A response to Angela Epstein

Congratulations Daily Mail, I have finally succumbed to your baiting.

Before I tear the barb from my lip and get on with my life, I’ll address a few points from your post by Angela Epstein.

In the article she writes about her appearance on Newsnight with Mary Beard (LEGEND) and Natasha McElhone.

Here’s her response to host Emily Maitlis’s enquiry as to whether she would call herself a feminist:

“I hoped my blow-dried hair and figure-hugging dress would give her some clue as to the answer.

“Feeling a little mischievous, I was tempted to ask her whether I looked like one of those grumpy women in bad clothes who spend their days in a state of agitation about whether it’s right to let girls play with dolls.”

So, as a feminist, here’s my response:

  • I don’t blow dry my hair because it doesn’t work. Even hairdressers haven’t cracked it. A visit to the hairdressers is akin to others’ fear of the dentist. There is nothing anti-feminist about having your hair cut.
  • I’m not a thong fan, therefore figure-hugging isn’t really my style
  • I’d like to see a picture of one of these  ‘grumpy women’ please – this is pure speculation
  • The ‘pink stinks’ campaign, and others like it, is not about removing dolls from the arms of little girls, it’s about removing gender bias from children’s toys. So in other words, boys can play with dolls and girls can be free to dress up as doctors

Then Emily takes affront with the simple, but effective, Everyday Sexist Project, which allows users to submit their experiences of sexism directly on the site or via social media

“Rather than campaigning to help women, feminists today are more likely to be picking fights on Twitter, or dressing up petty grievances as proof of rampant ‘sexism’.”

If  you don’t tell someone that calling women sexist names, groping the body parts of women in clubs entirely uninvited, kerb crawling after school girls and making comments is wrong, then who will? Emily’s issue with Everyday Sexism is the fact that it does as it says ‘on the tin’; it reports ‘everyday’ sexism. If women (and men) don’t reject the tiresome, patronising comments or don’t resist behaviour, it becomes (and remains) acceptable, as it has. Hence the rise of ‘LAD culture’. I used to be scared to walk home in the dark as a school girl. As an adult, occasionally that feeling returns.

On Friday night I went to St Moritz in Soho, celebrating the last performance of Bouncers and Shakers, two plays performed at the BBC (as part of a BBC Club society). Now, I have problems with Bouncers as a play – the behaviour it depicts is so laden with misogyny, you feel playwright John Godber but be against it, but then so much of it comes at you in the hour-long duration of the play that it’s possible to feel offended rather than inspired to do anything; that you as a woman are a solitary object – the butt of a joke – and there’s nothing you can do about it.

Issues with Bouncers aside, I was following my friend to the club’s cloakroom when a young man said to his friend rather loudly; “I’d like to set them on fire”.

Just like that, tripping off his tongue like it was something everyone was thinking.

I turned around and said “excuse me?” and joined the man at his table. I questioned why he felt so strongly in his reaction to me walking across the room (calling out “Are you in there?” to my friend). I stated that my loud voice may have been irritating but was surprised that it would evoke such a response. We had a calm, humorous conversation about the ‘fiery phrase’ (ahem, sorry!) Ten minutes later, he’d taken what he’d said back, apologised, called me ‘very cool’ and we parted with a handshake.

The problem is of course, that I don’t get to have these conversations with everyone, but I think it’s important that we have them whenever we can. That’s one of the reasons I’m not commenting directly on the Daily Mail article. Because here I can respond in a controlled, collected way. In a comments section, it’s hard to have a face-to-face style discussion. There’s very little chance for a structured debate and the increase of frustration is commonplace.

Back to the article; feeling incensed (or perhaps proud, given that she is being paid to write her article), Epstein takes a potshot at the Twitter users who have commented on her Newsnight appearance;

“Firebrand feminists who pit sister against sister… those who claim to champion women want to bully me for saying I don’t believe in a cause they have bastardised

Now, I’m surprised at this. Firstly, I never feel like I have been attacked by another feminist – on Twitter or otherwise. Also, disagreeing with someone’s opinions on social media is not bullying. Trolling someone – saying that they should die, are ugly, too old, etc… – is what happened to Mary Beard, not Epstein during her Newsnight appearance. By writing this article, Epstein is pitting herself against an entire community. As an educated woman (as she’s keen to point out in the article), she will be aware of this.

“Indeed, what the sour Lefty Twitterati won’t admit is that all the great battles on which feminism was founded have been won – including political representation, and equality in education, the workplace and other areas of public life.”

