Misogyny in rap music source 1 :
Misogyny in rap music refers to lyrics, videos or other aspects of rap music that support, glorify, justify, or normalize the objectification, exploitation, or victimization of women.[1][2] It can range from innuendoes to stereotypical characterizations and defamations.[2]
Scholars have proposed various explanations for the presence of misogyny in rap music. Some have argued that rap artists use misogynistic lyrics and portrayals of women as a way to assert their masculinity[2] or to demonstrate their authenticity as rappers.[3][4] Others have suggested that rap music is a product of its environment, reflecting mainstream attitudes toward women,[5][6][7] and that rap artists have internalized negative stereotypes about women.[2] Still other academics have stressed economic considerations, arguing that rappers use misogyny to achieve commercial success.[2]
Content analyses have found that approximately 22% to 37% of rap lyrics contain some misogyny, depending on subgenre.[8][9][10] Individual artists have been shown to use such lyrics more or less frequently. Eminem, for example, used misogyny in eleven of the 14 songs on his third studio album.[8] Common misogynistic themes include the use of derogatory names such as “bitch” and “ho”, sexual objectification of women, legitimation of violence against women, distrust of women, and the glorification of prostitution and pimping.[11]
Responses to misogyny in hip hop music have ranged from criticism by women’s rights activists, student protests and organized campaigns to a 2007 congressional hearing.[12] Female rap artists have used their music or started organizations to explicitly oppose hip hop misogyny[13] or expressed resistance by using self-empowering lyrics and emphasizing their independence as women.[14] However, not all female rap artists resist misogynistic portrayals.
Street authenticity[edit]
Mainstream hip hop music today often depicts homophobia and sexism, while celebrating violence.[2][15] Misogyny has become a sign of authenticity for some rappers, who use such lyrics and depictions of violence against women to prove their authenticity as gangsters. These rappers fear being considered “soft” and “fake” if they distance themselves from hypermasculine self-portrayals and hostile representations of women.[16][17] Therefore demeaning women becomes a way to assert their masculinity. Meanwhile male artists constantly battle with W.E.B. Du Bois’ idea of double consciousness.[18]
Academic Elijah Anderson links the treatment of women in hip hop to troubled gender relations in inner-city Black and Latino communities. In an ethnographic study of inner-city Philadelphia neighborhoods, he found that young men in such neighborhoods try to raise their social status and self-esteem by demeaning and exploiting women. Anderson writes that “[in] many cases the more the young man seems to exploit the young woman, the higher is his regard within the peer group.
Commercial incentives[edit]
Another rationale for the use of misogyny in hip hop music is that it has helped to gain rappers commercial success.[2] While hip hop began as a producer based art form among working class and poor African American and Puerto Rican youth, its transformation into a global consumer product has influenced even its treatment of women.During the 1990s record executives began urging hip hop artists to write more violent and offensive lyrics [19] because hip hop audiences were demanding them.[20] Margaret Hunter (2011) suggests that in this period the commercialization of Hip Hop for largely white audiences became linked to the overwhelming objectification of women of color in rap lyrics and videos.[21] In describing the predominance of images of women of color, specifically in the ever-present strip-club scenes in modern hip hop music videos, Hunter states that, “because these sexual transactions are also racial, part of their appeal to buying audiences is the reinforcement of dominant narratives about African American and Latina women, and the concominant symbolic protection of white femininity by its absence in representations.” [21] However, some feel that, “the misogyny has always been there.” Serena Kim, features editor for Vibe magazine states, “but it’s different now because the culture is bigger and mainstream. Now every kid in America is well- versed in hip hop.”[3][4]
Channeling of wider cultural misogyny[edit]
Many scholars have argued that misogyny in hip hop culture is a product of misogyny within American culture at large.[5] Adams and Fuller (2006) suggest that a hip hop artists have internalized negative stereotypes about women that are prevalent in American society, since they grew up witnessing women being treated poorly.[2] Michael Eric Dyson states that misogyny is a tried-and-true American tradition from which hip hop derives its understanding of how men and women should behave.[6] Similarly, Charlise Cheney argues that hip-hop’s misogyny and promotion of traditional gender roles reflect mainstream American values.[7]
Jeff Chang and David Zirkin contend that the misogyny extant in American popular culture provides “incentives for young men of color to act out a hard-core masculinity”.[22] Kate Burns argues, in the same vein, that the discourse of hip hop culture is shaped by its environment, stating that rather than asking, “what is rap’s influence on American society and culture?” critics should ask, “what has been society’s role in shaping and influencing hip hop?”[23]
Feminist bell hooks suggests that misogyny in hip-hop culture is not a “male black thing” but has its roots in a larger pattern of hostility toward women in American culture. She cautions against singling out criticism against rap music while accepting and perpetuating less raw and vulgar expressions of misogyny that permeate American society. She writes that it is “much easier to attack gangsta rap than to confront the culture that produces [the] need [for gangsta rap].”[24] Others have reiterated this concern, arguing hip hop’s content is no more misogynistic than other forms of popular discourse.[25] Academic Leola Johnson, for instance, asserts:
The misogynist lyrics of gangsta rap are hateful indeed, but they do not represent a new trend in Black popular culture, nor do they differ fundamentally from woman hating discourses that are common among White men. The danger of this insight is that it might be read as an apology for Black misogyny.[26]
Another study states:
Of particular importance are those aspects of the music that frequently appear in the midst of political debates and media hype. Often, these aspects are scrutinized not with the intent of acquiring greater and more nuanced understandings of the art form, but rather to further one political agenda or produce a nice sound bite. The misogyny in rap music is one such case[27]
Themes[edit]
Ronald Weitzer and Charis E. Kubrin (2009) have identified five common misogynistic themes in rap lyrics: (a) derogatory naming and shaming of women, (b) sexual objectification of women, (c) legitimation of violence against women, (d) distrust of women, and (e) celebration of prostitution and pimping.[11] Sexual objectification is the most common misogynistic theme in rap music according to Weitzer and Kubrin, whose 2009 analysis found that 67% of the examined rap lyrics sexually objectified women.[28] In misogynistic songs, women are described using derogatory names such as “bitches”, “hoes”, or “chickenheads”.[17][29] These insults seek to degrade them and keep them “in their place”.[30] Meanwhile men are praised for abusing and exploiting women. One example of this can be found in videos in which hip-hop artists lounge poolside as a harem of women gyrate around them in bikinis.[31] Women of color, specifically black women, are more likely to be featured as sexual objects in such videos than white women.[32]
Misogynistic rap often depicts physical violence and rape as appropriate responses to women who challenge male domination, refuse sexual advances, or simply “offend” men.[33] This dynamic is exemplified by Juvenile in his song March Nigga Step) where he raps, “If she thinks you’re jokin’, is she goin’ get a quick chokin’?” Popular artists such as Eminem and Odd Future have also been criticized for their depictions of violence against women.[34][35]
A related sub-theme involves boasting about sex acts that harm or are painful for women.[33] Many misogynistic rap songs also portray women as untrustworthy or unworthy of respect. Women are depicted as femmes fatales, “gold diggers”,[36][37] and as dishonest about sexual matters. Tupac Shakur (Hell 4 A Hustler) asks, “Why plant seeds in a dirty bitch, waitin’ to trick me? Not the life for me”.[38] At the same time pimps are glorified; their ability to control and exploit women is praised.Overt misogyny in rap music emerged in the late 1980s, and has since then been a feature of the music of numerous hip hop artists.[2] A 2005 content analysis of six outlets of media found that music contained substantially more sexual content than any other media outlets.[43] A survey of adolescents showed that 66% of black girls and 57% of black boys believe that rap music videos portray black women in “bad and offensive ways”.[44] Gangsta rap, the most commercially successful subgenre of hip hop,[45] has been particularly criticized and associated with misogyny.[7][27]
In a 2001 content analysis of gangsta rap, sociologists Charis E. Kubrin and Ronald Weitzer claimed that approximately 22% of the examined rap lyrics featured violence against women, including depictions of assault, murder and rape. In their opinion, the prevalence of misogynistic themes in songs were as follows: name-calling and shame account for 49%, sexual objectification accounts for 67%, distrust of women at 47%, acts of violence against women account for 18%, and human trafficking account for 20%.[46] By contrast, in a similar study by sociologist Edward G. Armstrong, Eminem scored 78% for violent misogyny. Of the eighteen songs on his 2001 album The Marshall Mathers LP, eleven contain violent and misogynistic lyrics, nine of which referred to killing women.[8]
In 2003, McFarland conducted an analysis of Chicano rap and found that Chicano rappers depict women as sex objects, morally and intellectually inferior, and objects of violence. 37% of Chicano rap songs depicted women as sex objects and 4% mentioned violence against women. Except for the “good mother” figure, all other women that were mentioned in the sample were portrayed negatively. Moreover, Chicano rappers who discussed sex and sexuality almost always depicted women as objects of domination for men.[10]
Conrad, Dixon and Zhang (2009) investigated rap music videos and noted that there has been a shift from violent portrayals to more sexual misogynistic ones. Women in rap videos are placed in positions of objectification and sexual submission to their male counterparts. The researchers argue that this “suggests that there are important gender differences occurring that prefer men over women”.[47]
However, the subordination of women is not unique to the genre of hip hop. According to Weitzer and Kubrin’s 2009 analysis, 22% of rap songs surveyed in their study contained misogynistic lyrics. Yet the researchers pointed out that misogyny seems to be less common in rap music than expected and that other music genres, such as rock music, contain more negative images of women according to some studies.[9] In an interview, comic Chris Rock says that misogyny is no stranger to pop music in America.
