In the 1930s, musical Ferdinand “Jelly Roll” Morton identified the influence of Latin American rhythms like the habanera in jazz, as a sonic “tinge” that fundamentally shaped his style as a stride pianist. In the Seventies, disco presented its own Latin tinge. The Latin American and Latino influence on 1970s New York disco extended far beyond the familiar narratives of the Paradise Garage and Studio 54, creating vibrant spaces that celebrated cultural fusion and community. Clubs like the Ipanema Discotheque, Copacabana, and Roseland Ballroom became crucial venues where Latin rhythms, Brazilian beats, and Caribbean sounds mixed with emerging disco to create something entirely new. These spaces, often overlooked in mainstream disco histories, were essential to the genre's evolution—places where the infectious energy of Latin music met the innovative production techniques of American dance music. The DJs who commanded these dance floors brought not just technical skill but cultural knowledge, understanding how to weave together the musical traditions of their homelands with the cutting-edge sounds emerging from New York's studios and clubs.

In the fourth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares welcome DJs Ronnie Soares and Luis Mario Orellana Rizzo to explore the Latin American contributions to New York's disco revolution. Soares, born in Brazil and arriving in New York as a teenager, became a DJ by accident in 1974 when asked to spin a Brazilian night at the French club Directoire. Though initially a dancer, he quickly became resident DJ at the famed Ipanema Discotheque and went on to create "Midnight Disco" at Roseland Ballroom—the first club in the city to hold 5,000 people. Rizzo began his career at the very inception of club culture in 1969-70, learning from DJ Francis Grasso before working at legendary venues including Cork & Bottle and Copacabana. As the first DJ to tour nationally and internationally, Rizzo helped spread dance music globally while founding Legends of Vinyl, an archival project celebrating the art of DJing.

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The soundscape of prison life is that of constant clangs, bangs and jangles. What is the significance of this cacophonous din to those who live and work with it? Sound, Order and Survival in Prison: The Rhythms and Routines of HMP Midtown (Bristol UP, 2024) tells the story of a year spent with a UK prison community, bringing its social world vividly to life for the first time through aural ethnography.

Dr. Kate Herrity’s sensory criminology challenges current thinking on how power is experienced by the imprisoned and the lasting effects of incarceration for all who spend time in these environments.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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In the third episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares take you on an immersive journey through the hot nights and wild streets of Lower Manhattan during the Seventies. For this episode, Jesse Rifkin, a New York-based music historian and the owner and sole operator of Walk on the Wild Side Tours NYC, designed a specialized tour for Soundscapes NYC that explores key venues in the history of disco. Clubs like Paradise Garage, Nicky Siano’s Gallery, and repurposed residential spaces like David Mancuso’s Loft were all critical incubators of the sound and culture we call disco today. This is dense cultural geography, hardly more than one square mile, within and around a neighborhood known today as “Soho”. But in the Seventies it was sometimes known as “Hell’s Hundred Acres” do to the propensity of building collapses and fires among the old hotels and loft builds that constellated the area.

Soundscapes NYC welcomes back Jesse Rifkin, who appeared on Season One on the queer history of punk culture (S1.E4. Sounds of the City Collapsing). Rifkin is the author of This Must Be the Place: Music, Community, and Vanished Spaces in New York City (Hanover Square Press, 2023), and his work has been celebrated in the New York Times, Conde Nast Traveller, among others. His Substack (Walk on the Wild Side NYC) is a trove of incisive music criticism and revealing interviews with dynamic artists from the Seventies to today.

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Bruce Springsteen was keenly aware and excited by the sounds of the CBGBs scene during the Seventies. With his own bands, the Boss performed in the same venues associated with punk rock and ultimately wrote songs for Patti Smith and the Ramones. Yet Springsteen’s sound has remained distinct from punk rock as it emanated from New York. In the seventh episode of Soundscapes NYC, host Ryan Purcell talks with Bruce Springsteen biographer Jim Cullen and Melissa Ziobro the head curator of the Bruce Springsteen Archives and Center for American Music at Monmouth University about Springsteen’s complicated relationship with punk rock in 1970s New York. As an NJ native, the Boss was a so-called “Bridge-and-Tunnel-Boy” but that socio-cultural infrastructure worked both ways. By the end of the Seventies, Springsteen did not need to travel to New York to engage with the punk sound. Punk culture was traveling to Asbury Park, NJ. 

Jim Cullen is a historian of American popular culture and has taught at several colleges and universities, including Harvard, Brown, and Sarah Lawrence College. He was a longtime faculty member and History Department chair at the Ethical Culture Fieldston School in New York before moving to the recently founded Greenwich Country Day School in 2020. Cullen is the author of multiple award-winning book books on music including Born in the USA: Bruce Springsteen and the American Tradition (Harper Collins, 1997). His latest book, Bridge and Tunnel Boys: Bruce Springsteen, Billy Joel, and Metropolitan Sound of the American Century (Rutgers University, 2023), compares the musical careers of Billy Joel and Bruce Springsteen. 

Melissa Ziobro is a Professor of Public History at Monmouth University where she is currently the Head Curator for the Bruce Springsteen Archives and Center for American Music. Former editor of New Jersey Studies: An Interdisciplinary Journal, Ziobro is deeply committed to documenting New Jersey history with the broader context of the American story. She curated a traveling exhibition called Music America: Iconic Objects from America’s Music History which is now on display at the Grammy Museum in Mississippi and is expected to return to Monmouth University for the opening of the Bruce Springsteen Archives and Center for American Music in Spring 2026. 

