I am so angry I do not already know so many instruments on a professional level

Glee S1 E3 – “Acafellas” Analysis – AB

  “Acafellas” is one of the first episodes of the 2000s musical series Glee. It provides key details that help introduce and develop the characters as the show is taking off. Primarily, this episode focuses on high school teacher Mr. Schue and his struggles with confidence and insecurity, as well as Kurt, a closeted student beginning to open up about his sexuality.

In this episode, Mr. Schue, director of the school’s theatrical glee club, struggles with his confidence as a teacher and choreographer. When one of his students critiques his work on their dance routine, he essentially leaves his position within the club and begins his own acapella group instead. Labeling themselves the “Acafellas,” this group is made up of Mr. Schue and a few of his other male colleagues. Throughout the episode, Mr. Schue experiences immense growth in his confidence as he finds purpose, though his struggles along the way show how systemic issues often make it difficult for men to be vulnerable with their emotions. After a male student notices Mr. Schue’s apparent struggle with his feelings of inadequacy, he says Mr. Schue just doesn’t have the confidence to coach us anymore. Guys are real sensitive about that stuff.” This assertion is reflective of the expectations of toxic masculinity and their impacts. Men are pressured to be hyper-masculine, unstoppable, successful boss-types. So, when Mr. Schue faces a challenge and feels he isn’t living up to that standard, he crumbles and loses confidence in himself. 

Additionally, the episode shows how these issues can start in childhood. In the beginning of the episode, Mr. Schue confides in his father about his struggles with confidence. His dad says to him “that’s my fault – the confidence thing. Boys learn that from their fathers.” His journey reflects common issues with young men and boys. Because of the culture of toxic masculinity that is so deeply ingrained in our society, it is often difficult for men to be vulnerable or express emotions that are deemed traditionally “unmasculine.” Because of this, father-son relationships where one or both parties are unable to be vulnerable with the other are common, making it difficult for deep bonds to be formed and creating issues with self-esteem. Ultimately, Mr. Schue makes strides in his confidence and his relationship with his father. Mr. Schue finds confidence in his group, the Acafellas, but ultimately decides to return to coaching the glee club. He speaks with his father again at the end of the episode, saying being in Acafellas “was all a dream come true. But, I’m a teacher. And a really good one. That’s enough for me,” to which his father replies, “I saw the way your students look at you. You inspire people. You inspired me.” This journey reflects common issues with young men and boys. Because of the culture of toxic masculinity that is so deeply ingrained in our society, it is often difficult for men to be vulnerable or express emotions that are deemed traditionally “unmasculine.” Because of this, father-son relationships where one or both parties are unable to be vulnerable with the other are common, making it difficult for deep bonds to be formed and creating issues with self-esteem. But, Mr. Schue and his father ultimately overcome this by the end of the episode.

As for Kurt’s storyline, he is introduced as a student participant in the club, and the episode focuses on his developing friendship with another club member, Mercedes. The pair spend time together frequently, including during outside of school hours. Realizing her attraction to Kurt, Mercedes eventually asks him out. At first, Kurt deflects this gesture by saying he has feelings for another girl. But, at the end of the episode, Kurt admits to Mercedes that he lied about wanting another girl, and comes out to her as gay. Mercedes asks Kurt why he didn’t just tell her that in the first place, and Kurt informs her that he’s never told anyone. To this, Mercedes replies: “You shouldn’t be ashamed of who you are, Kurt. You should just tell people, especially the kids in glee. The whole point of the club is about expressing what’s really inside you, remember?” Kurt then says “I can’t. I’m just not that confident, I guess.” This moment is significant because it represents the significance of coming out for members of the LGBTQ+ community. Even in a safe, loving environment like glee club, where Kurt will undoubtedly be supported by his peers, it is still a life-altering and often daunting experience for someone to come out, and doing so should be done on their terms when they’re comfortable. It also shows that it can be difficult to accept and be confident in your identity because of deeply heteronormativity is ingrained in our society. All humans strive to fit in on some level, and it can be challenging to feel as though you fall outside the societally defined “norm” or worry that others will perceive you in that way and judge you more harshly. The episode does a good job of reflecting the complexities of accepting and expressing your identity through the character Kurt and his friendship with Mercedes.

This episode mostly focuses on the complexities of gender and sexuality as well as the societal norms and expectations surrounding them. Race is not a central topic of the episode, nor are other political issues. However, it is significant to note that there is diversity, especially for an early 2000s series. There are many white characters, yet there are also characters of many other races. Additionally, those that are not white are not made to have that be their defining trait, as it commonly becomes in many forms of media when a character is added as the token person of color. I did notice a lack of diversity of non-binary, trans, or otherwise gender-queer or non-conforming characters. Additionally, it appears most characters come from affluent middle to upper class backgrounds, so there is a lack of class diversity. Aside from that, this episode effectively portrayed specific issues of gender and sexuality, and showed characters with real, complex perspectives and experiences.

this has been a strange start to the new year for sure. how are you doing? what did you think of the situation in the capitol? any thoughts or worries about the rest of the month? I'm curious to hear your thoughts on everything. -🌙

thank you so much for the ask💞 almost every day I check my inbox anticipating the next time I'll hear from you. just knowing that someone cares.... it really does a lot for my self-esteem. I don't have many friends right now and the few I do are very busy and have a lot of things they would rather do than talk to me. thank you for making time to listen to me and ask me how I'm doing. you wouldn't believe how many people don't. I haven't always been the most consistent presence for you and I'm sorry. I'm trying to do better and be less selfish because I know how it feels to be on the receiving end of that. thank you for always being kind to me, pen pal.

there is a lot I want to say regarding the capitol and the situation in the country in general. as a social science student (and hopefully one day a professor!) these situations are of great academic interest to me. as a bisexual woman and an informed US citizen who cares about my rights I am also very personally vested in American issues. but first I would like to tackle your question regarding how I'm doing:)

I'm doing pretty good. classes have started back up but most of mine are online. I'm thinking of switching to online exclusively because of how much emotional (and sometimes physical) labor in-person classes are, and also for the sake of my health and my parents'. it's funny how so many things we did with ease before the pandemic seem so burdensome now. even small interactions are anxiety-inducing now, and I find myself having a hard time socializing even casually. like a muscle that has atrophied without use, my social skills are awful now. on a happier note, my productivity and creativity are both at all-time highs since social interactions aren't using up all my energy anymore. I brought my record player to my dorm room and I've been listening to a bunch of music, I've also been writing and recording some music of my own. I have a couple of demos and if you or anyone else is interested, I'll post them on here. once I record and edit full band versions I'll put them up on my soundcloud. I've tried sharing some of my stuff with some friends but none of them really care and I don't want to annoy them. besides, it's more for myself anyway. I wang to prove to myself that I can make music and that I can say something worth saying. a lot of my struggle over the past 6 months has been that I feel as though nothing I do or say can change anything, that none of my actions matter. I struggle a lot with control and I've been working on it for years, but it's still really hard for me. anyway. I'm enjoying class and what I do outside of it. I've been in my element living alone again (in my dorm) and feeling free to wear/do/say what I want, when I want. I wash my dishes and sing to myself and manage my time and drink lots of artificially sweetened and heavily flavored coffee without anyone around to judge me. and I get to cry and masturbate when I want, both of which are helpful in regulating my moods. I don't know. it's not like I'm doing anything exciting, but I am doing each thing I do well and with a happy heart. I feel like this portion of my life is something of a hibernation- the winter seasons combined with the pandemic have me in a cozy little daydream, reading and self-reflecting and getting back in tune with myself and my passions. I have a feeling that the spring and summer will be very vibrant bustling months so I am trying to enjoy my rest and soak in as much knowledge about myself and the world around me as I can. it's hard for me to live in the present and not get antsy (connected to control issues, I think) but I'm getting better at it. on the subject of the future, I've also been using this time to look into grad school and prepare for the GRE (a standardized test required for most grad school applications, similar to the ACT/SAT). I'm learning a lot that I didn't know since neither of my parents went further than undergrad, and I'm getting excited. I'm really looking forward to doing research. I've already been collecting some thesis ideas for an undergraduate-level thesis that I have to complete next year for the honors college, and hopefully I can turn that into a masters and/or PHD thesis when the time comes. now, on to more important matters than my silly little life.

I have very complicated feelings about america. I do have some attachment to some of the original ideas that are at the foundation- "bring me your huddled masses...", "all men are created equal", the general spirit of democracy, etc.- all of these are valid and worth keeping (in some form) to me. I think a lot of good people and ideas exist around us and I believe that we must be as empathetic and kind as possible to one another in order to navigate the current climate and preserve the good that we do have. that said, america was also founded on some pretty terrible, bigoted principles and our history- as well as our present- is marred by injustices. our society has become highly individualistic because of capitalism, and it has resulted in considerable division on every level. the competition that fuels capitalism is like an invasive species of plant, it does not only exist within our economy but it slithers out into our social world and the way we relate to others. I think capitalism coupled with our post-enlightenment founding is the source of most all of our problems as a country. capitalism has taken root in america in a way more malicious and all-consuming than in any other culture, because it was there at the beginning of our country and all of our social norms have grown out of it. many other cultures have existed long before capitalism and though it has modified their culture, it has not altogether become it. because america was founded on capitalism, we have no cultural identity outside of it. america is, itself, capitalism. that is precisely why america is experiencing all of the best and worst parts of capitalism at their most extreme. it is why, as I mentioned previously, we are perhaps the most divisive and competitive society in the modern world, and probably in history. we are the richest and most powerful country but we have the largest wealth gap and incarceration rate, among many other extremes.

