{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/8c9r20s76p/manifest","type":"Manifest","label":{"en":["Changing the Tune: Women, Leadership, and Recorded Sound"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Rebecca Chandler (Presenter)","Danielle Cordovez (Presenter)","Maddie Dietrich (Presenter)","Caitlin Hunter (Presenter)","Brenda Nelson-Strauss (Presenter)","Sandy Rodriguez (Presenter)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2017-05-13 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eLast year, Sandy Rodriguez and Maya Lerman began the Women in Recorded Sound collective on Facebook. Many ARSC members expressed confusion as to why such a group was needed. This panel discussion seeks to answer this question, as well as to dive deeper into the roots of the surrounding issues. The number of women in organizations like ARSC has been steadily growing in recent years. While this is encouraging and exciting, it is not always reflected in the identities of those who steer the conversations pertinent to our field. Women are not often looked to as the experts in recorded sound professions, nor are they typically presenting at related conferences, participating in list-servs, or writing for recorded sound publications. The aim of this panel and open discussion is to give ARSC members the opportunity to identify the problems women are facing and to explore possible solutions. Why are women underrepresented in recorded sound professions? What steps can we take to change this? This panel discussion and open forum hopes to foster creative problem solving and reveal a support network amongst the ARSC membership and beyond.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Amanda McCabe"]}}],"summary":{"en":["\u003cp\u003eLast year, Sandy Rodriguez and Maya Lerman began the Women in Recorded Sound collective on Facebook. Many ARSC members expressed confusion as to why such a group was needed. This panel discussion seeks to answer this question, as well as to dive deeper into the roots of the surrounding issues. The number of women in organizations like ARSC has been steadily growing in recent years. While this is encouraging and exciting, it is not always reflected in the identities of those who steer the conversations pertinent to our field. Women are not often looked to as the experts in recorded sound professions, nor are they typically presenting at related conferences, participating in list-servs, or writing for recorded sound publications. The aim of this panel and open discussion is to give ARSC members the opportunity to identify the problems women are facing and to explore possible solutions. Why are women underrepresented in recorded sound professions? What steps can we take to change this? This panel discussion and open forum hopes to foster creative problem solving and reveal a support network amongst the ARSC membership and beyond.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/545/small/open-uri20200922-6764-3hcifa_1600816420.jpg?1600802052","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-3hcifa.mp4"]},"duration":3509.61067,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/545/small/open-uri20200922-6764-3hcifa_1600816420.jpg?1600802052","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/545/original/open-uri20200922-6764-3hcifa.mp4?1600801990","type":"Video","format":"video/mp4","duration":3509.61067,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545","metadata":[]}]}],"annotations":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Changing the Tune: Women, Leadership, and Recorded Sound [Transcript]"]},"items":[{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Good afternoon. Thanks for coming. You are here for the changing the tune panel discussion on women leadership and the recorded sound field. I'm Rebecca Chandler, a consultant and 80 Preserve, and I'm gonna be your moderator for today. I was inspired to propose a star for a wide variety of reasons, but I guess two of them are easy to define and communicate. One was the start of the Khurd administration, which I don't think I need to get into. But suffice it to say, I started to become more and more interested in and conscious of women's and minority rights. Also, around the same time as the election, there was a similar panel held at last year's and MIA conference, which unfortunately wasn't able to attend. But my colleague participated in and she reported back that it was a really great experience for her and the community and it was a really helpful discussion to have within that AMEA community. So I began to think about having a similar conversation in this community. I started my career in this field as an audio engineer about 11 years ago, and I find that some things are very different for women in the field now, but some things are also sadly the same. I find that women are far less frequently in leadership roles than their male counterparts, and I'm interested in exploring both the reasons why and what we can do about it. So I brought the idea to Sandy Rodriguez, one of our panelists, who encouraged me to pursue it, and she was really instrumental in making this all happen. So leaders, experts, how do we know them? How do we recognize them? They may be the heads of departments. They may be professors. I think they're also the presenters at our professional conferences.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=12.5,122.39"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So to that end, and because I love statistics, I took a look at the percentages of men and women that have presented over the last five years and ask Yassa and A.D.s asked an extra bonus here because we had this year's stats already to go. So our started in 2012 with 78 percent of presenters being men and 18 percent being women. This year, sixty five presenters were men and 33 percent were women. In 2012, he also had 54 percent of their presenters be men and 29 percent were women. In 2016, 58 percent were men and 38 percent were women. And for A-s, I ended up combining both of their yearly conventions. They have two per year, and in 2012, 78 percent of their presenters were men and five percent were women. In 2016, 77 percent were men and nine percent were women. So while the numbers are not great, but the trend lines are promising. This data shows we are nowhere near where we should be, but at least we are moving in the right direction so far. Who can say if this trend will hold or if we're gonna fall back down in the coming years based on lists of attendees that was circulated prior to this meeting? This conference is attendees are 68 percent men and twenty nine percent women. The membership as a whole as of last year count is 70 percent and 16 percent women. Which means women are showing up at the conferences, which is great, but we're still severely outnumbered in the overall population. So I invited some of the women in the field today to discuss the reasons behind these numbers and what we can do to change them. The format for today will be fairly loose and relaxed, and I hope for a great deal of audience participation.