214 Louise M. Thompson
She also has her own studio called Dearworld Studio. Van Den Hurk has
worked with many known artists including Ozark Henry, Candy Dulfer, Eivør,
Anna Rune, Kingsher Sky, and the Rembrandt Frerichs Trio (F Van Den
Hurk 2019, interview communication, 27 March).
2. Sophie Botta is an artist/producer and studio producer/engineer from Sydney,
Australia. Having graduated from a Bachelor of Music with a major in Audio
Engineering, Botta has worked across the live and studio scene on a vari-
ety of projects in a diversity of genres including jazz, pop, and world music
(S Botta 2019, interview communication, 17 March).
3. Missy Thangs is a studio producer from North Carolina, USA. With a degree in
Recording Arts, she started out working on her own productions, and then went
on to writing and performing with No One Mind and Birds of Avalon. Thangs
currently works at Fidelitorium studio as a producer and engineer and has
worked with many renowned artists including Ian McLagan, Ex Hex (Merge
Records), Avett Brothers, Birds of Avalon, Las Rosas (Burger Records), Pie
Face Girls, Jenny Besestzt, The Tills, and Skemäta (Missy Thangs 2019, inter-
view communication, 31 March).
4. Amelia Warren is an artist/producer/DJ from Austin, Texas, USA. Amelia
produces her own productions, along with working with clients to produce
their works. She works as a freelance engineer and producer at Dub Academy
Studio and South by Southwest Studio. She has a Bachelor degree in Song-
writing and a Masters of production, technology, and innovation, which was
completed at the University of California, Berkeley (A Warren 2019, interview
communication, 12 April).
5. Patty Preece is a studio artist/producer/DJ from Cairns, Australia, producing
in a duo called The Ironing Maidens. An award-winning electronic duo, The
Ironing Maidens are putting domestic labor, technology, and the history of
women in electronic music center stage with their live electronic performance
art piece. Preece is also a lecturer at Southern Cross University in Cairns, Aus-
tralia in the music tech eld. She entered the eld of music production through
the health eld and played drums in a band. She has completed a Diploma of
music production and a Bachelor Degree of Audio Production (P Preece 2019,
interview communication, 2 April).
6. Catharine Wood is a studio producer/composer/engineer from Los Angeles, USA.
Beginning her career in audio in 2005, she has worked in audio post-production
for commercials, engineering on the rst Apple iPhone commercial, and as a
mix/mastering engineer, engineering over 500 commercially released songs. Her
company, Planetwood Studios, specializes in producing singer-songwriters and
providing engineering, production, and composition services to the TV and lm
industries. Wood is also a Grammy Voting Member and Producers and Engineers
Wing member (C Wood 2019, interview communication, 26 March).
7. Karina Rivero is a producer and a recording, post-production, and mastering
engineer, from Mexico City, Mexico. She has worked in a recording studio/
post facility for the last four years and has a Bachelor and Honors of Music
Production (K Rivero 2019, interview communication, 7 February).
8. A Hundred Drums is an artist/producer/DJ from Grass Valley, Nevada, USA.
She has been producing electronic music for the past ve years. A Hundred
Drums is a self-taught producer, though many mentors have helped guide and
215 Gender in Music Production
support her along with further developing her self-taught skills. She has per-
formed at many renowned events including Coachella, Lucidity, Enchanted
Forest, and Bamboo Bass Festivals (A Hundred Drums 2019, interview com-
munication, 8 March).
9. Ania Grzesik is a studio producer practicing in the New York City Metro-
politan area, USA. With over 17 years of professional experience, her current
practice is focused on freelance podcast production and sound design, though
she has previously worked in recording studios and live sound in theatres and
music events (A Grzesik 2019, interview communication, 15 March).
FURTHER READING
Macarthur, S. (2002) Feminist Aesthetics in Music. Westport, CT: Greenwood
Press. ISBN 0-313-31320-2. (Musicology resource on feminist aesthetics in
music.)
McLary, S. (1991) Feminine Endings. Minneapolis, MN: University of Minnesota
Press. ISBN 978-0-8166-4189-5. (Musicology resource on feminist aesthet-
ics in music composition.)
Mills, S. (1995) Feminist Stylistics. London: Routledge. ISBN 0-203-40873-X.
(Musicology resource on feminist aesthetics in music.)
Rodgers, T. (2010) Pink Noises: Women on Electronic Music and Sound. Dur-
ham, NC: Duke University Press. ISBN: 978-0-8223-4673-9. (Musicology
resource on gender and electronic music production.)
Whiteley, S. (1997) Sexing the Groove: Popular Music and Gender. New York:
Routledge. (Popular musicology resource on music and gender.)
REFERENCES
Bayton, M. (1998). Frock Rock: Women Performing Popular Music. Oxford:
Oxford University Press. ISBN 9780198166153.
Cixous, H (1997) ‘Sorties: Out and Out: Attacks/Ways Out/Forays’. In Schrift, A.
D. ed. The Logic of the Gift: Toward an Ethic of Generosity [Chapter]. New
York: Routledge. ISBN 0-415-91098-6.
Farrugia, R. (2012) Beyond the Dance Floor: Female DJs, Technology and
Electronic Dance Music Culture [Article]. Bristol: Intellect. ISBN 978-1-
84150-566-4.
Hisama, E. M. (2014) ‘DJ Kuttin Kandi: Performing Feminism’ [Article].
American Music Review, Vol XLIII, No 2. Conservatory of Music, Brooklyn
College of the City University of New York, NY, USA.
Lieb, K. (2013) Gender, Branding and the Modern Music Industry. New York:
Routledge.
Macarthur, S. (2002) Feminist Aesthetics in Music. Westport, CT: Greenwood
Press. ISBN 0-313-31320-2.
McLary, S. (1991) Feminine Endings. London: University of Minnesota Press.
ISBN 978-0-8166-4189-5.
216 Louise M. Thompson
McRobbie, A. (1978) ‘Settling Accounts with Subcultures, A Feminist Critique’.
In Frith, S. and Goodwin, A. eds. On Record, Rock, Pop and The Written
Word. New York: Pantheon Books.
Olszanowski, M. (2011) ‘What to Ask Women Composers: Feminist Fieldwork
in Electronic Dance Music’ [Article]. DanceCult. Retrieved from http://
dj.dancecult.net
Stoltzfus, P. (2006) Theology as Performance: Music, Aesthetics, and God in
Western Thought. New York: TT Clark.
Taylor, Dr J. (2012) Playing it Queer. Bern: Peter Lang AG. ISBN 10: 3034305532
Whiteley, S. (1997) Sexing the Groove: Popular Music and Gender. New York:
Routledge.
Wikstrom, P. (2009) The Music Industry, Music in the Cloud. Cambridge: Polity
Press. ISBN: 978-0-7456-4390-8.
Wolfe, P. (2012) ‘A Studio of One’s Own: Music Production, Technology and
Gender’ [Article]. Retrieved from www.arpjournal.com/asarpwp/a-studio-
of-one%E2%80%99s-own-music-production-technology-and-gender/
Wright Edelman, M. (1959) ‘Mariane Wright Edelman Quote’[Website]. Retrieved
from https://quotes.thefamouspeople.com/marian-wright-edelman-2254.php
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