Rapper Tim’m West says it’s time to start asking questions about rap and hip-hop, “we need to begin to ask why we bought into this industry that overwhelmingly places emphasis and resources and capital on people who promote images that are seen as negative and that do promote stereotypes as opposed to the more positive images,” West says.[46]
Impact[edit]
Experimental research has attempted to measure the effects of exposure to rap music. Numerous studies have found a correlation between consumption of misogynistic hip hop music and negative beliefs about women. Webster et al. found that men who listened to sexually violent gangsta rap lyrics were significantly more likely than controls to express “adversarial sexual beliefs,” like the belief that men should dominate women. However, they noted that gangsta rap did not influence men’s other attitudes toward women.[48] Other studies showed that rap videos which contain images of women in sexually subordinate roles increase female subjects’ acceptance of violence against women,[49] and that listening to misogynistic hip hop increases sexually aggressive behavior in men.[50] Women and men are more likely to accept sexist and demeaning messages about gender relations after listening to music with sexually degrading music. However, college students who listen to this music are even more likely to say that they find these lyrics to be accurate and acceptable portrayals of romantic and sexual relationships. Guillermo Rebollo-Gil and Amanda Moras mention many critics condemn rap lyrics for promoting violence, hypermasculinity, sexism, and homophobia.[27]
Not only are women objectified and abused in lyrics to sexually explicit music, but the music also portrays the women as being lesser than men. According to the textbook Women: Images and Realities, this music sends the message to young adults, especially Black youth that their enemy is Black girls and women, since the music portrays women as selfish, untrustworthy, and as subordinate.[51]
A 2007 study by Michael Cobb and William Boettcher found that exposure to rap music increases sexist attitudes toward women. Men who listened to rap music held more sexist beliefs than the control group. Women were also more likely to support sexism when rap music was not overtly misogynistic. However, they were less likely to hold sexist beliefs when the lyrics were very misogynistic.[52][53] Rudman and Lee found that exposure to violent and misogynistic rap music strengthens the association between black men and negative attributes. People who are exposed to violent and misogynistic rap music are more likely to perceive black men as hostile and sexist.[54]
Academics Johnnetta B. Cole and Beverly Guy-Sheftall, for instance, have expressed concern over the effects of misogyny in hip hop culture on children, stating, “We are concerned because we believe that hip-hop is more misogynist and disrespectful of Black girls and women than other popular music genres. The casual references to rape and other forms of violence and the soft-porn visuals and messages of many rap music videos are seared into the consciousness of young Black boys and girls at an early age.”[55]
A longitudinal study indicated that young people who regularly listen to sexually degrading lyrics are more likely to have sex at an earlier age while exposure to non-degrading sexual content had no effect. Sexually degrading lyrics were found to be most common in rap music. The survey also suggests that repeated exposure to sexually degrading lyrics may lead girls to expect that they will be treated with disrespect by their partners and that they have to take a submissive role.[56]
In a 2011 study, Gourdine and Lemmons identified age and listening habits as key factors which determine the perception and impact of misogyny in hip hop music. They examined students aged 18 to 24 years and found that the older the participants were, the less they listened to rap music and that they reacted more negatively to misogynistic lyrics.[57]
In studies performed to assess the reactions of young males exposed to violent or sexist rap or music videos, participants reported an increased likelihood that they would engage in violence, a greater acceptance of violence, and a greater acceptance of violence against women than did those who were not exposed to these videos.[58]
Response[edit]
In 2004, students at Spelman College protested Nelly’s music video “Tip Drill” and misogyny in rap music in general. The students criticized the negative portrayal and sexual objectification of African American women in the video, which showed women in bikinis dancing and simulating various sexual acts, men throwing money at women’s genitals, and Nelly swiping a credit card through a woman’s buttocks.[59][60] Building on the momentum generated by the Spelman College protests, Essence magazine launched a twelve-month campaign entitled “Take Back the Music” to combat misogyny in hip hop culture.[61] However, the protests and subsequent campaign received little media coverage.[62]
A congressional hearing was held on September 25, 2007 to examine misogyny and racism in hip hop culture.[63] The title of the hearing, “From Imus to Industry: The business of stereotypes and degrading images”, referenced radio host Don Imus who called the Rutgers University women’s basketball team “nappy-headed hos” and later blamed his choice of words on hip hop. Rappers “demean and defame black women”, Imus claimed, and call them “worse names than I ever did.”[64] The hearing seemed to have no impact and was largely ignored by the press.[65]
However, not all accusations of misogyny in hip hop have been taken seriously. In the case of Eminem’s violence towards women, a poll run by Teen magazine illustrated that 74% of teenage girls would date Eminem if given the chance, despite his violence towards women in his music.[66] In addition women listeners of T.O.’s pop hits radio station KISS 92 spoke about his music saying: “If you don’t like it, turn it off,” and “it’s just fun and entertainment.” This illustrates the fact that opinions differ among female audiences.[67]
Included in the list of prominent figures who have taken a stance on the subject, African-American scholar, Lerone Bennett Jr, stated that, “We…need a new understanding—in the media, in the entertainment industry, in our churches, schools, and organizations—that popular songs are as important as civil rights bills and that a society who pays pipers to corrupt its young and to defame its women and mothers will soon discover that it has no civil rights to defend and no songs to sing.” [51]
Female hip hop artists[edit]
Hip hop is a male dominated genre in which authenticity has been identified with masculinity.[68] Female artists have traditionally faced many barriers in entering hip hop and have been marginalized as performers.[68]
This unwanted sex hostility was largely unreciprocated by male-hatred among women until recent protest from a few other female rap, rap soul, neo soul and R&B artists such as Lauryn Hill, Erykah Badu, Missy Elliott, Eve, Beyoncé, and Mary J. Blige have adopted an independent woman persona which opposes misogynistic representations of women in hip hop, and Eve and Beyoncé frequently use their sexuality to claim sexual liberation.[1][2] Smith writes, “a girl rapper has to be soft but hard; sweet but serious; sexy but respectable; strong but kind of weak. Smart but not too loud about it.” He also suggests that a women can’t be exceptionally skillful at hip hop unless she sacrifices the things that make her a real woman .If women can’t openly be themselves in the music industry women’s lyrics are not valid representations of women’s reality (pough)
We need to consider why most women have to paint an image of dyke-or-ho-ism in order to be marketable in hip hop.[69] Executives, producers and listeners seem to overwhelmingly favor men’s versions of reality.[70] An artist that fits an overly sexualized image is Nicki Minaj. Minaj claims to only be an entertainer and not a role model.[3] In some cases she appears to defend male rappers’ misogyny.[4] Feminist like Robin Roberts, states artists like Nicki Minaj make [null it] easy target with songs like “Stupid Hoe” and “Bitch better get on their knee’s”.[71] Nicki Minaj isn’t the first to partake in this misogyny. Artists like Lil’ Kim, Mia X, Rihanna and Trina, for instance, often refer to themselves and other women as bitches and gold diggers.[1]
If female artists aren’t oversexualized, they are over-masculine. Artists like Young M.A., an up and coming rapper that is known for her over masculine persona, is one of the few female artists that would be considered a stud and openly talks about her relationships with women in her music. Relationships where you would perceive her as a male. With lines like, “I don’t have manners for a hoe, I just want the neck and nothing more” and “I ride for my guys, that’s the bro code.”[72] Lines that we mostly hear from a lot of male rappers. A 2011 content analysis of music videos found that sexual objectification of women does not only occur in the music videos of male artists butmany women artist, particularly female rappers and R&B artist self-objectify, a finding consistent with objectification theory.[5]
People can’t blame artists like Nicki Minaj and Young M.A. since they are just victims of an industry that makes millions off of disrespecting and objectifying women.[73] Tricia Rose argues that female rappers, most of whom are black,[6] may find it difficult to condemn male rappers’ misogyny because they need to collectively oppose racism and do not want to contribute to the stereotype that black masculinity is “pathological”.[7] Rebollo-Gil and Moras contend that black female rappers’ failure to provide a “blanket defense” of rap music, including the genre’s misogyny, is “interpreted as treason by their black male counterparts and could possibly harm their career.”[8]
Meanwhile, author Cheryl L. Keyes suggests that women in the industry rarely get the opportunity to express empowering messages because, in order to enter rap and hip hop as performers and to compete with male rappers, they must follow what Keyes calls “male rules”. Female rap and hip hop artists must, according to Keyes, embody the male esthetic and emulate male behavior if they want record producers, disproportionately male, to listen to them.[9] Similarly, sociologist Patricia Hill Collins argues that black women rappers must behave a certain way, even objectify themselves, to be “accepted within this Black male-controlled universe.”[81] Cole and Guy-Sheftall suggest that the objectification of African American women could potentially have historical roots.[10] They reported in their article, No Respect: Gender Politics and Hip-Hop, that historically African American women’s bodies were “used as a breeding ground for the reproduction of a slave population” and were also used as a means of pleasure to white slave owners. They offer that African American women have always been a very vulnerable part of society, and that it is being reflected in gangsta rap music.
