shesaid.so Portugal and ARDA Academy Launch Scholarship Programme

shesaid.so Portugal x ARDA Academy launch a Scholarship programme for women and gender nonconforming people for the academic year of 2023/2024

In order to mitigate unequal opportunities in the industry, Arda Academy  is partnering with shesaid.so Portugal to award scholarships for the Studio Engineering and Music Business courses to women and gender non-conforming people for the 2023/24 academic year.

In order to promote career development and professionalization of the audio and music industry in Portugal, the attribution of one scholarship per course will exempt the selected person from paying the tuition fee. 
Applications are open until April 22nd, eligible for beginners or experienced professionals who want to further their studies, just fill in the form available online for the respective course at https://ardaacademy.com/

Note: Courses are lectured in Portuguese and are open to residents in portugal.

The selection of the applications that elect the scholarship holders for the academic year 2023/24 are selected by a diverse and prestigious jury of professionals in the area at the invitation of Arda Academy and shesaid.so Portugal to be announced in early May.

The Studio Engineering intensive course is unique in the country and classes are taught at Arda Recorders studios in Porto, Portugal. Over 6 months, all the details and advanced techniques of audio recording, mixing and mastering are explored. 
The Music Business course is dedicated to the areas of music curation, programming, production and editing. Over 7 months, the course creates a context of information exchange with professionals linked to structures of great importance in the national music scene.

ARDA ACADEMY: Founded by elements with proven professional and formative experience in the audio and music industry, Arda Academy aims to equip its trainees with the fundamental concepts and practical skills for the world of audio recording and post-production in a studio context, and the development and application of projects related to curation and programming, event production and phonographic editing.

https://ardaacademy.com/sobre

https://www.shesaid.so/portugal 

Find all info at:

www.ardaacademy.com

Contact: info@ardaacademy.com
Photos © Arda Academy

On Beatport & workplace toxicity part 2: IMS updates

Dear community,

We are writing to inform you of our decision to pause shesaid.so's partnership with the International Music Summit (IMS) this year.

As some of you may be aware, over the years, shesaid.so has collaborated with IMS on various initiatives, including panel discussions, workshops, networking events, and artist showcases. During this time, IMS has taken significant steps to increase diversity and inclusion in their programming as well as in their audience - and we are proud of the contributions we have made towards this change.

After a thorough review, we have decided to pause our partnership for its 2023 edition. This decision was not made lightly and is primarily motivated by the recent acquisition of IMS by Beatport (announced on February 1st, 2023), in addition to financial and strategic considerations that we are forced to make given the current economic climate. 

As an organization dedicated to empowering women and underrepresented communities in the music industry, it is important that we partner with organizations that authentically share our commitment to equity, diversity, and inclusion. We have a responsibility to hold our partners accountable and to ensure that our collaborations reflect our values and mission. Given Beatport’s majority stake in IMS and the recent allegations made against Beatport’s leadership team, it is currently unclear the impact this will have on the summit in 2023 and moving forward. 

Real change is difficult and takes time. We are seeing some positive changes being implemented at the Beatport Group, and we look forward to seeing the results come into full effect over the next few months and years. In the meantime, we remain open to conversations with both IMS and Beatport in regards to reigniting our partnership in the future so long as a firm and authentic commitment to our values will continue to be sustained.

For further context in regards to the allegations surrounding Beatport, on August 23rd of last year, VICE published an article in regards to the toxic workplace culture that permeated the Beatport Group dating back to 2015. We immediately called for a Community Town Hall meeting and asked the community for guidance on how we should proceed. On that same day, we were slated to announce that we would be taking part in Beatport’s inaugural ReConnect Summit in NYC - specifically to host a fireside chat and networking event as part of the summit.

The event was scheduled to take place at the end of September, and, following the Community Town Hall we hosted a week later, we decided to withdraw from the event and announced our decision privately to the community on August 30th. A week after that, on September 7th, Beatport announced that ReConnect is postponed until further notice (to our knowledge, there have not been any further updates since). Our friends at Black Artist Database also suspended their editorial partnership with Beatport on August 24th 2022, a day after the article was published.  On August 29th, 2022, Beatport CEO Robb McDaniels released a statement in response to the article that is no longer available. The general consensus in our community at the time was that it lacked acknowledgement and apology. 

Needless to say, it was an extremely difficult time for all involved; on that note, I want to send my appreciation to everyone who reached out with their words of support. It truly gave me the strength and the clarity to navigate the tumult in the best way possible - not just for shesaid.so, but the music community as a whole. As you can imagine, this story had many intricacies and nuances to consider. Not only the nature and extent of the alleged toxic behavior; the company's response and how this may impact its future, the wellbeing of past and current Beatport staff as well as other people affected; the legal, financial and ethical implications; but also the impact on the music industry. It was brought to our attention that Beatport has taken some steps to address the allegations of workplace toxicity, including hiring an independent consultant to conduct an investigation and implementing new HR policies. However, some current and former employees expressed skepticism about the effectiveness of these measures, citing a lack of transparency and accountability. 

At the time of writing this, 7 months had passed since the article was published. To my knowledge, no additional press coverage is currently in the works by the original author. Following our decision to withdraw from ReConnect, we have expressed our interest in collaborating with Beatport to explore best solutions forward, and it wasn’t until the end of March 2023 that two newly appointed Board Members reached out to us to relay the steps they have taken. As Beatport’s acquisition of IMS was getting close to being confirmed, IMS leadership has helped reestablish contact between myself and Robb McDaniels, who later on shared a letter detailing the steps the company has taken or intends to take to further address the issues raised by the article. While we did appreciate this initiative, we believe that in order for real accountability to be upheld, it is best to pause any affiliation with Beatport for the time being until enough time has passed for those efforts to come into effect. 

In the meantime, we will continue to seek out partnerships and collaborations that support our mission and vision. We remain committed to working towards a more equitable and just music industry for all, and we invite other organizations and individuals that share our values to join us in this effort. In doing so, we acknowledge the risks that we face as we aim to nurture partnerships that not only fund our organization but enable us to develop programs that carry our mission forward and invest back into the community. As we navigate this process, we are committed to holding our partners accountable to the best of our ability and, when possible, facilitating change from within.

Today, we are proud to join hands with Black Artist Database in expressing our current position and look forward to continuing these transparent conversations with other partners in the future. We want to thank IMS for their past collaboration and hope that they will continue to uphold their commitment to change as part of the new leadership - with or without our involvement. As mentioned, we remain open to future collaborations and will monitor their developments over the next few months.

We hope that this decision will spark a productive conversation and lead to meaningful change in the industry. We invite our members and allies to further discuss this decision and explore best steps moving forward at our upcoming Community Town Hall on May 9th, 2023. RSVP details and other info will be shared closer to the time.

If you have any thoughts, questions or suggestions in the meantime, please contact hello@shesaid.so.

shesaid.so Mix 046: YonYon

The shesaid.so mix series aims to spotlight the diverse artists within our community. We’re committed to championing underrepresented voices from around the world, focusing on female, non-binary, trans and queer individuals. Our monthly mix series allows our contributing selectors to showcase their unique backgrounds and inspirations by creating exclusive, 30-minute live recorded soundscapes.

This month, we have the Seoul-born, Tokyo-based singer-songwriter/producer YonYon, who’s gained global recognition through her genre-blending DJ mixes, club-pop songwriting style, and culture-connecting ethos.

YonYon has played around the globe, and has collaborated with KIRINJI, Takuya Kuroda, Yaeji, and Joe Hertz. In 2018, she also founded The Link, a project that specializes in connecting artists from South Korea and Japan.

YonYon represents a musical nexus between Japan and the rest of Asia, as well as between the underground and the mainstream.

Take a read of our interview with her and listen to her mix - which is a re-run from our 2021 Kitsuné x shesaid.so collaboration to celebrate Women’s History Month - below.

shesaid.so: What’s it like working in the dance music scene in Tokyo?

During the COVID-19 pandemic, many nightclubs were shut down, but that resulted in new ones springing up In particular, the number of trendy bar-style spaces increased, so people who used to resist the insular, sometimes intense space of a club could now enjoy dance music in a casual way. I myself have been DJing more and more at these bar-style spaces rather than DJing in huge clubs. At the same time, there has been an increase in hardcore and rave-type events - shows that bring catharsis and remedy the mental sturggles created by COVID-19. The techno scene in particular has spread considerably among the younger generation over the past few years. I also feel that the culture of ensuring clubs are safer and more secure for everyone is finally proliferating. The fact that everyone involved in event spaces had extra time during COVID to come up with these solutions has ultimately helped the development of Tokyo’s club scene.

shesaid.so: How does the music scene in Tokyo differ from other cities in Japan?

Tokyo is the most densely populated city in Japan, and fads go out of style quickly. Another characteristic of Tokyo is that many foreign tourists come to the clubs, giving it an image of openness to various genres of music. I also think that clubs here in Tokyo play an important role in creating music trends. This is because many Japanese DJs who work closely with the international club scene reside in Tokyo.

On the other hand, there has been an increase in opportunities for local governments and events to collaborate and hold outdoor events as part of town revitalization efforts in rural areas. It is great that there are many more opportunities for people to go out to other cities for music, but since many of these DJs and artists are still from Tokyo, I would like to see more opportunities for artists living in those regions to be active.

shesaid.so: Through ‘The Link’ project, you’ve made it your mission to curate collaborations between Japanese and Korean artists. Why is it important for you to bridge this gap between the two countries?

I was born in Korea and grew up in Tokyo. I went through college in Korea and connected with many wonderful artists during that time. I also met many of my friends while working in Japan, so I was familiar with each other’s interests in the scene and each other's countries. I started ‘The Link’ project because I believed I was in a unique position due to my connections to both scenes and places. At the time, there were not many songs that mixed Japanese and Korean languages, but I am proud that we were able to create a trend that people thought was cool. In this day and age when it is commonplace to be active globally, I am very pleased that there are more opportunities for people to become interested in each other's countries through music.

shesaid.so: You have such a genre-blending production style and your DJ sets span a wide variety of sounds. What’s your musical background, and who are some of your biggest influences? Is it a challenge to blend so many styles in your music and mixes?

I did not start my career as a DJ because of any particular influence but because different genres of music have been a natural part of my life’s environment. My DJ style has become a mixture of different languages and genres because I had many opportunities to meet artists from different countries while working with them. I exchanged information with them and learned about a lot of music they thought was cool. Also, when I started hosting a radio show introducing J-POP in Japan, I started to mix non-dance music into my sets. The opportunities and experiences that have naturally come my way have ultimately informed my style.

shesaid.so: What’s up next for YonYon?

I’m trying to become a bridge between the club scene and the pop scene, often performing live in the style of singing while DJing. I plan to release many original songs this year. We also plan to collaborate with artists from various countries. Stay tuned!

