Posts in Women In Music
[#SKOA30] DAY 1: A Song You Recently Shared With A Friend
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Day 1!

I’m pumped!

This first one is probably not what anyone was going to expect outta me but that’s kind of the fun part of this challenge is that some of this stuff is gonna get REAL WEIRD REAL FAST!

OKAY SO

I’m not sure who all is like this, but I am the kind of friend who learns your taste and when I stumble into something that would fit your taste I am eager to connect the music to you so I have someone else to spaz about the thing I found. Listening to music by yourself is great but sharing music is much more rewarding imo.

I’m still struggling to remember how I tumbled into Chicago darkwave duo HIDE but good LORDE when their latest track, “Chainsaw” hit my earholes my fingers couldn’t fly fast enough to get it to my main darklings in all the corners of the internet. When I shared it with one friend in particular, it ignited a share fest of songs we both had just found in the past few days and were both having a blast FREAKING THE FUCK OUT in real time to the songs we were swapping. Those kinds of sharing experiences are literally my favorite thing in the world, where immediately your eyes practically pop out of your head, your jaw almost slams to the ground it drops so hard, and you utter something like, “oh my god”, “holy shit that’s good”, “oh wow”, “jfc who the fuck is this?!”, etc.

Interesting thing I just learned about this song while setting up this post: per the info on the music video, the lyrics are actually comprised of things were essentially a slew of verbal assaults that singer Heather Gabel has received repeatedly on the street, often while in the company of a child. The accompanying video also features stills of a fraction of victims who were raped and murdered in 2018, adding even more intensity to an already powerful song.

[SONG OF THE DAY] Miss Eaves - "Exposure Kills"
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Just in time for the sun to start coming out and ridding folks of their seasonal affective disorder Brooklyn badass Miss Eaves dropped her latest EP, appropriately titled SAD, which actually stems from her personal struggles with the disorder. Worry not, the internet, for in true fashion for the multimedia artist and rapper, she’s packaged up her experience with her signature witty lyrics and playfully catchy beats.

I can’t get over how perfect this EP is. Like really, I have mad kindred spirit vibes with Miss Eaves on this from start to finish. Opening track, “Exposure Kills” is the ultimate anthem for freelancers everywhere and is essentially the dancetastic way of saying “fuck you, pay me”. While I don’t consider myself to be an introvert by any means, I was definitely the embodiment of “Homebody” on more occasions this winter than I’d like to admit. Then there’s “Left Swipe Left”, which I will be spamming to every one of my girlfriends who are as fried on dating apps as I am.

Today marks the kickoff of her month+ long tour along the east coast before hopping over for some dates in Europe. Def go out to catch her live and grab a Thunder Thighs pin or 20.

MISS EAVES ON TOUR

April 10 Philadelphia, PA at Bob & Barbara’s
April 11 Pittsburgh, PA at Mr. Roboto Project
April 12 Guelph, ONT at Kazoo Fest
April 13 Chicago, IL at Caliwaukee
April 14 Madison, WI at North Street Cabaret
April 16 Forth Wayne, IN at The Brass Rail
May 3 Portland, ME at Space
May 4 Winooski, VT at Walking Windows
May 5 Boston, MA at Once Lounge
May 9 Manchester,UK at Soup Kitchen
May 11 London,UK at Hope & Anchor
May 16 Wrexham, WAL at Focus Wales
May 22 Dresden, DE at TBA
May 23 Berlin, DE at Badehaus
May 24 Munich, DE at Orangehouse (Feierwerk)
May 26 Frankfurt, DE at Kunstverein Familie Montez
May 29 Amsterdam, NL at Vrankrijk

[SONG OF THE DAY] tiLLie - "whole wide world"
photo credit: Gina Canavan

photo credit: Gina Canavan

IT’S VIBE O CLOCK ON FRIDAY HAVE YOU HUGGED YOUR FAVORITE BAD BITCHES AND WISHED THEM A HAPPY INTERNATIONAL WOMEN’S DAY YET!!!?!?!?!?!?!?

