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Don’t fall for the Girlboss scam

Surely you’ve seen the branded content.

Whether it’s on a millennial pink T-shirt, a sassy coffee mug, or the former Nastygal CEO, Sophia Amoruso’s memoir that started it all, #Girlboss culture has become inescapable online and off.

The girlboss moniker is attached to overwhelmingly white, cisgendered women who have achieved lucrative careers in their field of choice; generally the business sector. The term’s purpose is to encourage women to climb the corporate ladder, in hopes that if more women are at the top of historically male-dominated industries, they will become more ethical and egalitarian.

Girlboss culture didn’t come out of nowhere. Girlbosses are just the millennial manifestation of the decades old “girl power” movement. Girl power started in the 1990s as a result of the radical “Riot grrrl”  feminist movement. Riot grrrls would play underground women-fronted punk shows, circulate handmade political zines, and preach radical self-acceptance. Whereas Riot grrrl was a bottom-up DIY scene, girl power was the market’s top-down commodification of Riot grrrl’s ideals.

For example, The Spice Girls are often cited as a prime example of girl power, yet the band was assembled by two (male) managers connected to major label Virgin Record . Like much of girl power culture, The Spice Girls were manufactured to sell a product, and secondly, to sell the idea of “empowerment” to young girls.

Empowerment remained an important notion in the transition from girl power to girlboss culture. “Empowerment” is one of those words that has become so ubiquitous in popular culture that it has begun to lose much of its original meaning. By definition, empowerment means gaining control over the actions and choices in one’s life.

Since girlboss culture is targeted to mostly white, middle to upper class women in the west, I struggle to see how this veil of empowerment is necessary. Girlboss culture is not about making sure women have the education or structural means to achieve careers, it is simply bolstering already-privileged women into higher levels of financial success. Thus, empowerment is just a trendy word to rally behind that serves no real purpose other than making powerful women feel good about their accumulation of wealth.

Additionally, the notion that a company with women at the top is inherently more ethical is highly flawed. In the case of Amoruso, the original #girlboss of fashion retailer Nastygal, she had several allegations against her company’s culture of image consciousness and lack of accountability and respect for those working under her.

This “trickle down” mode of feminism will not work. Instead of placing our faith in a handful of corporate women to try to change the system from within, why not focus on structural change that will improve the lives of everyday women and other marginalized groups? It will be hard to try to hack at patriarchy without taking capitalism to task as well. Feminist practices don’t need to always be “practical.” Pushing for large structural change, rather than sticking more women into an already broken system, is the only way forward.

Graphic @sundaeghost

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Quickspins

QUICKSPINS: FKA twigs – MAGDALENE

FKA twigs creates world-class pop music on MAGDALENE

MAGDALENE comes four years since twigs’ first full-length release, LP1. While LP1 introduced twigs as an innovative artist to follow, MAGDALENE cements her as one of the most creative voices of modern pop music.

As is evident from the record’s title, MAGDALENE is steeped in Christian references. The juxtaposition of religious symbolism and sexuality can often be used as a cheap ploy for subversiveness in pop songwriting. Yet, because twigs brings the Christian elements both into the lyrics (as on “Mary Magdalene”) and into the orchestration (as with the choral singing on “Thousand Eyes”), this combination makes complete sense.

Despite the R&B sensuality that flows through this record, it is also deeply pained. To say MAGDALENE is a breakup album might be a bit reductive. Yet, many of the tracks deal with twigs coming to terms with who she could be outside of a broken relationship.

MAGDALENE is a tortured, spiritual manifesto for pop music’s future, and you can expect to hear its influence in countless albums to come.

9.5/10 

Trial Track: “Home With You”

Star Bar:
“I’m a fallen alien
I never thought that you would be the one to tie me down
But you did
In this age of Satan
I’m searching for a light to take me home and guide me out” (Twigs on “Fallen Alien”)

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Music Quickspins

QUICKSPINS: Angel Olsen – All Mirrors

Riding the success of her recent releases, Angel Olsen takes a new orchestral direction on All Mirrors

Angel Olsen’s All Mirrors is a grand orchestral pop expedition into passion and loss. Just two years since the release of her last album, Phases, and three years since the major critical success of My Woman, Olsen has pivoted from her trusted folk-rock roots to a more bombastic, ambitious route on this newest project.

