::: Gender :::
::: Books :::
Farrugia, Rebekah “Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture” Bristol and Chicago: Intellect, 2012.
Hutton, Fiona. 2006. Risky Pleasures? Club Cultures and Feminine Identities. Aldershot and Burlington VT: Ashgate.
Plant, S. (1997). Zeroes and Ones: Digital Women and the New Technoculture. New York, Doubleday.
Rodgers, Tara. 2010. Pink Noises: Women on Electronic Music and Sound. Durham NC: Duke University Press. (Introduction)
(Image from: DJ Magazine, December 2013)
::: Articles & Chapters :::
Amico, Stephen. 2001. “‘I Want Muscles’: House music, homosexuality and masculine signification.” Popular Music 2001 20(3), 359-378.
Avery, Anthony P. 2005. “Folklore and alternative masculinities in a rave scene”. Ph.D. Dissertation, University of New Mexico.
Bernardo Attias, Anna Gavanas, Hillegonda Rietveld 2013 “DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music”
Brown, Jennifer M. “De-gendering the electronic soundscape: women, power and technology in contemporary music” 1996 Thesis
Derrico, Mike “Going Hard: Bassweight, Sonic Warfare, & the “Brostep” Aesthetic” Sound Studies Blog 2014
Dickinson, Kay. “‘Believe’? Vocoders, Digitalised Female Identity, and Camp.” Popular Music 20, no. 3 (October 2001): 333-347.
Dommu, Dream “Why Are There So Few Parties Where Trans People Feel Safe?” THUMP June 25, 2016
Essl, George “On gender in new music interface technology”
Farrugia, Rebekah; Swiss, Thom “Producing Producers: Women and Electronic/dance Music” Current Musicology , No. 86
Farrugia, Rebekah. 2004. “Sister djs in the house: Electronic/dance music and women centered spaces on the Women’s Studies in Communication 27(2), 236-262.
Farrugia, Rebekah L. 2004 “Spin-sters: women, new media technologies and electronic/dance music” Thesis U. Iowa
Farrugia, Rebekah L. “Building a women-centered DJ Collective” Feminist Media Studies 09/2009; 9:335-351
Frank, Kevin “Female Agency and Oppression in Caribbean Bacchanalian Culture: Soca, Carnival, and Dancehall”Women’s Studies Quarterly
Friedlander, Emilie “We Crunched the Numbers and Electronic Music Festivals Still Have a Gender Equality Problem” THUMP July 15, 2016
Garcia,Luis-Manuel “An alternate history of sexuality in club culture” Resident Advisor Jan 2014.
Hall, J. (2002) “House Queens and Techno Drones: the social construction of gender in the house and techno club through dance movement and other embodied practices” MA thesis, University of Surrey.
Harewood, Susan “TRANSNATIONAL SOCA PERFORMANCES, GENDERED RE-NARRATIONS OF CARIBBEAN NATIONALISM” Social and Economic Studies
Hillier, Paul “The Pulse of the Beat: Aura, Technique, and Masculinity in House Music” 2011
Hope, Donna “The British link-up crew: Consumption Masquerading as Masculinity in the Dancehall” Interventions Volume 6, Issue 1, 2004 pages 101-117
Hutton, Fiona. 2001. “Making Out in the City: Negotiating the Feminine on Club Scenes in Manchester”. Ph. Dissertation, Manchester Metropolitan University.
James, Robin “Brogemony and Dubstep Production” Cyborgology 2014
James, R. (2009). “Robo-Diva R&B”: Aesthetics, Politics, and Black Female Robots in Contemporary Popular Music.” Journal of Popular Music Studies 20(4): 402-423.
Kale, Stephanie. 2006. “Beyond Gender?: Women in the Cultural Economy of Electronic Music”. M.A. Thesis (Political Economy), Carleton University.
Kretowicz, Steph “Feminine Appropriation Was 2014’s Biggest Electronic Music Trend” The Fader Dec. 2014
Laemmli, Kiley E. “Culture as Commodity: Dancehall Queens and the Sale of Female Empowerment”
Marsh, Charity. 2005. “Raving Cyborgs, Queering Practices, and Discourses of Freedom: The Search for Mean Toronto’s Rave Culture”. Ph.D. Dissertation (Popular Music Studies/ Ethnomusicology), York University, Toronto, Canada.
McRobbie, Angela Essay Collection – 40 Essays in PDF- (on feminism and cultural production etc)
Noble, D. (2000) “Ragga Music: Dis/Respecting Black Women and Dis/Reputable Sexualities” in Hesse, B (ed. ) Unsettled Multiculturalisms: Diasporas, Entanglements and Transruptions London: Zed Books: 148-169.
Olszanowski, Magdalena “What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music”Dancecult 4:2 2012
Pini, Maria “Women and the Early British rave Scene“ In Angela McRobbie (ed) Back to Reality?: Social Experience and Cultural Studies
Pini, Maria. 1997. “Cyborgs, Nomads and the Raving Feminine.” In Dance in the City, edited by Thomas, H. L Macmillan,
Pinto, Samantha “Why Must All Girls Want to be Flag Women?”: Postcolonial Sexualities, National Reception, and Caribbean Soca Performance” Meridians: feminism, race, transnationalism Volume 10, Number 1, 2009 pp. 137-163
Pini, Maria. 2001. Club Cultures and Female Subjectivity: the move from home to house. Hampshire: Palgrave
Pinnock, Agostinho M.N. “A Ghetto Education Is Basic”: (Jamaican) Dancehall Masculinities As Counter-Culture” The Journal of Pan African Studies, vol.1, no.9, August 2007
Saunders, Patricia J. “Is Not Everything Good to Eat, Good to Talk: Sexual Economy and Dancehall Music in the Global Marketplace” Small Axe Number 13 (Volume 7, Number 1), March 2003
Saxelby, Ruth “13 Women On How To Change Male-Dominated Studio Culture” the Fader Oct. 2014
Stark, Oren “Notes re: brostep, bro-gemony, & MEC” 2014
Zips, Werner “There ain’t just Black in the Atlantic, Jack! Transformations of Masculinity from the Outlaw to the Rebel in Dancehall Reggae” Volume! 2011/2 (8:2)