Male hip hop artists[edit]
Many male rappers, especially those labeled as Political hip hop artists, have condemned misogyny in hip hop. In “Assata’s Song” from his 1992 album Sleeping with the Enemy, the artist Paris criticizes misogyny, rapping about how women deserve respect. A music video for the song was released on the YouTube channel of Paris’s label Guerrilla Funk Records.[74]
Immortal Technique has also condemned sexism numerous times. The track “Crossing the Boundary,” from his 2003 album Revolutionary Vol. 2, begin with the line, “I never make songs that disrespect women”.[75] In 2010, at the Rock the Bells hip-hop festival in New York he condemned misogyny on stage by stating: “Your mother, your sister, your grandmother, the girl you came here with tonight, or the woman you’re going to marry some day, she might have lost her virginity by being a victim of rape… and she might never tell you. You poor bastards might never know, and it’s because women are prouder than men, and every time we’ve been made slaves, it’s only with the help of our women that we have risen up and fought oppression of every single kind.”[76]
Horrorcore rapper Necro has made songs and videos ridiculing and satirizing misogyny in hip hop, which can be seen as taking a stand against such behavior.
Other rappers, such as Tupac, leave a complex legacy, sometimes playing into misogynistic themes, yet also producing music that affirms the worth of black women, in songs such as Keep Ya Head Up and Dear Mama.
women in the music industry source 2:
The role of women in the music industry has become an increasingly present topic as women from all walks of life and within all sectors continue to flourish in this male-saturated business, although there’s still a way to go. At HumanHuman, we wanted to celebrate this positive progression, as well as spark a much-needed discussion about what else needs to change so that the industry can continue to move forward with men and women working together as equals.
“Come on 2015, grow some mammary glands.”
— Hannah, Daisy Digital
With HumanHuman’s multi-gendered, international, and music-loving community set before me and the online music world just a little farther reach, I thought it best to open up the debate with expert opinions from those in the field – the musicians, the bloggers, the publicists, the label owners – who could provide their personal insight and experiences to shed as much light as possible onto an issue which for generations has been pushed into the dark. My approach was simple enough, to just ask three simple questions, who are you? what changes have you seen in the music industry in regards to women? is there anything you would still like to change?; there was no way I could have predicted the quality and variety of the responses (which you’ll have the opportunity to read in full below). In addition to the obvious aim of triggering communication between professionals and the public about certain obstacles that are set before women within the music industry, I also wanted to give reassurance to ambitious new-comers that we, both men and women, are moving forward towards a gender-neutral future. Even if that doesn’t appear to be an immediate reality.
“It still feels like a bit of a boys club, but our club is growing, too.”
— Alyssa DeHayes, Riot Act Media & Arrowhawk Records
When I made my first few steps towards a career in the music industry, I was very aware of a few key facts a) I had zero experience b) I had no contacts c) I was a 19-year-old female. These three points might seem fairly obvious, and, sure, the first two concerns were to be expected, but where had this age-gender anxiety sprung from? There I was, July 2013, with a freshly-made Tumblr page, a few social media links, and a couple of carefully crafted blog pieces, but the most significant thing about this process was that all traces of my personal identity had been left out. There was no indication of my age or gender, and that’s quite literally because I wanted my work to be accepted and recognised for its merit alone, and not its source. Anonymity isn’t exactly a new tactic in the music industry, we’ve seen male and female artists rise up as an internet-born genderless personas (The Acid, Sd Laika, Vallis Alps, Refs, Favela, …). Every individual’s intentions might be different, so I can only speak for myself when I say that the impact of growing up listening to male-fronted indie bands, hearing a majority of male voices on the radio, and absorbing music magazines that were more often than not fronted by a bruising, moody male musician, clearly had a lasting effect. Today, little seems to have changed. Well, that certainly can be said of the heavily-scrutinised NME magazine:
“With this week’s issue, Noel Gallagher has now been on the cover of the NME 3 times since a woman last was 👍”
— Gareth David on Twitter
Whether my anonymous career start was an entirely conscious decision or not, it quite simply shouldn’t have been one that I needed to make; so again, I’ll come back to that question, where had this idea come from? Many of the clues lie in our history/herstory, where women appear to have taken secondary roles or simply did not exist within the music industry. Those who wish to remain loyal to these out-dated traditions will argue that “the nature of music is male” (Buzzfeed take a light-hearted approach to this warped view), or those who are simply plain ignorant will tout opinions like “the idea that female bands are sidelined as a suggestion is just not there” (via Gigwise) as did Festival Republic’s Managing Director Melvin Benn. Now, we can’t approach the topic of female under-representation at festivals without bringing up Crack in the Road’s lauded editing of the 2015 Reading/Leeds Festival line-up, which revealed that of the 87 announced acts, 78 are male, three are female, and six are mixed. No doubt, you’ll have seen the wide-range of responses across social media, through news outlets and blogs to a relatively straight-forward question, “Where are the women?”, and yet festival statistics are but one slice of an industry which continues to patronise, and yes, sideline, women.
“I still feel that people in the music industry can be quite patronising to women, particularly in regards to performing live – I often get questions like ‘are you sure the volume is up on the guitar?, are you sure you’ve plugged it in?’ etc., and I don’t think a male musician would be faced with these sorts of questions.”
— Carmody
As male-female duo IYES point out, there’s a whole cultural idea “when it comes to big festival lineups because promoters/booking agents prefer having a safe bet on artist who they believe will sell tickets,” which leads to many festivals following the “Brochella model” (via Slate), and ultimately this sexist mentality leaks into a wider consciousness. It is most certainly “a vicious circle.” You only have to read through some of the answers that I collected to realise that what we’re dealing with here is an attitude problem:
“There’s a common misconception that there’s just not enough female artists, not enough girls making good enough music. Ridiculous in my opinion. Even more ridiculous is the fact that those able to showcase new talent are disregarding a huge sector of our industry.”
— Hannah, Daisy Digital
“…women with differing opinions are not taken seriously. Instead they get labeled as obstructive and difficult, whereas men are brave and get respected for just sharing their opinions.”
— Mira Shemeikka, community manager at Flow Festival Helsinki
“There’s this misperception that women in the music industry are narcissistic and competitive—but I’ve found the opposite to be true. Most of the female musicians I’ve met are incredible humans and extremely supportive.”
— MORLY
“I think there’s still an underlying perception that being classically “girly” and knowing a lot about music are mutually exclusive. You see it in the way people talk about “girl-bands” as if they were somehow able to heroically overcome their femininity and play music despite being women.””
