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Review: She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st Century, by Helen Reddington

Review: She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st... Book Review: She’s at the Controls: Sound Engineering, Production and st Gender Ventriloquism in the 21 Century Helen Reddington, She’s at the Controls: Sound Engineering, Production and Gender st Ventriloquism in the 21 Century. Sheffield, UK: Equinox, 2021. 215 pages. In She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the st 21 Century, Helen Reddington questions the scarcity of women music engineers and producers as people who have always had a significant presence in music production. Thus, the book’s title rebuts Joy Division’s “She’s Lost Control” by reframing control as its central concern. Reddington considers the implications of control on women sound engineers and studio producers’ varied practices by claiming that “[a]ny form of record- ing, whether through writing, drawing, film or sound, raises issues of power that are centered on who is doing the recording and the implications of the archive, whatever form that takes” (4). Yet, women’s exclusion from the profession is still underexamined. Reddington points out how much discourse on dance music fails to address “how it can be seen as liberating for people of different genders and sexual orientation to dance to music that is made by an overwhelming majority of male http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Popular Music Studies University of California Press

Review: She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st Century, by Helen Reddington

Hancock, Maren
Journal of Popular Music Studies , Volume 34 (3): 4 – Sep 1, 2022
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Publisher
University of California Press
Copyright
© 2022 by the International Association for the Study of Popular Music, U.S. Branch (IASPM-US)
eISSN
1533-1598
DOI
10.1525/jpms.2022.34.3.155
Publisher site
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Abstract

Book Review: She’s at the Controls: Sound Engineering, Production and st Gender Ventriloquism in the 21 Century Helen Reddington, She’s at the Controls: Sound Engineering, Production and Gender st Ventriloquism in the 21 Century. Sheffield, UK: Equinox, 2021. 215 pages. In She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the st 21 Century, Helen Reddington questions the scarcity of women music engineers and producers as people who have always had a significant presence in music production. Thus, the book’s title rebuts Joy Division’s “She’s Lost Control” by reframing control as its central concern. Reddington considers the implications of control on women sound engineers and studio producers’ varied practices by claiming that “[a]ny form of record- ing, whether through writing, drawing, film or sound, raises issues of power that are centered on who is doing the recording and the implications of the archive, whatever form that takes” (4). Yet, women’s exclusion from the profession is still underexamined. Reddington points out how much discourse on dance music fails to address “how it can be seen as liberating for people of different genders and sexual orientation to dance to music that is made by an overwhelming majority of male

Journal

Journal of Popular Music Studies – University of California Press

Published: Sep 1, 2022

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