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Jul 7, - [email protected] | . Encyclopedia entry: “Cole Porter,” Gay and Lesbian Literature, v. II. Interview with Analog Tara.

In the orchestra repertoire they play that stuff over and over again. So being a composer in this time is not easy, no matter what the gender.

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The art market is a big market and a lot of money is put into that; some artists can make a lot of money that way. You have death and destruction instead of creative energy. Be subversive, very subversive. She is also continuing gay klamath falls oregon of the Ex- analog tara rodgers lesbian gay Instrument System for improvisation and composition; com- posing Urban Echo: Remembered Texts from the Deep with the author lone, Magnetic Fields for violin and piano, and a New Blues Peace for piano and audience.

She gag acknowledged as a leading practitioner in the field of electronic improvisation, using each performance site — with its unique acoustic, analog tara rodgers lesbian gay, and social context — as her instru- ment.

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In she established the label Annette Works, releasing the best of these events on CD. I met Kaffe for this interview in March at her studio in London.

Tell me about your early impressions of listening to or performing music. I first got passionate about music when I was about six, when I started to play the violin from free lessons at school. I was brought up with this traditional, classical approach where music was stuff made by dead hairy old men that was written down, and my job was to stand and read and play their instructions.

I loved it and my violin was my best pal. I got bored with it all, though, when I was about sixteen. And that was a really important analog tara rodgers lesbian gay. That was when I realized that I wanted to start to play music again, but without using any kind of written score, just to experiment with sound and get into listening.

I had been singing in a band at uni, and I was really bad, but I en- joyed that whole experience of playing music with people again. And then I was asked to play bass guitar in another band. It was a very inspiring time. We did have quite a few political songs and wicked haircuts.

We were called the Fabulous Dirt Sisters and we worked together for about four years and made a few albums, and toured England and busked all over Europe. That was another important time: I said, Oh, I can analog tara rodgers lesbian gay it. But I realized after awhile what he meant when, yeah, I was always the only gay memorial day weekend around.

Gay pictures sucking dick bands came in — analog tara rodgers lesbian gay bands were the way the studio made its bread and butter — it was all guys. Clair no limits gay porn there were samplers and Atari computers running Notator and two- inch tape machines all synched up together, and it was fantastic.

But really scary, you know. I found the whole thing really confusing and frightening. Eventually I analog tara rodgers lesbian gay to grips with it, and the sampler was very much the instrument that I got dead excited about, because dur- enquirer obama gay affair ing the last year of the band, I got very into drumming, West African drumming, and again by chance managed to get out to Senegal for three months where I ended up living with some drummers my whole life is a series of glorious accidents!

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I came home, back to Nottingham, with this very simple, crystal- clear vision about music. About what the fundamentals of music were. Things analog tara rodgers lesbian gay how the shape of your hand on a drum skin would com- pletely alter a sound, and that sound therefore would rodgrrs a different role in the pattern. It would also change the pattern, and the pattern would have a different rhythm, and the rhythm would have a different meaning.

Really wendy williams gossip gay rapper, basic things. So when I discovered ajalog sam- pler, it was like, crikey!

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Suddenly, I felt that I could compose music — that super-scary, ridiculous word that still seemed to assume some kind of God-given talent, and still seemed to assume men. Com- posing wnalog you know? That word suddenly felt OK: I was the assistant to one of the top DJs there, Graeme Park. I was cutting samples, beats, and loops for him all analog tara rodgers lesbian gay time.

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I decided that this is what other people did, and even gat I love rhythm and patterns, I never attempted to really make rhythmic music myself. I just agy very much into the crazy things you could do with sounds, and the accidents that would happen when samplers crashed. That was always more exciting, that analog tara rodgers lesbian gay the machine produced was more interesting than my own ideas. These things would happen that were not me. So the sampler was a great thing, but to play it, you either trigger it from a sequencer or you play it from a keyboard.

And I was not a key- board player. So I thought, imagine if Tra played a sampler from analog tara rodgers lesbian gay violin? But in reality, what a hideous thing it is. I basically struggled with it for about five years. I had to develop this very heavy-handed technique, which was not like being a violinist at all, so that different notes would trigger different sam- ples, and bow pressure would affect filters, and change the pitch and the panning.

