[{"id":"9649","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 S5 Trailer, Welcome to Season 5!, 18 September 2023, Harris, Healy, McGregor, McLeod and Mix"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/welcome-to-season-5/"],"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 5"],"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":["Maia Harris","James Healy","Hannah Mcgregor","Katherine McLeod","Zoe Mix"],"creator_names_search":["Maia Harris","James Healy","Hannah Mcgregor","Katherine McLeod","Zoe Mix"],"creators":["[{\"url\":\"\",\"name\":\"Maia Harris\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"James Healy\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"http://viaf.org/viaf/20153713810358661443\",\"name\":\"Hannah Mcgregor\",\"dates\":\"1984-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"http://viaf.org/viaf/44156495389117561605\",\"name\":\"Katherine McLeod\",\"dates\":\"1981-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]},{\"url\":\"\",\"name\":\"Zoe Mix\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Producer\"]}]"],"contributors":["[]"],"Publication_Date":[2023],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/6511fd80-29e0-41f2-8ad9-dda3420119fd/audio/a6369593-95d4-46c0-a56e-c005845f0179/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"trailer-v5-master.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:02:47\",\"precision\":\"\",\"size\":\"2,675,682 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"trailer-v5-master\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/welcome-to-season-5/\"}]"],"Dates":["[{\"date\":\"2023-09-18\",\"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"],"contents":["The SpokenWeb Podcast is back for another season as we continue our quest to uncover “what literature sounds like.”\n\nWith a whole new line-up of episodes created by researchers across the SpokenWeb network, we’ll explore the sounds of translation, the act of uncertain listening, audio pedagogy, the intersection of computing, voice, and poetics, and much much more.\n\nOur fearless host Katherine McLeod is back and will be joined by Hannah McGregor, host of Seasons 1-3. Welcome back Hannah!\n\nWe have something for everyone curious about the affordances of literature, sound, history, and the amorphous “archive,” so join us for monthly episodes of innovative audio scholarship.\n\nSubscribe to The SpokenWeb Podcast on Apple Podcasts, Spotify, or wherever you find your podcasts. And don’t forget to rate us and send us a shout! Cheers to Season 5 ~\n\n(00:03)\tHannah McGregor\t[Soft strummed guitar music plays and ends]\nWhat does the SpokenWeb podcast sound like?\n\n(00:10)\tKatherine McLeod\t[Quiet percussion music begins to play] In the fourth season of the SpokenWeb podcast, we conversed with a living archive.\n(00:15)\tComputerized Voice\tHello, and welcome to the Fred Wah Digital Archive.\n(00:19)\tKatherine McLeod\tWe listened to firsthand perspectives on living with wildfires in the Okanagan Valley.\n(00:24)\tSharon Thesen\tBy the time, I think, they started trying to put it out, it was out of control.\n(00:29)\tKatherine McLeod\tWe dove deeper into the sounds of data.\n(00:32)\tAdegbola\tHow much more a role will language play in the information age?\n(00:36)\tKatherine McLeod\tWe asked, what is sound design?\n(00:40)\tMiranda\tText, forms, travel, forms constrained, various forms overlap and intersect.\n(00:46)\tKatherine McLeod\tWe explored the impact of recording technology on how poetry finds its audiences.\n(00:53)\tFred Wah\tIn those days, that was really a surprise to be able to hear the voice of a poet who you had been reading off the page.\n(01:01)\tKatherine McLeod\tWe considered the stakes of inviting audiobooks into the literary classroom.\n(01:06)\tJentery\tWe might want to, for good reason, debunk the idea that listening is cheating or that, you know, books are not meant to be listened to.\n(01:12)\tKatherine McLeod\tAnd we heard what libraries actually sound like.\n(01:15)\tDan Hackborn\tLike [Dan makes a nasally “wah” sound with his mouth] and like a [Dan makes a continuous “thunk” sound with his mouth].\n(01:20)\tKatherine McLeod\tOh, and we also went to talk therapy. [Percussion music ends abruptly]\n(01:25)\tPhone Voice 2\tOkay, well, why don’t you start by telling me how long you’ve been feeling this way.\n(01:30)\tKatherine McLeod\t[Percussion music begins again] My name is Katherine McLeod and I’m the voice behind Shortcuts on the SpokenWeb podcast feed. And I’ve been the solo host of the SpokenWeb podcast for this past season. This season I’ll be joined by Hannah McGregor, who is back. Yes, you might recognize her voice as the host of seasons one through three. Welcome back, Hannah.\n(01:51)\tHannah McGregor\tThank you, Katherine. It’s great to be back. And I am so excited to co-host season five with you and to work with our new production team: supervising producer Maia Harris, sound designer James Healey, and returning transcriber Zoe Mix.\n(02:10)\tHannah McGregor\tThis season we’ll continue exploring what literature sounds like with all news stories from researchers across the SpokenWeb Network. We’ll explore the sounds of translation, the act of uncertain listening, audio pedagogy, the intersection of computing voice and poetics, and much more. Subscribe to The SpokenWeb podcast on Apple Podcasts, Spotify, or wherever you find your podcasts. And join us for season five. [Percussion music ends and guitar strumming music plays and then ends]\n"],"Note":["[]"],"Related_works":["[]"],"_version_":1853670549763391488,"timestamp":"2026-01-07T14:59:54.290Z","score":3.7048998},{"id":"9666","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 ShortCuts 4.3, ShortCuts Live! Talking with Faith Paré about the Atwater Poetry Project Archives, 20 February 2023, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-faith-pare-about-the-atwater-poetry-project-archives/"],"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":[2023],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/f7991804-23c4-4608-8996-9b9b7fdce603/audio/7eb476a2-d59e-403b-bb78-019d065205d9/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"shortcuts-4-3.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:26:52\",\"precision\":\"\",\"size\":\"25,802,336 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"shortcuts-4-3\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-faith-pare-about-the-atwater-poetry-project-archives/\"}]"],"Dates":["[{\"date\":\"2023-02-20\",\"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"],"content_notes":["Draft transcript"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"The Atwater Poetry Project, https://www.atwaterlibrary.ca/events/atwater-poetry-project/\\n\\n“Performing the Atwater Poetry Project Archives, guest curated by Katherine McLeod and Klara du Plessis, featuring the sounds of poets from the APP archives,” 20 February 2023, https://spokenweb.ca/events/performing-the-atwater-poetry-project-archive/\\n\\n\"}]"],"_version_":1853670549787508736,"timestamp":"2026-01-07T14:59:54.290Z","contents":["ShortCuts presents another episode of ShortCuts Live! This month’s episode was recorded as a live conversation on Zoom with the current curator of the Atwater Poetry Project, Faith Paré. As a former SpokenWeb undergraduate RA, Faith’s SpokenWeb contributions have included editorial and curatorial work on Desire Lines; an interview with Kaie Kellough on SPOKENWEBLOG; performing as a spoken word poet in Black Writers Out Loud; leading a virtual listening practice on Black noise; and reading her poetry at SpokenWeb’s “Sounding Undernames” at Blue Metropolis. This is all to say that Faith had a wealth of experience to draw upon when, as a curator, she was handed a folder of poetry recordings.\n\nHow to reactivate the archival past of the Atwater Poetry Project? What is it like to curate the past and future of a reading series? Find out by listening to ShortCuts Live! A conversation with Katherine McLeod and Faith Paré about the Atwater Poetry Project archives.\n\n[Music begins]\n\nKatherine McLeod: Welcome to ShortCuts. This month on ShortCuts, we’re here – live – on Zoom with the Atwater Poetry Project curator Faith Paré. Faith joins me for this conversation to talk about the Atwater Poetry Project archives. These archives are community archives that are being integrated into SpokenWeb in order to preserve them and to make them more discoverable. As part of the Atwater Poetry Project’s programming, Faith reached out to me and Klara du Plessis to see if we’d be interested in curating an event for the Atwater Poetry Project that would activate play and remix the archives in ways that would be both performative and also exploratory. What could we make with these archives? What would it be like to re-listen to clips from this reading series in the very same place in which it has always taken place? Klara and I will be undertaking this performance of the Atwater Poetry Project Archives on the same night that this shortcuts is released. And with all of our conversations about this event with faith, it felt like a shortcuts conversation every time we talked about it. And so I had to get some of those conversations on tape. Hi, Faith, thanks for joining me here today on ShortCuts Live!\n\nFaith Paré: Thanks for having me again, Katherine. It’s really a pleasure.\n\n[Music ends]\n\nKatherine McLeod: Thank you so much. And it really is a ShortCuts Live! By the fact that my three month old daughter is also here with me, and she has already been making a few noises, and she’ll be making some noises throughout. And, for long time ShortCuts listeners, you’ll remember that back in season two, the voice of a poet’s young daughter has already been heard on ShortCuts, so we welcome sounds like that here.\n\nSo, just to give listeners a little bit of background, the Atwater Poetry Project was started by poet Oana Avasilichioaei in 2004. Since then, the series has hosted over 300 poetry readings by established and emerging Canadian poets. The curators of the series have been Avasilichioaei, then it was Katia Grubisic, followed by Darren Bifford, then Simon Jory Steven-Gillie, and Charlotte Harrison, followed by Deanna Radford, then Rachel McCrum. And now you, Faith Paré. What was it like to take on this role as curator of the Atwater Poetry Project? What was most exciting at the start?\n\nFaith Paré: That’s a great question of kind of trying to boil down what the role specifically is because I think by nature and also by the fact that arts administration is so all encompassing and often such a juggle of what you need to do, it changes so often. I think fundamentally it is about trying to listen to your surroundings, I think, and be perceptive to what’s happening,and the different strains of literary existence that are going on around you. And keeping in mind that I am not trying to make it sound too much like following trends but rather trying to kind of put together a larger story of what a poetry scene essentially is – and the different networks and interconnections and entanglements that make that and conflicts. So fundamentally, I think it is about listening, but it’s also about wanting to listen to not only to the kind of literary city around me but also to what people are, might be looking for in the audience as well. But I do have to say it’s a big act to follow coming after, particularly Rachel and the amazing way that she was able to engage, transition, first of all audiences online and then engage them so well. And really try and think about the expansiveness of the online reading form as its own phenomenon, not just as like just something to fill in until we’re back in-person.\n\nKatherine McLeod: You took on the role when it was still online on Crowdcast, which Rachel had started during her time as curator in the Pandemic. And that really was an opportunity to think about the way that the Atwater Poetry Project does always program two readers. So there is this conversation between the two readers, but it seemed that at least to me, that when during Rachel’s curation and then into your curation, there’s really this emphasis on the relationships between those two poets.