Category: Unfinished Mail

August 1st, 2019

Unfinished Mail – August 2019

big fest
 

It’s mid-July as I write this and I’m preparing for a 3-day music festival at the end of the week. That means sunburn, drunks and plenty of good music. This summer has been one that has been different in the world of music festivals. All summer I’ve been watching the implosion of Woodstock 50. There have also been fires, fraud, shootings and banning of liquor at festivals this summer. Locally Peoples Fair, a summer festival we’ve all grown accustomed too didn’t happen this year. On top of this, I read weekly of Live Nation or AEG taking over festivals worldwide. 

 
Music festivals are gathering places. They are where people go to enjoy music and each other. They are a nightmare to produce and put on. They can be profit machines but often are plagued by problems with logistics, and management. I also watch festivals worldwide for a number of other issues. Are they booking women artists? Are those artists given the same marquee space/poster space as men? What are the festivals doing to combat sexual harassment? It is not enough to say you have a “zero tolerance” policy towards harassment. It means you must actively engage your audience when they are buying tickets to be aware of the situation and the resources available. Where is the safe space at the festival where, if an event occurs, the victim and her rights can be protected. I know too many women traumatized by the treatment after an event as much as the event itself. 
 
The music industry likes to have blinders on when it comes to sexual harassment. It willfully ignores the #metoo movement in the studio, in the label, at the festival, at the awards. The old boys network of the music business will crack in the future. It is ordained by the next generations coming up. When Gen Z is in power they will not tolerate the excuses of the boomers. 
 
Next month we hit the end of the summer. I will be having surgery so hope not to have to rush the issue. Fingers crossed. 
 
Sincerely, 
 
Alex Teitz
Editor-in-Chief
FEMMUSIC

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July 1st, 2019
Why Am I Still Doing This?
Oops! We screwed up. For months we’ve been telling people that FEMMUSIC’s 20th Anniversary was in August. We were wrong. It is now. July 2019. After 20 years senility must finally be setting in. Over the course of this month, we will be adding tidbits to the website. They are our history. Every time I look at the history of FEMMUSIC the story gets longer as I realize more elements made it come into being. I did not expect it to last 6 months let alone 20 years. Now I look back and forward and am amazed at what we’ve done. 

I just came from a weekend of catching a TV festival and different concerts every night. Even at my most exhausted on Sunday, I was still with fire in my eyes for the next act. Tonight I go to a dive bar to see some bands I’ve never heard of. After 20 years I still consider it my passion to find new acts on the way up. I’ve become an advocate, activist, pain in the ass to many people over time. From day one FEMMUSIC has had competitors. I am glad to see every single one. There is more music available than ever before. If I had a staff of 100 I couldn’t begin to crack what it out there. I live and breathe music every day. 

 
FEMMUSIC would not be possible if not for the people supporting us. When I first launched the website I made a point of a hidden page of thank you’s. I have to begin by thanking David Barber who is my webmaster, photographer, mentor, partner-in-crime. After 20 years we haven’t killed each other and still continue to do this. A huge thank you to my current group of photographers including Veronica Lee, Justine Johnson, Becca Martinez, David Barber, Will Elmore, and Lisa Dibbern. I also have to thank every writer and photographer we’ve worked with in the past. It has been my pleasure to see them evolve and grow and find their passion. 
 
I’m not sure what the next 20 years will hold but as long as I can stand up and badly dance I will be going to shows and finding new artists. 
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC

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June 1st, 2019

Unfinished Mail – June 2019

magic
It’s June and my calendar is a mess. There are 3-4 festivals to look at, a couple of individual shows and tons of artists. My eyes are heavy and my body hurts from another long night. I wish I could tell you how many shows I’ve been to since starting FEMMUSIC. It numbers in the thousands. Ironically this is the first year I’m actively tracking which shows I attend for my own tally. At the end of May, I’m in the low 60’s which means I’m behind from where I normally am. 
 
