When Krewella posted their new single yesterday, the rock-inspired, Garbage-and-Justice-channeling "Somewhere to Run," a flurry of YouTube commenters immediately challenged the group's credibility as producers in the wake of former bandmate's Kris Trindl departure last year. The attacks by the internet's greatest troll community were not new: the dude was the producer, these girls are just figureheads, say the haters. What an eye-rolling way to start the last week of Women's History Month.
Krewella is hardly the only target of sexism within dance music. In an op-ed yesterday on Pitchfork, Philip Sherburne decried what he called "EDM's problem with women," citing the anatomically bereft torsos of cover models from OWSLA's latest compilation as an example of how women's bodies are being objectified by mainstream dance music.
While OWSLA head Skrillex is ostensibly responsible for his label's comp cover, he's a minor offender of women's rights compared to his Jack Ü bandmate and BFF Diplo. Were it not for his undeniable chops as a producer, Diplo's greatest legacy just might be the ways in which he incorporates the female posterior into his work, often women of color. From the "Pon de Floor" video to "Dat a Freak" which became the base track for J.Lo's "Booty," Diplo has made his appreciation for women's butts—particularly women of color—a central part of his public image (along with intermittent online bullying of women from Taylor Swift to private citizens).