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[Waves crashing]
[Bird squawking]
[ ♪♪ ]
Suzanne: We'’ve been missing a voice.
We'’re just beginning to hear it.
[Patch clicking, synth pattern plays]
To have it be present.
And now I'’m going to patch this into that.
[Synth pattern rhythm changes]
I'’m going to change the processing...
so it has a little bit more space.
[Single note plays over pattern]
[Buttons clicking]
[ ♪♪ ]
Now I'’m going to shorten the envelope
to make it a little more percussive.
[ ♪♪ ]
It'’s organic,
because it changes
by itself
randomly.
And if you set up a patch a certain way,
it will play forever.
Isn'’t that cool?
[Fluttering notes]
You see the machinery of the music world.
It'’s all really geared around men.
But we shouldn'’t ignore
the root system
that'’s there.
[Patch clicking, tone plays]
Well, the first stage
in the realization of a piece of music
is to construct the individual sounds
that we'’re going to use.
If the sound we want exists already,
in real life, say,
we can go and record it.[Clack]
And listen to them.
[Percussive pattern plays]
[Melody plays]
Suzanne: Delia Derbyshire'’s music
was so beautiful and so advanced.
But I didn'’t know any women in electronic music.
People will say, "Why haven'’t women done it?"
Well, they have done it, and they'’ve been doing it,
and they have been there all along.
But they'’ve been invisible.
[Steel pan melody]
Sample: People here are drunk with power
Ben: Women were the inspirational guiding lights
for electronic music.
[ ♪♪ ]
In the years that followed,
a lot of those ideals have got lost.
And somehow a supermarket
has a more diverse range of people than a nightclub.
I never had seen a female DJ at the clubs ever.
Nada. Hardly any women.
Heba: Women are so poorly represented.
Ben: It'’s a very male-driven, male-dominated industry.
We'’re completely erased.
The statistic I'’ve always stood by
is less than 5% women.
Turns out Annenberg did the study: 2-3%.
[ ♪♪ ]
There is an incredible amount of art
that'’s not in the world
when you don'’t put women into these environments.
More than 50% of the population'’s points of view,
their ideas, perspectives aren'’t being represented
in that soundtrack that'’s playing every single day.
This kind of music is meant for everyone.
And if we'’re not seeing a really diverse group of people
creating dance music, there'’s something wrong.
Heba: We need to do something about this.
Music cannot just be represented by men.
[ ♪♪ ]
Oh, I see a bunch of dudes.
To be honest with you, like, I'’m just scrolling down,
and this list, it'’s obvious that there'’s, like, less women,
but I just don'’t know how much less there is.
Everywhere I go I see men everywhere.
Like, you know what I mean? Like, it'’s unfortunate.
Just kidding. [Laughter]
[ ♪♪ ]
Man: [On TV] Where did this all start for you?
Rezz: Well... [Echoing]
I'’ve been listening to dance music for a very long time.
And I was always going to a bunch of raves,
and, you know, going to party all the time.
And I would always just hear music in my head
while I was at these events. Man: Yeah.
You know, I always thought, "I want to try this.
I want to try and make music".
I knew that I was going to find something one day in my life
that I was going to feel this way about.
I don'’t just love dance music, I want to make it.
And I'’m going to put everything into this.
I have no plan B, that'’s the point. Zero.
[ ♪♪ ]
There'’s so many different things that I did,
I felt like I was always one of the only girls doing it.
I was trying to let her explore
what she liked to do.
Rezz: I sat in my parents'’ unfinished basement,
work on music all day, that'’s it.
Sometimes forget to eat.
Rezz'’s mom: I did not have a issue.
She was staying in the basement for two years.
But her father, he'’s old-fashioned,
and he wanted her to be successful
as a job or education.
Get out! Do something!
Rezz: Sometimes I would stay up
till, like, seven in the morning.
Go to sleep, wake up at sometimes 3 or 4pm.
Yeah, that'’s why my dad was concerned. [Laugh]
[Music increases in volume]
[Slow dance music plays]
There'’s really not much you need to work on music,
which was very relieving for me to learn early on.
I found, like, a bass sound that sounds pretty good.
Then, like, I, like, turned this one knob
slightly to the right and it made the sound,
like, so much bigger and wider,
and I was, like, "Oh my god, like, yes!"
[ ♪♪ ]
This is a book that I started writing in 2014.
It'’s, like, a lot of notes of music production.
But what really got me motivated
was writing all these philosophical-type things
for inspiration.
"Success is shallow if it doesn'’t come
with happiness or fulfillment."
"Set big goals."
"Drop negative thoughts within 60 seconds
or restart the challenge." [Laugh]
I forgot about that!
It was, like, a massive epiphany when I was, like,
"Oh my god, I can actually learn to become very happy."
Any time I would finish a song,
or even the process of working on a song,
I would literally reach, like, peak happiness.
I felt so enlightened.
I felt like I literally had, like, a third eye open.
You know what I mean? Like, possibly even a third ear. Both.
I could feel almost, like, the world buzzing.
Vibrations of positive energy just, like,
flying off of me into the world.
And by 2015 I was already playing my first festival.
I fucking love you guys. Thank you so much. [Cheering]
[ ♪♪ ]
I really resonated with slow-paced,
kind of, like, hypnotic sounding beats.
I knew that that'’s what I was going to do.
I could see that there'’s a certain spot
in the music industry that...
Like, a void that doesn'’t have this.
I was that person.
That exact speed of music, that exact vibe of music.
That'’s what they say, "That sounds like Rezz."
You want an artist to have vision,
you want them to have ideas, goals.
She'’s the dream scenario for an artists'’ growth.
Usually it happens slower.
She had very clear plans of what she wanted to do.
For me, that kind of says it all.
[Heavy electronic beat]
[Crowd shouting in unison]
[ ♪♪ ]
There hadn'’t been a big female headliner,
at least in North America, for electronic music.
The market was ready for Rezz.
[ ♪♪ ]
We'’re looking for those tastemakers,
those unique people that are making strides
in the media, in the DJ world.
And for us, that was Rezz.
Rezz: I literally went to so many music festivals
as a young 16, 17, 18-year-old.
And Dreams was definitely one of them.
And all of a sudden, now I'’m, like, headlining the festiv...
It'’s, like, preposterous.
I don'’t really know what to say other than that.
Like, it'’s just crazy.
I just want to let you guys know
I actually used to come to this festival
when I was, like, 17. [Audience cheering]
So this absolutely insane. Jesus.
Alex: She'’s a superstar.
She is someone that has shown,
if you really want something and you believe in yourself
and you have a dream, that you can make it happen.
[ ♪♪ ]
[Crowd cheering]
[ ♪♪ ]
[Inaudible]
When we were booking Bud Light Dreams,
it was looking like we were going to have seven
or eight female DJs.
But there'’s not a lot of women currently out there
that have made a big name for themselves.