all of this is to say that the rise of Trump and fascism in this country has been a long time coming, and unmistakably inevitable. to defeat it we will have to break america down to its fundamentals, throw out everything that is unethical and unjust, and rebuild our entire society from there. this is radical and hard to imagine, it will also be very difficult to execute, but I strongly believe that much of our societal systems just cannot be reformed, they must be thrown out and replaced.

the capitol riots were inexcusable and sickening but decidedly inevitable. this has been steadily building for america's entire existence. I think it will get worse before it gets better, as there are already plans for bigger and more numerous protests across the country in the following weeks. that said, I feel hopeful as I see the anti-fascist movement grow in the wake of fascism, I am hopeful as I see many people being radicalized and awakened to the realities of this country's failings. I don't know how exactly we will even begin to rid ourselves of the biases, prejudices, and downright hatred that plagues our country. I don't know how we will relate on an individual level to those with such deeply-ingrained hate in their hearts. I don't know how we will change our systems of government and economy to reflect new cultural values that we begin to build together. I am not sure what the future will hold. I do believe, however, that we will triumph over this moment and that the future will be better. I think that the only way to radically change and unite so many vastly different people and remove the blinders from their eyes is through a terrible, historic awakening like the one we are having now. the situation itself is awful, but I am hopeful that out of this mess we become a nation more committed to justice and to some of the ideals which we have falsely claimed to be emulating for our entire history.

so yes, I am worried about the next few weeks, months, and even years. there is no end to the pursuit of a just society, and I think every informed citizen is always a bit apprehensive about certain aspects of their culture. there will always be problems to combat and injustices to rectify, but I think that we will soon be moving to a better place, that we will remember these moments and say, "never again". I am hopeful, despite seeing some of the worst of humanity in recent days, that these atrocities will bring positive change.

I know that was long and instead of discussing issues about the capitol, or even just current political issues, I expanded the scope considerably and dragged in a lot of things from history and grander sociopolitical theories. still, I think it is hard to talk about the insurrection attempt without talking about a lot more. thank you for reading my takes and caring about them. I spend a lot of time thinking about these things, and it feels nice to share them with someone other than my annoyed professors who want me to shut up so they can finish the lecture and stick to their semester schedule.

I hope you're well and that you're staying safe and healthy. are you in school now too? have you or your family had the virus? thank you for coming to talk to me, I always enjoy it. I'll talk to you again soon💞

BOY’S CRY

Before sharing his story with the world and becoming one of the most important artists of our time, Frank Ocean was a high school graduate in New Orleans scouring for jobs to pay for studio time to record his potential projects. In August 2005, Hurricane Katrina wreaked havoc across the region, provoking Ocean’s move from New Orleans to Los Angeles, California. It was in California that Frank eventually found his opening into the music industry. Landing a songwriting deal, he began ghostwriting for many of the biggest artists we know today: Justin Bieber (“Bigger”, 2008) and Beyoncé (“I Miss You”, 2009). In 2009, he started working with Odd Future, specifically Tyler, the Creator - one of his best friends, who played a pivotal role in encouraging him to continue writing songs, but for himself. Through Odd Future, Frank was able to meet Producer, Tricky Stewart who eventually introduced him to an American Record Label: Def Jam Recordings. Though this deal was meant to serve as his platform for releasing music, out of frustration he released his first mixtape, nostalgia, ULTRA, for free download on Tumblr. Frank explained that he was frustrated with the label for not being supportive of his efforts after signing. Regardless of the heightened tension in Frank’s relationship with the label, this mixtape ignited the spark of his fame to follow. Frank’s pilot success with this mixtape allowed his standing to grow tremendously, eliciting feature requests from A-listers such as Jay-Z and Kanye West, but for the most part, Frank remained highly selective with his craft and unwaveringly loyal to Tyler and Odd Future. 

This origin story is only the tip of the elusive iceberg that is Frank Ocean. Since before the days of nostalgia, ULTRA, Frank has been selective with his public interactions. Once a ghostwriter for pop stars and then a secret weapon among Odd Future’s large roster, playing the background seemed to come naturally to him. However, the star within him proved too bright to contain. Still, since his rise in stature, rather than outwardly embracing the fame that was guaranteed, he chose instead to remain guarded with his art and protective of his image. Over time, this has allowed him to meticulously reveal himself on his own terms, using his art as a way to give insight into his identity. It was only when speculations about his sexuality began to circle through the hip-hop and pop community prior to the release of his debut studio album, channel ORANGE, that the once-guarded artist decided to become candid in a way he never previously attempted; on his Tumblr, through an open letter to his fans titled Thank You, Frank went on to reveal his bisexaulity:  

Credit: http://frankocean.tumblr.com/post/26473798723

I don’t think I’m exaggerating in the slightest when I say that this letter was a beautiful, poetic exemplification of love. In typical Frank fashion, it wasn’t an overt admission of anything, because there isn’t anything to admit. We are who we are, and according to Frank, that is “human beings spinning on blackness”. According to Frank we are a lot more alike than we are different, regardless of our race, cultures or sexual identity. He chose to focus on what makes us all similar as humans, and if he revealed or confirmed something about himself that wasn’t clear to you in the process, then so be it. His sexuality wasn’t the point of the letter. The letter was about empathy and love. The letter was about being human. In an era were child-suicide rates were increasingly linked to homophobia and transphobia, especially in black and latino communities, Frank used his story to humanize those who had been historically demonized. 

This letter birthed a chapter for Frank’s influence. When channel ORANGE arrived that following summer, these feelings of self-discovery through heartache and unrequited love reverberated all throughout the tracklist. The album itself was named after the summer detailed in his letter, the summer during which he first fell in love with another man. Frank dropping this album and his Thank You letter was powerful, valiant move. He cut through the lingering homophobia of the time and crafted a tale of perseverance and acceptance. This album allowed me, someone with completely different experiences, to appreciate his journey. He successfully detached himself from the increasingly materialistic world of the music industry and turned his art into statements that effectively captured the current state of the human condition.

There are two songs off of channel ORANGE that I believe are worth highlighting. The first is “Bad Religion”: 

Taxi driver Be my shrink for the hour Leave the meter running It's rush hour So take the streets if you wanna Just outrun the demons, could you He said "Allahu akbar", I told him don't curse me “Bo Bo, you need prayer,” I guess it couldn't hurt me If it brings me to my knees It's a bad religion This unrequited love To me it's nothing but a one-man cult And cyanide in my Styrofoam cup I can never make him love me Never make him love me Love It's a bad religion To be in love with someone Who could never love you I know Only bad religion Could have me feeling the way I do

This is a story of longing, of internal conflict and crippling self-doubt. With no one to turn to, Frank resigns to confessing his deepest, most closely guarded truths in the backseat of a taxi, and his thoughts betray the confidence that many of his fans may have prematurely branded him with. These confessional thoughts instead show him in his most fragile state, one in which he seems internalize years of homophobic rhetoric. The stigma that homosexaulity or sexual fluidity is a sin, is amoral, and requires prayer and absolution is so deeply ingrained in society that Frank doesn’t even flinch when the taxi driver basically tells him to pray away his desires. Instead, he chooses grasp onto the suggestion, wondering if maybe he should find a way to detach himself from the unrequited love that has brought him so much pain - whether through religion or drugs. This song is a heart-wrenching discussion of the internal struggle felt by Frank throughout the journey detailed in his letter. Frank’s lyrics expertly navigate self-hate and heartbreak, and his execution features a stunning vocal performance that evokes a deep, soulful pain that feels universally applicable to all humans. 

The second song of importance would be “Forrest Gump”: 

I wanna see your pom poms from the stands Come on, come on My fingertips, and my lips, they burn From the cigarettes Forrest Gump you run my mind boy Running on my mind boy Forrest Gump I know you Forrest I know you wouldn't hurt a beetle But you're so buff, and so strong I'm nervous Forrest Forrest Gump My fingertips, and my lips, they burn From the cigarettes Forrest Gump you run my mind boy Running on my mind boy Forrest Gump I saw ya game, Forrest I was screamin' run 44 But you kept runnin' past the end zone Oh where'd you go Forrest Forrest Gump

If “Bad Religion” - and “Thinkin’ Bout You” before it - were subtle allusions to his bisexuality, “Forrest Gump”, the penultimate track on channel ORANGE, would be the unabashed coming out party. In this song, Frank beautifully covers the timeless love story from the film, Forrest Gump, but through Jenny’s perspective - one that he clearly relates to on a visceral level. In the movie, Jenny and Forrest don’t end up together - but neither did Frank and his love at 19 years of age. In a very literal sense, Forrest Gump is used as a metaphor for a man running away from Frank - referring to the different paths taken by him and the man he fell in love - and this story is another example of unrequited love. But it’s uptempo nature and Frank’s equally light singing paints it in a much different light than “Bad Religion”. Here, there is no self-doubt and he seems to believe the experience of the fling was worth it. It’s the bright result of having grappeld with his emotions throughout the album’s more dark spots. This is essentially Frank fully submerging into his new lifestyle that he explains in his letter as being “a free man”. Similar to his letter, Frank is grateful for the man he fell in love with, regardless of the outcome. 

Despite this album being such a bold statement on his part, highlighting him as an artist that will stand the test of time, I’ve always felt as if its slow and melancholic vibes represent a shyer, younger Frank Ocean. Since releasing his letter and reinventing himself as a free man, the outward projection of his confidence has considerably escalated. Four years after channel ORANGE the fans were finally given a second and third album, simultaneously: Endless and Blonde. I personally cherished these albums, not expecting any new music for yet another few years, but just as I was getting used to the idea of no new Frank music, he released a single on his Beats 1 radio show, Blonded Radio: Chanel. Chanel was released in March 2017, and I can’t think of any way to describe the start of the song, besides epic:

My guy pretty like a girl And he got fight stories to tell I see both sides like Chanel

See on both sides like Chanel

 The Undefeated’s online music review of this song describes these first few lyrics in the following manner: “The boastful first few bars of Ocean’s new song might be the coldest, gayest, and most securely masculine flex in the history of rap. Elegant and mellow, the song’s lyrics read as a deliberate ode to duality and non-heteronormative binaries - an ambition, that since the death of Prince Rogers Nelson, is sorely missed in black music”. Whether I’ve convinced you or not, I truly believe Frank Ocean is an icon. He has made tremendous strides through his music and personal life and his consistently made choices that have positively influenced millions. As a visionary and genius, he’s stood out not only as a singer, but as a writer, a visual artist, and an activist. 