YonYon SSSO tracklist

Viann - L0V3 (Feat. SUMIN & Khundi Panda)
Joyce Wrice - Good Morning (Prod. By Jamma Dee)
Colde - Poem (Blackdoe Edit)
Ric Wilson & Terrace Martin - Chicago Bae (Feat. BJ The Chicago Kid) 
 Hoody - Your Eyes (Feat. Jay Park)
Nick Pacoli - Sabrina's Pain
Jedi Jordan - Wannabe
Mitchell Yard X Pasquinel - Oops
Khundi Panda - Paperolls (Feat. Noogi & Don Sign.)
SLOM & SUMIN - COMPLAINT
Oceanfromtheblue - Who (Feat. Chillin Homie & Bully Da Ba$Tard) 
 VIANN - NOT EASYYY (Feat. NOT EASY)
DEAN, Rad Museum & Mokyo - Breath
CIFIKA - Hexagon
Vsclm - §Air§Hance
D.A.N. - Sundance
Dress & Sogumm - Sorry (Feat. No2zcat)
SOGUMM & OHHYUK - Yayou Hoi
Nao-GetToKnowYa
SWV - Right Here (Human Nature Radio Mix)
Jazmin Sisters - Heartbreaker [DJ Mix Ver.]
Devita - EVITA!
Tuxedo - So Good
Dorian - Natsu No Owari Feat. G.RINA
Shay Lia - Voodoo (Feat. Buddy)
KIRINJI - Killer Tune Kills Me (Feat. Yonyon)
Jarreau Vandal - Needed Me (VANDALIZED EDIT).
CIRRRCLE - Dance Wit U
Pormad - Out Like A Light (Craves Remix)
West1ne - Thank U Next
Unknown - Wuntoori
KAYTRANADA - Scared To Death
J Dilla - Donuts Outro (Coastal Conversion)
Abhi - Needed Baile 


GEOTHEORY - RARE
The Fin. - Pale Blue
Punchnello - Blue Hawaii (Feat. Crush & PENOMECO) 
 TENDRE - JOKE
Reach - Rio Carnival
Migos - Get Right Witcha (TRVE HILL Remix)
Ross From Friends - Epiphany (Edit)
CIFIKA - Déjà Vu
Bonobo - Linked
Philou Louzolo - Carista
Yaeji - Guap
Pletnev - Her Cruel Smile
Koizumi Kyouko - CDJ
Peggy Gou - Han Jan
Xiangyu - BBIISPP

5 Questions to 3 Music Industry Execs: Temima Shames, Nikisha Bailey, and Ranya Khoury

In celebration of Women's History Month, we had the opportunity to speak with three accomplished women in the music business. We asked them five key questions about the industry, their experiences, and their thoughts for the future. Read on to discover their valuable insights and perspectives.

Temima Shames is a rising entertainment executive and entrepreneur with a core focus of innovating around music artists, creators, and influencers through content, brand partnerships, and more. Originally born in Israel and raised in New York, she’s the Founder & CEO of Next Step Talent – a full service management company that specializes in long-term career growth strategy and capitalizing on organic relationships with the individual talent they work with. Temima’s clients span those in comedy, acting, modeling, dance, among others, with an average social following of 10 million across platforms. Songs, records, and projects she’s been a part of have garnered 25 million streams and viral campaigns with more than 1 million recreates. Temima is an advocate for entrepreneurship and aspires to inspire others to take a chance at any age.

Who’s a woman that inspired you growing up?

My cousin always inspired me growing up as she was always spontaneous with traveling and trying new things. We both did gymnastics and always had a love for new experiences. In a family where being spontaneous and adventurous was out of the norm, this is what inspired me to expand my perspectives, think outside the box and fuel my “inner entrepreneur”. 

What would you say are the biggest challenges the music industry is currently facing?

Right now the biggest challenge in the music industry is over saturation and a lack of experimentation, uniqueness. We have seen a shift in focus from albums to singles which means there is a huge loss of development. We are so focused on short term success, that we are losing the storytelling and story building. With this new era of TikTok music, artists are creating songs for virality and less for connection. The music industry needs a reset. It needs something new. A sound that is missing and a shift in focus. TikTok is amazing as it gives opportunities to artists that would never have had a chance before. However, there is a specific sound that the app favors and that limits artists’ creative ability. I’m super excited to see what the next platform will do to level out the playing field. 

What do you see as the future of women in the music industry?

I see women taking their power and making the change to create equality within the music industry. Women are beginning to not take no for an answer and set their boundaries from day 1. We are seeing an increase in the amount of female producers, A&Rs and the amount of men working in marketing or publicity which used to be more female dominated areas of the industry. Women are now playing a role of educating the new generation of men about the inequalities and calling out subconscious behaviors as they occur. Instead of women being the “assistants”, there is an increase in female executives. In order to reach this future, women must educate men instead of creating a divide between each other in business.

Is there a particular project or achievement you’re most proud of?

In short, one of the achievements I am most proud of is the viral moment surrounding Brooklynne Webb’s “My Crown” release as this the first time I saw my entire team ban together to execute an idea. Each person used their different strength and brought it to the table. The execution involved a fully packaged plan with over 6 months of work, but not only that, the whole team pivoted the plan week of to react to what was happening in the comments. It was a game time decision with all hands on deck. The result of this was over 20M+ views and streams across platforms and a moment that showed how important building a strong team is. I’m also super proud of our relationship and talent growth on YouTube. Starting from nearly 0, we now have 3 clients over 1M subs and 5 more about to hit that markWe’ve truly expanded our company relationships across platforms. 


What advice would you give to other women looking to break into the music industry?

Use others' comments,, especially he “I usually think young women don’t have their sh*t together, but you do” one, as your motivation to push through. You only need a few people to believe in you. Be the disruptor and make that change.

Connect with Temima

Instagram –

@temimashames

@nextsteptalent

LinkedIn


Nikisha Bailey is a community-driven entrepreneur, entertainment executive, and philanthropist with a lifelong commitment to music. Professionally, the St. Louis native is General Manager of the Nvak Collective – a next generation record label & artist advocacy collective that embraces web3 to drive change for creators and intellectual property. The two-time Billboard R&B / Hip-Hop Power Player provides creative perspective to the company’s facilitation of A&R, marketing, and label operations across their diverse artist roster. Extending her influence throughout music and culture, she also serves as Vice President for The Recording Academy’s New York Chapter and an Ambassador for the Academy’s Black Music Collective (BMC). On the entrepreneurship front, Nikisha owns and operates Philadelphia's Win Win Coffee Bar – handpicked by Goldman Sachs as a featured vendor at its 10KSB National Summit and adding Nikisha to Forbes’ Next 1000. Prior to the Nvak Collective, Nikisha was the VP / Head of A&R Admin at APG (Artist Partner Group) including additional stints at Atlantic Records and Def Jam Recordings working with acclaimed producers, studios, artists, and more. She now resides in New York and pushes herself to learn, grow, and pay it forward.

Who’s a woman that inspired you growing up?

My mom has always been and continues to be one of my biggest inspirations. As a black woman growing up in Missouri in the 60’s during Jim Crow, I can’t even imagine what she had to go through. She always had such a positive outlook on life and has instilled in me that no matter what your current circumstances in life, through hard work and consistency, anything is possible 

What tangible way(s) can women better support + celebrate each other in the music business?

We can have more open, transparent, REAL conversations. The music industry can be an extremely sugar coated industry where we tend to paint the best picture possible and have the all that glitters in gold mindset. The reality is, that this is far from what it is. Women are consistently undervalued, underpaid and expected to be happy with whatever circumstances are presented to them. When we can start having more REAL conversations as to what we all have experienced, I think that can only strengthen the common bond that we all have for the most part. 

What inspired you to pursue a career in music? I’ve also loved music.

I’m a former musician myself. In college I had to decide whether or not to be a jazz performance major or audio engineer major and I went with audio engineer! The jazz students were a little too intense for me lol. From there I had a professor that told me in order to really make it in the music industry, I had to either be in NY or LA. My professor was able to help me sort out an internship at Sony Studios that was 6 months out, so for those 6 months I worked 3 jobs and saved up $5,000 and left to pursue my dream in the big city with nothing but two suitcases!

Is there a particular project or achievement you’re most proud of?

My biggest achievement in my career was when I started as intern in a new city, a new industry and now work myself up to a GM position. I’ve also been able to establish such a solid network of industry friends and colleagues that are not only there for me in my professional life, but have been able to be such immense resources to me in my journey as a coffee roaster and distributor through my business, Win Win Coffee. 


What advice would you give to other women looking to break into the music industry?

Bet on yourself! Hone in your superpowers and what makes you innately you…and EMBRACE it! What is the one thing that you can do, that nobody does better? It’s the differences that you have experienced in life that bring value to the table. Own that part of who you are all throughout your journey.

Connect with Nikisha:

Instagram – @nikideebee

LinkedIn

Ranya Khoury is a rising executive in the music business with a track record for setting trends and being a first-mover throughout several entrepreneurial endeavors. Today, as the first U.S. hire for global dance label Spinnin’ Records, she is the stateside Streaming Director where she has worked tracks for Alok, Timmy Trumpet, The Chainsmokers, Joel Corry and many more. Prior to Spinnin’, her career has been rooted in digital commerce with previously managing Los Angeles-based DJ Kooze, creating new revenue models for Hits Daily Double as Digital Accounts Manager, and being a part of Universal Music Group’s streaming marketing team.

Who’s a woman that inspired you growing up?

I’ve had so many. I was lucky enough to grow up with a mom who was a complete powerhouse, so I’ve always had the impression that success as women, in whatever field, was possible. Hilary Duff was and still remains a big one for me. Rihanna, for obvious reasons. The list really does go on and on.  

What do you see as the future of women in the music industry?

As we begin to bring more women in leadership roles, our perception of what’s possible will begin to shift into a much more empowered place. Doorways will open for rising industry leaders. Role models will help inspire those looking to pursue a career in music. Companies will become more inclusive from the start. There’s still a long way to go, but we’re moving in the right direction. 

What inspired you to pursue a career in music?

It initially was ignited through my unwavering passion for the music itself, but it wasn’t until my second year of college that I committed to pursuing a career in music. Once I learned that business and creativity coexisted in the space, I began immersing myself in the industry, where I realized how strong my passion for music really was. 

What advice would you give to other women looking to break into the music industry?

Give yourself permission to show up authentically. Don’t try to be one of the boys. Know your worth early on. Speak up. And always lead with passion and curiosity. 

How do you balance personal and professional life as a woman in the music industry?

It’s hard. it’s a practice that I’ll probably always work on deepening. Naturally, my personal and professional life tend to overlap. You meet so many like minded people in the industry, that they quickly become a part of your personal life. Your time spent in professional settings molds into what is typically thought of as personal time (there is no 9-5 in the industry). So, it becomes an act of prioritizing and enhancing any personal time you do get. Sometimes it's carving out time in solitude. Other times, it’s dining out with friends, most likely at Sugarfish or Found Oyster. Whatever and whenever it is, I make sure it's time well spent on things that renew and reground me. 

Connect with Ranya

 Instagram – @ranyakhoury

LinkedIn


shesaid.so LA screening: Spinning Gold

We have limited spaces for an exclusive advance screening of Spinning Gold, this Monday, March 27th, in Los Angeles, ahead of its premier in theaters March 31.

The movie, about Neil Bogart and Casablanca Records’ discovery of artists such as Donna Summer and Gladys Knight, also features the story of Joyce Bogart Trabulus, who actually discovered KISS, taught them how to do their makeup and steered them to stardom, only to be completely written out of their narrative.

After the movie we’ll hold an intimate panel with Joyce Bogart Trabulus herself and a few other surprise guests, to hear directly about their experiences with the movie and as women in music. Co-hosted by shesaid.so LA, Warner Music Group and Women Under The Influence.

Please RSVP HERE to request a spot.

shesaid.so and Pirate Studios Announce Residency Initiative

Apply now for a chance to play at upcoming 2023 events.

Are you an artist, producer or DJ based in the UK, US or Germany? We’re teaming up with Pirate Studios for their Residency initiative where selected participants will get the chance to play at one of our upcoming 2023 events in addition to other prizes offered by Pirate - including studio credit, radio play and other showcasing opportunities. Submit your application via this LINK by 27th of March.

Pirate Studios provides a global community of 24-hour spaces, encompassing more than 700 studios, catering to the needs of producers, vocalists, DJs, band members, dancers, and podcasters alike.

shesaid.so x MPA: Coaching for Progress

The MPA and shesaid.so have joined forces to present Coaching for Progress – a coaching/mentorship scheme targeting mid/senior level established music publishing executives on the verge of moving into senior leadership roles.

