Upskirted, assaulted, accused of faking their music skills: Why female DJs need to be ‘bulletproof’
To see Koven’s Katie Boyle perform live is beyond impressive. Hailing from Luton, she is one of the most influential women in drum ‘n’ bass today, an artist who pioneered the art of singing live while DJing.
Although she’s now been doing it for 12 years, her vast knowledge doesn’t silence the trolls online.
“There is a real bad misogyny online against women,” she says of the industry, with plenty of critics refusing to “believe they’re doing what they say they’re doing, and that’s been quite a hard thing to combat”.
Koven is a duo. In the studio, Boyle collaborates with producer Max Rowat; live, she performs and mixes alone. They have just released their second album, Moments In Everglow.
Koven (L-R): Max Rowat and Katie Boyle
While both Boyle and Rowat are equally involved in making tracks, a minority of very vocal fans still refuse to accept she does anything other than sing.
“I will always be accused of the male half doing more on anything to do with technology,” says Boyle. “The amount of comments [I get] to say, ‘she didn’t make this’. No explanation as to why they think that it is, just purely because [I’m] a woman, which is just mad.”
Koven’s Katie Boyle says she has had some ‘awful incidences’
While Boyle loves performing live, there are moments, she admits, where being one of the few women on the scene can feel unsafe.
“I’ve had some awful incidences,” she says. “I had someone run on stage and completely grab me, hand down my top, down my trousers, while I was on the stage, which is crazy because you think that’s happening in front of an audience. I mean, this guy literally had to be plied off me.
“That was when I did think, ‘I need to bring someone with me to most places’. I didn’t feel safe travelling around by myself.”
‘You get trolled for everything’
DJ Paulette. Pic: Paulette
Sadly, Boyle isn’t alone. Over a 30-year career, DJ Paulette has scaled the heights of dance music fame, playing throughout Europe, with a residency back in the day at Manchester’s Hacienda.
“Let’s just say I have two towels on my rider and it’s not just because I sweat a lot,” she jokes, miming a whack for those around her.
“I’ve spent time in DJ booths where I’ve had a skirt on and people have been taking pictures up my skirt. People think upskirting is a joke… and I got fed up with it.” Wearing shorts, she says, she still ended with “people with their hands all over me”. Now, she sticks to trousers. “But we shouldn’t have to alter the way we look for the environment that we work in.”
She admits, in order to stick it out, she’s had to bulletproof herself. “You get trolled for everything, for the way you look – if you put on weight, if you’ve lost weight.”
Not only is the discourse towards female DJs different online, she says, she has also been repeatedly told by those working in the industry that because she’s a woman, she has a sell-by date.
“I went for dinner with three guys… one of them said to me, ‘you know Paulette there is no promoter or organiser who is ever going to employ a black female DJ with grey hair’, and they all laughed.
“That was them saying to me that my career was over, and I was in my 40s. At the time, I felt crushed… I think it really does take women who have a real steel will to make their way through.”
‘I will not stop talking about it’
DJ Jaguar at the International Music Summit in Ibiza. Pic: Ben Levi Suhling
As the great and the good of the dance world gather in Ibiza for the industry’s annual International Music Summit, with dance music more popular than ever there is of course much to party about.
But for BBC Radio 1 broadcaster and DJ Jaguar, one of this year’s summit’s cohosts, some serious conversations also need to be had.
“You can get off the plane and look at the billboards around Ibiza and it’s basically white men – David Guetta, Calvin Harris, and they are incredible artists in their own right – but the women headliners, there’s barely any visibility of them, it’s awful.”
She adds: “I will not stop talking about it because it is the reality.”
Trolling and safety are also big concerns. “You’re in these green rooms, there’s a lot of people there, drinking and doing other things… and I’ve walked into green rooms where I felt incredibly uncomfortable, especially when I was a bit younger. I was on my own, it’s like 2am, and you have to watch yourself.”
Male DJs don’t have the same stories
The International Music Summit in Ibiza
She says she has female friends who have had drinks spiked when they were DJing. But her male friends? “They don’t have the same stories to tell me.”
Creamfields, arguably the UK’s biggest dance festival, is emblematic of the gender imbalance. It remains one of the least representative festivals in terms of female artists, with last year’s line-up more than 80% male.
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Laila MacKenzie, founder of Lady Of The House, a community that supports and tries to encourage more women into dance music, says the talent pipeline problem isn’t helped by the current discourse online.
“There is a real damaging factor how people can be really nasty online and really nasty in the media and how that actually may discourage and demotivate women from stepping forward into their talent,” she says.
In reality, for so many women working within dance music, the trolling can be so unpleasant that it’s drowning out the good.
