Empowering the Next Generation of Women in Audio

Join Us

Festivals and Gender Disparity

Festivals, according to HuffPost, “Women make up half of the music attendees,” but the demographics for the artist rosters do not reflect this. As an organizer of a women’s music festival, I wanted to know how we can address this problem. When I was asked to moderate a panel at the GirlPower Conference with festival organizers, I was excited. I had the chance to ask the questions I think many of us would like to know, where are the female headliners at festivals?

On this panel were Kat Cook, Artists Management, Judy Tsang, Stern Grove music Festival and Mary Conde, Another Planet Entertainment. Kat had worked on Lilith Fair, Judy has run an 80-year-old festival for over ten years, and Mary works on OutsideLands. These women could speak with authority about gender representation at festivals.

The panel focused on sharing some of the difficulties and successes of organizing festivals with consideration to the inclusion of women in production and performance. Also, the panel addressed how musicians can obtain bookings for festivals. How an artist should submit, what qualities make a good submission. All organizers agreed that soft skills include basic work ethics and acceptance of opportunities to play if they were a musician or work if they were involved in production.

One of the questions I was excited to ask was “what have festival organizers done to level the playing field for women. When 50% of concert-goers are female, what are you doing to change this?” The answer is not what you think. Mary told me that there is a list of artists on tour and after looking at their routes, the number of women headliners that would pull in the numbers that are needed for a festival, dwindles.  There are not enough women headliners to fill the slots.

Knowing this and hearing this from an organizer of a large scale festival made me think about how important it is to support organizations like; Girls Rock Camps, Soundgirls.org, Camp Reel Stories, California Women’s Music, Women’s International Network, SheRocks, and many other organizations dedicated to advancing women in music and the fine arts. We need to help our youth to become talented not just academically but through exploration of music and the fine arts.

The fact that there is a shortlist of women headliners, once all factors have been considered, is proof that there is more work that needs to be done to equal the playing field for women in music. Now more than ever women should support organizations that encourage equity and solidarity for women.

 

 

Founder of Tom Tom Magazine – Mindy Abovitz

This month I had the pleasure of interviewing Mindy Abovitz, founder of the only magazine in the world dedicated to women in percussion. Tom Tom Magazine was founded in 2009 in response to gender disparity in the percussion world. Mindy is no stranger to the world of drumming as she has been drumming for over eleven years. She has been in multiple projects including ‘Taigaa !’, ‘Hot Box’, ‘More Teeth’, and ‘Chicas Vas’. I wanted to find out more about Mindy, and her magazine highlighting women percussionists.

What motivated you to create a magazine dedicated to women percussionists?

In 2009, I was googling the words “female drummer” and “girl drummer” and the search results were terrible. The result retrieved photos of women sexily standing next to drum sets and then articles titled: ‘Can Women Play the Drums?’. I wanted to show the world what I knew about women who drummed and depict us in the correct light.

I read that one of your goals is to increase the gender parity in percussionists by 50% in the next ten years. Have you seen an increase?

I believe there has been an increase that the industry has felt. I will know better in a decade from now what our impact has been.

How has your magazine contributed to the equality of women drummers since its start in 2009?

We have inundated the internet, print media, social media, and live events with true and inspiring depictions and role models of girls and women who drum. So, in that way, we have shown who we are and who other future females can be.


How was the climate for female percussionists then, and how has it changed now?

Prior to Tom Tom, existing drum magazines would have a women’s history month issue or feature one female drummer every once in a while. The representation of the average or aspiring female drummer was non-existent. Now, since dedicating an entire media company to female percussionists, we have a decent shot at being represented.

Who inspired you to become a drummer?

A few people inspired me. One of them was my friend Gina Marie (who is still drumming!). My main reason for thinking I could be a musician at all was the Riot Grrrl movement and the band Bikini Kill. Once I discovered them, nothing was going to stop me from playing any instrument.

What advice do you have for young girls who want to play drums?

My advice is to do it! And to call yourself a drummer as soon as you do! Don’t wait (five years, like I did) to call yourself a drummer.

What do you think about the Future is Female movement?

I love it. A lot of my very good friends are heavily involved in spreading the message. Females need a heavy dose of recognition, attention, support, and listening to if we are going to have any semblance of an egalitarian society. Supporting the Future is Female movement is simply saying, I support women and girls.

What is next for you and Tom Tom Magazine?

