Czech music scholarship


I have conducted research on cultures of music, exchange, and value using feminist ethnography and critical cultural theory on Czech underground music cultures.

This scholarship engages with a variety of disciplines including post-reflective anthropology, exchange theory, science and technology studies, network theory, the sociology of taste, performance studies, cultural studies, and queer theory, and feminist theory. I generally focused on the following aspects of popular music: circulation, political economy, fine art/pop crossovers, bad taste, pop music avant gardes, popular music criticism, the cultures of recording, reproduction, distribution and playback technologies, and audience reception.


Conference Papers

History of Papers/Talks/Workshops given:

EMP/IASPM-US 2012 “Turn It Up! Listening To Difference,” a project of the Feminist Working Group

SEM 2011 “Svoboda Cultura: The Sound of ‘Free Culture’ in Czech translation,” Philadelphia, PA, November

IASPM-US2011 “Free Culture in the Czech Republic” at the International Association for the Study of Popular Music, US, in Cincinatti, OH, March

EMP2011 “Direct-to-fan vs. DIY: 21st century music business models in Czech Pop Music Networks” at the Experience Music Project Pop Conference, UCLA, February.

EMP2011 Work It!: gender, race, and sexuality in pop professions. Conference co-chair and facilitator of the “Publishing/Journalism” break out session. USC, February..
2010 U.S. Intellectual History Conference (CUNY) “Situating gender and sexuality in Spin and Vibe 1996-2006

Past Projects
My Masters thesis addressed the crossover of fine artists into popular music performance in the contemporary New York City indie/dance scene and focused on the musicians Casey Spooner (Fischerspooner), Rob Corradetti (Mixel Pixel) and Lalena Fissure (The Color Guard). It was titled “Fine Art Education and Popular Music: A Crossover of Competence.” Papers derived from this thesis were given at IASPM-US 2006 and the Experience Music Project Pop Conference 2006.

Way back machine:
2010 Jiny Pohled (Queer Eye) Festival, Prague, Czech Republic “How to Rock like a Girl”
EMP2010: Nostalgia for cassette culture in the MP3 age (presented in absentia on cassette)
EMP2009: Computer Love(r)s
EMP2009 Co-organizer: Dance This Mess Around: 2nd Annual Feminist Working Group
IASPM-US 2009: Tape-trading, Tuzex-shopping Depešaci: Depeche Mode as underground megastars in 1980s Czechoslovakia
IASPM-US 2008: Myspace is the Message: How a Czech Band Went from Local to Transnational in a 2.0 Minute
EMP 2008: Getting Closer: Extreme Loudness and the Body in Pain/Pleasure
EMP2008 Co-organizer: Feminist Working Group
SPARK2007: Attention music trogs, snobs, plebes, elites: Bad may be better when writing about popular music
EMP2007: Selling Sad: How Hot Topic Made the Mall (Safe for the) Miserable
EMP2007: Organizer: Ellen Willis Tribute
IASPM-US2006: O Superman: Gender and pop music performance by art-school trained musicians
EMP2006: Poo pooing pop’s poseurs: An analysis of anxiety around liking art-school trained musicians and their work
EMP2005: Dancing, democracy and kitsch: Poland’s Disco-Polo
EMP2004: The Art of Noise: How the Providence, RI Loft Scene Hears its Godawful Racket
EMP2003: The film remains the same: The making and deconstruction of rock myths in punk music documentaries

Education: M. Phil, Columbia University Music Department; M.A. Columbia University Music Department; B.A. New York University





Muff the Police! Sonic Care at Demonstrations

This is a zine on sound weaponry use by police. It offers tips on scene assessment and readiness for exposure to the Long Range Acoustic Device (LRAD) at public demonstrations. It also offers some history on police sound and a little bit of info about general acoustic trauma.

This is a work in progress and I very much look forward to developing better versions with more information, including versions with original info-graphics and illustrations. Get in touch if you can help! daphnegacarr at

Muff the Police Reading Copy (1.0) 5/31/17

Muff_the_Police!print version(1.0 5/31/17) (for 2 sided 8.5×11 zine)

Scholarship/Activism on Police Sound

I’m currently at work on a dissertation on the historical use of police sound communications technologies, with a special focus on the use of sounding technologies within crowd policing in New York City.

This site will be updated as projects evolve out my work.

5/2017: Muff the Police! Sonic Care at Demonstrations, a zine created to educate activists and organizers about what police sound is and how is affects the psychology and physiology of those at protest actions. This zine focuses pretty heavily on the Long Range Acoustic Device (LRAD).


This Must Be the Place

What builds a house into a home? A meditation through sound in pre-cut plywood, an ultra tiny home for the mind.


interactive sound art piece by Daphne Carr, 2016.