— Alyssa DeHayes, Riot Act Media & Arrowhawk Records
“I do not think that equality for genders has yet transcended the art, nor has it made its way into making me feel like when I walk into a room full of men, I will feel equal.”
— Liz Nistico, HOLYCHILD
Another major issue within the music industry, and one that I find deeply disturbing, is the blatant sexualisation of female bodies within song lyrics, photo shoots, advertising, live performances and music videos. My recent response to Run The Jewel’s “Oh My Darling (Don’t Cry)” video, which presents a naked (unless you count the dental floss g-string as appropriate clothing), silent and mostly faceless woman dancing between shots of the fully-clothed duo rapping, is just one example:
“The worst thing about this video is the unnecessary need for their clothless lady-friend. To call out Run The Jewels in 2014 might seem like modern day blasphemy, but I’m saying that next time, do something different, and leave the female objectification out of it.”
— via Unrecorded
As with every sub-topic I’ve brought up here, questions must be raised – would Run the Jewels, or any other given example, be any less successful without this dehumanisation of women? would flesh-free music videos receive less attention? how is this show of nakedness supposed to make female fans feel about their own bodies and opportunities within the business? When you take into consideration an article like Billboard’s “31 Female Rappers Who Changed Hip-Hop”, you begin to see just how detrimental these overtly-sexual images of women are to the hard work of females throughout all genres, from hip-hop to rock to dance to indie and so on. Not only do these women have to prove themselves on a musical level, but they also have to battle against an industry that consistently plugs her gender as a promotional pin-up.
“I want women and men to redefine what is sexy.”
— Kate Akhurst, KATE BOY
That is not to dismiss the existence of artists who have taken control of their sexual identity (cue respectful nods to Laura Marling’s phoenix-like return and FKA twigs’ challenging ideology), but as KATE BOY’s front woman, Kate Akhurst, highlights, there’s “a confusing message of power” surrounding the female body, and we should all strive to clarify this issue. Evidence of this disorientation in the responses seem to focus on one symbol, Beyoncé; for some she’s an inspiration, a teacher, a source for quotes, but for others her less-is-more dress sense leaves them feeling perplexed as to what equality actually means. That being said, Beyoncé is more than aware of this misdirection as illustrated in her internet-breaking feminist essay, “Gender Equality Is A Myth!” I just hope that statements like “Humanity requires both men and women, and we are equally important and need one another” (Beyoncé) become a reality, so that gender inequality will be the myth. Many of our contributors feel very strongly on this matter:
“I hope that the over-sexualising of female artists will die down or just become irrelevant to music buyers. It’s been encouraging to see artist like Haim and Lorde grow just based on their talents and not by how much skin they show.”
— Niki Roberton, IAMSOUND Records
“We feel that there is a lot of stigma attached as well, such as that women can’t make it as artists unless they sell their body or unless they are extremely talented AND attractive.”
— IYES
“…girls need to remember they don’t have to sell their music through their barely there dress sense or hanging out of cabs at 4am, arms draped over the hottest dance act of that year.”
— Hannah, Daisy Digital
“I think as though there’s been a surge of confidence in women embracing artistry and individuality, particularly in the mainstream–less blatant “sex sells” strategies and less apologies for creatively embracing artistry and pushing boundaries.”
— VÉRITÉ
The gesture that VÉRITÉ makes towards the growing confidence of women within the industry and our ability to push boundaries further than ever before is definitely a positive to take away from today’s situation, but this doesn’t make amends for the troubling gender imbalance among musicians, label owners, publicists, A&Rs and producers. As FADER’s Ruth Saxelby quite rightly said, “the music industry—like every industry on this patriarchal planet—is sexist. That is not news. But this means we’re missing out on a whole world of sounds, stories, and perspectives,” which has led to waves of intelligent press and artists asking “Why Aren’t More Women Becoming Music Producers?”
“wow: “no woman has won a Grammy for producer of the year… Only 5% of music producers and engineers are women” http://t.co/e5rMcRh3JJ”
— princess ruto (@Grimezsz) on Twitter
When women do approach the production seat, whether that’s to shape their own or another’s work, the ripples of shock-and-awe that this creates is often quite astonishing. Even more specifically, the self-production trend unfortunately plays into the idea that “female” is a genre, and so these producers who happen to be women are shuffled into their own category. In many ways, this specialisation of female producers is a good thing, because it allows the world to recognise and celebrate their achievements, but it can also be quite limiting, almost as though these women don’t belong in the same studio (or indeed at the same awards ceremony) as their male counterparts.
“As artists, we believe good music doesn’t have a gender nor any other classification. It’s important that people don’t look away and realize the issue is still there.”
— IYES
At HumanHuman, we’re in the privileged position to be able to regularly unearth brilliant new producers, whoever they may be, and some of our featured females (Låpsley, Ibeyi, Ryn Weaver, Anna of the North, Lilla Vargen, Vérité, Moko, Bea, TĀLĀ, Raye, Denai Moore, Alice Boman, …) prove that gender is irrelevant when it comes to mixing. This movement towards a multi-gendered production scene extends well beyond the HumanHuman community, as we can see from these responses:
“I would also like to see more female producers, it’s starting to happen already (I’m trying too!). I always end up working with male producers and it would be great to start working with more women in the studio.”
— Carmody
“I’ve also seen a lot more women rising up as record producers and DJ’s, I can’t wait until we have that area of the music industry filled with more women, at the moment it’s in dire need of a female injection.”
— Niki Roberton, IAMSOUND Records
“I am seeing more and more female producers and DJs on the scene, which is incredible! […] Especially in the last year, I’ve met more female engineers and producers than ever before in my life, I think it’s really catching on.”
— Kate, KATE BOY
“There isn’t a genre where a female musician hasn’t not only ventured, but influenced.”
— Katie, Pigeons and Planes
Of course, production and musicianship aren’t the only areas where there appears to be a definite lack of females, surely we could all benefit from a more diverse range of managers, publicists, talent bookers, A&Rs, sound engineers, DJs, writers and whatever else you can think of. I’m keen to stipulate that this call-to-action is more than a change in statistics or matching some politically correct quota, but by opening the doors to as many talented, creative, intelligent, passionate people as possible we are able to further enrich our international music culture with those individuals, whatever their chromosome combination may be.
Throughout this process, I’ve been able to focus on some of the problems that women have to contend with in order to find their place in the modern music industry, such as sexism, patriarchal history, misguided preconceptions of gender roles, inter-gender attitudes and relationships, and lack of opportunity. However, and much more pleasingly, I’ve also encountered so many inspiring messages of hope and a collective vision for a future where gender equality isn’t some distant dream but an everyday fact of the music industry.
“We have the ability to be as successful and as strong as anyone else. I do not think of this is an “us vs. them” mentality. I think we all have different strengths that can work together to make the music industry, and the world as a whole, a better place.”
— Beth Martinez, Danger Village
“The industry shouldn’t be about females competing, it should be about females collaborating. We need to inspire and be inspired, not just as women, but as humans.”
— Nadine Suleiman, cerealandsounds.com
source 3:
That line is from the now infamous song, Blurred Lines by Robin Thicke and Pharrell Williams. After a barrage of criticism, it has now become one of the most controversial songs in recent memory. Mixing sexist views and underlying rape tones, it’s easy to see why this song got so much hate. But in reality, was this song only a part of the larger misogynistic paintbrush, which tarnishes the music industry?
The main crux of this song lies in the music video, in which three naked women are paraded around three fully clothed men. And this here is where we begin to see the true nature of how a large proportion of the music industry perceives women as sexual objects, rather than actual human beings. Time and again, we hear of singers and rappers correlating success to making lots of money and getting good-looking girls. Look at Chris Brown’s “Loyal” in which he criticises women for being disloyal to their man, when the entire music video is in fact going from woman to woman.
And these double standards aren’t just limited to the Hip Hop Industry. It is often the view that rap is extremely women-bashing, when in fact rappers such as Lupe Fiasco are often advocating the young men of today to treat women with respect. He may not be the norm, but it’s definitely a start. In many other genres, the portrayal of a woman is nothing more than a sex object for a man’s pleasure, and she can be found in abundance. Take Michael Jackson’s “The Way you Make Me Feel” video, in which we see him harass an attractive women in the street.
