#tara rodgers

[postpunkindustrial]

Pink Noises: Women on Electronic Music and Sound by Tara Rodgers

Get it from my Google Drive HERE

Pink Noises brings together twenty-four interviews with women in electronic music and sound cultures, including club and radio DJs, remixers, composers, improvisers, instrument builders, and installation and performance artists. The collection is an extension of Pinknoises.com, the critically-acclaimed website founded by musician and scholar Tara Rodgers in 2000 to promote women in electronic music and make information about music production more accessible to women and girls. That site featured interviews that Rodgers conducted with women artists, exploring their personal histories, their creative methods, and the roles of gender in their work. This book offers new and lengthier interviews, a critical introduction, and resources for further research and technological engagement.

Contemporary electronic music practices are illuminated through the stories of women artists of different generations and cultural backgrounds. They include the creators of ambient soundscapes, “performance novels,” sound sculptures, and custom software, as well as the developer of the Deep Listening philosophy and the founders of the Liquid Sound Lounge radio show and the monthly Basement Bhangra parties in New York. These and many other artists open up about topics such as their conflicted relationships to formal music training and mainstream media representations of women in electronic music. They discuss using sound to work creatively with structures of time and space, and voice and language; challenge distinctions of nature and culture; question norms of technological practice; and balance their needs for productive solitude with collaboration and community. Whether designing and building modular synthesizers with analog circuits or performing with a wearable apparatus that translates muscle movements into electronic sound, these artists expand notions of who and what counts in matters of invention, production, and noisemaking. Pink Noises is a powerful testimony to the presence and vitality of women in electronic music cultures, and to the relevance of sound to feminist concerns.

Interviewees: Maria Chavez, Beth Coleman (M. Singe), Antye Greie (AGF), Jeannie Hopper, Bevin Kelley (Blevin Blectum), Christina Kubisch, Le Tigre, Annea Lockwood, Giulia Loli (DJ Mutamassik), Rekha Malhotra (DJ Rekha), Riz Maslen (Neotropic), Kaffe Matthews, Susan Morabito, Ikue Mori, Pauline Oliveros, Pamela Z, Chantal Passamonte (Mira Calix), Maggi Payne, Eliane Radigue, Jessica Rylan, Carla Scaletti, Laetitia Sonami, Bev Stanton (Arthur Loves Plastic), Keiko Uenishi (o.blaat)

[wazzuppy]

kinda makes me emotional how in mystery incorporated, ALL of the gang are shown to feel outcast from their family in some way, and how having each other to lean on is what makes things better for them in the end.

like, daphne doesn't get along with her sisters, who constantly look down on her, and her parents are disapproving of her hobbies, friends, and boyfriend.

shaggy's parents are distant and the first chance they get they send him away to the military and scooby to a farm.

velma doesnt understand why her parents do what they do and so quickly believe in the supernatural, and in turn she feels like they dont understand her either.

and fred has such an insanely complicated and genuinely kind of sad relationship with every member of his family. the closest thing he has to a parent is the man who raised him-- and mayor jones is similarly unhappy with fred's interests and thinks he's strange-- and it turns out that not only is he not his real father, but that he's a criminal who HE helped catch. and when he finally meets his real parents after searching for them for so long (all while LITERALLY HOMELESS), they use him for their own gain.

but like,,, all of them are still so happy regardless. because they have each other. and even when they fight and break up and things are hard, they always come together in the end because they love one another so much. and that love is why they overcome the curse and stick together even after the universe is reset into an ideal world for them all. not only are they friends, but they're a family.

[oceanusborealis]

Nugget is Dead: A Christmas Story - Movie Review

TL;DR – A wild story of a family that will probably be recognisable to you even in this crazy situation.   ⭐⭐⭐⭐ Rating: 3.5 out of 5. Post-Credit Scene – There is no post-credit scene.Disclosure – I paid for the Stan service that viewed this film. Nugget is Dead Review – Many things foreshadow that the end of the year is near, the temperatures rise, the rains come in, people care about…

[theknucklehead]

I was re-watching Spirited Away with my friends the other day, and I was pretty surprised at just how many names they had in the english dub for it.

Chihiro - Daveigh Chase (Lilo)

Haku - Jason Marsden (Thackery Binx)

Lin - Susan Egan (Megara)

Kamaji - David Ogden Stiers

(Jumba, Cogsworth, & Ratcliffe)

Yubaba - Suzanne Pleshette (Zira)

The Foreman - Rodger Bumpass (Squidward)

and Aniyaku - John Ratzenberger

Some editional credits go to Michael Chiklis, Lauren Holly, Tara Strong, and Bob Bergen.

[untoldreader]

Masterlist Of Masterlists

Welcome to my Masterlist of Masterlists

Marvel Universe

Finished● Unfinished○ Started•

>Kate Bishop

Falling For The Archer ○•

Archer's bond ○•

>Wanda Maximoff

The Witch & Her Possession ○

Scarlet Sacrifice: The Agonizing Journey ○

>Natasha Romanoff

Shadows of Love: Natasha Romanoff and Y/N'S Destiny ○

Yelena Belova

A Dark Love ○

Dancing in the Moonlight ○

Maria Hill

Relentless Devotion ○

Peggy Carter

The Forgotten Past ○

Carol Danvers

Cosmic Connections: Carol Danvers Finds Love ○

Bucky Barnes

A Soldier's Redemption ○

Steve Rodgers

WandaNat

Threads Of Fate: Wanda, Natasha, and Y/N●

The Miraculous Trio: A Journey of Love, Power, and Parenthood

Bishova

Beneath the Veil: Love and Loyalty in the Underworld

Torn Souls: The Path To Redemption

Blackhill

Eternal Flame: A Maria Hill, Natasha Romanoff, and Y/N Love Saga

Temporal Veil: Unmasking Hydra's Schemes

WinterWidow

A Spy's Love Triangle

Innocence Lost In The Dark

Agents Of S.H.I.E.L.D.