You'’re going to have your main headliners,
the Tieëstos, the Zedds,
the people that are going to sell the tickets
that reach the wide audiences.
At the end of the day, we'’re a festival,
we'’re a business, and we need to sell tickets, right?
When festivals say there aren'’t enough women,
we say look harder.
Talent is everywhere, opportunity isn'’t.
Andreaa: This top 100 DJ list
has such a massive impact on bookings.
This kind of system reinforces the same stereotype.
You know, the same people will be at the top over and over,
but the one at the bottom, they will never get that chance.
It'’s pretty much a vicious cycle.
Katie: It'’s very important for artists to get on that list
because they can then show it to promoters
and be, like, "Look, I'’m number three. Pay me."
Maxie: There are so many examples of artists
and their agents saying, "Oh no,
we'’ve already got a woman on that lineup."
Chippy: We can only put that one girl as the headlining spot.
Meanwhile, the white men category is, like, this big.
I'’ve definitely been on a lot of festival lineups
where I'’m the only woman. Tons of those.
There are so many other women that I know
who never get booked, and deserve to get booked.
Maxie: There'’s the misconception
that audiences want male artists.
I think that'’s really insulting
because audiences don'’t just consume.
They want to be inspired.
Chippy: I know Rezz is headlining, and that'’s amazing,
but she'’s big. She'’s selling tickets.
We need to put these voices that haven'’t even been heard,
that are so talented, on these lineups.
DJing, or trying to get into spaces to DJ,
I felt very...
unwelcomed.
It can'’t be because I'’m a woman,
that'’s why you're not giving me these opportunities.
But then it always proved to be that situation.
[ ♪♪ ]
♪ I am
Sample: ...because in the whole world, black people,
and I mean... I mean that in every sense,
outside and inside.
And to me they have culture that...
[Voice fades out]
[ ♪♪ ]
[Train rumbling]
Sometimes I don'’t even know how I got here
and how I persevered.
I was in a position where, financially,
things were really getting dire.
I rarely had any money to take the subway,
or how I would, like, afford a meal that day.
Those challenges are... are huge.
All these things working against me,
you know, it'’s like, "How do I create
when I don'’t have the tools to?"
[Strumming chord]
It'’s the most DIY you'’re going to ever get
when you go to Guitar Center,
and your budget is, like, $200,
and, you know, you want to get, like, a microphone,
you want to get a audio interface.
Not the best, you know, but it'’s how I can get started
on just getting my ideas out from my head
and start working.
[Percussive hits]
[Beat plays]
Growing up, I wanted to learn
how to play piano so badly,
but my mother, she didn'’t want to encourage me
to become a musician.
Being a black girl from an island,
that patriarchy was just, like, really stifling.
It was like, "You'’re going to be a housewife." [Laugh]
So you think the normal thing... I think girls...
they'’re thinking of getting married and having kids
or being a nurse or a teacher,
some kind of help, you know. [Laugh]
Tygapaw: I knew of Grace Jones,
but she'’s not celebrated back home.
Jamaicans didn'’t think that she was beautiful.
Growing up, if I was teased and bullied,
called, like, really awful names like "donkey",
my mother didn'’t correct it.
You'’re not really, like,
taught to embrace your natural features
that are so beautiful.
A person like Grace Jones was radically free.
And I really connected with that.
It'’s not being masculine,
it'’s... it's an attitude, really.
Being masculine; what is that?
I mean, can you tell me what is being masculine?
And I mean, I think that I just act the way I feel.
That erasure of her legacy
within our culture is so destructive.
They don'’t ever want us to be able to see someone
that we can identify with.
As a Jamaican queer woman,
I'’m off their radar 'cause of those similar practices.
It'’s important to set an intention
of how you want the creative space to feel.
♪ I'’m stronger... ♪
[ ♪♪ ]
I want to honour this because I feel like
we'’re tapping into something
that wasn'’t possible a decade or two ago.
That period in my life
where I definitely had to hide myself, culturally,
because it was dangerous to be anything but straight.
Infinite: Isolation feels like home.
Isolation sometimes feels like home
but I still don'’t want to be alone.
Tygapaw: Let'’s work through that.
♪ ...go through certain cycles and motions ♪
-You ready to sing to this? - That'’s fire, yeah.
Okay.
Infinite: Every time before we start working,
it'’s always us getting into, like,
things that we'’re going through.
"I feel this way," "I'’m going through this."
And, you know, we have similar, like, connections
of, like, you know... - Yeah.
We can relate in terms of our experiences, We can relate. - Yeah.
- Right. - shared experiences.
And the complications of being brown
and black and queer.
♪ ...my heart feels ignored ♪
♪ Isolation
♪ Sometimes feels like home ♪
We were trying to, like, make a vogue song for a while.
- No one has ever hit it yet. Until she came along. - Yes.
♪ ..get by
[Singing] Yeah!
I take pride in being able to work with, like,
a... like, black woman that'’s a producer.
Infinite: Working with people in our community,
that'’s very important because we were working with people,
trying to make a fucking vogue song
with people who are not a part of our community.
- You know what I mean? - You don'’t get it, bitch.
- Right, you don'’t get it. - You don'’t get it.
If you never had to act like someone else
for your own safety or for your own comfort,
you could never understand what it'’s like
to let yourself go to the beat.
These kids, like, came from poverty and were homeless
and had to create literally the fantasy around them,
and they did it with their hands.
You...
you pat the makeup on, you build the castle.
This is beautiful.
And, check this breakdown.
[ ♪♪ ]
He'’s saying, "I am what I am",
but what I did was just chop that up...
[ ♪♪ ]
...say "I..." then fucking trumpets.
[ ♪♪ ]
♪ Now what the fuck you gon'’ do? ♪
[ ♪♪ ]
Tom: Queer culture is very very much
at the centre of dance music.
That'’s where it all came from.
So you can'’t really be about DJ culture and dance music
without doing more than paying lip service
to those communities.
Andreaa: House and techno was born
in black and Hispanic queer communities
in Chicago and Detroit coming together
to party in a safe place
because there weren'’t other safe places for them.
Ben: It was futuristic, it was progressive,
it was breaking cultural barriers.
Colour, race, gender, the whole thing.
That was the whole point of dance culture.
Valerie: Whether they were male or female,
these are people that pioneered
and understand
this long and beautiful history of dance music.
It means reminding ourselves
that women were always a part of the conversation.
[Theremin melody]
[ ♪♪ ]
Clara Rockmore was then, and remains,
the premier virtuosa of the theremin.
It was one of the earliest electronic musical devices.
Interviewer: Across the table from me is Clara Rockmore.
On the other side here is Robert Moog.
His name is a household word now
because of a synthesizer that bears it.
Bob, what do you find special about the theremin?
Well, I began building theremins
as an experimenter when I was a kid in high school.
I'’ve been at it on an amateur
and semi-professional basis ever since.
