Gxrls Can’t Mix - misogyny and discrimination in the electronic music world
originally appeared online in Romanian for Revista Cutra
A brief note about this translation
I initially wrote this text in July for Romanian intersectional feminist mag CUTRA and they published it mid September. The focus was supposed to be on events that did take place locally, however, this summer there’s been a constant stream of tweets from female-identified and enby djs/producers about their horrendous Boiler Room experiences.
I wanted to shine a light on that and the endemic kind of sexism that boiler room is constantly facilitating and refuses to take any responsibility towards, as well as share some of the horrors from the Romania scene that nobody wants to talk about because we still live in a very homophobic, racist and sexist environment. As a local queer artist myself, I do believe it is our duty to speak up on these issues even if it may negatively affect our social/professional life. The local community leaders do know what they need to do in order to create safer, more inclusive spaces yet prefer to use a superficially woke discourse that looks good online, yet they would never take direct action or present an unpopular opinion.
Having spoken to Ceci after their Boiler Room and their scary bad experience (including receiving multiple death threats), it became increasingly clear that this text needed to exist in the world. Also running into Lakuti last week in Berlin and hearing how traumatized she still is after her experience playing in Romania, I was all the more motivated to translate it into English and make this available for everyone.
It may be sprawling at times, but I think it’s important to present a translation of the original published material, as it appears on the CUTRA website. Please keep in mind that CUTRA is not a music/dj-specific publication so certain aspects of the industry come with very ELI5 explanations.
First I thought she was just messing with us, but now i m starting to think that this girl doesn’t know what she’s doing
This is boring room not boiler room
Are they trying to put us to bed and broadcasting Schumann resonances?
She would have been better at spinning pizzas than records
Go back to the kitchen!
These are just a select few from the over 2000 comments of the very first Boiler Room live stream taking place in Romania. Said comments appeared on the initial Facebook live post. The event took place in July 2016. At the time of writing this article [na – july 2019], all the comments are still publicly visible on their page.
I could probably write a thesis on misogyny in electronic music, but for this particular piece I’d like to focus on the following question: why do we saying that gxrls can’t mix?
I would also like to ask the follow up questions: should we be surprised that colleagues from the Romanian club industry would say that a female-identified person is a sick DJ but „a little too homely” to play a certain club? Or that another person I used to consider a close friend would tell me during a b2b set that because he just took some MDMA I looked like „a juicy piece of meat” to him? Or how when Electronic Beats Romania did their first feature on local producer Admina and they didn’t even know who to contact from the magazine to moderate the deluge of hateful comments? Or how nobody even bats an eye at the way industry men here always tend to grab you by the lower waist when talking to you in the club as if it were the most natural thing in the world? Try to explicitly say something and you would be instantly labelled an „unchill bitch”.
The answer is a resounding yes. We should be surprised, as well as angry and concerned enough to start actively doing something about this.
Miss I’s Boiler Room
On July 6th, 2016, the promoters behind the Interval event and festival series put together the very first Boiler Room in Romania. For those of you less familiar with the club world, Boiler Room is a platform that organizes events specifically designed to broadcast a live video stream of the club experience. Think DJs mixing or musicians doing live sets, while also making a point in filming the audience and their reactions to the music. Since its inception in 2010, Boiler Room has become a global phenomenon, with immense pull in the industry. The project is equally revered and reviled to the point that there are parody YouTube channels (see People of Boiler Room). For most artists, being on Boiler Room is a make or break moment, sort of like a calling card highlighting your skill as a DJ.
Promoters, fellow DJs, agents and ravers all follow Boiler Room religiously. The platform’s increased popularity and growing volume of videos produced per week may have slightly decreased its influence due to sheer oversaturation, being on BR is still the highlight of many up-and-coming artists’ career. Unlike a mix, the BR videos don’t just physically show off your mixing skills, but they also document the audience’s reaction in real time. Oh, and as a DJ you only get 60 minutes to give it your best. Or, as with Miss I in the following example, you’ve just been asked to open the very first BR broadcast ever from your country. Miss I is one of the most beloved local female DJs, also responsible for opening the first vinyl only record store in Romania and highly appreciated in the minimal/deep house scene, so you know there’s gonna be eyeballs. But no pressure, u do u grrrrl.
For every Boiler Room event, the broadcast is livestreaming on their website and Facebook page. Reading the live reactions on the chatroom and Facebook comments is intricately related to the experience. On that humid summer afternoon in a rooftop garden in Rahova, the comments that started pouring just a few minutes into her set were absolutely shocking. The level and volume of vitriol had greatly surpassed the BR staff’s expectations. About 40 minutes in, the host publicly posted a call out comment.
However, while researching this article, I was surprised to discover that most of said harmful and sexist comments were still up online. There were no attempts on behalf of the BR team to warn or ban users. Hell, there was no moderation. But maybe there should have been.