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In the fourth episode of Soundscapes NYC, host Ryan Purcell and music historian Jesse Rifkin tour a constellation of seedy bars and venues in the 1970s that nurtured bands during the early days of punk rock. These spaces include well-known clubs like CBGBs and Max’s Kansas City and lesser-known haunts like the Mercer Arts Center and Mother’s that shed light on hidden meanings behind punk rock. These stories illuminate echoes of the trans liberation struggle, and how punk rock embodied the sounds of the city collapsing in a literal sense.  

Jesse Rifkin is the owner and operator of Walk on the Wild Side Tours NYC, a music history walking tour company in New York City, and consults as a pop music historian for the Association for Cultural Equity. His work has been featured in the New York Times, Conde Nast Traveller, and Vice among other venues. Before his work as a historian, he spent twelve years touring the country as a working musician, playing at CBGB, Lincoln Center, and venues of every size and shape in between. In 2023, Rifkin published his debut book, This Must be the Place: Music, Community and Vanished Spaces in New York City (Harper Collins, 2023). 

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Simon Stjernholm's new book Sensing Islam: Engaging and Contesting the Senses in Muslim Religiosity (Bloomsbury Press, 2025) considers specific case studies of embodiment and oratory productions by Muslims in Denmark, Sweden, and Cyprus. In the chapter on approaching God, we learn how rituals such as du‘a (intercessory prayers) or dhikr (remembrance of God) informs sensorial experiences of the divine, particularly intimate ones, while the discussion on meditating on Muhammad considers the bodily aspects of Prophet Muhammad, such as his saliva, urine, and sweat that influence mawlid literatures and ritual performance of them within Sufi communities like the Naqshbandi-Haqqanis. Though rituals emerging from embodied understandings of holy figures are not without some tension, as we learn throughout the book but especially during the discussion on graves. Here the interred bodies of Sufi saints are caught up in debates around the permissibility of shrine visitation, a topic that comes up amongst lectures given by Swedish Muslim leaders. Overall, then, through analysis of Danish and Swedish podcast materials, ritual practices, such as devotion to the Prophet Muhammad and Sufi saints, we understand more about the sonic and pious dimensions of Islam and the Muslim authorial voices and listening that shapes them. This book will be of interest to those who work on sound studies, material culture, Sufism and Islam in Europe.

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Sound Pedagogy: Radical Care in Music (University of Illinois Press, 2024) is a collected edition about Pedagogies of Care edited by Colleen Renihan, John Spilker-Beed, and Trudi Wright are experienced music history educators working in the United States and Canada. They have curated a collection of essays that explore what it means to prioritize care when teaching, interacting with students, developing course syllabi, and curricula. Far more than simply treating students with dignity and compassion, pedagogies of care can infiltrate every aspect of teaching and higher education by centering the interests of students, instructors, and the larger communities to which they belong. As the essays in Sound Pedagogy show, the structural aspects of music study in higher education present obstacles to caring and kindness. The contributors draw from personal experience to address issues including radical kindness through universal design; public musicology as a forum for social justice discourse; and radical approaches to teaching about race through music. The premise of the book is that care-based approaches to pedagogy can facilitate the systemic transformation that remains both possible and necessary for musicology, other disciplines, and institutions of higher education.

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Everyone speaks with an accent, but what is an accent? Thinking with an Accent: Toward a New Object, Method, and Practice (UC Press, 2023) introduces accent as a powerfully coded yet underexplored mode of perception that includes looking, listening, acting, reading, and thinking. This volume convenes scholars of media, literature, education, law, language, and sound to theorize accent as an object of inquiry, an interdisciplinary method, and an embodied practice. Accent does more than just denote identity: from algorithmic bias and corporate pedagogy to migratory poetics and the politics of comparison, accent mediates global economies of discrimination and desire. Accents happen between bodies and media. They negotiate power and invite attunement. These essays invite the reader to think with an accent—to practice a dialogical and multimodal inquiry that can yield transformative modalities of knowledge, action, and care.

Thinking with an Accent won the American Comparative Literature Association’s 2024 Rene Wellek Prize for Best Edited Collection.

Editors: Pooja Rangan, Ragini Tharoor Srinivasan, Akshya Saxena, and Pavitra Sundar

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Feminist sound scholar and musician Marie Thompson is a theorist of noise. She has also been one of the key thinkers in integrating the study of sound with the study of affect. Dr. Thompson is Senior Lecturer in Popular Music at the Open University in the UK. She is the author of Beyond Unwanted Sound: Noise, Affect, and Aesthetic Moralism (Bloomsbury, 2017) and the co-editor of Sound, Music, Affect: Theorizing Sonic Experience (Bloomsbury, 2013). She has developed Open University courses on topics such as Dolly Parton and Dub sound systems.

Staring around the early 2000s, a number of scholars began to feel there was a tool missing in the toolbox of cultural scholarship. We had plenty of ways to talk about ideology and representation and rhetoric and identity, but what about sensation? How is it that a feeling like joy or panic can sweep through a room without a word being uttered? By what mechanism does a life develop a kind of texture of feeling over time? Affect studies is field interested in these questions, interested in how the world affects us. Words can produce affective states, but affect isn’t reducible to words. So, it’s easy to see why affect theory has been so attractive to sound and music scholars. 

Noise is a notorious concept that means different things different people. In this conversation, Marie Thompson examines noise through the affect theory of Gilles Deleuze and Baruch Spinoza as well as the systems theory of Michel Serres. We’ll also talk about her critique of acoustic ecology and a rather public debate she had with sound scholar Christoph Cox.

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Today we learn how computers learned to talk with Benjamin Lindquist, a postdoctoral researcher at Northwestern University’s Science in Human Culture program. Ben is the author “The Art of Text to Speech,” which recently appeared in Critical Inquiry, and he’s currently writing a history of text-to-speech computing. 

In this conversation, we explore: 

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