Iconic Female Producers: The Foremothers of Music Production
Divine Affliction: Perception Through A Feminine Lens Part 4
Divine Affliction: Perception Through a Feminine Lens Blog Series presents an expansive view behind the music production of album Divine Affliction. An expression of the feminine aesthetics in music. A sonic portrayal of the duality of divinity and affliction, a journey through the female experience. The album is a shorter album consisting of seven songs and would be defined as experimental electronica with raw, introspective, brooding, emotive music. This album presents an aural representation of the female processes and application to music production. The musical compositions are inspired by my own experience of the intersectionality of gender and music production along with the preliminary research uncovered in the previous theoretical blogs.
Affliction: “Something that makes you suffer” (Cambridge, N.d).
Divine: “Extremely good or pleasing” (Cambridge, N.d).
These two terms, divine and affliction describe my experience with the intersectionality of gender and music production. Divine is how I feel when I’m writing music and in my creative realm. Divinity is the state of things that are believed to come from God or a creator (Wikipedia. N.d.). I attribute being a creator to being a music producer, and through creating this project I am establishing my feminine subjectivity within my creative practice, reaching my true state of divinity. French feminist author, Irigaray believes “as long as woman lacks a divine made in her image she cannot establish her subjectivity or achieve a goal of her own. She lacks an ideal that would be her goal or path in becoming” (Irigaray, 1984, p. 63). (Adams & Duncan, Ed Clark, 2003, p. 197–198). By creating my own image of the divine through the sonic notions in the music I will establish my feminine subjectivity. Producing the album Divine Affliction is my goal and ideal of becoming. Throughout this project, the term divine is attributed to the feminine aesthetics of music production. These feminine aesthetics include; feminine performativity in music production, female modalities of music production, and feminist DIY cultural production. I feel afflictions with my femininity and the masculine culture of music production. Throughout this project, the term affliction defines the representation of women in music production, and the barriers to accessing the field this produces, along with the alterity issues this brings for women.
The following theoretical discussion on iconic female producers in the field acknowledges the afflicting and divine intersections that these females have faced in music production, along with providing an aesthetic analysis of their practice and work.
Introduction
Women have been engaged with music and music technology since its infancy, the research in a previous blog on the afflicting intersections provided evidence of the male washing and patriarchal stronghold over the masculine gendering of production has contributed to these beliefs.
“While it is true that men have constituted the majority of the active participants in electronic music culture, women have also contributed to its global growth and development. However, similar to what happened to women in punk rock and hip-hop, women’s efforts in electronic music have often gone undocumented” (Farrugia, 2012, p. 27).
Delia Derbyshire
Delia Derbyshire, pioneer to the field of electronic music production and female electronic music producer, renowned for composing the electronic theme to television series Dr Who. “Which was the first electronic TV theme tune to be broadcast on British TV” (Morgan, 2017, p. 10). Her big break came in 1963 when she began working for the BBC’s Radiophonic Workshop producing sound effects and music for radio dramas and television. She became recognized as an innovator, Frances Morgan explains, just before her death, she became acknowledged as a pioneer of electronic music due to interest from electronic and rock musician’s research. Her position as an iconic female producer is due to her being honoured as a role model for women working electronic music and music technology, as one of the few females working in the male-dominated BBC Radiophonic Workshop (Morgan, 2017, p. 11). Her soundtrack compositions abandon the conventions of their time, described as electro-acoustic works or classical electronic, “structured around slow transformations and shifting layers of sound, exploring subtleties of pitch and timbre” (Morgan, 2017, p. 10). Derbyshire’s interest in mathematics leads to her technological innovation, labelled as a composer with recognition for her development and history of electronic music lineage (Morgan, 2017, p. 15–16). Morgan quotes Desmond Briscoe, the former head of the Workshop stating Derbyshire created “very beautiful almost unearthly and quite remarkable music (Briscoe 1983)” (Morgan, 2017, p. 10). Morgan points out that many researchers find media accounts that, “Women in electronic music history often describe them as pioneers, exceptional figures whose achievements are portrayed through a lens of both sacrifice and empowerment” (Morgan, 2017, p. 22). This empowerment is the fuel for inspiring future female music producers.