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=124.4,238.64"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We have some questions prepared. Should we need some prompts? But if the conversation is moving along, we won't need to refer to them. Some of what we discussed today may make you uncomfortable and make you think that's not me. I don't feel that way. I don't do that. Say some men or some women don't generalize. To quote Katherine Young, a feminist writer of color, I understand the impulse to get defensive. It can be very off-putting to feel attacked for a transgression that you know yourself not to be guilty of. But in the context of social justice and movement building, if you're feeling attacked, it probably means you're having your privilege challenged. Not that you were a bad person. If it doesn't apply to you, then it's not about you. If it's not about you, then don't take it personally. Just hear us out. We're all choosing to make ourselves vulnerable by speaking about these things today, but we're doing it for a good reason. We want to see more representation for women in the field. OK, I'm going to introduce our panelists now. I do want to say that we are not all just women. A million different characteristics help make up each of our identities, resulting in the fact that we've all had very different experiences as women in the field. We are all women. We are all very unique women. With different viewpoints and experiences and all of our voices deserve to be heard. Daniel Cordova's is the audio visual librarian for the Rodgers and Hammerstein archives of Recorded Sound, where she provides instructions, reference and outreach services. In addition, she collaborated on and developed several projects to promote the collection during including the one hundred forty years of grouped media exhibit and the audio archive in a box project.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=240.17,336.7"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Danielle is on the Steering Committee for the Society of American Archivists, recorded Sound Roundtable and a member of our Since 2012 serving on the Board of Directors as secretary from 2015 to twenty seventeen. Maddie Dietrick completed the coordinated Emily S and M in music, history and literature from the University of Wisconsin, Milwaukee. In 2013, Maddie holds a third Masters degree and bass performance from Texas Christian University and a B.M. from the University of North Texas. She gave a presentation at the Forty Ninth Ask a conference in Pittsburgh based on her master's thesis entitled Western Swing and Transcription Who's Sorry Now? By Milton Brown and his musical. Brownie's took a 51 50 AP, which features an extensive analysis and full sports full score transcription. Maddie has been an active freelance basis for 30 years and played a brief stint on fiddle for Sean Reefer and the Rezende Valley Boys, opening for Junior Brown at the Bronco Bowl in Houston and Wayne Hancock at San Antonio's own Kasper's bar. She currently holds a paraprofessional position as Dean composes gym supervisor for Old Dominion University libraries and works as an adjunct music professor at Christian Newport University while continuing her pursuit of a professional career in music, librarianship and sound archives. Caitlin Hunter's involvement with Arts dates back to 2002, and she has served as co-chair of the Arts Cataloging Committee for the past few years. Since 2008, she has been the head of the recorded Sound Section Processing Unit at the Library of Congress, where she manages staff and workflows related to the processing and description of audio materials. Next week, she will begin her new role as the next head of the recorded sound section at L.C.. She is a member of the link data for performance music subgroup of Elders for P and is on the ISO Working Group to revise the ICRC.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=337.93,448.65"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Holds bachelors degrees and physical anthropology and violin performance from the University of California, Santa Barbara and master's degrees in musicology and library science from Indiana University. Brendan Nelson Strauss began her career as a cataloging librarian at the Archives of Traditional Music at Indiana University. From 1989 to 2002. She was the director of the Chicago Symphony Orchestra Archives and since 2002 has been head of collections of the Archives of America of African-American music and culture at IU. She is a past president of Arts and coauthor of the Library of Congress, a National Recording Preservation Plan published in 2012. Sandy Rodriguez's digital special collections coordinator at the University of Missouri, Kansas City, where she manages and oversees the digital repository for special collections. Prior to shifting to this role in 2013, she spent 10 years focusing on facilitating discovery to sound recordings as a music and sound recordings cataloger. She's been a member of our since 2009 and has served on the board, presented papers at conferences and served on committees most risk. Recently, as the co-chair of the online media committee in 2016, she and my alarm and co-founded Women in recorded sound and informal collective of women working with or having a general interest in recorded sound to provide networking opportunities to offer a platform for the free exchange of ideas and information, and to gather together socially. So. Oh, sorry, you're there. So to start off, I think we're going to ask these women to start by saying why they feel this is a worthy topic of discussion. And if anyone, the audience has something to contribute, just raise your hand. I can start saying yes. So I want to say so I prepared some remarks. I just want you to know. There was a half today or from my perspective, was identified as the Shandor woman of color fiber.