An investigation of sexual themes in electronic music since the 1950s, with detailed case studies of “electrosexual music” by a wide range of creators. In Sex Sounds, Danielle Shlomit Sofer investigates the repeated focus on sexual themes in electronic music since the 1950s. Debunking electronic music’s origin myth—that it emerged in France and Germany, invented by Pierre Schaeffer and Karlheinz Stockhausen, respectively—Sofer defines electronic music more inclusively to mean any music with an electronic component, drawing connections between academic institutions, radio studios, experimental music practice, hip-hop production, and histories of independent and commercial popular music. Through a broad array of detailed case studies—examining music that ranges from Schaeffer’s musique concrète to a video workshop by Annie Sprinkle—Sofer offers a groundbreaking look at the social and cultural impact sex has had on audible creative practices. Sofer argues that “electrosexual music” has two central characteristics: the feminized voice and the “climax mechanism.” Sofer traces the historical fascination with electrified sex sounds, showing that works representing women’s presumed sexual experience operate according to masculinist heterosexual tropes, and presenting examples that typify the electroacoustic sexual canon. Noting electronic music history’s exclusion of works created by women, people of color, women of color, and, in particular Black artists, Sofer then analyzes musical examples that depart from and disrupt the electroacoustic norms, showing how even those that resist the norms sometimes reinforce them. These examples are drawn from categories of music that developed in parallel with conventional electroacoustic music, separated—segregated—from it. Sofer demonstrates that electrosexual music is far more representative than the typically presented electroacoustic canon.

An investigation of sexual themes in electronic music since the 1950s, with detailed case studies of “electrosexual music” by a wide range of creators. In Sex Sounds, Danielle Shlomit Sofer investigates the repeated focus on sexual themes in electronic music since the 1950s. Debunking electronic music’s origin myth—that it emerged in France and Germany, invented by Pierre Schaeffer and Karlheinz Stockhausen, respectively—Sofer defines electronic music more inclusively to mean any music with an electronic component, drawing connections between academic institutions, radio studios, experimental music practice, hip-hop production, and histories of independent and commercial popular music. Through a broad array of detailed case studies—examining music that ranges from Schaeffer’s musique concrète to a video workshop by Annie Sprinkle—Sofer offers a groundbreaking look at the social and cultural impact sex has had on audible creative practices. Sofer argues that “electrosexual music” has two central characteristics: the feminized voice and the “climax mechanism.” Sofer traces the historical fascination with electrified sex sounds, showing that works representing women’s presumed sexual experience operate according to masculinist heterosexual tropes, and presenting examples that typify the electroacoustic sexual canon. Noting electronic music history’s exclusion of works created by women, people of color, women of color, and, in particular Black artists, Sofer then analyzes musical examples that depart from and disrupt the electroacoustic norms, showing how even those that resist the norms sometimes reinforce them. These examples are drawn from categories of music that developed in parallel with conventional electroacoustic music, separated—segregated—from it. Sofer demonstrates that electrosexual music is far more representative than the typically presented electroacoustic canon.

2016 Winner of the Norma Fleck Award for Canadian Children’s Non-Fiction 2016 ALA Stonewall Book Award, Honor Book 2016 ALA Notable Children's Book A comic book for kids that includes children and families of all makeups, orientations, and gender identities, Sex Is a Funny Word is an essential resource about bodies, gender, and sexuality for children ages 8 to 10 as well as their parents and caregivers. Much more than the "facts of life" or “the birds and the bees," Sex Is a Funny Word opens up conversations between young people and their caregivers in a way that allows adults to convey their values and beliefs while providing information about boundaries, safety, and joy. The eagerly anticipated follow up to Lambda-nominated What Makes a Baby, from sex educator Cory Silverberg and artist Fiona Smyth, Sex Is a Funny Word reimagines "sex talk" for the twenty-first century.

Kyle wants it all... Kyle Stuyvesant doesn't believe in love and romance. His parents taught him there's no such thing as forever, and he took the lesson to heart. After all, there's only one woman who ever tempted him to want more than one hot night together. Fortunately for his convictions, she's married to another guy. Problem solved—until Lauren's husband cheats and Kyle isn't just the bearer of bad news, but the man she calls for comfort... Lauren demands his all... After Lauren's marriage implodes, she wants to lose herself in pleasure. Who knows that territory better than Kyle, who once seduced her completely? Lauren never forgot that wonderful night and, now that she's suddenly single, Kyle's rule of no love or romance has a new appeal. All she wants is satisfaction, but when Kyle realizes he needs more, will he be able to convince Lauren to take a chance on forever again, this time with him? An earlier version of this story was published under the title, Addicted to Love.

Vols. 20- include Proceedings of the North Carolina academy of science, 1902-

"Serious philosophy is not an attempt to construct a system of beliefs, but the activity of awakening, the conversation passionately pursued. Only if professional philosophy reclaims this paradigm and finds ways to embody it, will it achieve an active place in the thought and life of our culture." --James Conlon, "Stanley Cavell and the Predicament of Philosophy." This book is a collection of serious philosophical essays that aim to awaken readers, teachers, and students to a desire for conversation passionately pursued. The essays in this volume speak about sex, movies, poetry, and politics, in short, about those things contemporary Americans passionately discuss. These are the subjects that were taught for forty-three years in James Conlon's classroom at Mount Mary University, a Catholic urban university for women in Milwaukee, Wisconsin. This volume celebrates Conlon's work while calling to all who continue to teach and learn about philosophy in contemporary times with the message that relevant philosophy deals with life as it is lived in the moment.