Daisy Johnson

Jemma Simmons

Melinda May

Bobbi Morse

DC Universe

Supergirl

Kara Danvers

Lena Luther

Alex Danvers

Maggie sawyer

Lucy Lane

Arrow

Sara Lance

Thea Queen

Laurel Lance

Felicity Smoak

Nyssa AL Ghul

The Flash

Iris West

Caitlin Snow

Wonder Woman

Diana Prince

Titans

Rachel Roth

Dawn

Donna Troy

Other

Harley Quinn

Ava Sharp

Vampires Diaries Universe

The Originals

Rebekah Mikaelson

Hayley Marshall

Davina Claire

Freya Mikaelson

The Vampire Diaries

Elena Gilbert

Caroline Forbes

Bonnie Bennett

Katherine Pierce

Legacies

Hope Mikaelson

Josie Saltzman

Lizzie Saltzman

Penelope Park

Jade

Crime Shows

Criminal Minds

Emily Prentiss

Scream Universe

Tara Carpenter

Sam Carpenter

Masked Obsession: Ghostface Sam Carpenter x Y/N Love Story

Amber Freeman

Kirby Reed

Wednesday Addams

Enid Sinclair

Wednesday Addams

Wenclair

Stranger Things

Joyce

Nancy

Eleven

Robin

Max

Steve

Eddie

Teen Wolf

Allison Argent

Lydia Martin

Malia Tate

Fear The Walking Dead

Alicia

The Walking Dead

Maggie Greene

Carol Peletier

Tara Chamblers

The lOO

Octavia Blake

Clarke Griffin

Lexa

Raven Reyes

Wynonna Earp

Waverly Earp

Wynonna Earp

Nicole Haught

[uncannyoceanz]

Some basic things about my Creepypasta au!

Ask me or the creepypastas anything! PLEASSEEE I NEED SOMETHING TO DO WITH MY LIFE 😭💀

Ships:

Jeff the killer x Eyeless Jack

Candy Pop x Jason the Toymaker

Jane the Killer x Mary Vaughn

Bloody Painter x Puppeteer

Nathan the Nobody x Ciara

Suicide Sadie x Roadwalker

Clockwork x Nina the killer

Nurse Ann x Dr. smiley

Pinkamena x Rainbow factory

lulu x the skroll

Homicidal liu x Hannah the killer?

Ben drowned x Lost silver

Luring Lyra x Kate the chaser

Candy Cane x April fools?

Masky x hoodie?

Weeping Forest x Ally SlenderDoll

I don’t know a lot about marble hornets btw so…. :’)

Pasta groups:

circus pastas: Papa Grande, Jason the Toymaker, Candy Pop, Candy Cane, Laughing Jack, Laughing Jill, Puppeteer, Nathan the nobody.

The killerz: Jeff the killer, Homicidal Liu, Asylum Nancy, Nina the killer, Clockwork

The girls: Jane the killer, Nina the killer, Clockwork, Sally, Suicide Sadie

These people idk what to call them: puppeteer, Bloody painter, Zero, Nurse Ann, Judge Angel

Slender family: slenderman, Splendorman, Trenderman, Offenderman, Surrender, Slendrina.

The monochrome crew: Zero, Laughing Jack, Puppeteer, Kagekao, Hobo heart.

The doctors: Nurse Ann, Doctor smiley, Doctor pain, EJ.

The dumbass trio: Jeff the killer, Ticci-Toby, Ben drowned.

Slendrina is Slenderman’s daughter. Lazari lives with Sadiya and Puppeteer.

Puppeteer doesn’t really work for slenderman nor Zalgo. He’s just there honestly lol

Homicidal liu lives by himself in a cabin in the woods.

Jane and Mary live together

Slender’s main proxies:

Masky, Hoodie, Ticci-Toby, Weeping Forest, Kate the chaser, Ally SlenderDoll, Rogue.

Zalgo’s main proxies:

Sonic.exe, Dr. locklear, Mr. Wide mouth, Stripes, Dark link, The Skroll, glitchy red, Jane Arkensaw

Boys:

Jeff the killer (Jeffery Woods)

Ben drowned (Benjamin Lawman)

ticci-Toby (Tobias Rodgers)

masky (Tim Wright)

hoodie (Brian Thomas)

eyeless jack (Jack Nyras)

laughing jack

Lost silver (Gold)

Papa grande

herobrine

Dr.smiley

Homicidal Liu (Liu Woods)

hobo heart

Jason the toymaker (Jason Meyers)

Vine the dollmaker

julius the dressmaker

Candy Pop / Night terrors

X-virus (Cody)

Smile dog

Nathan the nobody (Nathan Lux)

Puppeteer (Jonathan Blake)

Bloody Painter (Helen Otis)

Kagekao

Wilson the Basher

Girls:

Jane the killer (Jane Richardson)

Sally Williams (Sally Maryam Williams)

Nina the killer (Nina Hopkins)

Judge Angels (Dina Angela Clark)

Lulu (Lucile Tiffany gracefield)

Nurse Ann (Ann Lusen Mia)

Clockwork (Natalie Ouellette)

Laughing Jill

Candy Cane

Zero (Alice Marie Jackson)

Suicide Sadie (Sadie Marie Bennett

Roadwalker (Zayner Nanook)

Jane Arkensaw

Nula

Mary Vaughn

Ally the Slenderdoll (Adeline Abendroth)

Weeping forest (Jennifer Ryhnes)

Rouge (Heather Marshall)

Lilly the Jester

Ms. P (Ms. Pencilneck)