Olsen’s lyrics are often questioning and timid yet her vocal delivery carries all the power. This is especially apparent on the track “Impasse” where she belts “Take it out on me, I’m too caught up to see […] You know best, don’t you know” over gloomy swelling strings, creating a beautiful yet deeply unsettling atmosphere, a tone that appears often in the album.

Despite a sprinkling of upbeat moments on the album such as “Too Easy,” All Mirrors is incredibly dark. There is a palpable anger running through this project. Whether it’s anger at a past love like on “Lark,” or anger at herself as on the title track, Olsen isn’t letting anyone off the hook. All Mirrors is what a breakup album should be, Olsen’s songs of self-reflection and ire bring us even deeper into this powerful singer-songwriter’s mind.

9/10

Trial Track: “All Mirrors”

Star Bar: 

“It’s easy if you tell the truth

But knowing what it is, it’s not enough

And knowing that you love someone

Doesn’t mean you ever were in love” (“What It Is”)

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Music

Weyes Blood enchants Rialto Theatre

Los Angeles pop songstress brings “Something to Believe” tour to Pop Montreal

Sept. 27 was a big day for Montreal. In the afternoon, nearly 500,000 protestors poured into the streets to march to demand climate justice. As the crowds dissipated and night fell, the Pop Montreal festival continued in full swing, with singer-songwriter Weyes Blood headlining at Rialto Theatre.

The audience trickled into the historic Rialto as the first opener, Markus Floats, started to play at 8 p.m. The Montreal local performed a short set of electroacoustic mixes that spanned from calming and transcendent to otherworldly and unsettling.

After a quick tech change, Helena Deland took the stage. Her set started somberly, as was to be expected from her stripped-back pop style. Deland remained alone on the stage until she was joined by her bassist halfway through her set, when she played two of her biggest songs, “There Are a Thousand” and “Claudion.”

Despite the fact that these songs are some of her most upbeat tracks to date (with “Claudion” being rather dancible in that mellow sort of indie way), Deland forewent any chance to bring the energy up. This was a missed opportunity. “Claudion” especially felt like it was missing some of the energy that the recorded version contained. Later, she decided to close her set off with some of her darker tracks. Though Deland’s musical talent is hard to deny, the fact that her set peaked in the middle ended up making the performance feel unsatisfying.

Photo by Cecilia Piga

The moment Weyes Blood took the stage, it was obvious that this show was going to be something special. She had a small band accompanying her, but as she came out in a head-to-toe white powersuit, there was no denying she was the star.

She started out playing songs from her newest album, Titanic Rising, which has been receiving critical acclaim since its release this past spring. After a few songs, she took a moment to pose a question to the crowd. She explained that since this show was on the “Something to Believe” tour, she wanted to know what her audiences believed.

So, in a very matter of fact way she asked, “Was the moon landing filmed by Stanley Kubrick?” Most of the crowd just laughed, but a few hands shot up. She responded by saying, “In Vancouver, everyone raised their damn hand.” Then, she jumped into “Something to Believe”.

By far the most visceral performance of the entire show was the final pre-encore song “Movies.” The song started out with her gloomy voice laid over simple synth arpeggios. As she stood at the front of the stage, her body was flooded with lights that made it seem like you were looking down at her as she sank underwater, echoing the album cover of track. In that moment, the room felt spiritual. Weyes Blood, drenched in light, with her angelic voice, seemed like a sort of collective vision of the audience.

After leaving the stage to immense applause and cheering, Weyes Blood and her band returned to the stage to play three final songs, including a cover of the 1967 psychedelic song “A Whiter Shade of Pale.” She finished the show off with an old fan favourite, “In The Beginning.” 

Not many artists have both the incredibly strong voice and stage presence of Weyes Blood. Her ability to belt out her baroque pop tunes evoke icons like Kate Bush and Fiona Apple, and there is no doubt that Weyes Blood is on her way to icon status.

 

Feature photo by Cecilia Piga

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