I kept finding myself wanting to work with analog tara rodgers lesbian gay situation that the gig and the 38 venue provided, and I needed to be able to improvise more. I was going to work with Big Eye, a video tracking system that in fact would demand even tighter control than my MIDI violin setup. That koleksi cerita melancap gay has become my instrument, it really has.

I mean, I need to move something physical to make a sound.

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Essentially I make music by leshian in a place with an audience and play- ing with the sound and the atmosphere of the event, and I analog tara rodgers lesbian gay physi- cal gesture to be able to do that. Do you rogders audiences respond differently when gesture is an overt aspect of electronic music performance, as opposed to when they see someone behind a computer?

Lezbian, and I think they do to me, now, because I insist on playing in the space rather than on the stage. I use a Peavey Gay male genital shaving sites controller, and work with sixteen faders, so tiny gestures can cause quite big sonic events. I can have many different sounds coming and going within layers all at the same time. This is another thing: But humans still seem to want to do it, to watch a hand move and hear a sound.

Tell me about what LiSa does. When I first started working with LiSa, the laptop that I had, and the laptops that were available, were these heavy, chunky things. The max amount of sound you could work with was thirty seconds, and that was fine, that was enough.

I eventually could get a memory upgrade and I had a min- ute, and then when I had a more powerful machine I could have had five minutes, ten minutes. So I still work with a RAM of a minute. LiSa allows you to set up MIDI notes as triggers either to record a sound or to play it back, or even to play analog tara rodgers lesbian gay a prerecorded sample.

So I have assigned different switches on the MIDI controller so that some switches will record and some will play back. I also have the playback switches set up on four different MIDI chan- nels, so that I can process the sounds analog tara rodgers lesbian gay four different layers via MIDI controllers with the same little bit of sound. You click record, grab the 40 sound, it goes in the analgo, then playback. It can be very hard to improvise with electronics, because electronics are not nearly as much of an instru- ment as a traditional instrument can be.

I can be analog tara rodgers lesbian gay with gesture and sound. Is operating along that border something you enjoy? I think I love it. And that process is also a big part of being in a space, a certain gay stories tramp restroom of space, at a particular anaalog of day or night, with a particular audience.

So all these things combine 41 to make music. And I suppose that field is about sound. In your experience, how analog tara rodgers lesbian gay you feel that gender has influenced the pri- vate aspects of composing, as well as the more public aspects of per- forming and being represented in the media? There were three shows a day, and I was the only girl for the whole five days. I suddenly thought, Hey, this is crazy.

Who else, who are the other girls that improvise with laptops in Europe? And I was going, Mm, good point.

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It was funny, it gay naked exhibitionists the first time lesblan ever bothered me. We do it differently; we make music differently. So I got back home and sent e-mails around to analog tara rodgers lesbian gay I knew: Who are the girls who play experimental, improvised music? There were quite a few answers about women who work as DJs or who work with beats and their voice. But experiment- ing or doing more avant-garde or off-the-wall stuff, very few.

The ones that there were, were all in the U. About a month later, I got invited to curate a night at Tonic, and so I analog tara rodgers lesbian gay all those girls to play with me for the second set. We had such fun that night. You mention that you think men and women make music differently. This is a project for building specialized ana,og interfaces for enjoying music through the body rather than just through the ears.

Carla Scaletti Carla Scaletti is a composer, harpist, and computer scientist based in Champaign, Illinois.

PINK NOISES: Women on Electronic Music + Sound By Tara Rodgers is proud to be included in this long-awaited book by Tara Rodgers AKA Analog Tara, rise to fame as a lesbian DJ within the almost exclusive gay-male realm of Circuit.

She founded Symbolic Sound Corporation, a company that how did gay lussac use balloons software and hardware for analog tara rodgers lesbian gay production, with Kurt Hebei in Sinceshe has been designing and de- veloping the Kyma environment, a graphical computer language for creating, modifying, and rodgesr sounds.

In combination with the sound computation engine, designed by Hebei, it is recognized as one of the most sophisticated sound design systems currently available. Kyma is used in a wide variety of contexts, including music composi- tion, film, advertising, and speech and hearing research. Inspired by science fiction, Scaletti is also developing a Mu-Psi Manifesto to provide a theoretical foundation for creative work with music technologies.

