Posts in Inclusivity
[RANT] Cancel Culture & Community Accountability: Inaction Isn't An Option, Band Dudes
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I have to talk about this shit with Morrissey because a band I have invested a lot of time and invested a ton both emotional and financial energy into is now involved with this.

For folks catching up at home, Morrissey has publicly outed himself as, well…..a fucking racist. If you’re publicly rocking swag from a far-right organization in the UK that was founded by an anti-Islam activist not just once on national TV but actually multiple times at shows and are quoted saying things like (and I kid you the fuck not), “I don’t think the word ‘racist’ has any meaning any more, other than to say ‘you don’t agree with me, so you’re a racist.’ People can be utterly, utterly stupid.”, either you’re a fucking racist, or, as you yourself would say….are utterly, utterly stupid.

This stuff has been swirling for a minute that dude was problematic af, but has really come to a head shortly after it was announced that aforementioned band I’ve invested a lot of energy into, Interpol, was heading out on tour with this racist turd of a human in the US. Yesterday, Pitchfork pointed out a little ditty in which Hot Press very directly asked Paulie Banks what his thoughts were on the reactions from folks who weren’t pleased that they agreed to hit the road with someone who’s trending at the moment because he’s a bigot. Dude’s response?

"We thought it would be a good show for our band. That's how I'm looking at it. I don't get too much into the other stuff."

My guy, are you for real?

You live in New York fucking City, one of the most famous if not actually the most famous cultural melting pots, full of immigrants and people that your headliner has very strong and troubling opinions on, and you’re just gonna white privilege your way through this shit and cash your checks without a second thought? I expected way more than this from you.

To muddle this even more, Nick Cave decided to chime in on the subject via a response to a fan-submitted letter about separating the art from the artist, essentially saying that Morrissey’s political views are “irrelevant” to him as a musician.

…….uggghhhhh

Just so we’re clear, that’s the tl;dr version of what he said. He definitely stated very bluntly that Morrissey’s views were hella problematic af and even encourages fans to try and reason with Moz, but his whole thing is he believes it’s a disservice to oneself as a fan to deprive yourself of art you’ve become invested in just because they suck. His whole rationale is that once a song is in the wild that essentially there’s an immediate disassociation of art from artist. Here’s his direct quote:

“I think perhaps it would be helpful to you if you saw the proprietorship of a song in a different way. Personally, when I write a song and release it to the public, I feel it stops being my song. It has been offered up to my audience and they, if they care to, take possession of that song and become its custodian. The integrity of the song now rests not with the artist, but with the listener.”

While this is certainly an earnest argument,  imma have to call bullshit on this, or at the very least kind of point out how many holes there are in this argument.

Before I go off, I’m just going to give Nick Cave the benefit of not knowing what it’s like to *solely* be a music fan. I certainly respect his perspective and am grateful to hear the thought process behind his artistic expression. Unfortunately, I feel like when your self-determined role in the symbiotic relationship that is fandom is mostly to receive, react, support, and provide feedback, that disassociating is basically next to impossible.

This line of thinking he’s trying to semi-sell through here says that when I went to see Interpol for the 7th time at Madison Square Garden and bought a tank top dress and an enamel pin that I was there giving my money directly to “PDA”, “Not Even Jail”, “Cmere”, or “The Heinrich Maneuver”.

Nope. Not even close.

Fans operate under the notion that in order for more of the notes and words mixed together that makes their heart happy, that they have to feed, clothe, encourage, etc. the human persons who contribute to that art, which is why we are told to support artists by buying albums/merch, to attend their shows, and so on. I did not walk into Madison Square Garden to be in the presence of sounds I love that have a lot of meaning behind them. Music isn't something we all simply appreciate on our own in private. Music is literally everywhere all day every day. It's so embedded deeply in our culture that while Netflix can somehow get away with taking ‘The Office’ away on Netflix, if a popular album were to be pulled indefinitely the general public would have an even bigger meltdown before probably running off to pirate said album because we can’t live without it. Within the cult of celebrity we looove to love a rockstar, all the way to we collectively mourn them when they pass away. Music festivals are now the hottest events of the summer.

