: digging through this wealth of matter to find pieces that felt like the essence of the story. And then figuring out how those pieces fit together as a narrative. And there’s there’s an emotional element to the process too. When so much damage was done to both these bison and to the environment that we share, when so much pain was caused, how do you decide what’s most important? What people should hear? I had to make sure I kept enough of the spirit and the experience of the bison as you wrote it, and enough of the horror so that those listening could understand what these creatures went through – and to maintain that organic flow that’s kind of difficult to describe in words that movement you can hear in the story. All of that comes through in the final step, in the recording you’ve done, the sound and the music, these bison, this particular bison comes to life –her wants and needs and experience and pain. I think several steps of distilling this down to its essence from history, to story, from information, to emotion allows those listening to connect with something real, something far beyond numbers and statistics.\n \n\n21:12\tMichelle Wilson:\tThank you so much Síle for that generous and thoughtful reflection. And now here is “Fight or Flight”.\n \n\n \n\n21:22\tMichelle Wilson:\t[Start Music: Low-pitched String Instrumental] [Michelle performing ‘Flight or Flight”] We are grazing, hidden in the breaks between sand hills. Always alert, our ears panning for the sounds of men. My body orients toward the wind, waiting for the odour that twangs my fraught nerves and triggers our flight. I don’t want to leave this place. The snow has just melted from the slopes, moistening the thirsty earth below, reviving the scrubby grass after a long winter. There are so few of us, now. So few babies. We cannot let down our guard to breed as we used to. Two lame bulls follow us but they barely have the energy to register when we are in estrus. When we do conceive, our bodies can no longer nourish the unborn. We are haunted by those stolen from us. Mothers who aren’t killed fighting off the snatchers return again and again to the site of their loss. As the night lifts, my body is alive with sensation— rain drizzles, a sweet, pungent balm rises from the earth. I don’t detect them until they are among us. We bolt toward the wind. We cannot stop moving. We might still outrun them. The bulls cannot keep up and drift away, but these predators are not enticed by weakness. Night settles again and they keep pressing us. The sun rises and they are still there. Three nights and days they keep at our heels. Urine, sweat, and dead skin wafts toward me on a breeze exhaled from a canyon mouth. I turn, lead my sisters and their young onto an open prairie. My instincts have betrayed me, betrayed us. I hear the oscillating whistle of a lasso and the desperate, grunting cry of a calf. I hear him fall. A thud, thud, thud, dragging and scraping. The man’s rope finds another of our young and pulls him down. But now we know what he is here for. My sister is a blur of bristled hair as she charges him. There is a crack of thunder, and mushrooming from the deafening sound is the acrid, smoky, rotting smell of water that cannot breathe. My sister staggers a few strides from the source of her pain and sinks to the earth. Disoriented by the sound and smell of death, I barely register the hum of the rope when it strikes out and brings down our last baby. [End Music: Low-pitched String Instrumental]\n \n\n24:14\tMichelle Wilson:\tThis next story runs parallel to the one you just heard. “Fight or Flight” and this story “How Buffalo Jones Got His Name” were created from autobiographies of a man named Buffalo Jones. “Fight or Flight” uses his observations to understand the beings he prayed on, while “How Buffalo Jones Got His Name” confronts the attitudes used to justify the hunt.\n \n\n24:41\tMichelle Wilson:\t[Start Music: Piano and String Instrumental] [Michelle performing “How Buffalo Jones Got His Name”] Some people would have you believe that Charles Jesse ‘Buffalo’ Jones got his nickname for his conservation efforts. Please don’t believe them. Jones heard God’s call in Genesis 1:26 –.\n \n\n24:54\tVoice Actor:\t[Church Choir Singers Underlaid] “Let Us make man in Our image, after Our likeness; and let them have dominion over all the earth and over everything that creepeth upon the earth.”\n \n\n25:17\tMichelle Wilson:\t[Michelle performing “How Buffalo Jones Got His Name”] – He set out to capture the last remaining remnants of the great southern bison herd, not as some noble conservation effort, but as breeding stock for his own grand experiment. On the first three expeditions, he took only calves. He learned as he went, and the bison he encountered suffered for his mistakes. The calves refused buckets of water and called relentlessly for their mothers. Jones and his men rode out, looking for range cows to forcibly milk, but instead found two of the bison mothers wandering the site of their loss. Jones shot one of them for her meat and milked her dead body. When calves became rare, he resolved not to leave any bison on the plain. Capture myopathy was not identified until 1964, diagnosed in another endangered species. The stress of being captured triggers the creature’s biological defense mechanisms, and the prolonged or intense engagement of these mechanisms causes massive, often fatal system failure. The animal suffers lethargy, muscle weakness, incoordination, rapid breathing, shivering, dark red urine, and hypothermia. Their blood turns to acid. Their muscles suffer necrosis and die as the animal is still struggling for life. This is how the last of the Southern bison died. Jones believed that there was no place for wild bison on their former ranges. Man’s mastery transformed these arid tracts into productive farms “made exceptionally fertile by the manure, bones, and flesh of the millions which lived and died there during centuries past.” With a name like Buffalo Jones, it would be easy to believe that he saved the bison. [End Music: Piano and Strings Instrumental]\n \n\n27:35\tMichelle Wilson:\tAfter Buffalo Jones’ bison schemes went bust, he sold his herd, a mix of bison from the Southern Plains and decedents of the Saskatchewan calves, to two ranchers at the Flathead Reservation in Montana. These two ranchers, Michael Pablo and Charles Allard were adding to their captive herd. But how had these bison come to be protected within the Flathead Valley? Tracking down this history was, for me, a journey through a twisted game of racist telephone. It was really fascinating, in the way that a disaster is fascinating, to see how white authors used quotes and citations in articles and dissertations to give legitimacy to each garbled version of the past. I followed this path until at last, I arrived at a telling shared by the Confederated Salish and Kootenai Tribes of the Flathead Reservation. In the show notes, we’ve linked to a video produced by the Confederated Salish and Kootenai Tribes about the return of the bison and their fight to continue their stewardship and sovereignty over their lands. You will hear the following two stories back-to-back, they share how the bison came to be on the land, and how they were forced from it.\n \n\n28:53\tMichelle Wilson:\tThe search for facts goes in circles. I find a fact and follow it back to its source, only to find every new telling contaminated. [Start Music: Intermittent Percussion, Tonal Sounds] Who first brought the bison back to the Flathead Reservation? A white trader named Charles Aubrey inserted himself into history by recording his story.\n \n\n \n\n29:12\tMichelle Wilson:\t[Reading Charles Aubrey’s words] In the year 1877, I was located at the Marias River and engaged in the Indian trade…Among the Pend d’Oreille Indians… from across the mountains, was (a)… man… whose Christian name was Sam. He was known to the Blackfeet as Short Coyote… A rather comely girl had attracted the attention of Sam… (and) she became his wife. I told him very frankly that he had made a mistake…I said to him; “You are a strong Catholic and your Church does not permit polygamous marriages” He feared he would be punished by the fathers of St. Ignatius Mission…I thought there was still a chance to make peace with the soldier band of his tribe by getting a pardon from the fathers… I then suggested…he rope some buffalo calves…and then give them as a peace offering to the fathers at the mission. Sam herded his buffalo with the milk stock for five days, resting and making arrangements for his trip across the mountains… seven head in all is my recollection of the bunch… I afterward learned… that immediately upon his arrival upon the reservation he was arrested and severely flogged… In the course of time I heard of Sam’s death…passing away peacefully in his lodge…\n \n\n30:24\tMichelle Wilson:\tOther tellings of Sam’s story seep into my consciousness as I wade deeper into newspapers and websites. Racism oozing between every word. They describe Walking Coyote’s meeting with Charles Allard and Michel Pablo, who bought the bison calves. They speak of him “brooding… over gleaming piles of wealth.” They record his death as “a less-than-heroic exit” under a Missoula bridge, resulting from “a drinking spree,” and “one that matched the spirit in which he had lived and captured the calves that were now prospering on the rich grasslands of the Flathead.” The words sit like bile in my mouth. Walking Coyote’s legacy as a drunk, greedy Indian became entrenched in the dominant archive. I wonder if the tendrils of Aubrey’s story have made their way into others. Did interviewers seek out those that would corroborate their stories? Or did the keepers of more profound knowledge withhold it, for fear of contamination? In 1978, when he was 87 years old, Pend d’Oreille Elder and historian Mose Chouteh recorded the story of how bison returned to the Flathead reservation. I will let Mose Chouteh’s words speak for themselves:\n \n\n31:40\tMichelle Wilson, reciting Mose Chouteh:\t[Reading Mose Chouteh’s words] While I was growing up I heard this told by many elders…It is about a man called Ataticeʔ. (While on a hunt several buffalo followed their