When I go to shows I love talking to the audience and meeting new people. I was recently at a show where I met a superfan. He was spending his vacation following a band through 10 days worth of gigs. He’d already established himself with the band, their openers, and the crew. He was having fun. When I talk with photographers and other FEMMUSIC people what we seek is MAGIC. A show that exceeds your expectations by leaps and bounds. Describing that magic is tough. Oftentimes it is the band’s interaction with the audience, the energy of the performance, and some unknown. I will often laugh when a band says “This is the best audience on the tour”, “This city is better than all the others we’ve been through.” A MAGIC night stands out. An average night is not “the best night of the tour.” It’s said as boilerplate language. Instead of trying to compliment the audience, play a stronger show. 
 
It is summer and shows are now sold out. My calendar hit December this month. That is the furthest show I’m eyeing. By the end of June I will be well into 2020. New recording continue to amaze me. In my opinion this is a good year for music. 
 
It’s sunny. It’s warm and there is music playing somewhere. Go out and see it or go out and make it. 
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC

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May 1st, 2019

Unfinished Mail – May

Concert Etiquette 
 
It’s May which means festival season is here. It is also time for our annual reminder of concert etiquette. Whether you’re at an outdoor show or an intimate venue, playing nice with your neighbors is appreciated. 
 
1. Talking – Did you come to the show to see the artist or to talk? If you’re going to talk through the entire night you’ve wasted your money and offended people around you. Go to a bar, go to a restaurant to talk. At the show more people than you WANT to hear the show. 
 
2. Screaming – Why are you screaming the artist’s name? Why are you screaming song names when the artist hasn’t asked for requests? The artist knows their own name and has a set list that most likely has your favorite song in it. If the artist asked for requests, then you can scream your favorite song. 
 
3. Singing – Congratulations! You know every lyric to every song that the artist is going to play. The people around you however paid to hear the artist sing them NOT you. If the artist invites you for a sing a long then feel free. 
 
4. Filming, txting, social media – Did you pay money to see a show through a 3″ screen? I didn’t. I want to experience every note and emotion in wide screen, full life. To do that I do not need to record every second of the show, photograph every second, or txt, instagram of FB everyone I know to prove that I was there. Surprisingly neither do you. It used to be if you wore the tour t-shirt the next day at school you proved you were there. Now you can instantly make your friends jealous by sending photos, clips from your phone. Just because you can…doesn’t mean you should. Experience a show LIVE not on a 3″ screen. 
 
5. Drunk/Stoned – How much of the show will you remember when you are drunk or stoned? How much will EVERYONE around you remember you if you are drunk or stoned? How many will record it and send it on social media with the quote “Look at this idiot!” Congratulations! You can get drunk or stoned anywhere. Guess what? Nobody cares. People paid money to see a show not to see you behave like an idiot. 
 
These are a small few of the list of concert etiquette items that appear at every show, every summer. It is a funny thing that if you treat people around you with respect, they will treat you the same. If you don’t…then you can be forever immortalized on social media for being “that ass that ruined the show.” If you paid money to see a show…see a show. See, hear and experience with every sense. If not, why are you at the show at all? 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC

 

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April 1st, 2019

Unfinished Mail – April 2019

 
In Flux
 
As we go screaming into April, my mind is still stuck in March. March, of course, was Women’s History Month and also International Women’s Day. As usual, on March 8 my inbox was flooded with songs to celebrate International Women’s Day. This year I viewed it like seeing the Christmas displays after Thanksgiving. It was pushed too hard and felt over-marketed. Since International Women’s Day we’ve posted some of the videos we received but not all. It’s a funny thing about empowerment. It shouldn’t be forced. 
 
At the same time, I received word that the Titwrench Collective https://www.facebook.com/titwrenchfest/ is in flux. This collective has done an annual festival for a decade. They are one of many organizations I’ve seen dedicated to getting women musicians heard. 
 
March also found me moving from my apartment of 15 years. That may be one reason April may have delayed interviews and articles. I’m hoping by the time this posts I will be safe and secure at my new apartment ready to conquer the world. 
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC

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March 1st, 2019

Unfinished Mail – March 2019

Bishop-Briggs-at-Grandoozy-Festival
 
 
Spring is coming this month and with it the full return of the festival season. In the past 2 weeks, I’ve been flooded with album and show announcements from some of my favorite artists including Tacocat, Weyes Blood, Charly Bliss, and others. The news is coming so quick it is impossible to keep up with. It is mid-February and I need another month to do the March issue. This month is SXSW which is most of the music for the year bottled in one location. Every year I take great pride in previewing what is to come. These days I’m on information overload. It will be the trend from now until November. 
 