Credit: https://www.gq.com/story/frank-ocean-is-peerless

Q&A: MIKE SUNDA, MULLENLOWE JAPAN (AD STARS 2019 SPEAKER)

Mike Sunda is Strategy Lead at MullenLowe Group, Japan and the brains behind Tokyo 20XX – a cultural insights specialism that connects brands with Tokyo’s creator communities. In this interview with Branding in Asia, written by reporter Lee Patten, he hints of his upcoming talk at AD STARS 2019 - it’s not-to-be-missed!

Before Mike Sunda joined MullenLowe Group, he wrote about Japanese culture for global publications including the BBC, Vice, and The Japan Times, often taking on subject matter long ignored by the domestic press in Japan.

Today, he’s bringing his cultural insights to MullenLowe’s clients as an expert in forging meaningful, sustainable and supportive collaborations with Japan’s creator communities and street cultures. He’s also coming to AD STARS 2019 next month, where he’ll explain how non-sponsor brands can leverage the Tokyo 2020 Summer Olympics. 

You’re going to be giving a talk at AD STARS 2019. Can you give us a sneak preview of what the talk is all about?

I’m going to start with a clip of Alex from Glastonbury, and I’ll end up by referencing Akira. Somewhere in the middle, there’ll be concrete tips for how non-sponsor brands can benefit from Tokyo 2020 via mutual growth opportunities from proximal cultural scenes and creator communities. But you’ll have to turn up to find out how that all fits together.

You’ve been in Japan for 11 years now, joining MullenLowe in Tokyo in 2015. Do you speak Japanese at work?

It hasn’t quite been a full decade as I spent a few years back London completing a BA in Japanese, but I did indeed first move to Tokyo 11 years ago and have spent the vast majority of my adult life living here. On the plus side, that means I speak Japanese fluently (and have no excuse not to). On the downside, I’m probably still using London slang that died out in the late-2000s. 

At MullenLowe, we have a remarkably diverse team for a relatively small office. The expectation is that all non-native Japanese-speaking hires have learned the language (or commit to learning), which is rare for an international agency and one of the main factors that shape our internal culture. It’s also a clear statement that although we might be part of a global network, we expect to be judged on our understanding of local sensibilities ultimately. 

Our ‘official’ language in the office is Japanese, but English-language meetings and brainstormings are common. It’s a set-up that means there’s almost always going to be people contributing in their second language, on either side, but I’d say it’s worth it for the patience and empathy that it nurtures as a process. 

You once wrote a piece for the BBC about the Shibaura abattoir and the Burakumin ‘untouchable’ class. When examining such a deeply ingrained story of prejudice and caste, was it easier to write from the outside as someone not brought up within Japanese society? 

In a field like journalism, you have to acknowledge that while you might lack the same structural benefits (press clubs, for instance) that the domestic media have access to, you’re also afforded a lot of other privileges. The fact that I am an outsider means that I am not necessarily critiqued as harshly for reporting on what might be perceived as an ‘anti-nationalist’ topic. 

Even if I am, I have support networks and opportunities outside of Japan, which local journalists might not, which makes my situation far less precarious. In that respect, I think that you can make the most of that privilege to broach taboo topics, and raise awareness where appropriate – in this case, for a group of people both marginalised within society but also rendered broadly voice-less within the domestic mediascape. 

Does that transfer to your work now with MullenLowe? Does being from the outside give you insight you might not have had as a native?

Absolutely. I think the outsider perspective is always a useful one, just as people who have taught themselves a second language can often make better teachers than native speakers. You pick up on parts of the social, cultural, or even linguistic fabric that might go unnoticed if that’s all you know. In the case of advertising, that doesn’t just apply to nationality. Especially in Japan, when salaried office work clearly represents the hegemony. 

We have native Japanese speakers from so-called ‘unconventional’ backgrounds – be it international education or diverse lifestyles and professions – who also have to grapple with being an outsider in a society that has historically not made it easy. 

Does advertising have a responsibility to pay its way when it comes to using popular culture and creator communities to sell brands?

The reality is that the advertising industry piggybacks upon cultural and creator communities. If it didn’t, we’d never produce interesting or relevant work en masse. It’s only rarely that original work comes out of the industry that comes anywhere close to having the sort of cultural impact as what emerges organically outside of the industry. 

This means there’s a responsibility to compensate the people who actually create culture, especially given that advertising struggles to embed diversity or reward maverick creativity in its own internal structures. 

Long story short: put as much money back into culture as you’re able to do. Otherwise, you’re doing nothing to sustain creator communities, which increasingly struggle to monetise their work for reasons that go far beyond advertising. 

A lot of neighbourhoods in Tokyo will be impacted by the 2020 Olympics. How will this impact Tokyo’s creator communities?

I’m very interested in the work of cultural theorists like Michel de Certeau. He describes how a city’s inhabitants rewrite its supposed ‘rules’ through their movements.

At Tokyo 20XX, we produced a series of short-form documentary videos in 2017. The videos were made with a view to look at creator scenes through the specific lens of a neighbourhood culture – in this case, Shibuya. 

The interesting thing about an area like Shibuya is that it inherently possesses the power to inspire people, creatively. We spoke to dancers and skateboarders who talk about the desire not just for communal gathering spots, but also to be ‘seen’ by spectators in a dense, urban context that only a neighbourhood like Shibuya can offer. 

Likewise, musicians are attracted to the area not just because of its clubs and live venues, but because it has a natural energy that suits their creative process. 

So will the Olympics impose on Shibuya’s creative energy? 

The tension is that the Olympics is responsible for catalysing so much infrastructural development, which upsets the organic growth of these scenes and communities. In the case of Shibuya, building over parks and implementing stricter policies towards street sports and nightlife is cultural gentrification – creator communities will be forced to make their hubs in other areas, but the fragmentation can hinder their growth and momentum in the short-term.

Given that the local Shibuya government publicly pushes a message of diversity and creativity, it needs to take care not to destabilise the very conditions that are necessary for those two things to thrive.

Do you think brands have the ability to change the world in a similar way to journalism by changing peoples’ perceptions and behaviours?

I hope so! It’s not as if journalists are necessarily trusted these days, so the challenges are similar – how do you build that trust with your audience? You can only do that if you’re consistent with your message and standpoint. 

It’s why I’m impressed, not sceptical, when Nike champions Colin Kaepernick and Raheem Sterling, or Lush decides to tackle something as controversial as SpyCops – because it’s definitely not an easy win on paper. 

For that same reason, it’s why I think most people don’t buy into Pepsi celebrating activism or Gillette promoting positive masculinity – because it’s not founded on a historically consistent approach. It screams self-serving exploitation, even if the people behind the campaigns have genuinely good intentions. You can’t rush altruism, and you definitely shouldn't expect to profit from it.  

Do you still get a chance to DJ? Which music scene is best – London or Tokyo?

I hardly DJ anymore, so I’ll answer the second part of that question from a listener’s perspective: I used to be more diplomatic about this, but now I’d just say that I lean towards London. Tokyo’s music scene is stifled by a lack of diversity and the same structural issues as wider Japanese society – age hierarchies, gender imbalance, and being far too keen to celebrate visiting international artists while failing to nurture local talent. London’s scene might be capricious, but that means there are always chances for up-and-coming artists. Also, the clubs have bigger sub-woofers than in Tokyo...

Mike Sunda is attending AD STARS 2019 from 22-24th August in Busan, South Korea. His talk is called, ‘Tokyo 20XX: The Olympic Opportunity for Non-Sponsor Brand Cultural Strategy.’ Read his interview in full via Branding in Asia 

Women in Music: A Year in Action | HumanHuman

Here we go again! One year on from our article ‘Women in the Music Industry’ and the overwhelmingly supportive response that followed we’re ready to take a retrospective look at what’s been happening in the world of music since then. We’ve brought together a collective of new commentators, including musicians, writers, PRs, event organisers, managers and a radio producer, to give their spin on what it’s currently like for women in the music business.

This time around I asked each of our contributors the same three questions; since last year’s International Women’s Day, what has been your highlight for women in music? what are your thoughts on the visible representation of women in the music industry? moving forward, what changes still need to happen? The answers are a window in a community who are extremely passionate about this topic, and whilst it’s essential that we shed light on the serious issues, the overriding message is one of celebration and positivity.

“I've definitely noticed a more tight-knit community between women in music, which we need to only continue and strengthen.”— Missy Scheinberg, Lunatic Entertainment

Last year one of the hot topics surrounding gender inequality in music was the lack of female representation at the majority of music festivals. Most notable was Reading and Leeds Festival, as highlighted by Crack in the Road editor Josh Dalton with his viral editing of the line-up, which revealed a paltry ten female and mixed acts. The unapologetic response from Festival Republic boss Melvin Brenn, who rather naively stated that “gone are the days where a band was four guys” (via Gigwise), further emphasised how deeply ingrained ignorance of this issue is. While Festival Republic still appears unable to provide a single female headliner - 2016’s choices are an unimaginative selection of Biffy Clyro, Fall Out Boy, Foals, Disclosure and The Red Hot Chilli Peppers - other events are making moves to correct this imbalance. In an interview with Noisey, Glastonbury Festival organiser Emily Eavis states that “we are strong on women this year” and her enthusiastic mention of female MCs like Little Simz and Lady Leshurr is encouraging.