Speaking of festivals, live performances specifically are all about human connection. The experience of seeing the persons who made the art you like recreate it directly in front of you. We take for granted the amount of skill that is needed for these kinds performances. On top of that you’re in a room full of people who connected to the same thing as you, so it’s fair to assume that you have common interests with all of these future friends (also read: strangers).

It’s important to also consider that fans default at the assumption that when they’re at shows that they will be safe when they’re there. While recent gun related events make that assumption waver a bit, people go into a show with the understanding that that everyone will be remotely pleasant, accepting, and welcoming. If someone at the show sucks, well…..

….do you see where I’m going with this?

When someone comes in and spoils the fun at a show, what happens? They (hopefully) get ejected (hopefully) immediately.

It’s really hard to keep enjoying something when the experience has been tainted for you, especially when the person who wrecked it for you happens to be center stage. I still think about the dude who flailed around in front of me when I saw Alt-J at Mercury Lounge or the guy who groped a close friend at Fidlar. It’s really unfortunate that those experiences stick out very distinctly with those events because I wasn’t allowed to simply get lost in the art like I wanted to.

It’s certainly a lovely notion to try and pretend like the possibility of Morrissey attempting to not to sway people to his beliefs, but just like fans of music proudly wear band swag often in hopes of finding fellow fans, fans are also advertising and evangelizing with their merch, too. Ol’ Moz coulda been racist and kept his trap shut leaving fans none the wiser about his beliefs so they could continue to idolize and support him, but obviously he’s hoping that his recent behavior has a specific reaction and it’s not exactly the one I’m having right now. It’s pretty clear that he’s trying to elicit and enlist support for his troublesome beliefs, and honestly that might as well be a dude dumping beer on your head during your favorite song every fucking time it comes on.

So no, I’m sorry Mr. Cave (we’re not close enough yet for me to call you Nick), but it’s a little impossible to separate the art from the artist and their problematic behavior. Ain’t gonna happen. The part that the community has control over, on the other hand, is how we choose to use this kind of information to make educated decisions. In the same way that most fans these days know that if you buy albums directly from the band vs at a store or by streaming that the bands get more money and are then given the option to decide how they want to support, we get to look at Morrissey tightly bound to his bigotry right now, and decide if he deserves our attention anymore. We get to ponder whether or not we think it’s distasteful that Paul Banks doesn’t think it’s that big of a deal to earn money off an outspoken racist and not at the very least try to have the guts to speak directly to whether or not they share the same beliefs. In the face of discriminating against the marginalized, silence can literally be deadly.

Cave closes the fan letter with, “We should thank God that there are some among us that create works of beauty beyond anything most of us can barely imagine, even as some of those same people fall prey to regressive and dangerous belief systems.” Call-out/cancel culture in its current state doesn’t exactly have a universally agreed upon roadmap for what happens next when it becomes public knowledge that someone among us is being hateful or harmful with no intent to stop any time soon. We especially don’t know how to effectively handle the people who idly stood by and didn’t do anything to stop or prevent them from acting maliciously.

Swiftly smacking down on the cancel button could be really easy here. I mean I’ve never exactly been huge on The Smiths or Morrissey, but in his current state of personal growth I can’t consider stepping within even a mile radius of that kind of toxicity. There’s always a chance that he could come around, but at this point given his track record….not gonna hold my breath on that one.

With regards the other two who have a lot more eyes on them than I probably ever will, I really hope that Paulie Banks takes time to reflect on the amount impact he has on his fans. If I still have the occasional residual panicky moment from that time Interpol got trapped inside their tour bus in a blizzard, unfortunately this current missed opportunity to take a stand against discrimination is gonna be part of my Interpol fandom history as well. I hope the next page with them is that they take advantage of the platform that they have and take a stand against discrimination. There are ways to tour with a bigot and still take a stand. They can speak directly against their headliner’s beliefs, they can donate a portion of their merch to combat Islamophobia, or they can do something even more creative and unique to who they are that I haven’t thought of yet but would probably love them all the more for choosing to respond in that way. For now, no button smashing, but the button is definitely not being put away just yet.

As for Mr. Cave, while I appreciate his thoughtful follow up response to his fan’s question, I hope he comes to realize through this experience how deeply he is loved as person by learning that his fans can’t possibly love his music without involving him in that lovefest. I hope that message is relayed so loudly to him that the love-filled lesson stays with him forever.