Daphne Oram
Daphne Oram was a pioneer of electronic music composing ‘Still Point’ in 1949, described as “the world’s first composition, which manipulates electronic sounds in real-time” (Williams, 2017). Holly Williams explains, at age 18 Oram began working with the BBC as a music balancer, leading to a position as the studio manager where she debated to establish a studio focused on the production of electronic music and sound effects. In 1957 her wish was granted and she created the BBC Radiophonic Workshop and began working on her Oramic machine. The machine allowed you to draw sound with a gestural interface. Not as well known as her Radiophonic Workshop colleague Delia Derbyshire, though in recent years Oram’s achievements have become celebrated with her accomplishments that revolutionised music (Williams, 2017). She experimented with tape manipulation, speeding or slowing, splicing or layering recordings to create new sound effects and avant-garde musical compositions thought radical at the time. “Such ideas were not taken seriously especially when they came from a young woman” (Williams, 2017). While working at the BBC Oram produced sound effects for radio dramas and the soundtrack for Samuel Beckett’s All That Falls. She explored an untapped musical language working alone at night “pushing around tape recorders to create her own multi-track studio for producing symphonic works” (Williams, 2017). The BBC a male-dominated institution asked Oram to take six months off concerned with “the effect of radiophonic equipment on the human body” (Williams, 2017). Though not showing the same concerns to the effect on her male colleagues, Oram profoundly frustrated, quit her role with the BBC. In 1972 Oram published her manifesto An Individual Note of Music, Sound, and Electronics, explaining electric circuits work, along with some eccentric theories about connections between soundwaves and the soul. These theories connected to her Oramic machine, democratizing music production by creating compositions with a gestural interface and drawing music, making anyone a composer. Her analogies on the human body and the psyche were that human beings are instruments featuring a spectrum of frequencies, pulsating and beating at a molecular level. Sound is at the core of who we are, right down to our very cells and atoms (Williams, 2017).
Laurie Spiegel
Laurie Spiegel helped revolutionize music with electronic instruments and computer programs as a researcher at the legendary Bell Labs, known for work on the Golden Records. In 1980 she released the album The Expanding Universe described as “her magnum opus” by Jenifer Lucy Allan (Allan, 2018). Spiegel is another true pioneer of electronic music and iconic female producer, working with Max Mathews on a new form of composition at the time. This new form of composition was “made with a system called GROOVE (Generated Real-time Output Operations on Voltage-Controlled Equipment), at a time when computers required entire rooms to house their huge cabinets of flashing lights and tangled wires” (Allan, 2018). Her work at Bell Labs developed new ways to improvise music on computers and led to her developing music-making software instruments like the Music Mouse (Allan, 2018). Spiegel had a unique approach to her production practice at the time, taking inspiration from other cultures, “like African and Indian polyrhythm’s, American folk music from the Blue Ridge Mountains” (Allan, 2018), synthesized into digital form. Though unlike the cold electronic computer music of the time, her music “was enveloping and absorbing, rhythmic and, crucially, warm ripples of dense electronic sound” (Allan, 2018). When describing her music she said she wanted to make music that didn’t exist yet she wanted to hear. “Her broader aim was to break the stereotype of computers being inhuman and cold” (Allan, 2018). What I find interesting is that Allan reports on her album The Expanding Universe is an “interview with Spiegel, where she is both interviewee and interviewer: ‘A lot of people find computers intimidating,’ she says. To which she replies: ‘A lot of people find music pretty intimidating too, you know!’” (Allan, 2018). As if critiquing the male domination and gendering of music technology.
