Morning Call: pick of the papers

The ten must-read comment pieces from this morning's papers.

1. The young are doomed – and only the old can save them (FT)

Twentysomethings are being forced to delay adulthood, writes Chris Cook.

2. The Paul Flowers affair confirms it: 2015 will be a dirty election (Guardian)

From the Co-op to Mid Staffs, the Tory smear machine is operating at full throttle – and it won't relent till polling day, says Jonathan Freedland.

3. Slavery wasn’t abolished two centuries ago. It thrives in Britain today (Times) (£)

Human trafficking is the fastest-growing human international crime. We need a Modern Slavery Act, says Lucy Maule.

4. This obsession with Ethics is one of the great curses of our time (Telegraph)

Charles Moore: Paul Flowers and the Co-op Bank thought they were so good they couldn’t possibly be bad.

5. Iran can be made a force for Middle Eastern peace (FT)

Tehran wants to end the sanctions and to be seen as a legitimate Middle Eastern power, writes David Gardner.

6. 180 years after abolition, why is it the slave trade is booming? (Guardian)

We equate slavery with a bygone age. But as the case of three women found in a London house shows, it is far from dead, says Danny Smith.

7. China: now an example to the world on climate change? (Telegraph)

The climate change talks in Warsaw are going nowhere - but in the real world China and the US are both finally taking action to curb coal-fired power stations.

8. Why India Is Going to Mars (International New York Times)

The red planet isn’t just about horoscopes. We can live with superstition, and science, writes Manoj Kumar Patairiya.

9. 'Hutching up' – how London's housing crisis has young people at it like rabbits (Guardian)

Harriet Walker: Unaffordable rents mean couples are choosing to live together too soon, or doomed to stay together to avoid the misery of flatsharing.

10. A universal income is not such a silly idea (FT)

The concept of paying people to sit around has an upside, writes Tim Harford.

Tracey Thorn. CRedit: Getty
Show Hide image

“Not technically beautiful, she has an engaging laugh”: 35 years of being described by men

For women in music, being described most of the time by men is just par for the course.

I am sure you all saw the Twitter challenge that took off the other day – a request to women to “describe yourself like a male author would”, started by the writer Whitney Reynolds. There were thousands of hilarious replies, with women imagining how a bad male author would describe them. I thought about posting an example, but then realised, I didn’t have to imagine this. I’ve been being described by male journalists for more than 35 years.

Katy Waldman in the New Yorker wrote about the challenge, and how it highlighted clichés in men’s writing: “…prose that takes conspicuous notice of a female character’s physical imperfections. This is done with an aura of self-satisfaction, as if the protagonist deserves credit simply for bestowing his descriptive prowess upon a person of less than conventional loveliness.”

And oh boy, that hit home. Yes, I thought, that is precisely how I’ve been described, too many times to recall, so many times that I’ve actually sort of stopped noticing. The following aren’t direct quotes, but near enough.

“Not conventionally pretty, Thorn nevertheless somehow manages to be curiously attractive.” “Her face may not be technically beautiful but she has an engaging laugh.” “Her intelligence shines through the quirky features.” Often what’s irritating isn’t the hint of an insult, but just being wide of the mark. “She isn’t wearing any make-up” (oh my god, of course she is). “She’s wearing some kind of shapeless shift” (it’s Comme des Garçons FFS).

I’m not trying to arouse sympathy. I’m much thicker-skinned than you may imagine, hence surviving in this business for so long. But the point is, for women in music, being described most of the time by men is just par for the course.

A few weeks ago, when I was in Brussels and Paris doing interviews, I was taken aback all over again by the absence of female journalists interviewing me about my album – an album that is being described everywhere as “nine feminist bangers”. As the 14th man walked through the door, my heart slightly sank. I feel like a bore banging on about this sometimes, but it astonishes me that certain aspects of this business remain so male-dominated.

Even the journalists sometimes have the good grace to notice the anomaly. One youngish man, (though not that young) told me I was only the third woman he had ever interviewed, which took my breath away. I look at my playlists of favourite tracks over the last year or so, and they are utterly dominated by SZA, Angel Olsen, Lorde, St Vincent, Mabel, Shura, Warpaint, Savages, Solange, Kate Tempest, Tove Lo, Susanne Sundfør, Janelle Monáe, Jessie Ware and Haim, so there certainly isn’t any shortage of great women. I’ve been asked to speak at a music event, and when I was sent the possible line-up I couldn’t help noticing that over three days there were 56 men and seven women speaking. The final bill might be an improvement on that, but still. Any number of music festivals still operate with this kind of mad imbalance.

Is it down to the organisers not asking? Or, in the case of this kind of discussion event, women often feeling they don’t “know” enough? It’s a vicious circle, the way that men and their music can be so intimidating. The more you’re always in the minority, the more you feel like you don’t belong. Record shops seemed that way to me when I was a teen, places where guys hung out and looked at you like you didn’t know your Pink Floyd from your Pink Flag.

I also have to watch songs of mine being described by male writers, and sometimes misinterpreted. I’ve got one called “Guitar” on my new record. There’s a boy in the lyrics, but he’s incidental – it’s a love song to my first Les Paul copy. That fact has sailed over the heads of a couple of male reviewers who’ve seen it as a song all about a boy.

That’s the trouble, isn’t it? You miss things when you leave women out, or view female characters through the prism of their attractiveness, or when you take for granted that you’re at the centre of every story, every lyric. I bet you think this piece is about you. 

Tracey Thorn is a musician and writer, best known as one half of Everything but the Girl. She writes the fortnightly “Off the Record” column for the New Statesman. Her latest book is Naked at the Albert Hall.

This article first appeared in the 18 April 2018 issue of the New Statesman, Enoch Powell’s revenge