To fellow concerned fans, you have your tweets, your likes, your comments, your attendance, your dollars, and all sorts of other methods to respond to this. If you’re feeling guilty about being in the mood for some Moz, you can offset his intent to spread harmful beliefs by donating to a charity that combats Islamophobia and even opt to donate on his behalf. You definitely should let him know that you don’t share his beliefs and that he should consider the root of why he holds them. How you choose to approach your feedback to Nick Cave and Interpol are up to you, but I definitely urge you to not stay silent or cancel them and then check out.

The only way that our community stays safe and inclusive is if we hold each other accountable.

Upcoming Documentary "God Said Give 'Em Drum Machines" Seeks To Share Lost Stories Of Detroit's Underground Techno Scene
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Dance music hasn’t always been EDM bros and globetrotting DJs. The history of dance music is often overshadowed by the present day highly commercialized version of it that’s dominated primarily by white men. The roots of techno music, specifically, saw its beginnings courtesy of black producers in Detroit. In fact, producer/DJ Juan Atkins is credited with coming up with the term “techno”. Director Kristian Hill and producer Jennifer Washington seek to tell the full history of Detroit’s techno scene in their upcoming documentary, God Said Give ‘Em Drum Machines: The Lost Stories Of The Detroit Underground. The film project is already underway but needs help funding the last bit of production in addition to the cost for some music clearances and has taken to Kickstarter for a little financial assistance. With just a week to go, the Kickstarter is currently only at 40% of their goal, so there’s still time left for you to pitch in on this wonderful project.

You can learn more about the project via the video below.

[Interview] FEMMEHOUSE DJ LP Giobbi On Empowering Women Through Production, Going 'Tits First' Into Her Career
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Los Angeles FEMMEHOUSE producer and DJ LP Giobbi (born Leah Chisholm) is a bit of an anomaly when it comes to her trajectory into present day and without a doubt Some Kind of Awesome. Raised by a couple of Deadheads in New York, she started playing piano when she was in 2nd grade and experimented playing in bands as she grew up. "I was always the music kid. I played in the bands," LP explains, "I was that person." When it came time for college, her supportive parents encouraged her to pursue her passions, and she found herself taking all music classes at UC Berkeley in Los Angeles, California. She graduated with a degree in jazz piano and, drawing inspiration from her upbringing, sought out a job at Another Planet Entertainment, home of Outside Lands Festival, Treasure Island Music Festival, and more. After reading the biography of legendary rock promoter Bill Graham, who worked with the likes of The Grateful Dead, Jefferson Airplane, and The Rolling Stones, she decided to write a letter to president Gregg Perloff, who had worked directly under Graham for many years.

"I wrote a letter as to why they should hire me and I literally walked down to their office, found their address, rang the buzzer and asked for Gregg Perloff," she recounted. "They assumed because I had so much ignorant confidence that I did have a meeting with him and they let me in." As luck would have it, Perloff actually stepped out of his office around the same time that the APE staff were trying to assess what the then-nineteen year old's intentions were. "I think at that moment they were like, 'There's a stalker in the office'", she said, "but I walked over to him and I said, 'You know, you would really benefit by hiring me and here's a letter as to why'." Completely blown away by her go-getter attitude, Perloff read her letter while she stood in of him and then hired her on the spot.

This is one of the many stories that LP would share with me during our conversation the evening before her set at Brooklyn nightclub Output, alongside Animal Talk labelmates Crush Club and label founders better known as electro pop sensations Sofi Tukker. While her attitude towards life is often more of a "Tits First" policy, leaping into everything assuming that a safety net will appear, it took a while for her to be honest with herself about wanting to pursue music full-time.. "After a lot of soul searching and conversations with the best pals, I learned it was actually fear of not being able to make it as a musician [that] was putting me on the industry side of things," she explained.

By chance, she was approached to be part of an all-female electronic project, LEX (later known as LJ Laboratory), despite not knowing the first thing about making electronic music. "I did not even know what a synthesizer was or how to turn it on," she admitted. In true Tits First fashion, she would spend the next three years familiarizing herself with DAW systems, ProTools, Abelton, and sound design, which helped bring her to her present-day production prowess.