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=450.36,571.48"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So Rebecca Applewhites and disparities of recorded sound in organizations recorded sound between men and women. I believe there are reasons why and I think they're worth exploring of the issues and addressing them for the sake of our heal. So this assumes that we recognize and agree that representation is important to curating, collecting and preserving, studying and providing access to so-called cultural, the historical cultural record. Because we're talking about a human right here, which is all people. It's everyone. And, you know, I think about in Kansas City, for instance. And so my my whole life ceases to be verse questions and archives. Was it, you know, until we got into this position. He knew he was in a power position to start something alive on Dreama in his interests security collection, getting lost in Archives of America. And he was able to establish that. And until he was in that position, were earnestly collecting that material for that region. So, you know, I think we need to think about the opportunity cost. So we owe it to unitedly to include a diversity of perspectives for our field. And I do plan to approach a life where I can save the lives of ice as a human characteristic when I. We should be stigmatizing because I think too often people feel that, oh, it's too negative saying. But we all have ideas. And just to clarify this, I realize I should probably say I assume people know it biases, but they discarded us for or against people that often results in. Negative or positive consequences? So it could be I would have greater access to opportunities or it could be you have less access to opportunities. So. So even that by destigmatizing bias, unconscious bias can bring into consciousness.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=573.51,699.38"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I surely believe that many of the reasons behind this disparity are completely not intentional. They're completely unconscious. And it's say, you know, we have disparities in our systems and in our individual release relationships. And so I think that that has mostly to do with unconscious bias, systemic bias or power, power, power and privilege structures. So this topic, because I have seen firsthand and witness some perception and action, can influence and undermine our primary mission by creating spaces that exclude, often not out with outright hostility over, well, well-intentioned, blind nine passivity. And it's not going to change unless we're intentional, intentional about making that change, which is part of why we co-founded with I with my movement, co-founded women and recorded sound as an opportunity to do that for women was safe and where we could have positive experience to counterbalance some of the negative experiences that we had just too often. I myself this. And especially when you're new in an organization, you tend to isolate and internalize things. So that's like saying that. Yeah, I did, and I just want to say thank you for attending our conference. It's very great to see all of your faces and that you're interested in hearing what what you have to say. Thank you very much for being here. And I'm going to describe briefly what has brought me to this school. I am a woman. And what I would say next is going to cause you to think about me differently than I do now. If you didn't already knows I'm transgender. It is something that is is real, but it's still debatable. It's still up for debate. My person that is still up for debate in our society. I for revealing my true self to to the public, had a successful career as an orchestra director at Baylor High School in East Texas.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=701.16,845.44"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"When I decided to come out, I left that job because I didn't think it was tenable in 2001 and went to Texas Christian University, where I transitioned legally in Tarrant County courts and. I said, they're right. Keli Goff, what was a promising career speech coach here? I was I focused on my performance skills. I'm tired of being a performer. But before a transition in Houston, I was playing regularly at Petroleum Club, which, if you're not familiar with it, from the penthouse of some buildings, you know, very formal and then a fair ricochet. And after transition, I returned to Houston and very few people would touch me. I had far fewer opportunities to play. And this can't hurt. You know, most of the games I got where I felt like were people that were friends or decent support like this. And I couldn't. Between me and adjunct faculty and a freelance musician, I was not able to have enough. Money is safe for us. A retirement or anything like I guess I came back, decided to become a music librarian, and I studied poetry and his apology, thinking that would us that would position me in in a profession where we have people are progressive. And it's true. Most people in this room are very progressive thinkers. Everybody has someone who individually has since supported the love and support that it will show. For me, it is Nelson, my heart with joy. But, you know, we've got legislators writing laws prevent somebody like me from using the women's room. So, yes, I I've applied for many, many jobs since graduating in 2013. Didn't make one offer, one offer with three master's degrees and the stalker paraprofessional, which I still have. And that it's it doesn't support me.