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‘Sisters With Transistors’ Restores Women Back In Music History


During the world war II, women take more. With American men being sent overseas, they worked in aviation industries, manufacturing weapons, piloting aircraft. Most people know this, or they know the name Rosie the Riveter. What is less clear is what happened after the war. When the soldiers returned home, they took over most of the work that Mother was doing. But the freedom and expansion of new technologies at the time brought about another thing, something that was about to be lost in history: a new group of female singers in their union.

British mathematician and songwriter Delia Derbyshire lives in Coventry during the Blitz. Its electronic-sounding vocals are produced through a tape translation and a voice-changing method called concrete songs-He was encouraged by the sound of the plane he heard at the time. “It’s electronic music!” he says in the text Sisters And Transistors. Derbyshire continued to liaise with the BBC Radiophonic Workshop and participated in a music project Doctor Who. Ron Granier, the man who is known to have written the title, has always said Derbyshire should get a loan to support his plans. But in the 1960s, the BBC favored the sponsors of the Workshop anonymously, which is why Derbyshire work was never identified.

Sisters And Transistors, which is it’s setting here through a partnership with Metrograph Theater in New York, it has articles like this. Directed by Lisa Rovner and built on a series of historical dialogues, it is a history of women who, throughout the 20th century, attempted to bring out the voice of a newly empowered country. From the aftermath of World War II, when new technologies were making new sounds possible, until their songs are still heard on pop papers today, the goal of Sisters and reintroducing women into the history of electronic music. “The issue of women is one of silence and silence,” avant-garde singer Laurie Anderson explains in a video clip. “Where it was quiet, there’s a nice noise.”

Noise is essential. The female writers, the film says, were attracted to electronic music because it lived on its edge. They didn’t have to be part of a popular male band – or participate in radio, studios, or movie theaters – to participate. Synthesizers and tape recorders allow women to work around mature companies and design their own. They can make their own weapons and their voices. As a network that helps musicians reach more people, Sisters And Transistors the image that these tools provided the artists. Singer Laurie Spiegel explains: “Skills are a great help. “It explodes electricity.” (Words used extensively for Spiegel’s music can do that find a way to enter Hunger Games, a video about a blast.)

For Pauline Oliveros, this meant recording any words outside her home in San Francisco and making sound equipment using household items such as bathrooms or scrolls of toilet paper. Oliveros devised a way to slow down the tape so that he could produce his own music right away and form the San Francisco Tape Music Center, which became the basis for house music in the 60s. (He also made fun of sex, write in New York Times in 1970.

Not all the actors in the film remain outside. Suzanne Ciani got good at making commercials and appeared again The Final Show is by David Letterman. But what is different. Many have never seen great success and some have faced other challenges. For example, Bebe and Louis Barron, pioneers of electronic music, lost a fight with the Musicians’ Union in the 1950’s, which led to their victory. Prohibited Land seen as “computer content” not music – and not worthy of reward. (See also: what happened in Derbyshire’s Doctor Who work.)

Sisters And Transistors ends with something cultural: Johann Sebastian Bach. In 1968, Wendy Carlos was released Switch-On Bach, the fictional songs he wrote were repeated on Moog. Until then, the use of synthesizer was limited to experimental music; Switch-On recognized a deviation from avant-garde roots and paved the way for synchronization in popular music. It is necessary, if not illegal, to terminate. Carlos’s music sets the future for music, even if it only appears as part of his history.

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