Some may argue that this is liberation for women, as (and I agree) a woman has the right to express herself however she wishes to. But when this freedom of expression is manipulated by male singers who are trying to appear more masculine and successful, it’s wrong. Women aren’t an accessory to a lavish lifestyle nor are they indicators of how prosperous a man is.
It’s sad to see female singers also contriving to this idea that a sexualised image sells. Take Nicki Minaj, a talented singer who unfortunately feels the need to be provocative in her music videos in order to gain attention. This is seen widespread across the Top 40, with more recent female singers feeling the need to be scantily dressed and move around sexily at every turn, in order to be successful. I get it, sex sells, but surely if you’re an artist, you should have some faith in your musical abilities and that it will get you more noticed than a bathing suit will.
It’s time we stop using our eyes to judge female singers. The power the music industry has to make a difference on society is immense, and if the message that they are blaring out is that you’ll only ever find happiness by treating attractive women as mere objects, then something has to be done to change this.
source 4:
Unlike a man [a woman] is never simply and gloriously a musician. She is a ‘female guitar player’ or ‘a female drummer’. Her gender precedes her.”
It is not controversial to highlight that in certain aspects of society inequality and sexism are deeply rooted. These prejudices exist within many industries to the point of being so entrenched that it is rarely questioned. This embedded inequality is a major factor when we consider the statistics surrounding women in the music industry because it is still controlled by predominantly, white men. That is not to say that women haven’t made their mark on the industry and contributed considerably to the creative and technical world of music, but when we look at their recognition, pay and overall status, the work of women remains in the shadow of men. This gender prejudice in the industry is by no means ignored and there are plenty of projects and institutions that have been set up to conquer these inequalities directly, but there is still a long way to go, especially in technical and managerial roles. But what do the statistics reveal? What are the challenges women are actually facing? And what can be done to make sure this inequality improves for at least the next generation of women in the industry? The current statistics demand greater attention and explanation and highlight the extent of gender inequality women are facing, for example:
Only 3 solo women have won The Mercury Prize award in its 22 year history.
Less than 5% of recognized producers are women
Only 14% of the Performing Rights Society members are women.
At the 2010 BBC Proms, just a mere 4% of the works performed were composed by women
Brighter Sound only receives one in four female applicants for their music residencies.
In 2010, 47% of women in music earned under £10,000 a year, compared with 35% of men and the gap has barely changed in 2015
Only 6% of women in the business earn more than £29,000 compared with 22% of men[1]
However, the most revealing statistic was the unveiling of this year’s Billboard Power 100 list. Although it is the most diverse list to date, it still only included 15 women out of the “127 represented” and although women are part of the “public face of music” (Lana Del Rey adorned the front cover of the magazine alongside Kanye West and Lucian Grainge), there has been no real substantial change with the industry’s ‘top dogs’ remaining “overwhelmingly male, and overwhelmingly white.” This is the perfect example of how “a corporate industry” can present an image of diversity and equality without actually making any social progress.[2]
8471447681_ed35de7aac_bIn this photo: Lana Del Rey in video still for ‘Burning Desire‘, February 2014
The power behind the industry is being challenged more and more and projects like this year’s Band on The Wall Project, which has been running since 2011 in Manchester was hosted, in February by Beth Orton. In wanting to promote female inclusion in all aspects of the industry, she chose to be part of this year’s project that was for women only. Orton highlighted that the reason women have not applied to previous, mixed projects is “a direct effect of our upbringing and culture, an ingrained sense of being on the back foot [or] lacking in something”. This project put light on the ever prevailing gap between men and women in the music industry, which are in no doubt partly to do with the gender roles society and culture create, but projects of this kind help to promote women’s talent to keep the issue at the forefront. Orton quite rightly commented that although the industry is has a lot to answer to, it is the social barrier for women that serves to deepen the problem; it is also “an issue with how we [women] view ourselves”. Singer/Songwriter Jesca Hoop added her opinion in stating that “unlike a man [a woman] is never simply and gloriously a musician. She is a ‘female guitar player’ or ‘a female drummer’. Her gender precedes her.” This notion of profiling women, often considered normal, and at times indisputable, only helps to undermine a woman’s place in the industry.[3]
205654245_abb5c88837_bIn this photo: Beth Orton performing in Milwaukee, July 2006
Producer, Ebonie Smith formed another ongoing project called Gender Amplified back in 2007 to “celebrate women in music production, raise their visibility and develop a pipeline for girls and young women to get involved behind the scenes as music producers.” Smith is a firm believer in educating the next generation and this “is one of the primary tenets of Gender Amplified”. The need for further projects of this kind can be shown in the statistic based around female producers represented at the Grammy Awards. In its entire forty-year existence, there has been no female winner in the Producer of the Year category and “only six women have even been nominated.”[4] FADER magazine featured an article late last year that further underlined this lack of representation for women in this area of the industry and included comments and opinions from female producers about the state of the industry and what, they felt could improve things.
“Everything that a guy says once, [as a woman] you have to say five times”
Their comments, in fact, emphasized significant opinions that can be associated with many parts of the industry. In accepting that the industry today can sometimes be very nasty, support from friends and family is deemed as essential, but women also have to “be fearless, go forth and battle the crescendo of bullshit in their path.”[5] Bjork, in releasing her most recent album this year commented that women are “not just imagining things” when it comes to a career in the industry, “it’s tough” and despite spending 30 years in music, she revealed that “everything that a guy says once, [as a woman] you have to say five times”.[6] In addition, the FADER article also calls for what has been previously accepted to be questioned and broken down because it is “a lack of insistence on establishing new [archetypes] that reflect a culture we would like to live in” that creates huge barriers for women.[7] What was most significant about the FADER piece was an overall agreement that education is an essential component for change; “workshops and learning events where girls (and boys) can practice for free”, teamed with “bigger female representation in music events and in music press” and the “mentoring by other [female] artists” were drawn upon to start to change the cycle and close the confidence gap.[8] New York producer, Emily Reo points out that there is also a problem with statistics, in general, in so far as they only include “high-end producers and engineers”, but there are plenty of producers and engineers that are just not “included in the noteworthy percentage.”[9] It is this concept that again calls for more quality based recognition, including articles that serve to promote the diversity of roles in the industry that are available to both men and women.
These voiced opinions are the foundation to positive and significant steps in changing the male-dominated roles of the music industry as further statistics highlight that women only have a 15% chance of owning a label or becoming a manager. However, the women who are part of that statistic are also working hard to change that.
Mathilde Cottebrune is a great inspiration to women who are looking to work in a managerial role within the industry. She is currently an A&R and Project Manager for the French record label, Kitsuné and also manages the up and coming French band, Her. In a conversation, she advised that it takes passion to work in the industry “because it involves poor sleep and lots of pressure”, and sometimes those sexist statistics do become a reality. In a previous role, she recalled: “my boss told me I couldn’t be the main interlocutor of a band we had in our roster because being a girl, they probably wouldn’t really respect my authority”, she told Impakter. She stated, too that the positives, such as seeing the “rise of a band you’ve been developing” also outweigh the negatives and “if you work with clever people, they can also see in you the face of a new generation that wants to change the system”.
The problems associated with the industry will not disappear overnight, but women like Mathilde and many others who are pushing for careers in these roles are slowly helping to break the mold. The projects mentioned here provide constant opportunities to enable women to see that a strong position within the industry is possible. Although criticized as a form of segregation, the creation of the Women in Music Awards last year recognized “the 30 most influential women executives from all sectors of the UK business”[10] and therefore can serve to shed further light on inequality and the need to identify the value in the creative and technical work of women in the industry. Of course, there are other factors that further complicate the status of women, including issues surrounding childcare, sexuality, and image that also need to be constantly addressed and questioned. However, in pushing to remove barriers and opening the doors to the new generation of girls through education, better profiling and keeping the issue in the spotlight by advising and inspiring each other, change may start to happen, even if it is just one percentage at a time.
source 5 :
Sky Ferreira has answered a controversial article discussing her sex appeal which made repeated references to her breasts and appearance in an angry riposte on Twitter.
The singer and model criticised the music industry for being inherently sexist in a series of tweets responding to an article published by LA Weekly.
The piece, “Sky Ferreira’s Sex Appeal is What Pop Music Needs Right Now”, referenced the album cover for Night Time, My Time, where she appears bare-chested, by discussing her “killer tits” and comparing her appearance to Madonna’s throughout.
