where's the credit? by

In recent Internet Land events, Pitchfork posted a semi-controversial interview with everyone’s favorite Icelandic artist Bjork in light of her new record Vulnicura. The article sparked an important discussion on popular social media platforms about female musicians, their place in the music industry and the constant adversities they face.

From facing constant doubt to being deprived credit of their own work, it doesn’t take a musical

RORY

genius to realize that misogyny is real in the music industry. The prominent and absurd attitude towards women in music is pretty toxic; it diminishes artist integrity, perpetuates a system of entitlement for male musicians and potentially discourages young girls from pursuing musical careers.

After reading several posts in reply to the article (and being angered by some), I reached out to Lindsey Sprague of the Greensboro band Daddy Issues to see how these problems affect our own local scene. Sprague stressed the importance of women’s visibility in music and spoke of her own experience in dealing with the “core of doubt” most women are up against in any music scene, “…I think you seriously have to prove to everyone (the guy at the guitar store, the sound person, the booking agent, etc.) that you are for real, and that you can and should be taken seriously.”

Daddy Issues may embrace the term “girl-band,” but that certainly shouldn’t change how people perceive their talent or validity. From musical goddess Bjork to one of our favorite local bands, it’s obvious that these issues are very real. The Triangle has a lot of influence on North Carolina music, and I think we could make a difference if our community continues to make space for women in music. Let’s keep sexism out of what Sprague calls, “the most open and welcoming music scene ever.”