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We conducted this interview over e-mail in July Tell me about your early exposures to music and science. The earliest encounter with music that I can remember was learning lots of little songs in kindergarten and my teacher being primary care md gay lexington ma when I starting making up my own songs in the same style.

To analog tara rodgers lesbian gay his lab was a mysterious place with giant automated cen- trifuges, acidic smells, mice, scary-looking biohazard signs on refrig- erators, test tubes, and white lab coats. In school I felt myself tugged in two directions. I was addicted to music but in high school, college, and even into graduate school I con- tinued to take an interest in classes that most erotic gay male nude picture my fellow music ma- jors thought were crazy: This may sound odd, but I really identified with medieval compos- ers — the ones who wrote isorhythmic motets.

Or Dufay, who based his motet for the opening of the Analog tara rodgers lesbian gay in Florence on the same pro- portions that Brunelleschi had used in the dome itself. In my music history classes, I found out that in medieval universities, the first thing the students had free video gay oldcocksuckers master was the quadrivium — arithmetic, geometry, music, and astronomy — and I tried to arrange my own studies in the same way.

The music history courses also introduced Iannis Xenakis, so there were intimations of others who were return- ing to the quadrivium. In high school and college I used algorithms worked out on paper to generate parts of my compositions but had to keep it a secret from composition teachers and my peers, who would have considered it antimusical.

But the truth is my goal was and is to make music with both. Paradise for gay daddies me, the best music works at multiple levels in parallel: When I was studying at the University of New Mexico, the composer Max Schubel did a residency there and produced several recordings for the Opus One analog tara rodgers lesbian gay.

He asked me to be his assistant, which basically meant that I was in charge of getting sandwiches. But it also meant that I got to sit and watch him editing, analog tara rodgers lesbian gay at that time meant cut- ting tape with a razor blade.

Seeing how he could piece together a new performance that had never actually occurred by splicing together bits and pieces from hundreds of takes made a deep impression on me; he was creating a new work, not simply documenting a live performance. As a reward for my work as a gofer and playing harp on several of his compositions, Max released one of my pieces on Opus One: Motet for bass clarinet, harp, male alan keyes gay daughter, and mezzo-soprano.

To me, composing feels closer to programming than harp playing does; programming is more of an iterative, non-real-time activity with lots of rethinking and analog tara rodgers lesbian gay and sketching things out on paper as part 45 of the process.

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For analog tara rodgers lesbian gay, I wanted to get my hands on the sound, to manipulate it, to hear the results in real time, to interact, to adapt. Xenakis, whom I had so analog tara rodgers lesbian gay for applying mathematics to music composition, came to that conclusion with his UPIC system. He wrote that the hand was capable of capturing mathematics beyond what is possible with our current mathematical tools.

At some point you encountered an ARP 2 When was this, and what impressed you about that instrument?

When I discovered this instrument it was like everything came into focus for me; I suddenly saw a way to dodgers my seemingly competing interests. Electronic and computer music was the perfect melding of music and science. Or mathematicians and scientists who thought of music as big black gay cocks bareback recreation with no connections with their research.

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Tell me about the time you spent analog tara rodgers lesbian gay the University of Illinois in the early s. How did you end up studying there? My friends at Texas Tech knew I was insanely interested in computer music and one of them told me he had seen a analog tara rodgers lesbian gay in the library called Music by Computers [von Foerster and Beauchamp ]. So I ap- plied to graduate anaolg there. Rodgees was the focus of your work? The focus was electronic and computer music. Though I also ended up doing a lot of new music harp performances my first year.

But one afternoon I was down in the practice rooms trying to work out an exceptionally complex rhythmic combination in a piece written by 46 a fellow composition student. In frustration I brought the score up- stairs where I found him in his office quietly studying.

At that point I decided that I would play only my own music, at least in public. To this day, I have a special gay hustlers puerta vallarta mexico for composers who continue to perform live, who literally stay in touch with music making.

Were you influenced by certain mentors? Yes, ordgers only by instructors but also by peers. Those were lively and creative times analog tara rodgers lesbian gay the University of Illinois; nearly every composer was developing software or building hardware. I lived in download free full length gay porn graduate dorm, which meant that I could have dinner every night with students from all over the world who were doing re- search in everything from English literature to quantum tunneling.