Today marks the release of glitter gang leader tiLLie’s LOUD MOUTH EP and y’all…. *chef’s kiss*. This was a match made in New Music Friday heaven for it to be dropping today. As we saw from the first taste of the EP, “faith”, tiLLie intends to stand defiantly in her truth from here on out and if you can’t accept that then you can see your way to the door. This is a sentiment that she does not shy away from for a single second throughout the EP, with tracks like “mood swings” and title track “loud mouth” showcasing different aspects of her personality.

And then there’s "whole wide world” closing out the EP. The sheer amount of vulnerability and relatability… y’all I am so deeply grateful we’re finally getting to this place in music where women feel empowered to make songs like this. It’s songs like “whole wide world” that make me sit and think about the girls and young women who are able to enter the music industry as musicians, producers, engineers, publishers, songwriters, journalists, publicists, tour managers, or whatever facet of the industry they so desire knowing that those of us already here have been working so hard to make sure they don’t have to feel the way that tiLLie and the rest of us have all of our lives.

When I first started working in music I was so frustrated that I wasn’t born a man because it felt like it was going to be impossible to make any headway otherwise. These days I couldn’t be more proud to be a woman in music, not because I think women are necessarily better than men, but because I know that as a human person I have a lot to contribute and a good deal of that is informed by being a woman human person. Feeling like you have permission to take up space and being treated as a person of equal, not lesser, value, is something everyone deserves. I’m excited to see how love, empathy, and compassion continues to grow in the world as we continue to make space for women in music and all the other industries of the world.

[RANT] Please Stop Downgrading Women’s Fandom To Romantic Adoration
See this man? I love his music and therefore love and support him in every way I can. That doesn’t mean I want to have sex with him. I can’t believe I have to even say this. 🤦🏼‍♀️

See this man? I love his music and therefore love and support him in every way I can. That doesn’t mean I want to have sex with him. I can’t believe I have to even say this. 🤦🏼‍♀️

Over the weekend, news broke that seven time Grammy winner and one of the most important artists in my life, Beck, had filed for divorce from his wife of 17 years.

Less than a week prior, the world saw him snag 2 of said Grammys at the 61st Annual Grammy Awards show. Earlier in the week I had been discussing with fellow Beck superfans how great it must feel to finally be seeing the amount of success and recognition for his art that we all thought he should’ve had for basically decades now. In my mind, Beck had to be super happy, therefore I was super happy for him.

Sadly, that doesn’t seem to be the case.

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I don’t know why they’re getting divorced and frankly I don’t care because it’s none of my business.

What I do care about, is that I couldn’t have a moment of empathy for someone who means a lot to me without having to be on the defensive for my level of fandom and feeling the need to tweet something like this when the news broke:

The quick “cute” comments I’ve received from people I either barely know or are relatively close to have been all something to the effect of, “Get in there, girl!”, “You’re in”, “Where’s my wedding invite?”, and my new favorite from today where someone suggested that the reason I finally changed my profile picture across the internet after 10 years is because I “didn’t want Beck to get the wrong idea now that he’s getting a divorce”.

Yes, I celebrate the man’s birthday like it’s a friend’s birthday. Yes, I was the person who claimed /r/Beck from becoming a portal for Glenn Beck on Reddit. Yes, I occasionally sit in private Facebook groups analyzing his Instagram posts. Yes, I have a stockpile of bootlegs. Yes, I’ve seen him perform live over a dozen times. Yes, I will most likely mourn his inevitable death to the same level I have for friends and family (perhaps more tbh).

Yes, I am a superfan to the extent that people in my life think of me when his music comes on.

….so why the HELL does that equate to me wanting to essentially just fuck the man?

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Let me do my best to explain to what happens in my brain simultaneously when people make comments like this to me.

On a top level:

  • I’m immediately downgraded from a full human being to a female sex object. Am I really just on the planet to be sexualized and fuck a lot? NO.

  • I’m frustrated that my career in the music business isn’t where I hoped it would be at my age and a lot of that has to do with not getting afforded the same chances men get in music thanks to sexism.

  • I relive dodging gropey men at music industry winter holiday parties.

  • I remember how many times I’ve had to shrink my level of interest talking about music at label jobs because I didn’t want to get dismissed as a “groupie”.

  • Speaking of that triggering ass word, I remember how many times I’ve had someone say. “Oh so are you like a groupie for them or something?” When I spoke passionately about a band that had men in it.

