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CONTENTS UNDER PRESSURE ISSUE 2: PLATFORM

Welcome to issue one of CONTENTS UNDER PRESSURE, a zine about celebrating creativity, equality, and unity. This exclusive issue follows various bands across the UK about the importance of representation in the music industry, and how they handle it in each their own ways. Thank you for your support! Starring: The Tuts The Spook School Dream Nails Kermes Babe Punch Crumbs Happy Accidents Fresh Velodrome The Baby Seals Colour Me Wednesday Witch Fever

Welcome to issue one of CONTENTS UNDER PRESSURE, a zine about celebrating creativity, equality, and unity. This exclusive issue follows various bands across the UK about the importance of representation in the music industry, and how they handle it in each their own ways. Thank you for your support! Starring: The Tuts The Spook School Dream Nails Kermes Babe Punch Crumbs Happy Accidents Fresh Velodrome The Baby Seals Colour Me Wednesday Witch Fever

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THE TUTS

They’re not just limited to that,

however; not only do they play the

more obvious punk and indie festivals,

but are delving into various

crowds. They’re popular within

the ska crowd because of a tour

they did with The Selector, and are

playing more South Asian events

in order to access a demographic

that is, sadly, sorely lacking

in straight up-and-down punk

circles. “As a three-tone band, we

also want our audience to look

three-tone,” guitarist Nadia Javed

says, “because we want to make

a movement and send this message

out of uniting the races and

cultures together from all minority

backgrounds.” By bridging the

gap here, they’re attracting people

– specifically women, and more

specifically, women of color – to

their shows who, not too long ago,

were absent at these shows.

Their greatest goal is to empower

people listening to their music,

to pick up instruments and play

themselves, to become a part of

something bigger, to feel safer

and more comfortable. “We want

women in the crowd and people

from minority backgrounds to feel

like bad bitches,” Nadia says. “We

wanted them to feel empowered.

We want them to think, look,

there’s a brown girl onstage. I’ve

never seen a girl like that before

playing guitar. I want to do that.

And just to feel confident and do

shit they’d only see white dudes

doing.” They’re well aware of

the importance of representation

in the arts, as well as in wider

society, but while we’re seeing an

influx of women musicians taking

over places that were previously

composed of entirely male lineups,

it’s still almost entirely white

lineups. It’s notable to comment

on the fact that, amongst all the

bands interviewed over the weekend,

Nadia and drummer Beverly

Ishmael were the only women of

color I encountered and spoke to,

and some of the very few involved

in the festival.

It has to be something to do with

pigeonholing that happens too

often within the music industry.

Within the genres that see more

of a diversity in ethnicity – RnB,

hip hop, grime – helps people of

color feel less out of place. The

Tuts have gone completely against

this in an attempt to bring greater

representation to more guitar-driven

music genres, which is why

they find it so important to use

their platforms as musicians in the

public eye to speak on these

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