“When Ferreira dropped her debut, Night Time, My Time, three years ago, the bare-breasted album cover nearly broke the internet,” it reads. “Misogynists claimed it was a desperate attempt to sell records; feminists saw it as the calculated move of a defiant young woman. A third unnamed group that included me couldn’t help but reminisce about Madonna’s defiantly atomic boobs — the two knockers that altered the course of human history.
“Both Sky and Madonna have similar breasts in both cup size and ability to cause a s***tstorm.”
Later in the piece, it adds: “She looks like a more cherubic Sharon Stone, icy but also sweet, like a freshly licked lollipop.”
The piece was accused of objectifying the 23-year-old and provoked a furious backlash on social media.
In her own response, Ferreira thanked those who spoke out against it and vowed not to be ashamed of her sexuality. “I’m not a think piece,” she wrote. “I’m not a f**king example. I’m glad that this is making people think and conversation is happening and I appreciate people speaking against it and being vocal.”
“Ninety-five per cent of articles and interviews about me have had something offensive, false or (sometimes extremely) sexist.” she went on. “Some have been more passive aggressive or subtle and socially acceptable.
“You’re either too fat or too thin or too pretty or ugly. That’s the what I’ve l have been told my whole life since I was a little girl.
“If you’re not a b***h or then you’re fake. If you’re not crazy or difficult then you’re boring and helpless. I’m obviously a lot more than my ‘sex appeal’ or my ‘knockers’. I’m not ashamed of either of those things either.”
Andy Hermann, the editor of the magazine, has since issued an apology. In a second piece, Hermann admitted poor judgement in publishing the original article.
“You know what? Teen Vogue is right,” he wrote. “They’re all right. It was offensive, and on behalf of […] LA Weekly, I apologise for it.”
He said it was pointless taking the piece down now that it has been read so many times and would instead leave it online as a “topic of discussion, or outrage, or as a cautionary tale about how not to write about a female recording artist in 2016”.
sources 6-8 :
Tickled pink! Charli XCX flaunts her ample cleavage in plunging bikini top as she performs on Xtra Factor
She’s never been one to shy away from flaunting her incredible figure.
And Charli XCX once again had jaws-dropping in her signature bikini top and short skirt style as she performed on Sunday night’s episode of The Xtra Factor.
Appearing on the ITV spin-off show, the 24-year-old beauty slipped into her trademark skimpy tennis skirt which displayed her incredibly perky derriere.
The soft silk high-waisted choice of skirt offset her eye-pooping matching bikini top, with crystal detailing across her ample cleavage.
Charli’s plunging baby pink halterneck number highlighted her buxom bust and also her taut stomach as she jumped around the stage to her sing her new hit.
The soft silk high-waisted choice of skirt offset her eye-pooping matching bikini top, with crystal detailing across her ample cleavage.
At first, she wrapped an oversized powder pink parka around her frame as she appeared on stage.
Equipped with her mic stand, Charli strutted her stuff in a matching pair of trainers to the excited studio audience.
The Boom Clap songstress left her raven-coloured locks loose in a side parting, teasing at her large silver hooped earrings.
Completing the look she worked an exaggerated feline flick across her lid as she began to talk off her sweat-inducing coat under the studio lights. .
Attention grabbing: She was sure to command attention in the daring look
All about her image: The singer’s racy display comes after she spoke to The Daily Telegraph about her image and admitted she was more than happy to be a pop singer
Making her way down the stage, a burst of pink confetti rained from the studio’s ceiling as she flaunted some major skin and side boob as she got into her performance.
Charli XCX rated! British pop star flashes her bottom in ridiculously short white skirt as stars dare to bare on red carpet at the 2016 ARIA Awards
She’s not afraid to be daring when it comes to her wardrobe.
But British pop star Charli XCX really went out of her way to raise eyebrows as she stepped onto the red carpet at the 2016 ARIA Awards on Wednesday.
The 24-year-old flashed her bottom, and her knickers, in a ridiculously short white skirt, as she and other stars flashed the flesh at the event.
Charli XCX raised eyebrows as she flashed her bottom in a ridiculously short skirt on the red carpet at the ARIA Awards on Wednesday.As Charli XCX took to the red carpet for the ARIA Awards, she ensured all eyes were upon her in this daring ensemble.
The star donned all white in the form of this off shoulder tie front top and teeny tiny mini skirt with a tennis style pleated finish. She certainly had some cheek!
While we can’t say we’re going to be exposing quite that much flesh anytime soon, we can say we’d snap those pretty embellished heels up in an instant.
Australia are just coming into summer so whites and pastels are hot property. Sadly though Charli’s baby blue pumps by Miu Miu aren’t available to buy online, but the good news is that they can be yours in black (click right). Black is probably better suited to the current British winter season anyway!
If you’re feeling the pinch with it coming up to Christmas, head to the carousel below to found some similar jewelled pumps to help nail the look.
Braless Charli XCX shows off her ample assets in plunging black jumpsuit at NME afterparty… after picking up Best British Solo Artist
She proudly took home the gong for Best British Solo Artist.
But while Charli XCX’s eyes were firmly on the prize at the 2016 NME Awards on Wednesday evening, other eyes may have been directed elsewhere as the singer showed off her ample assets in an extremely plunging jumpsuit on Wednesday evening.
The 23-year-old went braless for the occasion at Brixton’s 02 Academy, held in association with Austin, Texas and showed off her ample assets in an extreme plunging black jumpsuit.
source 9:
Women underrepresented in the music industry?
Taylor Swift’s historical win at this year’s Grammys raises questions about whether women in the music industry get the credit they deserve. Why aren’t there more female artists claiming sole production credit?
Taylor Swift made Grammy history on Tuesday after winning “Album of the Year” for “1989” – the first woman to take home such honors twice in the award’s 58-year history.
That it has taken this long for a female artist to receive these top honors seems surprising, considering the number of women dominating the stage and heading top-selling bands in the US. From contemporary artists like Lady Gaga and Rihanna back to Ella Fitzgerald and Dinah Washington, female singers have been gaining recognition at the Grammys throughout their history – just on a much smaller scale than their male counterparts. Of 29 awards given out at the inaugural Grammys in 1958, just four were handed out to women. This year, Angélique Kidjo was recognized for her work as were artists like Beyoncé and Lalah Hathaway.
Although this year’s awards have seen far greater numbers of women recognized, an analysis by the digital magazine Fusion found that in 2015, women-only performances comprised just 26 percent of the Top 40. Women claimed sole production credits on less than 5 percent of all albums released in the US. No woman produced a Top 40 song alone in 2015.So why the disparity between women seeing success at the awards level but not serving as sole creators?
It may, according to some, be the Catch-22 brought on by a lack of representation: women don’t see the possibility to gain recognition for their music so they stop – or don’t start – creating it. Making women more visible via bookings and performances may be one way to break that cycle.
Gaining visibility
According to that same analysis in Fusion, women made up only 10 percent of the acts on the music festival circuit – a problem that has been well-known to female electronic musicians and DJs from across Europe for years. That led the Vienna-based composer and DJ Susanne Kirchmayr, stage name Electric Indigo, to create an online network for female artists in the field to promote their work back in 1998. Now with more than 1600 members from 65 countries in its database, the network emphasizes that there isn’t a lack of women in the industry but a lack of recognition in a traditionally male-dominated field. By making their contact details more public, the founders hope to put the ball back in promoters’ and booking agents’ courts.
Berlin-based non-profit Initiative Musik tries to improve the gender balance, albeit with limited success. It provides financial support to the tune of 10,000 to 30,000 Euros for up-and-coming musicians who need assistance realizing projects such as album or video production or tours to promote their work. The funding, handed out on a quarterly basis, is divvied up based on the quality not only of the project from a cultural perspective but also from a business perspective and each project selected comes from a pool of approximately 100 applications. In the latest round, that included just five women artists out of the chosen 28.
“We do have our eye on this,” said Michael Wallies, a spokesperson for the organization who also notes that men submit applications in remarkably greater numbers.
“One of our most successful projects is the band Boy, who first received funding to release their debut, an album which has since gone gold. Since then, we’ve worked with them to support a European tour, then a US tour and now, in putting on several concerts in Brazil. It’s not what some might have expected from a women’s duo but it’s definitely a best case scenario.”
“You’re a woman, you can’t do that”
Still, despite the current imbalance, not everyone is confronted with issues due to their gender. As German rapper Ebow recently told DW’s PopXport, she’s never faced any problems in the industry.