  • I remember the time I had to tell a band whose label brought me out to meet them for potential coverage that seemed uncomfortable to my general friendly demeanor, “I don’t wanna suck your dick. I just want to help you get famous” and how their mood changed immediately.

  • I remember the time I co-hosted a CMJ showcase with The Audio Perv and all the other music blogger dudes who showed up thought I was someone’s girlfriend instead of the person who bought this domain, built the site, solicited pitches from publicists, etc. etc.

  • I get angry on behalf of the women in music who have had it much worse than I have.

  • Most importantly my capacity for love is immediately confined. Not just my capacity for love, but for every woman who loves music.

That’s really depressing if you think about it and that’s just me as a HUMAN PERSON!!! As a woman who has to choose every day to interact with male musicians, there is so much of my head space that I occupy with trying to overcome the above as I write reviews, leave meaningful comments on artists social posts, and just generally try to be the person I know I am. Imagine if I could just like….spend all my brain power seeking and reporting on Turkish goth bands carving out a space in the Turkish music scene, the badass house DJ who helped pioneer the first music production course at a Girls Rock Camp, or any of the other artists out there that could end up being the thing that YOU get as hopelessly devoted to as I am to Beck.

I wanna talk about that, too. Since I’ve addressed above the way my capacity for love gets shrunken to whatever box people think my fandom should fit in. When my fandom gets discounted as something silly or seen as anything other than just, well, fandom, it dismisses:

  • The degree of loyalty that I am capable of.

  • The fact that I’m not sure if I’d be where I am today writing this very thing without Midnite Vultures because that record gave me the permission to be as different or weird as I wanted to be.

  • The transformative power music has over me and my desire to share that with others.

  • The money I’ve invested in something I believed in.

  • The love-centered the community I have to turn to for more than just Beck’s music.

  • The ways his music informed details in my methods of self-expression.

….and a ton of other things that I can easily identify has deeply rooted bits that factor into my identity. Whether we want to admit to it or not, music shapes all of us to some varying degree. Just because I express my gratitude for that by providing as much support as I am able to should not make me less of a person. I’d say it’s the opposite, honestly.

So please. For the love of the song that makes you feel things the most, just let me love whatever music I want to, however hard I want to, without your preconceived ideas of how you think loving art works or any assumptions rooted in patriarchal garbage nonsense.

[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.

[SKOA PREMIERE] + [SONG OF THE DAY] Niki Black - "Not Coming Up"
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IT’S FRIDAY, WITCHES!

Just in time for a weekend that will be undoubtedly be full of Halloween parties I have a song from LA siren Niki Black that is nothing short of supernatural. “Not Coming Up”, the debut single from her forthcoming EP, wastes no time in allowing you to get to know Black, who studied feminist theology in college, as she cries out, “don’t forgive me father”, which I assume is derivative from the crucifixion of Jesus Christ. Whereas Christ was crying out for God to forgive those crucifying him for sinning against God, Black does not wish to seek for forgiveness, as the song is ultimately an arresting ode to her first queer relationship, which as we know, one does not need to seek any forgiveness for. “I felt the church to be central to the song’s idea of being denied entrance to heaven because of your sexuality,” explains Niki. Spoiler alert / non shocker here: Black is also tremendously involved in women’s rights and LGBT initiatives.

Her forthcoming EP, which is slated for an early 2019 release, offers up Black’s perspective on femme sexuality through her feminist theological lens. “I was enchanted by old Judaism, namely the mythology of the female demon Lilith, and how she mirrors Eve,” shares Niki. “The thousands of years of interpretations of the myths of the religious texts are goldmines in the way that they illuminate my creativity and thoughts, and also how they inform so many of our modern generation's conscience, especially when it comes to sexual politics.”

To a certain extent, the EP is like Dante's Divine Comedy, describing the journey from heaven to oblivion, or hell. “I wanted to retell that descent from a modern feminine perspective, one of the damned, which some of us may feel like sometimes, or all the time....whether it's from religion directly, from a relationship, or from yourself,” shares Niki.

Before today I didn’t have a playlist called “Songs To Sin To”, but here we are…

Have a safe weekend, fam! Happy sinning ;)

[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]