You might notice something different about NOW’s music section tomorrow. Or, you might not. In fact, we’d probably prefer the latter. Given the quantity and quality of female artists and musicians in this city, this country and the world, it shouldn’t be a thing that we made a music section that features exclusively women.
But it is a thing. Because, from its artists, to record executives, to its writers and editors, music is still a very male thing. This isn’t so much a criticism or a complaint (well, it is, a bit) as much as it’s an observation – an indisputable fact.
By now, everyone knows the challenges that can arise in such a man’s world. Female musicians have the additional task of proving they can actually play their instruments (see Haim). Female rappers have the additional task of proving they can actually write their own raps (see Iggy Azalea). The point is not whether they are talented or not. The point, is that while we’re trying to figure that out, male band members and male emcees are presumed to be proficient at playing the guitar or writing rhymes simply by virtue of having penises.
Female artists are slammed for being too overtly sexual (Miley Cyrus) or for not trying hard enough for conventional prettiness (Lorde). Meanwhile, hyper-sexual skin-baring men (Usher) and I-don’t-give-a-fuck-what-I-look-like dudes (Mac DeMarco, Damian Abraham) are idolized.
Those are the obvious ones. But there are ramifications that go mostly unnoticed, too. Take, for instance, the summer’s remaining major festivals: Riot Fest, Osheaga, Edgefest, OVO, Mad Decent Block Party, VELD. Each of their lineups is extremely dude heavy. Bro parties. Boy’s clubs.
No wonder men dominate our music and arts pages. They are also, incidentally, the ones who, more often than not, produce the content. Meaning that, even when a woman’s story is told, it’s often told by a man. There isn’t anything wrong with that. I write about men all the time. And in Toronto, especially, many of these male writers are progressive, feminist thinkers.
But still. I believe in balancing the scale. I believe in more women telling women’s stories.
So, during a preliminary planning conversation about our July 17 issue, when NOW editor Carla Gillis and I noticed that most of the stories that week happened to be about women, and happened to be assigned to women, we decided to go big or go home. Every feature, live review and album review is about a female, or female-fronted act. Every writer and editor is female. Our live shots are female-snapped and the section was designed by a female.
While NOW’s music section happens to have more female writers than men, and while we strive for a gender balance in each issue, this is definitely a first.
This is not our “women who rock” or “women in music” issue. Making a “women in music” issue is as ridiculous as a “women in families” or “women in the workplace” special. It’s just a music section with a bunch of incredible women.
So why call attention to it at all? Well, we’re proud of it, frankly. While men are taught to openly celebrate their accomplishments, as women, we’re encouraged to be humble about them. To not seem boastful or prideful.
Fuck that.
Why did we make our music section all women? Because, why the hell not? We shouldn’t need a reason to flex our feminist muscles.
