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Minerva Martins

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“The Suyá reaction to my recording was one of the clearest statements I obtained about the importance of the different parts to the total sound. The melody line - the clearly organized tone and rythm being performed by the older men - was only part of the desired effect, which also included the apparently irreverent calls, shouts, and giggles.”
― anthony seeger

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“Verbal virtuosities or the gratuitous expense of time or money that is presupposed by material or symbolic appropriation of works of art, or even, at the second power, the self-imposed constraints and restrictions which make up the "asceticism of the privileged" (as Marx said of Seneca) and the refusal of the facile which is the basis of all "pure" aesthetics, are so many repetition of that variant of the master-slave dialectic through which the possessors affirm their possession of their possessions. In so doing, they distance themselves still further from the dispossessed, who, not content with being slaves to necessity in all its forms, are suspected of being possessed by the desire for possession, and so potentially possessed by the possessions they do not, or do not yet, possess.”
― Pierre Bourdieu, Distinction

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“You know, the sound of a 45 rpm record being played at 33 rpm. But as soon as I remembered that this is a CD and not vinyl, I could only marvel at the fact that these guys are so gol-darned HEAVY [author’s emphasis].”25 In an interview with the now-defunct influential extreme hardcore band Lärm, a band member recalls an incident in which the band’s definition of music collided with a sound engineer’s more mainstream ditto: “The sound check of our first concert ever was funny, the PA guy kept asking us when we were actually going to play a song…we already played three, we said.He shut down the PA and left…”
― Christopher J. Washburne, Bad Music: The Music We Love to Hate

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“When pressed, the Suyá would say that the only ones who still knew what they meant were the beings that taught the songs to the Suyá in the first place. One can go no further, for it is hard for an anthropologist to get translations directly from jaguars, birds, bees, and extinct enemies.”
― Anthony Seeger, Why Suyá Sing: A Musical Anthropology of an Amazonian People

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“Nevertheless, for the most part the intangible dangers of being observed by unintended audiences are considered secondary to the convenience of instantaneous access to this “virtual campfire” from the comfort of the home. While online social networking sites are often disparaged as poor replacements for human interaction that encourage superficial relationships, my ethnographic analysis reveals how some people, American youth in particular, are incorporating this medium into their everyday practices in more or less meaningful ways. Through elucidating both the dangers and possibilities of this medium, I seek to encourage people to create their own “virtual campfires” as a supplement to, rather than a replacement of, their offline lives. Through participation and sharing in meaningful ways- from conversation to creating art- we might begin to see these sites as vehicles for healing the widely-felt loss of community and the pervasive sense of alienation experienced by so many.”
― Jennifer Anne Ryan, The Virtual Campfire: An Ethnography of Online Social Networking

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