Clara Rockmore
Clara Rockmore, though wasn’t involved with music production, has been described as a proponent in the pioneering of electronic music (Grundhauser, 2017). She was a virtuoso with the synthetic instrument the Theremin, invented by Leon Theremin. James II Bennets describes with her technique, she proved it was not only an instrument for sci-fi sounds with her performances making the way to concert halls illustrating the seriousness of this instrument (Bennett, 2017). “She championed the instrument as a legitimate classical instrument that deserves a place in the pit, right next to the violins and piano” (Grundhauser, 2017). Eric Grundhauser explains the Theremin is a unique instrument that you do not touch to play, unlike other instruments, though requires precise body control. The musician uses their hands between two antennas, moving their hands to change the pitch and amplitude of the sound by disrupting and altering an electromagnetic field between the two antennas (Grundhauser, 2017), as if they were playing air as an instrument. Rockmore was the youngest student accepted into the St. Petersburg Imperial Conservatory to study violin at the age of four, as they discovered she had perfect pitch. She moved to America and continued her music education at the Curtis Institute in 1928 at the age of 17. Though she was diagnosed with arthritis in her bow arm, ending her dreams as a concert violinist. However, with this knowledge, skill and formal education, she established herself as the world’s premier Theremin player (Bennett, 2017). “Rockmore embraced its ephemeral nature and hoped to demystify the esoteric instrument by making it a regular fixture of classical performance” (Grundhauser, 2017). She made the Theremin a serious player in the history of electronic music, with her tours, performances, and album titled The Art of the Theremin a collection of classical performances that was produced by friend and fellow electronic music pioneer Robert Moog. Rockmore began compiling her thoughts on how to play the instrument and created her own method called the Clara Rockmore Method for Theremin which has been released free of charge as per her wishes (Grundhauser, 2017).
Leslie Ann Jones
Leslie Ann Jones is a true pioneer of music production and the audio industry. Jones was born into the industry, she is the daughter of bandleader Spike Jones and singer Helen Grayco, describes Nora Huxtable (Huxtable, 2015). Michelle Sabolchick Pettinato explains Jones career started as a musician and by 1974 she was running her own sound company. At this time Jones was also working at ABC records in Los Angeles in publicity and artist relations. She had a passion for production and wanted to gain further knowledge into the art of mixing and engineering. She approached the manager of ABC recording studios, Phil Kaye, for a position in the studio. He approved her application “with the understanding that it was extremely rare to have a woman engineer,” and that if the clients didn’t approve her position would be terminated. At ABC she started as a production engineer and assistant on recording sessions. John Mayall loved her work as an assistant and asked her to engineer his next record, leading to more engineering work. Jones left ABC records and went onto work at the Automatt Recording Studios in San Francisco where her experience as an engineer grew. The Automatt at times had even representation of genders with a staff of three male engineers and three female engineers. “It was the Bay Area of course, infinitely more tolerant. But that ratio was unheard of…probably is still to this day” (Sabolchick Pettinato, N.d). At the Automatt was when Leslie Ann released that being a woman in this industry could aid in her success. It was the era of women’s music, specifically marketed and created for and by women. Women-owned record labels, musicians, producers, engineers artists, distributors, festivals, mostly in the folk genres. Leslie believes women bring a unique set of skills and a different approach to the studio (Sabolchick Pettinato, N.d). Maureen Droney explains, in 1984 The Automatt closed and Jones worked for three years as a freelance engineer in the Bay area and then went onto work at Capitol Records in Hollywood as an engineer and producer (Droney, 1999). Mark Newbold comments, Jones now works as the Director of Music and Scoring for George Lucas’ Skywalker Sound in Northern California, where she continues recording and mixing music for records, films, video games, and television, as well as producing records in the classical and jazz genres (Newbold, 2019). “At Skywalker she has recorded everything from a full orchestra to a solo instrument and even a Mercedes-Benz” (Huxtable, 2015).
Newbold mentions Jones’s attention to detail and highly trained ear has made her an in-demand engineer and producer in the industry working with industry greats including Herbie Hancock, John Mayall, Santana, ConFunkShun, Frankie Beverly and Maze, the Whispers, Bobby McFerrin, BT, the Kronos Quartet, and Michael Feinstein (Newbold, 2019). Droney comments, she is known for her work on jazz, big band, and orchestral recordings for artists such as; Michael Feinstein, Wayne Shorter, and Herbie Hancock (Droney, 1999). Along with legends B. B. King and Miles Davis (Huxtable, N, 2015). Jones is also known for her impeccable vocal recordings of Rosemary Clooney, Bobby McFerrin, DeeDee Bridgewater. She has also worked with R&B artists such as Maze, ConFunkShun and The Whispers (Droney,1999). Jones has also recorded for several large-name video games, including Star Wars: The Force Unleashed, Gears of War 2, and Dead Space (Huxtable, N, 2015). “In 2000, she followed Phil Ramone’s tenure to become the first woman ever to chair the Recording Academy (GRAMMY) Board of Trustees” (Newbold, 2019). This year she was inducted into the NAMM Tec Hall of Fame, which is the highest honour for pioneers of audio technology, producers and audio technicians (Newbold, M, 2019).