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=847.66,982.98"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I'm very, very much trying to be sitting here talking about Texas films and if that's what that's what I'm really interested in and so has the microphone. I just want to point out that there are over instances of discrimination, but by far they're tiny, tiny, little things that I think a lot of people don't even realize. I am uncomfortable every time I step out my front door because I just don't want somebody calling in and sold out to me. And that's enough to keep me out of the grocery business over your pizza. You know, it sounds silly, but it's so I feel like my access to public spaces, private spaces and professional spaces has been restricted. And I think it's relevant in this instance. It's an extreme scenario. I think my experience is kind of condensates solution of women's experiences in general. It's just much more overt and concentrate. It's really see it. Whereas with women, cis, gender, women or all the men, these. Limitations on opportunities are selling the culture we're so used to, it didn't take Long said. Hello. I'm here because I care about the organization and I attended several conferences. Certainly throughout the year and always promoting arts and a tri disease. Speak to people about potentially competitive mortgages. And, you know, attending maybe some of the chapter meetings in New York anyway. And I've learned throughout the past few years that we don't have the best reputation. And in terms of being inviting you to welcome the organization or women or first timers, these people who don't know some of the older members or just who are coming in and kind of bright eyed and bushy tailed or unsure of themselves. And I've heard several people say that they talk disrespected or that they were respected as collectors and or speakers that had.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=983.49,1145.53"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A bad first experience. And I'd like to change our reputation, I'd to improve or increase our female membership. And I think women in recorded sound is a great first step because it's in in fighting maybe 30 relaxed and it's conducive to networking. It would be great if that could be felt throughout the conference and a different. You use of the word evasion, and I'm not saying that again. I would like to say that it's not everyone and I feel comfortable. But it took me a while to get there. And I can understand how someone might people might feel kind of. Insecure. Coming this is this male dominated organization, and I'm glad we're having this conversation because we're all good people. For the most part, and maybe you're not aware of some of the things that you've experienced, and that's why we're here discussing it. So we have an open mind. I do want to be clear and fair. It's really off the field at large. It is not just this organization that has a very high male population. It's recorded sound the field as a whole. Some say that many might call it aside and talk about a male dominated field. Powerful leaders who seem to be males throughout the course of my life have something to say, be old and discriminated against so many times that I face a stronger racial leader and. And any other you know, please don't speak about pass because they're afraid. Past experiences that had an sideways cars. I enjoyed that conversation. Thank you. I'd like to encourage people to follow their passion, to follow their interests. And they're very interested at some point, but they don't want to come because they're careful and they go to the females there.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=1148.54,1292.69"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I think a. But it's physical and makes people realize, you know, there are females. I mean, when I started, I so Brenda all the time that I didn't see very many other women. And I was wondering, where are the women here? So for me, it's very much about I like to see people become who they want to be and to realize their goals, to follow their passions is a reason why we're all interested in sound recordings. And I want to make it feel more of a inclusive environment for everybody to recognize that people had these feelings and these concerns and let them know that there are people here who can help them through that. So that's the. It pains me to say this, but being the senior member here. Oh, really? My perspective. I guess. Singing earlier today that I've probably been going to press conferences for 30 years now and and I love that some other women have taken this journey with me, like Wendy Sistrunk, we spear referred for insurance. You know, it's it's been a wonderful experience, but it's also been disheartening over the years, as it's been mentioned previously, to see young woman women come to the conference and then not to return to put a more positive spin on this. My career trajectory would not be what it has been without the support and the help of many, many. Ask members might, you know, it just wouldn't have happened. I probably wouldn't have gotten the job at the Chicago Symphony without the support and backing of Steve Smolin, who was a good friend of the executive director. And I had contact and. Could you recount other examples, too? So it could have put us positive spin on this? I want other women who come to pass to feel welcomed and empowered as well.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=1293.46,1424.77"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Let's say you have a little sorry. Run the test run. And, you know, one of the questions want to think about is where are women represented and where aren't they? And Brenda brought up a really good point about the arts leadership and what roles women tend to play their women a role. You talk a little bit about that. Oh, I have to say that I. Well, let's see. What were we talking about? I didn't bring up the issue that there have been three. I think this is correct. Three and only three women presidents of ours. But women have almost always filled the position of secretary of fast with, as you said, a couple of exceptions. And so one of the things we were looking at is, you know, how we can influence those positions, how we can support each other and try to encourage people for running for office. I know a lot of us don't want to because we're so busy. But but really, you know, it's a wonderful opportunity. But I think we need to support each other and encourage each other and play a larger role in. Go outside and ask the page. It's hard. Make it come from people. So in terms of their professional lives, where average is that all male to female spectrum in your personal experience? Well, when I think about just. His library. Yeah. Whoever earns. Deadly female. But there's still just a caution about leadership positions in a female dominated profession. And Tom. Reflected in my own. And it's not just the position of Dean, for instance, but also who's at the table making decisions. He's at the decision making table. And that's really important. And at least at my institution here in KC, we've struggled a little bit with more or less with women.