\n\nFaith Paré: Yeah, totally. And I think it goes back again to the heart of poets are just people, often it’s two poets. Sometimes it’s more, sometimes it’s less. It depends on the kind of event. Particularly I’m thinking about a great reading back in January, 2022. One of my first ones with Gillian Sze who, this was a very important reading for me because she, even though this gig was booked before my time, she’s been a long time mentor of mine in poetry as well as Rebecca Păpacaru. And both of them have wanted to read alongside each other for a long time, but hadn’t had the chance. And during that reading, they would actually they started to read work from their books based on what the previous person had done, because there was a line or an image or a theme that reminded them of something that made them go, oh, I’m actually going to change things up a bit, but I think this might actually fit together really well.\n\nAnd I love that quality of being able to kind of echo each other or answer to each other in this very particular environment for the one, one-night-only quality. Another early reading that I organized was with Tolu Oloruntoba, who’s based on the west coast and with Montreal spoken word artist Jason Blackbird, Salman. Both of them work in very different fields, but I thought about their particular kind of tender, quiet thundering, essentially of their voices together for a really long time. And even though they hadn’t met each other before, they checked out each other’s work and were even saying to each other that they felt like there was a really strong resonance there. So that’s, that’s the really exciting thing for me to also bring together strangers and be able to introduce them and be like, it’s kind of like a dinner party or something, <laugh> being able to be like, I know a lot about you two and I think you guys would actually get along. And it’s a really awesome opportunity when you’re right! <Laugh>.\n\nKatherine McLeod: So this takes us to the archives and I’m interested in, you know, what it’s been like as the, you know, the curator of this series to also be handed these archives. What are these archives?\n\nFaith Paré: The APP archives are interesting, I think, for me as a former or SpokenWeb RA, in that they’re all digital. <Laugh>, Which, you know, sounds kind of silly and mundane to say perhaps, but because so much of our work at the research network has been thinking through questions around, you know, how do we take analog materials, sometimes very fragile analog materials, and then transfer them into the digital, the ways that things can be gained, but also lost in that transformation that allows for for more distribution and disperse all those materials discoverability. But what does like the, the materiality of the object also do? Well? These these archives and recording from the beginning were digital. They were done on Zoom recorders. And they were, I think another thing that became a kind of inherited foundational part of the series by accident that somebody else was, when curators started, I’m not even sure exactly who from the timeline that I do have.\n\nI believe Katia Grubisic was the one who was starting to do it more regularly. Though I believe Oana may have also had some recordings as well. This is also part of the journey with this as I’m trying to fill in missing pieces. But basically from what I have, it seems like the series started to be regularly recorded in 2010. This was also really firmly embraced by the library too, in thinking about the Atwater Library and Computer Center’s mandate – their mission is widespread education on digital literacy particularly for working class and elderly communities who are often left behind when it comes to digital literacy education. And also in just the mandate of being a library for the public, making those materials available. And I think it was kind of forward thinking of them, particularly because so much of event culture and the inc excitement of event culture is the one-night-only quality.\n\nYes. But also  the availability of these archival recordings uploaded onto the website after the fact means greater accessibility. It means an archive for the poets or attendees to return to and revisit a means discoverability. It means bolstering a CV, potentially, because you have a recording. It means being able to find a piece that, you know, you were trying to track down. I’m a poet, but you can’t remember the name, and then you stumble across it again in an audio piece. It’s and it’s also being able to capture and preserve the, the interesting experiments of the one night only and be able to reverberate that through time. This collaboration with spoken w will finally allow its these MP3s to get a little bit out of the Montreal bubble and more into a, a national context, especially as we really pride ourselves from about bringing poets from all across the country\n\nKatherine McLeod: That makes me think of times when being at the Atwater readings and hearing, say, Deanna Radford say that, you know, the evening’s being recorded. And it made me think about the extent to which the audience and the poets are aware of the night being recorded, and whether that makes a difference or not. Often when they would say that you know, I’d sort of think to myself, oh, right, it’s being recorded, but I wasn’t very necessarily aware of the recording taking place. And so it’s still, it just felt like that information was there, but I soon forgot <laugh>. And I guess I wondered whether you have any sense, actually maybe the transition online and then back to in person whether there’s a… to what extent does the fact that it’s being recorded influence the event?\n\nFaith Paré: I really love that question. And it, it expands on some of my own thinking that I’ve done with Jason Camlot and Carlos Pittella about some of the new collections at Spoken Web like the Enough Said series which I was working on for a while, alongside Carlos, which is a video collection – one of the first video collections I believe, in the network. We were thinking particularly about the fact that, you know, what, what does this do to the poet’s performance and the way that people carry themselves in the space and also what does it do for I guess the, the person who’s perceiving the event afterward. So we were thinking along, along the lines of the wave Enough Said, for example, was a performance poetry series mostly was really embracing an ethos of spoken word and like a kind of first big wave of, you know, acknowledging different kinds of performed traditions of poetry under a kind of umbrella of spoken word in Montreal.\n\nAnd the fact that was video recorded allowed for people to not only to capture the dynamic choreography that can occur in different performances. You can also see how people are reacting to a work, which is huge. You can perceive what the environment was like in a way that it’s clearly laid out in front of you visually, or sometimes audio-wise, it could be more difficult to perceive, you know, what is that moving? Is that share, is that a desk? Is it getting in the way of something? Is it part of the, the main goings on of, or the stage goings on of the evening? Or is that to the side? It is a different level of information that is being communicated, and it means that people can sometimes be more complicated in what they’re portraying.\n\n: But what I really have loved about audio recording and I think spoken web is really ingrained this in me is the kind of fly on the wall quality that an audio recording has, that I think there is an element just somehow, maybe it’s because in some ways sound isn’t perceived as with the same kind of surveillance quality as the visual in our contemporary period. Sometimes it can, sometimes it’s not perceived in that way. There’s, there’s something about the audio recorder being its own listener too, or maybe the a signal of future listeners to come, it fades comfortably into the background. A of course, you know, there are poets where they may hate the sound of their voice, or maybe they wanna read something that particular night that feels like a risk for them. And they don’t wanna release it for, to the, to the public afterward because they, they wanna keep that private to the, the space that they were in.\n\nOr maybe they are sound practitioners and because sound is their main way of working, they might want to develop a piece and they’re actually like, well, I don’t want to release this audio yet because I might be releasing this piece on a, on a record soon. So those are also ways that audio can have stakes that makes it incompatible with some poet’s practice, and wanting to acknowledge that. But there’s, there’s something about the series where people seem kind of genuinely excited or just maybe just perfectly fine and relieved with having another ear in the room. I think this is also a testament to the way that previous curators have been really gentle and caring and genuine with poets of checking in with what they want to share, what they don’t want to share, like having that ability to go back and forth make that dynamic relationship between curator and poet. Something that doesn’t have to exist as like this permanent archival object forever, you know?\n\nAnd I think there is an interesting switch when the pandemic happened and Crowdcast became the main platform for the APP, which now was involved, you know a level of intimacy for a lot of people of you are not on the same kind of level of engagement, I guess, in that you can’t see the audience staring back at you, at least on the Crowdcast platform. You are kind of alone with your screen and the other poets and the curator who may also be on screen, and depending on person you are who might hate that, it cuts off, you know, your body from like, you know, your chest to your head. So if you are, or you’re someone who does a lot of choreography in your work, you might reasonably be frustrated.\n\nIf you play instrumentation enjoying your work, you might recently be frustrated, but you also might feel more confident in if you’re a quieter person, you worried about, if you worry about being perceived, if, like the idea of a, a full house freaks you out, being able to have your work listened to and appreciated, but without the pressure of having pairs of eyes look at you might also be a relief and a welcome kind of gesture. I think what I’ve been learning more and more about this down this curation journey is like, there is really no perfect way of being able to host an event, but also to document an event even in a live event because of the kinds of people you could be leaving out that there are so many people who want to be, be able to enjoy poetry, but we’re unable for different ways and different ways and means.\n\n: So there’s no perfect way of documenting these, but how do you contend with the particular stakes, challenges and materials that you have? But I do have to say, being able to be back in the auditorium, and particularly with the sound recorder is something that I’ve personally really enjoyed just because of the way that the, the sound recorder can be a little less intimidating than like, perhaps a big DSLR lens in your face that a videographer and big camera recording equipment in the space might do.\n\nKatherine McLeod: I think a video can sometimes almost give this illusion as if, as if this is what it looked like if you were there. And in fact, no, it only looked like that to that one field of vision going through that camera lens. And I love how audio we’re so, we’re just so aware that we’re getting, we’re getting sound, we’re getting a sense of the room, the voices, but there’s so much that we also are not hearing and we’re not seen, and we’re not sensing, we’re not feeling, and that because we’re so aware of those, the lack of that we also don’t trick ourselves into thinking that we have everything. And I think that’s something when listening to the recordings that I was certainly, I was drawn to recordings that really you could almost hear the room and you could almost hear the, whether it’s like kind of the, the, the voice echoing through the room or else moments of, of applause or laughter or the poets directly speaking to the audience. And even still in those moments when listening, we have to do a lot of work in order to really imagine what it would be like to be there listening. And here I’m thinking about, there’s a moment when Tawhida Tanya Evanson speaks directly to the audience from her reading in 2016…\n\nArchival audio of Tawhida Tanya Evanson, from the Atwater Poetry Project, 2016:\n\nApplause is this crazy habit we have, and it’s a beautiful thing, but maybe just a moment of silence with the eyes closed can also be beautiful. If you’ll indulge, if you’ll indulge me, please close your eyes for a moment and just take a deep breath on your own. [Deep breath.]