A soundtrack to an erotic feminist film, the crunch of crisps in your own mouth, a composition for strap-on and electric guitar meet the women who are making music and telling stories on their own terms
In the early 1990s, the accordionist and musical improviser Pauline Oliveros wrote the soundtrack for a feminist porn film called The Sluts and Goddesses Video Workshop. The film is presented and co-directed by Annie Sprinkle, a sex worker turned academic whose lecture covers everything from deep breathing and vaginal bling to STD prevention and mega orgasms. Along the way, we get a spectacular sonic counterpart of drones, glitches, bleeps, twangs and pulsations.
Conventional porn music this is not: no sultry saxophones, no oily bass guitars. Instead, Oliveros made sounds that are fun, tactile and inquisitive. If Sprinkles mission was to confront industry standards of what erotic looks like, freeing viewers to define their own tastes, Oliveros reminded us that the power to decide what music means should ultimately belong to the listener.
This autumn, in the wake of the allegations against Harvey Weinstein and others, a couple of things became urgently clear. We must listen more carefully to womens voices, and we must change the power structures that govern much of public and private life, including the arts.
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