Some have taken it even further by offering female-only line ups at their events, such as Burger Records’ festival Burger A Go Go. Not only is this an excellent name, but their no-dudes rule made room for awesome headliners Best Coast and Dum Dum Girls in 2015, as well as instantly recognisable names like Sonic Youth’s Kim Gordon and Cat Power and Kathleen Hanna (in new project The Julie Ruin.) Speaking to Broadly., co-organiser Lee Rickard explains that the festival is “more of a fun statement than a feminist statement. We're not overtly political, but obviously it does reverberate. I think it makes a statement without having to make a statement; that we can easily put together a bill of this caliber. Hopefully it will make other festivals think twice.” One of our own contributors Erika Alvarez is also hoping to interrupt the pattern with her non-profit event A Great Escape Festival, and she has her own view on why there’s a favourable bias towards male musicians at festivals: “When a band’s demographic is mostly female, they are automatically deemed as unworthy of respect, but if their demographic is mostly male the words “legendary” and “influential” are the first to come to mind.” Being judged primarily on their gender or that of their fans is also a concern for mixed alt-rock band Wyldest, whose female members Zoe Mead and Holly Mullineaux cringe at the idea of their fans liking them simply because of they are women. With this in mind, they give a nod to Savages as a band who aren’t evaluated by their gender but by their music. Mullineaux even paraphrases a statement from Savages’ Jehnny Beth in an interview with Broadly., "Being a woman in music is like being a woman eating a sandwich." Basically, these females musicians don’t consider that they’re doing anything outside the realms of normality, they’re just being themselves.

“It’s incredible to meet both male and female musicians at shows, but when I’m playing within a female dominated line-up, I really have this sense of affirmation with the other female musicians.”— Zoe Mead, Wyldest

This view of music festivals as a world of extremes - either as a blatant machoism or feminist statement - is one that we’ve become rather used to, but hopefully not for long. One event that has already achieved the ideal of equal gender representation is Wavelength Festival, which this year welcomed a mixed bag of headliners (including Duchess Says, Foxes in Fiction and Foxtrott) and more than 50 percent of the stage slots were filled by female musicians. The real achievement lies in the fact that this fair representation of artists regardless of their gender is actually unintentional, as outlined by Artistic Director and co-founder Jonathan Bunce: “It's happened three years in a row, so this theme has just sort of emerged. It wasn't like we sat down and said, 'We have to have a female headliner every night.' There was no grand design. There are just so many talented women making music right now and I think that us, as programmers, are just responding to that” (via Noisey). Missy Scheinberg, who works at Lunatic Entertainment, also urges talent-buyers to take note of these mixed line-ups, especially Australia’s Laneway Festival, which this year has topped their bill with Chvrches, Grimes, Beach House, and Purity Ring. This emphasis on deserved recognition as opposed to the more forced positive discrimination is definitely the way forward for everyone involved in the music industry.

One area of the music industry that still leaves a lot to be desired in terms of the attitude towards women is music videos. These visual aids are an incredibly powerful tool that has flourished throughout the MTV years and onto a generation of YouTubers. Considering this, it’s quite extraordinary that amongst all of the beautiful, artistic, groundbreaking, politically and culturally charged videos out there that the majority of our focus lands on those with the most skin on show. From Miley Cyrus’ “Wrecking Ball” to Nicki Minaj’s “Anaconda” to Robin Thicke’s “Blurred Lines” to Iggy Azalea and Jennifer Lopez’s “Booty”, these controversial and highly confusing examples of female objectification are well within the view of the public. As Daily Telegraph journalist Justin Coulson questions, “They might be masquerading as empowered femininity, but what are they selling?” accompanied by a natural concern for what his daughters will come to know as normal behaviour. This power struggle is brought further into the light by Louise O’Neil at The Irish Examiner in her piece ‘Are music videos too sexual or do they represent power in women?’, which details that in recent years two camps have emerged in the world of music videos. On one hand, there are those who “have decided to either completely reject the pressure to perform in a sexually suggestive manner”, and on the other, there are those who “have claimed ownership of their sexuality and their bodies.” What’s important here is that artists should have the choice to use their public visibility to explore all forms of identity, rather than one that is forced upon them by society’s warped expectations. As music journalist Christal Yuen quite rightly states:

“There's a lot of misplaced eroticism in painting women as direct projections of their songs.”— Christal Yuen, writer for HumanHuman and Sodwee

There are plenty of current musicians who use their artistry and physicality to embark on new ways of defying gender stereotypes. Examples such as FKA twigs who lines up portrayals of femininity like dominoes in her “MSLL155X” video and Rosie Lowe whose dual metaphor for strength and vulnerability is seen in the undressed frankness of her single “Woman”. Another example is Grimes, who is well known for her array of performance personas and in The FADER’s ‘Art Angel’ documentary, Claire Boucher explains that “Grimes as one person cannot represent more than a couple of ideas. That’s why I started developing some of the other characters - like, really abstract from who I am or how I am [...] Not everything has to fully reflect you.” This willingness to explore how an artist can portray themselves, female or otherwise, has the power to directly influence others in the industry. Our contributor Tsar B, an emerging artist known for her dark and multi-cultural sounding pop, finds Grimes extremely inspiring, especially “the way she emphasises her autonomy and strength, as well as her unacceptance of parochialism.” As we see in the documentary, it’s not only her stage presence that Grimes has under complete artistic control, but the production aspect of her music is also her sole responsibility.

“Sometimes women in the music industry are perceived as an attractive medium between a bunch of guys that make the music and the general public, while actually people fail to realize that they are the foundation of the whole story.”— Tsar B

One artist who has been determined in sharing her whole story is Lorely Rodriguez AKA Empress Of, who released her debut self-produced record Me in September last year. Contributor Alliz Espi, who runs Songololo Music, picks up this album as her personal highlight: “her work as a producer (beat-making included) of her own record, has been one of the first on the scene which was instantly celebrated, rather than being a question - ‘did she really do that?’” Empress Of’s evolution into producer and sound engineer is testament to what can happen when musicians are forthcoming about what they want. Rodriguez recalls the result of being team up with another producer where “It just ended up sounding like that person's music. I thought, ‘this is my first record, I need it to sound like it's coming from me’” (Beggars Music). After that epiphany, she was able to discover herself as a recorder, producer, artist and most importantly as a person. However, it’s not always the case that production credits are placed with the right person. A recent example would be Björk and her Vulnicura LP, in which it was initially misreported that Arca produced the album, rather than the truth which is a co-production between Björk and Arca. In an interview with Pitchfork, Björk talks about the courage it took the put the world right, “I didn’t want to talk about that kind of thing for 10 years, but then I thought, “You’re a coward if you don’t stand up. Not for you, but for women. Say something.”” It’s important for these prominent women to speak up, but it’s equally essential that men within the business lend their voice, such as Björk associates the Haxan Cloak and Matmos who insistently correct the media on their secondary role in the production of these records.

“We have evolved away from a history of music-engineering being male dominated, we've ditched the lab coats and clipboards (literally). But it still is a numbers game.”— Alliz Espi, Songololo Music

As Alliz Espi suggests, it is still numbers game, but the books are finally starting to balance, as reflected in the increased recognition of females at certain awards shows. Keeping on the production theme, the contribution from Women Produce Music (a social media community that promotes female producers, engineers and musicians) highlights this year’s Music Producers Guild Awards, in which Olga Fitzroy received a gong for Recording Engineer of the Year, Catherine Marks was recognised as Breakthrough Producer of the Year, and FKA twigs won UK Single for “Pendulum” and UK Album of the Year for LP1 - both of which she co-produced. It wasn’t only the MPGs where we saw a truer reflection of the arts industry, as Regina Valdameri points out, “At this year's Grammys in the Best Rock Performance category, for example, Foo Fighters were the only all-male band, with Alabama Shakes, Florence + the Machine, Wolf Alice and Elle King filling up the remaining nominations.” The Fives Ws Of editor also remarks that seven of the fifteen artists who made the BBC’s Sound of 2016 longlist were women, including runners-up Alessia Cara and Nao. This is certainly a start for greater equality amongst musicians, but the scene isn’t so rosy everywhere.

Another opinion maker Katerina Koumourou (ANASA PR, JD Management and Cozy Mag) draws our attention to Billboard’s Power 100 from this year, which was critiqued by Suzanne Harrington in The Independent for being made up of 127 men and only 14 women. This same article also discusses the unavoidable topic of current music media, that is the recent Kesha case in which her allegations of sexual assault against producer Dr Luke and request to exit the contract with him were dismissed by a New York Supreme Court Judge on the grounds that it’s “commercially reasonable” for Kesha to remain in the contract. This outcome reveals just where the priorities lie for those at the top of the industry food-chain, and for many it’s sickening to think money comes before an individual’s safety and artistic freedom. However, there is a positive side to this story and that’s female solidarity, with Kesha’s peers publicly expressing their support for her, such as Adele when accepting her awards at the BRITS, Taylor Swift with her $250,000 donation and Lady Gaga’s stand of solidarity at the Oscar’s to name a few.