\n\nKatherine McLeod: Suddenly we’re then imagining that room and we’re imagining that space and what it would’ve looked like and felt like to be there. A last question here is, what’s next? What’s next for the Atwater Poetry Project archives? What are some of the next steps?\n\nFaith Paré: So I think at this point, I’ve collated the best I can in a version one, essentially of the files that we have. And part of my personal next steps is to be able to knock on the doors digital doors, but also possibly literal doors of previous curators looking for missing digital files or things that were linked on the website, but broken. So I have currently <laugh>, you know, I, I have about all just around 200 readings just so far recordings from from 2010 to the present. And there are still a lot more that are to be, you know, found or collated or at least declared, never recorded or pote like lost and, you know, we’ll see if it ever comes up again. But I think, you know, next steps are really to allow the, the Montreal team to, to give the, the files more of a listen, you know, you and Clara have been the people to really take a most of a listen to ’em so far.\n\nBut to be able to have more fresh ears on it and think about our approaches of how do we want to make this discoverable and how do we want to continue animating these recordings? What is important to transcribe and document and these recordings? And even just thinking about like, the fact that previously these were there, there was a kind of mixture of how, like these recordings were categorized by both, by both pe like the people who are reigning, but also kind of by event. I think also one thing that is important to me as I, you know, I think about where we go next is the ways, or the ways that, how do we bring in poets who have animated our space and acknowledge the kind of work that they, they have done, and and the way that they have made the series into what it is today.\n\nThat’s why I feel really excited about this project, particularly and your performative performed curation digging back into the archives, I think one thing I said really early on is that I don’t want this to feel like just some kind of like, narrow celebration of the E p p, you know it’s really important to me that this is a kind of laboratory for, you know, ex exploring the ways that poetry can sound different presences, but also the ways that others are silenced or muted. And the ways that, you know, I think as a reading series, I, I wanna believe that my job is perhaps complimentary, but also different from the role of like the publishing industry, for example. The publishing industry particularly is interested in having a new kind of cohort of people who are brought to the table with new work every year.\n\nAnd that’s all great and fantastic. We all love new work, but also wanting to think about who has been at the table with us for a while. I think, you know, one of the most genuinely moving emails that we’ve, we’ve gone so far was a message from Gerry Shikatani, who is an amazing Japanese Canadian writer, sound performer, experimentalist – also food writer and critic – and that we’ve had different scholars at Spoken Web right on his work, and it was brought to my attention by you and Klara that you wanted to weave his work into this piece and writing him for permissions and seeing how genuinely touched he was to be involved in this work that he said, paraphrasing, that he was really honoured, that people were still thinking about the kind of work that he was doing, you know, over a decade ago was something that felt important to me, really struck at the heart of what I want a reading series to do, that it’s not just a, a space for people to pass through, but really a place of return, of being able to come back and think about work, think about community, think about previous writers who have impacted us.\n\nKatherine McLeod: What a generative approach to the archive and to the series. Thank you so much for, for talking about it in this short, short conversation – ShortCuts Live!\n\n[Music begins]\n\nFaith Paré: Thank you. And I’m, I’m really hoping that folks may be able, if they are in Montreal, to come out to your event debuting this engagement with the archive on Monday, February 20th 7:00 PM the Adair Auditorium at the Atwater Library and Computer Center. It will be in the show notes, I’m sure I will, I will send all the appropriate deeds. Hopefully we will also have it recorded in some kind of way for that preservation as well, and to also add this into its own kind of archival place too. So I really appreciate being here and I really appreciate your work so far on this. Thank you so much.\n\nKatherine McLeod: Thank you so much. Faith.\n\n[Music ends]"],"score":3.7048998},{"id":"9667","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 ShortCuts 4.4, ShortCuts Live! Talking with Ariel Kroon, Nick Beauchesne, and Chelsea Miya, 20 March 2023, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-ariel-kroon-nick-beauchesne-and-chelsea-miya/"],"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":[2023],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/f8ce0167-1805-4a05-8efd-481726b7058c/audio/c98427aa-fbf2-4d5e-aa26-9ccef9fd9cb9/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"sc-4-4.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:17:44\",\"precision\":\"\",\"size\":\"17,031,044 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"sc-4-4\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-ariel-kroon-nick-beauchesne-and-chelsea-miya/\"}]"],"Dates":["[{\"date\":\"2023-03-20\",\"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"],"content_notes":["Draft transcript"],"Note":["[]"],"Related_works":["[{\"url\":\"\",\"citation\":\"“Academics on Air.” Produced by Ariel Kroon, Nick Beauchesne, and Chelsea Miya. The SpokenWeb Podcast, 2 May 2022, https://spokenweb.ca/podcast/episodes/academics-on-air/.\\n\\n“‘A Voice of One’s Own’: Making (Air)Waves about Gendered Language in 1980s Campus Radio.” Presentation by Ariel Kroon, Nick Beauchesne, and Chelsea Miya. SpokenWeb Symposium 2022: The Sound of Literature in Time, a Graduate Symposium. Concordia University, 16 May 2022.\\n\\n\"}]"],"_version_":1853670549788557312,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This month, ShortCuts presents another ShortCuts Live! It is a conversation with Ariel Kroon, Nick Beauchesne, and Chelsea Miya about their collaboration in producing “Academics on Air” (May 2022) for The SpokenWeb Podcast. That episode became a paper that Ariel, Nick, and Chelsea co-presented at the 2022 SpokenWeb Symposium and Institute. After that presentation, ShortCuts producer Katherine McLeod sat down with Ariel, Nick, and Chelsea around a microphone in the SpokenWeb Amp Lab at Concordia University. They talked about processes of collaboration and archival listening that shaped their work. Starting with one audio clip as the short ‘cut’ that caught their attention in the archives, they talk about about context of that clip in the Voiceprint archives, the potential for podcasting to be a radical act of unarchiving, and what makes recordings of a radio show a unique task for cataloguers working with literary sounds recordings, and much more.\n\n[Music]\n\nKatherine McLeod: This month, ShortCuts presents another ShortCuts Live! It is a conversation with Ariel Kroon, Nick Beauchesne, and Chelsea Miya about their collaboration in producing the episode “Academics on Air” for The SpokenWeb Podcast. That episode was released in May 2022. And that episode became a paper that they co-presented at the SpokenWeb Symposium and Institute also in May 2022. After that presentation, I sat down with Ariel, Nick, and Chelsea around a microphone in the SpokenWeb Amp Lab at Concordia University. We talked about the collaboration and archival listening that shaped their work. Starting with one audio clip as the short ‘cut’ that caught their attention in the archives, they talk about about context of that clip in the Voiceprint archives, the potential for podcasting to be a radical act of unarchiving, and what makes recordings of a radio show a unique task for cataloguers working with literary sounds recordings, and much more. Plus we hear three collaborators finally talking, and laughing, in the same room together. You can hear a bit of the room’s hum but hey that’s all part of ShortCuts Live!…\n\n \n\n[Music ends]\n\nKatherine McLeod: Just as you’re talking, I was like, oh this sounds great. I’m –.\n\n \n\nNick Beauchesne, Ariel Kroon, Chelsea Miya: <laugh> <laugh>.\n\n \n\nAriel Kroon: Oh good!\n\n \n\nKatherine McLeod: Check the –\n\n \n\nNick Beauchesne: Just pull a Jars and just turn it on and just start interviewing before we know it\n\n \n\nAriel Kroon: Yeah, exactly….\n\n \n\nChelsea Miya: Right.\n\n \n\nKatherine McLeod:I’m going do the same thing that I have done for the other ones that I’ve done this week, which is actually go into “podcast voice” to do the opening <laugh>. I feel like somehow you need headphones to go into podcast voice…\n\n \n\nNick Beauchesne: Yeah.\n\n \n\nAriel Kroon: You gotta put it on… as part of the suit.\n\n \n\nKatherine McLeod: Exactly. <laugh> <laugh> I’m going stay present with you, with the three of you here… So, we’ll start…\n\n \n\nKatherine McLeod: Welcome to Shortcuts. On this ShortCuts, we’re recording live at the SpokenWeb Sound Institute. I’d like to thank Chelsea and Ariel and Nick for joining me on this Shortcuts Live! We’re recording this one in the AMP Lab on the sixth floor of the Library Building at Concordia University. We’re surrounded by audio equipment and silence… So thank you for joining me. Would you like to just say hello and introduce yourself on the mic? Go ahead, Nick.\n\n \n\nNick Beauchesne: Hello, I’m Nick Beauchesne. I teach at TRU in Kamloops and the University of Alberta in Edmonton.\n\n \n\nAriel Kroon: Hi, I’m Ariel Kroon. I am an RA on the SpokenWeb U Alberta team.\n\n \n\nChelsea Miya: I’m Chelsea Miya, and I’m a postdoc at U Alberta with SpokenWeb.\n\n \n\nKatherine McLeod: Thank you. So the three of you just presented a paper this week at the SpokenWeb Symposium and the audio clip that we’ll be listening to today and we’ll be using to inform and guide our conversation is a clip that you played in that presentation. So, to start our conversation, I’d like to play that clip and to listen to it together.\n\n \n\nArchival Audio: [Sound quality makes it audible that archival audio is playing.] A main issue that I’m concerned with, especially as it relates to language, is what kinds of assumptions do people have about sex rules that they don’t recognize? And language is a tremendous carrier of those assumptions, but we don’t know how to self-examine them. Yes, people are beginning to realize that there is a male culture, there’s a female culture, and culture and language are terribly intertwined. But the question is, where have we not even learned how to look and where is it that people are resisting looking? I mean, if you say to somebody, the pronouns you use say tremendous amounts about your beliefs and your culture, people will laugh at you.\n\n \n\nKatherine McLeod: Alright, so could you tell me and listeners what we’re listening to?\n\n \n\nChelsea Miya: So, that was a clip from the Voiceprint episode, “A Room and a Voice of One’s Own.” Voice Print was a campus radio show that was produced between, I think, 1979 to 83, 84, so about four or five years. It was hosted and produced by a student, Jars Balan, who was in the English Department at that time and was really embedded in poetry culture and all the really cool scholarship and creative works that were happening at University of Alberta. There’s also a bit of background about the history of campus radio at that time, which is really cool, and which we talk about a lot in our podcast episode. But what we actually came to present on was this specific episode on women’s voices and on gendered language, which really stood out to us, all of us when we were listening to the archive and to that episode in particular.\n\n \n\nKatherine McLeod: Yeah, well, I was just going to add to that we are recording this in an English department – we’re recording a podcast in an English department – and that radio show was made through an English department. Yes, but, you were saying in the presentation, it wasn’t recorded in an English department?