Leslie Ann Jones’s work in the audio industry has high regard spanning decades showing her stature as an iconic female producer. Her many accomplishments include; first female Recording Engineer at ABC Studios in Los Angeles 1975; first female Engineer at the legendary Automatt Studios in San Francisco 1977; First female National Officer of NARAS; and Sound engineer and Road manager of one of the first American all-female bands- Fanny in the 1970s, explained by Sabolchick Pettinato. Jones is also a multiple Grammy Award nominee and three-time Grammy Award winner for; Best Chamber Music Album with The Kronos Quartet ‘Berg: Lyric Suite’ 2003; Best Jazz Vocal Album with Dianne Reeves ‘ Good Night and Good Luck 2005; and Best Engineered Album, Classical with Quincy Porter, Complete Viola Works 2010. Leslie currently has two Grammy nominations, Best Surround Sound Album with the Signature Sound Opus One; and Best Engineered Album, Non- Classical for Madeleine Peyroux, called ‘The Blue Room.’ Trina Shoemaker also has a nomination in this category, making it the first time ever two women engineers have been nominated in the same category (Sabolchick Pettinato, N.d).
Linda Perry
Linda Perry started her career as the singer-songwriter of band 4 Non Blondes releasing the song ‘What’s Up’ in 1992. Michael Rothman explains, she later worked as a producer with Christina Aguilera, Gwen Stefani, and Pink, making it into the Rock and Roll Hall of Fame for her work with these artists (Rothman, 2018). She has also worked with Alicia Keys, Adele, James Blint, and Courtney Love. She has launched multiple record labels and produced a TV show focused on discovering musicians. Linda Perry’s many accomplishments are finally gaining recognition. Mesfin Fekadu explains, in 2019 she has received her first-ever Grammy nomination for non-classical producer of the year. “Becoming just the ninth female to earn a nomination in the category in the organization’s 61-year history, and the first woman nominated for the prize in 15 years. If Perry wins, she would be the first woman to do so” (Fekadu, 2019). I would like to make note of her work with female artists Christina Aguilera and Pink with expanding their debut sounds and style which aided in their career success. Linda Perry is an iconic female producer.
Sylvia Massey
Sylvia Massey, producer, and engineer, known for her work with Johnny Cash, Tom Petty, and the Red Hot Chilli Peppers. Greg Kennelty explains, in 1993, she turned down working with Prince to work with the upcoming band Tool on their first album Undertow, as she knew it would be their big breakthrough after already releasing demo 72826 in 1991 and EP Opiate1992. Her work on Undertow showed some unique and innovative modalities of production using a Leslie cabinet on the guitar in song ‘4 Degrees’ and recording two upright pianos “while they were being destroyed with sledgehammers and a shotgun,” on the song ‘Disgustipated’. It was recorded to analog tape taking two months to finish the album, “recording several live takes of each song, then taking pieces of songs and editing the best parts together” (Kennelty, 2018). As one of the few celebrated females in the field, Sylvia Massey is an iconic female producer.
Trina Shoemaker
Trina Shoemaker, music producer, sound engineer and one of the few women who has made it out of the office and into the studio. Cobie-Ray Johnson describes her career started as a secretary at Capitol Records in Los Angeles in 1983. Then in London working with artist Hugh Harris, and later at Kingway Studio as producer, Daniel Lanois assistant, where she became the studio’s house engineer in 1992 (Johnson, 2018). What is most surprising is that it took her 9 years to work her way from secretary to studio engineer; most men usually take 2 to 3 years to make this progression. In 1995 she had her first major success, producing Sheryl Crow’s debut album Tuesday Night Music Club. Then in 1998 had another major victory, winning “the Grammy for Best Engineered Album for engineering Crow’s The Globe Sessions, becoming the first woman to have ever won the award”(Johnson, 2018). Such an inspiring achievement considering she’s the first woman to ever win a Grammy in the engineering category, though this defiantly highlights the male dominance within peak music industry bodies and awards. She is an iconic female producer, having worked with many other female artists including Indigo Girls, Dixie Chicks, Emmylou Harris, and Nancy Griffith (Johnson, 2018), showing great rapport with female artists. She has also worked with many other renowned musicians including Queens of The Stone Age, Something for Kate, and Iggy Pop (Johnson, 2018).