First installation, ALPHA 2016 (Camp Ramblewood, Maryland)

This Must Be the Place installation by the lake at ALPHA 2016, by Daphne Carr

This Must Be The Place installation at ALPHA 2016 by Daphne Carr


Photo by Erika Kapin
Portrait (c) Erika Kapin

Lake, interior, and vertical images: BY-NC Daphne Carr




I’m a dedicated, long time editor who shows a loving but firm hand in shaping prose. Show me your style guide, publication, or other target text, and I’ll help you get your work to that standard.

I’ve edited for magazines and newspapers, trade books, academic journals, and the underground DIY press worlds.

I have also edited for institutions, including grants for major arts organizations, proposals for new media companies, and copy for organization websites.

My specialty areas for editing include:

• Technical writing for arts organizations, liberal/left political and social justice organizations, and media companies (proposals, grants, reports)

• Creative non-fiction writing (book and essay manuscripts, long format journalism)

• Humanities and social science academic work (book and paper manuscripts, grants, thesis and dissertation proposals, and thesis and dissertation manuscripts)

My working style:

I work with a client to establish the type of edit needed, time frame for the editing process, and style of communication needs for edits. From there, I propose a working framework. Once it is approved, we move forward together to fulfill the task.

What does editing mean?

Here are definitions for a three tiered-system of editing, from Arthur Plotnik’s The Elements of Editing:

Light edit: Correct capitalization, grammar, numbers, punctuation, and spelling. Also repair nonsensical or potentially libelous statements.

Medium edit: A light edit plus also working the prose to ensure the active and concrete statements, clearly structured paragraphs, and, in the main, accurate information.

Heavy edit: Light and medium edits plus rewriting some sections, eliminating material, including transitions, and verifying the accuracy of information.

A “copyedit” usually mean a light to medium edit. A “substantive editing” is a medium to heavy edit. For those struggling with English grammar and usage, it is likely to be a medium to heavy edit.

Style guides: Chicago (16th Edition), MLA, AP, and AAA


music activism


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“A good song reminds us what we’re fighting for,” ~ Pete Seeger

The core of my life has been my desire to share music and music writing with others to encourage critical thought and inspire change. I’ve done this first as a feminist historian, scholar, writer, and curator on music topics, and then as an activist guitarist, singer, band leader, and instrument teacher. Today I am both of those things, and an organizer too. I consider the merger of my scholarship with on-the-ground performance of music as activism to be my most important life’s work. I am constantly humbled by the magnitude of Pete Seeger’s work in this realm, and hope to continue his work, albeit with a more cosmopolitan, plugged in and contemporary sensibility.

To that end, I am a student and practitioner of the following music activism skills:

• music as tactic for direct action (project managing, strategy)

• live music event booking and production

• activism on music as labor on the working lives and conditions of performers and songwriters

• songbook production (selection, chords, design)

• music advisory for grassroots organizations, social media campaigns, and actions

• instrument, song, and street performance workshops

• talks on the history of music as social justice and movement music history

• writing about contemporary and historical music in social movements

Some of the work I’ve been thankful to do:

Music group coordinator, People’s Climate March (Fall 2014)

Occupy Wall Street Music Working Group co-organizer (NYC)

Guitarmy co-organizer and member

Willie Mae Rock Camp for Girls, instructor, lecturer, advisory committee member

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Recent work:

Netroots 2015: panelist, “People’s Climate March: music and art in service of social movements

Netroots 2015: moderator, “Women on the musical frontlines”

Netroots 2015: moderator, “How to start a riot: Grrls, queers, and other rabble rousers”

music writing

For more than ten years I have written music and culture features, interviews, essays, and reviews for a variety of online, print, and trade publishing titles. I’ve focused avant pop & rock-derived musics, experimental, classical, and generally “out” cultures when doing review work. In the last ten years I’ve gotten more pop and more commercial in my listening while trying to remain true to underground/DIY music and ethos. I’ve got a lot to say about Nicki Minaj and Pitbull these days, but also about Downtown Boys and Blackfire.

I tend towards topics that engage music and politics, subculture, technology, the music industry, and the hidden/underrepresented histories of minoritized peoples in music.

Bylines include: Pitchfork,,, Capital NY, Associated Press, Chicago Tribune, Flaunt, MOJO Magazine, Village Voice, LA Weekly, & Seattle Weekly, among others.

I’ve done some more advertorial style content work for &, including a several year stint as Rhapsody’s classical editor.

The Archive includes:

Work at New Music Box, including a month-long guest columnist spot on music and labor

Capital New York, including an anthologized piece about Nicki Minaj

Flaunt, including an anthologized piece about women in pop on Depeche Mode, which counts in large amounts