Coaching for Progress aims to elevate our mentees through coaching and, as a result, diversify boardrooms.

The programme has been designed to promote women into senior management positions because of historical discrimination that has led to male-dominated C-suites.

Please apply using this link by Wednesday 15th March.

You will be contacted if you have been selected to be part of our first cohort of Coaching for Progress by the MPA x shesaid.so.

5 successful applicants will commence with the 4-month programme from March 2023 until July 2023. The 5 successful applicants will be paired with a carefully chosen and well-suited mentor to coach them through the 4-month programme. Both mentee and coach will be provided with training and given handbooks to guide the relationship in order to get the most out of it. If you fit the criteria below, please respond to our questionnaire in the link. A minimum of 2 years experience in music publishing, including sync, A&R, copyright, sampling, and business affairs.

Protected characteristics: people representing age, disability, gender reassignment (being an individual who is 'proposing to undergo, is undergoing or has undergone a process or part of a process to reassign their sex'), marriage and civil partnership, pregnancy and maternity, race, religion or belief, sex (being a man or a woman), and sexual orientation (LGBTQIA+); Aim to step into a leadership role.

Farewell Christine Osazuwa, new UK Director Advisory Role opens

At the end of March 2023, Christine Osazuwa will be leaving her role as UK Director, after making a significant impact on shesaid.so. Her fresh perspectives and valuable insights have been instrumental in shaping important discussions, solutions, and community growth. Let's take a moment to express our gratitude and admiration for her contributions.

Christine Osazuwa

After a fantastic year as UK Director for shesaid.so I'll be stepping down from the role at my one year mark at the end of March 2023. It's been an incredible privilege to be in this role and to be able to represent gender minorities and encourage discussion, provide solutions, and help foster & grow the shesaid.so community.

During my tenure, I've had the privilege of representing shesaid.so internationally attending ADE (Amsterdam Dance Event) where I spoke on a shesaid.so hosted panel about community & music and also served as mentorship manager for our ADE edition of shesaid.so's we.grow mentoring program.

As a representative of shesaid.so I also moderated panels at Reeperbahn Festival in Hamburg and at A2IM Indie Week in NYC to facilitate discussions on gender inequity in the music industry and highlight solutions such as mentorship & allyship.

Closer to home, I was able to provide insights & recommendations for the Musician Union's newly launched Musicians Census. I also provided stakeholder feedback for the Be The Change Women in Music Study and the UK Government's Women & Equity Committee's Misogyny in Music Inquiry. I also represented shesaid.so on panels at Brighton Music Conference, Musician's Union Members Conference and Keychange's London Meetup and hosted a breakfast and curated a shesaid.so all woman panel at NTIA's Night Time Economy Summit.

In the summer, I hosted an in-person community mixer that featured a performance and an incredibly inspirational talk from Madame Ghandi plus a fantastic set from Lex on the Decks. And in the background, I've recommended women for roles & opportunities, made introductions, celebrated successes, and remained a sympathetic ear for so many underrepresented people in the music industry.

I'll be taking part in and hosting several more shesaid.so events in February & March as I close out my tenure. I'm thrilled to continue to be a member of this incredible community. I remain continuously in awe of the work & dedication Andreea Magdlina brings to this community she's founded. I cannot wait to see what the next chapter looks like for shesaid.so.

If you want to be part of shaping that next chapter, please consider applying for the role of UK Director. It's been an amazing opportunity to grow, learn and give back. If you're interested, you can find more information here and please feel free to drop me a note at christine@shesaid.so & CC hello@shesaid.so if you have any questions. I'd be more than happy to answer!

shesaid.so and Keychange launch 2023 edition of we.grow mentoring programme 

  • Call-out for experienced mentors in the music industry. 

  • Keychange participants invited to join 6 month mentoring programme as part of the Keychange Talent Development initiative. 

Following a successful online peer-to-peer we.grow mentoring programme in 2020 and 2021, 2022 sawshesaid.so and Keychange relaunch we.grow to offer industry-led mentorship to Keychange’s cohort of participants who were navigating their way through the global pandemic. We’re proud to announce that 2023 will see the we.grow collaboration continue to work alongside music industry professionals to offer one-to-one mentorship to Keychange’s latest cohort of artists and innovators from 12 countries.

The 2023 we.grow programme will run from March - September 2023, and, today shesaid.so and Keychange launch a call-out for senior music industry professionals and artists to volunteer as mentors for the Keychange participants. The mentors must have a minimum of 7 years experience in the music industry, and will be paired with one of the exceptional, hand-picked Keychange participants all chosen as the leaders of tomorrow by a panel of international industry experts.

If you would like to volunteer to be a we.grow mentor, apply here. We welcome applications from all genders, all backgrounds, and all countries.

The we.grow mentorship collaboration was launched in April 2020, when Keychange and shesaid.so united to develop a bespoke peer-to-peer mentoring programme for women and gender expansive artists and innovators. This collaboration endured throughout the pandemic, providing invaluable connections and professional support through difficult times, by bringing more than 100 mentoring pairs together for both peer-to-peer sessions, as well as providing participants with mentorship from music industry professionals from multiple sectors. 

we.grow aims to address trends of growing concern in the music industry - women and gender expansive artists and innovators not showing the confidence they need in order to fulfill their career goals, and a lack of senior role models. This project seeks to explore some of the drivers of these trends and to equip participants to address any challenges they may face. A key part of this is ensuring that women and gender expansive professionals from all backgrounds have the opportunity to meet, learn and be motivated by positive role models.

Meet the Keychange Participants for 2023 here.

About Keychange

Keychange is a pioneering international initiative which transforms the future of music by encouraging festivals and music organisations to achieve at least 50% women and gender expansive artists and professionals in their programming, staffing and beyond. 74 emerging artists and innovators each year from across Europe and Canada will take part in international festivals, showcase events, collaborations and a programme of creative labs. Keychange aims to accelerate change and create a better, more inclusive music industry for present and future generations.

Keychange encourages all music organisations, festivals, venues, broadcasters, agencies and beyond to take the Keychange Pledge and to work towards a representative music industry. Join the Keychange Pledge at keychange.eu.

Keychange is led by Reeperbahn Festival, PRS Foundation and Musikcentrum Öst, supported by the Creative Europe programme of the European Union, in partnership with Tallinn Music Week, Iceland Airwaves, BIME, Oslo World, Linecheck/Music Innovation Hub, Ireland Music Week, SACEM, Sound City, Way Out West, Different Sounds, MaMA Festival, MUTEK and Breakout West.

Keychange Ambassadors are Shirley Manson, Imogen Heap, Tony Visconti, Alexa Feser, Dermot O’Leary, Hinds, Emily Eavis, Nadine Shah, Paulette Long OBE, Mirga Gražinytė-Tyla, iskwē, Corinne Bailey Rae, Joy Denalane, Kate Nash, Sara Potente, Ave Tölpt, planningtorock, Jess Partridge, Carla Marie Williams, Claire Edwardes, Avtomat, Karolina Czarnecka, Darcy Proper, Tones and I, Tegan and Sara, Margherita Vicario, Claudia Pereira, Brisa Fenoy, Linnea  Henriksson, Mari Boine, Samsaya, AURORA, First Lady of Iceland Eliza Reid, Anna  Thorvaldsdóttir, Peaches, James Foley, LYDMOR, Flore Benguigui, Andreea Gleeson, Ätna, Suzie Kerstgens and Alice Phoebe Lou.

www.keychange.eu 

shesaid.so Mix 045: Meli Rodriguez

The shesaid.so mix series aims to spotlight the diverse artists within our community. We’re committed to championing underrepresented voices from around the world, focusing on female, non-binary, trans and queer individuals. Our monthly mix series allows our contributing selectors to showcase their unique backgrounds and inspirations by creating exclusive, 30-minute live recorded soundscapes.

The shesaid.so mix series kicks off the year with Meli Rodriguez, the Costa Rica DJ/producer impressing dance music fans around the world with her eclectic sound and mix board wizardry. 

As the proud owner of inclusive dance music label Plz Stand Vibe, Meli Rodriguez is dedicated to spreading her native country’s ‘pura vida’ (pure life) through music releases, local events, and international bookings. The artist played Electric Zoo in New York City in 2022, and is playing this year’s BPM Festival in Costa Rica, which kicks off today. 


Before Rodriguez continues her international touring through Asia and South America, you check out her pulsating, vibey mix for shesaid.so and read our interview with her to learn more about the DJ's positive attitude and Costa Rican dance music culture. 

shesaid.so: Can you talk about your label, Plz Stand Vibe? 

MR: Plz Stand Vibe is about music, safe spaces, and community. From releasing records to throwing events, our main goal is to create connections in safe spaces through music. Our community is full of members from different walks of life who stay connected through our social media and networking groups. We support each others’ businesses, create spaces for upcoming DJs, and have emotional support groups for those who may be having a bad day and need some extra good vibes.

Before Plz Stand Vibe, I felt a little disconnected from the dancefloor, but because of the relationships we have built throughout our time together and the amazing people I have met who also have big dreams and aspirations, I feel like the dancefloor is now a huge family. I love getting to know people on an intimate level and wish all of us to share authentic connections with one another - not just as clubbers or partiers but as human beings who are all going through life in our own way. It’s been amazing to see people connect from vets to tour guides to truck drivers…all connected through the beautiful medium of music.

shesaid.so: Can you describe the dance music scene in Costa Rica?

MR: The scene in Costa Rica is a reflection of our country - Pura Vida, meaning “pure life.” There is so much energy on the dancefloor— whistling, screaming, cheering, etc. I had the honor of residency at the legendary Club Vertigo for four years where I truly got to experience the joy of playing for massive crowds. I remember all the international artists who would come play at our parties saying that the vibes here are immaculate. People here are so devoted to the scene and really just love to have fun. The vibe is infectious and it feels like everyone is in sync.

Also, thanks to platforms like TikTok, there is a new generation of music lovers that we can have the privilege of educating through our lens and perspective from what we’ve learned. I see older generations taking care of the younger ones, teaching them to be responsible and respectful, which is truly beautiful.

The scene has grown exponentially in the last five years with festivals like Envision, Labryinto, Ocaso, and BPM, which I’m really excited to play for the first time after telling myself three years ago that I would.

shesaid.so: You perform around the world - what’s your favorite place to play? 

MR: Outside of Costa Rica, South America is definitely my favorite. Places like Uruguay, Chile, and Argentina have SO much energy. The crowd is genuinely curious about you as a person. I remember many people walking up to me and asking me questions, truly wanting to know who I was. I always felt super welcomed with their great vibes.

Spain is another favorite. I got to live there for a few years and experience how the artists support each other, which really inspired me to come back to my country and do the same. 

shesaid.so: Who/what are some of your biggest influences/inspirations? 

When I was a kid around 10 years old, I saw the Brighton Beach Fat Boy Slim concert on video and immediately knew that’s what I wanted to do. I would stand in front of my computer and pretend I was playing to a huge crowd. I was visualizing and manifesting without even knowing it.

I remember Googling female DJs and there were no pictures at the time, so I printed out a male one and asked an artist to turn it into a female and paint it on my wall. Looking at it 20 years later, I am so grateful to be a woman in this field, surrounded by so many other great women who are making it happen. Some artists I would like to mention are Nicole Moudaber, J. Worra, and of course, Honey Dijon.

shesaid.so: What can we expect next from Meli Rodriguez? 

MR: I spent the last year healing and finding myself without putting pressure on my career and brand. I am now ready to start building a team, expanding my brand globally, and creating more communities of safe spaces. It's been almost 10 years since I started working in the music industry; I learned a lot and saw a lot, so now it is my time to put all of this experience together to create something I truly believe in with other great artists and creative minds. 