If you’re a musician you should still be applying for festivals, and finishing any recording to be released in March, April & May. Booking should be in high gear. 
 
Next month we will be on the cusp of summer and will be previewing festivals in Canada & Washington, DC. 
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC

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February 1st, 2019
Overstaying Your Welcome

 
I recently caught up with another music journalist. One topic we both came back to was when is it time for an artist to leave the nest. We mean tour. In 2018 I saw a number of bands evolve to playing venues, festivals, and sometimes any gig they could get. After a while, it looked like they were playing the same venues constantly. When Summer turned to Fall this routine wore on me. It was the same set. There was nothing new. It also felt like a saturation level had been reached. There are only so many times you can ask friends and family to come out before you need new blood. If you’re not getting that new blood, it may be time to take a risk. 
 
Touring is an intimidating part of the music industry. It means leaving your comfort zone and embarking on a new adventure in areas you’re not known. Touring is also expensive and can take a long time to make a profit if any. It exposes you to audiences that have never heard your music and can work to build your fanbase. That does not mean every gig is a winner. It also means that if you try a new market, you may need to return many times until you ‘re known. There are numerous books & apps on touring that go through the logistics from promotion and booking to hotels and insurance. The one question they can’t answer for you is when. When should you hit the road? 
 
When is a personal question. It involves everything from finances to how confident you are as a musician. The money is the easy part. Expect not to make any but gain new experiences and new fans. Touring can be in-state and regional. It does not mean touring out of state immediately. What does your e-mail list & FB tell you about your fans’ locations? If one city beyond your own keeps coming up, it’s time to play there. 
 
Touring is the grand adventure. Don’t stay locked in a cycle of the same fans and venues locally when you can spread your wings to another place. 
 
Sincerely, 
 
Alex Teitz
Editor-in-Chief
FEMMUSIC

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January 1st, 2019
Happy New Year
 
 
Welcome to 2019! It’s a few days before and I’m scrambling for deadline. The holidays always make it rough. In the past week I read a book about the Altamont disaster in 1969 as well as seeing reports of Woodstock getting ready for a 50th Anniversary. Let’s hope it goes better than Woodstock 1999. 
 
January & February are usually quiet for the music biz. People are home recording and doing home shows. There are also the big awards shows. March is when the insanity begins. Normally during Jan & Feb I like to do big expansive pieces. I hope to do another this year. 
 
After another year of shows I’m wondering if I should write the book on the young woman artist set. I’ve been seeing it all year and can practically predict it. The artist is usually signed and looks coached in the set. The set will hit the following notes:
 
1. Have you ever felt like no one understands you?
2. Have you ever felt like you’re alone?
3. Here’s the song for lovers or for loving yourself
4. Here is the women’s empowerment song
 
The set will be book-ended by singles that are usually danceable. I’ve seen this same set in small and large venues, with openers and headliners, and in different genres. It feels staged and fake now. It also feels like every label knows the set. I’m hoping for 2019 they will change it up. 
 
This month we are previewing 3 festivals. Brandi Carlile’s Girls Wanna Weekend, globalFEST & GirlSchoolLA. We are waiting for the lineup on Girlschool which happens in late January. I need to start reviewing the showcase bands for SXSW for our preview in March. 
 
That’s all the random thoughts from my desk. Happy New Year!
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC

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December 1st, 2018
 

Unfinished Mail – December 2018

 
 
It’s mid-November and 2019 is calling with a lot of the same headlines as 2018. There are new artists who are already creating a buzz. There are artists who haven’t had albums in years coming back. There are already summer tours announced. I just finished the Best Of list today. Every year it should be the easiest thing to do, and it is the hardest. There are stories throughout the year in the list. One surprise to us was that our Runners Up in the Rock Category are both bands that don’t have a woman singer. Our Jazz category has a mix of a flutist, an instrumental, and a band without a drummer. We saw a number of Hip Hop artists this year and considered making them their own category. Instead they are mixed among the Best Of…
 
As we approach Thanksgiving the touring season is finally winding down. Last month I began to get burned out. It’s been a long year and we have a handful of shows before it is 2019. I’ve already started to pre-order albums for 2019 and have some shows I can’t wait to see. December things will slow down, even for us. It won’t really pick up again until late February. 
 