Stripes (Eloise Sarah Bellarose)

Sadiya

Lazari (Lazari Natalie Swann)

Lifeless Lucy (Lucy Jones)

Lily Kennett

Ellison Burns (Ellison Wright)

Rose (Rose Fairen)

Elizabeth Vazquez

Anna (Anna Schurks)

Kate the chaser (Kate Milens/Hayes)

April Fools

Emra

I feel fantastic / Tara

Hachishakusama

Kuchisake-Onna

Sadako (Samara Morgan)

Kayako

Hanako-San

Yuki-Onna

Beings of the forest… (That hold a lot of power)

Zalgo

Slenderman

Splendorman

Offenderman

Trenderman

Slenderwoman

Hachishakusama

Candy Pop (Mostly Night Terrors)

Zalgo’s Family:

Sadiya

Lazari

Stripes

Kaidy

Senora

Cynthia Ezelle (My oc)

Realms (Within the slender forest and such)

The Slender Forest Itself

The slendermansion

Homicidal Liu’s Cabin (In the slenderforest)

Granny’s house

Slendrina’s Mansion

Zalgo’s territory and base.

Roadwalker’s clearing

Sadiya’s house (Puppeteer, Sadiya, and Lazari)

The old abandoned Hospital

Jason the toymaker’s realm

The Abyss (Candy Pop’s realm)

The Mindscape

The lake

Cynthia Ezelle’s house

The old abandoned treehouse (Slender proxy Base)

The Circus Realm

Please dear god ask me something😭 I’m too lonely and bored man 💀💀💀

[just-about-nothing]

'i'd never tell' is giving ginger rodgers 'i did everything fred astair did backwards and in heels. ms caulfield you are wildly impressive.

also full offense, i hate this whole marriage thing. i know how it ends and i hate it because that and despite it. it's truly an excellent case of the show telling us xander and anya love each other but i'm not sure it's showing us that. (contrast to willow and tara, where you see tara and willow repeatedly devoted to each other. no put-downs, no undermining.) i can't tell if this is point of their relationship or not, but i'm leaning towards shitty writing over writing that's proving a point about young marriages

[metallicangel92]

If "Killer Klowns from outer space" was an animated series my head cannon voice actors for each would be...

Klowns:

Shorty - Tom Kenny (SpongeBob)

Bibbo- Bill Fagerbakke (Patrick star)

Slim - Rodger Bumpass (Squidward)

Spikey - Dee Snider

Fatso- Jack Black (Bowser)

Chubby - Danny Devito

Rudy - Mathew Lillard (Shaggy)

Magori - Michael Keaton

Frank - Frank Welker

Slam- Johnny Depp

Jumbo - Patrick Warburton

Daisy - Tara Strong

Rosebud - Jodi Benson

JoJo - Kevin Michael Richardson

Humans:

Mike Tobacco - Ralph Macchio

Debbie Stone - Mila Kunis

Dave Hansen - Ashton Kutcher

Curtis Mooney - Clancy Brown (Mr. Krabs)

Rich Terenzi - Billy West

Paul Ternezi - Jason Marsden

[mogai-headcanons]

Casey from Dark Canival is a canon lesbian!

Her girlfriend Alex is also a canon lesbian!

Tara Jones from Heartstopper is a canon lesbian!

Her girlfriend Darcy Olsson is also a canon lesbian!

Ghoul from Batman Beyond: Return of the Joker is a transmasculine biromantic gay man!

Elle Argent is a canon trans woman who currently identifies as abrosexual!

Barney Guttman from Dead End: Paranormal Park is a transmasculine gay man!

Uraraka Ochaco from My Hero Academia is a bisexual demigirl!

Denki Kaminari is a polyamorous pansexual person!

Mina Ashido is a questioning panromantic genderfluid demigirl!

Kyle from She-Ra and the Princesses of Power is a gay demiboy!

Perfuma is a transfemme demilesbian!

Rabbid Peach from Mario + Rabbids is a polysexual transfemme rabbid!

Rotor Walrus from Sonic Archie is gender questioning and queer!

Trixie Kitsune from Pirates of the Foggy Waters is a polyamorous bisexual cisfemme person!

Serena from Pokemon is a gender questioning bisexual demigirl!

Silver from Sonic IDW is a panromantic demiboy!

Valentine de Villefort from Gankutsuou is a heteroflexible gender questioning demigirl!

Samson Rodgers from The Mystery in Crimson is an unlabeled panromantic asexual trans guy!

Beth Taylor from Monkart is a transfemme nonbinary aroace trixic spring/bambi lesbian!

Willow Park from The Owl House is a demipansexual demigirl!

Hunter is a bisexual nonbinary person!

Gus Porter is a biromantic moon bi asexual demiboy!

Dick Grayson from The Lego Batman Movie is a gender questioning trans demiboy!

Varian from Rapunzel's Tangled Adventure is a demiromantic bisexual nonbinary demiboy!

Darcy from Amphibia is a nonbinary demirose bi lesbian!

Cody Gizmody from Paw Patrol is a polyamorous pansexual demigirl!

Pakas from Miniforce: New Heroes Rise is an aroflux omnisexual intersex nonbinary transmasculine libraflux xenogender intramasculine demiboy!

Leo from Dinocore is a pansexual intersex nonbinary boy who uses they/them, she/her, and he/him pronouns!

Vee is an unlabeled asexual intersex nonbinary libraflux enby who uses they/them, she/her, and it/its pronouns!

Barbara Gordon/Batgirl from The Batman (2004) is a bisexual cisfeminine person who uses she/her pronouns!

Skara is a questioning demigirl who uses she/her pronouns!