Michelle: My dad showed Clara his theremins.
And she said, "They'’re not as good as Theremin'’s theremin.
I don'’t want one."
So he used her as a guide to better his own circuitry,
with Clara being the beacon for what was needed.
Announcer: Introducing Ms. Daphne Oram,
who'’s engaged in scientific research into electronic music.
Here'’s the theme of one of her compositions.
[Electronic music]
[ ♪♪ ]
Heba: Daphne Oram, who'’s a pioneering electronic artist.
She had such a beautiful philosophical approach
to music and electronics.
How you can get so much human emotion
out of beautiful machines.
[ ♪♪ ]
She was just some person in the back room
who was doing all these incredible,
amazing things that no one knew about.
Well, you'’re looking at one of the very first 8-track machines.
We used it for Switched-On Bach, Well-Tempered Synthesizer,
right through a good half of Clockwork Orange.
Announcer: Wendy Carlos in her studio in Greenwich Village
is one of the pioneers of synthesized sound.
Her controversial versions of the classics,
created entirely electronically,
put machine-made music on the map.
Michelle: Wendy was exceptionally gifted.
Possibly the most capable person on earth at that time.
And that inspired my dad in his own designs.
That was a real driving force for him
to be able to provide for her
what she needed to express herself.
He was thrilled to see women embrace electronic music.
When my father was building the Moog synthesizer,
he found that putting together analog circuitry
takes a lot of attention to detail
and manual dexterity.
Perhaps a lot of other people wouldn'’t think of women
to be suited for that kind of task.
My father certainly did.
During that time, there was a more accepted sense
of male superiority.
But these incredibly talented, gifted,
meticulous and demanding women,
they are part, a big part, of the story of invention.
Valerie: Unfortunately,
we'’ve spent so long not talking about them,
but those women 100% existed,
worked really hard and had a very strong handprint
on the way dance music looks like today.
[Singing note]
One, two, three, four. [Synthesizer following voice]
Yeah, I can sing out of tune, and it'’ll still be in tune,
'’cause it depends on what I play.
This is all the pitch,
so you don'’t have to really be able to sing to do this.
So it'’s great. Yeah.
♪ Ahhh
That'’s nice. Turn it up a little bit.
♪ Ahh-h-h
Suzanne: Traditionally,
women did not have a very optimistic outlook
in electronic music.
There were lots of signals
that you weren'’t quite okay.
After graduate school, I went to work for Don Buchla.
He'’s credited with making the first
analog modular musical instrument.
Don agreed to sponsor a class for us.
This is a big thing for me! [Laughing]
After the second class, Don came up to me and he said,
"We'’ve decided that
we'’re not going to have any women in the class."
How can I not take that personally?
I'’m the only woman in the class.
It was a social discomfort.
They just were used to being amongst themselves
and they wanted it to stay that way.
[ ♪♪ ]
Andreaa: It'’s very hard for female artists
to come out with stories
or even open up about their identity as women
because there'’s this fear that they will be ostracized.
Heba: That'’s part of the reason why the visibility
is kind of non-existent.
It'’s a rocky road for your identity
or your credits.
Heba: The moment someone sees a woman'’s name
and then another person'’s name, like a man,
they immediately assume the man did all the work.
Mark: When men produce their own stuff, it'’s like,
"Oh yeah, that makes sense, of course he does."
But women, they really had to fight for that shit.
One of the worst questions
that people can ask a producer...
and I don'’t know if men get asked this question
as often as I have been...
"So which ideas were yours?
What did youactually do?"
Maybe I should have posted more pictures
of me in the studio, just so people know
I'’m actually here doing all the work.
[ ♪♪ ]
Tokimonsta: When I started, a lot of people
would attribute my music to the men in my life.
"Oh, Tokimonsta, she didn'’t even make that.
Her boyfriend made it."
I didn'’t like that any of my hard work
was being attributed to a man.
What I wanted to make sound really unique
in this particular moment is the snare.
So here we have a rock...
[Clacking]
This one, which is a truck door.
And then... [Snare hit] ...standard snare.
So I recorded them all together. [Composite snare hit]
And I know that I have a snare that no one else has.
That makes it just that much more unique.
[Drum beat]
[ ♪♪ ]
My identity is transparency in my process.
And the more I share that with people,
the more they know what I make is mine.
When I got nominated for a Grammy,
I was very surprised.
I have tried to not be self-deprecating.
And if I got it, that means I really deserved it.
I'’m sure a lot of people don'’t think I did.
And maybe some people think that I got it because I'’m a woman.
Because right now, female integration in music,
some of it is a bit gimmicky.
It'’s like the bad voice that I hear,
it starts to creep back: maybe I don'’t deserve it,
maybe I am just a gimmick, and because I'’m a chick
I'’m just relevant at this moment.
And that'’s what I try to calm down and quell
because I know that I'’ve been working really hard.
I guess this is an accolade that I deserve.
It'’s really weird to say that, but, you know...
What'’s unfair is the fact that I feel this way at all.
And I think some of that might be because of how I was raised.
A little boy might be given a science set or a car,
and a girl gets an Easy-Bake Oven
and a baby that can take a bottle.
This socialization that girls have to technology
from a very young age is just horrible.
They'’re not socialized, they'’re not shown
as like this is a tool that you can use to express yourself.
Making electronic music, you need to learn
more about how things work: learning to use gear,
learning to set up a studio,
how a synth works on the inside and all of these things.
Growing up, that is something that I didn'’t have.
My father is an engineer,
and I basically was raised in his lap,
constantly surrounded by technology.
I got used to being surrounded by men too,
because his entire research lab was men,
and I just thought that'’s normal.
And he got a lot of grief for that, actually.
It was like, "You shouldn'’t raise your daughter like that."
It was the best thing that ever happened to me.
Everyone who taught me something little, they were all men.
Because I didn'’t know any other women who were doing it at the time.
Wondagurl: I didn'’t have a lot of people showing me
that I could actually do it.
I went on YouTube
and searched up a bunch of female producers,
and there wasn'’t a lot.
I was kind of just looking up to a man the whole time.
[Laugh] I remember the excitement,
any time I'’d see a woman'’s name.
I think the first one I saw was Peggy McCreary,
on a Prince record. Those things matter.
No one wants to feel like a freak.
Ciel: I think it was Virginia Woolf who said,
"A female artist needs a room of their own."
But I feel for anyone,
especially a woman artist in this biz who'’s alone.
Valerie: The nature of DJing and producing music,
it can be done with one person and their laptop,
and no one else.
Mainly I just taught myself.
And I was just really, really passionate.
Arrange tracks, compose tracks,
mix and master them all by myself.
From a mental, emotional, physical, spiritual level,
it'’s a very difficult job.
There'’s no one saying this is the right way to do it,
this is the wrong way to do it.
Yeah, it'’s a really isolating path.
For women, you add this other extra layer of psychic weight.