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=1427.31,1580.47"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"More women's representation, people of color or whether it's the color at that table. Oddly enough, though, in my own Department of Special Collections, which includes our special collections of our time and our university archives, it is by far a predominantly male and four full time staff. And all the jobs and music libraries. My boss was a female. Now my times Johnson audio archives. My boss is a male. But I do have to say my my male bosses were just as supportive and in some ways more supportive of my wife. My bosses, to be honest, I wouldn't be candid about them, but it's noticeable, you know. And I even had some hesitancy about stepping up for them. I would be taking on simply because I know I'm going to look at it differently and wondering how people are going to react to that and whether they'll see it as my own unique contributions or something other. I just don't know, maybe others. It is very noticeable that in particular where I work right now, the federal government is more male dominated than females. So I am new to this field. I've never held position in amount collapsed. I mean, it seems sort of a hole. It just. But I did speak to a few other things that me. It's really two of them. Ten feel I'm a jazz musician. So that's basically in all us. It's very rare for me to go go on a gig where there's another one. And as a bass player, invariably somebody comes up and says, oh, it's so nice to see a woman play. And I'm thinking of how we look at some of these these archives of, you know, contests, picks, films. Of course, this is very different now.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=1581.05,1707.32"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But back today, it was something that was it was much more permissive laws which were accessible to be a contest filler. I think about the collectors in this room. If you look back at the Woman's Day magazine or their home gardens from the 50s, you're not going to find many articles about this. So and so's best Jacs collection. This wasn't something that was rewarded in our society. And it said there there's that bias in the Times. I can see the academic side of things, musicology as a profession, as a positive by majority female, the students are in programs that want to become professors. That's really saying, gee, would you say like me when this happened to me? Certainly the truth has been building for about 10 years and we're not sure why. All right. But the proportion of women entering musicology, Berger started to fill in the service in 2005. My dad, Mark Bradley, we just for Hill and 10 years as a were behind plague's and musicology features based targets, equal representation, bag mix. These were called when the academic side of things, I guess because of institutional structures, because and education policies have been in place for so long and have been. So where you seeing force that's making a big difference. So I can't seem to get out of the side of things on the collection side of things. But from the academic side of things and I know one of the road pure academics here, it's already better. It's really exciting here. I see from engineer perspective, I was lucky enough to be brought to the field by a woman next year. And I, I think I got the one woman proposed production mixer in New York at the time, ran with my boss.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=1707.91,1842.01"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I mean, as you know, I'm twenty one year old sort and feel it's really important to have that role model, like as cheesy as it sounds like, it means a lot to see someone like you in a position of power. I mean, she's running the whole department for Sony Music to use for expression. That's huge. You just need add and it's really exciting. And I think that's really important for young women coming up in related fields to be able to see. I hope I mentioned again. So last night we were dissecting this bed and we started talking about the different facets of recorded sound. And Rebecca's already mentioned, you know, the women in STEM issue, which is, you know, more like this, women in libraries, archives. Is it more even a plateau? Even statistics I was checking last night even indicate that women as library directors tends to be a 60 percent percentile. But then also, you know, we were talking about record collectors. Record collectors is still seems to be a very adult male dominated field. Oh, I think that's changing. I think it's a wonderful that we're having this conversation in San Antonio because a month or so I discovered that there's something called the Tulita Bible Club, which is a female deejay collective crew that was launched in 2014. So very recently. And the collector's collected is for self identifying women of color in the context of providing the space for empowerment and togetherness. And this was apparently started in Texas, but it has now spread throughout the southwest and into California. And it's it's becoming huge just within the last few years. So I think that's great. I also found another really wonderful quote last night talking about women and record collecting and how they're often intimidated.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=1842.52,1968.99"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And this quote is from Sheila Bergel, and I'm saying that right. Apparently, she's a deejay, deejay Sheila WFMU in Jersey. And this interview was in online and dust in grooves. It didn't it wasn't dated. But just to read a couple of short excerpts. Sheila says, I think at some point I did attempt to work my way into the male domain of record collecting, showing that I can talk the talk about obscure records, labels and dates just as well as the boys. But I quickly found the whole one upmanship, justice still sitting around with women discussing their preferred diet routine. Hilarious, and he goes on to say, there is very little room in the traditional collecting world for women. It's a boys club because of the record collecting World Cup to meet a certain criteria, you'd currently be taken seriously as a collector with a small collection. Size matters. Why are these matters? So does rarity your knowledge about what you collect? What girl wants to bother being held as such silly standards when we're already judged on just about everything else in our lives? But that was just what that was. Hi, Jack. I. I object. Well, I look at where you work. I think I should quote, sir. Please hold your comments until the discussion. So this one really fast. Or you say, how much questions do we want to focus now on? What can we do? Right. How can we be more if we didn't have to work one another? Both men and women are patient. The panel. I sprained my fingers for Greenhills office just to say this is one person's perspective of how she feels and the collecting world. So I didn't say it was mine or people in this room.