I am most grateful to the artists I interviewed for this book and its
web-based predecessor, Pinknoises.com. Their experiences and tal-
ents speak volumes, far beyond the scope of one book. I have been im-
pressed by their work and moved by their willingness to communicate
aspects of their creative lives toward this project. I hope that the book
circulates their sounds and stories fairly and widely.
Karen Choy generously contributed her design skills toward the re-
alization of Pinknoises.com from 2000 to 2005, and without her work
the site would have been much less vibrant if not impossible to main-
tain. An extended network of people supported the site or my music
during this period, which laid a foundation for this book: Adrienne
Day, Chealsea Wierbonski, Lola Rephann of Deep See, and Brenda
Kahn of Womanrock in New York City; Carla DeSantis of Rockrgrl in
Seattle; the First Ladies DJ Collective in Washington, D.C.; Ladyfest
in Chicago and Texas; Estrojam in Chicago; Brock Phillips at Motor-
mouth Media in Los Angeles; Anne Hilde Neset at the Wire; Tomas
Palermo and others at XLR8R, Emily Griffin of Electric W.O.M.B., the
Sister SF collective, and Ninah & dAS of kPFa/No Other Radio Net-
work in the Bay Area; DJ Cyan, ckut, and Studio XX in Montreal.
Susan Smulyan at Brown University has remained over many years
an outstanding mentor and friend; undergraduate music seminars
with Carol Babiracki and Rose Subotnik also sparked interests that
run through this project. I am grateful for many fruitful encounters
in the mFa program in electronic music at Mills College, especially for
Maggi Payne’s attention to sonic detail; Fred Frith’s open-mindedness
and commitment to community; Pauline Oliveros’s ideas about music
and feminism; Chris Brown’s enthusiasm for computer music; Alvin
Curran’s experimentalism; and David Kwan’s gift for straightforward
critique. In Montreal, Jonathan Sterne provided detailed feedback
and superb advising. Darin Barney, Carrie Rentschler, Will Straw, and
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