The Boiler Room Effect
Part I - San Francisco Pride, 2019
This story took place in 2016. We could easily justify what had happened by claiming we don’t like to talk about gender politics at the club or how, generally speaking, the Eurominimal/tech-house scene the event was catering to is notoriously populated by aggro cishet bros who worship Villalobos. Unfortunately (surprise surprise!), this has not been the first, nor the last online scandal Boiler Room has been responsible for.
During the writing process for this material, initially meant to focus mainly on Romanian issues, I started paying attention to the comments on recent BR livestreams. This process, coupled with the increased number of artist friends talking about the backlash in the comments following their BR streams I was seeing on Twitter lead me to believe in the dire necessity of live moderators for the entire BR social media. These comments are not just mean spirited or unfunny trolling, they can be incredibly harmful and have a lasting negative effect.
On June 1st 2019, Boiler Room organized a Pride-related event in San Francisco where an artist I not only appreciate but happen to occasionally work with made their debut. Ceci aka CCL is a DJ, producer, co-founder of queer collective TUF and [at the time of publishing] agent working for Discwoman, an NYC-based talent agency created to boost womxn and non-binary artists. CCL identifies as non-binary and uses only they/them pronouns. Being AFAB and feminine presenting, they are often misgendered due to their presentation, even after clearly stating their preferences.
In the beginning of the video, the host does use their correct pronouns, but most people in the comments were still referring to them by using she/her pronouns. This might seem like a minor inconvenience compared to the bulk of the discourse happening below the stream, mostly comprised of people complaining about the music, ranging from how weird the selection is, whether or not that sound is a faulty cable and how bad their technical skills were. Later Ceci confessed they even received actual death threats. All this was happening at a Pride-related event in one of the gayest cities in the world and with a line-up specifically tailored for the occasion.
Being misgendered is always a bad experience, but when it happens during what is supposed to be a career-defining moment, the effect is even more traumatic. Besides, a torrent of sexist and negative comments cannot have a positive effect on anyone, regardless of their gender or sexual identity. Especially with BR, this only seems to happen when female-identified or non-binary artists are concerned. In CCL’s case, the misgendering may have not been the most atrocious part of the online response, however we do need to start implementing such habits as not assuming one’s gender or choice of pronouns. It may seem like a small step, but it does make a world of difference.
What Boiler Room continuously refuse to do is acknowledge the influence it carries in the industry and the responsibility that comes with that. BR could have avoided causing a lot of damage by simply adding a little blurb about the artist’s preferred pronouns in the description of the Facebook live video, for the users tuning in later or not familiar with their work.
It’s this kind of thoughtfulness and concern for the actual scenes they feature that is consistently lacking from their approach.
Part II - The Sherelle Incident
In March 2019, a different incident took over both the online and offline music discourse – for approximately two whole weeks, all you could see on Techno Twitter were reactions to Sherelle’s Boiler Room. In short, there was clip of a POC female-identified DJ from the UK playing bass and jungle to a packed room going totally berserk until someone from the audience touches the CDJs and the music stops. This unwanted intervention coming from an unidentified hand created a meme-worthy WTF reaction. To nobody’s surprise, this snipped was the one Boiler Room chose to use as their preview advertising her set online. All of a sudden, her startled face in the clip was all anyone could think of, not the incredible atmosphere she created. Yewande Adeniran wrote a thoughtful piece on the implications and how said “accident” took the discourse away from a moment that was supposed to be just about Sherelle and her skills as a DJ.
Following the incident, the Twitter community managed to ID the person who caused the hubbub, who turned out to be infamous UK DJ Riz la Teef, who was also playing the event. Online, he’s been bombarded with accusations of racism and misogyny to the point of having to delete his account. However, a wave of reputed DJs and producers jumped to his defense and justified his action. Keeping in mind that most of what we call Techno Twitter is comprised of people from/who live in North American, their argument was that his unwarranted intrusion was in fact a very common practice from the UK grime/bass culture.
Known as a wheel up or to turn up, it consists on moving the jog (the little CDJ wheelie thingie) to rewind the track playing and increase the hype. It’s traditionally considered a sign of appreciation and supposed to be very flattering when your friends/fellow DJs perform it. Think of it as a hands-on rewind. Only in this case his attempt failed and the only thing he managed to accomplish was create a whole lot of confusion. Plus, they were friends and earlier in the clip you can see him come say hi and hug her. In true Internet fashion, think pieces from major publications followed, educating the poor American kids on the wheel up, as well as photos with the two hugging and making peace, telling everyone it’s time to chill out. As for Sherelle’s part, I’m actually curious what else was she supposed to do than say something along the lines of “OK, fine, let’s move on”? It’s already hard enough to break through in the industry as a queer black woman, the last thing you want to do is be that unchill bitch who can’t take a joke.