Have a good holiday and look for more in 2019
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC

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November 1st, 2018

Unfinished Mail – November 2018

 
Girls Buy and Play GuitarsGirls Buy and Play Guitars
 
It’s mid-October and I’m still fuming about an article that came out in Rolling Stone:
 
 
Why am I fuming? First, is it news? Why did Rolling Stone make it a story that 50% of new guitarists are women?. Why was Fender so surprised? 
I remember when Daisy Rock guitars launched as guitars for women and young girls. They were seen as a novelty until some big name women started playing them to stress the point that women not only play but purchase guitars. That was over a decade ago. Why is it news? I see women who play guitars are a regular basis. They are not stereotypes of Joni Mitchell playing soft folk songs. These are fierce women who can shred. Does Rolling Stone need to be reminded of She Shreds Magazine? A magazine solely focused on women on guitar. 
 
This morning I was filling out a survey by Folk Alliance. The survey had very direct questions on how folk music is perceived and the audience and performers it brings. Many of the “folk” shows I’ve been to this year the median age of the audience is 60. The star is white and the songs are political in nature. It is rare to see a “folk” show with someone of color on stage or in the audience. I see the same thing with jazz and blues. It is a not so subtle sign, much like the GOP, that the form is dying out. 15 years ago folk, jazz & blues had a small sliver of the music market. Filling out the survey today I think it is continuing to shrink. I love to see a singer-songwriter “naked” i.e. them and a guitar. It tells you more about the songwriting and the person when they can’t hide behind a band. What are your thoughts on folk, jazz, and blues? Where has it been? Where is it going? 
 
Touring season is in full swing, still. Festival season has finally ended. As musicians now is the time to head home and record and start filling out festival applications. Spring is coming quick and the homework you do now will pay off in the summer. 
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC 

Posted in Unfinished Mail

October 2nd, 2018

Unfinished Mail – October 2018

The Woman Roars

 
A couple of nights ago I caught Courtney Barentt. The last time I’d seen her it was election night 2016. She ended with a wonderful cover of “Drunk on Election Night.” It was more than fitting. This time around she had covers but no mention of the show of 2016. As we approach the election of 2018 I have to get political.
 
This past week was the Kavanaugh hearing in Washington, D.C. The battle between Kavanaugh and Dr Ford was night and day and recalled the Anita Hill hearings. The only thing that was different was the world. We are slowly turning the massive consciousness away from 18th & 19th Century thinking. The catchword is #metoo but that is merely the catalyst of an explosion that has been generations in the making.
 
I still get e-mails from Equal Means Equal who are still trying to pass the Equal Rights Amendment to the Constitution. It has been nearly 50 years to get enough states to ratify it. Will it change the world? Will it make things easier?
 
This year has been called the Year of the Woman. From the Womens March # 2 to #metoo women have a stronger voice than ever before. It American politics more women have run for office and made it through primaries than ever before. Sadly the #metoo movement is still quiet in the music industry. There have been some firings and some revelations but the industry remains a male behemoth.
 
By the time our November issue comes out it will practically be election day. On top of everything else, work, life, school, music…this is the year to vote. No matter how many marches you attend, petitions you sign, all are meaningless unless you exercise your right to be heard. It is time for the women to not only speak…but to roar.
 
Sincerely,
Alex Teitz
Editor-In-Chief
 
FEMMUSIC 

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August 1st, 2018
Turning 19
 
August marks 19 years for FEMMUSIC. It was a difficult birth and the teen years have been rough, last year especially. This year we’ve been making up lost ground and charging forward at breakneck speed. It’s fun but we’re not a kid anymore. We do have our overwhelming curiosity for new music and the women who make it. That never changes. At 19 we’re still learning and growing. I have an active search for photographers and writers to join our team. If you know anyone, please refer them here. At 19 we still want to do more, cover more, and sleep less. We are dedicated to keeping a strong presence with our local scene and continue covering the world. The two sometimes seem contradictory. 
 
My own goals this year are changing. Last year was so heard that we didn’t do as much as we could. This year I’d like to do more but find myself more and more riding a computer instead of at a show. I naturally don’t sleep and the stress of keeping everything going can be a challenge. This summer feels harder than before. I hope when we turn 20 we can turn a page and be a bigger better organization. I may also relax my own reins. I don’t know yet. 
 