\n\n \n\nAriel Kroon: No, it was actually Jars’s studio was in the basement of the biology building on the University of Alberta campus. And it was not just the basement – it was the basement below the basement. So they were down quite a ways and he talked about how guests found it very odd, and a little bit intimidating, to go visit him there, and so they would try to put them at ease, and that was just very, very cool for all of us to hear.\n\n \n\nAriel Kroon: That was a clip from Jo-Ann Kolmes, and she came on as a guest. She was working as an editor for academic papers. I think maybe an academic journal. And so she was really talking about her practice of feminist editing at the time, and we were so fascinated by what she had to say because it struck us as very resonant and relevant to discussions that are all around us today. And though, back in 1981, they were definitely still talking about gender firmly within the binary of he/she, and, and now we have recognized and there is a linguistic recognition of – that there’s much more out there than the binary, and so language is adapting to that. So we found that extremely fascinating, the way that it speaks to issues today.\n\n \n\nKatherine McLeod:Yeah. And especially how it came out of feminist editing, as you said. That seems to resonate. [as] even in this conference, we heard a paper by Sarah Cipes talking about feminist editing in audio. And so it’s really interesting that Joanne’s thinking about this was coming from the perspective of editing. You’ve now done a presentation on this audio clip and the Voiceprint recordings that it’s from – the Voiceprint Radio show, that it’s from – you have made a podcast episode for The SpokenWeb Podcast. You’ve attended a listening party for that episode. I’m wondering, for the three of you, what has really stood out in those experiences?\n\n \n\nChelsea Miya: I think for me, like what really stood out was… the pleasures and joys and frustrations of working collaboratively with Nick and Ariel and how great it was to do something other than an academic paper, especially after two years of being in isolation, sequestered in my room doing, finishing my dissertation. I’m sure like a lot of people in various professions, but in academia especially it’s isolating being a grad student at any time but during COVID it was especially so. Being able to like have the three of us be brought together for this project was so much fun. And I got so much like energy and like inspiration from, from their different ideas and from learning how to work with people who have different ideas about audio and, and we, all of us brought different, I think, strengths and and perspectives to the experience.\n\n \n\nAriel Kroon: I think –\n\n \n\nChelsea Miya: Go ahead.\n\n \n\nAriel Kroon: Yeah, no, I, I think it was very interesting because, as you mentioned, for grad students, especially of English literature, we’re not used to working with other people. And so it was very eye-opening to work on what is traditionally a solitary endeavour along with other people. But then have the added complicated factor of we were all in different provinces–\n\n \n\nChelsea Miya: Mm-hmm. <affirmative>.\n\n \n\nAriel Kroon: – while we were putting this together. And so we couldn’t, well, we could, we could meet on Zoom simultaneously, but we couldn’t be in the same space editing audio together. And we couldn’t just – I couldn’t just look over and say: Hey Nick, do you mind if I do this and this and this to this clip? Or Hey Chelsea, what do you think about my research into such and such? You know, it was very collaborative and yet at the same time not collaborative because it was so difficult to work with that space between us. And so I was really glad that we were all here together finally at the SpokenWeb conference.\n\n \n\nNick Beauchesne: Yeah, I’ve never presented a paper with like other co-authors before – and we split our paper so to read different sections, but also our different roles. Ariel did a lot of like the research and tracking down of documents and tracking down audio clips and that sort of stuff. Chelsea did a lot of like the main kind of composition for our script for like the podcast, and I did a lot of the technical stuff for the editing. I’ve never really been responsible for this. I’m just a useless singer. I’m used to – so for me to step back from, from the limelight and do more technical behind the scenes work as part of the podcast was fun, but also reading the paper, sharing that with other people. And then we all wrote the paper together. So that felt a little more kind of balanced in the sense that our roles maybe weren’t as specialized as they were for the podcast.\n\n \n\nKatherine McLeod: Mm-hmm. <affirmative>.\n\n \n\nNick Beauchesne: So that was a really great experience.\n\n \n\nKatherine McLeod: Yeah, I was interested in that too. The way that often collaboration, um, might take the form of, um, of an article that you write together, but in this case, the first thing that you made together was a podcast episode… And then maybe the paper was closer to maybe a print based –\n\n \n\nNick Beauchesne: Mm-hmm. <affirmative>.\n\n \n\nKatherine McLeod: – publication. That’s interesting to hear sort of the roles shifting or how that work pans out and it’s shared.\n\n \n\nNick Beauchesne: Well, you know, Klara, Jason, if you’re making a book, call me, call us!\n\n \n\nKatherine McLeod: Yes, it’s possible that you might be collaboratively writing an article <laugh> as the next step of this, which is exciting because it shows how these ideas started in a podcast episode of scholarly research and it will eventually take the form of a print article. Often the print article gets put on a hierarchy above the other, but if you hadn’t made one, you couldn’t get to that other stage. I think starting with the podcast too allowed you to really dive into the sound and think about multiple sound clips and also really reflect on what the podcast is doing as academic scholarship. Which I think you all did so brilliantly in the episode and also in the Listening Party too, really reflecting on what you are doing as academics in making this podcast alongside reflecting on what those who made Voiceprint were doing within an academic institution, which is really a fascinating parallel.\n\n \n\nChelsea Miya: Yeah. It’s interesting too, like podcasting as this sort of radical act of de-archiving, in that we talk a lot about close listening at SpokenWeb, but I mean – and you do that when you’re doing like time codes and timestamps – but to create something from that, you really listen to it and it becomes like part of you, you ingest it and create something out of it in a way that you don’t necessarily do when you’re doing the sort of laborious, tedious work of digitizing something and creating metadata for it. So, and which is good and valuable work, but it can sometimes be like monkey work in that the focus is more on like doing the sort of repetitive tedious tasks that are removed from actual thoughtful intellectual engagement with your materials. And doing this podcast was a way, I think, at least for me, it felt like so great to be engaging with the material in a different way.\n\n \n\nAriel Kroon: Yeah. Those repetitive, tedious tasks definitely prepared us for doing all that we needed to do for this podcast in terms of close listening and honestly just in terms of discovering that it was there at all. When I first joined SpokenWeb, I started digitizing these radio shows, and at that time we didn’t really have any sort of schema for digitizing them because all of the sort of like accepted practices were for poetry readings. And so I was there as this new RA looking at what had been done before and saying: None of this fits, none of these categories work for this. Oh no, what, what do I do with it? And so it started as this problem. And only later was I, or were we, sort of able to get a little bit more deep into the sound of it and the content of that sound.\n\n \n\nKatherine McLeod: Mm-hmm <affirmative>\n\n \n\nNick Beauchesne: It’s surprising and incredible in how generative the material is. So you start off, yeah. So I mean, I did a lot of time-stamping before I did anything intellectual and fun, like what we just did. And it’s like, you know, you listen to all, like, first of all, going to the archive to discover this stuff at the University of Albert Alberta archives, which is where we found this, not from the English department closet, like most of our other stuff, so it’s a different archive. We have to track it down. I have to make an acquisition list. Mike approves it. We get the material, it goes to digitization, we get it, we split it in three. So we all time-stamp different episodes of Voiceprint, and that’s when we all kind of fell in love with the show <laugh> and became fans.\n\n \n\nNick Beauchesne: And then from there, yeah, then you go to making a podcast episode, doing ShortCuts, making, writing a paper, presenting that paper. And it just keeps growing and growing, growing. I mean, we interviewed Jars, we interviewed Terri Wynnyk – his production assistant and a female sound tech, which is very rare for radio shows in the eighties – we interviewed all Brian Fateaux, Stacey Copeland –\n\n \n\nChelsea Miya: Jennifer Waits\n\n \n\nNick Beauchesne: Yeah. We interviewed all these people. We got hours of the interview footage and, and most of it wasn’t used, but it just expands and expands.\n\n \n\nKatherine McLeod: And the conversations with all those people that all came from the archival listening that you were doing. Also, I love the fact that Voiceprint brought you together, <laugh>. I think that’s – I was wondering how you had it first encountered these archival recordings. And so that’s really beautiful hearing that. And also, um, the way that Voiceprint as a radio show was also so embedded within literary communities and just really a show that had so many writers on – and that was something I was really struck by, in listening to the podcast episode, and I can only imagine how many more conversations could come out of the Voiceprint archive –.\n\n \n\nNick Beauchesne: Mm-hmm. <affirmative>,\n\n \n\nKatherine McLeod: – around the recordings of writers and conversations. It also sounded very much like interdisciplinary work too, like talking to people, you know, across disciplines and inviting them into that studio and having those conversations. So I’m excited to hear what else comes out of the Voiceprint archives. So I think that’s a good note to conclude our conversation for today. And also I’m so thrilled that, here, around this microphone, these three collaborators are finally together in person after all your work across distances. So, Chelsea, Ariel, Nick, thank you so much for joining me here on Shortcuts. Thank you all.\n\n \n\nAriel Kroon: Thank you.\n\n \n\nNick Beauchesne: Thank you.\n\n \n\nChelsea Miya: Thanks.\n\n \n\n[Music]\n\nKatherine McLeod: You’ve been listening to ShortCuts. This ShortCuts was a ShortCuts Live! A conversation with Ariel Kroon, Nick Beauchesne, and Chelsea Miya recorded on May 19 2022 on-site at the SpokenWeb Symposium and Institute. Fun fact: we were wearing our SpokenWeb t-shirts that we had been given that day at the institute while recording. Check the Show Notes for photos to prove it! Also check the show notes for a link to their episode, “Academics on Air.” Plus, since talking with Ariel, Nick, and Chelsea, they have interviewed Jo-Anne Kolmes, and a few clips from that interview could be the start of another ShortCuts Live conversation recorded at this year’s symposium and institute. \n\nSpeaking of which, are you listening to this episode and getting excited about this year’s SpokenWeb Symposium? It is coming up in May at the University of Alberta. Check SpokenWeb’s upcoming events to find the link to the full program. And, who knows, there just may be ShortCuts Live recordings happening again this year, and so if you’re attending and interested in talking with the podcast team, let us know! Write to us at spokenwebpodcast at gmail dot com.\n\nShortCuts is a monthly deep dive into archival audio distributed monthly on The SpokenWeb Podcast feed. It is mixed and mastered by Miranda Eastwood, transcribed by Zoe Mix, and written and produced by me, Katherine McLeod. Thanks for listening.\n\n[Music ends]"],"score":3.7048998},{"id":"9668","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 ShortCuts 4.5, ShortCuts Live! 