Die Münchner Rapperin Ebow Bayern Deutschland
German rapper Ebow Photo: Nils Schwarz Pressefoto 2013
“I’ve often been asked ‘You’re a woman in hip hop. Have you had any problems?” And my answer is: No. All the guys I know support me. … I’ve never heard a hip hopper say, “You’re a woman, you can’t do that.” I think that comes from the 90s or 80s. Sure, there are people who think that, but fortunately I’ve never met any of those idiots.”
Whether that’s a sentiment more female musicians will be able to share in the coming years remains to be seen. But for those who are struggling to gain recognition for their work, Taylor Swift had a few words of encouragement in her Grammys speech.
“There are going to be people along the way who try to undercut your success or take credit for your accomplishments or your fame,” she said, a clear reference to Kanye West’s claim to have made Swift famous.
“But if you just focus on the work and you don’t let those people sidetrack you, someday when you get where you’re going, you will look around and you will know it was you and the people who love you that put you there. And that will be the greatest feeling in the world.”
source 10 :
Is the music industry still male-dominated? We ask the women working in it…
jbridgeman
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jbridgeman
April 8, 2016
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Beyoncé, Ellie Goulding and Taylor Swift are all examples of female musicians finding huge success alongside their male counterparts, but can the same be said for the women behind the scenes in the music industry?
We spoke to some of the most powerful women working in music, to find out if their dream industry is as male-dominated as rumours still suggest…
The new generation of popstars are still hitting headlines with raunchy videos, provocative stage costumes and social media controversy, so, it’d be easy to assume that men are still calling the shots, but, behind the music videos, a host of inspirational women hold some of the most influential jobs in music.
The industry feels a lot more balanced than when I first started over 10 years ago,’ says Katie Parsons, radio presenter and journalist. ‘Back then most gigs were what we affectionately called “sausage fests”, where all the PRs, managers, record label teams, journalists – and even fans – lingering at the back of gigs were predominately lads.
‘These days, it feels like a balance has been struck. There are certainly jobs within the industry that appear to have a gender lean – more female PRs, more male tour managers – but discrimination feels like it’s on the way out.’
Sarah Maynard, founder of Major PR, agrees: ‘It’s pretty commonplace for a woman to be doing publicity for a band, but there are other areas in music where it’s much less likely you’re going to be dealing with a woman.
‘I know women who are doing phenomenally well as road crew, managers and agents, but do become frustrated when they’re not taken as seriously as their male counterparts.
‘It’s definitely not ok when people are making assumptions about your ability to do a job you work extremely hard at based on your gender,’ Sarah adds.
While the female to men ratio appears to be balancing out across the industry as a whole, it’s in practice – on tour and at gigs – where the women we spoke to noticed the most divide.
Sarah explains: ‘It can be difficult to establish yourself in that environment as someone who is actually working and involved in the process. There are always going to be people who dismiss you as a super fan, or worse, and that’s certainly not a good feeling!’
Similarly, head of Public City PR, Emma Van Duyts, told us: ‘I’ve not really had any kind of sexism directed at me. Only by security people at venues, until they figure out I’m working.’I think it’s always going to exist,’ Emma adds. ‘It’s the nature of the beast, but there are some incredible women working in the music industry, who are very well respected, and those are the ladies to aspire to be like.’
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So can being a female in the industry sometimes work in your favour?
‘It can work both ways,’ says Libby Maguire, Publicist at The Noise Cartel. ‘I’m sure there are times where I have perhaps won a client or someone has remembered my name and not a male colleagues.’
Of her own experiences in the music industry, Libby is one woman who says she has faced gender discrimination throughout her career. ‘I once worked at a major label and remember having a meeting with my boss once about the fact things weren’t going great and I wasn’t 100 per cent happy.’
‘His response to that was “you’ll be fine, you’re young and pretty”,’ Libby recounts. ‘While his response to an older female colleague taking a disliking to me was that, “she probably just assumes you’re not that bothered because you’ll end up marrying someone in a band and not working anyway”.’
‘I’ve never been so shocked and those quotes have stayed with me forever. Never should appearance or age be a factor and I would put money on the same conversation being very different if I was male.’
For Katie Parsons, her role in the public eye has left her facing harsh criticism and trolling online, with derogatory comments aimed at her because of her sex. ‘There was an instance where I’d been on the road with a band and written a tour feature for a magazine. Some of the band’s fans didn’t like the way they’d been portrayed in the piece, and there were comments online saying, “well that’s what happens when you send a woman out to do a man’s job”.
]
‘That was pretty hurtful at the time. Since then, internet trolling has grown and there have been shedloads of YouTube comments on my old video interviews saying my hair looks stupid, I’m ugly, that I sound too posh for rock.’
‘None of that actually bothers me,’ Katie admits. ‘But the ones that claim I don’t know what I’m talking about or don’t understand the music have been pretty cutting in the past.’
About the future, at least, these women are unanimous on one thing – and that’s that women will run the (music) world eventually.
Katie says: ‘As time goes on, the women who entered the industry a few years ago will rise up the ranks and hold equal positions.
‘For now, there might well be some old school gents hanging onto jobs at the top assigned many years ago. Have patience, ladies, your time will come soon enough.’
Noise Cartel Publicist, Steph Van Spronsen, also says: ‘When you look further up the food chain, I see that the CEOs and directors of many companies are predominantly male.
‘I think this stems back to the 80s and 90s when the industry was very male-dominated and women were seen mainly as receptionists and PAs. These days women are breaking through and climbing their way up the ladder to work towards more senior positions.’
MPU 02
Adding: ‘I am very proud of myself, not just because I am a woman working in the music industry, but because I am actually working in the music industry. Music was the one passion I had when I was younger and I’m so proud that I managed to pursue my passion and make it a career.’
Charley Bezer, Head of PR at Live Nation, has some similar advice for those breaking into the music industry: ‘Be prepared to start at the bottom and work your way up.’
‘Believe in yourself and stand up for your ideas, but also learn to pick your battles,’ she advises. ‘Learn when it’s important to push and when to just let it go.
‘After a while, it’s easy to forget how lucky you are to work with incredibly talented people. Savour the great moments, there will be many of them, and try never to take it for granted.’
source 11-12 :
Grimes Discusses Music Industry Sexism In New Rolling Stone Interview
“’t’s a pretty hostile environment.”
In a new interview with Rolling Stone, Grimes was asked for her thoughts on the ongoing legal battle between Dr. Luke and Kesha, who is trying to exit her contract with the Kemosabe Records founder after accusing him of rape and emotional abuse.
The Art Angels musician deferred, saying “I don’t know enough about the specifics of that situation, because it seems very complicated.” But she did offer her own experiences with sexism in the male-dominated music industry. “But I will say that I’ve been in numerous situations where male producers would literally be like, ‘We won’t finish the song unless you come back to my hotel room.’ If I was younger or in a more financially desperate situation, maybe I would have done that.”
Grimes suggested that this predatory behaviour is what keeps women out of the music business. “I don’t think there are few female producers because women aren’t interested. It’s difficult for women to get in. It’s a pretty hostile environment.” Kesha’s legal arguments were recently rejected by the New York Supreme Court.
Grimes also says she’s “halfway done” on a new album of “downtempo synthy shit.” However, she recently posted a “clarification” on Tumblr, spotted by Stereogum, saying that “there is no new music coming any time soon.”
Last year we spoke to thirteen established female artists about why there aren’t more women in the industry. We also recently visited an introductory production workshop for women and talked to the students about what was holding them back.
Grimes on music industry sexism: ‘Being asked about it portrays me as a victim’
‘I will say that I’ve been in numerous situations where male producers would literally be like, “We won’t finish the song unless you come back to my hotel room,” the singer told Rolling Stone
Grimes has accused the media of propagating sexism by asking her about its place within the music industry during interviews.
The Canadian pop singer said asking about industry sexism paints her as a victim instead of a successful musician and producer.
“The most annoying thing about my job: being asked about music industry sexism,“ she wrote on Twitter.
”Media propagates sexism by portraying me as a victim rather than the successful producer that I am.”
Her tweets came after an interview with Rolling Stone, where the Canadian pop singer described how other male producers had allegedly attempted to get her to go back to their hotel rooms during a conversation about sexism in the industry.
When asked about the Kesha/Dr Luke legal battle, Grimes told the magazine she didn’t know enough about the specifics of the case. However, she recalled her own experiences with other male producers in the past.