This mix is composed of a lot of music I’ve worked on over the past few years. It tells a story of the things that I’ve gone through and overcome as I try to find myself after experiencing hardship. Moving forward, I really want to focus on making new music by collaborating with national artists who specialize in other genres that I love like reggae, hip hop, and rap, so that I can blend in my Latin roots and truly find my own sound.

For 2023, I am planning on touring South America and Asia, and then hopefully settling down in California with my girlfriend. I also have plans to organize a festival in 2024…stay tuned and Plz Stand Vibe :)

I don’t know exactly what the future holds, but I see a lot of great things coming. I trust the universe to continue making this little 10-year-old girl’s dreams come true.

Member Spotlight #41: Insights from ESEA Music Founder Tiger Hagino Reid

Tiger is a Japanese British artist manager, creative producer and campaign manager based in London. Her artist roster is Rina Sawayama, Yaeji, Lucinda Chua, Bat For Lashes and Tohji. She also co-founded ESEA Music, a community which aims to provide better representation for ESEA (East and Southeast Asian) artists and professionals based in the UK music industry.

shesaid.so: What inspired you to create and to co-found ESEA Music, and what are your goals?

Tiger Projects was more of a necessity at first tbh. My time at XL Recordings was coming to an end. I’d worked for someone else my whole career in music and wanted to go at it alone. It was super daunting at first. I had this negative thought pattern that artists only wanted to work with me because I was part of this cool record label. It was also during the Covid-19 pandemic / recession. In addition to all that, your trad record labels tend to keep their marketing /project management roles in house, even when certain artists could benefit from more specialised and tailored expertise. Labels can justify out of house PR + radio but in my freelance role it's pretty rare. All in all it’s not easy.

My goal for my own business was to build a roster of artists, the way I see PRs do it. I wanted to choose the artists believed in and politically aligned with. I wanted to work with Asian artists, not all, but predominantly.  I also wanted to get back to Japan as often as possible and ideally out to Asia too :) After a year out on my own I have no regrets! I’ve got so much more fire for what I do and I love the roster I have built.

As for ESEA Music, we set it up because there was no one collectively repping us in the industry, from the workers to the signed and grassroots artists at all. We’ve now got over 220 members in the group, just teamed up with Spotify for a showcase, added the first ever ESEA representative on the UK Music’s diversity taskforce, and recently been awarded the Community Grant from WeTransfer’s The Supporting Act Foundation.

shesaid.so: What are some of the biggest challenges you've faced while working in the music industry?

Big Q! So many everyday challenges of sexism, lowkey racial discrimination and microagressions. Dealing with the #metoo experiences of the industry esp in the 2000s. More recently becoming a mother, and turning 40. But shout out to those who have faced way more challenges than me. 

I’m middle class, my pop is an white academic, and I have had four years of private education under my belt. But my biggest challenge still was at the intersection of a very British classism, whiteness and patriarchy that runs through the British music industry.

This quote from Rosanne Mclaughlin’s book of art criticism, that talks about the notion of double-tracking describes succinctly how the ‘coolest’ gatekeepers of the music industry, with more of an ambivalent relationship to their privilege, function.

“To double-track is to be both: counter-cultural and establishment, rich and poor, a bum with the keys to a country retreat, an exotic addition to the dinner table who still knows how to find their way around the silverware.”

I think I might leave it there…

shesaid.so: What are your thoughts on the current state of the music industry?

I think we’re all experiencing a background and or frontrow burnout, from having to create, commission, request, strategise the roll out of content or assets as we like to call them. I’m trying to unlearn the word asset, when it comes to the art that accompanies the music. 

Of course being an artist is not just about making the music, however, the money needed, the experience and time needed, as well as the amount of CONTENT + ASSETS required across the gazillion of platforms that host music related work is exhausting.

There is also an added pressure and sometimes assumption that artist esp women should also be a visual artist and multidisciplinary, and aim to be called words such as creative polymaths.

I won’t even get into the pressure of TikTok.

Rina Sawayama

shesaid.so: Who are some of the artists you've worked with that you're particularly proud of?

Firstly, Rina Sawayama :)  To see an Queer Asian popstar in the UK slaying has been so life affirming. Her album ‘Hold The Girl’ released last year, was the highest UK chart position for a Japanese artist ever.

She’s an artist that knows the power of popular culture, in the way that legendary Cultural studies scholar, Stuart Hall frames it! “popular culture is one of the sites where this struggle for and against a culture of the powerful is engaged: it is the stake to be won or lost in that struggle”

I wrote a long ass essay about Rina’s and Queerness in Japan for my MA. Japan has a lack of any national LGBT laws, ranking second to last in LGBT rights among the 40 wealthiest nations. At summer-sonic in Tokyo last year, I helped write the speech that Rina delivered at her first ever show in Japan! It was an incredible moment, we cried, it trended on twitter, it is part of the movement towards a better and fairer society for all people in Japan.

Secondly, Lucinda Chua. I am constantly in awe of Lucinda for her ability to channel her vulnerability into her work. Esp when I find my own vulnerability so difficult to share. But what I really appreciate is working with someone who mirrors back the feeling of in-betweenness that many mixed heritage folks experience. It's a feeling of not being whole that I've felt for so long.


shesaid.so: What are the biggest challenges East and Southeast Asian artists face in the music industry today?

I would say the biggest challenge facing East and Southeast Asian artists in the UK is representation and visibility of our creativity. We need more mainstream British ESEA artists. How many can you name? We have a handful of the mainstream UK ESEA artists right now, Rina Sawayama, Beebadoobee, Griff and Jax Jones. However, from what I see through ESEA Music, there is this huge gulf between the artists I just mentioned and all the new artists and grassroot artists coming through. So the biggest challenge is a lack of representation of us in British music culture. As Beabadoobee told Music Week, “Filipina girls telling me I’ve inspired them to pick up a guitar or that this music can be for them really means a lot to me, I didn’t have that sort of representation growing up and so I very much want them to have it.” 

Secondly we’re not seen as the creative ones. In a nutshell, the experience of ESEA folks in the UK (especially the middle class) can be described by the phenomenon of the 'model minority myth', where we are seen as palatable to the white majority only insofar as we are hardworking, studious and quiet. As Dr Diana Yeh, a Chinese British academic, describes ESEA cultural practices as '"visible but unseen", present in the social and cultural fabric but rendered invisible within the social and cultural imagination.' It's about including ESEA people in the cultural imagination. I love the way Lucinda Chua put it in her gal-dem piece, “Representation isn’t just about diversity, it’s the ability to see yourself outside of yourself, the encouragement to dream and desire.”  

shesaid.so: What can be done to improve the representation of East and Southeast Asian artists?

At ESEA Music we are attempting to improve this by uplifting the whole community through the work we do. To give two examples, we run an internal mentorship scheme called Sesame, which provides mentorship between more established artists and emerging artists, as well as between music industry professionals and artists. We’re developing this scheme to run publicly this year. 

Secondly, we run ESEA Writing & Recording Camps, which is the brainchild of artist Lucy Tun, British/Burmese musician and in-house engineer at Urchin Studios. The intention with the writing camp is to bring together the many talented artists within ESEA Music and provide the experience of session work, writing together, being creative, trying new genres. We’re got a whole series going out in the summer this year and I’m so so so excited for them!

My own personal hot take too is that if you are Asian or ESEA and work in the industry at a mid - high level, that if you just pivoted even as little as 5% of your workload to work with an ESEA Artist or volunteer your time to ESEA music, that stark lack of representation would start to look at whole lot better. 

shesaid.so: What is the most important aspect of effective artist marketing and management?

Artists are the best at marketing their own music. I learnt that at XL Recordings and especially from Sian Rowe.

All you have to do ask the right questions and listen to them. First of all it’s often all in the music or in their lyrics. If not it's in the everyday conversations you have with an artist. Not the ones where they are under pressure to sell what they do. It’s in those moments of quotidian work. Sometimes it’s just telling them that you found their idea, positioning or thought interesting. I think any of us artists or not are just looking for our internal worlds to be validated. To have someone believe in us.

shesaid.so: What is the most important thing for artists to keep in mind when trying to break into the industry?

The most important thing is to keep on going, it's a marathon not a sprint. keep on creating and making and putting it out there.  Also to add that  finding a good team is vital. That doesn't have to be an strictly industry person, like a lawyer or booking agent. But it’s about building your community around you, from your band mates, creative collaborators, music making team. The folks that really help you create the art. Even when you ‘break’ in you still need your people around you.

Celebrating Iranian Artistry

At shesaid.so, we are committed to providing a platform for individuals of different cultures and backgrounds in music to share their stories, experiences, and perspectives and to inspire and encourage others. shesaid.so stands in solidarity with the Iranian people in their fight for freedom, justice, and equality and want to use our community to continue spreading awareness of the current revolution in Iran. We hope to do this by shining a light on Iranian talent from our community and by sharing resources via organizations that are actively working to support human rights in Iran.

Maryam Mirbagheri

Maryam Mirbagheri, aka “Maryama”, is an award-winning Iranian American composer/performer/music producer currently residing in Los Angeles, California.

In recent years, Maryama has worked with well-known figures such as Deborah Lavine and Michaell Skloff and has risen to prominence by scoring the music for the short dramatic thriller Forbidden and The Gift, directed by notable Iranian Director Farbod Ardebili.

Her work has earned her much recognition; Her 2014 single In Zendegist and 2017 single Sufi were both nominated for a Hollywood Music Media Award, and she has won the Jazz Downbeat Award with ARC vocal jazz ensemble. Her 2017 debut album, Where the Mermaids Are (mixed and mastered by GRAMMY award-winning producers Marc Urselli and Scott Hull), won the California Video Music Award in 2018.

Mirbagheri is working with Universal Music Group and is a proud member of shesaid.so and She Is The Music.

Visit her official website HERE to learn more and to listen to Maryam Mirbagheri's works.


Obscenity State

Nilly Brook, known as Obscenity State, is an up-and-coming artist, musician, and producer who mesmerizes listeners with her innovative mix of electronica, grand sound design, melodious compositions, and entrancing dance beats. Born into a family fractured by the Iranian revolution, Nilly became highly conscious of the various forms of power abuse. In her quest for understanding, she studied art, global politics, animation, and music at Central Saint Martins, the School of Oriental and African Studies, and the London College of Music. This educational journey, combined with her own experiences, led to the creation of Obscenity State's captivating live audio-visual show, featuring abstract and subversive animations and the grandeur of light to engage and transport the audience into her unique world.

Nilly announced a brand new release with the arrival of her debut single 'Moke Lake', lifted from her debut EP due in January 2023.

"This is an energetic electronic dance track, explores self-discovery through the merging of sound and vision. The cascading melodic synthesis, expansive sound design and psychedelic, overlapping sequences hypnotically immerse you into my alternative world. Weaving throughout are the evocative chants of a Persian Avaz master, a female performer prohibited from singing in public since the revolution of ’79. Of Iranian heritage myself, stemming from a persecuted minority, I have built a digital world to reflect my sense of isolation and driving determination to confront revolutions past and present through the exploration of new identities."

Find out more about Obscenity State on her website.

Tania Atyabi

Photo credit: Graham Hudson.

Tania is a DJ, model and digital marketer. She’s a regular on the London club circuit, UK festivals, and radio shows and has plenty of future projects in the works, including creating original music in her home studio. Tania is proficient in Farsi and usually travels to Iran yearly, but the pandemic and consequent civil unrest have hindered her from doing so for a while. Still, she has kept in contact with her family in Iran, who have been informing her of the hardships they have to deal with on a daily basis.

"Throughout my life, I have seen the impact of oppression against women first-hand, as most of my family out there are women. The basic freedoms that we take for granted on a daily basis are little to none in their lives, and there are generations of people who have never experienced any difference, as it's been four decades since the regime has had control over the country.