Sous Roas from Dragon Ball Super is a polyamorous demipansexual gyneromantic transfemme lovegender softgender nonbinary genderfae demigirl who uses she/her, they/them, love/loves, and ae/aer pronouns!

Hop is a futch nonbinary intrafeminine genderfluid libraflux bi lesbian who uses she/her, it/its, and claw/claws pronouns!

Mabel Pines from Gravity Falls is a pansexual xenogender demigirl who uses she/her, they/them, and he/him pronouns!

Gia Moran from Power Rangers Super Megaforce is a bisexual cisfeminine person who uses she/her pronouns!

Luka Millfy from Kaizoku Sentai Gokaiger is a pansexual cisfeminine person who uses she/her pronouns!

Tracey Sketchit is a bisexual demiboy who uses he/him and she/her pronouns!

Sophocles is an unlabeled demiboy who uses he/him, volt/volts, it/its, and they/them pronouns!

Lillie is a demirose questioning demigirl who uses they/them and she/her pronouns!

They are all in a friendship group!

dni link | requested by @in-an-oddballs-imaginative-mind

[brookstonalmanac]

Birthdays 9.18

Beer Birthdays

Louis X, Duke of Bavaria (1495)

Henry Stuart Rich (1841)

Elmer Hemrich (1890)

Don Barkley

Paddy Giffen (1950)

Jeff Lebusch (1957)

Five Favorite Birthdays

John Berger; art critic, writer, artist (1926)

June Foray; voice actor (1917)

Leon Foucault; French physicist (1819)

Tim McInnerny; English comedian, actor (1956)

Jonny Quest; cartoon character (1964)

Famous Birthdays

Eddie "Rochester" Anderson; actor (1905)

Lance Armstrong; cyclist (1971)

Frankie Avalon; pop singer (1939)

Lord Berners; English composer (1883)

Robert Blake; actor (1933)

Rossano Brazzi; actor (1916)

Jimmy Brogan; comedian (1948)

Joanne Catherall; pop singer (1962)

Kiki Daire; porn actor (1976)

Agnes de Mille; dancer, choreographer (1905)

Debbi Fields; cookie-maker (1956)

Tara Fitzgerald; English actor (1967)

Michael Franks; jazz musician (1944)

James Gandolfini; actor (1961)

Greta Garbo; Swedish actor (1905)

Bud Greenspan; sports journalist, filmmaker (1926)

Keeley Hazell; English model, actor (1986)

Samuel Johnson; English writer (1709)

Joe Kubert; comic book artist (1926)

Kerry Livgren; rock guitarist, keyboardist (1949)

James Marsden; actor (1973)

Elmer Henry Maytag; appliance manufacturer, cheesemaker (1883)

Jada Pinkett; actor (1971)

Dee Dee Ramone; rock bassist (1952)

Jimmie Rodgers; country singer (1933)

Ronaldo; Brazilian soccer player (1976)

Joseph Story; U.S. Supreme Court justice (1779)

Jason Sudeikis; comedian, actor (1975)

Aisha Tyler; actor, comedian (1970)

Jack Warden; actor (1920)

Fred Willard; comedian, actor (1939)

[zalrb]

this isn't directed at you more so at the anons here but: this isn't the place for questions about shows directed at queer audiences. you may think you understand a lot but clearly camp as a concept escapes you or you wouldn't be so harsh about sam reid's performance as lestat. i'm pretty sure you even referred to yourself as straight in an answer to an ask at some point and you don't seem to have interest in queer characters or ships that aren't het so why should your opinion matter?

you're out there comfortably boasting your take on a lesbian character (willow rosenberg) and her superior chemistry with a male character and i'm bi, i'll be the first to say that given her past attraction to men they could have gone down the route of making her bisexual and it's only the context of the times and queer rep in general being what it was that stopped it but as it is willow is a lesbian whether you like it or not willow canonically is a lesbian and i find it just baffling that you would not even be able to find one moment of chemistry that matches up or exceeds the chemistry oz/willow had with the chemistry of her love interest of four fucking seasons. if the only point of comparison was kennedy/willow than fine despite the fact that in the show's canon oz/willow only happened because of willow's comp het the chemistry between her and kennedy was still lacking but tara?? and it's not like there aren't other exemples you're out here using xena/ares as an exemple for an ask about chemistries and xena is one of the most queer coded shows of all time. but let's not talk about that let's focus on ares/xena i guess even though xena's main love interest is gabrielle and the only thing stopping the subtext from being fully text is again the times. you managed to watch spartacus and somehow again in four seasons no queer ships got your attention. the self proclaimed fucking authority on chemistry only found grace in het ships when agron/nasir was right here and gaia/lucrezia or lucrezia/ilithyia but even if we forget ships you don't talk about queer characters on their own either. and the one that genuinely angers me the most: black sails. this show is too fucking good for you. not only have you managed to again ignore all the queer characters and queer ships (miranda/thomas/flint, thomas/flint, flint/silver, maxanor, maxanne. and these are just the canon ones) but you've also paid dust to the black characters. except for madi and i like madi, i like silvermadi too so it sure is ironic i literally went to see your black sails tag just to see if i'm being too harsh but no it's just as horrendous hot takes from a straight girl as i remembered it. literally first post you wish you could find silvermadi content without flint and it exists. if you type silvermadi you'll find some. silver/madi/flint content is usually tagged differently and some people also see parallels between silver/madi/flint to other trios in the show it's not that complicated but you sound so fucking entitled whining about how you don't find content for your straight ship from a show AIMED AT QUEER AUDIENCES like girl shut up. have some sense. i've never seen the eleanor/rodgers shippers (yes they exist) whine about their ship having less content than maxanor or eleanor/vane because they know what show they're watching but clearly you don't"

i'm pretty sure you even referred to yourself as straight in an answer to an ask at some point

Yes, because I used to talk about whether or not I thought something was queer baiting but now, I'm like, what I have to say about the subject doesn't matter because I'm straight, my opinion on what is and what isn't queer baiting doesn't matter. It wasn't like I was asked what do you think of this ship and went omg no I'm straight, I can't talk about wlw or mlm relationships. Come on.

you're out there comfortably boasting

You mean, stating an opinion.

wouldn't be so harsh about sam reid's performance as lestat

I didn't think I was harsh at all, I just said I didn't think he was charismatic as he was supposed to be or as menacing as he was supposed to be.

you're out here using xena/ares as an exemple for an ask about chemistries and xena is one of the most queer coded shows of all time. but let's not talk about that let's focus on ares/xena i guess even though xena's main love interest is gabrielle and the only thing stopping the subtext from being fully text is again the times.