(My first reaction to this was “well this is a pile of…”) I’m going to try and be constructive here. They haven’t been won. There still aren’t enough women in Parliament – in fact in general, the government does not represent a cross-section of British society. Sexual discrimination is still rife (did I ever tell you the story of how the all-male staff of Sports Direct in Maidstone had a competition to see who could touch my chest when I wasn’t looking? Boxing Day 2007. I never went back.) Women in comedy are still in the minority – the boring ‘are women funny?’ debate proving popular with ‘but they aren’t’ commenters and let’s not get started on women in radio and sports, the fascination with women’s post-pregnancy weight in the media and pretty much all of the Daily Mail’s ‘sidebar of shame’. Oh and Robin Thicke. (Needless to say, the ‘ass float’ in his most recent video wasn’t the biggest ass on screen…)

“An emancipated, financially independent woman couldn’t care less whether Jane Austen is emblazoned on a tenner. I don’t: I just care that I’m being paid enough of them”

I’m an emancipated, financially independent woman, took my eleven plus exam to go to a girls’ grammar school and went to University – just like Epstein. I carved out a career for myself. I don’t have the husband or kids yet. I don’t reject the idea, nor to I reject it – so therefore, there are potential parallels in our lives. However, I care that a major female figure was set to be replaced on a bank note by another ‘white male’ (as campaign organiser The Woman’s Room describes it) – currency is part of a national identity after all.

“One survey found that women who own businesses earn nearly 17 per cent more than men in the same position. That’s my definition of feminism – not some spurious insistence on female quotas and women-only shortlists.”

Two things to comment on here:

  • This is a survey about women who ‘own businesses’, it doesn’t represent women who work for someone else. Business is such a wide area, it’s fairly impossible to take such a statistic seriously – what kind of businesses are we talking here? Banking? Bakeries? A venues group?
  • Feminism isn’t defined by ‘quotas’. It’s not defined by women owning their own businesses either. The option for this to happen is obviously part of it, but I doubt you’ll find ‘quotas’ in the dictionary under ‘feminism’.

This quote really does sum up Epstein’s unsteady line of fire quite well:

“If I ever was a feminist, I can’t be now – not according to those who loathe the fact I see marriage as more than a piece of paper, that I believe women have no place in a combat zone, and that I know my daughter won’t be stereotyped for playing with dolls.”

Here, Epstein brings up three unsubstainsiated thoughts:

  • Feminism doesn’t disagree with marriage – however the old fashioned vows that saw a woman declared a ‘man’s wife honouring and obeying’ are agreed by many to be outdated, even by some religious organisations.
  • Where did a debate about women in a combat zone come in? Surely that’s another complex issue she should devote a whole article to rather than bringing it up at the last moment? Should women not be bringing their strategy and medical skills to the battlefield as well as on the front line itself? Or should women be banned from the armed forces altogether? Be clearer, Epstein!
  • Girls aren’t stereotyped for playing with dolls – the issue people have is that the dolls themselves are usually stereotypes.

“So ashamed and depressed am I by a once-laudable movement which has corrupted its heritage and condemns me for saying so.

“For that, I think any sensible woman will join me in feeling saddened by how irrelevant and niche modern feminism has become.”

I don’t feminism isn’t corrupted, I believe it is fighting corruption before it itself becomes heritage. If the suffragettes were around today, of course they would be talking on social media. It’s a totally modern, intuitive way of linking up voices around the world. How amazing is that? If there wasn’t a reason for people to agree, that voice would have died out a long time ago.

Instead, those who don’t agree with feminism decide to try and drown this global voice instead, but it’s not working. Those who oppose it are more than welcome to sit down with me in Soho to talk it out. And that includes you, Epstein.

Free gig at The Finsbury – Sunday 13th October

I’m playing a free gig at The Finsbury pub on Sunday 13th October.

It’s completely free and the doors are at 4pm – I’m on at 4:30pm, so hopefully that’ll give everyone time to recover from the night before!

It’s possibly my last gig for a while – I’m hoping to start playing my telecaster at future gigs (I’ll be getting out my trusty acoustic for this one) and I’m desperately seeking a band to play with.

I’ve been jamming with my friend Reece (formerly of the July Days), but we definitely need a rhythm section before we start gigging. Playing with a band is one of my favourite things and it definitely makes me more confident on stage.

You can hear rough demos on my two Soundcloud pages (stupid, boring story to how I have two accounts):

Truth Fiction

Get Frank

I’m not a dictator band leader – I like to work songs through to create something we all have a hand in and feel ownership of. Mostly though, I want to create songs to get people dancing. Simple.

If you want to get involved, give me an email at frankiepromotes@gmail.com – and please spread the word…

See you at the gig on Sunday?

New Let’s Buy Happiness single alert!

I’ve been waiting for Newcastle’s Let’s Buy Happiness to release their debut LP for about  two years now.

However, I think us fans have done our time now and so do the band, if the online debut of the album’s first single is anything to go by.

Here it is – Run.