I believe we may, at last, be on the cusp of a revolution which is exciting but also extremely worrying. I think it's a critically important time for people outside of Iran to unite and show our support for not only women but also the LGBTQ+ community in Iran, who continue to suffer at the hands of the patriarchal regime. One of my DJ mixes (Eggs of Asia on AAJA Radio) is a show dedicated to Iranian people; please check that out as the second half of the show presents a beautiful curation of music produced by Iranian women and non-binary people." Tania Atyabi

Find Tania on Soundcloud and Instagram

SHIVARASA

Iranian-American producer, DJ, and sound healer Shivarasa (formerly known as Shiva) has been bridging the underground to the mainstream effortlessly, establishing a solid presence in a male-dominated industry. She infuses elements of global bass, electronic, Middle Eastern music, hip hop and ambient soundscapes into her work. 

Shivarasa has performed alongside some of the biggest names in the music world, including CeeLo Green, Nas and Damien Marley, Cypress Hill, and Snoop Dogg as well as for spiritual teachers such as Abraham Hicks, Panache Desai, Michael Beckwith, The Agape International Spiritual Center, Kyle Cease, Peter Diamandis, and XPRIZE.

Inspired by her own wellness journey and passion for personal evolution, Shiva has given birth to RETURN TO SOUND, a meditative bass experience. Bringing meditation music into a new era with bass as a backbone, Shiva takes you on a fully immersive sonic journey that inspires deep relaxation, trance states, and an opportunity to observe within. You can find out more about her work HERE.


Iran: Critical Situation

At shesaid.so we believe it is essential to give a platform to marginalized communities and to those fighting for their rights. We want to use our community to continue spreading awareness of the current revolution in Iran. We hope to do this by shining a light on Iranian talent from our community and by sharing resources via organizations that are actively working to support human rights in Iran.

In September 2022, Mahsa Jina Amini, a Kurdish/Iranian woman, was arrested by Iran’s morality police for her alleged noncompliance with the country’s Islamic dress code. Three days later, she died in police custody. Amini’s death sparked widespread protests over the last few months.

Thousands have been detained throughout the country for joining peaceful protests. At least six people connected to the protests have been sentenced to death on charges of moharebeh or “waging war against God”, or efsad-e fel-arz or “corruption on earth”. At the same time, a growing number of people, including Iranian celebrities and sports people who have expressed support for the protests, have been summoned or arrested.

"The rising number of deaths from protests in Iran, including those of two children at the weekend, and the hardening of the response by security forces, underline the critical situation in the country. We urge the authorities to address people’s demands for equality, dignity and rights – instead of using unnecessary or disproportionate force to suppress the protests. The lack of accountability for gross human rights violations in Iran remains persistent and is contributing to the growing grievances."

UN Human Rights Chief Volker Türk

Source: https://www.ohchr.org/en/press-briefing-notes/2022/11/iran-critical-situation

To support the people of Iran:

Donate to The Centre for Human Rights in Iran; an independent, not-for-profit organisation made up of researchers, activists and journalists: https://iranhumanrights.org/what_we_do/

Donate to The Abdorrahman Boroumand Centre for Human Rights in Iran, a platform for victims of human rights violations. Find out more:

https://www.iranrights.org/donate

Check more resources at https://mideastmatters.carrd.co/

shesaid.so Mix Series 044: Tara Brooks

The shesaid.so mix series aims to spotlight the diverse artists within our community. We’re committed to championing underrepresented voices from around the world, focusing on female, non-binary, trans and queer individuals. Our monthly mix series allows our contributing selectors to showcase their unique backgrounds and inspirations by creating exclusive, 30-minute live recorded soundscapes.

The shesaid.so mix series continues this month with Los Angeles DJ/producer Tara Brooks, whose spiritual connection to dance music, and vibrant, genre-blending style have helped her carve out a distinct space within a male-dominated industry. 

Tara Brooks has brought her eclectic sets ranging from hypnotic techno to dark disco to venues and festivals across the world. In addition to a residency at Desert Hearts, the DJ has played BPM Festival (Mexico), Katerblau (Berlin), Sisyphos (Berlin), Blue Marlin (Ibiza), Acid Sundays (Ibiza), The Brooklyn Mirage (New York), Flash (Washington D.C.), DNSOF (Miami), Lightning in a Bottle (Central Valley), Sound (Los Angeles), and PublicWorks (San Francisco).

Following her recently released remixes for John Digweed’s Quatro III project, she’s revving up towards a jam-packed 2023, which will include a collaborative EP with Hannes Bieger, a handful of other original songs, and shows around the globe in Costa Rica, Tulum, Australia, and more. 

Catch out our interview with Tara below. 

Tell us the story of how you fell in love with music.

My whole family shares a strong love and passion for music— it's what brought my parents together. I grew up on my mom’s Beatles records, classic rock, indie folk, and ambient new age sounds! I then found my way into 90s alternative rock, west coast hip hop, reggae rock, R&B/soul and, of course, after my first rave it was all uphill from there!

How has your community, background or upbringing influenced your sound?

Being from Los Angeles and having divorced parents from a young age, I was always moving and having to adapt to new environments. It wasn’t until I found the Southern California rave scene that I felt truly connected to anything. I was exposed to a fusion of genres, from San Francisco, Chicago, and New York house and funk to electro, progressive, techno, and old school tribal. From Doc Martin & Dj Dan, to Sasha & John Digweed, I was always inspired by interesting sounds that emotionally connected me. 

Who or where do you draw inspiration from?

Today I draw inspiration from all over the map, including the way the ocean makes me feel. I always leave Detroit blown away and ready to push my boundaries. During the pandemic it gave me a chance to open some old and new doors to different genres —breakbeats, electro, drum and bass, electronica, acid— and continue to define my sounds. Having a passion for so many genres has taken my supporters and I on one hell of a journey!

Is there a theme to your mix? What can listeners expect to hear?

I would love to hear how everyone describes my mix! To me it's a fun, mini adventure. It's uplifting, ethereal, soulful, funky, groovy, a lil' trippy, and made to make you feel good wherever you are or whatever you’re doing. Also featuring my latest remix for Rob Garza and another unreleased remix for Lee Coombs (:

What are you currently working on, and what are you looking forward to in 2022? 

I just released 3 remixes on Bedrock’s latest Quattro album for John Digweed. Coming up, I have an EP collaboration with Hannes Bieger featuring Cari Golden, a remix for Lee Coombs, future collaborations with Rob Garza (Thievery Corporation), and seven new original tunes that are almost ready to blast off. 2023 starts off with a bang in Tulum, San Francisco, New York, Arizona, Seattle, Costa Rica, and rescheduling my tour in Australia. For those that don’t know, I started surfing during the pandemic lockdown and it changed my life. DJing in surf destinations is a huge priority, while sharing and motivating the music industry to get in the water. While my mental health has suffered tremendously over the years, I’ve found such healing through the ocean. I have to help others through this beautiful and healing passion.

Find Tara Brooks on Instagram


 

 

Member Spotlight #40: Kaitlyn Davies

For this month’s Member Spotlight we spoke to Kaitlyn Davies (she/her), a Canadian based in Lisbon, where she works and collaborates at the forefront of music and technology. She explores this nexus through research, facilitation and community organising in her roles at Friends With Benefits and Refraction DAO’s, and hosts radio shows on Refuge Worldwide and Cashmere Radio. Kaitlyn was kind enough to tell us more about her work in web3 and beyond, as well as to share some of her learnings and advice from her career so far.


shesaid.so: Tell us a little more about yourself, and your career journey so far.

Kaitlyn: Hi! I’m Kaitlyn, a Canadian based in Lisbon via Berlin, New York and London. I got my start in the music industry helping out at a university radio station in Toronto while I was in high school, which led me to an artist and brand development company where I held roles across public relations and artist management. I was feeling the itch to engage with bigger markets and live outside of my hometown Toronto, and ended up moving to London, UK in 2016. My time in London started out with me working in film festivals, but I could sense I wanted to be back closer to music. Through a stroke of luck and good timing, I ended up in the Boiler Room offices (which is where I first got introduced to shesaid.so!). Boiler Room was a wild ride and I spent time in both the London and New York offices over the course of the next 2 years, while also working on summer music festivals back in Canada. My visa in the UK was coming to an end but I wasn’t ready to leave Europe, and decided to move to Berlin in 2018. In Berlin I switched from working primarily in events and marketing to the recorded music industry, where I spent time in the !K7 Records offices before landing in the digital content operations department at SoundCloud for three years. 

While I was at SoundCloud, I started a collective, CO:QUO, with two amazing humans + fellow shesaid.so members, Mel Powell and PortraitXO. Our focus is to facilitate events, conversation and practice-based education across music, technology, art and science, and we’ve collaborated with artists, collectives, brands, and governmental funding bodies to bring our thinking to life. Operating at these intersections with CO:QUO and alongside some personal research, I inevitably ended up exploring blockchain and web3 technologies at the beginning of 2021. This research culminated in a series of digital events I produced with the collective exploring the future possibilities and limitations of technology for the music industry. This marked the beginning of my professional journey in the space, where I now work with and for two cultural DAO’s (Decentralized Autonomous Organizations) Friends With Benefits and Refraction leading membership and curatorial partnerships, respectively. There is so much more to be said in between all of these lines, but an interest in the way humans, communities, art and technology interact has been the driving force behind what I do, why I move, and why I stay up late on the internet or at the rave. 

shesaid.so: What do you consider some of your greatest career achievements, and why?

Kaitlyn: Although I’d consider CO:QUO more of a personal project than career achievement, starting the collective has opened so many doors and given me the opportunity to pursue ideas collaboratively. I’m so proud of the work we’ve done, from our first residency at the Night Embassy to our monthly radio show on Refuge Worldwide.

This summer, I had the pleasure of working on the programming team for the inaugural FWB FEST in Idyllwild, California. The extended Friends With Benefits fam gathered in the forest for some big discussions, wicked musical performance, and one of the most magical sunsets I’ve ever seen. Pulling off this event with our dream team, and receiving positive feedback from our community was a big career highlight. 

Literally, the day after FWB FEST ended, our curatorial team at Refraction huddled up to begin decision making on our Creative Grants programme, which has been such a rewarding process from day dot. The programme has allowed us to decentralize our operations and collection, while supporting members of the DAO in realizing creative projects all over the world. The redistribution of capital and lowering barriers to entry are a huge part of why I decided to get involved in web3, and this project has helped drive that mission. 

shesaid.so: What are some of the challenges you've faced, and how have they shaped you and your career?

Kaitlyn: I started in the industry pretty young and often found it hard for people to take me seriously. I won’t say those days are totally over, but I’ve grown into my various roles over the years and know how to stick up for myself after living and working through those interactions. 

The music and creative industries are incredibly precarious and extractive. Taking on second (and third, and fourth) jobs, having projects fall through at the last minute, and the personal and nepotistic nature of the industry are all realities that can be very unkind to workers. Thankfully, these realities can have silver linings. Getting to work across disciplines, on varied projects, with people I’m lucky to call friends keeps me motivated. 

shesaid.so: Your career to date has spanned several areas of the industry, from the intersection of music and tech as well as research and community. What are some of the key skills that have helped you get where you are today?

Kaitlyn: Staying organised, curious, and positive has brought me a long way. Spreadsheets are here to help and have helped me manage big projects and keep track of ideas and resources. When my curiosity is dwindling, I know it’s time to pick up a book or trawl a dark corner of the internet. Keeping a (mostly!) positive outlook helps me drown out a lot of noise. 