A little thing like being the only gender in the room
can really throw you off.
Mark: "Wait, is that true? You'’re in, like, a studio
"with these other producers and, like, they really
"didn'’t listen to your ideas because you'’re female?
"And they'’re like, "Yes. That is what it'’s really like."
Valerie: There are so many women across decades of dance music
that have had to overcome that fear
and also perform twenty times better
than maybe the white male next to them.
And I'’m sure that feels so lonely and difficult.
[ ♪♪ ]
Alison Wonderland has been working at it for years.
She went through all the trials and tribulations
as a young DJ, playing to no one in tiny clubs.
And then she exploded across dance music.
[Static] Sample: Wonderland, Wonderland...
[Static]
Sample : Wonderland, Wonderland, Wonderland...
[Static] [Crowd cheering]
Welcome to Temple of Wonderland.
Two, three...
♪ I needed you another way
♪ Giving up another won'’t break me ♪
♪ I'’ll take it all and let you lay ♪
♪ It'’s moving on so look away, run ♪
♪ Don'’t take it down ♪
[ ♪♪ ]
Alison: I was always that kid that was at the library at lunch
or at the music room at lunch.
I wasn'’t really super social.
Still kind of feel that way,
except on stage.
[Cheering]
I picked up classical cello when I was 11,
so I was an orchestra geek.
I was listening to an album called Siamese Dream,
by Smashing Pumpkins,
which actually has a string quartet in it,
so I wrote my first song called An Ode to Billy,
and it was the first time I realized
that playing cello could be really cool.
[ ♪♪ ]
I made the decision this year
to play all my own music at my shows.
I realized that I was selling myself short as an artist.
I'’m not a "DJ". I'’m an artist,
I produce music, I write songs,
I arrange music, I perform and I DJ.
[Rising notes]
[ ♪♪ ]
♪ Is it good enough?
[ ♪♪ ]
Valerie: When you look at other DJs and producers
that are in the same category as her, and you'’re like,
"They'’re not singing on their tracks.
"They'’re not playing a string instrument professionally
and incorporating it into their live sets."
She was the top female headliner DJ for Coachella.
You really see it in the Sahara tent now,
you and Rezz are the closing acts
and there'’s really, like, a shift
in what electronic music is becoming
because of your guys'’ very different perspectives
as females, as people who pour soul into this music.
♪ Is it good enough?
[ ♪♪ ]
Knowing that I'’m putting everything into this,
to me, is success.
Every time I release something,
every time I express something,
I'’m as raw as I possibly can.
If you read my Twitter, no one else touches my Twitter.
If you are a fan of mine, you'’re getting, always, me.
♪ I was alone
♪ I was a fool
♪ Looking at YouTube
♪ Thinking I knew you
♪ Picked up my phone
♪ Nothing to lose
♪ All of a sudden it'’s colour blue ♪
I doubt myself a lot. I'’ve never felt valid.
Your mental health
is very affected by being an artist
because you'’re also digging deep
and you are very vulnerable all the time.
♪ I know it'’s too late ♪
♪ I know where it'’s left ♪
♪ And now I see space in the bed that we slept ♪
Five years ago, I was already writing songs
about my struggles with mental health.
I'’m one person.
And I just get flown around and shipped around
like an object sometimes,
no regard for the amount that I have to give,
the amount I have to be on,
not seeing my home, not seeing my family at all.
I'’ve lost a lot of friendships over it
because I'’ve missed birthdays, Christmases, you name it.
And I'’m a solo artist.
So the people that travel with me, I pay.
♪ Awake
I'’m going to be sick. Really stressed.
I want to cry, but I...
I... I can'’t.
It'’s like I want to cry, and I can'’t.
[Overlapping chatter]
[Silence]
My manager is my best friend.
He advised me recently to take two weeks off
because I was disintegrating.
Yeah. That'’s, like...
I'’m hyper-focused on every note
the strings are playing while I'’m DJing.
While I'’m hearing the drums, I'’m hyper-focused on that
when that comes in and that comes in.
Then I stand out and I sing,
I'’m hyper-focused on that with the monitors.
But everything, I'’m, like, focused on at the same time.
It'’s... exhausting.
I'’m hoping... I hope everyone likes it.
I just want to level up, level up, level up.
It'’s time.
Ben: This new generation of women,
they'’re kind of operating as if this may end tomorrow
and they'’re playing every corner of the world
as quickly as they can.
It'’s very competitive.
There'’s not been any female artists
that have ever come through like this.
It also must be quite unnerving for them:
is it going to last? Is it sustainable?
Katie: They'’re tired and they're on the road constantly.
You'’re in these high, highs where you have 100,000 people screaming your name
and then you'’re in a hotel room by yourself.
A lot of people think,
"It'’s so fun, you get to travel all the time."
It'’s very lonely.
[ ♪♪ ]
Hello, camera. [Laughter]
It'’s actually interesting to have, like, a camera person
around for even before, kind of, the show.
Even if I tell you to, like, shut it off,
it'’ll still be footage that I told you to shut it off.
Like, you know what I'’m saying? [Laughter]
I was feeling, like,
super-anxious just now in my room.
My thoughts were all, like, wild for a second.
And I just got super nervous about tonight.
I'’ve never felt the level of high pressure and intensity
that I do prior to stage, ever.
I had panic attacks all of 2018,
during shows, before shows,
random moments in the comfort of my own house.
It'’s not like everything's great all the time,
you know what I mean?
The thing that makes me nervous,
when I first ever started posting my music,
it was on this group called Toronto Rave Community,
and I was, like, the one girl.
Here I am thinking I'’m a likable person.
One of the most, like, innocent,
just working-my-ass-off type people,
and then I just got slapped with, like,
"There'’s just something about her I just don'’t like."
"She makes shit music."
"Oh, you guys just boost her up because she'’s a girl."
That'’s so strongly effected me.
I'’ve sold out great big venues and, like, headlined.
And I'’ve done really well.
But all I can think about before stage
is those people, which is so unfortunate.
Tom: Comments in general,
they'’re getting more extreme.
It'’s becoming more and more acceptable
to hide behind a computer and promote horrible stuff.
Trolling in general
is just becoming a bigger and bigger problem.
Nightwave: It makes you think, "Is it true?"
Maybe I suck, I shouldn'’t be here, maybe they'’re right.
A healthy mind can deal with all of that.
But it'’s so overwhelming that you do,
you just end up kind of losing your mind a bit.
[ ♪♪ ] [Crowd cheering]
[Music lowering in pitch]
[ ♪♪ ]
I got into happy hardcore when I was really young.
That was my kind of intro to techno and then electro.
But my favourite thing is just raves.
[Laughing]
I was a raver. I wore some very questionable outfits.
What I really loved about the club and rave culture was,
suddenly there was this community
that I could be a part of, and no one really judged.
Make some noise for Nightwave!