During that time a friend invited her out to catch house legend Tornado Wallace. Entirely unaware of the inner workings of electronic music, the experience blew her away almost instantaneously. She recounted, "I was like, 'Is there a piano up there? Where's all the music coming from? Like how is there one guy playing all this music?'" For the reminder of the set her friend would proceed to break down everything that Wallace was accomplishing on his own on stage, going so far as to pounding on her shoulder during the 2/4 time signatures.

Beyond being impressed by Tornado Wallace's technical ability, LP was wholly captivated by the sophisticated yet simple nature of house music. "What was so interesting about it was that I had spent the last 4 years in college intellectualizing music," she recalled. "When I was at this club listening to this music it was all about the body. It was like meditative almost. It was the first time in a long time that I had a connection with music on a non-intellectual level."

After that encounter she knew that was the kind of music experience that she wanted to curate for her listeners. She explained, "I wanted to understand it. I wanted to know how to make people tick with it. That's what I wanted to be a part of."

LP admits that her "inner music major" can get in the way as she works on new music: she occasionally struggles with over-intellectualizing. "[In college] it was like 'Let me show off and show you how much I can say really quickly'" she said. After graduating college, however, she was challenged by some sage advice from a songwriting partner. "The very first thing she did," she recalls, "was rip up all my music and said, 'I don't wanna hear how many things you can say, I wanna know WHAT you're saying.'

It's something she still battles with in present day. She detailed,

"The note that I get back from Tucker [Halpern (Sofi Tukker)] every time I send him a track that I think is ready to be released, is 'DO LESS'. 'Take things out'. 'Say more by saying less'. My motto in life is 'More is more' so that's been really challenging for me, *laughs* but ultimately it has benefited [me], I think, for like focusing in on what I'm trying to say. It's been a really good challenge for me."

When she's able to achieve the perfect balance of doing less and saying more, the result has been nothing short of deeply impactful. An easy example of this is her debut single, "Amber Rose", which features Hermixalot reciting lines from a poem she wrote 10 years ago about then-girlfriend of rapper Kanye West and present day feminist icon, Amber Rose. When she's not making songs about women reclaiming their agency you can find her making more clever club-filling music. In "These Are Your Children" she pays homage to the history of New York City nightlife by sampling former club kid king Michael Alig’s 1990 interview from the Geraldo Rivera show. Her latest single, "Kupsa Kupsa" features a collaboration with French rapper H3RY LÜCK and is a playful song entirely in French about how making music is akin to cooking and is simply a blend of all the best ingredients.

One of the most admirable things about LP is that despite being involved in the electronic music scene for a somewhat short amount of time that she's already making a point to pour her heart into the community that helped her connect to music on an emotional level. She specifically makes it a point to leverage her white privilege and opportunities to provide a platform for other women, specifically women of color, in addition to the LGBTQ+ community.

Earlier this month, she partnered with Live Nation and launched the first of a series of events in San Francisco at their new August Hall venue under the name FEMMEHOUSE. The events give women the opportunities to take DJing and sound design classes prior to a series of performances of which there will be a few spots kept open for the women to practice the skills they've learned. "I think our whole goal in all of this is to be gatekeepers where, you know, the gatekeepers have normally been white men, she explained, "We wanna give them a stage and we wanna give them a voice and we wanna give them tools to use those things."

For LP, teaching women music production is a way to empower women in music, specifically vocalists, who are often at the mercy of their male producers."I feel very passionately about having women control that narrative and having them control their own voices," she says, "Or at least be able to speak the language when they do get into the room with a producer. That to me is what FEMMEHOUSE is all about."

LP Giobbi at the inaugural FEMMEHOUSE event on November 1st at August Hall in San Francisco, CA. photo credit:  FEMMEHOUSE instagram

LP Giobbi at the inaugural FEMMEHOUSE event on November 1st at August Hall in San Francisco, CA. photo credit: FEMMEHOUSE instagram

I feel very passionately about having women control that narrative and having them control their own voices, or at least be able to speak the language when they do get into the room with a producer. That to me is what FEMMEHOUSE is all about.
— LP Giobbi

In addition to FEMMEHOUSE, LP is also responsible for being the driving force behind the Santa Barbara Girls Rock camp being able to expand their course offerings to also have a music production class. Upon leveraging a recently made relationship with Native Instruments, she pressed the company to donate the necessary gear, and then even taught at the inaugural music production camp. "We taught [10 year old girls] how to make a song in Abelton," she gushed, "They used a bunch of like the Native Instruments keyboards and DJ controllers and it was SO FUN." The experience actually ended up inspiring to flesh out her then-initial stage idea for FEMMEHOUSE.