camp) And so in the evening, (the men) went into the tipi. The chiefs were smoking… Ataticeʔ said, “Hello. I have come to ask you, my chiefs. I think that it would be good if we took these buffalo back to our land to live there.” Some of the chiefs said, “that’s exactly right.” And some chiefs said… if we take them back to our land, we will be tied down… We will not be able to go anywhere. We will just be in one place as we gather our food.” The chiefs disagreed with each other. Half of them said yes and the other half said no. (After three days the council remained at an impasse and out of respect for the tribal need for consensus on major decisions Ataticeʔ withdrew his proposal). As he mounted his horse… He waved at these buffalo, like sending them to different parts of the prairies. Ataticeʔ said to the buffalo… “it will be up to each of us whatever happens to you and whatever happens to me. That is all.” And all these buffalo turned towards the east, the rising sun… They were going away. And Ataticeʔ cried. Ataticeʔ’s son Ɫatatí having the same deep connection to the buffalo as his father, renewed his father’s request to capture calves in the 1870s. The council, seeing the effects of the unchecked settler slaughter of the buffalo, approved Ɫatatí’s plan. Six calves were brought over the mountain range, they soon flourished and became twelve. Ɫatatí’s mother, meanwhile, remarried Samwel Walking Coyote. While Ɫatatí was away, two people went to see Samwel. One was called Charles Allard, and the other man was called Michel Pablo. These two men met with him and told Samwel, “we’ve come to buy your buffalo.” Samwel said, “ok, it will be so…” Ɫatatí returned to his house… all the buffalo were gone… he asked his mother, “where are my buffalo?” And his mother told him, “your stepfather sold them.” And Ɫatatí cried. [End Music: Intermittent Percussion, Tonal Sounds]\n \n\n34:07\tMichelle Wilson:\tMichel Pablo’s bison were sold to the Canadian government in 1907. [Start Music: Xylophone Instrumental] Extraction from the land was violent and rail travel for bison was perilous. I wonder if the removal triggered memories of their previous transfer from Kansas to Montana. The only recorded death during that transfer of bison was a calf who was trampled to death in the stifling, shifting, rattling cars. In my imagination, the calf is still a reddish caramel colour. She is not yet weaned. Was she with her mother? Had her mother been born into captivity or was she dragged by lasso from her own mother’s side? I know that somewhere in her matrilineal line, a cow fought a man to keep her calf and probably died in the process. Did this trampled calf carry that memory in her bones? Did her mother listen to the imperatives of her instincts and keep her calf close? Did her own feet bring her calf’s death? The egg that became my daughter existed in my genetic code when I was an egg inside my mother. What of my mother’s trauma is playing out in my daughter’s body? How does this kind of trauma make its way into genetic material? They say a butterfly has sense memories carried over from its caterpillar self, even though it basically becomes a gooey soup of cells in the chrysalis. I imagine the phantom call of a calf falling under shifting panicked feet, echoing in the body of another cow who died shortly after being loaded onto a wagon train on the Flathead Reservation. Cowboys loaded her into a reinforced wagon without her calf. The calf grunted and called to his mother. The call of her offspring drove her into a frenzy. In desperation she rammed her horns through the two inches of wood that imprisoned her. Her horns became lodged in the wood and in thrashing against it she broke her own neck. She was butchered, and her hide sold. I don’t know what happened to her calf. I know that 19 other bison died in the round up. 708 were shipped off the Flathead Reservation.653 made it to the ill-fated Buffalo National Park. 55 stayed at Elk Island National Park and founded a herd there. The colonial story of bison conservation is one of rescue. The Confederated Salish And Kootenai Tribes of the Flathead Reservation, and many other signatories of the Buffalo Treaty, are writing a new and yet ancient story. It is theirs to tell. It is incumbent on us to find it. [End Music: Xylophone Instrumental]\n \n\n37:11\tMichelle Wilson:\tWe now arrive at Buffalo National Park near Wainwright, Alberta. The archival information around this now-defunct park demonstrates an absolute indifference to the agency of other beings and to the specificity of this place. The result was an ecological and economic disaster. In this piece, I tried to speak with two voices, one that personifies the Parks service’s approach to resource management and another that takes the lives of bison and their kin seriously.\n \n\n37:47\tMichelle Wilson:\tNumbers. [Start Music: Atmospheric Instrumental] They transmogrified breathing, eating, shitting, connected bison into numbers. That’s what happens when a being becomes a commodity –\n \n\n37:57\tMichelle Wilson + Voice Actor:\t[Michelle and a deep voice recite simultaneously] 20 to 60 million bison ranged North America before colonial contact.\n \n\n38:03\tMichelle Wilson:\t–Surveyors and homestead inspectors came looking for a home for the government’s newly acquired bison. What they saw was land that had no value because it could not be settled or farmed. It was worthless, but maybe it could be made useful. This place, southwest of Wainwright, Alberta, became Buffalo National Park in 1908. Reducing the bison’s lives to numbers –\n \n\n38:29\tMichelle Wilson + Voice Actor:\t[Michelle and a deep voice recite simultaneously] In 1888 there were 103 wild plains bison in North America.\n \n\n40:13\tMichelle Wilson:\t–The land and the bison had sustained one another. The bison compacted the arid ground, helping it hold on to precious moisture. Cows and bulls felt their way across the grassland, stems and blades tickling their nostrils as soil stirred up by a roving muzzle and probing tongue was inhaled –\n \n\n40:20\tMichelle Wilson + Voice Actor:\t[Michelle and a deep voice recite simultaneously] By 1912, 748 bison had arrived at Buffalo National Park from Michel Pablo’s herd.\n \n\n40:20\tMichelle Wilson:\t–There was an intimate interconnection between bison and the thousands of “microbes; fungi, bacteria, and protozoa” populating each square centimetre of forage. These microscopic beings had the enzymes to break down cellulose in the grasses the bison eats. Neither being could live without this symbiotic relationship –\n \n\n40:20\tMichelle Wilson + Voice Actor:\t[Michelle and a deep voice recite simultaneously] The government wanted quick and exponential growth. By 1922, 6,780 bison were sharing the park’s limited resources with large deer, moose, and elk populations. The land strained under the pressure of all these mouths and bodies.\n \n\n40:20\tMichelle Wilson:\t–Reciprocity and movement had co-evolved over centuries, enabling the dunes and desert-like conditions of the Hills to sustain vast herds over the winter months –\n \n\n40:20\tMichelle Wilson + Voice Actor:\t[Michelle and a deep voice recite simultaneously] Over 19,141 bison were slaughtered over the park’s thirty-year existence.With Canada’s involvement in World War II looming, the park was declared a failure. On December 30, 1939, the last bison were shot; untold numbers of deer, moose, and elk followed them to the abattoir. [End Music: Atmospheric Instrumental]\n \n\n40:20\tMichelle Wilson:\t– Just numbers.\n \n\n40:23\tMichelle Wilson:\tWe have been on a journey through space and time. In this final piece, we arrive at Wood Buffalo National Park in the year 2021. I wrote this closing section in response to an article by Chloe Dragon Smith and Robert Grandjambe in Briarpatch magazine. We’ve linked it in the show notes as well. Chloe and Robert live off the land within their ancestral territory, which falls within the bounds of Wood Buffalo. Their article is a missive from the future to their future children. It references an imagined fulsome and personal apology delivered by Parks Canada to the 11 Indigenous nations and councils whose traditional territories the sprawling Wood Buffalo occupies. In this section, I used the archival information around Wood Buffalo to imagine what that apology would need to atone for. This apology felt like the only way to address the ongoing violations at Wood Buffalo, but also not nearly enough. So, for me, it is simply a place to start.\n \n\n41:38\tMichelle Wilson:\t[Start Music: Reverberating Tonal Sound ] I want to speak to you today about what we did— our predecessors— the many branches of the Dominion government and the people who ran them; the treaty negotiators, the Department of the Interior, and Parks Canada. The creation of Wood Buffalo National Park was an act of “ecological imperialism.” From its first inception, the Park was designed to be a place that excluded Indigenous peoples, a place where Canada could extinguish treaty rights. We created a swath of Land where vital relationships between human and non-human have been severed. We saw the bison as an exploitable resource and used their bodies to make money. Our park wardens slaughtered bison one day and persecuted your hunters the next. We turned exercising your rights and sovereignty into a privilege. We used racial dogmas to determine who had hereditary rights within the Park, and we used a politics of purity to drive communities apart. We separated families. We ignored letters pleading to be reunited. We contributed to the residential school system and intentionally engendered dependency instead of acknowledging your right to hunt and practice lifeways on your own lands. We chose to believe that pulling the strand of bison from this web wouldn’t cause it to unravel. We armed police and then wardens to arrest and harass your guardians. We created a policy of surveillance and intimidation. Even when we built abattoirs and killed hundreds a year, still we kept you from the bison. Our attachment to conceptual borders extends to policing the boundaries between Wood Bison and Plains Bison, between pure and hybrid, between contaminated and uncontaminated. Steeped