Boiler Room is fantastic,
and it'’s so important
because they just reach the whole globe.
Make some noise!
Nightwave: I think when I got that,
it was kind of a validating moment for me.
I actually cried when I played, I was so excited.
It was brilliant.
[ ♪♪ ]
These shows are really important.
But at the same time, with Boiler Room,
or any of these stream shows, you just know in advance,
it'’s going to be bad
and it'’s going to attract comments and stuff.
I had some issues. It was kind of a bit rowdy.
And then I actually got groped
halfway through my set as well, so that was...
that was a bit stressful.
But I just thought this is just another club situation
where I just make it work.
[ ♪♪ ]
But afterwards, I saw the horrible stuff said.
[ ♪♪ ]
It'’s not just "shit mix",
it'’s "you should kill yourself".
And this is the stuff we get.
It was a real moment where we realized
that things can go horribly wrong online.
Because there are some horrible people out there.
I was quite depressed and anxious for a while,
just questioning everything.
I just kept sort of reliving that.
I pushed music away because I felt,
maybe I don'’t deserve to do this.
It was too much.
What'’s important to DJ culture and dance music
is that there'’s a safe space
for people to express themselves.
We have a responsibility to make all Boiler Room events,
online and in real life,
a place where music is enjoyed by everyone,
free of intolerance and toxicity.
We'’re trying to continually monitor and ban people
to make sure that they know
that these things are not acceptable.
But it'’s an upward struggle the whole time.
I don'’t know what it is about live streams
that make people feel that they can say that,
because they'’re behind the computer.
'’Cause you're not going to go up to the DJ
whilst they'’re playing at a club, after a mix,
and go "You should kill yourself for that mix".
No.
It'’s so sad that she had to be the person
that went through that for them to understand
that "Fuck, we'’ve actually got to moderate these comments".
[ ♪♪ ]
If you'’ve just tuned in, you are listening
to the sounds of Sherelle.
Playing the finest of footwork, juke, 160 and jungle.
I'’ll be taking you through all the way till three.
My life changed this year, in February
when I was called in to do a Boiler Room.
I had a chat with my best mate, Nayno.
I said to her "Should I say no to this?
I don'’t think I'm ready".
She was like, "Absolutely fucking not.
Go and say yes".
This whole, like,
nervous feeling just dropped in my stomach
and I was like, "I could ruin my career by doing this".
[Laughs softly]
"Better create a really good set then".
Man: One, two, one two three.
[ ♪♪ ]
[Music glitching]
[Music stops, mixed shouting]
Man: Excuse me, excuse me.
What the fuck was that?
[Crowd cheering] Man: [Laughing]
Oh, my god.
Sherelle: That was it for me.
I didn'’t wake up from my alarm
and wasn'’t at work for 10am in the morning the next day.
"Sherelle, where are you?" like... and I was like
"Fuck!" I was like, "I'’m so sorry I'm not at work.
Like, oh fuck I'’m getting ready. I'’m so sorry, I'm so sorry".
He was like "No, no worries. Like, come in when you can.
Just so you know, your video is viral".
I was like...
"The fuck?"
Shit loads of messages on my phone off of Instagram, Twitter,
Facebook. I had to change my name '’cause people were like
"Fucking love your Boiler Room! Fucking love, you'’re brilliant!"
People I went to school with: "You'’re doing so well!
I'’ve just seen you on this clip!
I don'’t know what it is, da-da-da".
Woman: Yes, Sherelle! Yes, Sherelle!
[Crowd cheers]
Woman: Bumbaclot, we weren'’t fucking ready, my god.
Thank you!
Sherelle: Shit-all was happening for me this time last year.
I quit my job to be a DJ now.
Just, like, a month and a half ago.
It is everything I'’ve ever wanted to do from the age of 18.
So I'’m grateful as fuck for it.
Nightwave'’s Boiler Room,
some of the comments were quite misogynistic.
"Why is she dancing so much?
Like, what is she dancing to? da-da-da-da."
I was dancing in my Boiler Room.
So many elements to it, which were just not her fault.
Shit could really affect someone.
It'’s really funny '’cause a lot of people
from the Boiler Room
don'’t even realize I'’m a girl.
- Woman: No. - Sherelle: Yes!
They don'’t realize I'm a girl.
It'’s because my appearance is more masculine
than it is feminine.
They haven'’t judged me the same way that say, for instance,
they may judge my female counterparts.
[ ♪♪ ]
[Dance music plays]
[ ♪♪ ]
Andreaa: Women felt like they need to become
these strong, boyish characters,
downplay their femininity,
in order to prove they are skillful.
Valerie: I don'’t think it's any sort of coincidence
that artists like Alison Wonderland,
Rezz and even someone like Billie Eilish,
all share this really androgynous look.
Rezz: I didn'’t ever, by any means,
sexualize anything.
I'’ll be playing shows and all I hear in the crowd
"She'’s so fucking hot".
I definitely would much prefer them
to come to my shows for my production.
Alison: I really instinctively felt the need
to do whatever I could to deflect
from the fact that I was a woman.
I made a point of always looking as androgynous as possible.
Half the people want to put me in dresses or whatever
and I was just like "I don'’t... I want to wear a T-shirt".
Yeah, you probably dress more like how the male DJs do,
which is they don'’t care.
Asmara: When I first started DJing,
my style quite changed.
I became a tomboy, like, really, to the fullest extent.
But at the same time, with Instagram
I did feel a pressure to, like, feminize.
We would post an image of us in the studio,
or us at a wicked gig.
No one cares. Then you post a photo
of us with a bikini on,
and we'’ll get 10 times more likes.
We just had a real passion for music
so we naturally spoke about it more.
But I don'’t think our sexuality needs to be dumbed down.
Like, when I get my baby belly off,
I'’m going to be, like, rocking a bikini.
I know, baby.
[Indistinct shouting]
[Cheering]
[ ♪♪ ]
We'’ve really been living a very international life
for almost a decade.
Gyp-setters, we say.
Yeah, we'’ve spent half our life overseas.
[ ♪♪ ]
You'’re on video, girls. Come on. Come on, go!
Come on, Ithaca. Yay!
- Go on! Good job. - Yay!
Yay! I'’ll catch her.
Good girl. Good girl.
Our career is very demanding,
and not really conducive, at least we didn'’t think it was,
to having children.
We were like, "When are we going to do it?
Are we going to slow down?"
We love our job, we love our life.
How'’s it going to look? How is it going to work?
I was really scared.
Will it destroy your image? Your brand?
It'’s just a lot of... ...pressures
You'’re no longer sexy if you'’re a mom
or you'’ve put on three kilos.
Whoa! Your right breast has put on three kilos.
Oh, let me get a nose ring, quick!
[Laughing]
We just took our babies on the first ever tour.
I mean, we wouldn'’t survive if we didn'’t have each other.
There'’s no way I would choose this life if I was a solo.
