Pink Noise is dedicated to increasing the diversity of voices speaking about recordmaking and to fostering an intellectual tradition to accompany the practice of recordmaking.
The initial impulse for Pink Noise grew out of frustration with the persistent male-dominance and chauvinism in the modern recording scene, and so this publication unabashedly has a feminist slant. Pink Noise also operates from the idea that the diversification of voices requires an intellectually rigorous critical dialogue about recordmaking. We look to architecture, design, photography, theater and filmmaking and as models of how a technical and aesthetic field can foster a parallel intellectual tradition that raises the self-awareness and intellectual rigor of the field in general. In turn, that self-awareness and intellectual rigor can help give rise to new voices, ideas and dialogues.
Recording technology is already robustly covered in other publications. When discussing technology, Pink Noise aims to explore how technology interacts with and gives shape to creative processes, interpersonal dynamics and what actually happens when making records. We aim to avoid gear-centrism, tool-obsession and techno-fetishism in general.
At this point Pink Noise is not accepting advertising revenue and is driven solely by our collective desire to carry out the above mission.
Catherine Vericolli – firstname.lastname@example.org
Catherine Vericolli is a recordmaker and founder/owner of 513 Recording in Phoenix, AZ. Her studio regularly participates in audio education programs in Arizona, including programs at CORAS, and ASU. Catherine holds a degree from the Conservatory Of Recording Arts And Sciences.
Allen Farmelo – email@example.com
Allen Farmelo is a recordmaker and founder/director of the record label Butterscotch Records. He holds a MA in Sociomusicology from SUNY Buffalo’s American Studies Department, and has taught and published in the field of ethnomusicology, popular culture studies and more.
Board of Advisors
Jessica Hopper is a music and culture critic based in Chicago. Her work has been included in Best Music Writing 2004, 2005, 2007, 2010 and 2011. Her book, The Girls Guide to Rocking, was named one of 2009’s Notable Books for Young Readers by the American Library Association. Her new book The First Collection of Criticism by a Living Female Rock Critic is out now.
Anne Bogart is a prolific and award-winning American theatre and opera director. She is currently one of the Co-Artistic Directors of SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is a Professor at Columbia University where she runs the Graduate Directing Concentration and is the author of five books: A Director Prepares, The Viewpoints Book, And Then, You Act, Conversations with Anne, and What’s the Story.
Charles Keil is an ethnomusicologist and political activist. His books include Urban Blues (1966), Tiv Song (1979), Polka Happiness (1992) and Music Grooves (1993). Urban Blues revolutionized writing about popular music, and his work continues to be foundational across many disciplines. His career has extended into educational reform through music praxis via Musicians United for Superior Education (MUSE Inc.), while his political activism has been ongoing throughout his career.
Mark Rubel is Co-Director of Education and Instructor at The Blackbird Academy, Nashville TN. His Pogo Studio has been the site of thousands of recording sessions since 1980, and is in the process of relocating from Champaign, IL to Nashville. A musician since 1970 and audio educator since 1985, Mark writes occasionally for recording magazines, and serves as a consultant and legal expert witness.
Casey Rae is VP for Policy and Education at Future of Music Coalition. He is also a musician, recording engineer, educator and journalist. Casey regularly speaks on issues such as emerging business models, creators’ rights, technology policy and intellectual property at major conferences, universities and in the media. He has testified before Congress on artist issues and routinely engages leaders in the music, cultural and technology sectors to build bridges and bolster engagement in key policy conversations.
Angela Rawlings is a writer and interdisciplinary artist specializing in acoustic ecology, vocal improvisation, and ecopoetics. She has collaborated with numerous international sound artists and organizations, including Maja Jantar, the Logos Foundation, and Valgeir Sigurðsson. Her libretti include Bodiless (for composer Gabrielle Herbst) and Longitude (for composer Davíð Brynjar Franzson). Her poetry publications include Wide slumber for lepidopterists (Coach House Books, 2006) and Gibber (a digital publication). Rawlings holds a BA in Creative Writing from York University and an MS in Environmental Ethics and Natural Resource Management from the University of Iceland.