I’ve heard this live a few times and it’s always gorgeous, but they’ve clearly made the most of being in a studio. Give it a play and feel those sublime waves of guitar ambience and vocals wash over you… and, when you think it couldn’t get any better, four minutes in a divine build in the music, with extra crunch from the guitar takes things even further.

SERIOUSLY THOUGH GUYS, WHERE’S THE ALBUM ALREADY?

Who are The Wanted?

If I ever have a daughter I would probably have ‘The Talk’ with her. It wouldn’t be the typical ‘Talk’ of sexual education, or of boys in her peer group. It would be about crap boybands such as The Wanted, something along the lines of; “you are not following them! Here, have this Radiohead album instead. That Jonny Greenwood was a right looker in the nineties. I’ll buy you a poster if you like?”

And here’s why:

  • The Wanted pick fights with One Direction. I’m not a ‘Directioner’ (I’m 24), but I’ve seen the Tweets directed at 1D (who are an acceptable boyband, even though they cannot dance). They’re the tweets of a band needing to create headlines by forging rivalries.
  • Lack of decent tunes. I don’t like their singles, so imagine what an album filler track would sound like…
  • They released this music video:

Why is there a random shot of a girl in her underwear with her friend? The camera barely sees her face (in a shot later in the film it gazes tantalizingly instead on her midriff). Despite the ‘LADS! LADS! LADS!’ image the guys are trying oh-so-hard to portray, they are still a boyband and boybands are marketed at young girls. So why objectify one? WHO IS THIS FOR?

Oh, and finally.

  • My daughter would have better taste.

I may have briefly mentioned that 1D cannot dance, but hey, they have a sense of humour.

So yes, future takers of One Direction’s (or the future equivalent’s) crown, this is the blueprint for sucess. Humour, squeaky clean faces and a good songwriting team – step away from the pint glass (or ‘Jar’ one of The Wanted call it in the ‘We Own the Night’ horror posted earlier).

My Harkive – 9th July 2013

I start at 8:00 when my alarm forces me awake and I immediately turn on the radio.

I won’t lie – this is almost permanently tuned to Radio 1, although the track (that even Nick Grimshaw comments as sounding like a ‘rubbish Cotton Eye Joe’) makes me wince (I later find out that this is called Ring A Ling by Sneakbo. This morning it’s mostly chat though – I’m an out and proud Grimshaw fan so this is fine by me. Plus, I’m 24 so I’m still within the Radio 1 target audience. (I know you’re judging me!)

As I head out the door to the district line, I have a listen to a mix of a song I’m working on on my iPod. It might sound odd to some, but I find it useful to listen to my own music (sometimes I find it quite hard) on various devices so I can see if the listening experience changes – for example, my macbook speakers are pretty poor so an iPod is far more preferable. The track in question is called Twelve Feet Under and I’ve put it on Soundcloud and shared it with friends to try and get their thoughts:

Often I listen to a podcast or something from the BBC Radio Comedy output on the tube to work – this morning it’s The Show What You Wrote, which is being podcasted as the BBC Comedy of the Week. However, as it finishes before I arrive, I pop my iPod on song shuffle and on comes the Sufjan Stevens song John Wayne Gacey Jnr.

Later, at my desk, I notice a blog post on Twitter about The Rumble Strips by This is Fake DIY. It includes a Youtube video of their song Alarm Clock, so I give that a listen. I was never a big fan so I listen more out of curiosity than nostalgia. It’s ok, but I prefer the upbeat (but slightly similar) sounds of the dearly departed Larrikin Love.

After lunch I have a major hayfever attack and run out to Boots to get some eyedrops. Trying to take my mind of my swelling, itchy eyes, I take my iPod with me. As before, it’s still on shuffle. The tracks it treats me to are Magic Touch by Golden Silvers, Four Kicks by the Kings of Leon, Night Terror by Laura Marling and Live Wire by Fyfe Dangerfield. I do have some current stuff on my iPod, including Bastille, Lianne La Havas, Bastille, Daughter and Kate Nash’s underrated third LP, Girl Talk – oh and Yeezus by Kanye West, but I also have plenty of older stuff I can’t imagine not taking on the go with me.

After work I hop tubes between Great Portland Street and Angel. My iPod is still in an eclectic mood and plays A New Found Land from Villagers’ (brilliant) second album Awayland, The Look of Love (Nina Simone version), Rabbit Heart (Raise It Up) by Florence & the Machine, The View from the Afternoon from The Arctic Monkeys (who I have never stopped loving in the past nine years), Isobel by Bjork and She’s Lost Control by Joy Division. Naturally the latter sets me perfectly in the mood to see comedians John Robbins and Joe Lycett test out their Edinburgh shows… or maybe not.