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Producer Katherine McLeod talks with Annie Murray about the EMI Music Canada Archives at the University of Calgary, and their way into these archives begins with a cassette tape. And not just any cassette tape. Listen to find out which tape and how this tape tells stories of recording not only in relation to what’s on the tape but also to archival collections of Canadian music. Audio objects are sonic objects in the sounds they hold and the stories they tell – both on their own as materials and in our affective attachments to them – and this episode of ShortCuts dives into all of this, and more. Annie and Katherine’s conversation about archives is full of whimsy, suspense, and even the sounds of a power ballad – yes, archival research can sound like this.\n\n\n(00:03)\tAnnie Murray \tSo what do you wanna talk about? [Laughs] \n(00:05)\tKatherine McLeod\tWell, first I’ll say: Welcome to ShortCuts.\n(00:11)\tShortCuts Theme Music \t[Soft piano music interspersed with electronic sound begins]\n(00:12)\tKatherine McLeod \tWelcome to Shortcuts. This month, it’s another ShortCuts Live. In fact, it’s a final ShortCuts Live conversation that was recorded at the 2022 SpokenWeb Symposium and Institute. That’s because this year’s symposium and institute is coming up, starting May 1st. Check the full program by heading to the events link on the SpokenWeb website. And if you’re attending, do get in touch if you’d like to chat with us on ShortCuts Live in-person this year. \nBack to this episode, it’s a conversation that I had with Annie Murray from the University of Calgary. It was recorded after a packed day of sessions at the 2022 SpokenWeb Sound Institute. The sounds will take us into 4th SPACE at Concordia University. I quite love the background noise because it reminds me of being there with the May sunshine outside the window next to where we were recording and the vibrant conversations that we were having all week. \nSo there I was sitting at a microphone with Annie Murray and I pulled out a cassette tape to start things off. Usually on ShortCuts, it’s an audio clip that starts the conversation. This time it was not an audio clip, but rather an audio object, and not just any audio object. It was my first cassette tape, and this cassette tape that I’m holding right now, well, it’s not only the start of me loving music that’s just so full of emotion, music that is moving, moves you and makes you want to move, but it was also the start of my conversation with Annie Murray about EMI Music Canada Archives. Which tape is it? Well, listen to find out. Here is ShortCuts Live…\n[ShortCuts theme music fades and ends]\n[Transitions into interview recording]\nThank you so much, Annie, for joining me on Shortcuts Live.\n(02:04)\tAnnie Murray\tThank you. This is a great setup.\n(02:07)\tKatherine McLeod\tAnd I’m about to take a tape out of my bag, and Annie’s gonna see this for the first time, but she’s heard that this is the object that will inspire our conversation.\n(02:19)\tAnnie Murray\tWhoa, shall I describe what we’re seeing?\n(02:22)\tKatherine McLeod \tYes. Take a look. What is this tape?\n(02:25)\tAnnie Murray \tKatherine has just handed me a tape called “Over 60 Minutes with Luba”. Luba is on the front. It was issued by Capital Records and EMI Canada in 1987. We had an earlier conversation where I learned this was a seminal tape for young Dr. Katherine McLeod. And the reason I’m interested in her relationship with this tape is because I’ve been working on a project that will bring some Luba content out in the world.\n(03:03)\tKatherine McLeod \tYes, I told Annie that this Luba tape was in fact the first cassette tape that I ever owned. I think I was about seven or eight years old living in Queensboro, which is a neighborhood in New Westminster, British Columbia. And I don’t even know how I had heard of Luba, I think, because I never really watched TV very often when I was young. So somehow much music must have been on. And I was really drawn to the song, “Every time I see your picture, I cry”. And this tape does have it on there.  I think that says a lot about me as a seven year old, that I was really drawn to this very dramatic song, that continues. I feel like it just, I love very dramatic music and dance. So, you know, this was just an early sign of that.\nI could still probably recite the entire song. And I recently found this tape at my parents’ house, and it made me think about the way that this recording, with it being issued by EMI, would be part of the EMI collection. And when Annie was speaking about the EMI collection in a SpokenWeb meeting, she mentioned, you know, it even has Luba. And I was like, oh, Luba! Yes, someone’s talking about Luba! \nSo I thought this would be a perfect  audio object for us to chat about because it brings us into the EMI collection. It makes us think about audio objects and how just a tape that we’re not even playing right now can generate so much conversation. And it can also make us think about rights too. So maybe towards the end, I’ll ask you about, you know, can we even play this tape on the podcast? But, we’ll hold onto that question. \nFirst of all, you know, I see Annie looking at the tape cover, she’s got it out of the, out of the case. And I’m wondering, you know, you’ve been immersed in the EMI collection at the University of Calgary.  What do you, what are you noticing? How does this speak to you as an archival object?\n(05:11)\tAnnie Murray \tWell, what’s interesting about this tape is it’s not one of Luba’s studio albums. It’s a compilation album. So, Luba had already released some albums, and this is a compilation. The other thing I’m noticing is in what great physical condition it’s in. I know you loved it a lot, but you also took really good care of it. A lot of my old tapes from this era,  the writing is rubbed off the cassette, but the tape looks in good shape and the liner notes don’t have the lyrics, which a lot of studio albums did. And I don’t know about you, but did you used to open them up and follow along?\n(05:53)\tKatherine McLeod\tI sure did. [Laughs] Yeah.\n(05:54)\tAnnie Murray\tYes. That, I mean, especially when you first got tapes of your own and you bought them with your own money, you were so proud of them, and you would open up the liner notes and follow the lyrics. So what I’m seeing here, there’s some interesting things about this album. First of all, Daniel Lenoi plays as a percussionist on this album. There’s some really interesting musicians brought in on some of these. And guess who’s the sax player? Kenny G! [Both laugh]  And then there’s a list of tracks or songs, and there’s little symbols next to them that talk about the original recording, where it came from. \nSo this is like an anthology. And then some were mixed by Daniel Lenoi, then it shows how many songs Luba wrote and how many she didn’t. So this is, this is fascinating.\n(06:56)\tKatherine McLeod\tI love thinking about it as an anthology of Luba. Luba is a Canadian singer who was very popular in the eighties. And we really haven’t heard much from since. So, actually, it’s interesting how things, you know, like YouTube. I think like, partly just to go back to your point about how the tape is in such good condition, I think it’s because then when CDs came out, I didn’t listen to my tapes as much, and Luba sort of had faded into the background. \nSo, I’d almost forgotten about this amazing song. And then, recently, you know, searching it on YouTube and thinking, yeah, like, I can listen to this in a digital version without having to, you know, dig out my tape from so long ago. And just listening to it again, I thought, wow, this  almost like, power ballad song, really resonates with today’s moment too.\nSo I thought, yes, Lupa to come back, but then thinking, you know, this is like this anthology and this collection, a collection within a collection thinking of this tape itself is almost like a collection. And how it also speaks to, you know, this moment in Canadian music. And, you know, as you’re noticing all these artists that were part of this tape, that in many ways many people probably would know those names and not necessarily know Luba’s name too. So that’s really interesting thinking of what we can learn from the tape itself. I know you told me that you asked some of your colleagues in the archives about what you have in terms of Luba’s work in the collection.\n(08:26)\tAnnie Murray\tThat’s right. So, maybe just as I recorded my live reactions to the liner notes, I’ll read you some information that my colleagues David Jones and Rob Gilbert provided.  I explained what I was going to be up to and that you were a Luba fan from childhood and that we’d be looking at the tape and they immediately knew, oh, well that’s a compilation, you know, and I, cuz I didn’t know. \nAnd then David said, that’s awesome. So is Luba. And then Rob came along and said a few things that I’ll just read. So Luba was a direct signing. So the capital releases, the EP and the three big albums in the eighties are all extensively documented. So in the EMI Music Canada archive that’s at the University of Calgary, if that artist was signed to Capital or EMI, the archive will contain all of the original studio recordings and will have all the documentation about how that album was produced, how it was recorded, produced, disseminated, marketed and received.\nSo it’s like the whole story, but if the EMI artist was someone like Kate Bush or The Beatles or Pink Floyd, and they weren’t actually recorded in the, for Canadian, like on the Canadian label there would be less recordings and material associated with it. All of those originals would’ve been in England or in the United States. But for Luba, Rob says, I think Luba is one of the more significant artists in the collection. All of the audio is migrated or out with a vendor and/or Nathan. So Nathan Chandler is our audio audiovisual conservator who, in Calgary, we built these studios. So sometimes some types of formats, we’ve migrated them right there in Calgary. Other ones have been sent out in different places in North America, depending on like, would it be too expensive to buy the equipment or too difficult or maybe there aren’t enough recordings in that format because the EMI archive has 94 different media formats.\nSo some of them wouldn’t make sense. But guess how many individual Luba recordings will be available eventually? There will be 400 audio recordings [Katherine laughs] available to users eventually in an online system. So the system we’re using is called Cortex. It’s a digital asset management system. Rob goes on to say all of the quarter inch tapes are done. The half inch tapes were sent out to a vendor last summer and should be done soon. And many of the two inch tapes are on a cart with Nathan waiting to get to them. So even in the time Luba was recording, she first recorded on quarter inch, then half inch, and then on two inch multi-tracks. So even in her eighties, early nineties career, she recorded on these different formats. So. \n(11:58)\tKatherine McLeod\tThat’s incredible! [Laughs]\n(11:59)\tAnnie Murray \tThen all told there are 400 of them because like, say a two inch recording, it’s massive. You might have one to three songs on one reel. And so if you think of how many times you would record something to make an album, that’s why there are so many. So then, let’s see, also, any videos associated with Luba will also become available. So it’s audio, but it’s also video. And then, this won’t be put online or you won’t be able to access this, but there was also all the original artwork that they used to make all the album covers. So that has also been preserved for the Canadian artists such as Luba. \nSo, let’s see. There are whole sets of studio sessions, 24 track tapes and mixes on half inch tapes. The 60 Minutes with compilation is like a “best of” album with a couple extras on it. It was a branded series from Capital, maybe tapping into CD technology, having the ability to play over 60 minutes without switching sides of a tape or a record [laughs]. \nSo there’s gonna be a lot of Luba content that researchers can access. So you could explore the documentation around wow was that album produced there in your hand? How were the other studio albums? Her EP? I don’t know if they would’ve had a demo, but we would be able to find out if there was a demo. So it kind of goes to show the extensive documentation, both audio, video, and then there’s all the textual archives that would’ve been, so perhaps you’ll come to Calgary to do a deep Luba research trip? \n(13:50)\tKatherine McLeod \tYes. Yes. A deep listening in the Luba archives. I also love how it feels like Luba, you know, I was speaking to like maybe she could have a resurgence and maybe she could have a resurgence through the archives.