More of the same! Working on growing our company, increasing the integrity of our storytelling, and promoting more underserved folks.

You can read or subscribe to Tom Tom Magazine
The Future is Female and, in the drumming world, women are breaking their own glass ceilings by supporting each other – and now they have a voice

 

CWM (SWIM) Celebrates International Women’s Day

International Women’s Day is a celebration celebrated globally. The focus is on celebrating the social, economic, cultural, and political achievements of women. The main purpose: Gender Parity or the idea of equal distribution of gender to every dimension in life. European Institute of Gender Equality

For women in the music industry, the best way for us to celebrate that goal was to partner with a local business that is at least part-owned by a woman and invite all the local singer-songwriters and musicians together for a night of music. Attendees were encouraged to wear red for solidarity. This year we celebrated it in Modesto, CA at Sandude Brewery and Tap Room co-owned by Janette Samuel Freitas and her husband.

The event was hosted by California Women’s Music with performances by Kayla Just, Melynda Rodriguez, The Islands Duo, Francesca Bavaro, Matte Overstreet, and Victoria Boyington. This was a perfect mix of local women coming together with a purpose: to show solidarity for equality in music.

Megan Avila, lead singer of The Islands Duo said “It was beautiful, a beautiful experience seeing women come together through a common passion that we all share. It made me excited and grateful to share music with one another and the community. The support I have felt from these women is so immense.”

Local singer-songwriter Kayla Just was inspired by the event “ I thought it was an amazing event. I was and always am so happy to be a part of anything involving Women’s Music. It is so cool to have everyone come together to show their support and just genuinely love what we do. All of us ladies are inspired by each other and the sense of unity was strong. I love that feeling! It is super uplifting to be part of it as a musician and also as a woman. Such a wonderful experience.”

Mattea Overstreet, newest CWM Board Member said “The International Women’s Day Celebration was a collection of eclectic and powerful female voices gathered to celebrate women in music, business, education and the fine arts and to promote equality and local businesses. Many thanks to Sandude Brewing CO.  for hosting a successful and historic event in Downtown Modesto. It was a pleasure to be given this amazing platform to showcase my original music.”

Jordan Waters a local singer-songwriter shows his support for women “I thought it was a terrific event and was glad to see so many talented women being recognized in our community. Glad they were able to show their talent and we were able to come together to support equality.”

Overall, It is the small movements everywhere in the United States that will help to advance women in music. When we all come together to show our support globally, in all of our local communities we show that we are united together. Let’s continue to show our support for the advancement of women in business, education, music and the fine arts. Find a local women’s organization today and go to their events, support the Future is Female movement today. The best way to make a change is in your own community.
Visit www.cwmusicfest.com for more information on the advancement of women in business, education, music and the fine arts. Get more information about upcoming events in your area. Want to have CWM come to your town? Let us know. Go to the contact page and send us a message subject line “Our Town”.

 

Madame Gandhi – On Women in the Industry

As we enter 2017 women’s issues, seem to be at the forefront of the countries mind and I encourage everyone to stand up and support women-led organizations and stand in solidarity with women worldwide. I was lucky to have met Madame Gandhi at Girl Power! Women Working in the Music Industry Conference: Blending Careers in Entertainment and Technology in San Francisco last April. It was a great way to start off the year. She was so amazing to listen to because she has worked at all levels of the industry. Working for Interscope Records as a data analyst and MIA as their drummer in an all-female lineup. She has an MBA from Harvard University. Listening to her explain algorithms just amazed me and taught me so much about boosting yourself on social media.

Aside from being an accomplished musician and music industry thinker, Madame Gandhi is also a feminist activist. I thought about all of her experience, and it made sense to interview her to find out more about women in the industry from someone who has been on all ends of the music spectrum. I was very excited when she agreed to the interview. I think the most exciting thing for me was the way she answered my questions. I received audio answers. It made the experience so much more intimate. Here is what Madame Gandhi had to say.

What is your experience working with women on a sound crew? Has it been good? How does having women on your sound crew affect your show experience?