Our Daily Misogyny
Going back the shitty things that happened in Romania chapter, I want to talk about an incident that happened in October 2016 at a Queer Night party in Guesthouse. To give you a little context, Queer Night is a series of queer parties, the first of its kind, co-run by local choreographer/dancer Paul Dunca and DJ/singer Cosima von Bulowe for over a decade. Guesthouse is a club mainly associated with the Rominimal/tech-house cult, with a pretty cishet, homophobic audience. However, they occasionally host the odd underground event, like DJ Stingray or Lena Willikens. This particular event was a collaborative effort between Queer Night and the Interval (the people responsible for the Romanian Boiler Rooms – na) curatorial teams, who invited queer womxn DJ couple Lakuti and Tama Sumo to do an extended back to back set. Lerato Khathi aka Lakuti is an incredibly talented DJ from South Africa, who also runs the label and talent agency Uzuri and Tama Sumo has an extensive DJ career and also books for Panoramabar.
As Lerato was mixing, a guy standing in front of the booth reaches towards the turntables and touches the record that was playing and the music glitches. Lerato simply froze for a second but continues to carry on mixing. A few minutes later, said guy suddenly appears behind the booth (access to the booth and the backstage area requires a separate bracelet) and tries to get her attention and starts touching her. In that moment, Tama rushes in and extracts the person from the booth. In spite of his highly inappropriate conduct at event that promotes safe spaces, the security staff refused to kick him out of the club for a fuzzy array of reasons – friends with the owner, being a “house regulars” and my favorite “he didn’t beat up anyone” line. Considering the organizers’ credo and position as community leaders, they could have done more than simply trying to minimize the incident.
The rest of the night went well and their set was lovely, but talking to them the next morning, the entire experience didn’t sound like just a minor incident of a someone being an asshole: Lerato confessed that even though she traveled and played all across the globe, she’s never experienced anything remotely similar.
I’d love to be able to say that these stories are just rare occurrences. Unfortunately, being in the music industry reflects a much more grim reality of endemic sexism. Let me suggest a little exercise – take for example any Boiler Room video on Youtube where there are female-identified performers and within the first dozen comments you might something along the lines of “she can’t mix”, “great selection but her technique is lacking” or “X guy did this so much better in the ‘90s”.
Perhaps we all know by now that commenting on a womxn’s appearance is a no-no. Yet I still constantly hear various industry men making comments that womxn like Peggy Gou or Jayda G only got where they are now just because they’re hot. (How come nobody calls out Marcel Dettman for looking like a model I ask you?). Unlike jabs at someone’s looks which are easy to dismiss as harmful, commenting on someone’s “skill” and “technique” are seemly OK because they refer to an objective (they say) variable, easy to judge and quantify. I ask you this – doesn’t this all sound terribly familiar? Perhaps using the same arguments as those right wing Youtube personalities that post videos with titles such as „X DESTROYS feminists with FACTS and LOGIC”?
Consequences of the systemic sexism are starting to pop up everywhere, from Resident Advisor closing down their comments section due to the amount of harassment related to their recent focus on female artists to the petition against Giegling’s Konstantin. For a quick reminder, German DJ Konstantin used a bunch of “biological determinism” arguments in an interview trying to explain why he believes women don’t have the right kind of brain for mixing. In 2018, Konstantin was booked to perform at three major parties during Amsterdam Dance Event (ADE), a key annual gathering for the electronic music industry. A petition signed by thousands of fellow DJs, music journalists and electronic music artists circulated online to have him blackballed due to his comments and half-assed apology that followed. Unfortunately, the only result was the ADE organizers offering him even more exposure by inviting him to talk about his actions on a live panel.
This kind of discourse is very dangerous, as by accepting and normalizing it we’re offering it unwarranted legitimacy to the point that opinions such as Konstantin’s start being reiterated by the press. After this year’s Movement festival in Detroit (the birthplace of techno), a journalist in a local newspaper writing a piece on the women’s rising visibility in electronic music, cited a “veteran DJ” who claimed women lack the technical capabilities to mix and rely on laptops and software in order to do their job. Despite this not being the author’s argument, he chose to offer a platform to a blatantly misogynistic opinion. These positions are not just wrong and should be called out for their obvious sexism, but perpetuating them in the press further increases their destructive power. The more we will continue to validate them, the more present they will become.
And still, why do we keep saying gxrls can’t mix?
Are girls really all lacking in the rhythm department? Commenting on one’s ability to mix is still one of the most widespread forms of criticism that AFAB and female-identified persons get. Why is it so widespread?