“There is so much positivity and so many lovely and supportive people,” says Boyle. “But unfortunately it feels like the negative and the toxic energy is just louder sometimes.”
Biker romance Pillion has picked up the top prize at the British Independent Film Awards.
The film’s first-time feature writer and director Harry Lighton was also named best debut screenwriter at the ceremony, held at the Roundhouse in Camden, London, on Sunday evening.
Starring Harry Melling as sweet and timid Colin, and Alexander Skarsgard as rugged biker Ray, the film picked up four prizes in total – including craft wins for best costume design and make-up and hair.
Members of Kneecap holding director Rich Peppiatt. Pic: PA
Jessie Buckley and Olivia Colman. Pic: PA
Tom Basden and Tim Key took home the BIFA awards for best joint lead performance and best screenplay, for their debut feature The Ballad Of Wallis Island. Also starring Carey Mulligan, the film tells the story of a faded folk musician and his former partner who reluctantly reunite for an eccentric fan.
Elsewhere in the acting categories, Robert Aramayo was honoured with the best lead performance award for his portrayal of Tourette’s campaigner John Davison in I Swear, with the supporting performance award going to Jay Lycurgo for his role in pressure-cooker school drama Steve, also starring Oscar-winner Cillian Murphy.
Newcomer Posy Sterling’s portrayal of a mother fighting for custody of her children in Lollipop earned her the breakthrough performance award, while the best ensemble performance prize went to the cast of Warfare – including Will Poulter, Kit Connor, Joseph Quinn and Charles Melton.
Jack Lowden and Saoirse Ronan. Pic: PA
This year’s ceremony also celebrated cinema itself, with the inaugural cinema of the year award going to The Magic Lantern Cinema in the Welsh coastal town of Tywyn.
The BIFA for best international independent film was awarded to Sentimental Value, Joachim Trier’s intimate exploration of family, memories and the reconciliatory power of art.
Behind the camera, Akinola Davies Jr was named best director for his debut feature My Father’s Shadow, a story of two brothers who first come to understand their father at a pivotal moment in both his life and Nigerian history, while The Douglas Hickox Award for best debut director went to Cal McMau for prison drama Wasteman.
Robert Aramayo in I Swear. Pic: StudioCanal
And in the documentary categories, Myrid Carten’s exploration of mental health and addiction within her family, A Want In Her, picked up three BIFAs – best feature documentary, The Raindance Maverick Award, and best debut director for a feature documentary.
Elsewhere, Emily Watson, star of films including Gosford Park, Punch-Drunk Love and War Horse, and TV series including Chernobyl and Dune: Prophecy, was awarded the outstanding contribution to British film prize.
Tim Key (left) as Charles Heath and Tom Basden as Herb McGwyer in The Ballad Of Wallis Island. Pic: Focus Features, LLC/ Alistair Heap
Production company Warp Films – behind films such as Dead Man’s Shoes and This Is England, as well as the recent critically acclaimed series Adolescence – was honoured with the BIFA special jury prize for its “unflinching and uncompromising” commitment to telling “raw and relevant stories”.
Sophie Okonedo. Pic: PA
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Founded in 1998, the BIFAs aim to celebrate, promote and support talent and creativity in British independent film.
Previous winners of the best independent film award include Kneecap, the semi-autobiographical story of Irish-language rappers Kneecap, and Oscar winner The Favourite.
Jessie Buckley. Pic: PA
This year’s ceremony was hosted by comedians Lou Sanders and Harriet Kemsley, with Carey Mulligan, Stephen Merchant, Ruth Wilson, Billy Crudup and Celia Imrie among the star presenters.
Playwright Sir Tom Stoppard, who won an Oscar and a Golden Globe for Shakespeare In Love, has died at the age of 88.
A statement from United Agents said: “We are deeply saddened to announce that our beloved client and friend, Tom Stoppard, has died peacefully at home in Dorset, surrounded by his family.
“He will be remembered for his works, for their brilliance and humanity, and for his wit, his irreverence, his generosity of spirit and his profound love of the English language.
“It was an honour to work with Tom and to know him.”
King Charles said in a tribute: “My wife and I are deeply saddened to learn of the death of one of our greatest writers, Sir Tom Stoppard. A dear friend who wore his genius lightly, he could, and did, turn his pen to any subject, challenging, moving and inspiring his audiences, borne from his own personal history.
“We send our most heartfelt sympathy to his beloved family. Let us all take comfort in his immortal line: ‘Look on every exit as being an entrance somewhere else’.”