Criticism is care, and being open to feedback is really important. I tend to go all-in on projects, and can put blinders up which don’t allow me to collaborate or work effectively. It can be tough to hear, but it’s important to stay in service of the project or community you’re trying to serve, not yourself. 

shesaid.so: Here at shesaid.so we continue to curate informative and discursive Web3 content which has inspired questions from artists, managers, labels/publishers and more. For those dipping their toes in to Web3, could you tell us a bit more about your work in this space so far and any ways people could find out more?

Kaitlyn: My work in web3 focuses around community stewardship, curatorial practice, and knowledge sharing. Admittedly my financial literacy could be better, and my technical skills aren’t as sharp, but I’m working on it! An amazing aspect of the web3 community is how willing folks are to help and answer questions. 

In my experience, it’s difficult to toe-dip without totally diving in, but a great resource for folks at all levels of web3-knowledge and across different industry sectors is the research and Discord community stewarded by the folks at Water + Music. I am always referencing their published research, and the discourse that goes on in their Discord is impressive. 

Friends With Benefits and Refraction also have editorial arms that are publishing thought-leading ideas around DAOs, online artist communities, and creative uses of technology that readers might find illuminating. 

shesaid.so: Can you tell us about Refraction and what we can look out for from the community?

Kaitlyn: Yes! RefractionDAO is a group of artists, culture workers and creatively inclined people collaborating on ongoing events, releasing NFT projects, and producing written, visual, and audio content around art, culture, and music today. We’re enabled by blockchain technology, meaning that we have a governance token called $REFRACT, which helps us compensate community members for their efforts, while increasing their say in DAO-wide decision-making. We primarily convene on Discord and at in-person events around the world. 

We’ll be closing out the year with Refraction Festival Miami during Art Basel, and a series of events in Tokyo accompanied by an NFT drop of the artwork displayed— stay tuned! I also mentioned our ongoing Creative Grants projects, which you can check out here.  If any of this sounds interesting, you can apply to join the DAO here

shesaid.so: You host radio shows on Refuge Worldwide and Cashmere Radio. What kind of music are you loving at the moment that we can expect to hear from your shows?

Kaitlyn: Big love to recent albums from Lucrecia Dalt, Sudan Archives, Moin, Marina Herlop and Alex G. I’ve definitely been in a moody guitar music and power pop phase recently after a summer of listening to a lot of UKG and techy-house mixes on SoundCloud. I am near constantly digging through Discogs and record store bins (I’ve been regretting not buying an All Saints 12” all morning), and am as big a fan of older releases as I am of new ones. Have had Brigitte Fontaine’s 1972 album Comme à la Radio and Little Annie’s 1992 Short and Sweet on repeat recently. Expect to hear all of this on upcoming radio shows! 

shesaid.so: Can you share one piece of advice that has stayed with you in your career and why was it impactful to you?

Kaitlyn: Being resilient is everything, and chasing your dreams is hard. There are ups and downs in every career path, but the creative industries are never-ending roller coasters. Realizing that it’s a skill and not a given to navigate the bumps has been integral to the way I go about my day-to-day. 

shesaid.so: Which people in the music industry are you inspired by, and why?

Kaitlyn: Holly Herndon, Mat Dryhurst, Liz Pelly, David Turner, Cherie Hu, Elijah, Bas Grasmayer, PortraitXO, Sarah Farina, DJ Sprinkles, Hanif Abdurraqib, Bob Boilen, Jessica Hopper, Kathleen Hanna, Patti Smith, Neneh Cherry, Britney Spears. Tirelessly, relentlessly, doing their thing. 

shesaid.so: How can people reach you if they want to connect?

Kaitlyn: Always there when you call, always online

Words by Clare Everson

Artist Spotlight: PortraitXO

The shesaid.so Artist Spotlight is a monthly series where we highlight new artists from our global community that you should keep an eye on. If you’re interested in submitting yourself or your artist please contact us at hello@shesaid.so

Photo Credit Dan Gorelick

Rania, aka, PortraitXO, is a singer-songwriter, and visual artist, most known for her hybrid music and installation art. In December 2019, she was awarded the AI Mozart prize at Beats & Bits – the world’s first Artificial Intelligence music competition, and in March 2020 she had an artist residency with Sonar+D x Factory Berlin. This year she releases her debut AI album ‘Wire’ from NFT to vinyl on December 9th after premiering it at SXSW as an official artist. As well as all this, Portrait XO plays an active role in many communities, and is the creative director of SOUND OBSESSED, a hybrid arts community working at the intersection of art, sound, science and emerging technologies. We were lucky enough to have Portrait XO perform at our shesaid.so space (in partnership with ZORA) during Amsterdam Dance Event, and wanted to share some of her insights with you. 


shesaid.so: Tell us more about your artist journey and how your sound has developed to where it is today? 

My musical journey started from a young age when I learned classical piano and violin from 4-15 years old playing in recitals,  orchestras, and conservatories in LA.  I decided to stop when my piano instructor wanted to start preparing me for Juilliard and increase classes & practice hours per week.  I never felt called to pursue a career as a classical pianist.  At around 6 yrs old I fell in love with jazz one day when I was with my mom walking past a restaurant and an old lady was playing jazz piano.  My mom never allowed me to learn what I wanted because she was so strict about me learning classical music.  Since then, my relationship with music has been complicated.  It took me a while to figure my own journey from learning how to write and produce my own music to eventually taking vocal lessons.  I consider myself a late bloomer with my artistic journey because I never felt fully satisfied just expressing through music.  In school, I excelled at creative writing, drawing, painting, and music.  Because I didn’t have any role models to guide me, I tried my best to use my intuition to guide my decisions of what I wanted to do in life. Bjork and Radiohead were such big inspirations for me and they set the bar so high in my head that I wished to one day be able to express myself as fully as they do.  I used to do behind the scenes work in the music industry to get a feel for how everything worked from being a session musician to teaching private piano lessons and co-producing and co-writing with other music producers and artists.  Now looking back, I was desperate to break free from form all throughout my youth.  I got jaded pretty quickly from the pop music industry in LA from the way I was treated back then and never felt connected as deeply to the music I was hearing and writing until I discovered trip hop in the 90’s.  I became obsessed with UK music and moved to London from 2006-2015.  It was the most expensive decision I ever made but was worth everything because it was such an eye-opener for me and I grew so much more in ways I never would’ve otherwise.  Not through school, not through my peers or other influences around me.  I grew not just artistically but I learned a lot more about myself and my identity crises I didn’t know I was having while deprogramming how I was socially conditioned that was toxic while perceiving my past from the other side of the world. 

PortraitXO

The dissonance and hardship I felt growing up in E. LA from the systemic racism to generational trauma that is so deeply rooted in the entertainment industry became crystal clear after I moved away.  It’s not to say that I didn’t like any of the music I heard growing up in LA, I just felt a deeper pull to the UK because I fell in love with electronic music production that moved me so deeply.  I became obsessed with hunting for sounds I’ve never heard. 

The darker and quirkier the sounds were, I felt parts of me releasing through sound – traumatic parts of my past that were trying to seek catharsis for healing.  I never knew music could do that.  And it’s such a paradox, how music can be so healing and powerful at the same time, the artistic journey can be so challenging sometimes.  Making music and sound is such an intricate journey for me.  The more complex my feelings are that I want to articulate, the longer I have to take sometimes to play with sounds until I feel they align with whatever it is I’m trying to express.  Whatever I can’t articulate with words or imagery, I turn to sound.  Music helps me communicate what can’t be spoken, written, or drawn, but felt only through sound.  

I hit a creative depression at some point because I wasn’t happy with anything I was creating while living back in LA between 2015-2018.  I was always into looking for new tools and instruments for inspiration to help me break out of ruts.  Around 2015, I met CJ Carr (½ of Dadabots) and since then my life has never been the same.  He was knee deep in his AI for music research and started talking to me about the future of AI and music.  It was so abstract to me at the time, I couldn’t imagine what anything AI generated could sound like.  I was in LA from 2015-2018 before I moved to Berlin and for 1 yr I decided to write as much as I could.  I wrote over 200 songs in a year and was happy with maybe 5% of it.  When CJ and I collaborated during our artist residency at Factory Berlin x Sonar+D from 2019-2020, we decided to use 1 hr of my recorded vocals as the training dataset for our first AI audio experiment.  I handpicked recordings of my singing from unreleased music I liked and whatever I had released up to that point.  In 2 ½ days, CJ trained this recording of my voice into his custom AI SampleRNN model and generated 10 hours of new audio for me to play with.  I had no idea what to expect and allowed myself to surrender completely to these strange outputs that led to discovering a process I fell in love we call ‘neural vocal duet’ – a co-creation of writing lyrics and melodies with my AI ‘other’ voice.  This is what gave birth to my AI audiovisual album ‘WIRE’ that is releasing this December.  It was originally supposed to release in 2020 but after the pandemic hit, I lost energy and decided to pause everything.  I got introduced to Thomas Haferlach who started pollinations.ai and ended up spending most of my lockdowns experimenting with these exciting new open source AI models that helped me create all the visuals I now perform live with, and music videos that will be releasing soon.  My obsession with human-machine collaboration that started from being a music gear junkie from instruments to plugins has grown even deeper with the unlimited potential of AI tools opening new forms of expression.  While I don’t feel like I need AI to be a better artist or producer, I always love discovering new tools that push my boundaries and enhance the way I craft my work.  It’s important that I keep evolving and continue trying new approaches to stay inspired and allow curiosity to lead me to new places I never imagined.  

shesaid.so: When did you start connecting visuals to your music?  

I’ve always been inspired by visuals in some way.  Sometimes while I write music, I write to a scene in my head, or a movie that has a soundtrack or theme I love.  And these scenes are based on personal stories of me and people I’ve encountered who left emotional experiences that trigger me to write about them.  My artist name is actually derived from finding my creative process similar to a portrait painter.  As painters use a canvas, paint, and brush to make a portrait of their subject, it’s the same way I approach songwriting and music making.  When I have finished pieces of music, I immediately need to have visuals that match the music to help complete the storytelling.  I’m also pretty introverted onstage as I am offstage and fell in and out of love with performing because I never enjoyed having bright spotlights on my face onstage.  Since I started performing with visuals, I’ve fallen back in love with performing again.  Visuals to me are just as important as the music.  And I really need the visuals to enhance the music, if they don’t match I don’t feel satisfied.  I want my art and music to be the focus of my performances and give people immersive concerts where they can experience what feels like a journey of many movements.  

shesaid.so: Why did you make the decision to move to Berlin, and how have you found living and creating from there?

I have a tendency to fall in love with people’s stories I admire.  I love David Bowie’s legacy as a creator who was so immersed in expressing himself in so many ways.  I remember falling even more in love with his artistic journey when I went to his exhibition at V&A in London.  The way he expressed himself through fashion, acting, and music was so inspiring.  His period living in Berlin was really intriguing.   I also loved the collaboration he did with Ty Roberts who created the software for Bowie to randomize new words called ‘Verbasizer’.  After I moved out of London, I was interested in Berlin and a small handful of my friends who already lived here convinced me to move.  It was an easy decision for me because 2015-2018 in LA was my second shot of testing myself to see if I can imagine living there again and I felt more drawn to Europe’s way of living and socializing that make me feel more connected.  I also need to be in places that help me feel creatively inspired.  I love that in Berlin no one cares who you are or what you’ve done or been in the past.  You can find the most avant-garde art experiments to higher end produced work and I love experiencing it all.  There’s no paparazzi culture in Europe that influences the way people create their art and music.  There’s way less focus on commercial success which I think is a crucial headspace to be in to create authentically.  I love the public discourse in Europe about art in general, how much is considered in the process of creating.  

AI Self-Portrait

shesaid.so: What do you think are some of the misconceptions people may have about Web3 and creativity? 

