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You’ll get a handpicked monthly playlist with commentary, and the chance to chime in via comments and discussion.","exclusivePostCount","exclusiveAlbumCount",{"_195":196,"_197":332},"convertedAnnualPrice",{"_195":196,"_197":331},{"_199":200,"_201":202},{"_199":200,"_201":202},"nodes",[],[],[337,338,339],{"_15":360,"_34":361,"_19":362,"_343":363,"_37":364,"_39":51,"_346":365},{"_15":352,"_34":353,"_19":354,"_343":355,"_37":356,"_39":14,"_346":357},{"_15":340,"_34":341,"_19":342,"_343":344,"_37":345,"_39":14,"_346":347},"893","Musicking all the way: Are you really just - listening?","first-post-and-here-s-a-question-when-you-listen-to-music-are-you-really-just-listening","publishedAt","2025-07-16T10:57:42.625625Z","{\"root\":{\"children\":[{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Welcome to my page here on Sleeve. I’ll be sharing thoughts, essays, and side notes on music, sound, and culture — the things I keep circling back to when I’m supposed to be working on other stuff. To start with, I would like to say something about listening.\",\"type\":\"extended-text\",\"version\":1}],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"There’s this idea I’ve borrowed from the New Zealand musicologist Christopher Small. 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You’re musicking. \",\"type\":\"extended-text\",\"version\":1}],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"But most of us have learned to treat music like a non-participatory product. Someone performs, we sit and consume. Politely. Quietly. And then there’s 'the voice shame' — the Norwegians even have a word for it: \",\"type\":\"extended-text\",\"version\":1},{\"detail\":0,\"format\":1,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Stemmeskam\",\"type\":\"extended-text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\". The sense that your voice doesn’t belong. Maybe someone told you, casually, once, that you couldn’t sing. So, you refrain from humming along with your favourite music while you're on the train for the fear that someone heard you. We need to deal with that and start telling children that they \",\"type\":\"extended-text\",\"version\":1},{\"detail\":0,\"format\":2,\"mode\":\"normal\",\"style\":\"\",\"text\":\"can \",\"type\":\"extended-text\",\"version\":1},{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"sing, and that they have every right in the world to use their voice no matter how it sounds. \",\"type\":\"extended-text\",\"version\":1}],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"Meanwhile, music itself has often become a thing related to technological perfection: Autotuned, algorithm-fitted, X-Factor tight. No room for error. No room for us. I think that’s a loss. 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It’s a messy, rich, and rewarding anthology that explores sound not just as music, but as an embodied experience, a political strategy, and a site of resistance. If you care about sound as something more than entertainment — this one’s for you.\",\"type\":\"extended-text\",\"version\":1}],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The book gathers over 50 contributions by women and non-binary writers — essays, interviews, poems, fables, fragments, text scores. It’s expansive, chaotic, and intentionally so. 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Composer and DJ Ain Bailey discusses her “sonic autobiographies,” where strangers gather to play each other the music that shaped them — and people often end up crying. That’s the power of music, says Bailey.\",\"type\":\"extended-text\",\"version\":1}],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"There are also texts on feminist amateur radio networks, percussion and trans identity, and the aesthetics of silence in contemporary Nordic music. Belarusian Nobel laureate Svetlana Alexievich writes about women’s experiences of war in the Soviet Union — asking why suffering never seems to lead to real freedom. And Christina Hazboun, a London-based Palestinian writer, contributes a powerful reflection on the sounds of the May 2021 uprising in Palestine. 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The recurring image across the anthology is the ear — listening as an act of survival, of care, of protest.\",\"type\":\"extended-text\",\"version\":1}],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"It’s not all perfectly curated. There’s very little contextualization — the editors drop you straight into each text without much introduction. It can feel disorienting, but also stimulating. Personally, I would’ve appreciated more connective tissue between the contributions. 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Including her conversation with Fred Maus on feminism and music from 1994 would’ve added useful context.\",\"type\":\"extended-text\",\"version\":1}],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[],\"direction\":\"ltr\",\"format\":\"\",\"indent\":0,\"type\":\"paragraph\",\"version\":1},{\"children\":[{\"detail\":0,\"format\":0,\"mode\":\"normal\",\"style\":\"\",\"text\":\"The book claims a feminist lens throughout, but I sometimes questioned how it was being applied. For instance, does including Oram, a pioneer of British electronic music in the 50s, automatically make the text feminist because of her gender? She may not have framed her work that way. 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