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=1970.31,2081.82"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It was just one person's perspective. Well, let talk about this. What would you do? Germany, I'm sorry. OK. Very quickly, I have a lot to say about it. I think there are things we can do on an individual level, organization or macro level. And as individuals, I spoke to someone. But that doesn't mean the recession he set up to identify 9/11. And it's important I always to speak up when they see event. It's important to the person that is the victim of that. So have courage to speak up and also to challenge yourself, to bring your bias in the consciousness when you're making decisions, especially when you're making decisions for your providing opportunities for other people. I think it's important to actually stop and reflect on that because there is some bias that played into that decision. And I mean, women in particular, I feel that we need to be more visible. We talked a little bit about young women who might feel comfortable being with the president of this association. It's primarily for the feet in the field as primarily male dominated. But we need those men and women like Brenda to step up and be visible as role models to other people and or even just be a mentor. That's great. And on the organizational level, I think it's important that we do review that inherent bias in organizations. So I'm thinking about reviewing like four hours, maybe reviewing the bylaws and how we operate. And that would be like I know that the president appoints the chair of the committee, the chair appoints its members. So there's there's definitely opportunities for vice to play out in that sort of operational scenario. And I know the focus in our office. I wasn't there, but I was told because we talked about the blind auditions and how insurance became more diversified, because we mentioned women, because they started getting blind auditions.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=2082.15,2216.88"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that speaks directly to trying to eliminate that bias. So I think we can do that. We kind of review that. And then also, I think it's important that we do more research and, you know, build on some of the statistics that Rebecca has started to explore and talk about real striving that we can implement to improve the situation for everyone, because I believe it does undermine our primary mission in the first primary mission where you don't create an inclusive environment for everyone. And we want to come back. And it's important to explore why people feel, whether it's true or not, whether you think that there's been discrimination or not. It's important to explore why people feel that there's an air of misogyny and just kind of have that conversation and then discuss what could be done to improve the relationship between first time attendees come and feel that they may not fit in or intimidating because it is a male dominated organization and then or internally for not just talking about race, but then also. I guess let's brainstorm ways to try to change that and make sure that people feel welcome. A you. Do you think you're going. I think it's a lovely little spot. Yes, talks. Two things struck me in the discussion so far. I one to pick up a thought that that this Semyon Brendin pointed out that, as you point out, the audio gear deal was so heavily male dominated field for as many women as we can say is this. But if we look at archives and libraries, that's a very Phenix dominated field. So are we might we be more successful at asking a different question? Not help but ask, how can we get more women involved in 41 Jeary and 40 frustration with how can we get more librarians interested in sound importance? Sure.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=2217.49,2367.12"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So, as you said, because there's a large pool of applicants. Yeah, it's a really good point. I have the opposite trajectory. So it makes a good point. Maybe we should try going the other way. So where do we appeal for? For members? That was curious about Sandi's observation, about mentorship and then the first time detainers what what might be more effective? Well, we have first time female attendees. We want to give them a female mentor so that they have that experience that you did or open opportunity for the the male dominated field to reach out and be more welcoming to female. First time you remember being a great man. And you mentioned that there is any organization here, Richland County, that allows you choose your mentor. There's a biography and a sign of the different people that are available have avail themselves for mentorship and said the mentee can select who seems to resonate most of their experiences, who they feel like would be a good price to. Then it allows the person to choose whether they feel comfortable with it based on where they are and feel that day on the side also maintain their gender. And that's important to that person. And I'm sure it's not important to a lot of people, but it is important to me. They just line everybody up in our review commission. He may 10 blind auditions. I was just curious about he submissions for presenters are those reviewed by blind? Maybe not. So that's one of paying fines. I'm sorry. That's so not sexy. I have no idea how to program programs like this. Unfortunately, I don't say no to because we have to consider who's was for told and their qualifications to give me. Think it shouldn't be abstracts themselves in pontification and those first annual.