I used Xena/Ares as an example for the ask because I was making a point about a specific kind of chemistry, which was a simmering, anger-to-passion type of chemistry and Gabrielle/Xena wouldn't have fit the context of the post,

the self proclaimed fucking authority on chemistry

So clearly you don't understand sarcasm because the only time I've said I Am The Authority On Chemistry is as a facetious response to anons like you who keep saying that I call myself an authority on chemistry when that has literally never happened.

I am so fucking tired of this.

only found grace in het ships when agron/nasir was right here and gaia/lucrezia or lucrezia/ilithyia

Pretty much every time I mention Spartacus, I also mentioned Agron and Nasir because I loved watching them together? I also speak about Pietros and Barca

but even if we forget ships you don't talk about queer characters on their own either.

So I don't talk about Annanlise. Or Tegan. Or Connor. Never spoke about Burt and Irv. Never spoke about Lafayette. Never spoke about Mickey or Ian or Gallavich. Never spoke about Chiron, never spoke about Kevin. Never spoke about Isaac. Never spoke about Damon, never spoke about Ricky, never spoke about Pray Tell, never spoke about Even, never spoke about Isak, never spoke about Mateo etc.

literally first post you wish you could find silvermadi content without flint and it exists.

OK so let's not act as if it isn't common for tumblr to ignore a canon ship involving Black women in favour of non-canon ships between white men -- in fact I was accused of upholding the same type of preference because I ship Merthur over Arwen despite the multiple breakdowns that I have as to why and the fact that I go hard for Gwencelot -- that's why I was annoyed looking through the tag that everything I had seen about Silvermadi also included Flint. I have dismissed Silverflint in the past, shouldn't have done that.

Madi and Silver are the ship I care about on the show, a lot of the times there is that One Ship I focus on with a show, for Severance it was all about Burt and Irv, I barely spoke about anything else unless asked, for Living Single, it's all about Max and Kyle, I never mention Overton and Synclaire, for Charmed it's Piper Leo etc. etc. because Black Sails isn't a show that I love, I don't talk about any of the characters much -- including Madi -- unless asked. The fact that you're acting like there is a wealth of complex, nuanced, well-written Black characters on the show is kind of astounding to me because there are four and they're not all written equally. When asked, I spoke about what I liked about Max, what I liked about Madi, what I liked about Mr. Scott and what I liked about the Maroon Queen

but the actress made homophobic statements

I didn't know that.

So, like, I'm not really sure what you wanted to accomplish with this ask. I can't comment on IWTV or Sam Reid's performance as Lestat because I'm straight? Don't talk about wlw/mlm ships because I don't think Tara and Willow have chemistry? Don't say anything about Black Sails because Silvermadi is my OTP? No one ask me anything that has anything to do queer characters or ships because you don't like my opinions on certain ships and characters? Like what?

I'm also surprised that you're still lurking considering how much you detest my opinions??

[creelkobblelaufeyson69]

Who I write for *WILL GET UPDATED*

Marvel:

Loki Laufeyson

Thor Odinson

Darcy Lewis

Jane Foster

Peter Parker (Tom Holland and Andrew Garfield)

Erik Lensherr

Charles Xavier

Jennifer Walters

Everett Ross

Norman Osborn

Kilgrave

Otto Octavius

Wanda Maximoff

Wade Wilson

Logan

Quentin Beck

Mobius

Emil Blonsky

Zemo

Bucky Barnes

Steve Rodgers

Doctor Strange

Sam Wilson

Steven Grant/ Marc Spector

Peter Maximoff

MJ (Zendaya's)

Gamora

Nebula

Frost Giant Loki (What If)

Kate Bishop

Yelena Belova

Raven Darkholme

Peggy Carter

Aunt May (Tom Holland's Spiderman)

Natasha Romanoff

Valkyrie

Agatha Harkness

Hela

Miguel O Hara

Monica Rambeau

Layla El Faouly

Carol Danvers

Harry Potter:

Severus Snape

Barty Crouch Jr

Lucius Malfoy

Cedric Diggory

Bellatrix

Narcissa

Tonks

Remus Lupin

Fred and George

Newt Scamander

Gellert Grindelwald (Johnny Depp’s)

Draco Malfoy

Doctor Who:

Tenth Doctor

Eleventh Doctor

Rose Tyler

Clara Oswald

Amy Pond

Donna Noble

Maratha Jones

River Song

The Master (John Simm)

Good Omens:

Crowley

Beelzebub

Crowley and Aziraphale

Aziraphle

Stranger things:

Steve Harrington

Robin Buckley

Eddie Munson

Enzo

Henry Creel

Nancy Wheeler

Joyce

BBC Sherlock:

Jim Moriarty

John Watson

Sherlock

The Lighthouse:

Thomas Wake

Thomas Howard

Scream:

Billy Loomis

Stu Macher

Sydney Prescott

Dewey Riley

Gale Weathers

Sam Carpenter

Amber Freeman

Tara Carpenter

Tatum Riley

Kingsmen:

Harry Hart

Agent Whisky

Tim Burton characters:

Victor Van Dort

Emily

Willy Wonka

Sweeny Todd

Mrs. Lovett

Edward Scissorhands

Mad Hatter

Stephen King Characters:

Pennywise

Dan Torrance (Doctor Sleep)

Jack Torrance

DC movies:

Harley Quinn

Roman Sionis

John Constantine (Keanu Reeves)

Bruce Wayne (Robert Pattinson)

Twilight:

Edward Cullen

Alice Cullen

Caius

Carlisle Cullen

Bridget Jones’ dairy series :

Mark Darcy

Daniel Cleaver

Hugh Grant characters:

Phoenix Buchanan

Forge (DND movie)

Star Wars:

Obi Wan Kenobi

Kylo Ren

Poe Dameron

Din Djarin

Jason Isaacs characters:

Captain Hook

Hap

David Tennant characters:

Peter Vincent

Alec Hardy

[realdelvalle]

☾✶ · 𝖈𝖔𝖓𝖙𝖊𝖔 𝖉𝖊 𝖆𝖕𝖕𝖘 .

en el buzón :

millaray romero　( julia dalavia )

taisha shwetz　( greta onieogou )

enzo byrne　( drake rodger )

jett walker　( chloe rose robertson )

alondra sayyed　( janhvi kapoor )

ignacio lara　( jorge blanco )

eden lim　( park jinyoung )

patricia villalobos　( bárbara lópez )

quetzalli huerta　( macarena garcia romero )

santhiago wahle　( alex fitzalan )

sugei mori　( kaylee bryant )

luna deveraux　( diana silvers )

junseo kwang　( hwang hyunjin )

neti tangwai　( apo nattawin )

alina duarte　( ana de armas )

tara örzarslan　( özge yagiz )

margo velasco　( sofia carson )

elena bello　( samantha boscarino )

amara durcal　( melissa barrera )

total : 19 / 32 ciudadanes.

esta publicación será actualizada mientras sigan ingresando las apps al buzón, revisar si se encuentra la propia. de no figurar, pedimos que sea enviada nuevamente & confirmar al main. agradecemos enormemente que sigan las indicaciones, nos hacen el trabajo mas ágil. pronto verán sus aceptaciones publicarse. ¡estar atentes! tengan un excelente sábado, ¡ gracias por confiar en nosotros & real del valle ! 🦋

[ezrajteboul]

Circuit music, circuit scores

In this [blog post that was supposed to be a book chapter] I discuss circuit music and what it says about notation and the place of electronic music instruments in a greater ecosystem of commodities. Developing Tara Rodgers' conclusion in her article, "Cultivating Activist Lives In Sound" I suggest that electronic components have an unrealized potential as a political medium within the context of music because they offer a) a glimpse at technological production after the profit motive and b) a grounds for technological minded composers to consider their role in the global of movement of commodities that makes their art possible. Such optimistic considerations are inevitably brought back to reality considering the the hegemonic ideologies within which this plays out - what is to be done? 

Cardew's Stockhausen Serves Imperialism (1974) discusses the 1972 "International Symposium on the Problematic of Today’s Musical Notation" in Rome. Echoing Goifredo Petrassi, who according to Cardew stated that "notation was not in any way a real 'problem' facing composers today," (125) the British composer detailed his contribution to this "symposium on a nonexistent problem." (79). 

Contrast this with the problem of notating electronic systems for design, testing, and manufacturing. Printed circuit boards, which today tend to be designed digitally, were a 60.2 billion dollar market globally in 2014. Microelectronics, which also rely on a system of notation for their design, since semiconductors must be deposited in precise arrangements relative to each other, were one order of magnitude higher at 555.9 billion dollars in global sales in 2021. 

This glut of manufacturing of electronics has been an ongoing phenomena since the second world war (Gabrys 2013). With the Cold War compounding this dramatically (Wolfe 2012), the surplus of unused or discarded military equipment was so common and cheap in north america that composers such as David Tudor and his collaborators in the Composers Inside Electronics group were able to explore what Nicolas Collins calls the "music implicit in technology" (Collins 2007, 46). This form of composing, which I called in another draft circuit music, is concerned expressly with the arrangement of electronic components and systems for music and performance, rather than the more traditional arrangement of sounds or instructions for sound-making by instrumentalists. In terms of notation, circuit music is the set of musical works that are discussed, written and conceived of in the idiom of electronics, rather than music: circuit schematics and diagrams, first, and, in a related fashion but with too much at hand to be discussed in detail here, computer programs. I'll call these forms of notated circuit musics technical abstractions below. 

In that sense circuit music is at an odd crossroad. On the one hand, its use of notation is about as real a problem as graphic notation was to avant-garde european composers in the 1970's, as assessed by Cardew and Petrassi: it does not matter much in terms of hegemony (cultural or financial) whether or not composers use the european symbol for resistor, the american symbol, or make up their own for the various abstractions used in and for their circuit-compositions. On the other, electronics do use notated and notating techniques (in the form of microchips and circuit schematics augmented with the occasional computer program) that are about as real as things can get in our contemporary context. Electronics mediate the majority of musicking experiences, at least in the west (Devine 2019). 

