Venue: Revolution Cafe

Venue: JBL Theater

Moderated by: Wendy Fonarow

Jason Hanley, "The Transformation of Kraftwerk: From 'Autobahn' to 'The Man-Machine'"

Lauren Hume Flood, "Total Sonic Annihilation: The Loudest Sounds in New York and the Technoaesthetics of DIY"

Theo Cateforis, "'Dark Spaces and Empty Places': Ambient Reverb and the Meanings of British Post-Punk "

Venue: Learning Labs

This round-table features several artists known for deploying new technologies, in conversation with the Feminist Working Group communities about issues of gender, sexuality, music and technology. We hope to discuss the relationship between technology and empowerment, the gendered and racial nature of machines, the master's tools, and the transformative possibilities of technologies in the hands of women.

Moderated by: Ann Powers, Sarah Dougher

Emily Wells, "Feminist Working Group Session"

Wynne Greenwood, "Feminist Working Group Session"

Tara Rodgers, "Feminist Working Group Session"

Venue: Level 3

Moderated by: Nate Chinen

Dave Gilbert, "James Reese Europe's Society Orchestras: African Americans and the Early Recoding Industry"

Tyina Steptoe, "ABCs and C-D-E-Fs: High School Music Programs and the Cultivation of Jazz in Jim Crow Houston"

Roland Jackson, "The Jive Technologies of Jazz-Fusion: Charles Mingus's Use of Technology"

Venue: JBL Theater

Moderated by: Keir Keightley

Daphne A. Brooks, "Open Tuning: Blind Tom, Human Phonography & Black (Metaphysical) Noise in the Age of Slavery"

David Suisman, "Digital Before Digital: The Player-Piano and Its Analog Legacies"

Lori Brooks, "'To Be Black is To Be Funny': White Female 'Coon Shouters,' Comedic Song, and the Technological Production of the New Woman"

Jody Rosen, "'The Microphone Has No Footlights': Al Jolson's Radio Days"

Venue: Learning Labs

Moderated by: Hua Hsu

John Fenn, "Analog Circuits, Digital Community: Boutique Effects Pedals as Convergence Culture"

Loren Kajikawa, "The Analogue Sound of Digital Production: Dr. Dre's G-Funk in Post-Rebellion L.A."

Karen Tongson, "Analog Acoustics: Echoes of the Subject from Rin on the Rox to Glee"

Oliver Wang, "Microwave DJs: Digital Technology and Contemporary Disc Jockey Practice"

Venue: Level 3

Moderated by: Kurt Reighley

Evie Nagy, "Black and White and Red Lipstick: The Problem With A Cappella"

Evan Kindley, "'I Do Alterations': Sammy Cahn and the Business of Parody"

Eric Fredericksen, "Karaoke and Authenticity"

Mark Burford, "The Techniques and Technology of Postwar Pop: Black Gospel Music on Main Street, U.S.A. in Sam Cooke's 'That's Heaven to Me' "

Venue: Demo Lab

Before badass all girl Tejana semi-queer indie band Girl in a Coma made their way into a record deal on Joan Jett's Black Heart label, the girls innovatively utilized social technologies like My Space, Facebook and Twitter to create alternative on-line social communities and co-participants that translated into flesh and blood audiences for their live performances as they toured. Indie "out-there" bands like Girl in Coma (whose mix of piercing punk and alternative pop, with just a pinch of Tex Mex and country has fans believing that the Smith's Morrissey has morphed into a powerful Latina vocalist) embrace social media to their advantage, simultaneously promoting their music while fashioning and controlling their visual/sonic representation on their own terms. Web 2.0 technologies enable Girl in a Coma to experience a bi-directional intimacy with their fans. Tweeting about their inclusion in the EMP|UW "American Sabor" traveling exhibit, Girl in a Coma meshed their on-line community with the museum world, bringing together social worlds otherwise disparate. Critic Catherine Ramirez's notion of ChicanaFuturism, comes alive as the band deploys social technology to create new worlds, fulfilling cyber-punk extraordinaire Gloria Anzaldua's Chicana futurism dreams.

Moderated by Michelle Habell-Pallan and Sonnet Retman, this roundtable features the band members of Girl in a Coma and their manager Faith Radle and invites them to discuss their use of social technologies in the context of shrinking support for artists. As these three tattooed Tejanas discuss and play, we'll hear and help make what the future sounds like.

Moderated by: Michelle Habell-Pallán, Sonnet Retman

Venue: Learning Labs

How to Wreck a Nice Beach: The Vocoder From Stalin to Frampton to Bambaataa is the first ever history of the Vocoder, a device born out of Bell Labs in 1928 for use in transoceanic communication. Tompkins will trace the Vocoder from World War II-era cryptography—complete with D-Day and Hiroshima cameos—to World's Fairs, 1970s motorik Krautrock, the Cylons from Battlestar Galactica, Neil Young's mountain ranch, and Sun Ra's scrapped "Outer Visual Communicator."