“Females standing together for their voice to be heard is empowering and I guess it's comforting that she is not standing completely alone with this.”— Katerina Koumourou, ANASA PR, JD Management and Cozy Mag

We might still have a way to go, but it’s a fact that women are stronger than ever before in the music industry, as publicly displayed by Kesha’s celebrity supporters, but also by the growing number of successful women in the business. Whether that’s a music PR like Charmfactory’s Director of Communications Lorraine Long, who has never experienced prejudice on the basis of her gender and strongly believes that “Your sex should be irrelevant, it should come down to being the best person for the job and if you're doing a good job you should be rewarded fairly and equally.” Or a radio producer like Elise Cobain, who works on BBC Radio 1 and 1xtra and is especially enthusiastic about the progression of women in her business sector. Cobain provides a roll call of prominent BBC radio presenters: Annie Mac, Clara Amfo, A Dot and Jamz Supernova, and the list goes on once you step into radio production territory. It’s not only the traditional airwaves that are now transmitting a more representative voice, but online radio is also a bastion of equality. The Electronic Beats listing in ‘Meet the women who are killing it in online radio’ praises significant producers, hosts and managers of digital radio stations. A standout comment made for the article by Tabitha Thorlu-Bangura, a key figure of NTS Radio, asserts the need for greater variety within the industry. As Thorlu-Bangura states “it’s really crucial to work with people from a diverse range of backgrounds in order to have a wide range of perspectives on music and life in general.”

“I'm seeing more and more that women who work hard are being rewarded with brilliant jobs and career progression seemingly regardless of their gender. This change in attitude is something to be celebrated.”— Elise Cobain, BBC Radio 1/1xta Producer

That need for a more diverse demographic across the board is one that is echoed throughout all of our contributions. Katerina Koumourou asks “Is there enough diversity (regarding gender AND race) within these corporations to encourage the changes needed?” and at this moment in time the answer is probably no, at least not yet. This questioning attitude is shared by Tracy Dempsey, a Music Psychologist and creator of Sofa Sessions, which is a music-art showcase hosted at various venues throughout Belfast. This event offers a regular roster of mixed gender artists, but Dempsey believes that she should open up the diversity even further by “showcasing people from various minority groups who might be struggling for visibility, not for tokenistic reasons, but to break a self-perpetuating cycle of invisibility leading to more invisibility.” That’s probably the most important message for International Women’s Day, to break the cycle of invisibility, and where the music industry is concerned we’ve already taken considerable steps to do so, particularly in the online world. As Christal Yuen points out “the digital world of music allows for these artists to release music and be judged on their skill rather than their appearance.” There’s a reason that so many musicians release music virtually and why journalists now live on laptops rather than in newspapers; the internet can be a megaphone for the marginalised.

“The democratisation of the internet, allowing anyone to share their story, be heard, and have that story amplified by others joining in, is hugely powerful.”— Tracy Dempsey, creator of Sofa Sessions and Soulambition

For my last question to the opinion-makers, I asked them “Moving forward, what changes still need to happen?”, and the general consensus is that we should continue to celebrate women in the music industry, we should keep asking questions, and we shouldn’t settle for anything less than equality amongst all genders. Like Songololo Music’s Alliz Espi puts it “the more it’s celebrated now, the more female musicians may dare to take that journey.” Therefore, it’s our responsibility as current commentators and members of the music community to transmit a message of positivity and change, not only for ourselves, but for future generations. No one puts this intention more candidly than music blogger Regina Valdameri, who believes “The ultimate goal is that we won't be surprised anymore when a woman has success in the music industry, or in any industry really, because it will have become the norm.” If we continue down this path of positive visibility and mutual support (all genders included), then one day seeing a woman in the music industry will be as surprising as seeing a woman eat a sandwich.

https://humanhuman.com/articles/women-in-music-a-year-in-action

Darren Hayes: ‘Come out. In your own time.’ - Attitude

“For every generation it becomes easier to come out, but nothing can really take away from the fact that it’s a deeply personal journey and one that doesn’t exists in a linear format. In some ways, coming out is the easy part. It’s the day after and through the rest of your life that you realise there’s still an ongoing process – even if it’s just navigating around other people’s reactions.

My coming out was a torturous affair. I was married to a woman when I was 23 and I’m proud to say to this day she is still one of my best friends. I was madly in love with her at the time but I was deeply confused. People would assume that I was gay and I would reply with genuine offence pointing to my wedding ring, stating that I was indeed not! Truthfully I had no idea. My own self-hatred was so deeply ingrained in me that I managed to shelve my sexuality so expertly that it was a shameful secret even to me. It wasn’t until I became a musician and started travelling the world that I met other gay men who reminded me there was a place for me in this world. That’s when I had to go home to my wife and admit that something was up.

It was a very sad time for me. I had always been deeply monogamous but I couldn’t deny that in my twenties I had married too young, I hadn’t finished growing up and ultimately I was potentially going to ruin both of our lives if I didn’t own up to my true self and make some choices.

All of this coincided with the apex of my fame in Savage Garden and solo career.

There I was, a millionaire, with number one singles and the spotlight of fame, and in my private life I was still struggling to come to terms with who I was.

I left my wife, I ‘came out’ to my family and friends but I was not happy about it nor had I truly accepted it. But then I was in the public eye, where journalists were asking me to comment on my sexuality!

I guess there was an assumption I was hiding something when the truth was, I was still struggling. Many times during those ‘wilderness years’ I asked my wife to take me back and I contemplated having relationships with women because it seemed easier. Being an adult, wanting to have children and finding myself essentially a teenager trying to go on a first date was not very enticing. Not many rainbows or glitter cannons of joy for me back then.

My experience of being gay, newly single and in the public eye quickly turned to depression – a dark cruel prison space I occupied for much of the mid ’90s. I would venture out to gay bars or try to date, but I was a babe in the woods. I was like some overly romantic character from a Jane Austin novel trying to make my way through the gay scene. I know it’s controversial but can I just admit this now? I really don’t like going to clubs! I’ve never loved dance music. I realise this is only one fragment of the gay community but for me back then it was all I saw and the only way to meet someone.

I was not traditionally handsome and I did not have a great body so you can imagine how most of the time I felt like an outcast trying to fit into the one part of gay subculture I was exposed to but didn’t belong to. I’d come home from a night out with a bruised heart, then rock up to a press junket or a magazine interview and the journalist would ask: “So is there anybody special in your life?” Ha!

Thank goodness I had the enclave of foggy San Francisco with its wonderful queer culture and bizarre inclusiveness to understand there are billions of different types of gay men. I was the kind who liked Star Wars, nerdy things and TV dinners.

I’m proud that I never lied about who I was – but I resented very much the expectation that I should not only know who I was, but that I should also make a public declaration about it. The truth is I was so depressed about it I often felt suicidal.

I’m lucky that, through a strong network of friends, family and professional help, I was able to work through my feelings and emotions and come out on my own terms the day I announced I married my husband Richard.

But it could have been a very different scenario.

I think it’s public knowledge I was very nearly outed by comedian Simon Amstell during an interview for now defunct TV show Popworld and I have to say I’m so grateful that I wasn’t forced to come out that way.

That awkward portion of the interview was left on the cutting room floor and looking back I’m so glad because truthfully I don’t think I would have survived the aftermath at the time. In retrospect I don’t blame the host – he didn’t know the back-story to my life or the headspace I was in. But it was upsetting to say the least.

It’s terrifying when the decision to come out is taken from you. Imagine how a young person, going through the depression, anxiety and fear as I was back then, feels when they’re dragged out into the open to declare something about themselves they’re not even comfortable with yet. I don’t think I do want to imagine. I’m just glad I was given the grace period I needed.

Coming out is like any other journey in life – it’s a process.

I held back some pretty deeply-seeded thoughts of shame about my sexuality. It had nothing to do with fame, or my career – it took real love, and a stable relationship for me to heal those parts of myself that I was ashamed of. When I met my husband Richard, I felt strong enough to face up to any bully. I was so proud of our love I wanted to shout it from the rooftops. So I did. The fact that I was able to proudly come out, on my own terms and in my own time is why I feel so content and devoid of shame today. I was allowed to process all of it and stand up to the world and embrace who I was with dignity and a real understanding of my soul.

Just realising you like boys is one thing. Understanding the greater social context and preparing yourself for the journey beyond that revelation is, in my experience, the real coming out and it’s one we need to be sensitive about.

If you take my job out of the equation – what difference is there in my situation and, say, my friend who works in banking? For whatever reason, we must allow each other the time, grace and space to come to terms with who we are in our own time.

Yes we should support coming out. It’s wonderful, inspiring and aspirational. But it’s not always easy. Just Google my It Gets Better video to see how much I’ve changed since the days when I was spat on as a child or beaten up because I was gay. So much has changed and all of it within me.

I’m glad it’s 2014. There are ever-evolving steps in the right direction of equality and I’m glad we are more elastic in our understanding of human sexuality. No matter how many countries allow equal marriage, or how many television shows represent gay characters – independent of how our society moves forward in its view of human sexuality there is no shortcut for the individual on the road to acceptance.

Be proud. Be Out. But be patient. Everyone is on their own journey.” 

( this is just a fragment, please read the whole thing )

Devin’s View Regarding The Dynamics of Black Women/White Men Relationships

The following is from Quora regarding the racialized dynamics of interracial relationships.

Devin Tomas studied Bachelor of Health Science at Virginia Commonwealth University (2018)

I guess it depends on what type of black woman you are referring to. For one, although there are patterns in black peoples preferences, Black women are individual people and are not a monolith and all black people don’t all act as a congregate so you will always be able to find someone who is not what is perceived. Also I’ve noticed there are differences between dating preferences of lets say Africans, Afro Latinas, Afro Caribbeans and African Americans because of different cultures and histories. Even within the same black ethnicity you have people who stray from the norm and regardless there are some who date white men of every culture but I understand you are asking in general. As an African American male who has grown up around black women and girls including my mom, aunts, sisters and love interests and current girlfriend, I have heard different reasons that I can share. This isn't to say all black women refuse to date white men as I know a few who do or at least try it, but it is true in general in my experience they don't or are hesitant to. I can honestly only give you honest answers about African American women so I will be speaking of more specifically black people who are descendants of slaves such as Afro Americans and Caribbean. So here are a few reasons I have heard:

Bad History:

Black women who are descendants of slaves have lived in America in a white male dominated society with direct and personal contact with them for centuries many times against their wills. Them being seen as both black and women, has led to a lot of oppression and dehumanization of black women at the hands of white men historically in ways that permeated the cultural norm of society sometimes so much so the attitudes are taken on by all people and men in American society including sometimes black men. During slavery besides the fact they weren’t considered human and tortured or killed, white male owners often sold the child of black women or black women themselves with complete disregard of her or her families relationships. She and her own children were merely property of white men and their households, including sometimes the very children the master may have fathered himself with the slave.