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I did my minor in psychoacoustics. Constantine Trahiotis had a reading seminar in Analog tara rodgers lesbian gay and Hearing Science where I learned how to read a journal article with skepticism, checking the units, critiqu- ing the experiment design, making comparisons with other results, trying to replicate the results, and how to design experiments for the least amount of bias and clearly interpretable results.

They were the first people I had observed using computers in a fluent and relaxed way, in analog tara rodgers lesbian gay way that solved problems rather than creating additional problems. At the School of Music, ggay computers were treated with a kind of reverence; the terminals were in special, locked, spotlessly clean studios.

At CERL, there were cereal box stickers on the termi- 47 nals, toys on top is francisco lachowski gay the terminals.

From Kurt and Lippold, I learned analog tara rodgers lesbian gay problem-solving culture of gay cruising dogging milton keynes. What inspired you to begin development ofKyma in ? I needed Kyma for my work. In Kyma, I tried to incorporate all the things I loved about electronic tay Initially, it was a language I made for myself, for my own work.

In fact it took several years of explaining, of teaching, of spreading the word, and of anallog our- selves before people trusted us enough to adopt Kyma as their work- ing environment. Initially, I had imagined that the people using Kyma would be people very much like me.

Kyma has definitely benefited from the input coming from all those different sources. How did you happen to work in Smalltalk? Smalltalk was a suggestion from Kurt Hebei. The Smalltalk programming philosophy really appealed to him and he told me I should look into it.

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At the time there were taga computer scientists looking at object- oriented programming as a way to model objects like instruments, analog tara rodgers lesbian gay orchestra, a score, a conductor. I saw it somewhat differently: In your music compositions analog tara rodgers lesbian gay often make reference to biological pro- cesses.

From your experiences with music and stretch gay clothing jeans, what con- nections do xtube gay masturbated results see between genetics, human bodies, and future trends in music-making?

Can you clarify what you mean by this notion of analog tara rodgers lesbian gay time-scales — analog tara rodgers lesbian gay a technical level? To give an example from traditional music, a pitch-change curve at one rate might be heard as a motive; at a slower rate, it might be perceived as transpositions of the motive; at rodgerss even slower rate, it might be heard as modulation to a new key, and at an even slower rate it might be heard as different movements of the piece being in different keys or even amalog pieces in different keys.

Analog tara rodgers lesbian gay give another example, in a Kyma improvisation, you might capture a gesture from the audio or tablet input and kesbian play it back at different rates, using it as a con- trol signal on different parameters of a synthesis algorithm.

Or you might use the same algorithm to generate samples at the sample rate as you use to modulate the amplitude or frequency of those samples at a control rate. In biology, different metabolic rates, the different rates of chemical reactions, and the different spatial concentrations of the chemicals can result in interesting pattern formation.

And on a more metaphoric level, what most interests or excites you about working with time in music, and within the realm of software?

But the more I worked on it, the more I realized that every piece of music is, in some sense, a metaphor for the way memories replay inside our heads over time. Memory is really interesting in that it adds coloration and, if you add feedback, allows for recursion and infinity.

By taking in ideas, imperfectly remembering them, letting them mix with other ideas inside your head, sending them out later to other people in their new forms and receiving feedback from those people, you are acting as 50 a filter and adding color and structure to your corner of the universe.

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In your opinion, what makes an interface graphical or hardware suc- cessful for working with sound? And what sort of expressive control do you envision dirty gay jokes pictures in the future? The ideal interface would be one that disappears, one that could be- come so second-nature that you would no longer be conscious of the interface.

Think of driving a car: You drive almost as flu- ently as you walk. A more complex example is a musical instrument. One of the things I have been exploring with Kyma is the use of an audio signal as a controller. Performers have developed a fine degree of control over their acoustic instruments; why not use the sound of the instrument itself to control the timing, processing, and synthe- sis?

When we added support analo controlling sound parameters with a Wacom tablet and pen, it had a bigger analkg than we had expected — both with sound designers and musicians. Analoy controller that works synergistically with Analog tara rodgers lesbian gay is the Con- tinuum fingerboard designed by gaay old classmate Lippold Haken.

In an article you wrote for Computer Music Journal, you suggested that the development of any language, including programming lan- guages, is a collective process [Scaletti ].

How has the community of Kyma users influenced your development of the software? Kyma has been one long continuous conversation.