\n(14:03)\tAnnie Murray \tThat would be great. Like, it will be interesting to see how people respond to an archive of this type being made available. Like, first of all, the fact that it’s being preserved, that it is in a public institution, and that we have created some secure and elaborate, but easily available ways to use audiovisual archives, which really isn’t always the case. \nThe traditional model is if there’s a recording in an archive, you travel to the archive and you listen to it in there. We knew that with the way systems have developed and the way digital asset management systems have developed, that you can still have users authenticate and use a recording and access it remotely. And in the time that we’ve been finishing up this project during Covid, there is actually more expectation of remote access now of archives and libraries. So these sort of systems coming online is just perfect timing for these kinds of researcher expectations.\n\n(15:17)\tKatherine McLeod \tMaybe one last question then, leading along those lines around access. On a podcast like this, if I were to play a clip of one of Luba’s songs,  am I allowed to do that?\n(15:34)\tAnnie Murray\tI think so. I think it’s a kind of quotation. We could ask a copyright person about how much is appropriate. But say for example, like broadcasters and news organizations, they generally work with clips of a certain length for reporting, and then scholars can use certain lengths of clips for their academic reporting, so to speak. I don’t know where a podcast is on the spectrum. Is it broadcasting? Is it news? Is it scholarship? Seems to be a blend of those things?\n(16:10)\tKatherine McLeod \tAnd often defined by the producer or the maker of the podcast, rather than the podcast itself being a medium that is defined in those ways. I feel like because we did, you know, we’ve been commenting on the tape and especially offering a bit of commentary around one particular song, that that song perhaps could, you know, appear at some point, audibly in this or- \n(16:37)\tAnnie Murray\tA clip.\n(16:37)\tKatherine McLeod \tA clip. Exactly. It would just a, just a-\n(16:39)\tAnnie Murray\tMaybe the most dramatic part.\n(16:40)\tKatherine McLeod \tExactly. [A clip from “Every time I see your picture, I cry” by Luba plays and ends] \nSo I think that’s, you know, a perfect note to end on. And I want to thank Annie Murray for joining me here on ShortCuts Live in 4th SPACE at Concordia University. Thank you so much, Annie.\n\n(17:12)\tAnnie Murray \t[ShortCuts theme music begins to play] \nThank you. And I just wanna extend an invitation. As a Luba fan, you could create, when you have an account in the University of Calgary’s digital collections, you could create something called a light box where you could keep track of your favorite Luba recordings, and then you could say, Hey, these are my favorite Luba tracks curated by Dr. Katherine McLeod.\nSo, then even if you return later and you’re like, oh, I’m going to think about Luba again. You could keep track of what you’re interested in. You could send it to another user, then they could sign it and say, oh, these are the three songs that most shaped your 1987 life. \n(17:57)\tKatherine McLeod \tYes! A curated listening and yeah. To be able to share that. Oh, yeah. That’s fantastic.\n(18:01)\tAnnie Murray\tSo, when it’s available, I’ll contact you and you can be our guest digital curator of the Luba Collection. [laughs]\n(18:11)\tKatherine McLeod\tThank you so much, Annie. I look forward to that. Thank you. Thank you.\n[ShortCuts theme music ends] \n[A clip from “Every time I see your picture, I cry” by Luba plays] \nYou’ve been listening to ShortCuts. A special thanks to Annie Murray for joining me for this ShortCuts Live recorded on May 19th, 2022. \n[The Luba clip ends and ShortCuts theme music begins again] \nAnd for the invitation to head to Calgary for a curated listening in the archives. Do check the show notes for links to more about that archive, and for a few fun photos to accompany this episode. Yes, you’ll see Annie holding the tape itself, and what you won’t see is me listening to Luba on repeat in the weeks surrounding this conversation. But indeed that happened too. \nMy thanks to the SpokenWeb podcast team. Our supervising producer is Kate Moffatt. Our sound designer is Miranda Eastwood. And our transcription is done by Zoe Mix. ShortCuts is written and produced by me, Katherine McLeod. Stay tuned next month for a full episode of The SpokenWeb Podcast. And as always, thanks for listening.\n[ShortCuts theme music ends]"],"score":3.7048998},{"id":"9991","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 5.1, Introducing ShortCuts, Live!, 16 October 2023, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/introducing-shortcuts-live/"],"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":[2023],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/cf9825d7-2330-4377-a62d-caa50ba79c7b/audio/33a2eb71-61fd-4394-a32d-9dfd116279a2/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"shortcuts-master-1.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:08:24\",\"precision\":\"\",\"size\":\"8,078,777 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"shortcuts-master-1\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/introducing-shortcuts-live/\"}]"],"Dates":["[{\"date\":\"2023-10-16\",\"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":["[{\"url\":\"\",\"citation\":\"Archival audio sampled in this episode is from these past episodes: \\n\\nShortCuts 4.2 “ShortCuts Live! Talking with Sarah Cipes about Feminist Audio Editing,” produced by Katherine McLeod,\\nThe SpokenWeb Podcast\\n,\\n21 Nov 2022\\n\\nhttps://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-sarah-cipes-about-feminist-audio-editing/\\n\\n \\n\\nShortCuts 4.3 “ShortCuts Live! Talking with Faith Paré about the Atwater Poetry Project Archives,” produced by Katherine McLeod,\\nThe SpokenWeb Podcast\\n, 20 February 2023\\nhttps://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-faith-pare-about-the-atwater-poetry-project-archives/\\n\\n \\n\\nShortCuts 4.4 “ShortCuts Live! Talking with Ariel Kroon, Nick Beauchesne, and Chelsea Miya,” produced by Katherine McLeod,\\nThe SpokenWeb Podcast\\n, 20 March 2023\\n\\nhttps://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-ariel-kroon-nick-beauchesne-and-chelsea-miya/\\n\\n \\n\\nShortCuts 4.5 “ShortCuts Live! Talking with Annie Murray,” produced by Katherine McLeod,\\nThe SpokenWeb Podcast\\n, 17 April 2023\\n\\nhttps://spokenweb.ca/podcast/episodes/shortcuts-live-talking-with-annie-murray/\\n\\n \\n\\nShortCuts 4.6 “What’s that noise? Listening Queerly to the Ultimatum Festival Archives,” produced by Ella Jando-Saul,\\nThe SpokenWeb Podcast, \\n\\nhttps://spokenweb.ca/podcast/episodes/whats-that-noise-listening-queerly-to-the-ultimatum-festival-archives/\\n\\n \"}]"],"_version_":1853670549818966016,"timestamp":"2026-01-07T14:59:54.290Z","contents":["Welcome to Season 5 of ShortCuts. \n\nShortCuts started out on the podcast feed as a ‘minisode’ during our first season and it soon took on a life of its own. ShortCuts host and producer Katherine McLeod would take you on a deep dive into the SpokenWeb archives through a short ‘cut’ of audio. What did it feel like to hear archival audio? And how could we carefully unarchive its sound? These questions evolved into conversations, and thus emerged ShortCuts, Live! Last season featured Katherine’s conversations with Sarah Cipes, Faith Paré, Chelsea Miya, Nick Beaschesne, Ariel Kroon, and Annie Murray, along with a special episode produced by Ella Jando-Saul. And, this season, ShortCuts Live continues. It will be even more ‘live’ and in-person season than ever before, but before we go there, we do what we always do to start a new season. We perform what\nShortCuts\nsounds like\nin sound.\nListen to this episode, listen to past episodes, and then stay tuned for our new season on\nThe SpokenWeb Podcast\nfeed. \n\n(0:00) \nShortCuts\nTheme Music\n[Soft piano music interspersed with electronic sound begins]\n(00:01)\nKatherine McLeod\nWelcome to\nShortCuts\n. On\nShortCuts\n. We listen closely and carefully to a short ‘cut’ [scissor sound] or ‘cuts’ [scissor sound] from the archives.\nShortCuts\nbegan in season one of the\nSpokenWeb\npodcast. It started out as what we called a minisode,  a short episode to engage with interesting clips from the audio archives that caught my attention as a producer and curator. \n\nBut this soon evolved. Episodes became a way to really dwell in the sound, to listen again – and again ­– to audio clips from the archives, as a place to practice a feminist listening in the archives and think about what we are listening to, how we are listening to it, and what it feels like to listen.\nShortCuts\nhas evolved onto the page. I’ve written about the first seasons of\nShortCuts\nas feminist placemaking through podcasting in a forthcoming chapter, co-written with Hannah McGregor and Stacey Copeland. Last year’s trailer ended up transforming into a short forum contribution to English Studies in Canada, published earlier this year. That piece is called “Archival Listening.”\n\nTalking about what it feels like to listen to audio from the archives evolved into wanting to talk with other people about what it feels like to hear these sounds. \n\n[\nShortCuts\ntheme music fades] Thus\nShortCuts\nevolved into what was last season, ShortCuts Live! Conversations with\nSpokenWeb\nresearchers about a short ‘cut’ of audio from the archives. This season, we continue\nShortCuts\nLive and aim to be even more live and on-site than\nShortCuts\nhas ever been before. But first, I want to do what we always do to start a new season of\nShortCuts\n, and that is to dive into its own archives of last season. \n\n[\nShortCuts\ntheme music swells]\n\nBecause me telling you the story of\nShortCuts\nevolving is one way of explaining what it does. But what if we ask, what does\nShortCuts\ndo in sound? In the following mix, you’ll hear the voices of Sarah Sipes, Faith Pare, Chelsea Mia, Nick Beauchesne, Ariel Kroon, and Annie Murray, along with Ella Jando-Saul from the special episode Ella made with Mathieu Aubin, Misha Solman, Sophia Magglioca, and Rowan Nancarrow. And of course, check the show notes after for the full story of all the archival sounds. [Theme music ends]\n(02:33)\nKatherine McLeod, archival audio from ShortCuts 4.4\n…[fades in] do the same thing that I have done for the other ones that I did this week, which was – is – actually going to podcast voice to do the opening [Katherine laughs]. It feels like somehow you need headphones to go into podcast voice [Katherine laughs].\n(02:47)\nAriel Kroon, archival audio from ShortCuts 4.4\nYeah, put it on. It’s – part of the – part of the suit!\n(02:49)\nKatherine McLeod, archival audio from ShortCuts 4.4\nExactly. [Katherine laughs]\n(02:51)\nAnnie Murray, archival audio from ShortCuts 4.5 \nSo what do you wanna talk about?\n(2:53)\nKatherine McLeod, archival audio from ShortCuts 4.5\nWell, [Katherine and Annie laugh] first, I’ll say, welcome to\nShortCuts\n.\n(03:00)\nKatherine McLeod, archival audio from ShortCuts 4.3\n[\nShortCuts\ntheme music plays] Welcome to\nShortCuts\n. Welcome to\nShortCuts\n, this month on\nShortCuts\n, we’re here live on Zoom with the Atwater Poetry Project curator Faith Pare. Faith joins me for this conversation…[Theme music ends]\n(03:16)\nKatherine McLeod, archival audio from ShortCuts 4.2 \n…We’re recording this\nShortCuts\nLive in 4th Space at Concordia University during the\nSpokenWeb\nSound Institute. I’m here with Sarah Cipes. Thanks so much for joining me, Sarah.\n(03:26)\nSarah Cipes, archival audio from ShortCuts 4.2\nThanks so much for having me.\n(03:30)\nKatherine McLeod, archival audio from ShortCuts 4.3 \nThis really is a\nShortCuts\nLive by the fact that my three-month-old daughter is also here with me, and for long time\nShortCuts\nlisteners you’ll remember that back in season two, the voice of a poet’s young daughter has already been heard on\nShortCuts\n.\n(03:41)\nAnnie Murray, archival audio from ShortCuts 4.5 \nKatherine has just handed me a tape called “Over 60 Minutes with Luba.” Luba is on the front. It was issued by Capital Records and EMI Canada 1987.