1 Delany, quoted in Dery, ‘‘Black to the Future,’’ 192. The editors of a
recent collection, and one of the first anthologies concerned with the
intersectionality of race and technology, phrase this conundrum as fol-
lows: ‘‘Technicolor presents a full spectrum of stories about how people
of color produce, transform, appropriate, and consume technologies in
their everyday lives. In order to locate these stories, we found it neces-
sary to use a broader understanding of technology, and to include not
only those thought to create revolutions (e.g., information technolo-
gies), but also those with which people come in contact in their daily
lives. For when we limit discussions about technology simply to com-
puter hardware and software, we see only a ‘digital divide’ that leaves
people of color behind’’ (Nelson, Tu, and Hines, ‘‘Introduction: Hidden
Circuits,’’ 5).
2 For a different version of this question, one that engages questions of
(post)humanity more explicitly than I do here, see my essay ‘‘Feenin,’’
which forms the basis of a forthcoming project about technologies of
3 For a general history of African American music, see Southern, The
Musicof BlackAmericans and Readings.The best writings on the history
of the American music industryare Russell Sanjek’s FromPrinttoPlastic
and American Popular Music. For a consideration of the commodifica-
tion of black popular music by largely white-owned corporations, see
Cashmore, The Black Culture Industry.
4 For the sake of economy, I will hereafter refer to sound recording and re-
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