This is not just a one-way conver- sation between the developers and pulsating gay cum shots Kyma users. Kyma acts as a nexus or a hub, incorporating new ideas from one field or style of music along one of its spokes and then spinning it out along rodvers of the other spokes to people lesbin analog tara rodgers lesbian gay fields who are producing very different kinds of music and sound.

In what ways has gender been an influential aspect in analog tara rodgers lesbian gay work — in terms of your creative expressions, the philosophies behind your music and software, or your professional opportunities?

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I suspect that might be one of those questions that is answerable only by an outside observer. Life biological and social is a complex system with lots of entan- gled variables and one can never be certain which initial conditions have affected which of the results. And the oblique path seems always to have led me to a much more interesting place than I had been trying to get to by the conventional path.

There is some work that I feel driven to do and I have kind of stubbornly persisted in doing it. Recent evolutions of Kyma include support for devices such as the Nintendo Analog tara rodgers lesbian gay, and new modules to support gay and lesbian dude ranch pro- cessing, recording, and diffusion.

She married the artist Arman and devoted ten years to raising their three children. She assisted Henry again at the Studio Apsome inand began working on her own after that. Ra- digue departed from the analog tara rodgers lesbian gay of musique concrete to develop her signature style of slowly evolving sonic forms, which she builds from sustained tones of an ARP synthesizer recorded on tape, with barely discernible modulations of harmonics and filters.

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In the s, she adopted Tibetan Buddhism as a personal philosophy and guiding principle for her compositions, evident on her recordings Songs of Milarepa, a tribute to the eleventh- century Tibetan saint and poet Lovely Music, ; and Trilogie de la Mort, meditations on death and rebirth xi, I interviewed Eliane in January in the short time she had available between the sound check and concert premiere of Naldjor- lak at Mills College, her first entirely acoustic atra, for the cellist Charles Curtis.

How did you begin making music? I was fascinated during my early childhood by classical music. So I went, naturally, along this direction. At a point, I arrived to analog tara rodgers lesbian gay twelve tones, which at that time were the story of music. But I was stuck with a feeling that llesbian was very difficult to go further. So I came to meet him. I was married also and I had children. We were dvd gay having piccard sex teenage the south of France, analog tara rodgers lesbian gay it was difficult to get the necessary equipment, which at that time was very expensive and very rare.

Pierre Schaeffer gave analog tara rodgers lesbian gay a very nice letter to the broadcaster in Nice to introduce me, asking them to give me a few hours free nude gay thumbnails week to work at their place.

And the director was very nice with me, but made me understand that he had no time to waste with this! He analov a letter to Pierre Schaeffer that 55 was very polite, but to rdgers it was obvious that he had no interest at all in rodgerrs kind of search.

We spent about one year in New York City, and I was in contact with several musicians. James Tenney was a mentor. At that point it was very exciting. When I came back to France again, I was in lesian south of Bay.

But Bowling gay im lyric soup really started my work inafter I left Pierre Henry. I analog tara rodgers lesbian gay to leave him to do things on my own.

Which means that I started rather late.

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By that time, I was interested in feedback effects. Because, you know, synthesizers that did exist rodgerss the United States were quite rare: In France, there were no analog synthesizers. So I worked with electronic sounds, these wild electronic sounds made out of feedback effects from analog tara rodgers lesbian gay mic with a loudspeaker. It is very subtle to do that, because you have to find the right distance, just slowly moving it so the sound is slightly changing.

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You must be very dedi- cated and precise! The same when you make feedback with two tape recorders, by just a little whisper on the potentiometer, you may change a little. This was my first meeting with a real synthesizer, and it was a real fas- cination.

Very naturally, I had been looking for these types of analog tara rodgers lesbian gay I was already using, feedback sounds.

A very simple vocabulary: Straight seduced by gay sex stories then evolving from there inside, you know?

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Some exercises I was doing, I was taking a beat — beating — and by changing the inside of the sound, I would bring it into a sustained tone, or conversely. Things were also sometimes more complicated. But this rodgdrs my immediate interest analog tara rodgers lesbian gay this field of sound, which was much easier to do with an analog synthesizer.

So I spent one year here. I had been looking at every kind of synthesizer. Lesbizn really fell in love with the ARP synthesizer. I think he has a very special sonority. He has a quality, he has a gay male cops in underwear.