They were also frequently raped or used as concubiness as an exotic and different choice from white women white men were used to. And this was regardless of if she was married, young, committed to another man or simply uninterested in him. This is how the stereotype of the Jezebel woman came to be applied to black women. They were readily accessible to white men in ways that made them oversexualize their bodies meanwhile still seeing them as lesser.

They were also taking care of the home including the children of white women and men meanwhile she and her children are not given the same privileges, even if the master was sleeping with her. This you could say was the beginning of a lot of the beef between white women and black women as many white women resented the slaves if the husband slept with or favored them causing violence towards slaves by white women or wives. While all this happened black women couldn't defend themselves by resisting the advances of the master as she was simply his property and not human by law, which could in turn lead to violence from those same men's wives. You could see how this may have started some resentment in the minds of black women as she was supposed to fulfill the masters needs yet the master may refuse to protect her showing how little he valued her.

Even after slavery ended black women were stereotyped by white male dominated society to be seen as objects whose mere existence is to satisfy the needs of men(including sometimes black men). There were frequent rapes or coerced sexual encounters during reconstruction and the Jim Crow South(which I must point out that there are people alive today who lived through that, my own father experienced Jim crow as well as thousands if not millions more) that are very well documented that often times went unpunished. Their bodies were and still are merely seen as objects of sexual gratification meanwhile they were dehumanized and although white men could partake in their bodies, black women couldn't partake in the same privileges as white people, men and women alike, enjoyed. It was apparently a rite of passage in the south in certain areas to sleep with a black women which goes to show the lack of agency they were viewed as having as they were only seen as sexual objects. This happened so much the average African American has around 15 to 25 percent autosomal European dna which was introduced primarily via slavery. On top of that we know its almost entirely traced through a male line as about 25 to 33 percent of Y chromosomal dna(derived from y chromosome which makes men men in the womb and is passed down from solely father to son originating from one or a few male ancestor(s) of a certain region thousands of years ago. This chromosomal marker does not change regardless of how much overall autosomal DNA is inherited from somewhere else. You can be almost entirely African with mostly recent African ancestors but because one ancestor from generations ago was from Europe a man may carry the European marker on his y chromosome) of African American men is traced back to Europe meanwhile the female line through mitochondrial dna( same premise as y chromosomal dna except it is found in the mitochondria and is passed down to sons and daughters from mothers) is entirely African. This isn’t to say that all of black women and white men sexual encounters were forced or undesired, but enough of it or so much of it was that it left a permanent scar in the minds of black women in black culture even up to today. Some will argue this happened in the past and doesn't affect today, but the trauma and duration of these events lasted for so long and were so severe it affected the culture of America and shaped each different cultures identities and preferences.

A quick example of how this plays out today is a female professor i had who shared with me a story of how different cultural upbringing will put on display how different people view situations. She explained she went to the doctor because she scabbed her knee when she was a young girl and on that particular day she was wearing a dress. When she went to his office she saw her doctor was an older white male she was only a little worried at first until she sat down he flicked her dress up without her consent as if he was comfortable doing that with her. Now this seems harmless to most other people maybe and im sure the doctor didn’t have any ill intentions(or i would like to hope), but she felt uncomfortable because of how she felt men in general, but more specifically white men, viewed black women as simply easy access to sexual gratification who should not dare resist his advances.

There are tons of other reasons that fall under bad history but in short the relationships white men have showed black women over how they value them or what they value them for have historically not been the best making black women hesitant and speculative of white men's intentions when they pursue them. I think the combination of all these things over the centuries happening created an attitude of disdain towards white men from black women.

2. Cultural Differences

This is probably the biggest reason honestly anyone, not just black women, is hesitant to date outside their own culture or race and why people of all cultures or races tend to stick to their own when given the opportunity. Simply put its easier. We all like to believe love conquers all and knows no color and it sure is a cute and inspiring catch phrase that I wish was entirely true, but dating, marriage or whatever especially long term requires you to be engaged in the very personal and cultural aspects of your partners life. If those cultures clash too often it presents problems in the relationship. Unfortunately black and white culture in many aspects clash and can be polar opposites on certain issues and perceived notions white people might have about black people makes it a no go for many black people but more specifically for black women as dating someone who is doubly privileged as white and a man can potentially present a few challenges. Not to say these challenges can't be overcome but it takes work.

These cultural differences manifest themselves in seemingly minute ways or micro aggressions but they are enough to make a relationship end, I’ve even experienced this as black man myself and have seen it over and over again in relationships where people didn’t address the cultural differences before getting in a relationship. As black people, we generally view our race as deeply ingrained in our experience and culture because of how we are treated in society because of it. From our politics all the way down to our music race is a part of our existence. As a white male, racial issues are not something you may have to deal with or think about as much as a black person let alone a black woman. There are certain things she may be passionate or sensitive to as both a woman and black person that white men might think is either completely wrong or not a big deal. Shoot as a black man there are things i have to be mindful of as the only difference being a man i can't imagine being both white and a man. The relationships I’ve seen work long term between white men and black women the white man was usually sensitive to race issues or grew up around black people making him cognitive of what is acceptable. If not however most black women will run for the hills. Or I have noticed the black girl may for whatever reason have grown up around non black or white people and take on their culture and beliefs making the racial divide easier to get over. However both of these are the exception. The differences can be anything from how hair is perceived, what kind of music you listen to, politics, spirituality, your extended family and the age old debate of who can or cant say the N word. I know shocking right? Small things such as what is presentable hair? Does braided hair look “ghetto” or not “presentable” to the white partner? When the black girlfriend experiences racism or feels uncomfortable because of something that happened to her will he try to understand or will he shrug it off and tell her to stop bringing race into everything? When she decides to change her hair a certain way that doesn't fit the white beauty standard will he make a negative or positive comment about it? Does he know you do not touch black people especially not black women's hair? All of these can be major issues in relationships with black people in general but especially for women.

In short though it falls down to this. Other races of men but especially white men may struggle with understanding them. I even feel this way as a black man towards other races of women. Other races of people might be able to sympathize with you but they can not empathize. Another race of men may be able to feel pity or sorrow for a black woman but may not be able to empathize because they do not have the experience of growing up with black moms sisters or friends on a personal level making them unsure of what to do when racial conflicts arise. This is ultimately a turn off for many black people men and women as again race is deeply ingrained in our experience.

3. Fear

Another reason which I’ve heard from many black women is that they simply fear that white men may never understand them or make the effort to try to. Or that they simply don't value them enough outside of a fetish or booty call. There is something scary physically and emotionally about letting your guard down to someone who has been apart of a group of people that for the most part have historically seen you as lesser. All it takes is for a black girl to hear one somewhat racially charged statement about black people from a white guy and she could be turned off to them completely. There is also fear that the white partners extended family or parents might not approve of your relationship or even that her family won’t approve( you would be surprised a lot of black people are actually against their child bringing a white person home but more specifically for a black women to do so it seems for some reason) And I’m sure we've all heard the stereotype of how black women are supposedly the least desired woman in America and no one wants them. So there is also the idea that white men simply aren't attracted to black women so there is no point in entertaining the idea.

4. Simply Not Attracted

As I previously mentioned most people tend to want to settle down with or are more attracted to people who have a lot in common with them. The vast majority of black women i know are mostly attracted to black men and the same goes for black men( contrary to popular belief). I grew up seeing women like Nia Long, Brandy, and Meghan Good on movies i enjoyed as well as being around black women a lot in my life so i am attracted to black girls mostly. I think the same goes for black women as they grow up seeing a lot of black artists or movie stars that are more so a reflection of them or look like their fathers or brothers or other men in their circle. They look up to who look more like them so they tend to be attracted to them. I have also heard a lot of black women want children that are black and look like them. I think black women tend to like darker skinned people with black features as well. These are things such as dark skin, big lips, curly hair etc. I remember when i was really young it seemed like light skinned was seen as attractive in both black guys and girls but as i age i see more and more black people trying to practice what we call “self love” or “black love” with us embracing darker skinned people in our communities who are often times neglected or seen as lesser. So i think there is a desire now to really want to be with people who are black that have somewhat of a similar culture to them which is why they don’t date white guys per say. I will say the black girls I've seen date other races of people the men tended to be either darker than white such as Latino or Asian or someone who was somewhat exposed to black culture.

On the flip side, most white men I know also prefer women within their own race and when they venture outside their race tend to choose Asian or Hispanic/Latina women. With that being said, I think it is safe to say most white men don't think of black women first in general when they think about dating interracially. I think a lot of white males preferences in body type differs from black women as well. It seems to me in white culture and many non black cultures women are supposed to be small quiet and petite or tight. This is why a lot of white men like Asian women because they are seen as all of those things. Black women are seen as curvy thick , outspoken and voluptuous. All of these are stereotypes of course but its the stereotypical image people have in their heads unfortunately. Of course there are white men who are attracted to black women as you can find attractive women of any race, but i think the average white man will chose an attractive Asian woman over an attractive Black woman. I think a lot of this has to do with simple preferences and also part of it has to do with I know a lot of white men who believe stereotypes about black people women included, so they never entertain the idea unless a black woman pursues them.