I think a lot of people feel put off by ‘crypto bros’ and see NFTs and web 3.0 stuff as temporary hype that’s dying out.  Also because there’s a type of large scale generative art that happened in the first big wave of NFTs that made people associate NFTs not as ‘real art’ but more as visual symbols to be part of this crypto art movement and communities.  There’s still some negative feelings being thrown at people doing any kind of creative work on chain.  I mean, it’s all just software that functions differently to ‘web 2.0’ because the fundamental basis of the technology makes everything transparent, shared, and visible.  All these tools on chain open a lot of interesting questions which aren't really yes or no to do anything in Web 3.0, but in what context does it make sense to do things on chain that we can’t do in Web 2.0.  Like social media I think makes so much sense to be decentralised e.g. LensProtocol.  I love what arpeggi.io is doing - a DAW in Web 3.0 which opens an interesting new way to share stems, create, and share music.  I get triggered when anyone refers to me as a ‘NFT artist’ or ‘Web 3.0’ artist. 

Technology doesn’t define me, I use a lot of different tools for creation from piano, painting, to synths, 3D art, and AI.  It’s so weird that we even have this terminology ‘NFT artist’.  When we started transacting using paypal to buy and sell goods, if you were doing this with art, we never called ourselves ‘paypal artist’ so it’s weird to me.  Like if I was to make music primarily with synths, I’d never call myself a ‘synth artist’.  I’m an artist who makes music and art with a lot of different mediums.

As for Web 3.0, I’m enjoying experimenting and exploring what we can do with new tools that are opening up.  I love going to hackathons and having conversations with people in cryptography to better understand the limitations and possibilities of new technology.  I teamed up with someone new at ETHBerlin recently and won a little award from one of the sponsors - LensProtocol.  We’re about to kick off a little game there soon.  I love learning about emerging technologies as they happen, it’s inspiring to witness and be involved in early experiments because continuous experimentation is what keeps me inspired to create in new ways.  I never want to be pigeonholed or feel boxed into any set ways of creating.  I think it’s good to stay curious and keep our brains active.  

Portrait XO and Richie Hawtin at the ADE 2022 shesaid.so official space

As part of Refraction Festival DAO, SOUND OBSESSED received some grant funding to build a sonic innovation archive which I’m excited about.  We’ve been working with a developer and will be launching the first collection on November 18th using ZORA.  This archive will feature innovative works in and for sound featuring sound artists, musicians, scientists, and robotics engineers.  I’m really excited about creating a new space that will celebrate these exciting movements at this intersection of art, music, science, and technology.  What started as my personal collection of the most inspiring people I’ve met throughout my journey, I’m excited that there will be a home now where I hope will serve to be a way to celebrate the painful and inspiring process of innovation, and also involve more people to be part of the journey to learn about interesting alternative ways to create.  I hope this to be the beginning of what will eventually become a book and expand to involve more people I have yet to meet.  There will be 2 parts of this sonic innovation archive that celebrates the innovators who build new tools, and the validators who create with these new tools and/or integrate them with other tools/their workflow in interesting ways.  

shesaid.so: For musicians interested in collaborating with AI, whether for visuals or sound, are there some tools which you could recommend for them getting started, which are fairly accessible?

Yes, I have 2 published documents on my website https://portraitxo.space/AI-Song-Contest-2021 and https://portraitxo.space/EXPRESS-MINE that feature my workflow, links to tools, and audio examples people are free to download and use however they’d like.  I just ask people to share how they integrate any of my material cause I’m always curious if they do get used and how.  There’s also Dubler by Vochlea that has a smart AI calibration system that allows your voice to be calibrated to their software allowing you to compose from your voice straight to MIDI real-time that works really well.  There’s an amazing new real-time AI audio synthesis plugin for Ableton my friend Moisés Horta Valenzuela created that is releasing soon that’s been really fun.  I’m really into creating instruments from my own datasets so if anyone wants to try a similar approach, the 2 links I provided is how I first experimented creating my own instruments without knowing how to code and using google colab notebooks.  A few months ago, google released a DDSP-VST that now allows people to create their own instrument and do real-time tone transfer with a plugin: https://magenta.tensorflow.org/ddsp-vst.  Examples: https://sites.research.google/tonetransfer.  I haven’t played with a lot of the MIDI related AI stuff mainly because I love working with raw audio.  I love the glitches and morphing that happens.  

shesaid.so: Who are some of the creatives inspiring you at the moment?

Bjork continues to be an inspiration, the level of details that goes into everything she does from what she wears to how she writes and performs.  I just love how she builds entire worlds around her music.  I also love James Blake, FKA Twigs, Joy Orbison, Max Cooper, Floating Points, and have been listening to Jon Hopkins and Aphex Twin a lot again recently.  

shesaid.so: Your work really brings together the worlds of art and technology. Did you always have a brain that was drawn to science and creativity, or has one come more naturally to you?

Photo Credit Factory Berlin

I wasn’t good at all science classes, but somehow I excelled in physiology.  When it came to drawing internal and external human anatomy, I always created really detailed drawings and I was able to hold everything I learned because it was all so fascinating.  I couldn’t get my head around chemistry because it was just too abstract for me.  But the way our human bodies work is so interesting.  I think if I didn’t do music, I would’ve pursued physiology or neuroscience.  My music artist friend Simonne Jones who happens to have a scientific background phrased it once so elegantly, ‘science is art, and art is science’.  I wasn’t always so scientific as a music artist, but the more I became involved and interested in science, the better it helped me create sonically and visually.  I’ve found that the better I understand how things work (the science of how everything works), I can break everything down and get really granular.  I think I’ve become more detailed with how I work because understanding how scientists work with doubt has helped me approach doubt and my own processes in helpful ways that pull me out of getting into existential crises when I feel a creative block like most artists do.  I’m constantly on a search to discover where humanity lies between art and technology.  Scientific methods help me with my ongoing research in different fields of interest, art helps me translate new discoveries, and technology helps me create experiences that translate science into art.  Music is the glue that binds everything and translates emotions and unexplainable aspects of life.  And when you break everything down to its core, everything has a frequency - colors, sounds, flavors, smells, feelings, thoughts, energies, temperature, and even our memories - frequencies beyond sound.

shesaid.so: We’re nearing the end of 2022 which has been a busy year for you! What are you excited about bringing to life next year?

I’m excited about new projects for next year, a lot of new collaborations have been building and forming this year.  I’m looking forward to spending this winter creating new work inspired by everything I’ve soaked up from this year.  It’s been so intense to go from 0 to 1000 but I’ve loved it all so much.  It’s been such an isolating few years for me so connecting with people IRL has brought me back to life.  I can’t wait to release new work next year and would like to tour more.  New things I want to create keep getting added to my ever growing to do list, but I’m really excited I get to collaborate with some really amazing artists and scientists that will be releasing/launching next year.  

shesaid.so: shesaid.so is a community guided by intersectionality. In your opinion, how could the music industry do better in terms of inclusivity? 

Mindfulness and staying curious instead of assuming would be a great place to start all conversations.  Educating each other about the challenges of being part of the industry and helping each other grow in ways that’s emotionally supportive is something I wish I had when I was figuring things out.  I have my own set of traumas from the industry and I stepped away from the music industry for a while to heal and build myself up again.  Having open spaces that allow hardships to be expressed and feel heard and supported is a really great thing to have.  I hope these types of activations continue to be present at events and festivals to be openly talked about.  Having public discourse about really difficult topics is a great way to let people know that they aren’t alone. 

shesaid.so: How have communities played a role in your development as an artist?

While I never felt like I was part of any big community, I have a small pool of people that are like family to me.  I don’t know where I’d be without them and they are my community.  I have ADHD and am constantly working nonstop.  Sometimes I don’t know when or how to stop taking on new work, especially if they’re really exciting and fun.  Because I take on a lot of work, I don’t have a lot of time to spend with a large amount of people on a regular basis.  I divide my time working alone intensely, collaborating with other artists/producers, or on the road at events/festivals.  I have a small community of artists, mentors, and friends who are my backbone to get through really difficult times.  I try my best to give back to communities in whatever ways I can when I have time for it because I think accessibility to new tools is important, especially to groups of communities that would even know about how to access new tools when they emerge.    

shesaid.so: what do you think are the successful ingredients to build a strong community? 

Being able to hold space for each other in times of need.  Being able to feel seen, heard, and supported.  Having shared values.  Manifesto and code of conduct that everyone respects e.g. no homophobia, no sexism, etc.  

Portrait XO at SXSW 2022

shesaid.so: And finally, could you share a few bullet-point top tips for artists just starting out? What would you have loved to hear?

You don’t need the validation of everyone.  Find someone who can be your mentor to guide parts of your journey.  Not everyone will look after your best interest so build a strong community even if it’s just a small number of like-minded friends who are also aiming for similar goals and support each other.  Create goals not plans because plans will always change and learn how to reward every effort instead of seeking gratification from awards, prizes, fame, and anything that’s out of your control.  Filter out opinions because everyone has an opinion.  Be selective with who you ask for constructive feedback when you need it, and ask for it from the right people that are relevant to what you feel will help you.  Getting constructive feedback is very different to asking a random person if they like your work or not.  It’s more valuable to get feedback that’s helpful from someone who is more experienced at what you want to achieve to understand what you can improve/better, and what you’re doing really well in.  But even more experienced people are often times changing and evolving.  It’s a long journey, so staying focused on processes that keep you excited is crucial. 

Journal every part of your journey and celebrate every time you grow and expand and make growth your prime way to feel fulfilled.  If you don’t feel like you’re growing, ask why, and get really granular with understanding what you need help with to move forward.  Journaling is not only the best form of therapy, but it’ll help keep track of your own progress so you can mentally reward your efforts. 

When you do what you love consistently and keep sharing, things do happen over time.  But when the time to go happens, I don’t think anything can really prepare you for the extreme propelling movements that can be really overwhelming.  So having supportive people and mental work like meditating and journaling can help feel grounded when things feel shaky.  The higher the exciting times can lead to feeling really ungrounded after with massive comedowns.  Sit in testing times to feel the ground and breathe, stay in the mental state of gratitude for all the challenges and ask what are the lessons from them.  Accept that what works for you now will and most likely change; continuously evolving and changing is exciting.  And the timeline of when and how things take shape is unpredictable, so learning how to be patient is also vital.  When there are moments of frustration because something isn’t working out the way you thought you wanted, surrender your thoughts into writing and let it all go.  There are always new opportunities and life does support your dreams, just not the way you ever imagined or expect them to happen.  


Check out Portrait XO’s NFT to Vinyl campaign here:

https://marketplace.twlvxtwlv.com/campaign/PortraitXO

Official promo video for Portrait XO’s NFT to Vinyl campaign

Stay up to date with PortraitXO through her social handles, bandcamp and via the following discord channels:

www.portraitxo.space

instagram.com/portraitxo

twitter.com/portraitxo

shesaid.so Mix 043: Venessa Michaels

The shesaid.so mix series aims to spotlight the diverse artists within our community. We’re committed to championing underrepresented voices from around the world, focusing on female, non-binary, trans and queer individuals. Our monthly mix series allows our contributing selectors to showcase their unique backgrounds and inspirations by creating exclusive, 30-minute live recorded soundscapes. 

The shesaid.so Mix series continues this month with Venessa Michaels, the Los Angeles-based producer who's become known for her self-coined ‘2090’ genre: a retro-futuristic sound blending various forms of club music with Y2K-inspired hip-hop and pop. 

The genre-blending producer has collaborated with big names such as J.Worra, Lil Texas, and Kaleena Zanders; toured with NIKI, Raury, 6lack, Party Favor, and Krewella; performed at festivals such as Coachella, Splash House, and Camp Flog Gnaw; and created the theme song for the DreamWorks Netflix show KIPO and the Age of Wonderbeasts

Venessa Michaels is gearing up to release her debut album, Sent From Saturn, a full-length project that will see the artist evolving in real time. With a lavish mix of various dance and pop genres, the new album promises to showcase Michaels’ versatile skill set and eclectic aesthetic sensibilities. 