Running a magazine is based upon that old adage, “What have you done for me lately?” Keeping that many balls in the air is both the challenge and the excitement. We’re looking forward to 20. We hope you are too. 
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC 

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July 1st, 2018

Unfinished Mail – July 2018

 
Reluctant Artist
 
In the past couple of weeks I’ve seen a couple of artists that mystified me, and not in a good way. Each artist had their own eccentricities on and off stage. 
 
Artist #1 is a well-known artist with a couple of different bands and collaborations with other artists. On stage, she is wildly entertaining and engages the audience. Off stage, she is standoffish and almost rude. She refuses to do encores and seems offended to have to sell merch and sign anything. She is not a new artist but a veteran of a few years. 
 
Artist # 2 comes from a well known musical family. She does not emphasize her family ties. On stage, she curtsies and seems to wrap herself up in a protective bubble in a fetal position Off stage she wants to have security. There is no audience engagement and a distance and coldness. 
 
Artists regardless of medium are different. It takes a huge amount of courage to put all of yourself into your art. Many artists tend to be shy and introverted because their best communication is through their art. Musicians can be both shy and engaging. On stage, a musician must give their all. Many artists have pre-stage rituals from drinking heavily, getting high, assuming a persona and more. This pre-stage ritual allows them to be someone they naturally are not, a star. Offstage they revert to their humble roots. It makes many artists endearing and human to their fans. 
 
Both of my examples above are artists who have adopted ways that don’t serve them. On stage you can’t retreat nor should you. People are there to see you. Drink in their energy and let it fuel you on stage. Concerts are participatory on both sides. Look me in the eye from the stage, even if I’m a vague shadow past the lights. Move around. Dance. Have fun. This is your calling, not your job. 
 
Offstage talk to your audience. It always amazes me at small shows, before the curtain has been raised, how many artists don’t try to talk to anyone but their friends. If I’m at a club show, and I’m one of 20 in the door and you’re waiting for your set to begin. As long as it doesn’t interfere with your pre-stage ritual, walk around the room and put out your hand and say “Hi. I’m so-and-so. My band is playing first. I hope you will watch us.” It takes all of 5 minutes and there is a strong chance everyone you said “Hi” to will watch part or all of your set, not just your friends. When the set is done, wait to see how many of the people you introduced yourself to come back to you to give you feedback and buy merch.  
 
When you look at a painting or watch a movie there is no engagement. In live music there is a back and forth. There is energy in the room. Don’t hide when you can bring people into it. 
 
Sincerely, 
 
Alex Teitz

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June 1st, 2018

Unfinished Mail 

 
Happy RhodesHappy Rhodes
 
How the Ectophiles and FEMMUSIC Met – You Had Me at Ecto…
 
In May I received word that a catalog release was coming out from the artist, Happy Rhodes. If you’re a long time reader of FEMMUSIC the name comes up. For me Happy Rhodes is not only an outstanding artist, it was my introduction to her fan group in the early 90’s that is one reason FEMMUSIC exists today. I was in high school when I first found Happy Rhodes in the racks of a record store. Once I heard a song, I was hooked and had to get more. I ended up buying her first 10 CD’s. Rhodes story sounds similar to Ani DiFranco. Rhodes released 11 albums as an independent artist living in upstate NY between the late 80’s to the early 00’s. She did not tour extensively and her music and fans have an underground mystique to them. 
 
The fans of Happy Rhodes are Ectos or Ectophiles. They get this name from 2 websites:
 
Ectophiles Guide to Good Music – http://ectoguide.org/
 
I can personally that the Ectophiles Guide to Good Music turned me on to many artists I never knew in the pre-streaming days. I never attended the Ectophile Convention nor saw Rhodes live. In finding artists I’d never heard of, it spurred an interest to find more. That interest continues to this day in the pages of FEMMUSIC. 
 
Happy Rhodes
 
Rhodes’ catalog release is called Ectotropia and brings together some of her oldest material in a CD or Vinyl. Rhodes has an amazing 4 octave range and fits into the ethereal world of dreampop. The album can be found at: 
 
 
Rhodes is still active in the cover band The Security Project – http://securityprojectband.com/go/
 
I hope FEMMUSIC inspires others to search for new & unknown artists as Rhodes did me. To all the Ectophiles out there I say THANK YOU. 
 