On another note, in 2018 in America there are still very racist people around in ever gender, culture and even age group. Many white people I know simply are not comfortable with dealing with all the stares and shame they may get from their relatives or other white people in society so they tend not to date outside their race on average. This is especially true for bringing home black people as again often times our cultures clash with white culture and this can lead to excommunication from the white family. I know plenty of interracial marriages or relationships which involved a black partner( and this isn’t exclusive to white people btw this includes Asians, Hispanics etc) where once the family found out about the relationship the practically cut off all ties with the white person and all though i know that shouldn't happen the reality is most people don't want to be separated from their family. Unfortunately our society sees black people as very negative in many aspects so bring a black person home can strike up various feelings and emotions in non black families especially those that don't have a lot of experience or exposure to black people outside media. Now this isn't to say if a very attractive black woman approaches him he won't entertain the idea, but in general I think most white people are hesitant to date a black person whether they want to openly admit it or not.

I will say though i know plenty of white people men and women, who are attracted to black people, but they would never get into a long term relationship with a black person especially if it means bringing them home. For instance maybe when they are away for college or going on a trip away from the family. Most people can say they are attracted to people of other cultures and races either physically or socially, but the attraction is not the only thing that influences dating and marriage choices. When in college I knew of plenty of white men and women who slept with black people but the vast majority of them would not date them out in the open or commit themselves to a long-term relationship. There is stigma with them dating black people just like there is a stigma for black people dating white people. They may run the risk of being called a “n***er lover” or a “mudshark” or “damaged goods”. I’ve had white women approach me sexually plenty of times in college but when i saw her out and about she would act like she didn't know me. I think the same is true conversely for black women in many cases. And if you are a black person who knows this you may not want to even entertain someone who doesn’t want to be seen out in public with you so why even entertain the idea. Now again, there are obviously acceptions and there are people who couple up who are of different races. But as i mentioned this is what i have noticed for myself and from other black women.

All of these are reasons I’ve heard black women typically don't date white men. A lot of it is fear and pride from both sides but a lot of it is they simply aren't attracted and to be honest, there is nothing wrong with that. I prefer black girls and have my reasons I could never see myself dating a white woman and black women have their reasons for not preferring white men. But I think if the white male is sensitive enough to listen and try to understand her or learn and realize there are certain things he needs to understand about who she as a black woman and what is and isn't okay, the relationship will be fine and more black women would be open to the idea.

How difficult is adjustment for international students who come from a vastly different culture?

Response from Maybach:

I think that really depends on how deeply entrenched that vastly different culture is within your value system and your core attitude towards student life, academics, etc. Furthermore, it also depends on the extent of how different the culture is and what aspects exactly differ.

However, in general, there’s already a huge selection bias for the type of international students we select. By this, I’m saying that someone who is very critical and would not adjust well to Northeastern American college culture, for example, is not very likely to apply in the first place. Most of the students from very countries with very different cultures went to an international school where English was taught, know a lot about America’s culture, history, and music, and are very excited to try new things. The students are generally not averse to putting themselves out there. 

Most international students I know thoroughly enjoy experiencing a new culture more (if America’s is pretty different) and don’t have a super hard time adjusting. Their friends, RCA’s, international departments, focus groups, and countless other support organizations help them to rapidly adjust and get the most out of the full-time study in a foreign country. Many of them stay in the United States after graduation. Now, that’s not to say that all of them magically love every part of this country and aren’t grateful for aspects of their home country. But most do fine and get to experience new things they never would have gotten to do had they stayed in their home countries. The only time I’ve seen issues is where some part of our culture is so deeply offensive and strikes a core in the value system of an international student. For example, I know a student who is a dual-citizen and lived most of life in a part of a country where a form of pious anti-fornication religion is ingrained deeply into society, government, and culture. This individual already knew of gay culture and more sex in the U.S., but still was surprised at the level of it at Princeton and thus had a harder time adjusting and getting the most out of college. Another example was that someone my friend knew came from a country where “sl*t shaming” doesn’t really exist to the extent that it does here and felt bad for a while after it happened.

So I think in general, you’ll be fine. But if you are worried, reach out early on and do some of your research and reading to help with the adjustment period. Maybe also contact current and former students from your area who can talk to you about life at Princeton.

Response from Evan Hansen:

Maybach’s answer is great, but just to add – irrespective of the similarities and differences between your culture and that of the United States, you should always expect to experience culture shock after you arrive. It’s normal, and it might not happen straight away – it’s usually after the initial hype around orientation and classes has died down, and the semester is underway – but it very likely will happen. It’s important not to worry, and to make use of resources at your disposal (including Davis IC, international friends, cultural affinity groups or even CPS) to help ride it out.

Even as someone from a country whose culture is very similar to the US, I struggled with some finer American idiosyncrasies in a way I really didn’t expect, but I found it easier to cope with when I just accepted the situation and gave it some time. Good luck!

What molded my practice in design?

          Korean society is often said to be a high pressure society. Having lived in it for more than 24 years, I have to agree with this completely. My theory is that so many people live in such a small country, that people always need to compete with each other and basically it became the survival of the fittest. Of course, Koreans trying to rebuild the country after the Korean War and accomplish the miracle of Han river kind of all helped make how we are this way now.

          In high school, all I did was think about how to get to a good university and study since 8am until 10pm, having not much life outside. We were learning only to get good grades, not for the joy of learning. When everything is about excelling, fun goes away. It was the same with art and music. We covered so many different topics, like the basis of conducting(Yes, like conducting the orchestra), which my western friends were surprised about. So even though I was always interested in different areas of art and especially photography, I only had to see them through the society’s eyes and ask, ‘Could I be successful with that? Do I have the talent? Could I make money out of it?’. So I gave up on those things and decided to major in Business in university.

          I was lucky to have the chance to live in the States when I was 4, due to my father’s profession. Ever since, the experience living abroad was ingrained deeply in my brain which made me admire the different lifestyle, culture and education system they have. Something freer. Also knowing English a little more than my peers made it easier for me to have a peak into that different culture. The way people make jokes, talk, dress and think. This made me feel that I have more knowledge in things than others. I was listening to British pop(it was not so common to listen to it among my friends!) and Japanese visual rock, watching movies that no one knew about and dressing in vintage clothes. I would collect rare albums and I had more than 100 albums in the end. Though introverted when I was young, having these hobbies and taste made me feel somehow special. However when I started making decisions not for myself but for other’s expectations I started giving up on a lot of things I liked and as somehow they started to be valueless on my written path of going to a good university, getting a good job and living a wealthy life.

          Then I had the chance to move to Prague. I felt so much freer just being out of Korea, and being able to travel so much and see a lot of different things broadened my point of view. I learned also from the people I met, who talked about and pursued things they genuinely wanted. They were more open minded and accepting of different tastes and preferences others have which made me so comfortable to just be myself. I was working in the business sector and dealing with Korean customers so I still felt a bit trapped to that standard of society. Then, I decided to quit and do something different - finally something I liked. That’s when I started the Graphic Design program in Prague College.

          Even though people who knew me from before wasn’t surprised of my choice, since I have been interested in art and I have been creative in my daily life by posting photographs on social media and organizing events with DIY decorations in the flat, I still felt like a different person and it was so liberating. Friends around me even told me that I dress differently and even my personality had changed.

          So how did this background of mine influence my taste? First of all, I became more open about what I like and gained confidence in my taste. Also, having had studied business and been bombarded by advertisements in Korea, I started to be quite sick of anything too commercial. For example ads with super stars or using instagram ‘influencers’ to sell products always makes me feel uncomfortable. This is why in my graphic design, I prefer to do something that I can express myself or something related with a good cause rather than making images to make sales. Still I appreciate the utilitarian values and so a good balance of practicality and the aesthetically value would win my heart in product design. Also I don’t think everything expensive is considered good taste like it used to be in the past, but now more like knowing how to collaborate different style of things is good taste. Being able to create a room full of different prices and style of furniture based on a good eye (from knowledge and experience) would be one example.

          When appreciating art, I try to enjoy the aesthetic part a lot of art and design, and see what makes me feel happy and makes me feel that it is beautiful and interesting. As mentioned above, I learned art from books, and going to museums was a must for education. However now I believe you need to be able to enjoy art rather than always studying it(of course, I am not saying the intellectual part of appreciating art is not enjoyable). There is no one answer in appreciating art like Roland Barthes said. We can interpret everything in our own way and if that resonates somehow within you then you have gained something from that piece of art. This I felt the most when I was in the Biennale in Venice over the weekend, cause I was able to go through the exhibition as if it was a playground, interpreting them as I observed and understood. It was just so exciting to be in that amazing space filled with different ideas, colors and media and some pieces were very moving, some were just so mind blowing in production and some were very beautiful. They provoked all different sorts of thoughts and sparks in me and I think that is what is important in how we see art as individuals, making ourselves even individual ‘producers’ of art.

Moonbeams and Teaching

Have you ever listened to the album “Moonbeams” by Bill Evans? It really makes me feel like I am within the room by using a genius who is simply playing across the finest tapestry the planet had ever given him. He was a great jazz pianist, and something of my personal favorites. As well as Bill Evans I feel Red Garland is yet another jazz musician I truly admire, but being truthful these are merely fingers pointing how you can another realm. My own taste of any Be Bop Trio within the 50’s might have been the thing to discover on planet Earth. I am talking about watching those guys play? Oh, wow indeed my girlfriends, as well as an exceedingly gracious bow of gratitude is owed to Chuck Pafenbach for sharing it with me as he was my neighbor in Austin.

Great teachers for me, are similar to great musicians.