in white supremacy, we did not see how these logics of purity were weaponized against both bison and your people. These imagined borders place bison and Indigenous peoples outside the protective bounds of white and human. This pattern has continued. Our pools of knowledge are shallow, and our spatial and temporal scales are different than yours. Your pools of knowledge are deep and dependent on a connection to place and language. We have come to embrace the term “two-eyed seeing,” as envisaged by Mi’kmaw Elder Dr. Albert Marshall. It is a concept of “learning to see from one eye with the strengths of Indigenous knowledges and ways of knowing, and from the other eye with the strengths of mainstream knowledges and ways of knowing, and to use both these eyes together for the benefit of all.” But first, we acknowledge that for nearly a century our laws stripped Indigenous peoples of their treaty rights if they pursued a university education. We tried to outlaw “two-eyed seeing”. We are ashamed that we fought for nearly a century to avoid fulfilling our Treaty commitments to your Nations. We apologize to you. We apologize for making your communities fight for what was theirs. We would like to work with you, the descendants of the dispossessed, to make restitution for these wrongs. To move beyond access and towards true sovereignty on the Land. We recognize that decolonization is not a metaphor. [End Music: Reverberating Tonal Sound]\n \n\n45:37\tMichelle Wilson:\tThank you so much for coming with me on this journey. The audio pieces I have shared with you today have many lives. They can also be experienced as part of an interactive textile map. It will be on view as part of the “GardenShip and State” exhibition at Museum London, in London, Ontario. We will link to the exhibition and documentation of the piece in the show notes as well. I hope that this collection of stories has illuminated how bison conservation has been a tool of colonization. The sources I have drawn from want us to believe conservation stories are ones of rescue, but as Indigenous literature scholar Pauline Wakeham puts it, conservation narratives attempt “to overwrite colonial violence” and locate it in a distant past. If you are interested in a future where a decolonized relationship with bison exists, please check out the work being done by Dr. Leroy Little Bear, The Confederated Salish and Kootenai Tribes of the Flathead Reservation, and many other signatories of the Buffalo Treaty. We’ve linked to an excellent site that documents the work of the Buffalo Treaty to get you started on this journey\n \n\n46:57\tHannah McGregor:\t[Start Music: SpokenWeb Podcast Theme Music] SpokenWeb is a monthly podcast produced by the SpokenWeb team as part of distributing the audio collected from (and created using) Canadian Literary archival recordings found at universities across Canada. Our producer this month is Michelle Wilson. The audio artworks featured in this episode were originally created as part of Michelle’s interactive textile map, “Forced Migration”. It’s on view at Museum London as part of the “GardenShip and State” exhibition until January 23rd, 2020. See the links in the show notes and the image gallery on our episode webpage to engage more deeply with the research and stories behind this episode. Our podcast project manager and supervising producer is Judith Burr and our episodes are transcribed by Kelly Cubbon. To find out more about SpokenWeb visit spokenweb.ca and subscribe to the SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you may listen. If you love us, let us know, rate us, and leave a comment on Apple Podcasts or say hi on our social media @SpokenWebCanada. Stay tuned to your podcast feed later this month for ShortCuts with Katherine McLeod, mini stories about how literature sounds. [End Music: SpokenWeb Podcast Theme Music]"],"score":0.3928795},{"id":"9606","cataloger_name":["Ella,Hooper"],"partnerInstitution":["Concordia University"],"collection_source_collection":["SpokenWeb AV"],"source_collection_label":["SpokenWeb AV"],"collection_contributing_unit":["SpokenWeb"],"source_collection_uri":[""],"collection_image_url":["https://archiveofthepresent.spokenweb.ca/_nuxt/img/header-img_1000.fd7675f.png"],"collection_source_collection_description":["SpokenWeb Audio Visual Collection"],"collection_source_collection_id":["ArchiveOfThePresent"],"persistent_url":["https://archiveofthepresent.spokenweb.ca/"],"item_title":["SpokenWeb Podcast S6E5, Sounding New Sonic Approaches – A Podcast of A Live Recording Session of A Journal Issue Located in Multiple Spaces and Temporal Dimensions, 10 March 2025, Camlot"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/new-sonic-approaches/"],"item_language":["English"],"item_production_context":["Podcast"],"item_series_title":["The SpokenWeb Podcast"],"item_series_description":["Series of podcasts by the SpokenWeb network."],"item_subseries_title":["The SpokenWeb Podcast Season 6"],"item_series_wikidata_url":["https://www.wikidata.org/wiki/Q117038029"],"item_series_uri":["https://spokenweb.ca/podcast/spokenweb-podcast/"],"item_identifiers":["[]"],"rights":["Creative Commons Attribution (BY)"],"rights_license":["Creative Commons Attribution (BY)"],"access":["Streaming and download"],"creator_names":["Jason Camlot"],"creator_names_search":["Jason Camlot"],"creators":["[{\"url\":\"http://viaf.org/viaf/90740324\",\"name\":\"Jason Camlot\",\"dates\":\"1967-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2025],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/4a081369-0b04-4bfa-917f-2a3a734e3020/audio/3c52525a-bd89-41d3-b0ee-cb006a4c8c6c/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"s6e5-mixdown-ext-outro-music.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:58:19\",\"precision\":\"\",\"size\":\"55,996,320 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"s6e5-mixdown-ext-outro-music\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/new-sonic-approaches/\"}]"],"Dates":["[{\"date\":\"2025-03-10\",\"type\":\"Publication Date\",\"notes\":\"\",\"source\":\"\"}]"],"Location":["[{\"url\":\"\",\"venue\":\"Concordia University McConnell Building\",\"notes\":\"\",\"address\":\"1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8\",\"latitude\":\"45.4968036\",\"longitude\":\"-73.57792785757887\"}]"],"Address":["1400 Boulevard de Maisonneuve O, Montreal, QC, H3G 1M8"],"Venue":["Concordia University McConnell Building"],"City":["Montreal, Quebec"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"“Amen Drum Break” samples all downloaded from:\\n\\nhttps://pixabay.com/sv/sound-effects/. The file names of “amen drum break” samples used are:\\n\\n140-bpm-amen-break-original-processed-6945\\n20_ca_amens-104513\\namen-sequence-01-dirty-180-bpm-102243\\namen-darkness-74126\\n175bpm-amen-punchy-loop-104487\\ndv-amen-break-133bpm-103971\\namen-break-remixed-loop-01-160-bpm-235384\\namen-break-no-copyright-remake-120bpm-25924\\nBach, Johann Sebastian. “BACH Goldberg_Variations_BWV_988_Variation 25_1955.” Looped excerpt. Performed by Glenn Gould.\\n\\nbissett, bill. “bill bissett at SGWU, 1969. 31 October 1969.” I006-11-083. SpokenWeb\\n\\nMontreal Sir George Williams University Reading Series collection. Concordia University, Montreal.\\n\\nCamlot, Jason. All music used to score the episode was produced from\\n“artifact sounds” derived from the source recordings combined with effects and other synthetic digital manipulations.These include:\\n\\nWork 1: “Zoom Music” developed from high-frequency sounds resulting from Zoom connectivity, equalization and reverb effects.\\n\\nWork 2: “Endless Vision” developed from interval noise run through long delay effects.\\n\\nWork 3: “EVOCalities” developed from event participants’ ambient talk and noise recorded after the event had ended, sped up and run through phase effects, delay.\\n\\nWork 4: “Pedalboard Drones and Drips” developed from sounds derived from outdoor microphone run through digital simulations of guitar pedal effects, mainly overdrive, chorus, and delay.\\n\\nWork 5: “Shapeless Fragments with Voices” developed from sounds of participants\\n\\nGinsberg. Allen. “Allen Ginsberg at SGWU, 1969.” I006-11-033.1. SpokenWeb\\n\\nMontreal Sir George Williams University Reading Series collection, Concordia University.\\n\\nhttps://montreal.spokenweb.ca/sgw-poetry-readings/allen-ginsberg-at-sgwu-1969/#1\\n\\nMartin, Daniel. “Martin_Mouth by Daniel Martin.”\\n\\nMitchell,Christine.  “Can you hear me?” Sound Collage from audio of the Sir George Williams Poetry Series.  Amodern 4: The Poetry Series (March 2015), edited by Jason Camlot and Christine Mitchell.\\n\\nhttps://amodern.net/article/can-you-hear-me/\\n\\nRobertson, Lisa. Clips downloaded from PennSound,\\n\\nhttps://writing.upenn.edu/pennsound/x/Robertson.php. File names are as follows:\\n\\nRobertson-Lisa_Voice-Box-Condensary_8-31-10\\nRobertson-Lisa_02_Introduction-to-The-Weather_PhillyTalks17_UPenn_10-03-00\\n“Vinyl Needle Drop, eclectic kitty, September 28th, 2024. https://freesound.org/people/eclectic-kitty/sounds/757639/\\n\\n“waterfall-in-the-forest_nature-sound-149379” by NickyPe.\\n\\nhttps://pixabay.com/sound-effects/waterfall-in-the-forest-nature-sound-149379/\\n\\nWaterman, Ellen. “Excerpt Dusk at Warbler’s Roost.”\"}]"],"_version_":1853670549683699712,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This podcast episode performs a sound-media meditation on a live event based on a collection of printed scholarly articles. In May 2023 a triple-issue of English Studies in Canada (ESC) was published on the topic of “New Sonic Approaches in Literary Studies,” edited by Jason Camlot and Katherine McLeod. The issue, designed to explore how sound, literature, and critical methodologies intersect, included thirteen scholarly articles, and an interdisciplinary forum on the place of listening as a methodology in a wide range of scholarly and artistic fields.