Sir Tom’s entertainment career spanned more than six decades, in which he won a host of Tony and Olivier awards, as well as the Golden Globe and Academy Award with Marc Norman for their 1998 screenplay Shakespeare In Love – starring fellow Oscar-winner Gwyneth Paltrow.
Sir Tom Stoppard in 1999. Pic: PA
His work, known to blend intellect, emotion and humour, often explored philosophical and political themes, challenging societal norms to remind audiences of the power of thought.
His other award-winning plays included Rosencrantz And Guildenstern Are Dead, The Real Thing and Travesties.
The playwright also wrote prolifically for TV, radio and film, including adapting Leo Tolstoy’s novel Anna Karenina for the 2012 film starring Keira Knightley and Jude Law, and TV series Parade’s End with Benedict Cumberbatch and Rebecca Hall – adapted from novels by Ford Madox Ford.
He received countless accolades and honours during his career, including being knighted by the late Queen for his services to literature in 1997.
Queen Elizabeth II shakes Sir Tom’s hand before presenting him with the insignia of a Member of the Order of Merit in 2000. File pic: PA
Sir Tom meets then Prince Charles in 2009. File pic: PA
He won the David Cohen Prize For Literature in 2017, following in the footsteps of laureates Harold Pinter, Hilary Mantel and Seamus Heaney.
Sir Tom released his semi-autobiographical work titled Leopoldstadt in 2020 – set in the Jewish quarter of early 20th century Vienna – which later won him an Olivier award for best new play and also scooped four Tony awards.
The West End play, which featured his son Ed Stoppard, also saw him honoured by PEN America, the literary and human rights organisation, which handed him the Mike Nichols Writing for Performance Award.
Pic: Matt Humphrey/PA
From refugee to playwrighting sensation
Sir Tom was born Tomas Straussler in Czechoslovakia, but fled and changed his name amid the Nazi occupation, finding refuge in Britain in 1946.
He became a journalist in Bristol in 1954 before becoming a theatre critic and writing plays for radio and TV, including The Stand-Ins, later revised as The Real Inspector Hound, and Albert’s Bridge first broadcast by BBC Radio.
His career took off with hit play Rosencrantz And Guildenstern Are Dead, which premiered at the Edinburgh Fringe Festival in 1966, before it was produced for the National Theatre and on Broadway, winning four Tony awards in 1968 including best play.
Sir Tom Stoppard and Dame Judi Dench at a photocall in London in 1999. File pic: PA
Sir Tom began advocating on behalf of Soviet and Eastern Bloc dissidents after writing Every Good Boy Deserves Favour, a play inspired by his friendship with Viktor Fainberg, who had been imprisoned in Czechoslovakia by the Soviets.
Much later, in 2002, his trilogy of plays set in 19th century Russia, The Coast Of Utopia, were staged at the National Theatre.
His most recent plays include Heroes, Rock ‘n’ Roll and The Hard Problem.
Entertainment
PM’s rap battle with Sky’s Beth Rigby goes viral – and one of the AI satirists behind it explains why
Satire has long been an occupational hazard for politicians – and while it has long been cartoons or shows like Spitting Image, content created by artificial intelligence (AI) is increasingly becoming the norm.
A new page called the Crewkerne Gazette has been going viral in recent days for their videos using the new technology to satirise Rachel Reeves and other politicians around the budget.
On Sky’s Politics Hub, our presenter Darren McCaffrey spoke to one of the people behind the viral sensations, who is trying to remain anonymous.
He said: “A lot of people are drawing comparisons between us and Spitting Image, actually, and Spitting Image was great back in the day, but I kind of feel like recently they’ve not really covered a lot of what’s happening.
“So we are the new and improved Spitting Image, the much better Have I Got News For You?”
He added that those kinds of satire shows don’t seem to be engaging with younger people – but claimed his own output is “incredibly good at doing” just that.
Examples of videos from the Crewkerne Gazette includes a rapping Kemi Badenoch and Rachel Reeves advertising leaky storage containers.
They even satirised our political editor Beth Rigby’s interview with the prime minister on Thursday, when he defended measures in the budget and insisted they did not break their manifesto pledge by raising taxes.
“Crewkerne Man” says providing satire for younger people is important as Labour is lowering the voting age.
Asked why he is trying to be anonymous, the man said the project is not about one person – or even the whole group – but rather their output.
He also claimed the UK is “increasingly seeing arrests – especially with comedians”, pointing to the Graham Linehan case.
“So we just never know where the Labour Party is going to drive the policy next, in regards to free speech,” he said.
“So for me, certainly it’s a matter of safety.”
Watch Beth Rigby’s actual interview with Sir Keir Starmer below.
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