Big Ideas
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The Big Count 2018 – Canadian Festival Report Card
We need your help with The Big Count 2018 -for the Canadian Festival Report Card! La traduction française suit ci-dessous (nos excuses pour le mauvais français!) As we’ve done for the past few years (2016, 2017), we’re collecting data on festivals and music series to find out how many women-identifying, transgendered, and non-gender-binary people are being presented at festivals and concert series across Canada. What we need from you is to choose a festival that doesn’t appear on the list below and give us a link to their lineup online and a count of the number of women-fronted, men-fronted, transgendered-fronted and non-gender-binary-fronted people are included. It can be a festival that…
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A short list of women and gender non-conforming Canadian artists
ETA: Because this is awesome, we’re creating an accessible database for Trans folks, Non-Gender-Binary folks, and Women to add themselves and/or their bands so that bookers can find them. We launched it in Winter 2020; you can check it out here (and also add yourself or your band!). All of the artists in this short list are also in the database! ETA 2: When this post was originally published in Spring 2018 on our old website, it generated 138 replies from members of the community, listing more than 600 artists and bands. We’ve collected this information in the database above, and are looking for volunteer to help flesh out the…
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NXNE PRESENTS A SAUSAGE FESTIVAL
From a piece I wrote for Electric City Magazine: “The Canadian music industry is a diverse, varied place, but you wouldn’t know it from the endless parade of white guys with guitars wanking across the festival stages and conference panels of the nation. Over the past month, NXNE have been releasing the lineup for their Portlands festival, and the list, while appearing more racially diverse with the most recent release, is still very dude-heavy. With three women-fronted bands and one genderqueer artist out of 16 total acts released so far, I have to ask: where the fuck are the women, NorthBy?” Read the rest at Electric City Magazine.
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Some thoughts about – and a good, green idea for – Music Submissions
There was a time, 15 years ago, when the wealth of CDs that suddenly started coming my way, as a full-time booker at a dive bar, was exciting and fun. Opening packages mailed from across the country was exciting – who knew what fabulous undiscovered gem was lurking inside that yellow padded envelope? Now I find myself looking at CDs – or any physical media music submissions – with a sense of weariness. The thrill of discovery is still strong, but it’s sometimes overwhelmed by the knowledge that every CD and paper package represents a use of resources that isn’t very smart or justifiable. I know there are some bookers/DJs/industry…
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Music City – A strategy
The points I’ve included below – headlined ‘A Strategy for Music Peterborough‘ – was created with my hometown in mind, but swap out a few names and organizations and this would be useful in any city to frame the way you approach different sectors with a view to creating a cohesive push to highlight music (or, I think, almost any local art or cultural highlight) and create a Music City mentality. I’ve made a few edits from the original document to make explicit the sort of things that I take as a given, but which aren’t obvious to everyone (like gender parity, inclusion of racialized people, good working conditions, etc.). A…
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On the cult of genius.
The arts are full of abusive narcissists, people who are “soooo talented” that we’re told we have to overlook their bad behaviour and cherish their scarce genius. We have some prominent examples before us currently, but it plays out everywhere. These people are in every arts community, and they are endlessly destructive. They hoard resources and connections, they cut down their peers, they support no one but themselves. Anyone who contradicts them is ostracized, shouted down, shut out. You don’t kiss the appropriate ass, or – god forbid! – you offer an honest critical opinion of their work. Suddenly you can’t access cheap rehearsal space, you can’t find collaborators, you…
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Women in Music Database
One of the discussions that arose from the Women in Music at FMO meetup in October was that a lot of women in the industry are looking for other women to work with – as producers, as side players, etc. It also seems to me that conferences and festivals who are asked or challenged on the issue of gender parity often say things like ‘We can’t find enough women to fill these spots.’ So with the aim of helping each other and promoting women in music, I’m gathering a database of women and the things they do in the music industry. Paid or volunteer, it doesn’t matter; if you identify…
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Notes from FMO meetup
Canadian Women in Music Meetup Friday, October 17, 4:30pm Folk Music Ontario Conference Notetaker: Trish Facilitator: Candace Shaw Attendees: Enid Carol Goodman, Gabrielle Papillon, Corinne Rose, Allison Brown, Suzi Wilde, Nicole Colbeck, Emily Mitchell, Kathleen Merrett, Joanne Mill, Sarah Beatty, Mimi Shaw, Jayne Mitchell, Francine LeClair, Kristine St. Pierre, Shawna Caspi, Heather —, Leah Morise, Mike Bourgeault, Laura Spink, Terry Hart, Mary Bennett, Maryanne Gerard, Nancy Dutra, Eve Goldberg, Julie Kerr, Lea Dalgoy, Sarah Elizabeth, Amanda Rheame, Trish Murray, Rachel Barecca, Marianne Girard, Treasa Levasseur, Anita Lennon-Barlow, Tannis Slimmon, Brian Litvin, Victor Hugo Lopez, Rodrigo Muniz, Graydon James, Clela Errington… Discussion: Candace welcomed everyone, outlined ideas that are a starting…
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My Rules
I’ve been a music booker for a while now, ((People have even paid me to do it at places like The Montreal House, The Peterborough Folk Festival, Harbourfront Centre, and The Distillery Historic District.)) and over the years I’ve developed some guiding practices that govern most of what I do – something I think of as my rules for booking. I tend to stick to these rules because they work, and because whenever I’m unsure, I’ve got them to point to true north. Other bookers are their own people, and I neither expect that they’d adhere to this exact set of ideas nor do I think any of these are…
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Ideas: the difference between a folk festival and a music festival
The difference between a music festival and a folk festival isn’t the kind of music they book. I can’t tell you what is and is not folk music; like most genres, the definition is shifty and slippery and very personal, and I’m not too interested in what it really is. And I don’t pay much mind to people who complain that Folk festivals don’t book folk music any more, partially because I think the argument is bullshit, partially because I think that a lot of musical traditions have picked up some of the torches that folk has dropped, but mostly because I don’t think a Folk Festival is defined by…