Susan Rodgers
Susan Rodgers was lucky getting her start as an audio technician working at “Audio Industries Corporation in Los Angeles where she trained as a maintenance tech by day,” and by night studied prolifically learning recording technology explains Murray Stassen. (Stassen, 2018). She found her passion unique to females, not knowing of any in the industry, and learning about female engineers Leslie Ann Jones and Peggy McCreary from the back of records. In 1980 she went to work at Graham Nash’s Rudy Records also as a technician, though this led to occasional assistant engineer positions. In 1983 she got her big industry break as Prince’s staff engineer. She is a foremother of music production having worked with Price until 1988, leaving to work with other renowned musicians the Jackson family and Talking Heads’ David Byrne. Susan Rodgers went on to produce bands The Bare Naked Ladies and gain a doctorate in psychology, with studies on music cognition and psychoacoustics. She is now “a Professor in Music Production and Engineering at the Berklee College of Music as well as the director of the Berklee Music Perception and Cognition Laboratory” (Stassen, 2018).
Conclusion
These iconic female producer’s approach to production is inspiring, some are pioneers of electronic music technology and studio production. Daphne Oram, democratizing music, using the body as a performance of the recording technology. Laurie Spiegel creating divine electronic compositions showing a feminine aesthetic to her compositions with the representation of a diversity of other cultures and deconstructing the coldness of electronic music to something warm and beautiful. Leslie Ann Jones was the first female recording engineer at ABC Studios in Los Angeles in 1975 and the first female engineer at the legendary Automatt Studios in San Francisco 1977. She is truly a trailblazer and a female pioneer of production and engineering, paving the way for others in the studio. Trina Shoemaker and Linda Perry for their amazing work aiding the success of female artists in the industry. Susan Rodgers entering the male-dominated industry with no other female producers as representatives or colleagues. This analysis examined how these females accessed the music industry and acknowledged their contributions to the field. The afflictions they have faced along with the divinity in their compositions and feminine modalities of music production. Not to mention the amazing work these ladies have done for the music industry is an inspiration for myself and other females with a passion for music production. This analysis of the iconic female producers provided evidence of the severe lack of research into these women and analysis of their practice in music production. With the majority of the literature in this homage to the foremothers of production was erected from media press, showing the male washing of women from music production discourse. This has also highlighted the need for more research into women and music production.
Encore
The following blog will dissect my creative process with visceral accounts on the sonic storytelling of song ‘Divine Affliction’ — narrating my music-making processes, by highlighting how I implement the song concepts into the musical composition, audio processing, and lyrics. Experience her story of music production through a feminine lens, a feminine perception of music production, educating womxn how to make music and embrace the realm of music production. Excited? I am…Stay Tuned!
Read the previous blog: https://medium.com/orthentix/the-divine-intersections-of-gender-and-music-production-1b49a1d73a67
Read the following blog: https://medium.com/orthentix/the-sonic-storytale-of-divine-affliction-4e5f16097302
Reference List:
Adams, Teresa & Duncan, Andrea. (2003.). The feminine case: Jung, aesthetics and creative process. Karnac Books Ltd, London: UK. ISBN: 978 1855752849.
Allan, Jenifer Lucy. (January 30, 2018). Sound matters: Innovators: Laurie Speigal [Musicology Journal Website]. Retrieved from http://journal.beoplay.com/journal/sound-matters-laurie-spiegel
Bennett, James II. (August 11, 2017). Watch Theremin pioneer Clara Rockmore in action [Blog]. Retrieved from https://www.wqxr.org/story/watch-theremin-pioneer-clara-rockmore-action/
Droney, Maureen. (August 1, 1999). Leslie Ann Jones: Doing it all [Website]. Retrieved from https://www.mixonline.com/sfp/leslie-ann-jones-doing-it-all-369089
Farrugia, Rebekah. (2012). Beyond the dance floor: Female DJs, technology and electronic dance music culture [Article]. Intellect: Bristol, UK. ISBN 978–1–84150–566–4.