\n\nAs the editors considered what kind of “launch” would be best suited to this issue, they felt it should build on the printed scholarship, but also take it further – respond to it,  sound it, and perform it. They asked, “What would this journal issue sound like as a chorus or collage of voices?” They proceeded to organize an event to enact the idea of sounding and performing a scholarly collection as a kind of poetic reading of criticism. Each contributor was invited to select an excerpt to perform, and the performances unfolded in sequence within the 4th Space research showcase venue at Concordia University, and through the virtual participation of some contributors on Zoom. The performance event was also the object of an experiment in the multi-track recording of a spoken word event, with microphones of different kinds situated throughout 4th Space, and even outside the venue itself.\n\nThe eight tracks of audio resulting from that recording session serve as the raw material, the bed tracks, for a podcast that playfully explores the affordances of sound design for the presentation of scholarly research about literary audio. Some of the simple yet profound possibilities of working in sound to think and argue about sound that are explored here are those of amplitude (playing with the relative loudness of sounds), temporality (the movement and mixing of historically-situated times), speed (the movement of sounds in time), space (the relationship of sounds to the places they happened), noise (the sounds we are supposed not to want to hear), intelligibility (the intention of sounding for meaning), positionality (from where and to whom one is sounding), timbre (the textural quality of sounds and what they do), among many others. The goal of this production has not been to deliver the content of the journal as one might grasp it from the print journal (read the special issue for that!), but to emphasize the possibilities and features of sound, sometimes apposite and sometimes in opposition to the intention and circumstances of the intended message. Archival voices and sounds haunt, taunt and disrupt the planned “Sounding New Sonic Approaches” event. Parallel temporal situations compete with each other. Time is sped and stretched. Speech and vocal timbre are mimicked and mutated by an occasional soundtrack scored for monotonic analogue synths. One mode of meaning is lost, while the potential for new kinds of meaning and feeling-making in sonic scholarly production are amplified for the listener’s consideration and pleasure.\n\n00:00:03\tSpokenWeb Intro\t[Audio recording] Oh, boy. Can you hear me? Don’t know how much projection to do here.\n00:00:18\tHannah McGregor\tWhat does literature sound like? What stories will we hear if we listen to the archive?\nWelcome to the SpokenWeb podcast stories about how literature sounds.\n\nMy name is Hannah McGregor.\n\n00:00:36\tKatherine McLeod\tAnd my name is Katherine McLeod. And each month we’ll be bringing you different stories that explore the intersections of sound, poetry, literature and history created by scholars, poets, students and artists from across Canada.\nIn this episode of the SpokenWeb, podcast producer Jason Camlot explores the affordances of sound design for the presence of presentation of scholarly research about literary audio. The raw audio material for this episode was recorded at an event, a sounding of the special issue of English Studies in Canada called “New Sonic Approaches in Literary Studies.”\n\nIt was recorded live in the room and online on zoom and with mics placed all around the room and even outside. But what you are about to hear is so much more than that live recording of the event you are about to hear.\n\nA new sound work.\n\nA new sound work that performs an exploration of the possibilities of working in and with sound.\n\nArchival voices and found sounds haunt, taunt and disrupt. Parallel temporal situations compete with each other. Time is sped and stretched. Speech and vocal timbre are mimicked and manipulated. One mode of meaning is lost, while the potential for new meanings and feeling making in sonic scholarly production are amplified for the listener’s consideration and pleasure.\n\nHere is episode five of season six of the SpokenWeb podcast: Sounding New Sonic Approaches, a podcast of a live recording session of a journal issue located in multiple spaces and temporal dimensions.\n\n[SpokenWeb theme song starts playing]\n\n00:02:28\tDifferent Recordings Edited Together\t[Chaotic overlapping voices, testing microphones]\nVoice 1: Hello? Can you hear me?\nVoice 2: I hope you can hear me.\nVoice 1: Test, test, test.\nVoice 3: If you can’t hear me, I think there are more seats up here.\nVoice 4: I’ll try to speak a little louder on my own.\nVoice 5: Is it hard to hear back there?\nVoice 6: Even with the microphone?\n\n[Multiple voices testing simultaneously]\n\nVoice 1: Test, test, test.\nVoice 4: There we go.\nVoice 5: If I talk louder into the mic, does that help?\nVoice 6: Can you hear that?\nVoice 3: It’s hard to tell.\nVoice 2: Hello? Can you hear me now?\nVoice 4: Is it still hard to hear back there?\nVoice 1: Hello? Can you hear me with this mic?\nVoice 5: Can you hear me now?\nVoice 6: Y’all hear me?\n\n[Laughter, sound stabilizing]\n\n00:03:13\tDouglas Moffat\t[Regular audio resumes, background instrumental music begins]\nOkay. Hello, everyone. I’m just going to start things up here. Thank you very much.\n\nHello, everyone. Welcome to Concordia University’s Fourth Space. Thank you for joining us for today’s event, Sounding New Sonic Approaches.\n\n[Soft instrumental music continues in the background]\n\nTo help situate you, we are streaming this event live on YouTube from Fourth Space, here on Unceded Indigenous Lands in Tiohtià:ke/Montreal.\n\nWe are also running this event as a live-streamed Zoom meeting—though, as you may have already noticed, this is a bit of an unusual setup for us.\n\nWith that, it is my pleasure to hand things over to the editors of New Sonic Approaches in Literary Studies, Jason Camlot and Katherine McLeod.\n\nWelcome, both of you. Over to you.\n\n00:03:57\tKatherine McLeod\tWelcome to Sounding New Sonic Approaches, a live recording session.\nWe are recording this event here at Fourth Space at Concordia University and online on Zoom. And we’re live with an audience.\n\nWelcome, everyone! Let’s hear a round of applause.\n\n[Applause]\n\nThe idea behind today’s event is to create a spoken sound work drawn from our collective special issue of English Studies in Canada. Each contributor will sound their article—either by reading an excerpt from their piece in the journal or by selecting surrogate sounds that capture the essence of their discussion.\n\n[Scattered clapping, sound cues shifting in the background]\n\n00:04:50\tJason Camlot\tThe sounds of speech—whether spoken through microphones, over Zoom, or pre-recorded and played back through Zoom—will be layered through multiple outputs.\n[Jason’s voice subtly shifts as different sound devices are introduced]\n\nThese sounds will be played through a variety of speakers, both inside and outside Fourth Space.\n\n[A mechanical whirring sound begins in the background]\n\nThe audio from these various sources will be captured and sent to a mixing desk, where SpokenWeb audio engineer James Healy will be recording everything on multiple tracks using an RME Fireface digital converter.\n\nThis will then be used to create a new sonic approaches sound work, which Katherine and I will be producing as a SpokenWeb podcast episode from today’s performance.\n\n[Persistent clapping continues in the background]\n\nSo, that’s the basic idea. Think of this event as a big poetry reading, or maybe an open mic collaborative performance, or even a kind of literary sonic manifesto—but one that’s being recorded from a variety of sources, in multi-track layers.\n\nSpecial thanks to James Healy, Douglas Moffett, and the Fourth Space team for helping bring this event to life and for creatively reimagining how to record it.\n\n00:05:59\tKatherine McLeod\t[Katherine’s voice echoes, slightly distant]\nWe have a set list for our readers—[Sudden distorted noise cuts in]\n—which also serves as the table of contents for the special issue.\n\n[Echo fades out, sound stabilizes]\n\nWhen it is your turn, please state your name and the title of your article before reading. Keep it brief, and we’ll smoothly move from one reader to the next.\n\n[Brief pause]\n\nWith that—let’s begin.\n\nStart recording.\n\nSounding New Sonic Approaches, take one.\n\n00:06:26\tKatherine and Jason\t[Voices overlapping, slightly out of sync]\nRolling, rolling, rolling.\n00:06:30\tJason Camlot\tMy name is Jason Camlot–\n00:06:32\tKatherine McLeod\tand I’m Katherine McLeod–\n00:06:34\tJason Camlot\tand we will be reading from–\n00:06:37\tKatherine McLeod\tIntroduction New Sonic Approaches in Literary Studies.\n00:06:43\tJason Camlot\t[Jason’s voice echoes, layered and resonant]\nThe sound of literature is now discernible as never before.[Echo fades, voice stabilizes]\nThis emerging discernibility—inciting new sonic approaches to literature—is due, in the first instance, to digitized audio assets and online environments that have made previously analog collections of literary recordings more accessible and valuable for research and study.\n[A soft whirring sound begins in the background]\n\nBeyond this infrastructural shift, the heightened discernibility of sonic approaches to literary culture has come from a recent interaction and convergence of methods between literary studies and sound studies as a broad interdisciplinary field.\n\n[The whirring sound grows louder, filling the space]\n\n00:07:23\tKatherine McLeod\tOur Call for Papers for this special issue of English Studies in Canada invited submissions that pursue sound-focused studies of literary works, events, and performances—exploring the intersections between literary studies and sound studies.\nFrom the outset, we framed literature as an intentionally expansive concept, one that has shaped the diverse case studies featured in this collection—ranging from archival objects to live performances.\n\n[Katherine’s voice begins to distort, subtly warping]\n\nThe authors whose work we received and selected for this issue embody this diversity in their approaches.\n\n[Distortion fades, voice stabilizes]\n\nIn asking our contributors to—or rather—[laughs]—in asking them to be…\n\n[Soft whirring begins again, subtly shifting in the background]\n\n…thinking sonically, as we put it, we challenged them to write from their perspectives as listeners.