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=2368.07,2492.81"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Other organizations put the name of the presenter on the site, a piece of paper says that you're not aware of the gender of the person, so you're just judging primarily on the content. I vote for that. Is that something I need to be like a pilot? Here you are. I mean, is the argument that you don't know the first background and this is such assumption that if you just sort of background, you know what? But they may not actually be used for investigation, really suggest just because you're your data source who was selected. But it doesn't say from what, Paul. So it could be that women are mis or overrepresented based on the pool report before? Not at all. And it's Rachel Soldiery pointed out for for the technical symposium. There was one present, one proposal from a female. That's why it so underrepresented. And there's just no way that one female because they did. But we need to use that like. I mean, I would think that in many organizations you would have access to the the proposals I think submitted so that over the period of last five years for ask, I'm sure, between Will myself and our predecessors, that we promise to have all of the proposals to see whether that is playing out as a scientist, whether what they don't have statistics on or how many individuals considered proposing the session and thought the better of it is. I think it's worthy to at least consider that as if that might be a possible reality. First of all, the program chairs end up poor, but by design or by necessity, soliciting papers. So maybe this is an opportunity for us to reach out, to do outreach to women in the field and encourage them to come in in the same way that, know, we look for papers from people from the region.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=2496.04,2616.87"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we're going to take a look at this global area, which of these programs for conferences. I think it could be more than that. And in my experience, we ask steps in 80 to 90 percent of the proposals simply because we don't get proposals now. I also preserve the society of American music. They accept about 30 or 40 percent of theirs. So in a case like that, it's a genuine concern, I think step one for artists to, frankly, have more proposals. And I think anybody in here served as the program chair or in a second that. And I would urge women to. I think that's really why the issue has been on that particular issue in the past. Great role for his parents to encourage. Please give this to me. I'd like to hear more about it. I chaired five programs and had the same experience that going back to 1977 with Orest being half collect of private collectors. You know, there is the male dominance in there, but I have never heard any male collector put down a woman collector. I have never heard as a woman. I would like to agree with him. I have never heard one either. I remember, for example, Annamarie Amanda Lee, if you haven't mentioned, you know, she came here first time as a Billy Murray collector and we all sat down and really supported her, helped her figure out what to do with this, what to do with it. Deal with that and let her to to resources just like we would everybody else. The know that your newbies always have the you'll have to have some place to start that so that their collections are smaller. What is in, say, five or six others comparing it? You know, I've been going to I also convert conferences since the 1980s and there it is.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=2617.23,2767.84"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You're almost 100 percent professional. So there were several conferences at the beginning when I was one of maybe two or three private collectors. And there the the woman to man ratio is 70 to 30, 70 percent women. And I said, this is your world, your worldwide. These are presenters, presenters, including presenters, including executives. Ilsa Aspen is the president right now. What was her name? I don't need an hour before from what? John SHOCKLEE An hour from Nabay before. Yes. The president was the woman from Open University who was the who was the president when I joined. So there's there's three right off the bat right here right now. I think we should agree. But again, the kind of people or trying to encourage people to return to compensate. These are the comments that were made to me, more than one person. That's all I'm saying. I'm not finding any exceptions. It's just the intention of people. But that's how they felt. It's just surprising to hear this, because I have never I have never gotten that. And as a woman. As a woman, as your experience. Yeah, I agree. I'm just giving my last four years than I had to. I want to say that having been in the past and then I kind of said, well, when I come back, I'm fine. So much appreciate the passion in that room. I always felt like Fly First Class convention. It was just. Oh, it was wonderful. I that's what keeps me bringing me back. And to have these conversations. But I will say it personally and everybody has their own personal thing. And as you say, I've never seen that. Never heard that. That's your personal thing. And that's fine. I've seen I've seen someone recording some gals slaves.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=2768.58,2916.45"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And she walked back and forth. I then called other and other young gals when they did. Hey, sweetie. Or you're too young, dear, or whatever. And, you know, I'm just saying that I love. I came and I feel I want to just bring everybody a depth of knowledge and the passion and the wonderfulness. There are some things that are not comfortable. I will say for me, I had to get it first because in the music library world, it was able to raise their hand and then spoke and somebody else raised their feet, you know, some of the sessions and get really passionate people yelling out stuff that I had to get used to it. Again, it's passion is fine, but it's just kind of like what it's like. Well, yes. You just it can be kind of, but someone has an ugly that is just really they feel passionate about and kind of bellow that out. It could be it can be intimidating. But as long as, you know, people can be offered to forgive or or understand or just say, well, that's punishment. Use my hands a lot when I talk. I'm glad I didn't feel that way. So people have their ways of being and just trying to fix the best intentions was just sort of a follow up to that. I just want to clarify, sticking to what she's saying. There is a we have an organizational culture. This organization is made up of people. And so we have a culture if you want to make the station holiday. I have the article somewhere, so. Sure. But this great article that talked about diversity and passivity and if we want to have a value as an organization of diversity, diversity, the distinctions and diversity as being in the Birmingham inclusiveness, being at the table.