In She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st Century, Helen Reddington questions the scarcity of women music engineers and producers as people who have always had a significant presence in music production. Thus, the book’s title rebuts Joy Division’s “She’s Lost Control” by reframing control as its central concern. Reddington considers the implications of control on women sound engineers and studio producers’ varied practices by claiming that “[a]ny form of recording, whether through writing, drawing, film or sound, raises issues of power that are centered on who is doing the recording and the implications of the archive, whatever form that takes” (4). Yet, women’s exclusion from the profession is still underexamined. Reddington points out how much discourse on dance music fails to address “how it can be seen as liberating for people of different genders and sexual orientation to dance to music...

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