Sincerely, 
 
Alex Teitz

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May 1st, 2018
Concert Etiquette 
It’s the end of March and I’m already working on May and heading towards June. I’ve been listening to Sunflower Bean’s Twentytwo in Blue and loving it. I also have been thinking about the festival season. When I was younger another music journalist I respected would have the same column once a year on concert etiquette. I’ve emulated him in the past with my version. This year I decided to start fresh. For anyone who has had the person talking the entire night right next to you, the drunk or high idiot who is making a fool of themselves, and the person who has to record every second of the headliner with a cell phone as opposed to experiencing it, this list is for you: 
 
  1. Talking – Did you come to the show to see the artist or to talk? If you’re going to talk through the entire night you’ve wasted your money and offended people around you. Go to a bar, go to a restaurant to talk. At the show more people than you WANT to hear the show. 
  2. Screaming – Why are you screaming the artist’s name? Why are you screaming song names when the artist hasn’t asked for requests? The artist knows their own name and has a set list that most likely has your favorite song in it. If the artist asked for requests, then you can scream your favorite song. 
  3. Singing – Congratulations! You know every lyric to every song that the artist is going to play. The people around you however paid to hear the artist sing them NOT you. If the artist invites you for a sing-a-long then feel free. 
  4. Filming, txting, social media – Did you pay money to see a show through a 3″ screen? I didn’t. I want to experience every note and emotion in wide screen, full life. To do that I do not need to record every second of the show, photograph every second, or txt, instagram of FB everyone I know to prove that I was there. Surprisingly neither do you. It used to be if you wore the tour t-shirt the next day at school you proved you were there. Now you can instantly make your friends jealous by sending photos, clips from your phone. Just because you can…doesn’t mean you should. Experience a show LIVE not on a 3″ screen. 
  5. Drunk/Stoned – How much of the show will you remember when you are drunk or stoned? How much will EVERYONE around you remember you if you are drunk or stoned? How many will record it and send it on social media with the quote “Look at this idiot!” Congratulations! You can get drunk or stoned anywhere. Guess what? Nobody cares. People paid money to see a show not to see you behave like an idiot. 
These are a small few of the list of concert etiquette items that appear at every show, every summer. It is a funny thing that if you treat people around you with respect, they will treat you the same. If you don’t…then you can be forever immortalized on social media for being “that ass that ruined the show.” If you paid money to see a show…see a show. See, hear and experience with every sense. If not, why are you at the show at all? 
 
Sincerely, 
 
Alex Teitz

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April 1st, 2018

Unfinished Mail – April 2018

 Spring is Here 

 
 
I write this the day before Spring. Last month’s editorial I wrote the day before Vans Warped Tour announced it’s line-up. It only featured 4 female acts out of 60+. In the past Warped Tour has featured double digits. As this is the last year of the tour they will not have time to remedy it. This month we feature Sharptooth who is one of the four playing the tour. 
 
In March we also saw the first caucuses and primaries of the political season. We expect to follow the political season closely this year as there are over 300 women candidates running in the US. This is a year of change and we want to reflect that. 
 
March is also Spring Break and we are finding concerts filled with kids celebrating. It is a sign of the summer to come. 
 
It is now April and we begin the festival season with our first local festival, FoCoMX. May is already overflowing with festivals we plan to preview. We are also being bombarded with new releases. That is not a bad thing. Many of the artists we like have new albums out, and many new artists who are attracting our attention are putting out new material before touring. 
 
I’m surprising myself by reading a book or two a week now. As summer gets closer I don’t expect that to continue. This past weekend we finished Brotopia about sexism in Silicon Valley. It was enlightening and brought up many events that flew under our radar. It also continued to enforce how much work still needs to be done in all industries. 

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March 1st, 2018

Unfinished Mail – March 2018

Questioning the Questions
 
Hooray! It’s March. I can finally get back to my regular schedule of barely sleeping and being pure ADD on music. In February I was close. March begins the insanity of touring acts to and from SXSW, Treefort, and other music fests. It means summer isn’t far behind. 
 