OMG, It’s like a game-changer. It’s totally night and day. It’s extremely important for me to work with an all-female team especially when it comes to sound. I think women are really talented at doing live sound and sound design on the actual records for two reasons; one is that women are more emotionally sensitive and aware of what’s going on, so they respect both the needs of the artist, but also the needs of the audience at the time. I think that when I have worked with men, they’re kinda more rudimentary about it, and also a lot of them are really burned out from being treated badly on the road. Because I as a drummer have experienced that sort of “subtle sexism,” I know how to work against it and prevent it, in the way I treat my fellow women. So, those are some of the reasons I think it’s really important and actually quite exceptional to have a female sound team.

The other thing too is when giving feedback when I’m like “ooh no this doesn’t feel good, or I want this louder, I want this softer” a lot of times men are condescending. They think you don’t know what it is that you need or want, which is really frustrating and women are like, dude my job is to make you feel good on the stage and feel what you feel. What you feel isn’t right or wrong it just is and so, therefore, how can I augment the sound or make subtle changes so that you feel really good doing your show and you’re not thinking about the sound. That’s how you build trust, and that’s how you build mutual respect. I really do prefer to work with women. If any men are reading this too, I would say that they should learn how to be more trustworthy and respectful of the artist on their stage and just give them what they want, so long as the artist is respectful and kind in return.

What is your advice for a woman who wants to pursue sound engineering as a profession?

Just keep doing it. No one is gonna sit there and teach you. It really is that you have to go and kinda just hang around at the clubs and the bars. Start watching someone else do it, usually a guy, and be like “oh, hey you need someone to plug that mic in, sure I got you”. You have to fill in where they wouldn’t even ask for help they just could use it. Most sound people are so frustrated that they don’t ask for help because they think that you’ll make a mistake so why would they want to do it twice like you’ll make a mistake and then they’ll have to undo your work. If you spend time watching, then you start assisting with the really basic tasks, then they’ll start mentoring you and giving you more stuff because you’ve made their life better.

MADAME GANDHI - MIAThe dream scenario is: you wanna get to be a person who’s super helpful in the beginning and like reading stuff on the side not asking the sound person too much but more just watching. You’ve become so helpful that if you left and you didn’t help them out at each of their shows, they would really miss you, you know, the person who is mentoring you. So, you wanna get to a place where you’re making their life less stressful and therefore, in turn, they’ll wanna show you more and then you get to learn. All the female sound engineers that I know learned from men and learned by being humble and helpful instead of being annoying and asking too many questions. I want to give some love right now; My FOH sound engineer right now is Jess Jacobs, and my sound designer who performs live on the stage with me is Alexia Ryner.

How do you see yourself assisting in the advancement of feminism in music this year?

It’s all about taking my ideas about the world that I wish we lived in and what the future is females means and what women’s contributions bring to the table and then expressing it through my voice, which could either be musically or through speaking and writing. That’s what I think about daily. Every time I have ideas, I write them down. Then if I’m asked to give a talk or a show, I try to take the recent learnings or ideas that I’ve had from that month from my notes and then put them into that show or talk so that everything that I do is fresh and inspired.

What obstacles do women in the music industry face today? Are there still obstacles? What work needs to be done to provide women in the industry more opportunities?

I think one of the biggest ones is people underestimating them. I think it’s really frustrating to walk into a situation where someone already thinks you’re gonna be bad at what you do. I think another obstacle is that some of the old-school constructs still exist. Where you bond over going to maybe a strip club or you bond over commenting on how hot one of the artists is, you sort of bond over misogyny. It’s not cool.

I think a lot of time women are the only ones in a situation with a bunch of men saying sexists things; it’s weird that we don’t live in a world where the fact that the woman is right there is not enough of a check to make you not want to say sexist things. A lot of us have been in situations where just because we want the job or we want to be able to hang with that crowd, we sort of bite the bullet and take in that sexism and allow it to slide. I think those are some of the biggest barriers on an emotional end on a very practical level.

I think another barrier is the fact that we haven’t seen many female CEOs of record labels and big companies. The best female-run companies I’ve seen are those who leave their old company and go and start their own thing. For example, my management team that I’m assigned to is called Friends at Work which was started by Ty Stiklorius, who’s a badass billboard 100 in music woman. She manages John Legend and Alicia Keys and now is the head of my management company. So that’s pretty extraordinary. I think a lot of times women have to just self-select out and just start their own thing, once they’ve reached a certain level of prestige because if we depend on men to give us the positions that we want, we may be waiting for a long time. Even at my booking agency, my booking agent is this badass woman, Amy Davidman. She’s one of the top people at Windish. She has a really incredible wife. They understand very much, my mission and so then both on an emotional and very practical level Amy is perfect for the job. So, I think those are some of the things. You have to kill it, and then you probably have to start your own thing and then set norms within your own company that actually make a difference in the world.

