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BECAUSE THEY TAKE PLACE OVER TIME, CONTAINING MORE TEXT AND MUSIC than is convenient to reproduce in passing, we refer to songs synecdochally: formally by title or first line, informally (or forgetfully) by a melodic phrase or part of a refrain. First documented by the antiquarian John Thomas Smith in an 1815 print and his 1817 study of London street figures Vagabondiana, Johnson was repeatedly referenced in accounts of street life and ballad culture throughout the nineteenth century.1 Like many of London's poorest performers, he was more often exoticized than understood by contemporary writers: used as a cipher, or reduced to the dimension most of interest to the writer. [...]novelty, the grand secret of all exhibitions, from the Magic Lantern to the Panorama, induced Black Joe to build a model of the ship Nelson; to which, when placed on his cap, he can, by a bow of thanks, or a supplicating inclination to a drawing-room window, give the appearance of sea-motion. Johnson is as frequently to be seen in the rural village as in great cities; and when he takes a journey, the kind-hearted waggoner will often enable him in a few hours to visit the marketplaces of Staines, Rumford [sic], or St. Albans, where he never Bils to gain the farmer's penny.8 Smith's biographical sketch necessarily exceptionalizes its subject, marking him out from the masses as a person worthy of special consideration.

A poem is presented.

A poem is presented.

A poem is presented.

Political arguments, soapboxing, event plugs, explicit video clips, anguished disclosure, outpourings of sympathy, swarms, violence, news, immediate commentary on world events, petitions, denouncements, brutal bullying, theft of ideas, jockeying for perspective, analysis building out of analysis, and yet more ambition, more performance, more repetition. Here we might note how our turn to remix as a metaphor for our practice is influenced by Brathwaite's own work, which is marked by its exploration of the possibilities of sound (jazz, calypso, reggae, Kumina, the drum, dub) and histories of the voice.1 The remix is the time/space/sound of slowed-down or sped-up beats, or the practice of sampling and mixing to create a new sound from previously existing vocal or sonic text. In this instance, it offers us a key term for reflecting on our own relationship to Brathwaite and his work, as well as for engaging with how that relationship is played out in the digital time-space relation that Kelly Baker Josephs and Roopika Risam have termed \"the digital Black Atlantic\"-a concept that allows us to think about \"the complex relations within and among . . . geographic positionalities, as well as to emphasize the necessary interdisciplinarity of this work\" (9). kamau brathwaite remix engine (b. October 2018) The kamau brathwaite remix engine (@KamauRemix) has been on Twitter since October 2018 when it was started by Kaie Kellough. Because of this, the Caribbean traditions that inform some of Canada's leading Black writers and artists have in several cases gone unappreciat- ed.

The scholars in new faculty posts are Kwame Dawes at the University of Nebraska-Lincoln, Nadia Brown at Georgetown University in Washington, D.C., Christopher Wayne Robinson at the Pennsylvania State University Allegheny Campus in McKeesport, and Roderick A. Ferguson at Yale Universsity.

A poem is presented.