Last month I had an interview with Holly Miranda. When it came to my usual question of discrimination, her response was “Umm, yeah.” In the midst of the #MeToo movement, I consider the question to be one of the most important to ask. FEMMUSIC is a niche music magazine focusing on women in music. The question goes to the heart of why we’re here. Not being able to elaborate on answers to tell a history is frustrating for me personally. I’ve been asking the question for 18 years now and the answers to it are a revelation. Whenever I get a lukewarm or tepid response I wonder, again, if I should be asking the question. Can it be changed? Can it be different? 
 
I ask the question because, since before there was FEMMUSIC, there was discrimination in the music business. It can be found in venues, studios, clubs and it may have changed over time. It has not gone away. I see value to the question. It is the “why” for us existing. Do you have thoughts on this? Please e-mail us. 

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February 1st, 2018

Unfinished Mail – February 2018

2018 Heats Up
 
February is the calm before the storm. In March are SXSW, Treefort Music Festival, Women’s History Month and the beginning of touring season. Already shows have been announced for October and the calendar is getting packed with dates. I’m already looking at dates for local music festivals and searching out new artists on a daily basis. The album release calendar is also heating up. Spring album releases are coming on strong before Record Store Day in April. 
 
If you’re an artist February is the last month to finish up recording, packaging, and booking. In March it will be best to be on the road and preparing your own spring releases. It is also the time to get festival submissions in. Summer festivals are gold and getting submissions in as soon as possible makes your chances of getting booked that much higher. 
 

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January 1st, 2018

Unfinished Mail – January 2018

Happy New Year!
 
 
2018 is here. 2017 was a busy year with new releases by prominent artists and big tours. 2018 promises to be the same. 2018 brings with it new tours and new artists. Many of the new signings in 2017 will be hitting the road to promote their EP’s and albums as they come out. We’re already licking our lips about shows coming in March. 2018 also marks the end of Vans Warped Tour. This alternative music festival has shaped generations of fans and artists. We’ve also found it to be one of the most accepting of women artists. 
 
FEMMUSIC will continue our annual issues in 2018. We will have previews of SXSW, Canadian Music Week, Australian Music Week, Melbourne Music Week, Loud Women Festival, and more. We also continue to look for those events that aren’t getting publicity and try to bring them to the forefront. 
 
Typically in January & February we like to take on a broader issue in the music industry. In the past couple of years that has included interviews with women tour managers and women in studio production. As of this writing we are still looking for a subject and look forward to bringing it to you. FEMMUSIC is about women in the music industry not just musicians. We are also an activist site. It is not enough to watch from the sidelines. You need to take a stand and support it. 
 
FEMMUSIC tries to support upcoming artists. We do this by featuring and interviewing them. We also work locally to try to provide artists and organizations with resources that come across our desk. We are a strong believer in arts funding and trying to find funding for artists. We also look for opportunities for gigs, events that might normally be thought of because they are not “music” exclusive. Sometimes our instincts prove true and we’ve heard from artists when our resources have helped. We look forward to doing more in 2018. 
 
The year is just beginning and we hope to make it a great one. 
 
Sincerely, 
 
Alex Teitz
 
Editor-In-Chief 

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December 1st, 2017

Unfinished Mail 

 
2017 Year of the Woman
 
Who knew that when we started 2017 that so many women would finally be given a voice, and so many still need to speak up. 2017 began with the Women’s March that brought optimism and unity when spirits seemed lost. Now in October it is a daily revelation of who is being accused of sexual harassment. The #MeToo movement has spread from beyond Hollywood to Congress. Sadly there are too few stories from the music industry. We’ve only seen a couple recently including:
 
 
 
The music industry is ripe for more scandals to come to light. In February the EEOC ruled that Hollywood has a systemic problem in discriminating against women:
 
 
We would love to see the same investigation done into the music industry. I was recently watched Play Your Gender, a film about women in music and why only 5% of producers are women. We hope to have a larger story on this soon. In the meantime you can more info at:
 
 
The question on everyone’s mind is “Will this finally make a difference?” The only way to change the system is to hire more positions in power with women. This is not a new concept. It is overdue. We are looking forward to a new paradigm for 2018 and have our fingers crossed we will see it. 
 
Sincerely, 
 
Alex Teitz
Editor-In-Chief
FEMMUSIC
 

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