How did your experience drumming for MIA influence your ideas about women in music

MADAME GANDHI- DRUMMING MIAI mean, MIA used to only put women on her stage. It was so badass. I’ll never forget one day, I came across a tweet that I was tagged in that said “OMG, it is so incredible that MIA has only women on her stage right now. These girls are killing it”.

I think that when you get to be as big as she is you have the ability to put women on and really paint the picture that you wanna see in the world. And I think just by doing that and showing how sick the show can be with only women changes a lot of people’s perspectives and stereotypes about what’s possible and about the capabilities of women in music. So, I think that was one of the biggest things.

I also learned about some of the stresses through her. I think she definitely keeps space from a lot of people. I think she continually changes her line up and the people who are working for her and in her show because with women, people tend to push women around more. They tend to expect more; they tend to give their input when they weren’t asked, and so, I think she rotates her line up a lot so that she can keep performing freely without the pressures of others. I think people give men the space they need to create and the respect they need as an artist, but I think with women people think that their opinions are open and welcome even though they’re really not.

You are booked to play GIRLSCHOOL in January. How did you get involved with their festival? Do you think we need more festivals that have women-fronted artists?

Obviously, I do. I think it’s a kind of push and pull. It’s like you wanna have a lot of female-focused and fronted festivals so that we as women can kind of bond with each other and show that there’s power in solidarity and not in competition. And also just to be with those that have a really similar walk of life as you and who can teach you something and who can uplift you so that when you do go into the more co-ed environment, you are equipped with the tools and some of the emotional strength to deal with it.

Anything else you would like to share?

Yeah, I love that you’re doing this blog. I think that being able to share the experiences of other women is really empowering. I think that each of us as women who are doing well owes it to each other to give each other the tools we’ve learned along the way. I think that successful people are not threatened by the success of others, which is the notion of the Future is Female and the notion that Gloria Steinem talks about all the time called “we are linked and not ranked”. You know, the male energy in the capitalist system is that it’s a zero-sum game. For one person to win someone has to lose. But in a Future that is Female, the idea is instead that each of us has something very unique and special to contribute. So by giving each other the space and the respect to be our best selves then we actually live in a far better world than one where we’re trying to dominate and control each other.

Madame Gandhi - FUTURE IS FEMALE

I completely agree with Madame Gandhi about the need for less competition and more solidarity among women in the industry. Interviewing Madame Gandhi was so enlightening, and I thank you so much for your voice and support for women in the industry. I look forward to her playing the California Women’s Music Festival.

You can read more about Madame Gandhi and check out her page to learn more about her activism, show dates, and more.

Annie Stoic – LD and Assistant Tour Manager for Joan Jett

Annie is currently the Lighting & Assistant Tour Manager for Joan Jett & the Blackhearts who just finished up touring with Heart and Cheap Trick. In addition to her Tour Managing position, she is the guitarist for her all-female band Jackknife Stiletto. 

 

Can you tell me about your experience as a musician and your current position?

I’ve been a guitarist for almost 10 years, been in a bunch of bands growing up on Staten Island, NY. I was able to play CBGB’s before it closed when I was in high school! Currently, I’m in an all-female rock n’ roll band: Jackknife Stiletto. I just started singing for the band as well, which is very new and different for me. We just went on tour in October and literally had four rehearsals with me singing for the first time. Jackknife Stiletto will be booking more tours, have recordings coming out early next year, and we are very excited about it!

How did you get into lighting?

anie-and-others-all-girl-lighting-team

All Woman Lighting Team

I’ve been working with lighting for about six years. I started at my college theatre: Five Towns College: Dix Hills Performing Arts Center. I really got into programming and learning the different lighting boards. My favorite board is the Grand MA. Most of my jobs after college have involved lighting whether it was on tour, at a venue, or at corporate events. I have a lot of fun learning the new gear and figuring things out, learning from everyone I meet.

How is managing a band different from playing in a band?