No, no no. Absolutely not.
[Baby grunts] Ooh!
No, that was a "Rrr".
Oh, was it? Okay, excuse me, one second.
Interviewer: All right.
Aww, you don'’t like the camera, Ithaca?
You don'’t like the camera?
Whoo, whoo! Give a smile.
- Do a big fart! - Stage mom.
[Laughing] That would be so much fun.
Where is this Meduza record on my freaking thing?
No, it'’s gone.
You do get ridiculed a lot for your set.
Once it'’s online, it stays online for ever.
For ever ever ever.
It'’s why you work so hard at looking good for Instagram.
- Do you want to play Domino? - No.
- No? - No.
- Why not? - It'’s too flat.
[Music plays] Holy shit.
Umm...
We had a summer of booked up gigs,
and a winter of booked up gigs.
And we didn'’t want to be sitting at home, pregnant,
twiddling our thumbs.
- ....cuddles. - ...followed by...
Put your love on me. Piece of your heart.
Piece of your heart, yeah, okay.
We didn'’t really tell people
up until we were both heavily pregnant.
We didn'’t want being pregnant
to be the focus on not booking us or booking us.
You'’re dealing with promoters and agents
and managers.
I DJed until I was seven months pregnant.
- Was it seven? No. - Yeah, it was.
Mim was more pregnant than me so we were like,
"Look, this show, there might only be one Nervo".
Some promoters asked for discounts.
Half the fee, half Nervo.
[Baby whines]
I wonder if men could get pregnant,
if it would be different.
Would men probably say "No, screw you.
I'’m not turning up and that's what'’s going to happen.
But my band member is turning up and that'’s the end of it.
Baby bod needs to be... sucked in today.
- Have you got your pump? - Yep.
- It'’s all packed? - Yep.
Liv: Okay. We have everything. Do we have chewing gum?
Mim: Do you have both the red USBs?
Liv: We'’re good, we're good, we'’re good. Coffee.
Sorry. Baby'’s not coming.
Okay vamos. Let'’s go.
Woman: Hey-y-y!
Amazing! Whoo!
That'’s great. Are you good in nine minutes?
Yeah, that'’s why I'’m stopping this.
Photobombs.
[ ♪♪ ]
Great! Thank you.
[ ♪♪ ]
♪ I just wanna hold on
[ ♪♪ ]
♪ Hold on
[ ♪♪ ]
♪ I just wanna hold on
[Crowd cheers]
Liv: We didn'’t want to be pop stars.
We really just want to DJ.
Mim: Yeah. Liv: Like we love dance music.
But convincing our A&Rs that women can be sexy
and still be DJs and not be disposable,
- that was a fight. - That was a real fight.
Mmm.
How a woman presents herself
and the way that she'’s accepted,
that comes with its own web of complicated issues.
Is she too sexualized? Is she under-sexualized?
Andreaa: And if you'’re a beautiful woman,
that makes it even more difficult in a sense
because people are only going to see that
and they'’re probably going to make assumptions
that you'’ve got there because of your looks.
And so your skillset is diminished as a result.
Tokimonsta: It'’s kind of unfortunate '’cause if you're a sexy gal,
and that'’s who you are,
you should be able to be as sexy as you want
and make bangers, you know.
Suzanne: What is feminine? What is the female consciousness?
It'’s erroneously sometimes thought of as "pretty"
or a fascination with appearance,
'’cause we've been put in that box for so long.
[ ♪♪ ]
Louisahhh: My entire life, I'’ve hated how I look,
I'’ve hated my body desperately.
Drugs or unsafe sex
with unsafe people or eating disorders,
anything to get out of this skin.
I felt like my femininity didn'’t fit.
I always felt like a weird like... beast. [Laugh]
Spoken words: Every. Cell. In. Me. Protests.
[ ♪♪ ]
Whatever I'’m afraid of in myself, I cast it off.
I'’m done, I'm done with that
'’cause I cannot afford it.
It will destroy every relationship
and it will make any happiness I have in this life useless.
Spoken words: There is some sick pleasure there for both of us I think.
I'’ve had to do a lot of work internally.
Spoken words: I lie.
And now writing and training and writing.
Spoken words: I'’m on the floor like a starfish.
And so it'’s been such a joy
to finally get over the fear of being seen.
Spoken words: Every. Cell. In. Me. Protests.
If I claim to be a punk, the most punk thing on Earth
I can do is to love myself,
because it takes me out of this whole capitalism:
You need something else in order to be okay.
I don'’t need shit to be okay. I'’m great.
♪ I'’m here ♪
♪ To learn
♪ To watch
♪ This burn
♪ Oh
[Music plays] ♪ It is enough
♪ Get free
♪ Trust
♪ Release
♪ Disrupt
♪ Lean in
♪ Turn up
♪ To me
♪ Bow down
♪ Sink in
♪ Tonight
♪ I need you to listen up
♪ Get free
♪ Trust
[Music stops] ♪ Release
Dance music is political.
If you'’re not speaking truth to power,
then you'’re perhaps misusing the privilege
that you have of a voice.
Tygapaw: When you'’re allowed to have a voice
and a say in something,
it will carry,
and it absolutely will resonate with people.
[ ♪♪ ]
The spaces that I occupy as a DJ
are predominantly queer centered spaces.
Being queer and Caribbean,
we don'’t have that luxury
to just ignore what'’s going on around us,
because we'’re the ones that are affected.
Culturally, you know, we have a lot of things
that we'’ve had to overcome.
Homophobia.
Just a lack of acceptance.
It can be dangerous.
[ ♪♪ ]
Jamaica is very conservative,
and even if you migrate,
you take your way of life with you.
Even though New York
is a really liberated and open city,
when I came here, I felt that transparence.
Some guy that DJs was saying
that we should shut up and just play the music,
that'’s what they pay us for.
But we'’re not puppets.
It just screams privilege.
You'’re so unaffected that you can'’t even relate
to people who don'’t have that privilege.
If I went back to Jamaica,
there would probably no Tygapaw.
The risk that I had to take
was in order for me
to be who I truly am.
[ ♪♪ ]
Ciel: Nightclubs aren'’t always safe.
Women are at risk for harassment,
and not just women but like non-binary people,
marginalized people, trans people.
What makes me angry is that you tell your male friends
about it and they'’re like, "Oh, really?
I didn'’t know it was like that".
As a woman you always second guess that...
"You sure?" I am sure.
And then you come across and you come across a bit like a cunt.
You know, it'’s not... I'm not a cunt, I'’m just being...
I'’m very sure what'’s happening here.
Alison: Because women were alienated
from electronic music for so long,
it'’s really hard to get the confidence
to put yourself out there,
knowing that there is a risk
that you'’re going to be completely ridiculed.
Liv: We had a meeting one day with our publisher.
We were like, "how could we only make that much money
from a top 10 with a major pop star?"