In 1990 a MoMA exhibit titled "Information Art" (funded by Intel) offered a book of essays in which one Cara McCarty writes in passing that  "microelectronics represent the essence of mass production." [McCarty 1990, 5] If circuit music is a sounding of the music implicit in technology, and that technology is mass produced, can the genre (and live electronic music more generally) be read as a sonified form of mass production? In other words, is circuit music meaningfully understood as an attempt to make sense of mass production through a making-music of some of its most ubiquitous rejects? If it is then it is not particularly surprising to see at least one iteration of circuit music emerge in New York City, next to Bell Labs and R.C.A., by touring musicians who would also come close with other initiators of electronic music generally (Buchla, Moog, the Columbia-Princeton Electronic Music Center). There were enough cheap components, people with free time, and a culture of diy electronic sound for it to happen eventually (Haring 2007). And yet circuit music tends to be an oddity, generally called "live electronic music" to bundle it with some early forms of computer music (such as that of the Hub and the later League of Automatic Musicians), and placed under the "pioneering" work of David Tudor - on whom the first book has only just been published (Nakai 2020). Cultural contextualizations of the practice are scarce, and the present publication is, as far as I know, the first one to suggest that not only might circuit music be an attempt to make sense of the technological overproduction of the west during the 20th century (if musicians weren't going to make music out of all this stuff, then what was it all for?) but also that it might in sense represent one of the most unadulterated sonifications of that overproduction. Every squelch, every beep, every bloop heard in what I'm calling circuit music is more than an experiment by Tudor or Mumma or Collins or DeMarinis, etc - it's a scream compounding the labor and materials involved in making those components available to those people in their respective time-places. Rephrasing an earlier question: in what sense is circuit music simply the music of western technoscience's hegemony? 

Not in every sense: circuits were used creatively, even subversively by artists and activists throughout the 20th century. Even Composers Inside Electronics, who never exactly wore their politics on their sleeves, wrote discreetly and sporadically about the social hierarchies, folk crafting histories and utopias they were perhaps hinting at through and with their circuits and performances (Mumma 1974, DeMarinis cited in Teboul 2020, add p. range). These counter-scriptings of technology (Akrich 1992) have only accelerated today, generally much beyond music (Dunbar-Hester 2014 and 2020, Flood 2020, Striegl 2020), if only because there are more computers to hack and more people to hack them. There, electronic music generally and circuit music specifically are in a unique situation to respond to Tara Rodgers' call for cultivating activist lives in sound (2015), because of the massive production and consumption chains required to make these practices simply possible, let alone good in whatever aesthetic sense you might be interested in. Indeed, under the conflict of notation at the heart of electronic / music, lies the friction between a deeply experimental and open ended practice, where musical forms are generally remediated to quaint side effects through primarily cultural means, and a deeply formal tradition of electronics design and small scale assembly, itself undergirded by perhaps the largest, most active and most codependent industrial behemoth ever conceived and executed: the global electronics industry. The latter [silicon earth, planetary mine, etc] is so dependent on both a large variety of manufacturing techniques, intermediate products and externalized manufacturing costs that it would hardly be recognizable or exist at all  if this supply chain were to break down or our consumption drastically change: the former is visible in the effect of the COVID-19 pandemic on computer parts availability, even if the latter seems mostly to remain a luddite pipe dream at the moment. Scholars like Benjamin Bratton also rightfully point out that the response to the climate crisis (2016, add page range)- in no small part caused by the electronics industry and its gargantuan energy, mineral and human needs - is likely to have more electronics touted as part of its own solution: more smart meters, more supply chain tracking, more computers for every vehicle as we transition to electric cars instead of public transit, and so on. 

In the middle of this shitstorm the scale and affect of electronic music and circuit music seems fairly quaint. In terms of volume it's a fraction of say, the computer market (add reference). But this is where what I identified in past writing (Teboul 2018) as diy electronic music's post-optimality feels relevant. Post-optimality names the productive inefficiencies, the inspiring user-unfriendliness, the various fetishizations and romanticizations - in other words, the reasons why a small subset of people seem dedicated to vacuum tube amps and analog synthesizers regardless of their cost, weight, and difficulty of maintenance. This is to the point of restarting the fabrication of obsolete microchips (add ref) or maintain entire soviet-era factories (add ref), even if at no scale comparable to the rest of the electronics industry. Either way it compounds interestingly with its place between electronics and music: indeed circuit music is so explicitly post-optimal that it is rarely enacted with financial expectations other than loss. It would be interesting to do a survey of musicians who hope to recoup expenses on their gear through their artwork versus how many eventually do, and compare that with the equivalent statistics for circuit musicians widely construed. The comparison is flawed, as some electronic artists did eventually turn some form of social capital into gainful employment (I am thinking specifically of all the ex-composers inside electronics working at universities). But the way that circuit musicians, as documented in my decade of ethnographic fieldwork and participant-observation studies (add refs) reinvent electronics for variously esoteric applications meaningful primarily for themselves, suggests that circuit music (and its various forms of technical abstractions which enable, encode and communicate that music) can offer - like other creative applications of technology - a glimpse at what we can do with the aftermath of capitalism after the abolition of the profit motive. 

In previous writing (Teboul 2020, add page range) I'd offered a distinction between canonical technical devices, those which are documented in engineering textbooks and taught in accreditation-seeking engineering curricula, from vernacular systems, those developed in more ad-hoc conditions by people who may be aware of canonical devices or not, but with very little intent on being documented back into what Marx called "general intellect," that is, the collective knowledge reasonably available to members of society [add ref]. Part of my work studying circuit music has been identifying the precise paths taken by artists working from canonical systems, or at least standardized components, and literally inventing new systems through guesswork, experimentation, or study. In other words, part of my work is concerned with reverse engineering vernacular systems to better identify the extent to which circuit music is itself a form of engineering and give, as possible, credit to all the work done and the creativity displayed along the way. What emerges from this ongoing project is that circuit musicians are one example (possibly amongst many) of electronic arts within which the privilege of access to cheap electronic components and computing environments- whether acknowledged and investigated or (more commonly) not - of what happens when humans get to fuck around with stuff feeling like they don't need to show anything for it, however artificial that condition may be. Of course there are plenty of electronic artists who develop their practice fully aware of its complicated connection to capitalism and extractivism, with an increasing number of contemporary artists (myself included) for whom that is explicitly the focus and goal. But there is the suspended disbelief inherited from experimental music: we try to wire these components in new ways without the assurance of success not because we want to mass produce anything, but just because we were curious to try it and see if it behaves as expected. This is not particularly original - similar arguments have been made of punk or improvised music and their social effects, for example - but I don't think it's a coincidence circuit music emerged roughly at the same time. 