Through mixing, the art that defines the modern dance music DJ, most people understand creating a story through a continuous body of variegated music but particularly having no pause between the tracks. When industry people talk about mixing, they usually refer to beatmatching, which is usually means blending two or more tracks, often of different tempos or keys. The overall tempo of the DJ’s mix can remain constant or experience subtle increases across their set. This style of mixing, using long transitions, no tempo changes and working within the same musical subgenre throughout is particularly appreciated in Eurominimal and tech-house, which is also the most lucrative part of the industry in places like France, Germany and Romania. As many talented DJs have proven over the years, from legends like Larry Lavan or David Mancuso and their cosmic or loft deeply personal, eclectic styles, the perfect blends same tempo school is by no means the only “right” way to think about a dancefloor.
At a time when dance music has exploded into a multi-billion dollar industry, the “perfect mix” paradigm became the dominant style. In this climate, to be a DJ is synonymous with knowing how to mix, otherwise you don’t exist. Or at least that’s the androcentric perspective. And once you frame things like this, the comments on womxn’s “technical skills” stem from the same sexist pool as saying womxn are not good at math/science/driving or other “men’s” activities. After all, they’re just being objective, right? “Oh my god it’s not like I said she was fat or something!”
Mixing is a learned skill that requires practice to be perfected. The portion of the population who is encouraged to learn skills that involve music and technology, who is not discriminated against and has access to often costly equipment (be it controllers, CDJs or turntables) is overwhelmingly cis, straight and male. I can’t tell you how many times I’ve heard the “I don’t have a mix online/nowhere to practice because my ex bf had all the equipment” story. Or gxrls saying they never learned how to mix because they didn’t have access to equipment. Or the supportive “nice guy” story who invites you over to “teach you how to mix” but quickly loses his interest once you reject his sexual advances.
It’s refreshing to see groups like Room 4 Resistance, No Shade or Discwoman not only organizing events, but also putting together free mixing workshops for womxn and non-binary people. People are also trying to change things in Romania, with groups like Corp. or Queer Night trying to tilt the gender imbalance locally, only unfortunately their efforts are lacking the infrastructure, institutional support and ideological consistency.
Where to Now?
We’re in 2019. DJs like The Black Madona, Josey Rebelle or Octo Octa and Eris Drew are some of the most in-demand people in the circuit. They all approach the dancefloor differently and bring unique views of what a DJ set can be. Yet straight white boys are feeling threatened by their success and are constantly looking for arguments to delegitimize their success. “Yeah, but this person is getting booked everywhere just because it’s cool to be trans now” – as if anyone would go through the intense process of forever altering your body just because queer is “in”! “Oh if I had tits I would get more gigs” – another male DJ I used to call a friend told me when I started playing more in Bucharest. I’ve heard phrases like “but why do women only book other women?” or “how can the super talented boys ever breakthrough in this environment if women are getting all the attention?” more times than I can recount.
Straight white boys need to shut the fuck up! For decades, the vast majority of people in charge of running/booking clubs were straight white men who would only book other straight white men. Yes, there we certainly do see more womxn in line ups, but just as female:pressure cares to remind us periodically, the percentage is still predominantly male. The healthiest path towards building a more diverse and inclusive music world is not having the old gatekeepers trying to educate themselves and perform acts of tokenism, but make space for marginalized people in decision-making positions, because nobody could make more informed, coherent and inspired choices than a person who is deeply involved in the community. Just see Discwoman’s Frankie miracle work over at Bossa Nova Civic in NYC. And it is very likely that with the right people running the show, incidents of abuse and harassment will diminish as well.
Womxn have been so used to be touched without consent and constantly harassed that we’ve been programmed to dismiss such indiscretions as minor inconveniences, something that “comes with the territory”. In order to see an improvement of this state of affairs we have to become more radical in our attitudes against sexism and discrimination. We absolutely need to learn to speak up whenever we encounter misogyny, racism, homo and transphobia and, most importantly, believe womxn when they come forward with a story of abuse of boundaries crossing because whenever we brush it off with things like “he was drunk”, “it was just a joke” or “there are two sides to every story”, we become complicit and contribute to this toxic culture.
The good news is that we can all contribute to changing things. And no, you don’t have to go to a march or join an organization if you want to help out. Change starts in your own immediate community by simply calling out your friends when they say something sexist, not supporting the known abusers and problematic people in the industry and just coming out to see one of the local womxn artists.
We will continue to play, to defend the DJ booth as sometimes the only safe space we might have at the club, to record our music however we can and become ten times better than all male DJs who told us we don’t know, we can’t or we “don’t have the necessary biological conformation”. But, most importantly, we’ll keep making people dance.
images, in order of appearance
queer night at apollo 111, 2017
miss i boiler room, 2016
edited screengrab from comments in the miss i boiler room facebook stream
crowd at miss i boiler room, 2016
ccl at rewire, 2019
all photos courtesy of the author