Great teachers have the ability to clearly get you to see inside yourself, maybe through their work, their presence, or how their words move through you. Great music does the exact same thing if you really ponder over it. Several of the songs on “Moonbeams” just bring forth deep emotions within you, whenever you can sit within a space to appreciate the tunes how you will appreciate a great teacher. If you are sitting alone and simply fully immersing your brain along with your neurological system to the experience with being present, then you can certainly play a masterpiece like Bill Evans would. When you can hold a standing meditation posture, maybe in similar fashion it is possible to play a sonata. Within a similar way, maybe when you break posture and the possible lack of structure in your Tai Chi set, then it is similar to a musician killing enough time signature or forgetting the chords.

To complete truly great things with the life requires you to definitely be fully present, and furthermore to help make no excuses as to what scenario you may have been made available to learn from. To move forward with healing your pain, whether emotional or physical, requires letting go of your tension causing your whole body to release toxic chemicals. We require great teachers of your Internal Arts to obtain profound impacts on modern culture with of their false materialistic promises and illusions. People go to my clinic needing acupuncture, herbal medicines, and true authentic guidance on how to live inside their body. Your whole body is perfectly capable of releasing all of the healing chemicals it requires to alter your life perspective. Your immune system is capable and powerful, along with your defense mechanisms can be astonishingly amazing within its recuperative powers. However for some spiritual reason, people experience blockages of energy and blockages of the human body that need the diligence of meditation to eliminate. Without having the effort and undertaking from a student and teacher, there is not any magic, and to borrow the metaphor there is not any music.

Acupuncturist Columbus

Really skillful teachers of Internal Arts and Oriental Medicine may help someone revisit from even dreaded label of mental illness. They could teach patients through push hands exercises the way to handle the force (stress and setbacks) coming their way. This metaphor is ingrained at the amount of the nervous system, deeply a part of neuro-muscular memory. This is why your student needs no less than two years of push hands, warm up exercises, and standing meditations that release energy blockages. These blockages of meridians, organs, energies, emotions, and layers of reality often fuse anyone back together. The capacity to discharge and rid yourself of deeply ingrained physical and neurological parameters is realized through standing meditation, but we still need guidance from great teachers who can assist us to fully enter our incarnation. Just how can they assist us achieve this? It is the by-product of truly setting up the required time of forming a Tan Tien. So, you have the measuring stick of your respective Tai Chi instructor, what is the Tan Tien? What is the formed energy structure on the core of the being, or are the teachings just like your instructor just empty, hollow, and without real substance?

Sadly, many modern-day teachers will only want to speak about forms and side track students with concepts they barely understand. Many teachers don’t even teach pushing hands, standing meditation, and several have never been to Asia in order to meet a real master who is able to demonstrate Qi and structure. True teachers be aware of martial aspects are what verify your so named spiritual realizations. Many people in Western society may go running around telling people in regards to a concept minus the teacher really having the student demonstrate any proficiency. In my hometown, you will find a large number of teachers who happen to be just circulating things i call empty forms. What is a vacant form? It can be performing a short form or long form of Tai Chi without having knowledge or demonstration of openings and closings. Openings and Closings of what you could ask? Openings and closings of physical structures like tendons, ligaments, joints, vertebrae, and also the kwa. I see people doings forms with poor footwork, broken structures, without any real Qi in the Tai Chi form they may be doing. Therefore, no healing benefits or strengthening of the body is actually occurring.

True teachers reveal deeper levels and layers of real information. When someone is merely at the local yoga studio doing the slow-motion dance routine, I am just sorry to express that you need to look elsewhere. When someone is just teaching brute force techniques and throwing people around since they are greater than everybody else, then you will want to go on. Maybe later you can revisit and prove to them the real teachings that supply true self-realization. As a truly powerful Tai Chi master can demonstrate some amazing skills through their consumption of structure and Qi. Something your teacher has to demonstrate is the potency of structure, the emotions of Qi, and the capability to place it completely during push hands to assist teach a student where they may be weak. Yes, your teacher can inform where your structure is weak, whenever you break structure, and ways to keep the correct alignments whilst the dance of push hands is awakening the appropriate sensitivity within you.

For me, I am just information on awakening the spectacular healing properties along with understanding the martial aspects. Maybe We have some other central nervous system or outlook around the world than you. My father is in special forces, was actually a hero in Vietnam, and had a heightened central nervous system. He could not often sit inside a public place without placing himself capable of act, should someone pull a gun out and things get deadly. He was taught with the Army to kill, he was taught to get instincts, and taught to outlive. Maybe this is why I go into a public restaurant and commence considering these scenarios. I realized inside my early 40’s which i happen to be doing that my entire life. Not away from fear, just running scenarios in my head, like I were inside an action movie or possibly a war zone. This must be how people in terrorist active and war torn countries feel, but to appreciate that it was passed down from the DNA inside of me was awesome and creepy indeed. This is a central nervous system that is certainly stuck in Fight or Flight. It needs an approach to engage in self-healing, or sadly anyone will die young from all of the stress inside their neurological system.

Triple J's Hottest 100, Gender Diversity

Triple J’s annual music poll, the Hottest 100, is one of the largest music surveys in the world, and is touted as “the world’s biggest music democracy”. It’s a heady title, and one which is undeserved at this point: true democracy flounders without diversity. Triple J’s Hottest 100 has had problems with being a boys club for a few years now, but in 2016/2017, most people are less forgiving about institutionalised sexism than in years past. No system which prioritises one type of person more than another can claim to be functionally democratic, and that is the exact predicament that Triple J’s 2016 Hottest 100 finds itself in as it’s representation and gender diversity has been challenged.

 Much has been written about Triple J’s 2016 Hottest 100, how it’s officiated, and how it’s members are chosen. One of the main points of discussion revolved around the fact for 2016’s countdown, 66 out of 100 represented artists were Australian, which is seen as a reassuring notion of integrity in Australia’s music industry. Triple J is an inherently Australian brand and thus, the Australian artists which represent it are held in higher regard, and their statistical dominance of the chart is considered a point of national pride. What this shows is that Australians, and the Australian media do notice and care about how the Hottest 100 is composed, it shows that Australia has a discerning view on who it chooses to represent itself. Why then, are women still so underrepresented by Triple J? 

In a gender analysis of the 2016 Hottest 100, The Equality Institute found that despite the fact that women compose more than half of Australia’s population, female identifying musicians encompassed less than a quarter of the Triple J’s 2016 Hottest 100, in a clear indication that our country’s most revered popularity contest is not an accurate reflection of our society and culture. Underrepresentation of female artists is an ongoing issue deeply ingrained in Australian society, and around the world. So when major musical, and cultural events such as Triple J’s Hottest 100 fail to represent all genders it creates further disconnect and contributes and reinforces the same sexist attitudes which allow men to shine, and talented women to fade from the public eye. 

 An argument sometimes levied against these assertions is one revolving around merit. Jane Caro of the Guardian writes that “if you want to sit at the big table you should earn your place, just like the men did”. Essentially, Caro is implying that the reason women are underrepresented in the Hottest 100 is a case of there simply being more ‘good’ male musicians than there are female ones. This is a ridiculous argument to make, as it suggests that women are simply worse at making music than men, an unquantifiable, and reductive argument, devoid of reason. Music is subjective, and what music people enjoy is defined by what they are exposed to via their own personal circles, and the media circles they engage with. Musical taste doesn't evolve in a vacuum, music, like all art, reflects and evolves with the society which creates and consumes it. 

 The unfounded sentiment of the above type of argument carries onto other contrarian angles on the topic. Many critics, such as Triple J’s own Chris Scaddan have put forth the opinion that the Hottest 100 is decided by popular vote, and thus any outcome in the rankings is merely a true indication of people’s musical preferences at the time. This argument fails to address the gender biases that voters are exposed to on a daily basis which influence their voting habits. If majority of the music that people are exposed to is male made, then it's inevitable then that people will, predominantly, prefer male artists. The oversaturation of male voices in Australia’s most popular musical poll is symptomatic of the lack of opportunity and exposure that female voices receive in the Australian music, and general media. Musical acts with at least one female member receive less than 39% of Triple J’s airtime, this gender imbalance serves only to exacerbate the inequality issues at hand. 

 It is also a factor that there are simply less women making music than men are, Australia’s Council for the Arts reports that “women represent just 20 percent of songwriters and composers registered with APRA, and… represent just 32 percent of musicians and 27 percent of composers currently practising professionally.”. Those same proportions reflect the gender diversity found in industries such as forestry and fishing, careers typically considered highly masculine enterprises. The Council also reports that while 80% of all working musicians in Australia are male, nearly two thirds of all music teachers are female. This, coupled with the fact that almost 50% of Music students are female highlights the total lack of career opportunities available to female artists in the industry. It's important for platforms like Triple J to realise the breadth of their influence, as Eliza Sarlos of Junkee aptly summarises: “It’s a vicious cycle: we listen to less women-made music, because it gets played on the radio less, because there are less women making music. Because less people listen to them.”. 

 I reached out to Music Victoria co-chair Michelle Nichols, a key orchestrator of Music Victoria’s Gender Diversity Policy to gain her insight into the topic, but was unable to complete correspondence with her within the time restraints of publication. However, Music Victoria’s website outlines its gender policies and findings of its surveys can be found there also. Music Victoria’s gender policy dictates that it will “ensure participation of at least 40% women* and 40% men* across its activities, where practicable. Music Victoria will publish annual results to track progress against its gender diversity target.”. It's initiatives like these which are making positive steps toward gender parity, and it's something Triple J could take into consideration for its next Hottest 100 countdown. Triple J’s Hottest 100 is an incredibly influential cultural event in Australia. However, until it addresses and fixes it's issues with gender representation it will never truly live up to its title of the “world's biggest music democracy”. 

There are a multitude of contrarian angles on why women are so underrepresented, from arguments of merit, to defences of the voting method, but none of these successfully take into account the full scope of the issues at hand, and the myriad of ways which inequality is allowed continue marring the musical landscape of Australia.