\n\nIn other words, we asked them to conflate literary studies and sound studies—to do literary sound studies—while critically reflecting on what it means to listen within the context of their discipline.\n\n[Whirring fades into silence]\n\n00:08:28\tJason Camlot\tThis is Jason Camlot again, and Annie Murray will be joining me.\nAnnie, do you want to say hi?\n\n00:08:35\tAnnie Murray\tHi.\n00:08:37\tJason Camlot\tDarren Wershler can’t be with us today, but we three are the co-authors of an article called The Afterlife of Performance.\n[Sound of cymbals and drums from a ritual chant]\n\nThe afterlife of performance—\n\n[Cymbal sound repeats, layered with an eerie resonance]\n\n—is riddled with assumptions about life, death, and time.\n\n[Another cymbal strike, now accompanied by a distant, guttural yell]\n\nOne major assumption is the possibility of distinction between the live—\n\n[Cymbal strike reverberates]\n\n—and something else. Not so much death—\n\n[Cymbal clangs again, layered with rising tension]\n\n—but an afterlifeness, shaped by various theorizations of media in what we might call the Age of the Zombie.\n\n[Cymbal clang echoes, now joined by chaotic grunts and shouts of exertion]\n\nBut we’re not so much interested in how particular instantiations of liveness are produced.\n\nRather, we’re examining how the afterlife of performance is produced, managed, and maintained—through the application of various cultural techniques.\n\n[The sound of rhythmic clattering, like a drum being struck]\n\nA network of people, using specific hardware, capturing performance in a particular space, on particular kinds of storage media—\n\n[Drum strike repeats, layered with subtle distortions]\n\n—along with techniques such as mastering—\n\n[Drum beat sharpens]\n\n—editing, filing, labeling—\n\n[The sound repeats, layered with an accelerating intensity]\n\n—holding (that is, long periods of neglecting), digitizing, remastering, and circulating—\n\n[The rhythmic pulse builds, overlapping voices chanting and talking]\n\n—all working together to produce our sense of the relative worth of a recording.\n\nA recording of another group of people—chanting, talking, reading.\n\n[Clattering intensifies, layered with cheers and echoes of past voices]\n\nIf we examine this assemblage closely, we can see its inner workings—the mechanism that produces literary value.\n\n[Final crescendo, then silence]\n\n00:10:13\tAnnie Murray\tI’m Annie Murray, also reading from The Afterlife of Performance.\nOnly some of the materials that document poetic practice in the late 1960s have ever crossed the formal archival threshold.\n\nOthers have been ignored, lost, or destroyed.\n\n[Faint background noise begins, like shifting paper and distant murmurs]\n\nSome, like the Sir George Williams University series, only became formal institutional records after a chance discovery, followed by validation through concerted scholarly and institutional effort.\n\n[The background noise grows slightly, a textured hum of archival handling]\n\nBeing attuned to the concept of the archival multiverse allows us to rationalize the messiness—the expanse, duplication, and incompleteness of literary legacy, especially for event-driven records.\n\nAnd finally, we can see the role of the Web—how it makes archival content both ubiquitous and messy, introducing new complexities in preservation.\n\nThinking in a multiverse way allows us to layer and intersect poetic events, poets, and their literary and geographical movements, as well as the movement and proliferation of evidentiary traces of their work.\n\nIt invites us to gain comfort with a decentralized model of both preservation and dissemination.\n\n[A whispered echo repeats:]\n“…preservation and dissemination.”\n\n00:11:35\tJason Camlot\tNext will be Julia Polyck-O’Neill.\n[Distant echo repeats:]\n“Next will be Julia Polyck-O’Neill.”\n\n00:11:46\tAudio Recording\t[Applause erupts, transitioning into a recorded voice]\n[Recording of a woman:]\n“Thanks a lot, Louis, and thanks, everybody, for coming.”\n\n00:11:50\tJulia Polyck-O’Neill\tHi there, I’m Julia Polyck-O’Neill.\nI’m reading from my article, Archives, Intimacy: Encountering the Sound Subject in the Literary Archive.\n\n00:11:59\tJason Camlot\t[Faint echo, layered and reverberating]\n“Next will be Julia Polyck-O’Neill.”\n00:12:01\tJulia Polyck-O’Neill\tWhile researching Robertson—\n[A sharp mechanical hum begins, like an electric current surging]\n\n—meaning Lisa Robertson at SFU, I inquired about the different media available in their collections that might allow me to better access Robertson’s—\n\n[More mechanical noise, layered with a subtle distortion]\n\n—personal feminist networks, a key topic in my work.\n\nI’m particularly interested in materials related to poet, curator, and organizer Nancy Shaw, a scholar responsible for many changes in KSW’s operations, especially in its connections to Artspeak, a Vancouver artist-run center.\n\n[The mechanical noise persists, a rhythmic pulsing of archived media playback]\n\nDuring our time working together, Robertson repeatedly stressed the importance of looking into Shaw’s work within KSW and Artspeak, and more broadly, given my focus on how KSW intersected with the Vancouver art world and the group’s feminist activity.\n\n[The machine sound fades, leaving an ambient electronic hum]\n\n00:12:29\tJulia Polyck-O’Neill\t[Julia’s voice echoes]\nDuring our time working together, Robertson repeatedly stressed the importance of looking into Shaw’s work within KSW and Artspeak, and more broadly, given my interest in how KSW intersected— [Voice distortion]—with the Vancouver art world and the group’s feminist activity.\n\n00:12:45\tJulia Polyck-O’Neill\tPresented with a box of tapes from the Kootenay School of Writing—[whirring sound]—fonds, also held at SFU, I selected the hand-annotated tapes bearing Robertson’s name, as well as those of Shaw, which only roughly corresponded with the finding aid.\n00:12:58\tJulia Polyck-O’Neill\t[Julia’s voice echoes]\nIt was explained that the tapes had been annotated somewhat ad hoc over the years. [Voice stabilizes] Again, the experience was heightened and singular—[whirring sound]—made even more so by the privacy of the listening space. Putting on a pair of ear-covering headphones, I pressed play on the first tape—only to realize it had to be rewound first.\n\n[Background noise]\n\nAll of these attributes build momentum for the initial moments of listening to—[voice echoes]—the recording. Thank you. [Applause]\n\n00:13:39\tAudio Recording\t[Applause blends into an audio recording]\nThanks, Colter. Thanks, Jacqueline. This is… This is nice to be here in the living room.\n\n00:13:47\tJason Camlot\tNext, we’re going to hear a sound clip of Michael O’Driscoll reading—[sound of truck driving by]\n00:13:54\tMichael O’Driscoll\t[Voice starts in an echo]\nThis essay features a reel-to-reel recording of a 1969 classroom lecture during which Canadian poet and playwright James Rainey demonstrates sound collage in relation to his celebrated 1967 play “Colours in the Dark.”\n\nOn first encountering the recording, the listener will notice—[sound of something large approaching]—the extraordinarily intrusive presence of a jackhammer, located somewhere near the classroom.\n\n00:14:24\tAudio Recording\t[Audio blends into a recording with applause]\nThanks very much. I’ve already given you about a quarter of the reading on tape and gramophone. [Jackhammer begins]\n\nAnd fortunately, before the jackhammer started, the first thing I played was from Karl Orff’s “Music for Children,” which begins with nursery rhymes and lists of names that children recite…\n\n00:16:28\tMichael O’Driscoll\tRainey’s equanimity in this moment is astounding. One could well imagine canceling the lecture—especially one focused on attentive listening. Rainey, however, simply absorbs the intrusive jackhammer into the performance, adopting—or adapting—the sonic dissonance into the logic of a lesson already leaning toward an appreciation of—[voice starts to echo]—the affective tension and political force of jarring oral juxtaposition.\n00:17:03\tKatherine McLeod\tNext up, we have Mathieu Aubin.\nThe paper is entitled “Listening Queerly for Queer Sonic Resonances in the Poetry Series at Sir George Williams University, 1966–1971.”\n\n[Distorted] And we’ll be listening to a recording.\n\n00:17:23\tMathieu Aubin\tA short history on queer listening.\n[Faint sound of a man, poet bill bissett, singing in the background]\n\nIn the 1960s and 1970s, listening to and recording queer people from a police perspective was a means of documenting and regulating their behavior.\n\n[Background singing increases] Surveillance efforts targeted queer writers, monitoring their activities through bugged homes, wiretaps, and infiltration of their communities. Police forces compiled this data, circulating it across networks to justify increased surveillance.\n\n00:18:01\tMathieu Aubin\tBut quite the opposite—some queer writers saw listening as a form of homosocial rapprochement. Writers like Allen Ginsberg practiced a tender form of listening, using it to build queer bonds. Rather than being exploitative, tender listening was a way for queer people to connect, orient themselves toward each other, and foster solidarity. [Mathieu’s voice echoes faintly]\nSimilarly, some queer writers performed close listening as a practice of careful consideration—both for meaning and for social potential.\n\n00:19:15\tMathieu Aubin\tAs Jack Halberstam theorizes in Queer Time, queer uses of time and space are developed according to other logics of location, movement, and identification—rather than the heteronormative life model of marriage, family, and reproduction.\n[Singing momentarily increases]\n\n00:20:13\tKatherine McLeod\tJason Wiens: Voicing Appropriations: Sounding Found Poetry in 1960s Canada [Amen drum break sample  plays]\n00:20:20\tJason Wiens\tThe oral performance of found poetry adds a new layer of interpretive complexity to an already complex practice of appropriation and recontextualization.