He'’s like, "I know, girls. You'’ve got to marry rich".
[ ♪♪ ]
Man: So did you change something?
Man 2: Um, I put back in the bass,
that she'’d asked me to take out like...
at the beginning of...
So... it was a little...
[Indistinct chatter]
Alison: Right, so here'’s the thing.
I'’m a bit concerned about monitors.
Like, it was muddy the whole time.
That'’s why my ears are ringing.
My ears are ringing because the monitors weren'’t right.
- Don'’t even play one song... - I... how many times
How many times did I say though, today?
I was, like, asking and asking and asking...
I didn'’t hear you. Get me to do it.
Garth you can'’t, you don'’t have my ears.
No, no, but, like, to relay the message or whatever.
I can'’t...
I didn'’t realize it was a problem.
No, but here'’s the thing, I can'’t be more more clear than I was.
[ ♪♪ ]
I don'’t like to talk about it a lot,
because I think that it separates
what we'’re trying to achieve,
but there is definitely sexism in the music industry.
Tokimonsta: It is a weird thing that women also internalize.
Do we talk about things that make us feel unsafe?
Is that okay?
But I think the part that bothers me the most
and as a female musician, is I don'’t want anyone
to think that I'’m using any part of me
as a gimmick to propel my music.
At the end of 2015,
while I was in the middle of one of my tours,
I was diagnosed with this disease called moyamoya.
It'’s a really rare disease that affects
the vascularity in your brain.
The arteries that supply blood
start to shut off until they close.
I had to write a will, do a medical directive.
If I turn into a potato, who is my cat going to go to?
Good boy.
I had two brain surgeries.
Two days after the surgery, I woke up and I couldn'’t talk anymore.
I decided to open my computer,
try making something,
and what I found was I couldn'’t make any music.
I didn'’t have...
the part of me that could create.
And that was something I didn'’t expect.
I kind of just sat with it for a little bit
and I decided I'’ll just give myself more time.
Maybe it'’s just too soon for making music.
So I waited.
Every day I would hear music
and it would sound less harsh and more understandable.
The next attempt was very successful.
[Mellow piano chords]
[ ♪♪ ]
I was really happy, you know, like...
I had lost everything, but the song was...
I mean, it'’s so funny '’cause, like,
I have already made the album ages ago,
I hear this song a thousand times but...
it'’s hard not to feel a bit emotional.
We all deal with really difficult things
and we all have our individual problems,
and I made it through that to make this album.
But I didn'’t get the Grammy because I went through that.
Some people think I got it because of pity
or I'’m a woman and we'’re in a climate
where being socially conscious is now cool.
But I know it'’s not true.
I pat myself on the back and be like,
"Jenn, you deserved it. It'’s all good".
You can'’t help when those thoughts come in
and you have to recognize the way to change it
so that when the next girl comes in and she gets it
and wins, she'’s like, "This is all me."
[ ♪♪ ]
[Singing indistinctly]
[ ♪♪ ]
♪ Someday
♪ Someday, I'’ll be better ♪
♪ Now that you'’re gone ♪
♪ I'’ll burn all your letters ♪
♪ And right all your wrongs
♪ Right now, I am barely off of my knees ♪
♪ But someday I'’ll find ♪
...two, three... ♪ Peace
♪ Someday...
Whitney: Alison, she usually does this alone, solo.
And she'’s added this full percussion,
string section.
Singing live is a new thing for her
and she'’s excited about it,
but it can be scary.
♪ Someday I'’ll find ♪
- Amazing. - It was a big difference.
- It should sit nice. - You literally killed it.
I felt like I knew
that there was something wrong last time.
You know? Like the whole time.
And I was frustrated '’cause I couldn'’t express
- what was wrong. - Yeah.
But this is... feels... like now I know that I was right.
Yes, it'’s all feeling better.
[Music plays on speakers]
And I want to, I might walk through the front
and like, try and look cool, I don'’t know.
And yeah, you guys start.
[ ♪♪ ]
Oh my god, I'’m going to cry.
[ ♪♪ ]
One, two, three.
Whoo!
[ ♪♪ ]
I don'’t think I've ever been on a stage with all women.
- Really? - Ever.
Whitney: I didn'’t know that Alex was going to have all female musicians.
I'’m super excited because that'’s a statement
that not a lot of people are making these days.
Laurann: There are a lot of gigs that I'’ve done
that specifically want females.
But you don'’t feel empowered at all
because it'’s more about your looks than it is your playing.
"This is the dress that we want you to fit into"
and "Oh, we need you to wear, like, false eyelashes".
And here it'’s just solely based off of our talent
and that makes it feel really special.
Alison: I just wanted all women
and I want everyone to be themselves
and look like themselves.
Wear, like amazing outfits.
Like we get to just dance and roll around.
Oh, our outfits are sick! All white.
- They'’re comfortable. - Sweat pants.
Sweat pants!
[Laughter] Sweat pants. - Yeah.
Thank you so much, everyone.
I'’m, like, so appreciative.
I wish you guys knew
how much I'’ve dreamt of this happening...
I get emotional... but how much I, like,
literally, like, seeing a stage
with strings and percussion and, like,
I'’ve seen it in my head and I just, yeah, like...
It'’s... Thank you. [Applause, cheering]
Whitney: You can'’t be what you can't see.
So I think it'’s really important for women
to be represented on stage.
I think it sends a message to girls
that are interested in doing this.
Alison: Earlier on in my career,
there weren'’t as many women
seeing women really putting themselves out there,
and giving other young women the confidence
to put themselves out there and push themselves.
Rezz: I never really had a female idol,
I must say, I never had one, I noticed that.
So the fact that I can be a female idol
to these girls is, like, amazing.
Easton: Rezz was the first electronic music producer
that I could, like, see myself in.
Elise: The cult itself is female fronted.
And they'’ve all found each other
because they all feel like they can connect
to someone that'’s just, like, so naturally themselves.
Even though they might not fit into a cookie cutter shape
of what it means to be a woman in this industry.
I feel like we'’re best friends!
But, like, where I actually don'’t know you.
You know what, it'’s fine. You probably are actually.
[High pitched scream]
The Cult of Rezz just hit 20,000 members.
It'’s a place where people feel like
they can see themselves represented in her.
She'’s a woman.
She'’s openly not straight.
Everything about her and her community
fosters an environment where everyone
feels safe and welcomed.
I just want to say
you posted on my post about when I had cancer...
I know, I remember this.
And it meant, like, so much to me.
No... no problem.and it kept me going...
That was nice to meet you. Thank you so much.
I think what'’s really interesting
is how many women have sat in the group
that they'’re starting to produce.
And that'’s a big deal in terms of representation.
[Indistinct chattering]
Thank you. I appreciate it a lot.
Elise: Rezz being a prominent, self-taught producer
in this industry,
it'’s really encouraging for women to want to start
that never thought that they could.