Fekadu, Mesfin. (January 31, 2019). Linda Perry, pioneering producer, smashing through history [Article]. Retrieved from https://apnews.com/f6ad82ab90994ba5827da5915a2d8222
Grundhauser, Eric. (December 18, 2017). 5 secrets for mastering the Theremin, from the legendary Clara Rockmore [Media Press]. Retrieved from https://www.atlasobscura.com/articles/clara-rockmore-theremin-music-tips-electronic-music
Huxtable, Nora. (June 18, 2015). Leslie Ann Jones is a jedi of sound engineers [Website]. Retrieved from https://www.classicalmpr.org/story/2015/06/18/leslie-ann-jones-is-a-jedi-of-sound-engineers
Johnson, Cobie-Ray. (April 10, 2018) Gender amplified: Trina Shoemaker, mixer, producer, engineer [Media Press]. Retrieved from https://genderamplified.org/trina-shoemaker-mixer-producer-engineer/
Kennelty, Greg. (April 29, 2018). Metal injection: Sylvia Massy discusses turning down Prince to work on Tool’s debut album in 1993 [Media Press]. Retrieved from http://www.metalinjection.net/shocking-revelations/sylvia-massy-discusses-turning-down-prince-to-work-on-tools-debut-album-in-1993
Morgan, Frances. (2017). Delian modes: Listening for Delia Derbyshire in histories of electronic dance music [Article]. Dancecult: Journal of electronic music dance music culture, Vol 9, No 1. ISSN 1947–5403. Retrieved from http://dx.doi.org/10.12801/1947-5403.2017.09.01.01
Newbold, Mark. (January 25, 2019). Leslie Ann Jones from Skywalker Sound to be inducted into NAMM TEC Hall of Fame [Website]. Retrieved from https://www.fanthatracks.com/news/film-music-tv/leslie-ann-jones-from-skywalker-sound-to-be-inducted-into-namm-tec-hall-of-fame/
Rothman, Michael. (January 31, 2018). ABC News: Hall of famer Linda Perry on what’s lacking in the music industry [Media Press]. Retrieved from https://abcnews.go.com/GMA/Culture/hall-famer-linda-perry-lacking-music-industry/story?id=52743227
Sabolchick Pettinato, Michelle. (N.d). Leslie Ann Jones- Having the courage to raise your hand [Website]. Retrieved from https://soundgirls.org/leslie-ann-jones/
Sabolchick Pettinato, Michelle. (N.d). Leslie Ann Jones- Part two [Website]. Retrieved from https://soundgirls.org/leslie-ann-jones-part-two/
Stassen, Murray. (March 7, 2018). In the studio with Prince: Susan Rodgers recalls her first five years as the star’s staff engineer [Media Press]. Retrieved from https://www.audiomediainternational.com/feature/susan-rogers-on-five-years-as-princes-staff-engineer
Wikipedia. (N.d). Divinity definition [Website]. Retrieved from https://en.wikipedia.org/wiki/Divinity
Williams, Holly. (May 30, 2017). BBC Culture: The woman who could draw music [Media Press]. Retrieved from http://www.bbc.com/culture/story/20170522-daphne-oram-pioneered-electronic-music
List of Figures:
Figure 1. Audiological Chronology. (October 2013). Delia Derbyshire [Image]. Retrieved from http://delia-derbyshire.net/
Figure 2. The Guardian. (August 2008). Daphne Oram [Image]. Retrieved from https://www.theguardian.com/music/2008/aug/01/daphne.oram.remembered
Figure 3. Sound Matters. (January 2018). Laurie Spiegel [Image]. Retrieved from https://journal.beoplay.com/journal/sound-matters-laurie-spiegel
Figure 4. Insomniac. (March 2018). Clara Rockmore [Image]. Retrieved from https://www.insomniac.com/magazine/clara-rockmore-theremin-witch/
Figure 5. Soundgirls.org. (N.d). Leslie Ann Jones [Image]. Retrieved from https://soundgirls.org/leslie-ann-jones-part-two/
Figure 6. WDW. (N.d). Linda Perry [Image]. Retrieved from https://www.whosdatedwho.com/dating/linda-perry
Figure 7. Working Class Audio. (March 2015). Sylvia Massey [Image]. Retrieved from http://www.workingclassaudio.com/wca-014-with-sylvia-massy/
Figure 8. AL News. (June 2016). Trina Shoemaker [Image]. Retrieved from https://www.al.com/news/mobile/index.ssf/2016/06/what_do_a_world_series_champ_a.html
Figure 9. Thompson, L. (2019). (May 2019). Susan Rodgers and me [Image]. Personal photo.