Post comedy, it’s back to dashing between underground lines. Impressively I manage Angel to Bromley-by-Bow in three different lines and four songs… although I do chat to my friend Doug from Angel to Bank so technically I only listen to my iPod for the second two lines. These songs are Landfill from Daughter’s Wild Youth EP, Old Stone by Laura Marling, New by No Doubt and, rather perfectly, With You Now by my friend Jake Flowers’ band Oaken Lee. I say perfectly because I’ve just received a message from Jake about Twelve Feet Under.

Don’t forget, you can still submit your listening habits from the 9th July over at Harkive.org now!

Harkive 2013

On 9th July 2013, Harkive will be welcoming music fans from across the globe to share their listening habits. A ‘Life in the Day (of my iPod)’ if you like…

I only just found out about it through founder Craig Hamilton, but I’m really excited that he dropped me a line about it. (You can follow the project on Twitter here.)

The idea is to keep a record of everything you listen to on the 9th July 2013. You can do this in spoken word via Audioboo, Soundcloud or Youtube, or write it all down via Twitter, your own blog, in an email or by using a contact form on the Harkive website – details are all here. Stories can be submitted up until the deadline on the 16th July, before the stories and information is gathered and sifted through to create a complex view of how we consume music today.

Harkive logoIf the project proves a success, Craig hopes for it to become an annual worldwide event, in the vein of the hugely popular Record Store Day. He’s already had coverage in one of my favourite music blogs, Popjustice, and there’s also support from Wichita Recordings and the Glee Club, who are providing prizes for some of the best stories from the day. In time, the yearly submissions will show how the way we discover and listen to music is changing – it might even be a way for us to share how we’re listening and get ideas on how to find our new favourite bands.

So, if you see me tweeting my listening habits with the hashtag #Harkive, you’ll understand why!

Why I moved my ‘big gig’

In my last post, I wrote about a ‘big gig’.

This post is to say that I have moved the gig to Roadtrip & Workshop in Old Street.

Basically I found the pressure of playing with people not necessarily similar to my style, in a large venue with the demand of bringing in a big crowd, too much at this stage in my ‘gigging career’ – I use ‘career’ loosely as a term, as it’s not necessarily an aim for me right now.

I also felt that perhaps the promoter wasn’t doing as much as possible to promote the gig – there was nothing about acts on his website, no official Facebook event (which is pretty standard these days) or mailing list. When I sent him a regretful email cancelling, explaining that I felt I couldn’t bring in the audience he needed and that I had been offered a gig on the same night in a smaller venue (and also offering what I considered to be a fairer payscale) he was clearly pissed off – and that’s ok. I feel bad for cancelling, however I previously felt bad that, despite my own promotion, it didn’t look like I could pull a crowd – but neither could he.

Let’s look at the figures briefly, by way of example:

At the gig, if you brought 15 people or more, you would get £15 and a £1 per person thereafter. The price on the door was £4. Therefore, you would take £15 and the promoter would take £45. I know that there’s a soundman to pay for etc… (venues rarely charge as they get bar takings etc…) but there’s also money from people in on the door who hadn’t come to see anyone in particular – and there’s no door split between the acts for that.

I am currently happy to play for free if there’s no charge on the door. But if I’m having to promote a gig and play a 30 minute set (with little or no promotion from the actual promoter), I think I have a right to earn more. At the same time, I really don’t want promoters to fail, and I’m very ‘green’, but I’m no longer 19 and so up for the exploitation these days.

Here’s a very recent song:

I’m going to invest in a better microphone and start recording and making more effort with my songs – if you want to help me with them, give me a shout…

A big gig

I’m starting to play ‘bonafide gigs’ in London now and all on my lonesome.

It’s a bit harder than I anticipated – first you have to get the gigs, then shamelessly self-promote, go about your day job (mine often involves evenings for recordings or going to comedy gigs) and try and fit in some practice.

At my last gig I was feeling confident after the soundcheck, but then a ten-strong group sat in the front and continued their boisterous conversation as I played – people did ask them to be quiet but they kept talking. Sadly I’m still inexperienced in singing and playing guitar together so it put me off somewhat – I need some mates to come and chuck stuff at me (like in The Runaways movie) while I practice. When you can hear people’s words more clearer than your own, it’s hard to carry on.

The noisy audience members are something I should be used to – every time I do a gig I think ‘if it happens again, I’ll give ’em hell’. Predictably, I never do, not wanting to alienate the more attentive audience members. However, if it’s spoiling the show for them, I owe it to them and myself to sort the situation out – ultimately, however, I think the responsibility is with the promoter to gain control. This is something singer Kal Lavele is the queen of – check out her W.E Love Sundays gigs at World’s End in Finsbury Park. She’s a master curator (and a bloomin’ brilliant songwriter too).

What I figure is, the more people who are there to come and watch and support, the better I’ll be. So, if you’re up for coming along, I’m playing at Rattlesnake on Upper Street in Angel on the 24th June. Doors are at 8pm and it would be lovely to see some people there! I’ve got a couple of new songs for you too…