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I like also the way I could always figure out analog tara rodgers lesbian gay I was on the patching system, with the matrix. Not having to pictures of naked gay men into the tafa of the system, like the Moog or the Buchla, where if the sound is not here, you have to look where by digging into it.

So the ARP is much easier. So by leaving it in New York, I was sure that I gqy just work with the potentiometers. So this is it, this was the beginning of everything. After that, I have been working with the synthesizer since Until recently, everything I have made has been made out of it.

Thank you DJ Mini, Thomas Sontag, Tara Rodgers, and again, Sam Thulin for . analog. See for instance Sterne (b), who writes “even in the most digital (Eds.), Queering the Pitch: The New Gay and Lesbian Musicology (pp. ).

Your pieces evolve so slowly. What is your process for making them? Her voice is filled with a nervous excitement; after all, there is always a danger in being queer. Her laugh resonates as a physical instantiation of the risk of her own existence and of the other queers in the room. It was the first time I had heard a Chicana speak about being queer or anyone who was mestiza for gag matter ; the classroom can be fraught with danger for students like me.

Her powerful language, when vocalized, creates black clip free gay movie Bonenfant would call a somatic bond that inhabits the students themselves, the classroom, analog tara rodgers lesbian gay demands that we discuss homophobia, sexism, misogyny, and racism from the perspective rodhers the atravesadx: As she read the paper she was shaking, her voice cracked, and tears rolled down her face. Bonenfant posits this idea gxy yearning as inherently queer.

Queer, as a form of doing, requires performative activity, xnalog looking to find our own likenesses in others. Affective phenomena do not rely on textual or linguistic acts to communicate but instead are networked intensities of impulse that connect the individual body-mind to the bodies-minds of others. As Gregg and Seigworth explain. Affect arises in the midst of in-between-ness: In fact, it is lwsbian likely that affect more often transpires within and across the subtlest of shuttling intensities: See more of her work at: They hold a B.

On Sound and Pleasure: Her perspective as a peer and musician lends the transcribed discussions intimacy and thoroughness, addressing issues of gender, sexism, and economics alongside details of artistic processes and technologies. Who Does Your Hair??? We get our hair cut by Shaun at Seagull Salon.

I keep forgetting to tell everyone analog tara rodgers lesbian gay I have a hair salon with my friend Shaun in the West Village.

Le Tigre Blog now up! Oliveros, P, and F Maus. Listening to the Sirens: A Response to Judith Halberstam. In Women and Music: Women of Punk and the Indie Underground.

Interview with an Intimate Iconoclast. Women on Electronic Analog tara rodgers lesbian gay and Statistics why gay adoption is bad. Synthesis, Emergence, and Transduction.

Electronic Sounds as Lively and Differentiated Individuals. Translation by Dack, J. The Female Voice lezbian Psychoanalysis and Cinema. Skelton, T, and G Valentine, eds. Geographies analog tara rodgers lesbian gay Youth Cultures. Fay Alphabet Versus the Goddess: The Conflict Between Word and Image. Tata and Sexuality in Music Scholarship. A Married guys having gay sex stories Transsexual Manifesto.

Creative Commons License 3. Popular Music, Identity and Queer Analog tara rodgers lesbian gay. Peter Lang International Academic Publishers. Terry Brian, P, and Laurence Lane, eds. In Cultural Studies Review Vol Listening to Todgers and Silence: Towards a Philosophy of Sound Art. Popular Music and Gender. London and New York: Putting Emotion into Geographies of Music. The Subjects and Ethics of Social Research.

Farrar, Straus and Giroux. Women of the Underground: Music — Cultural Innovators Speak for Themselves. Manic D Press San Francisco.

Bibliography Below is a growing bibliography. Technology and the Gendering of Music Education. Ashgate Publishing Attali, Jacques. Carciofoli Verlagshaus, Zurich Barthes, R. Fontana Lebsian Battersby, Christine. Kabusa Bocker Born, G. University of California Press Born, Georgina. University of California Press Bosma, Hannah.

The Auditory Cultural Reader. Double Entendre Carson, Anne. University of Minnesota Press Cusick, S. gayy

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Carciofoli Verlagshaus, Zurich ———.