\n[Fast drums continue]\n\nHowever, little consideration has been given to the oral performance or audio recording of found or appropriated poetry—whether from the historical moment I discuss here or in contemporary conceptual poetry.\n\n00:23:25\tKlara du Plessis\t[Voice echoes]\nMy name is Klara du Plessis.\n\n[Whistling sound] I’m reading from “Do You Read Me, Kaie Kellough: The Words of Music”\n\n[Distorted voice and whistling]\n\n00:23:41\tKlara du Plessis\t[Very distorted and echoed voice] In fact, I’m not reading from my essay. In fact, I’m not. Instead, I’m reading from a handwritten scan titled Word Sound System 1: Read Part A, which is included in Kaie Kellough’s 2010 poetry collection.\n[Voice becomes slightly clearer]\n\nThe piece, Maple Leaf Also Reads, instructs that letters indicated by numbers should be stressed to emphasize rhythm. The goal is to repeat until the rhythmic pattern is understood.\n\n[Layered voices overlapping]\n\nD—o—u—d—o—y—d—o—y—o—u.\n\nUnderstood.\n\nE—a—d—m—a—d—d—o—u—d—o—y—d—o—e—y—o—m—a—e—n—d—o—m—y—o—u.\n\nD—r—o—a—d—o—a—o—o—d—u—e—y—o—u—m—r—o—a—u—r—o—y.\n\nD—o—u—r—y—a—r—e—d—r—o—y—o—u—y—o—a—r—I—o—e—r—e—d—o—y—o—u—r—e—a.\n\n[Voice becomes more coherent]\n\nEach component follows a logical continuation.\n\nY—o—o—y—o—a—d—and—e.\n\nSorry, the notes are confusing.\n\nEach component is a continuation of the previous—and once they are strung together, they form a tidy loop that can repeat infinitely.\n\n00:25:48\tJason Camlot\tThanks, Klara. That’s the first cover of a Kaie Kellough sound poem I’ve ever heard. [Jason’s voice blends into a recording]\n00:25:52\tAudio Recording\tYes, [Laughter]\n00:25:53\tJason Camlot\tNext, we’ll hear an audio clip from Kate Moffitt, Kandice Sharren, and Michel Levy, co-authors of Modeling the Audio Edition with Mavis Gallant’s 1984 Reading of “Grip” and “Posh”.\n00:26:11\tKandice Sharren\tThe rationale behind the copy text aligns with the impulse to prioritize the story itself in our audio edition, rather than the physical artifact or recording event. In some ways, audio offers unique advantages—for instance, when a story is read by its author, it can clarify ambiguities through intonation or even provide the most authoritative version of the text.\n00:26:31\tKandice Sharren\tIn this case, our copy text was the story as Mavis Gallant performed it [eerie sound] on 14 February 1984—a version that clearly had her seal of approval.\nProducing the two podcast episodes required listening to Gallant’s reading dozens of times, and in doing so, Moffitt noticed a significant aside:\n\nNear the end of the recording, Gallant deviates from the story and remarks–\n\n00:26:54\tAudio Recording\t[Cuts to the audio recording of Mavis Gallant] I have an editorial query here. Is he imagining this? Yes, these are proofs.\n00:27:00\tKate Moffatt\tDuring a Q&A session celebrating the first episode’s release, we discussed Gallant’s reference to these elusive proofs.\nFollowing that event, SFU Professor Carol Gerson informed us that the proofs for this story, along with a cassette copy of the 1984 reading, were held by the Thomas Fisher Rare Book Library.\n\nWith help from Roma Kail, a librarian at Victoria University, we were able to access scans and confirm that these were the exact same proofs Gallant had been reading from.\n\nOn page 24, Gallant’s editor had added an interlinear pencil notation between lines 6 and 7, stating:\n\nIs he imagining this?\n\nJust as Gallant had read aloud in 1984.\n\n00:27:38\tKatherine McLeod\t[Echo effect] Next up, Kelly Baron.\n00:27:40\tKelly Baron\t[Bell dings] I’m Kelly Baron, and I’m reading from Oral Memory in Madeleine Thien’s Do Not Say We Have Nothing.\nIn the opening pages of Thien’s novel—which explores intergenerational trauma resulting from the Cultural Revolution in Chinese-Canadian communities—[Voice distorts, accompanied by soft piano notes]\n\nLi Ling, the novel’s protagonist, is walking through Vancouver’s Chinatown when she hears Bach’s Sonata for Piano and Violin No. 4 playing from a store speaker.\n\nShe feels drawn towards it, as keenly as if someone were pulling her by the hand—the counterpoint of the music binding together the composer, the musicians, and even the silence.\n\nThe music, with its spiraling wave of grief and rapture, was everything she remembered.\n\n00:28:26\tKelly Baron\tThat moment sparks a memory of her father.\nIn the act of listening, he becomes so alive, so beloved that the incomprehensibility of his suicide resurfaces, grieving her all over again.\n\nBy her own admission, she had never before experienced such a pure memory of her father, Dong Kai, in the two decades since his death.\n\nLi Ling’s experience in Vancouver’s Chinatown raises important questions about the role of music in literary depictions of intergenerational memory and trauma:\n\n– How does music shape memory recall in novels like this?\n\n– How can listening to the music within literature expand our understanding of trauma and memory transmission?\n\nIn this article, I argue that listening within a literary context provides a methodology for understanding intergenerational trauma—one rooted in the sensory experiences that accompany inherited trauma.\n\nThese experiences are defined by rhythmic repetition, a new setting, and an emotional distinction that alters perception.\n\n00:29:32\tKelly Baron\tI propose that listening to music in literature represents a new method for identifying intergenerational memory.\nThis method focuses not only on the literary depictions of sound but also on how that sound shapes the experiences of future generations.\n\nIf traumatic memories are communicated through silences and gaps in declarative or narrative memory, then sound itself becomes the conduit—a means by which these memories are passed down to future generations.\n\n00:30:04\tDaniel Martin\tMy essay is called— [A recording starts playing]— Girl, the Piercing.\n00:30:09\tSPK_1\t[Recording plays] Yeah, the hell were you doing with her? It’s not what you think.\n00:30:16\tDaniel Martin\t[A low humming sound begins in the background] My essay, The Child’s Stuttering Mouth and the Ruination of Language in Jordan Scott’s Blurt and Shelley Jackson’s Riddance, explores how we read and write about the enigmatic experiences of people who stutter—without succumbing to metaphor, stigma, or the valorization of creative stuttering inherent in all textualities.\n00:30:43\tDaniel Martin\tWe put aside critical methodologies that expose the tensions between voice and text in literary expression and instead imagine the experiences of children who stutter through playful and experimental fantasies of language, devourment, and ruination. [Brief static sound] Despite their differences in genre—one a celebrated Canadian sound poetry work, the other an experimental text by an innovator in hypertext and found-document fiction—\n00:31:11\tDaniel Martin\tBoth Jordan Scott’s Blurt and Shelley Jackson’s Riddance reimagine stuttered speech beyond the prosaic deconstruction of voice and text—presence and absence, fluency and disfluency—that have shaped so much critical study on literary voicings. [Humming sound increases]\n00:31:29\tDaniel Martin\tBoth texts examine what it means to return, in Scott’s words, to the fact of the mouth. These works do not merely romanticize the stutter as inherent to language systems, nor do they simply deconstruct speech versus text, presence versus absence, or phonemic versus phonetic binaries that dominate most literary voice studies.\n00:31:51\tDaniel Martin\tOur critical and theoretical methodologies have grounded literary voice studies in these binaries, but there are other ways to reimagine the romanticization of communicative breakdowns. [A voice in the background hums an extended “mmm” sound]\n00:32:06\tDaniel Martin\tScott and Jackson both reorient the reader’s response away from a logic of extractive meaning toward an invitation to participate in the childlike pleasures of—[stutters]—devouring, ingesting, and ruining language. With this pleasure comes trauma, longing, and loss, inevitable aspects of such a destructive relationship with language. [A distorted voice emerges, layering over Daniel’s words] [Daniel’s voice starts stuttering] Their work experiments with devices, techniques, and tricks introduced under biomedical imperatives for speech cure and management.\n00:32:42\tDaniel Martin\tBoth texts raise profound questions about the history of speech therapy, the cultural history of the stutter, and its status as a haunted and haunting presence—one that is both internal and external to the speaking mouth. [A voice in the background repeats an extended “mmm” sound]\n00:33:03\tDaniel Martin\tFundamentally, these works suggest that reading or speaking fluently is not necessarily a triumph. For people who stutter, reading can feel threatening—it introduces a fragility in the relationship between speaker and language. The stutter itself is a threat of undoing. It creates a hole, swallowing up the very binary distinctions we rely on to make meaning.\nSometimes, that hole becomes a portal—a doorway to other dimensions and voices. Other times, it is simply a giant mouth, consuming language and eroding meaning, a threat as gleeful and destructive as a child’s indulgent play. These texts introduce disfluent joy, embodying the stutterer’s ruinous relationship with words.\n\n00:33:51\tKatherine McLeod\tNext is Kristen Smith.\n00:33:56\tKristen Smith\tHello, I’m Kristen Smith. I’m so grateful to voice an excerpt from Unsounding: A New Method for Processing Non-Linguistic Poetry. [Faint static noise in the background]\n00:34:15\tKristen Smith\tThe comparison of a non-linguistic poem to a graphic score emphasizes the openness of the art form. The poem as score foregrounds the reader’s role as both performer and interpreter, yet it offers no clear guidance in executing either role.\n00:34:35\tKristen Smith\tAt every turn, with each proposed paradigm for assessment, non-linguistic poetry resists. [Faint static continues] Non-linguistic poetry rejects totalizing methods for reading and unsounding. In No Medium, Krecht Dworkin performs close readings of unfilled, erased, or blank pages—seemingly silent texts.