So of course circuit music as a glimpse of technology after the profit motive is blatantly and naively optimistic. Punk didn't exactly change the world, circuit music certainly didn't either. Lauren Flood's discussion of musical hacking in nyc and berlin (Flood 2020) seems to work along parallel lines, identifying that people feel like they're doing something potentially utopian and radical, but also acknowledging that in-depth investigation of the means and effects of these activities tend to temper most of their reach as localized and perceptual, if not imaginary. 

This is - to me - exactly the point. There is a very straightforward material and didactic effect that circuit music has on the practitioner, and, with some preparation, their audiences: a realization of the connected nature of the electronic commodities, their production and consumption chains, the materials and labor that make them possible. If live electronic music is the music implicit in mass production, then every sounding is an opportunity to learn about the forces responsible for environmental and human disasters. In that sense circuit music can serve as one of the many cultural spaces within which artists can develop the tacit knowledge of electronic commodities chains we will need to begin to think of the possibility of an ethical electronic music, one which does not rely on exploiting semiconductor factory workers in southeast Asia, or more fossil fuels and plastics to make electronic music possible. Between the rigidity of semiconductor dyes, perfectly notated and printed designs from above, and improvised circuit board-compositions with their occasional little embedded programs, is the field within which we decide what systems of power and notation we are willing to grapple with and which we choose to abandon as irredeemably unsustainable. 

Bibliography: 

Akrich, Madeleine. 1992. “The De-Scription of Technical Objects.” In Shaping Technology/Building Society: Studies in Sociotechnical Change, edited by Wiebe Bijker and John Law, 205–24. Cambridge: MIT Press.

Bratton, Benjamin H. 2016. The Stack: On Software and Sovereignty. MIT press.

Cardew, Cornelius. 1974. Stockhausen Serves Imperialism, and Other Articles: With Commentary and Notes. Latimer New Dimensions.

Collins, Nicolas. 2007. “Live Electronic Music.” In The Cambridge Companion To Electronic Music, 38–54. Cambridge: Cambridge University Press.

Devine, Kyle. 2019. Decomposed: The Political Ecology of Music. Cambridge, MA: The MIT Press.

Dunbar-Hester, Christina. 2014. Low Power to the People: Pirates, Protest, and Politics in FM Radio Activism. Cambridge: MIT Press.

———. 2020. Hacking Diversity: The Politics of Inclusion in Open Technology Cultures. Princeton Studies in Culture and Technology. Princeton, New Jersey: Princeton University Press.

Flood, Lauren. 2020. “The Sounds of Zombie Media.” In Audible Infrastructures, 229–53. Oxford: Oxford University Press.

Gabrys, Jennifer. 2011. Digital Rubbish: A Natural History of Electronics. Ann Arbor: University of Michigan Press.

Haring, Kristen. 2007. Ham Radio’s Technical Culture. Cambridge: MIT Press.

High, Kathy, Sherry Miller Hocking, and Mona Jimenez, eds. 2014. The Emergence of Video Processing Tools. Bristol: Intellect Books.

Jones-Imhotep, Edward. 2008. “Icons and Electronics.” Historical Studies in the Natural Sciences 38 (3): 405–50.

Kharpal, Arjun. 2022. “Global Semiconductor Sales Top Half a Trillion Dollars for First Time as Chip Production Gets Boost.” CNBC. 2022. https://www.cnbc.com/2022/02/15/global-chip-sales-in-2021-top-half-a-trillion-dollars-for-first-time.html.

McCarty, Cara. 1990. Information Art: Diagramming Microchips. New York: Harry N. Abrams with the Museum of Modern Art.

Mumma, Gordon. 1974. “Witchcraft, Cybersonics, Folkloric Virtuosity.” In Darmstadter Beitrage Zur Neue Musik, Ferienkurse ’74, 14:71–77. Mainz: Musikverlag Schott.

Nakai, You. 2021. Reminded by the Instruments: David Tudor’s Music. Oxford: Oxford University Press.

Rodgers, Tara. 2015. “Cultivating Activist Lives in Sound.” Leonardo Music Journal 25: 79–83.

Striegl, Libi Rose. 2020. “Voluntary De-Convenience: A Workshop Kit.” Doctoral Dissertation, Boulder: University of Colorado, Boulder.

Teboul, Ezra J. 2018. “Electronic Music Hardware and Open Design Methodologies for Post-Optimal Objects.” In Making Things and Drawing Boundaries: Experiments in the Digital Humanities, edited by Jentery Sayers, 177–84. Minneapolis: University of Minnesota Press.

———. 2020. “A Method for the Analysis of Handmade Electronic Music as the Basis of New Works.” Doctoral Dissertation, Troy, NY: Rensselaer Polytechnic Institute.

Wolfe, Audra J. 2012. Competing with the Soviets: Science, Technology, and the State in Cold War America. Baltimore: John Hopkins University Press.

“World PCB Production in 2014 Estimated at $60.2B.” 2015. 2015. https://www.iconnect007.com/index.php/article/92973/world-pcb-production-in-2014-estimated-at-602b/92976/?skin=pcb.

[modelsoffthecatwalk]

[stylebythemodels]