Honestly, I don’t think I can tell the difference at this point? Jackknife Stiletto really does everything on our own. But for our recent tour, it was a different experience being the ‘front person for the first time. When you’re sitting at the merch booth before the show but realize you need to be on vocal rest and need to go warm up in the van, then jump into ‘artist/musician’ mode and hit the stage to give it your all, then go back on the floor, unload your gear, hit the merch booth again and start asking for new friends to sign up on your mailing list. It’s all very crazy and hectic – I wouldn’t ask for anything different!

Can you tell us how you became asst. tour manager / LD for Joan Jett tour?

 


I started interning for Blackheart Records when I was in college, after a semester they sent me on Warped Tour and from there, I was hooked on touring! When I was ready to graduate they didn’t have a merch, production, or lighting person so I said I can fill that spot & learn quick – so they gave me a shot the week after I graduated and I’ve been working with them ever since.

Can you tell us how bands get together to go out on the road?

You really need to plan and budget out a tour. Make sure you really research how much gas, food, hotels, showers, etc. are going to cost – you also need to make sure you have money set aside in case something wrong happens (van breaking down). As for my band, we get out our map and play ‘pin-the-post-its’ to figure out where we want to go. Usually, we start out looking where we might have friends, family, and bands we know and start there first. There is also the case where another band might have a tour already booked and we can jump on their routing, both situations are always awesome. There are really great websites like IndieOnTheMove.com & MusicThinkTank.com that have great articles for up and coming bands to read & learn about what they should be prepared for.

What is the biggest myth about going on the road for up-and-coming bands?

That you’ll come home broke with a pile of groupies in the van? Here’s the reality: Booking your own tour is A LOT of work! You don’t have to come home broke. There are plenty of ways to keep your expenses low on the road and as long as you’re working hard and hustling your merch – you should come out okay! Sometimes yes, you might loose money. We get one hotel a week (if that), sleep in the van at the truck stop & shower there (yes, they are actually nice showers!!). You can keep food expenses down by stopping at a Wal-Mart, bulking up & the usual Waffle House stop post-shows. Even if you play a show to five people in the middle of nowhere – it’s still an important show. As long as you’re killing your live performance, those people will buy your merch & tell their friends to come see you next time you are in town. Every show counts, every person in the room counts.

Do you feel that being a woman makes your job harder or easier….or has that not been an issue?

I don’t feel like it has made much of a difference to me. But there is the “oh you can’t lift that” aspect that some guys will say to you from time to time. Fortunately, I’ve had great experiences on the road and met some very cool people. There’s always some weirdo or jerk that will say or do certain things that might not like ‘chicks working in the industry, but I just ignore it and carry on with the job I need to do. Not everyone is going to like you whether you’re a male or female. Some people just aren’t cool!

What is the main reason a band tours?

I think touring is the best thing an up and coming band can do. You’re getting your music out directly to new people instead of just through a screen. There is nothing like being able to meet fans & new friends on the road and giving them sweaty hugs right after a set! And for your band itself, it’s a great way to see if your band even gets along on the road! Touring is rough: there’s little sleep, horrible food, loading and unloading gear, driving through the night. You’ll find out soon enough that some of your band members aren’t cut out for the ‘touring lifestyle.’

What are some of the biggest problems you have faced during the tour?

As an all-female band we do get the occasional ‘creepers’ on tour or as we like to call them, Stalkers! Some people always ask us ridiculous questions such as… “Isn’t that heavy?, Why do you carry your own gear? I’ve never seen a woman carry a half-stack and a bass drum down ten blocks.” And we know they aren’t trying to butter us up, you can see it in their face, the surprise that this is happening. We do everything on our own in this business, booking the tour, driving the van, loading gear, calling radio stations, websites, artwork, etc.. There are still people that come up to us and say that they’ve never seen an all-female band live.

On the upside, the van smells a lot better!

What advice do you have for women who want to work on the tech side of touring?  

Learn as much as you can and don’t stop learning! I’ve never taken a class in lighting or selling merch or how do run a meet & greet. Any part of the business you may like or even think you might like it – learn more about it! I love doing lighting but I still have so much to learn. I also love selling & managing merch, production, meet & greets, etc. I always try to work in any part of the music industry I can. The more you know about different areas, the more valuable you are. If you don’t have the experience, there are plenty of awesome people you meet at gigs that would be happy to let you pick their brains and let you shadow them. Oh and network, network, network!!

How has it been working with rock icon Joan Jett? 