\n00:35:03\tKristen Smith\tIn his analysis of Cage’s 4’33”, Dworkin asserts: Silence is always ideal and illusory. Silence is a thought experiment—provocative and unverifiable. [Eerie, distant tones rise in the background] Unsounds are filled with interpretative possibilities and semantic meaning.\n00:35:22\tKristen Smith\tThis essay specifically examines works that are not blank but still eliminate linguistic material and prevent sounding. These texts are composed of unsound.\n00:35:35\tKristen Smith\t[Eerie sound increases] Dworkin pushes further, suggesting that in such works, medium itself is as unrealizable as silence. Non-linguistic poems subvert expectations of medium or category. Moreover, these works compel readers to adopt new reading practices.\nWorks like Soult’s Moonshot Sonnet, Bergwoll’s Drift, and Schmaltz’s Surfaces require the reader to meet the poem on the page and actively work through it on its own terms.\n\n00:36:07\tKristen Smith\tWhen encountering a non-linguistic poem, the reader is forced to question their relationship to reading, sound, and communication. [Distorted, eerie sounds grow louder]\nBy resisting any singular method for interpretation, these works show that both sounding and resisting sound can communicate multivalent, albeit elusive, messages.\n\n00:36:36\tKristen Smith\tYet, these communications are incomplete without the reader’s participation—perhaps through unsounding the poetic material. The reader is essential to the visual poem’s communication. The reader is integral to the poem’s becoming. [Eerie sounds linger before fading]\n00:36:57\tJason Camlot\tNow we’re going to hear from the Readers’ Forum on Disciplinary Listening.\n00:37:01\tJason Camlot\tThis is Jason Camlot.\n00:37:03\tKatherine McLeod\tAnd this is Katherine McLeod.\n00:37:05\tJason Camlot\tAnd we’ll be reading from Forum on Disciplinary Listening: An Introduction.\n00:37:08\tKatherine McLeod\tWe have developed this forum to invite further reflection from experts who have worked with sound across a variety of disciplines. We asked—\n00:37:23\tJason Camlot\t– How has your discipline taught you to listen?\n– What does listening mean within your discipline?\n\n– How do you understand sonic approaches in relation to disciplinarity?\n\n– What aspects of sound studies as an interdisciplinary field do you translate or transpose into your approaches as a researcher and teacher within a specific discipline of knowledge and university department?\n\n00:37:56\tKatherine McLeod\tNow, we invite you to listen to this voice forum as a conversation and to consider what you would write in response to these same questions. Notice the constellations of listeners evoked, the resonances in reflections. Immerse yourself in the listening that each writer educes on the page. [Static noise begins]\n00:38:20\tJason Camlot\tThis is Jason Camlot again, reading from my short article Towards a History of Literary Listening. The story of literary listening may tell of two long-lasting, concurrent desires within literary encounters. One desire embraces literature as something best apprehended through sound and listening. The other seeks to extricate sound and listening—and, perhaps by extension, the intimacy of other kinds of exchange and communication that involve presence—\n00:38:56\tJason Camlot\t[Static noise fades] —from the scenario of literary study. The latter desire—to remove sound and listening from literary study—seems particularly disciplinary in its motivation. [Static starts again] This removal is often justified as a way to protect literary appreciation from the corrupting effects of sound. To the extent that literary criticism seeks to justify its status as a discipline—with established principles of literary judgment—it may be that an interesting technique for contemporary literary listening emerges precisely through acts of listening that ride the contradictions of these competing desires. These contradictory desires reflect larger critical tensions—the desire to hear the past in the present, to feel presence in absence, to know and feel the literary as it exists here and now, as it was, and as it will be.\n00:40:03\tJason Camlot\t[Jason’s voice shifts slightly] Next, we’re going to hear from Tanya E. Clement—reading from Distant Listening and Resonance. [Sound clip begins]\n00:40:14\tTanya E. Clement\tSpeech recordings: sound is text—the words people speak—but also other sounds that indicate a speaking and listening context. Tone, laughter, coughing, crying, birdsong, car engines, horns— [Tanya’s voice begins to echo]—a baby crying, thunder clapping, gunshots, the nano dropping. Using computation to analyze large datasets of sound texts has been called distant listening in digital humanities literature. I describe distant listening to sound texts as a process that uses computing to—[voice distorts slightly]—”distill the multi-layered, four-dimensional space of the text of performance—embodied within the performer’s hour of interpretation in time and space—into a two-dimensional script called code.”\n00:40:59\tTanya E. Clement\tDistant is often understood as implying a lack of presence, an observation removed in both space and emotion—detached from individual, subjective knowledge.\n00:41:12\tTanya E. Clement\t[Tanya’s voice subtly shifts] Yet, sound travels differently—and what is lacking in distance is often made up for in other ways. [Eerie sound rises in the background] What is too close can be deafening. What is far away can be heard loud and clear. As both a physical property and a cultural hermeneutic, resonance serves as a useful theory for articulating how distant listening can create meaning differently. [Sound fades]\n00:41:41\tKatherine McLeod\tNext, we have Kim Fox and Reem Elmaghraby. Kim, would you like to say hello and read your title to start off?\n00:41:51\tKim Fox\tSure, I can do that. Thanks for having me—I’m really excited to join you all. Though it is 11:43 PM in Cairo, Reem and I have an essay titled Reflections on Evaluating Soundscapes and Gathering Sounds in Cairo: The Case of the AUC Diaries Project.\n00:42:12\tReem Elmaghraby\tSo, it is now 10:30 AM, and I should probably open the curtains to see what the weather is like. [Sound of curtains opening]\nWell, it’s raining heavily, and the sky is extremely dull. What a depressing way to start the day. [Sound of liquid pouring] Time to make my everyday morning coffee—an espresso shot with a bit of lactose-free foamed milk, no sugar. [Sound of ceramic clattering] Super basic.\n\n00:42:37\tReem Elmaghraby\tI tend to get really bad headaches when I skip my morning coffee dose. I also get super grumpy, so let’s try and avoid that. [Alarm sound goes off]\n00:42:48\tSPK_1\t[Sound blends into an audio recording] It’s 6:30 AM, and I must get up for my 8:30 class at AUC. The sound of the alarm, which I snooze over and over again, is not enough to get me out of bed. That’s why I always leave the curtains open.\nI don’t like getting up this early. I don’t like it one bit. [Sound of door opening] In fact, I hate it. You know what, maybe I’ll just skip today’s morning class. [Sound of shower running] I’m too tired.\n\nNo, I need the grade. What I do slightly appreciate about this pre-8:30 class ritual is its peacefulness—the silence of everyone still asleep.\n\nAnyways, I grab my things and head out to a busy Thursday. [Sound of keys jingling, bag zipping]\n\n00:43:32\tReem Elmaghraby\t[Back to Reem] I stare at the usual pictures of my classmates—and at the black screens with names in the bottom left corner—as I listen to the lecture. [Sighs]\nThe professor just gave us an assignment, so I write it down in my bullet journal, my calendar, and on a sticky note that I put up on my wall.\n\nOrganization is the only thing keeping me afloat this semester. Otherwise, I’d get nothing done. [Sound of a pencil writing on paper]\n\nMy desk is probably my favourite place to be. The best way I could describe it? If a crazy wizard started hoarding objects from his many journeys.\n\nI have stickers on my wall, art from my favourite artists, tech gadgets, makeup, accessories—honestly, anything of interest to me is somewhere on my desk.\n\n00:44:15\tSPK_1\t[Audio switches to another recording] Minute 63—Egypt scores! [Background chatter and cheering] But then, Congo ties the score in minute 87.\n[More background cheers] We need one goal to qualify. With two minutes left, it felt hopeless. People walked out.\n\nBut then—minute 94—Mohamed Salah scores, in a moment that will go down in Egyptian history. [Loud cheers, static interference]\n\nMy microphone couldn’t handle the reaction. [Cheering and static noise blend together] It wasn’t any tamer on the streets either. [Sound of drums]\n\nIt didn’t look like I could drive home tonight, so I decided to sleep over at Andrew’s.\n\n00:44:56\tKatherine McLeod\tKristin Moriah—That Men Might Listen Earnestly to It: Hearing Blackness.\n00:45:06\tKristin Moriah\t[Audio recording begins—rain-like sound gets louder, then fades]\n00:45:06\tJason Camlot\tNext, we’re going to hear from Nina Sun Eidsheim and Juliette Bellocq.\n00:45:28\tNina Sun Eidsheim\tListening techniques are naturalized within an area of study. [Eerie music starts playing faintly]\nIn the PEER Lab—the Practice-Based Experimental Epistemology Research Lab, which I started a few years ago—we seek to listen to the ways different people and different fields listen.\n\nOur goal is to understand more about how the world appears through specific listening techniques.\n\nOne of my main collaborators is the graphic designer Juliette Bellocq. We took the invitation to contribute to this volume as an opportunity for me to learn more about her listening practices.\n\nThe piece we created together is called What They Say is What They Mean: Listening to Someone’s Story.\n\n00:46:09\tNina Sun Eidsheim\tI started by asking Juliette—what is listening for a graphic designer?\n00:46:16\tJuliette Bellocq\tAs a graphic designer, I agree not to be the sole author of the content in my work. Graphic design, in my practice, means sharing content.\nI place myself in a position to translate something I’ve heard, understood, seen, or reconfigured. That means that I have a voice—I am an author, but there is also a co-author.\n\nThis co-author can be a client or a community, so listening is essential.