We caught up with the producer ahead of her newest single, “Needed U” - a breakbeat and tech-house heater dropping this Friday, November 18. 

Tell us the story of how you fell in love with music.

Venessa Michaels: My Mom and Grandma provided me many opportunities to fall in love with something creative. I entered piano lessons at, like, 2 years old, and was apparently patient enough to learn even at that age. That led to eventually taking classical guitar lessons and I fell deeply in love with the instrument. I’ve always been obsessed with music, and so that was the passion that I chose - or maybe it chose me.  My mom was the first person to suggest DJing as something I should try.  At first I was like “NoOoOO I don't wanna be a DJ,” and then I gave it a shot. Obviously it stayed with me, and probably will till I'm 100 years old.  

How has your community, background or upbringing influenced your sound?

Venessa Michaels: I grew up in San Diego and was very heavily influenced by West Coast music & whatever I heard on the radio. I have very specific memories of listening to No Doubt, Sublime, ODB, Mariah Carey, The Offspring, Timbaland, Missy, Aaliyah etc. I really LOVED that era’s music. I would burn CDs all the time. Then I got to experience some Northern California influence when I went to school at UC Santa Cruz - with Mac Dre, Too Short, E-40, etc.  That music contained so much hype - and it was soooo fun.

I mean, I’ve absorbed a large variety of influences. I’m also a DJ, so my influences ALSO include the dance world.  Like everyone knows the A Trak remix of Heads Will Roll. That song was so iconic and it definitely got me interested in uptempo dance music. It's safe to say I love all types of music & am grateful to have heard so much of it.  I know it has influenced my songwriting, producing, and everything else. 

Who or where do you draw inspiration from?

Venessa Michaels: My friends are all really talented people. I am so inspired by their drive and passion, and it only comes back around.  

Is there a theme to your mix? What can listeners expect to hear?

Venessa Michaels: This mix is for the house heads! Enjoy.

What are you currently working on, and what are you looking forward to in 2022? 

Venessa Michaels: I’m getting ready to release my debut album, Sent From Saturn, in the new year. I also created a new sample pack with LANDR called "Club Basics" using their Chromatic plug-in; I’m working on producing more of these. I’m really looking forward to all these releases - I took a year off dropping anything  original, and this will be the first time I drop a full length project. 

we.grow x Power Up Mentoring Program 

We're joining forces with POWER UP - an ambitious, long-term initiative which supports Black music creators and industry professionals and executives, as well as addressing anti-Black racism and racial disparities in the music sector.

POWER UP are calling for an experienced and diverse cohort of mentors to volunteer and get involved in this mentorship scheme, focusing on mentoring outstanding Black music creators and professionals who are at a crucial career tipping point. The mentorship scheme will run in tandem with the POWER UP Participant Programme at the beginning of January 2023, and shesaid.so are the mentoring partner and mentorship managers.

To achieve our aim, POWER UP X shesaid.so are looking for acclaimed music professionals, both creators and executives, to mentor and coach future industry leaders.

If you have a deep understanding of the barriers faced by Black music professionals; extensive experience within your area or a specialist skill set, please apply through the link below. POWER UP X shesaid.so recommend mentor pairs dedicate 2 hours per month to the 4-month scheme.

Mentors will be matched with mentees based on experience, aims, needs, background and requirements by a panel of mentoring experts from shesaid.so. Training and support will be provided alongside regular check-ins with your shesaid.so mentorship manager.

To register and join our cohort of Mentors for shesaid.so and POWER UP to choose from, please complete the following Google Form by close of play Monday 28th November 2022:

POWER UP x shesaid.so | we.grow Mentor Form

Eight years of shesaid.so

The shesaid.so community is celebrating 8 years of awareness, connection and education. Join us as we take a moment to reflect on what we achieved over the last 12 months and what the future may hold.

So far this year; we featured interviews with some of our favorite artists and music industry execs, showcased up and coming talent, embarked on several industry partnerships and projects, discussed issues that are at the core of our community and explored the latest trends in the music industry.


Our 2022 highlights:

Stay tuned as we’ll share more about our achievements throughout the years!

For the rest of the year, we are taking some time to recalibrate and prepare for some exciting announcements in 2023. Take a moment to read an open letter from our founder Andreea Magdalina as she reflects on the past and hints at what the future may hold.


Dear community,

As we take a brief moment to celebrate our 8th anniversary, I feel compelled to deeply reflect on our past achievements and take our time contemplating the future.

We've learned and achieved so much over the last few years together with our members and partners. From countless events and online sessions, through to mentoring programs and editorial content that strived to educate and bring the community closer together. Since shesaid.so's launch as a passion project back in 2014, our community has seen and played a part in key moments for the music business and the diversity and inclusion movement - including a pandemic, #metoo, BLM, streaming, the rise (and lows) of the creator economy, web3 and NFTs to name a few. While some of the wider milestones in our society feel like setbacks, we cannot help but move towards the future with a deep sense of hope.

As we look towards the future in a sustainable way, it's imperative that we take a long term and deep thinking approach. Prior to the pandemic, our public-facing focus was on creating awareness of our mission & goals via events. The global shift to the digital space forced our community to find new ways of connecting and collaborating with one another and, in some cases, embrace new technologies that are once again reshaping how we produce, distribute and consume online outputs via blockchain. Not only that, but our community has evolved from a group of mostly female music executives to include people of all genders who work in music both in a creative and business capacity; we have grown larger in the US where our identity and our bodies are highly politicized; we have welcomed more artists than ever before and we have expanded in new territories while others have folded.

New questions around identity, community, economic value, inflation, digital governance, privacy and ownership have emerged, pushing the music & creative industries to reimagine their place in the world and on the internet. shesaid.so is no stranger to these questions. As a community, it feels we have arrived at a crossroads: on one hand, we have accomplished our mission to drive awareness of diversity and inclusion, and, on the other, it feels as if this newfound social awareness has created more polarization than ever before. If conversation & awareness were our goals thus far, where do we go from here? What is our place in the music business today and moving forward? Who are we and how do we capture this ever evolving communal agency that makes us, authentically us?

In order to find the most thoughtful answers to these questions, we are taking a step back from all major projects for the remainder of the year to make room for deep investigation. This means our annual Alternative Power 100 Music List campaign is indefinitely going on hold, along with our monthly editions of Artist & Member Spotlights, Community Town Halls and other recurring editorials. We are also going to evaluate our existing partnerships, allies and core members to ensure they continue to be in alignment with our values as we look towards the future with a renewed sense of standards. To improve transparency, we will rearticulate shesaid.so's vision, mission statement and values and reassemble them into a new cohesive documentation system that our community can easily reference internally and externally. Last but not least, we will explore new tools of organization and governance with the goal to increase community participation and reward members based on the level of their contributions. Big changes are looming on the horizon and, as a member, please rest assured that you will play a significant part in bringing them forth.

I'm filled with gratitude as I write this. The 19 year-old me who left Romania to be a student in London would have never thought that, 5 years later, a small act of registering a new domain name with an unusual tld would lead to what shesaid.so is today. While I'm working on clarifying what it will be, I think we can all look back with pride on what it has been. When I sat down to create the very first shesaid.so community platform (the same google group we still use today), I knew we may never reach the ultimate destination in my lifetime. To embark on a journey whose terminus may never be found is a strange feeling for anyone with a strictly logical mindset like mine was eight years ago. And yet I've learned more about myself and my destination from the hidden backwoods that this path has taken me on than I would have from simply crossing the finish line. I'm so excited to continue getting lost together in new ways on the way there.

Yours,

/AM

We are thrilled to welcome shesaid.so Iceland!

Their launch event will take place at Loft Hostel on November 5, during the Iceland Airwaves Festival and Conference and you can RSVP HERE.

The Icelandic chapter is being started by Anna Jóna Dungal, Hrefna Helgadóttir, Kelechi Amadi and Kim Wagenaar. What they all have in common is having spent significant time abroad, where they individually came to appreciate the value of strong communities to share experiences, collaborate and accelerate career growth. The team decided to formalise themselves for women and gender nonconforming people under the banner of the global shesaid.so. The Iceland Chapter will aim not just to strengthen itself by connecting internally, but also build on this global brand to strengthen and build on connections to the international music industry. 

The goal is for the organisation to start in 2023 with four big events over the year and a series of smaller networking meet-ups. The chapter will be run by 5-8 industry professionals and artists who together make up the board, and then any woman or gender nonconforming person in Iceland can join as a member. Members will pay a small annual fee to access the events, the global community, job opportunities in the industry and much more and is open for all women and gender nonconforming people who work in music in Iceland. The organisation will look to educate, inspire, connect, and entertain its members offering up opportunities to network, and showcase talent both at home and away – which will serve the wider music community in Iceland by making the industry more equal and more visible. 


"When I moved back to Iceland during the COVID pandemic, I was really missing a sense of community around the work that I was doing. Getting the opportunity to connect with dozens of women through the Keychange program in 2022 made it click with Kim and I that this is what’s missing from the Icelandic scene: a safe space for women to connect around the work that we do in music."

– Anna Jóna Dungal, titill 

When they approached me, I instantly felt like this was something I should participate in. I‘ve worked mostly with women in my collectives as an artist and project manager, very powerful and legendary women whom‘ve inspired my in lifechanging ways. There‘s some crazy magic that happens when those projects work out. But those women-fronted collectives and teams are rarely the case in the music industry, and I think shesaid.so can path the way for that magic to flourish.

– Ása Dýradóttir, Mammút


We are thrilled to welcome shesaid.so Iceland to the #shesaidso family and extend our vision and mission further into the European market. Wishing the team a successful launch, and can't wait to see what they will accomplish! We’re so looking forward to seeing your success in our global community.

— Andreea Magdalina

Founder, shesaid.so


 

Event recap: shesaid.so showcase at the Roundhouse Rising Festival

Thank you for making the shesaid.so showcase at Roundhouse’s Rising Festival a success!

Deto Black, Zanillya, TrueMendous

The showcase was all about the lyricism, powerful rhythms and empowering messages that these artists have created. You could feel how that had travelled through everyone in the room, leaving a feeling of longing to relive the night again.

The night opened with Flora Yin Wong, the room filling out quickly as she began her set. Flora's experimental, rhythmic tracks had the audience hooked, creating anticipation in the air for what the rest of the night would entail. Next was Zanillya, who only continued to build on the sturdy foundations Flora had built. The crowd warmed to Zanillya immediately, with her infectiously bright energy and impactful music pulsing through the audience.

This energy and enthusiasm within the crowd seemed to carry on through the night as they welcomed Truemendous to the stage. She had the jaws of everyone in the room touching the floor with her striking flow patterns and vocal techniques, carefully and articulately portraying her messages with an immense force that you simply could not ignore. We then had Deto Black to conclude our evening, she captivated the crowd with her powerful and magnetising performance in an instant. Hyping everyone up during her last few tracks they were sad the night had to end. Once Deto was finished the room was still humming with joy and excitement from the night, many people approached me to exclaim how brilliant the line-up was.

The highlight of the night for us would be seeing how much the audience and artists connect. We loved how welcoming and supportive the audience were towards each artist and how that was reciprocated right back from the stage. There was a fantastic exchange of energy, and we could feel that the artists used that energy to make their performances better than they could have imagined.

A big thank you to the Roundhouse staff for being great communicators and doing their best to fulfil every request we had on the day, no matter how big or small! It made all the difference to work with a team of people at the venue who were present and just as passionate to be there with us to make a great show.

Words by Vix Brand @vixkurtis

Photos by Jennifer McCord & Vix Brand