Moderated by: Hua Hsu

Dave Tompkins, "How to Wreck a Nice Beach: The Vocoder From Stalin to Frampton to Bambaataa"

Venue: JBL Theater

Dressed in 90s-appropriate plaid tunics from the Miley Cyrus / Max Azria Wal-Mart collection, Marisa Meltzer, Kara Jesella, and Ada Calhoun will present a panel on the pre-Internet age girl's bedroom, and how it shaped Generation X. At the conclusion of the panel, Neal Medlyn will do a recreation of the controversial video for the 1998 hit "Thank U" by Alanis Morissette that will illustrate pre-internet pop culture in all its wonder and cringe-worthiness.

Moderated by: Neal Medlyn

Venue: Level 3

The phonograph's cut-and-paste aesthetic, from Dada in the 1920s to '70s avant-gardists and"controllerists" today, will be the focus of this session, in which scholars and participants in electronic music culture will see their commentary integrated into an audio-visual performance manipulated primarily by a DJ controller dubbed the VidiMasher. Discussion to follow.

Bernardo Alexander Attias, "Plagiarhythm Nation: The New "Menace of Mechanical Music"?"

Fred Church, "Plagiarhythm Nation: The New "Menace of Mechanical Music"?"

Mark Gunderson, "Plagiarhythm Nation: The New "Menace of Mechanical Music"?"

Venue: Demo Lab

Moderated by: Carl Wilson

RJ Smith, "The Silent Majority"

Gayle Wald, "Soul Vibrations"

Charlie Bertsch, "Duplicating the Singular: An Aura For the Digital Age"

Venue: Learning Labs

Moderated by: Kathleen Woodward

Banning Eyre, "Not Your Daddy's Rumba Anymore: African Pop Melds into the American Musical Landscape"

Jon Kertzer, "Good Golly, Why Mali? Solving the Mystery of the Dominance of Malian Popular Music"

Venue: JBL Theater

A roundtable looking back over music of the past decade, particularly the role of technology, with critics/editors Robert Christgau, Chuck Eddy, Joe Levy, Ann Powers, and Elliott Wilson

Moderated by: Robert Christgau

Venue: Learning Labs

Moderated by: RJ Smith

Christopher DeLaurenti, "The New Phonographers: An Alternate History of Field Recording"

Jon Leidecker, "The Radio As Instrument: Shortwave Sound at the Roots of Sampling"

Laura Harris, "Art and Social After(life): Jimi Hendrix and Hélio Oiticica"

Venue: Level 3

Fandango jarocho – music, dance, verse, protocol – creates a space in which participants reevaluate these relationships through musical interaction while building a community in direct opposition to hyper-individualism and commercialization. The panel focuses on the history of fandango jarocho, from its roots in Veracruz, Mexico to its popularity among Chicana/o communities in California, the ways this technology is applied in social activism, and how the use of digital technology enhances its potential. The panel will also discuss how fandango jarocho has emerged in Seattle. Presenters: Francisco Orozco, Martha Gonzalez, Kristina Clark, and Carrie Lanza. Music performance, led by Quetzal Flores, will be integrated into the discussion.

Moderated by: Francisco Orozco

Francisco Orozco, "Tecnología de Cedro: Fandango as Technology for Social Activism and Transnational Dialogue"

Martha Gonzalez, "Mixing in the Kitchen: Transnational Feminine Musical Compositions"

Kristina Clark, "Common Ground: Cross-Cultural Encounter, Exchange and Empowerment on La tarima"

Carrie Lanza, "Convivencia on Campus: Mapping the Impact of the Seattle Fandango Project at UW"

Venue: Demo Lab

Moderated by: Charles Kronengold

Jonathan Beard, "The Beat Says It All: Jimmy Jam, Terry Lewis and the Technological Development of a Sexual Identity in Janet Jackson's Control"

Will Fulton, "'Bring[ing] the Noise': Hank Shocklee and the Development of the 'Organized Noise' Sound Culture of Public Enemy's Bomb Squad"

Chris Tabron, "The Glass: Technology as Embodied Discourse in Hip Hop Engineering"

Venue: Solo Bar, 200 Roy Street, Seattle

Enjoy a chance to meet with fellow presenters and attendees. Featuring KEXP's DJ Shani. Attendance is limited to Pop Conference registrants.
Be sure to bring photo identification for this event, as Solo Bar is a 21-and-over venue.