\n\nBesides working with the PEER Lab, I primarily work with architects in designing spaces. And the key question when we visit a space or meet with people is: What are their stories?\n\nListening is our primary tool and resource. [Faint instrumental music begins playing]\n\n00:47:03\tNina Sun Eidsheim\tDo you listen similarly or differently from architects or even other graphic designers? And if so, how do these different types of listening come together?\n00:47:15\tJuliette Bellocq\tI do think that I listen differently than some other designers because my primary goal is not to solve people’s problems—which is a big part of what graphic design is often about.\nMy job now is to capture something in the air, make it visible for everyone, and see if it can participate in the culture.\n\nI work to transcribe or crystallize ideas that already exist for all of us.\n\nIf I do not listen well, I have nothing to create. Does that make sense?\n\n00:47:45\tNina Sun Eidsheim\tIt does, but I’m wondering—is listening a metaphor for all the ways we absorb things?\n00:47:53\tJuliette Bellocq\tIt’s not a metaphor. It’s note-taking and research to make sure we heard correctly.\nIt’s cross-checking information to ensure that what people meant was actually what we heard.\n\nIt’s about understanding group stories before producing anything visual or graphic.\n\nIt’s a kind of listening that is meant to engage with something alive.\n\n00:48:16\tJuliette Bellocq\tSo, we have to listen in a way that is—hopefully, when done well—non-intrusive.\nIt should not orient the story but let people say what they want authentically.\n\nIt is about understanding their words in the right context before finally proposing something that can participate in the culture it comes from.\n\nSo, listening is a way to circumvent assumed knowledge.\n\n00:48:43\tNina Sun Eidsheim\tThank you.\n00:48:46\tMara Mills\tMara Mills and Andy Slater, Blind Mode: Blind Listening Techniques.\nI’m Mara Mills, a media studies professor and historian of electroacoustics and disability. My co-author, Andy Slater, is a blind sound artist who records, transcribes, and documents blind listening techniques—or what Andy calls Blind Mode.\n\n00:49:11\tMara Mills\tI first learned about Andy’s work when I was researching the history of the C1 cassette player.\nThis machine was released by the National Library Service for the Blind and Print Disabled in the United States in 1981.\n\nIt included a time-stretching or pitch-restoration feature so that blind people could speed-read talking books without distorting the narrator’s voice.\n\n00:49:37\tMara Mills\tTo my surprise, this tape player—which is no longer in production—still has a fan base in noise and experimental music scenes.\nAndy uses sounds from the C1, among many other accessibility tools, in his compositions.\n\nAnd now, we’ll hear a recording of that.\n\n00:50:07\tAndy Slater\t[Static sound] [Robotic voice begins] Tape decks and 8-RPM record players were ugly and bulky.\nThey were meant for home use—out of sight, hidden from embarrassment.\n\nMuch like large print books and the white cane itself, some of us knew the glory of the talking book players.\n\nEverything could sound weird if we let it. [Background sound warps slightly]\n\nReading is fundamental, but any Paul Anka song could sound like sword fighting against Yamat the Chromatic Dragon on those players.\n\nJust as many of us discovered that sound itself can be an alternative to photographs and paintings.\n\n00:50:34\tAndy Slater\tThese tools, designed to be unappealing so no one would steal them, were also phenomenal noisemakers—antiquities of blind culture. [Voice gets deeper and more distorted]\nAnd they are not that different from contemporary assistive technology. Both can be used creatively—and both can disrupt and annoy.\n\nPhones talk aloud, lid detectors double as theremins, and object recognition apps are often wrong.\n\nBlind folks process multiple sound sources at once because of our use of this tech.\n\n[Voice gets faster and higher] When you compose and perform using these tools, filling the room with blind people’s sounds, you’re most likely making people uncomfortable—which is often the motive of any noise artist.\n\n00:51:10\tAndy Slater\tBut in my case, it’s about deconstructing my own culture and using tools made specifically for me.\nIt gives more meaning to the art and experience.\n\nIt’s political. It’s entitled. And it’s not just some guy showing off a thrift store find.\n\n00:51:22\tSPK_1\t[Switches to another audio recording] [Overlapping and distorted voices] What does this sound look like?\nHow is my hair? Do any disabled people work here? Am I wearing a red shirt? Can you tell me how to find the bathroom? [Sound of tape rewinding]\n\n00:52:08\tJason Camlot\tThank you, Mara and Andy.\n00:52:09\tKatherine McLeod\tAnd next, here on Zoom—Ellen Waterman.\n00:52:14\tEllen Waterman\tMy piece reflects on a research-creation project with Deaf culture artists, Spill Propagation. It’s called Reorienting Audition through Bodily Listening in Place.\n00:52:35\tEllen Waterman\t[Sound of a page flipping] The practice I’m calling bodily listening in place requires something akin to what Natasha Myers and Joe Dumit have termed improvising in a state of mid-embodiment.\nWriting about the interactive practices and responsive bodies of scientists, Myers and Dumit describe how researchers engage with experimental media, communicate their findings through narrative and embodied gesture, and develop new forms of dexterity in the process.\n\n00:53:22\tEllen Waterman\tTheir concept of the responsive excitability of bodies helps explain how experimentalists acquire new kinesthetic, affective, and conceptual dexterities—as they learn to see, feel, and know.\nTheir description matches my embodied experience. I am learning all over again how to listen. [High-pitched sound begins faintly]\n\n00:53:30\tEllen Waterman\tOf course, Myers and Dumit’s article is implicitly ableist. It assumes a hearing, seeing, mobile subject—and in that respect, it resembles most writing about music, sound, and listening.\nWe need to account for the complexities of working across Deaf and hearing music cultures. And what draws me to this work is precisely what can be learned in this reciprocal, intercultural encounter.\n\n00:53:55\tEllen Waterman\tFor example, my work with Spill Propagation has made me attuned to vibrations—seen and felt—with an intensity I have never experienced in my five decades of making music.\nWhen I listen to music through the vibrotactile vest, I can only discern a generalized buzzing and rhythmic thumping.\n\nMy haptic sense is, it seems, woefully undeveloped.\n\nWhat does it mean to acquire dexterity in a sensory mode?\n\nOr better—what does it mean to adopt an intersensory approach to listening that encompasses multiple sensory modes?\n\nAnd what happens when we foreground interdependence as a valid and precious foundation for musical creativity?\n\nThese questions animate my desire to reorient audition through bodily listening in place. [Sound of book closing]\n\n00:54:51\tJason Camlot\tThank you, Ellen. And we’re going to close this reading from the special issue of English Studies in Canada with Katherine McLeod: Archival Listening.\n00:55:02\tKatherine McLeod\tThis is Katherine McLeod, reading from Archival Listening. [Faint background sound]\nArchival listening is listening to archives while reflecting on how you are listening—and how you intend to share what you have heard.\n\nArchival listening listens with a future listener in mind.\n\nArchival listening is a practice of attending to the archival apparatus—holding the sound.\n\nWhile you were away, I held you like this in my mind.\n\n00:55:34\tKatherine McLeod\tArchival listening is hearing the body in time.\nArchival listening is situating oneself as a listening body in time.\n\nArchival listening understands that there are limits to knowing—and makes room for what cannot be heard. [Static and overlapping voices in the background]\n\nArchival listening takes time.\n\n00:55:54\tKatherine McLeod\tWe want to remember what the archive seems to remember.\nArchival listeners are removed from the time and space of a recorded event—but having heard its sound, a new memory of that event is formed, and the feeling of hearing it remains.\n\n00:56:16\tKatherine McLeod\tThat ends our recording. Thank you all for listening. [Sound fades into a whistle]\n00:56:21\tHannah McGregor\t[Beat music starts playing] You’ve been listening to the SpokenWeb Podcast—a monthly podcast produced by the SpokenWeb team.\nThis podcast is part of our work distributing the audio collected from and created using Canadian literary archival recordings found at universities across Canada.\n\n00:56:45\tKatherine McLeod\tThis month’s episode was produced by Jason Camlot.\nIt features the voices and sounds of Douglas Moffat, Katherine McLeod, Jason Camlot, Annie Murray, Julia Polyck-O’Neill, Michael O’Driscoll, Mathieu Aubin, Jason Wiens, Klara du Plessis, Kandice Sharren, Kelly Baron, Nina Sun Eidsheim, Juliette Bellocq, Kim Fox, Reem Elmaghraby, Kristin Moriah, Daniel Martin, Kristen Smith, Tanya E. Clement, Mara Mills, Andy Slater, and Ellen Waterman.\n\n00:57:20\tKatherine McLeod\tThe New Sonic Approaches in Literary Studies event was produced by Jason Camlot, Katherine McLeod, James Healy, and Douglas Moffat. [SpokenWeb theme song starts playing]\nCheck the show notes for all of those names again—and for a link to the journal issue itself that this sound piece performed.\n\n00:57:36\tKatherine McLeod\tThe SpokenWeb Podcast team includes: – Supervising producer: Maia Harris\n– Sound designer: TJ MacPherson\n\n– Transcriber: Yara Ajib\n\n– Co-hosts: Hannah McGregor and me, Katherine McLeod\n\n00:57:48\tKatherine McLeod\tTo find out more about SpokenWeb, visit spokenweb.ca and subscribe to the SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you listen.\nIf you love us, let us know—rate us and leave a comment on Apple Podcasts or say hi on social media.\n\n00:58:05\tKatherine McLeod\tFor now—thanks for listening.\n00:58:08\tSpokenWeb Outro\t[SpokenWeb theme song plays] [Harmonizing voices singing]"],"score":0.32821894}]