It is no surprise given how excited she was while we talked about her experience at the Santa Barbara Girls Rock camp that she has found a happy home within the artist collective Animal Talk, born from Sofi Tukker members Sofi Hawley-Weld and Tucker Halpern. According to LP, "Animal Talk is more than a language *laughs* Animal Talk is the best place on earth in my humble opinion."

Born around the idea of tapping into your child or animal, she explained the importance of being a member of the collective,

"Sofi [Hawley-Weld] always talks about how as an adult you go and meet with one of your friends, you sit down and have a beer, and you're like, 'This is what I'm doing with my life', you catch up, and that's it. But as children, we would play. We would build sandcastles. We would play dress up. We would play make believe. We would create things together. That was such a natural state of being and in adulthood that gets killed, so we wanted to make Animal Talk a place, like a physical/spiritual place. Physical in the parties and spiritual, you know, offline. In that reminding people that we can still play, we can still create, we can still be children. A place where they can free themselves and where they can tap into their inner child or inner animal and, you know, remember what it's like to play and to create. I think that that is the key to joy in life."

This interview has been condensed and lightly edited for clarify.

[TODAY IN MUSIC] 5 Things You Should Know On Monday, September 17th, 2018
MRW I saw the news about Australia’s first female-focussed and LGBTIQ+ inclusive booking agency

MRW I saw the news about Australia’s first female-focussed and LGBTIQ+ inclusive booking agency

Hi so I’m going to try a thing. I do my best to keep up with relevant things happening in and thought a recap of the things that stand out the most to me might be mutually beneficial. If you want to chat in the comments (or on Twitter, Facebook, or Instagram) about any of these I’m all ears! 😎

  • TL;DR: Ad Rock and Mike D did NOT give Eminem permission for the Kamikaze artwork. In fact, a lot of us knew about the artwork before they did. [Exclaim!]

  • Dua Lipa’s body guards from her Shanghai show were detained by police after reports of them dragging out fans waving rainbow fans and beating members of the audience. 🤬 [NME]

  • If you have a never ending love/hate relationship with AutoTune, you might find this very thorough history of how it revolutionized popular music interesting. [Pitchfork]

  • ICYMI: we’re still trying to get the very forward thinking legislation known as the Music Modernization Act passed in the US. Neil Diamond took to the LA Times to detail how our current outdated laws negatively effect legacy acts' ability to earn performance royalties on digital/satellite radio. [LATimes]

  • AMAZING news from down under: Australian booking agent Kailei Ginman has launched Australia’s first female-focussed and LGBTIQ+ inclusive booking agency – an all-female roster, run by female agents, employing all-female freelancers and supporting community charities – aptly named Alpha. [The Music Network]

LIFE UPDATE: Things Are About To Get More Awesome Around Here
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GUESS WHO MADE IT ON THE OTHER SIDE OF THE DARK AND TWISTIES Y'ALL? 

OOF.

When you get so depressed that you can't even find joy doing your most favorite thing (sharing music with people) you KNOW you're in the thick of it. 

I won't lie, it's been a really rough 6 months. I had a bunch of crushing life changing experiences happen to me, BUT the good news is yer girl made it through! 

For awhile now I've been thinking about how much has changed since SKOA came in to existence and how much I've changed personally. At my core, music is still the only thing that gets me out of bed in the morning. That said, the ways in which I choose to love music and the community around it have changed quite a bit. The longer I work in music the more I see how much work that needs to be done so that music is without a doubt the safest space for all of us. I have always valued the power that the music community wields when put to good use and I would like to do my part in focusing that incredible energy on creating lasting positive changes. 

I'm still working on my game plan for putting all of my ideas into action, but know that in addition to sharing songs that make my heart swell I will be making an effort to do what I can to make the music community a more inclusive and positive space. 

So yeah, lots of really awesome things coming. Oh also diSKOAver weekly and Song of the Day are officially coming back full time starting T O D A Y so GET HYPE! 

I look forward to starting this next chapter with you guys. 

<3 <3 <3 

kibbe!