It’s been very cool!! She’s inspiring as an artist & a woman. The whole Blackheart family is awesome, it’s a pleasure working and learning from everyone. I couldn’t thank them enough for taking a chance on me when I didn’t have much experience, but I’ve been learning as much as I can from them since day one. To be able to experience traveling around the world, meeting artists & people I never thought I would – it’s amazing!

Websites:
www.JackknifeStiletto.com
www.Crewicide.com

 

 

Live Sound Camp for Girls – Modesto

SoundGirls held their second annual Live Sound Camp for Girls in Modesto. Last year we trained 11 girls and women. This year we trained another 11 students, 10 girls, and one young man. This is such a great asset to our community, especially to the California Women’s Music Festival, which will be providing mentoring opportunities throughout the year.

CWMF has hosted the workshop for the second year in a row and the attendees have gained lasting experiences that will have an impact on the live of those who experienced the workshop. SoundGirls.Org provided scholarships to over 50% of the girls, so they could attend the camp for free.

This month I want to focus on the stories behind the training. I was lucky to have three girls in my home who took the workshop. A 13-year-old junior high student Diana, 11-year-old Mimi, and 10-year-old Evelyn. In addition to talking to my own children, I was able to talk to Jade, 16 years old, Jaidon, 13 years old and Jose, 15 years old. Who also attended the Live Sound Camp. I asked each of them what they thought they would learn, what they learned, what was the most valuable thing they learned, and what they learned that they will use in real life.

Here are a few of their answers:

13522887_1055075367890496_8067711556147607694_oWhat did you think you would learn?

Evelyn: “I thought I would learn how to do sound”.

Diana: “ I thought I would how to use and understand the EQ better.

Mimi: “ I thought I was going to learn to run sound.”

What did you learn?

Evelyn: “ I learned how to coil cables, how to set up a PA, and how to mix using a PA.”

Diana: “ I learned how to use the EQ, how to run effects, how to set up a stage, how to make an input list and a stage plot and how to be a stage manager.”

Mimi: “ I learned how to work a PA, how to coil a cable, how to be a good stage manager, and pretty much how to run sound.”

What was the most valuable thing you learned?13516702_1054607504603949_8474460773469885133_n

Evelyn: “ To not wear shoes that show your toes, to always use a harness, and to always look up and be aware of your surroundings.”

Diana: “ The most valuable lesson was to use gaff tape instead of duct tape, how to wrap cables, and to wear comfortable shoes.”

Mimi: “ The most valuable thing I learned was to be safe. For example, never wear sandals or flip-flops. Don’t take unnecessary risks such as jumping off the stage instead of using the stairs.”

Jaidon: “I had a lot of fun learning how to hook up cables and set up the stage.”

Jose: “I learned that if you mess one cable up, the whole sound will be off and that’s why it is so important to do several sound checks.”

Jade: “ to make music sound good, you have to periodically change volumes. If something goes wrong, don’t freak out, you can fix it.”

What did you learn during the workshop that you will use in your daily life?13522992_1056659831065383_8051649276813426110_o

Evelyn: “ Pay attention to your surroundings”

Diana: “ To use your legs instead of your back when picking up heavy things and definitely use of gaff tape instead of duct tape.”

Mimi: “ In my daily life the workshop has taught me to pay attention to my surroundings and to always be aware of risks.”

After reading through each of these responses I was so proud of all that has been accomplished this year. Karrie and Tiffany taught the girls how to be a team, how to organize a team and how to set up a live show. This was such an empowering experience for every girl who attended. We would like to extend this opportunity to every girl in California. The Central Valley is a great place to start. We look forward to next year and the partnerships that lay ahead.

SoundGirls.Org brought their Live Sound Camp for Girls to Nevada City, CA the following week and bring it to Wilmington, DE, and St. Louis later this month.

 

Brenda Francis – Founder of Modesto Sound

 

This month, I wanted to highlight some of the amazing women in our area who have made a career in sound. Modesto Sound, founded by Brenda Francis, is a non-profit organization that empowers youth with job skills related to music production. (more…)

An Interview with Dani Mari of Female Frequency

 

 

Sometimes you are introduced to people who have a major effect on the direction you take in life. I was recently introduced to Dani Mari, founder of Female Frequency, a “music collective dedicated to empowering women & girls in the industry through the creation of media that is entirely female generated”. (more…)

SoundGirls.Org – August 2015

August 2015 Highlights (more…)

X