Nightwave: With all the stuff that'’s happened,
I really felt one good thing I can do to help myself
and others is to start teaching.
The way we work with Producer Girls
everything is very, very hands on.
We really don'’t believe in demonstrating and watching.
It'’s all about doing it.
So one thing that we do is provide the software.
I had no experience at all but had this kind of wee spark
where I was just thinking about doing it all the time.
Nightwave: Everyone is just a beginner together
and it'’s okay to make mistakes.
You just have to give them that push
and show them it can be done.
You have a right to be here just as much as any other guy.
The education part is extremely important
because that'’s where women aren'’t confident.
So for Women'’s Audio Mission,
we'’ve trained 16,000 women and girls.
Putting them behind a console,
which is like flying a spaceship
and know that they can operate it.
There'’s so much power there.
I don'’t really have the answer
to why that socialization process is so weird,
but I think this fixes it somehow.
Put the girls in the room with the technology all the time
and it'’s going to be fine.
Sherelle: It'’s so nice to see another female
be in this environment. That means a lot.
Makes me want to strive even fucking harder
to make sure that breaking down loads of barriers
so we can let everyone in the door.
[ ♪♪ ]
We look to other people to see
what we think is possible for ourselves.
We need those role models.
We need people who are pushing all kinds of boundaries.
Andreaa: It'’s important to offer these voices a platform.
It sets an example for maybe other industries to adopt.
[ ♪♪ ]
Maxie: We were seeing a real lack of role models
on festival lineups.
One female artist and the festival folks,
they'’re being diverse.
What Keychange really does is encourage festivals
to program diverse talent throughout their lineup.
To open up their stages for a more diverse talent base
by signing up for 50/50 gender balance.
Andreaa: Take into account those opening slots
and give that opportunity
for someone who would truly benefit,
but it'’s not going to make a difference
to your ticket sales
because you already have the headliners.
Every report shows the economic value of diversity.
We signed on with the Keychange initiative
about two years ago when it first launched.
We booked an artist named Lizzo
and when she comes back to Toronto this year,
she will sell 16,000 tickets.
It'’s never a risk to book a woman.
[ ♪♪ ]
♪ Someday, someday
♪ I'’ll be better ♪
♪ Now that you'’re gone ♪
♪ I'’ll burn all your letters ♪
♪ And right all your wrongs
♪ Right now, I am barely off of my knees ♪
♪ But someday, I'’ll find ♪
♪ Peace
♪ Someday
♪ Someda-a-ay
[ ♪♪ ]
♪ Someday I'’ll find ♪
♪ Peace
♪ Someday
♪ Someda-a-ay
[ ♪♪ ]
♪ Someday I'’ll find ♪
♪ Peace
[ ♪♪ ]
I have two words to leave with you tonight,
ladies and gentlemen: inclusion rider.
[Cheering]
Maxie: An Inclusion Rider is a contract
that says you will only perform at an event
if they have a diverse lineup.
It puts power back in the hands of the artists.
Because those are the people that can really affect change.
Announcer: So Lady Gaga, Tony Bennett, Katy Perry, they'’re joining
the new Producer and Engineer Inclusion Initiative
who'’ll work to increase opportunities for women
in all of these fields.
If we at least make sure that women get a chance
to be seen and heard,
we'’re going to increase the number of women.
Andreaa: If you have more women in those positions of power,
then you increase the likelihood
that they will hire other women,
hopefully other underrepresented folks as well.
Those initial values of this music uniting people
of all genders, of all ethnicities,
and especially in support of marginalized communities.
I like to think that it'’s slowly coming back.
Tygapaw: In my career,
I'’ve had a lot of potential opportunities
that didn'’t turn out to become anything.
And I'’m like, "okay, I need to... I need to change this".
So I started a party called Fake Accent.
[ ♪♪ ]
I established Fake Accent for people like myself,
people who don'’t have a family support system,
people who have been disenfranchised,
marginalized,
othered.
And something that also just, like belongs to us.
This response was absolutely immediate.
People were so excited.
It felt like they were waiting for me the whole time.
It fed me again, it was nurturing
and helped to pick me up.
It'’s a one day at a time situation right now for me.
Even last month, I was down
to, like, $3 in my bank account.
But I feel like I'’m choosing the path where I just like,
"Oh, I have full control".
And that feels good to me.
It'’s so incredibly moving,
and I never thought that I would get to this place
where I'’m doing what other artists have done for me.
It'’s a testament to the trailblazers before me,
like Grace Jones.
I know I'’m in a position now
where I'’m seen and I inspire young black women.
That'’s what I measure as success.
I'’m glad I didn't take "no" for an answer
and gatekeeping as the status quo.
I'’m glad that I didn't listen. [Chuckles]
I'’m glad I didn't give up.
[ ♪♪ ]
Rezz: I think because I had quite a bit of time off
to relax this summer, it just kind of made me
gain a whole other appreciation for my job.
That'’s definitely the main way I think I'’ve evolved:
This intense level of true gratitude for what I do
has, like, taken away from a lot of the anxiety.
I feel like a lot more present lately.
It'’s literally the most beautiful day.
Man: Welcome to Red Rocks, everybody.
Rezz: Thank you.
[Laughs]
Man: I was waiting for that to happen.
[Mixed chatter]
Rezz: How insane is it actually though,
that I'’m headlining Red Rocks?
Let'’s just, like, take a second to think
about how messed up it is
that I'’m actually headlining this venue.
Damn! Like that'’s really insane.
Anna: I think the newer generation is so fearless
and so free of a lot of the shackles
that we felt 10 years ago, 15 years ago.
Someone like Rezz, who has such a unique approach
to what she'’s doing.
She never could have fit into a box that wasn'’t her
because she'’s so uniquely herself.
We know what she'’s capable of.
And that makes me feel like we did make ground.
Oh, here it is. Rezz 2018. Okay.
Sweet!
I just care too much about the art
and actually doing things that feel real.
I'’ll say what I want.
Make whatever music I want.
That'’s just it.
April 11, 2014.
Today, I'’m feeling extremely content
and confident about my future.
I can see the success, I visualize it every day.
I'’m going to be a very successful producer and DJ.
So ridiculous, so crazy.
[ ♪♪ ]
[Crowd cheering]
[ ♪♪ ]
Suzanne: I thought it was done, gone, finished.
Lost.
I came out from under a rock, 50 years later,
and I love that there are so many women doing this now.
I'’ve been through so many generations
of this... female manifestation.
[ ♪♪ ]
What I love about hearing the women now
is that they'’re being themselves.
We'’re in the crest of a big wave.
We'’re not trying to take a space that men occupied.
And we don'’t want to be men.
We actually have our own voice.
[ ♪♪ ]
[Mixed shouting]
I just ran... [Breathes heavily]
...all the way up these stairs.
Didn'’t think I could do it,
but I still made it, so whatever.
[ ♪♪ ]