\n(03:56)\nKatherine McLeod, archival audio from ShortCuts 4.5\nYou’ve been immersed in the EMI Collection at University of Calgary. What are you, what are you noticing? How does this speak to you as an, as an archival object?\n(04:05)\nAnnie Murray, archival audio from ShortCuts 4.5 \nWell, what’s interesting about this tape…\n(04:07)\nKatherine McLeod, archival audio from ShortCuts 4.4 \nCould you tell me and listeners what we’re listening to?\n(04:12)\nChelsea Miya, archival audio from ShortCuts 4.4\nSo we’re, that was a clip from the Voiceprint episode, “Room and a Voice of One’s Own.”\n(04:17)\nFaith Paré, archival audio from ShortCuts 4.3 \nThe APP archives are interesting, I think for me as a former SpokenWeb RA, in that they’re all digital. The series started to be regularly recorded in 2010. This was also really firmly embraced by the library too, and thinking about the Atwater Library and Computer Center’s mandate…\n(04:38)\nElla Jando-Saul, archival audio from ShortCuts 4.5 \n[Sound effect of heart beat plays and fades] In 1985, Allan Lorde with help from a team of close friends, organized ultimatum, a literary festival that took […]\n(04:46)\nSophia Magglioca, archival audio from ShortCuts 4.5\nYeah, the weird heartbeat noise is really interesting to me because I can’t tell if it’s intentional or not, and it’s doing really interesting things with the poet’s voice.\n(04:59)\nAriel Kroon, archival audio from ShortCuts 4.5 \nThat was a clip from Joanne Coombs, and she came on as a guest. Uh, she was working as an editor for academic papers. I think maybe an academic journal at the time. And so she was really talking about her practice of feminist editing at the time, and we were so fascinated by what she had to say, because it struck us as very resonant and relevant to discussions that are all around us.\n(05:25)\nSarah Cipes, archival audio from ShortCuts 4.2 \nAnd so bringing that into audio was a really interesting idea for me because redaction, restriction, and censorship and all of these things that have a lot of negative feelings around them for researchers can actually be turned into positive things, I think, particularly within audio, that actually allow users to listen to tapes that they might otherwise be totally barred from, and so my desire was to create sound edits that allow the listener to hear the vast majority of, of the tape…\n(06:05)\nKatherine McLeod, archival audio from ShortCuts 4.2\nMm-hmm.\n(06:06)\nSarah Cipes, archival audio from ShortCuts 4.2 \n– while also protecting the privacy of those on the tape. Or even in this case, someone who’s mentioned who’s not there. \n(06:15)\nKatherine McLeod, archival audio from ShortCuts 4.2 \nMm-hmm. Mm-hmm.\n(06:16)\nSarah Cipes, archival audio from ShortCuts 4.2 \nBut really a feminist edit could also be about amplifying voices that are not usually central to the microphone –\n(06:30)\nMisha Solomon, archival audio from ShortCuts 4.6 \n[Sound effect of heartbeat plays and ends] What I find really interesting about the mystery of the sound is that it’s a reminder of the missing information on these tapes. That these tapes are representative of performances that involved some visual aspect, and that aspect is missing entirely. And so when the sound changes, or disappears, one could imagine someone in an outrageous outfit playing a percussion instrument in the corner and producing that sound…\n(07:00)\nKatherine McLeod, archival audio from ShortCuts 4.5\n… and one particular song, that that song perhaps could, you know, appear at some point, or audibly in this –  \n(07:10)\nAnnie Murray, archival audio from ShortCuts 4.5\nOr a clip.\n(07:11)\nKatherine McLeod, archival audio from ShortCuts 4.5\nA clip. Exactly. It would just a, just little-\n(07:13)\nAnnie Murray, archival audio from ShortCuts 4.5\nMaybe the most dramatic part.\n(07:15)\n[Music builds to the chorus of “Everytime I See Your Picture I Cry”]\nSinger sings: \n\nEvery time I see your picture I cry \n\nAnd I learn to get over you\n\nOne more time because…\n(7:33)\nKatherine McLeod, archival audio from ShortCuts 4.5\nExactly. [Katherine laughs]. So, um, I think that’s, you know, a perfect note to, to end on. And I, I want to thank Annie Murray for joining me here on\nShortCuts\nLive in 4th SPACE at Concordia University. Thank you so much, Annie.\n(07:46)\nKatherine McLeod \n[ShortCuts\nmusic begins to play] You’ve been listening to\nShortCuts\n.\nShortCuts\nis released monthly as part of the\nSpokenWeb\npodcast. Feed. The\nSpokenWeb\nPodcast team is made up of supervising producer Maia Harris, sound designer, James Healy, transcriber Zoe Mix and co-host Hannah McGregor and me, Katherine McLeod. \nFind out more about the sounds that you heard on this month’s episode by checking the show notes or heading to spokenweb.ca and click on podcast. This episode of\nShortCuts\nwas produced by me, Katherine McLeod. Thanks for listening. 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A Magical Audio Tour with Jennifer Waits, 20 November 2023, McLeod"],"item_title_source":["SpokenWeb Podcast web page."],"item_title_note":["https://spokenweb.ca/podcast/episodes/shortcuts-live-a-magical-audio-tour-with-jennifer-waits/"],"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":[2023],"material_description":["[]"],"digital_description":["[{\"file_url\":\"https://cdn.simplecast.com/audio/28a9da1f-8cca-410c-b5d7-8165a73f9394/episodes/569ffe3e-7643-47e3-8dca-6e676f7bd9a3/audio/5ced2478-171e-40d6-b2b0-e59df3b49fba/default_tc.mp3?nocache\",\"file_path\":\"\",\"filename\":\"shortcuts-5-2-master.mp3\",\"channel_field\":\"\",\"sample_rate\":\"44.1 kHz\",\"duration\":\"00:18:20\",\"precision\":\"\",\"size\":\"17,602,395 bytes\",\"bitrate\":\"\",\"encoding\":\"\",\"contents\":\"\",\"notes\":\"MP3 audio\",\"title\":\"shortcuts-5-2-master\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Sound Recording\",\"featured\":\"\",\"public_access_url\":\"https://spokenweb.ca/podcast/episodes/shortcuts-live-a-magical-audio-tour-with-jennifer-waits/\"}]"],"Dates":["[{\"date\":\"2023-11-20\",\"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":["[{\"url\":\"\",\"citation\":\"ARCHIVAL AUDIO\\n\\nArchival audio excerpted from this episode of Radio Survivor:\\n\\nhttps://www.radiosurvivor.com/2015/11/podcast-22-were-all-moving-to-the-fm-dial-now/\\n\\nBlog post with photographs from Jennifer Waits’s tour of Radio K:\\n\\nhttps://www.radiosurvivor.com/2015/10/my-grand-tour-of-college-radio-station-radio-k/\\n\\nA past Radio Survivor episode featuring SpokenWeb:\\n\\nhttps://www.radiosurvivor.com/2021/02/podcast-284-spokenweb-and-literary-sound/\\n\\n\"}]"],"_version_":1853670549820014592,"timestamp":"2026-01-07T14:59:54.290Z","contents":["This ShortCuts presents the first of many conversations recorded at the University of Alberta as part of the 2023 SpokenWeb Symposium. Recorded on site by SpokenWeb’s Kate Moffatt and Miranda Eastwood, the conversations often took place in spaces where the sonic environment of the symposium is audibly present. As always on ShortCuts, we begin with an audio clip from the archives, but this time the interviewees are the ones bringing an archival sound to the table. What will we hear? And where will these sounds take us? Join us for this ShortCuts Live in which a conversation with Jennifer Waits that takes us on a magical audio tour into the sounds of campus radio stations.\n\n(0:00)\tShortCuts Theme Music\t[Soft piano music interspersed with electronic sound begins]\n(0:04)\tKatherine McLeod\tWelcome to ShortCuts. This month we’re back with another ShortCuts Live! Talking with researchers in person and starting those conversations with a short ‘cut’ of audio. Many of these conversations were recorded on site at the 2023 SpokenWeb Symposium held at the University of Alberta. So, what will we hear and who will we talk with? Stay tuned for this season – and, to start us off, this episode is a conversation with Jennifer Waits. Yes, that is the Jennifer Waits of Radio Survivor, the podcast that explores the future of community radio and college radio, low-power FM and public access TV, along with podcasting and internet radio – and she often explores that future by diving into the past, and in fact the clip that Jennifer plays for us is from one of her tours of a college radio station.\nLet’s listen in as SpokenWeb Podcast’s Kate Moffatt and Miranda Eastwood talk with Jennifer in a recording booth at the University of Alberta. Here is Shortcuts Live. [Theme music fades]\n(1:19)\tKate Moffat\tPerfect. And it’s recording. Okay. I’m just gonna move this a little closer so I’m not ….Alright, so, hello and welcome to Shortcuts Live, recorded at the 2023 SpokenWeb Symposium at the University of Alberta. I am sitting here, my name is Kate Moffatt and I am the supervising producer for the SpokenWeb Podcast, stepping in for our usual intrepid host, Katherine McLeod, and I’m sitting here with Jennifer Waits, who we are so excited to talk to today. Jennifer, would you mind just introducing yourself for us?\n(1:50)\tJennifer Waits\tYeah, thanks so much for having me. I am Jennifer Waits and I’m one of the co-founders of Radio Survivor, which is a website and podcast and syndicated radio show about the culture of radio, audio, sound. Um, so I’ve written pieces there as well as these audio productions. And, um, I’m also a long time college radio DJ, write about radio culture and other spaces besides radio survivor and obsessively tour radio stations. [Kate laughs]\n(2:23)\tKate Moffat\tThat’s fantastic. We’re so excited to chat today, so we’re gonna listen to something together and I don’t know, would you like to say something about it before we start?\n(2:34)\tJennifer Waits\tYeah. So, I decided to bring– it’s an excerpt of the Radio Survivor show. I think at this point it was just a podcast and not a syndicated radio show. It’s from October, 2015. And in part of this episode I shared one of my radio station tours where I had recorded some audio. So, um, I just thought that would be fun to share.\nAt this point I have written up tours to just over 170 radio stations. So, I mean, really an obsession. I started in 2008 and I don’t always make audio, but when we started doing the Radio Survivor podcast, I started recording some audio and occasionally use that on the show.\n[Sound effect of old tape player starting]\nWe’re gonna hear an excerpt from my tour of Radio K at University of Minnesota, KUOM. And this was recorded in October, 2015.\n[Sound effect of tape player stopping and starting]\n(3:40)\tArchival audio of Jennifer Waits from Radio Survivor\t[fade in]…tour guide. He’s a junior named Paul Benson, and he had all the time in the world on a Friday afternoon to show me around the station. So, for me, that’s like my dream tour because I could stay at a radio station for hours on end and he didn’t have anywhere to go and he enjoyed exploring things at the station he’d never seen before with me. So it was an incredible tour, super fun. I saw every nook and cranny.\nI saw places that aren’t normally on tours when they tour people around. The station itself occupies pretty much a whole floor of this building on campus called the Rerig Center. And I was kind of blown away by how massive their space is. They’ve got lots of different studios. All the different spaces seem to be behind these closed doors, so you don’t really know what there is until you open the door. And then there’s something magical behind it. Either it’s a studio or a production room. They’ve got a large live studio where they have live bands play.\nIt’s pretty much like a professional recording studio. And it even had an area sectioned off to put drums, which I’ve never seen before at a radio station where, you know, they’re even thinking about putting drums in a separate space so you don’t have sounds spilling over. [Soft piano music fades in] Um, and that room also had a disco ball that was cool. And a piano too. [Piano music fades out] And then one of my favorites, they had all these hidden closets that were full of music. So.\n(5:20)\tArchival audio of Jennifer Waits from Radio Survivor\tSo what exactly is this room that we’re in?\n(5:23)\tArchival audio of Paul Benson from Radio Survivor \tThis is just –\nIt looks like just a dilapidated vinyl. Edgar Winter. I’m finding all of the vinyl of songs that we’re playing for our Halloween show and marching band.\n(5:37)\tArchival audio of Jennifer Waits from Radio Survivor \tSo do you come in here and, you know, poke around?