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=2917.09,3062.19"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And so when we are tested, when our bodies are tested and again, so there's an exit. And what did you what did you do? What action did you take? I got to see the. So we want to get it back as an organization profession. So I think that's really important. We have here in time. I'm sorry. I have another suggestion. And this is in response to Tim that we need more papers. And I know that I am I can do this. Students are vitally chomping at the bit to come to conferences. So acquiring and marketing more to the age, you know, for one, especially in the digital humanities, which is a new field that is huge that so many people are in now, which would apply to this field and also have a lot of different campuses. Also put together on paper topics like women in the arts or something like that that attracts other women scholars. And I think that is my idea. And I would love to serve on the committee. So I'm just. We got to be on the go back. I'm Bill Clinger at Emory Emanuel. The young woman record collector that might mention is my partner. She came to the Chicago conference in 1993 at age 26, and she could talk about gold molded cylinders and Berliner, a letter wall, the old good old boys and the 70 year old men and loved her. They thought she was fabulous because she knew their language and she knew their details. But if she had come off as a quiet little mouse who sat in the back and didn't talk with them about records, said she just wanted to learn about records or learn about archiving. That probably would have been her last conference because she would have said no one welcomed.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=3063.33,3170.81"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And that's one of the things that Anna and I have been trying to do, is make sure that every new comer and every young person that comes here feels welcomed. Even Martin Bryant, the publisher of the new, have a role of graphic mold. He had been publishing a periodical for record collectors for more than a decade. When he came to his first arts conference, he felt left alone. Every clique went off to lunch together. The other people went off to their meetings and he was left totally alone. And that was his last stop. And he was full of people about this. So it's a very individual experience for each first time attendee. But I think today ask is much more welcoming. And the mentoring programs, I think, do a great job so that their initial example, Yeltsin was warm. You're suggesting possibly that attendees should deliberately change their behavior in order to establish as a record. Makes it eat meat. There are some people that may not be comfortable walking up to strangers and engaging them, no matter how much they love the subject at hand. That matters. Our experience in Kansas City in 2013 was just as you described, and I had a mentor. I was absolutely isolated. No, no one. And I was to walk off. I can't in some movies, colleges, all of them. And as we've been getting in both Sam society, American music and the eight months we've been dealing with issues surrounding this that are that are both having to do with gender generational. Amos Listener has experienced a similar situations as the ones that were we're talking about now. And there's issues with regard to race and inclusion. I think that might rise some significant allies within Sammy particular group in dealing with some of these issues.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=3172.04,3309.42"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I just wanted to raise that. If these are connections that we'd like to make, society tends to lift towards them because I think there's of. So I think, unfortunately, we have to wrap up for the next meeting and this. A little bit. Thank you all for being such a star general audience. Happy purchase a page. And I think we need to really start thinking about next steps, like not just brainstorming, but actually gets women together. We can talk on. Listen, we could talk after this. I wonder if are some that are desperate to say something and some would say other things like. I just want to say that I'm so happy to see a pattern of women doing something like this. I've been coming to ask for 30 years, like Brenda and I could say, for a fact where I walk in the room. I see the baby. And I thought maybe one even. And I think that would be a nice, you know. You know, listening to people talking and giving them visual impressions and so on. Please, please, please listen to what these women are saying. Because while you may not have been a participant in taking the pictures, do believe me and you. You're like a little more liberal than most. Listen to what you have to say, because I'm not to say I had any incident that I can talk about when I felt uncomfortable being the only African person in a group of and white people. Nice, white and heavy. They treated me well, you know, the whole bit. And they accepted me because I had knowledge and I was collateral. Also jazz. Unfortunate jazz is a bad deal for women. Well, like that pointed out. But, you know, I I had those moments where I was like, well, maybe this is the book my that presentations where coon songs were prevalent.","format":"text/plain"},"target":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545#t=3309.87,3438.55"},{"id":"https://arsc.aviaryplatform.com/collections/1144/collection_resources/29707/file/97545/transcript/19068/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You know, you did the disclaimer you whole time. And I wondered why. So, OK. Things like that. Other things that may have been made to those that weren't African-American. But when you are kind of a little bit. So just listen to what they say and take what they have to say. Sinner's because if they felt something, something was wrong. Got to be. Yes, you have to look like a finger, Carlos. To the men who brought them in. 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