\n(5:40)\tArchival audio of Paul Benson from Radio Survivor \tThis is one of the first times I’ve actually been in here just because I don’t, I can’t steal any of them or upload them to my computer. So I just like, I guess I just haven’t explored all the weird vinyl that we have.\n(5:55)\tArchival audio of Jennifer Waits from Radio Survivor\tAre you guys able to play 78’s? Do you have a 78 needle?\n(5:59)\tArchival audio of Paul Benson from Radio Survivor\tOh God. You know, I don’t, I don’t know.\n(6:03)\tArchival audio of Jennifer Waits from Radio Survivor\tBecause look, this is probably a 78, super fragile.\n(6:06)\tArchival audio of Paul Benson from Radio Survivor\tHow do we know? It’s just sound effects. Oh my God. This is airplanes, continuous airplanes.\n(6:15)\tArchival audio of Jennifer Waits from Radio Survivor\tThis is 13 army planes in formation.\n(6:19)\tArchival audio of Paul Benson from Radio Survivor \tThis is, we’re out of formation. It sounds different.\n(6:22)\tArchival audio of Jennifer Waits from Radio Survivor\tAnd then, in that same closet there were a bunch of 1970s, like very mainstream K Tel records. So these collections of mainstream hits from the seventies and a Jimmy Swaggart record and then like some really cool punk seven inches, like all in the same closet.\n[Sound effect of tape stopping]\n(6:40)\tKate Moffatt\tThank you so much. That was a very joyful thing to listen to, somehow. [Kate laughs] I feel like I was trying really hard not to laugh throughout it. That was, that was so great. Please. Yeah. What were we just listening to?\n(6:53)\tJennifer Waits\tIt is for me too. So, we’re touring Radio K at the University of Minnesota. And this student, Paul Benson, you know, like I mentioned at the beginning, I was in the station with him for about three hours on I think a Friday night, and you know, often I’m staying like longer than people want me [Kate and Jennifer laugh].\nBut he was so down, and I have such fond memories of this and I’m so glad I have this audio record of it because, yeah, every time… I was excited to play it again because it brings back that joyful feeling that I had and is also just, you know, it’s sort of an artistic representation of what these tours are like for me.\nLike the tours serve a lot of different purposes.  You know, I’m trying to document college radio culture. I feel like I’m preserving these stories and what stations are like at a particular point in time. And now this is essentially history, you know, ’cause this was 2015 and my mind is traveling to places. Like I wonder if —like, there were some really old—the records we were talking about, the sound effect records of planes in formation. There were a ton of ’em. And, and these were in these sort of, if I remember correctly, they were in green envelopes, you know, kind of like they were military. And, and so I, at the time I wondered where these came from and, you know, now I wonder if they’re still there. And Radio K has a very, or radio at University of Minnesota has a very long history going back to the twenties.\nSo, you know, they could have records that have just been in that library for a very long time. So I was pretty excited. I think it was the same tour where we also saw some vapor wave cassettes. So it was all over the map. And that was my tour guide playing the piano in that live room that we heard.\n(8:52)\tKate Moffatt\tOh wow. I thought it was cool that there was almost this parallel between the way that you guys were interacting with the boxes and the way that you described the shape of the radio station itself, where you were like, there’s all these doors sub in boxes. You’re like, every time you open it, you don’t know what’s gonna be in there, sub in boxes. Right? Like, you know, and then you open it and there’s something magical. Like it was cool that I, that there was like an echo there almost of the two.\n(9:19)\tJennifer Waits\tYeah. And there were even cages in one part. It was for what sort of a storage room. So there were some of these metal cages that had things behind it and there was a Radio K costume, and he put it on. Yeah, and he put it on for me it was almost like it had matching gloves. It was sort of a stuffed [Jennifer laughs] like a, not a stuffy, but, yeah, I mean it’s a trip and in the room with the cages that there was some really historic material in that room too.\nI mean it’s, yeah, it’s like a fever dream actually this whole tour. And it’s in this sort of brutalist building and it’s unbelievable. I can’t believe how much space they have in the first place. And then the fact that they have all this interesting material there and that he was excited, you know, to go on this journey was, was pretty amazing.\n(10:17)\tKate Moffatt\tTo get to spend that much time in there and, and looking at it. I kind of have two questions here. And one is like, I’d love for you to tell us more about like if this audio kind of also, I don’t know, relates to or informs your research that you do kind of more generally. And also maybe in a connected sort of way, the role of listening in your research as well.\n(10:38)\tJennifer Waits\tYeah. So I just started visiting stations again after, you know, the pandemic. So, you know, starting in fall 2022, I started visiting again, and I felt so rusty I’d kind of forgotten about all the things I’m trying to capture. And, and on this recording you can hear my camera snapping so-\n(10:58)\tKate Moffatt\tWhich I loved, by the way.\n(10:59)\tJennifer Waits\tYeah! So, it’s, you know, I take a ton of photos and then occasionally I’m recording audio. Sometimes I sit down and record a more formal interview. But sometimes like this time, you know, the microphone is kind of in the middle somewhere so you can hear me sort of in the distance at times because we’re not mic’d like we’re doing a, you know, professional recording. [Kate laughs]\nAnd so it’s a struggle for me because I’m trying to listen to and capture so much I’m trying to capture, you know, all the things I’m seeing visually. And then as you can tell from this, there was so much in the ambient, you know, environment of this place that was interesting. Like the spontaneous piano playing on the tour. And, I don’t think I captured this with audio, but at one point some other, I was at a college radio conference and there was an official tour of Radio K and at one point that official tour came into the record library where we were.\nAnd so it’s like we intersected for a moment. [Kate laughs] But I was on my own private, you know – magical tour. So, yeah, it’s a challenge actually for me to capture everything and, um, and I’m trying to figure out if there’s a better structure. So I think on these tours that I’ve been taking just in this past academic year, I’m trying to set aside like a space where, alright, why don’t we do an interview first where we’re seated and I’m not stressing about taking photos, and then, and then walk around a little bit.\n(12:37)\tKate Moffatt\tI’m so interested too. And you being like, kind of hyper aware of what you’re missing, even as you’re trying to capture it all. Like it’s, it’s really the impossibility of capturing everything, right? It’s kind of part of why the archives are still sitting there the way that they are. Right? That’s just the wealth of material.\n(12:55)\tJennifer Waits\tI’m missing so much. And then I’m, you know, I fear that when I get home and I’m sitting down to write my story that I haven’t taken the photo that I want to illustrate it, and I use a lot of photos, but, you know, sometimes I come back, I’m like, oh, I wish I’d taken this particular photo.\nOr more of this ’cause this one isn’t quite right. And I try to take photos of the people that I’m interviewing too. You know, ’cause a lot of, a lot of what college radio is about is the community and the people. And you know, I’ve started enjoying doing these portraits of people in the studio – like maybe grab your favorite record or a weird record or, you know, where do you wanna stand? And so I try to also compose some of these photos to capture the personalities.\n(13:47)\tKate Moffatt\tIt’s so, I feel like everything you’re saying is really making me think about the different ways, both literally and metaphorically that we listen to the archive.\nI think as like, a final question, but like, sort of like to kind of turn us in a bit of a, we’re obviously this is live, we’re at the conference and we just actually listened to the last, the last plenary panel of the symposium. I’d love to know what you’re listening to now. Either, you know, either in your research or just kind of like more generally, would love to hear, you know, what, what have you, what you’ve been listening to.\n(14:20)\tJennifer Waits\tOh, I mean, it’s interesting. My teenage my teenage child, you know, listens to music all the time and talks about how, you know, he doesn’t notice me listening to music, you know, and I think increasingly I’m listening to the world around me rather than musical sounds. Although I do college radio, so for me, like that’s the time when I’m actively doing my music listening is during my radio show every week. And it’s incredibly healing. [Jennifer laughs]\nYou know, I love that immersion. And so for me it’s that college radio space is when I’m immersing in those sounds. And, I’ve been doing college radio for a really long time and what I listen to changes from year to year and, you know, I’ve gotten increasingly into more experimental sounds. I guess, you know, also things like sound art and transmission arts. So, you know, there’ve been talks at the conference and also installations at the conference that touch on this, like the intersection between, you know, things that are intermedia that involve visual components as well as audio components. So, you know, things that are, maybe challenging and harder to understand that things like that are kind of capturing my ears  more so than maybe the familiar [Jennifer laughs] The familiar music that we hear.\n(15:54)\tKate Moffatt\tYeah, wonderful. Oh, that’s fantastic. I think this has been such a neat way to think about —I agree, I’ve been listening to this experimental stuff that we’ve been listening to this week has just been so interesting, especially in that I feel like I’m kind of physically, I keep describing it as bathing. I feel like I’m bathing in the sound and it’s because it feels very embodied somehow, which is just making me think back to that clip you played and how embodied that that sounded and the fact that I could, I could hear you moving through the space. I could hear him moving through the space. I could hear you opening boxes, taking pictures.\n(16:20)\tJennifer Waits\tYeah. I mean, it’s all about the space. And I think that’s what was challenging for a lot of people during the pandemic, you know, who work in college radio or community radio, that we weren’t in our spaces and a lot of us were, you know, trying to figure out how to do radio from home. And, I think this academic year, people are trying to get back to that sense of community and being back in our spaces and connecting on that level too, because that’s where a lot of the creativity happens is going through the stacks and, you know, finding the records that you don’t know about or –– or finding unexpected things, rather than, I mean, this is the thing about looking for music online. You kind of find what you’re looking for rather than being surprised a lot of the time.\n(17:09)\tKate Moffatt\tLike browsing the stacks in the library versus buying an ebook.\n(17:12)\tJennifer Waits\tExactly. Yeah.\nKate Moffatt\tI think that’s a beautiful place to stop if you’re, if you’re happy to, if you’re happy to stop there. Thank you so much, Jennifer, for joining us.\n[ShortCuts Theme music fades in]\nThis has been so much fun. That just, I’m still thinking about that camera click and the piano music that was played in there. It’s just, that was just fantastic. Thank you so much for bringing that along.\n(17:32)\tJennifer Waits\tOh, thank you. I’m glad that you enjoyed it.\n(17:38)\tKatherine McLeod\tYou’ve been listening to ShortCuts. That was a ShortCuts Live conversation with Jennifer Waits recorded in May 2023 at the SpokenWeb Symposium at the University of Alberta. Thanks to Kate Moffatt and Miranda Eastwood for making that interview happen. And thanks to our current supervising producer Maia Harris for the help in re-listening to that interview together. The SpokenWeb Podcast’s sound designer is James Healey and transcription is done by Zoe Mix. My name is Katherine McLeod and, as always, thanks for listening.\n[Theme music ends]\n \n"],"score":3.7048998}]