”But I will say that I’ve been in numerous situations where male producers would literally be like, ‘We won’t finish the song unless you come back to my hotel room,’” she said.
“If I was younger or in a more financially desperate situation, maybe I would have done that.”
Grimes has written about the infantilisation and sexualisation of women in the industry by both the public and those who work within it in the past. She decried the perception of women as unable to use technology without assistance and ridiculed the many male musicians who, despite being much less successful, had offered to “help her out”.
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7 Anecdotes From Female Artists Show How Deep Sexism Runs in the Music Industry
These women may be grabbing all the headlines in music these days, but behind the scenes, they admit to commanding little of the same power. Even for the biggest names in music, sexism in the music industry is real. It transcends genre and fame.
First, the problem is representation. Pop artist Charlotte Church, who described her fight against sexism in a 2013 speech, said that “only 15% of label members are majority-owned by women. [Performing Rights Society] claims only 13% of writers registered are female. The music producers guild: less than 4%.”
Second, the problem is judgment. “Women in the industry are judged more,” Nicki Minaj told Time back in February. “If you speak up for yourself, you’re a bitch. If you party too much, you’re a whore. Men don’t get called these things.”
Third, the problem is exploitation. Music executives encourage women to show skin, change their content and style to push their products to consumers. Numerous women artists have shared stories of the pressures they’ve experienced.
Here are seven such tales.
1. Alicia Keys: “Why don’t you unbutton the shirt a little lower?”
Source: Mic/Getty Images
Alicia Keys was not known as a sexualized pop starlet, but not for the industry’s lack of trying. “I trusted people and then I would see things back and feel embarrassed and uncomfortable,” she described to the Telegraph in recounting the industry’s attempts to sexualize her image. “That kind of set me on my path to be stronger about not letting people tell you anything.”
She has since managed to carve a space where she can use her sexuality strategically and advocate for whatever causes she wants. She achieved this by “demanding respect,” as she told the Telegraph, “saying ‘Here’s what I want,’ and pushing people as opposed to being pushed around.”
2. Taylor Swift: “They may have to deal with their own sexist issues.”
Source: Mic/Getty Images
When Taylor Swift’s 1989 smashed almost every record in the books, it was difficult for some in the industry to believe that Swift masterminded the whole project. Publications like Forbes wrote about her new music on the assumption the men behind were directing her sounds. Even other artists like Imogen Heap “assumed she didn’t write much of her music.”
“If someone has studied my catalog and still doesn’t think I’m behind it, there’s nothing I can do for that person,” Taylor Swift told Billboard. “They may have to deal with their own sexist issues, because if I were a guy and you were to look at my catalog and my lyrics, you would not wonder if I was the person behind it.” Numerous female artists have struggled with this same problem. M.I.A. and Solange Knowles have both spoken out against reviews that highlight the contributions of male collaborators over their own.
3. Grimes: “I don’t want to be molested at shows or on the street.”
Source: Mic/Getty Images
Indie singer-songwriter and producer Grimes wrote an epic manifesto on Tumblr in April 2013. It described the many types of misogyny she’s seen and experienced over the years. Grimes described being molested at shows, and having to resist not only sexualization but infantilization in the pop music machine.
“I’m tired of men who aren’t professional or even accomplished musicians continually offering to ‘help me out’ (without being asked), as if I did this by accident and I’m gonna flounder without them,” she wrote. “Or as if the fact that I’m a woman makes me incapable of using technology. I have never seen this kind of thing happen to any of my male peers.”
4. Taylor Jardine of We Are the In Crowd: “I’m not stupid.”
Source: Mic/Getty Images
Sexism in the punk and rock world differs from the misogyny that runs rampant through the pop world.
There’s less emphasis on sexuality, but women like Taylor Jardine of the pop punk band We Are the In Crowd has had just as much difficulty being taken seriously. “Before we had our own crew, we’d use the house monitors and we’re checking all the instruments and the sound guy would ignore me,” she told Fuse. “I’d have to say ‘Excuse me, I need the bass up.’ And he’d say, ‘Honey… Honey, we already did the bass.’ I’m like, ‘I know, but I can’t hear it now.’ I’m not stupid! We just played a song and now I can’t hear it. … It used to happen all the time. I used to also not get let into the venue.” It seems that the idea of a woman rocking a stage is just too much to believe for some venues.
5. Meredith Graves of Perfect Pussy: “You’re never considered real.”
Source: Mic/Getty Images
“Women are called upon every day to prove our right to participate in music on the basis of our authenticity — or perceived lack thereof,” Meredith Graves wrote in a piece discussing sexism in the industry and the idea of creating an artist. She tells stories about being tested by those who consider themselves serious music fans.
“Our credentials are constantly being checked — you say you like a band you’ve only heard a couple of times? Prepare to answer which guitarist played on a specific record and what year he left the band. But don’t admit you haven’t heard them, either, because they’ll accuse you of only saying you like that genre to look cool. … This happens so often that it feels like dudes meet in secret to work on a regimented series of tests they can use to determine whether or not we deserve to be here.”
6. Amy Kirkpatrick of Data Romance: “I’ve turned down sex and lost opportunities.”
Source: Mic/Getty Images
“The amount of times I’ve turned down sex and had opportunities taken away from me, that would get your attention as well. Or at least it should,” Amy Kirkpatrick, half of the EMD duo Data Romance, wrote on her website, according to Beautiful magazine. “If it doesn’t, then you’d fit right in in the entertainment business.” She describes numerous occasions when she was inappropriately pressured into sex while involved in a business meeting. The worst part is, turning down sex can turn out to be a bad business decision.
“[W]hen you turn down sex to stick up for your own morals, or simply for the fact you don’t want to sleep your way to the top, you feel… awkward about it? So you just ruined a relationship with a potential band you were going to work with because you turned down sex with someone whose ego can’t handle it. They cut you out. That happens. That happened to me. And having to explain that to your record label, or band members, is not a conversation you want to have.”
7. Bjork: “To get my ideas through, I had to pretend men had the ideas. ”
Source: Mic/Getty Images
That women don’t write their own music follows established avant garde legends like Bjork.
This misogyny was strikingly apparent during the press circuit of her 2015 album Vespertine. “I did 80% of the beats on Vespertine and it took me three years to work on that album, because it was all microbeats — it was like doing a huge embroidery piece,” she told Pitchfork. “Matmos came in the last two weeks and added percussion on top of the songs, but they didn’t do any of the main parts, and they are credited everywhere as having done the whole album. [Matmos’] Drew [Daniel] is a close friend of mine, and in every single interview he did, he corrected it. And they don’t even listen to him. It really is strange.”
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A Professional’s Perspective On Sexism In The Music Industry
I walked into the venue and found the sound guy. I introduced myself, handed him my audio transmitter and asked if he could give me an XLR mix out. “Why,” he asks. “I am filming the show and need clean audio.” “Yeah, but what is this going to?” he asks. “A wireless receiver,” I reply. “Who is running it?” “I am,” I tell him. He wants to know where and if he can see it. “It’s on the other side of the room. It’s just a basic receiver. It’s on and programmed. All I need is an XLR mix out. It’s all dialed in.”
“Don’t get b*tchy.” He smiled. It didn’t feel like what you’d call a friendly smile. He continued, “This is a direct board feed, you won’t get much bass so you’ll need a room mic.” He seemed surprised that I knew, let alone had one already set up. Then went further. “The line I’m giving you is mono not stereo, someone will have to help you with that and the vocals are going to be hot. Hot means loud…”
And with his increasing condescension, I feel my ears turn red and I tuned out. When he finished, I say, “Got it, can you run this or not?” He plugs in the transmitter, and I hear “B*tch” under his breath as I walk away.
That happens more times than I wish it did. Funny thing is, when my male assistant asks, the answer is either “Sure,” “Nope,” or “Will a stereo line work?” I’ve never seen them say anything else, let alone take 10 minutes to give him a dissertation on what a board feed is, sounds like or what else he’s going to need. And I’ve never heard them tell him, “Don’t get b*tchy.“
I’ve worked in the music industry for over 30 years. In that time, my boobs have gotten me in serious trouble. Not because I’ve used them for anything or shown them around. I keep these babies on lock down. But they exist and people know it and sometimes they make me feel like they think I can’t do my job because of them.
I’ve worked in the music industry for over 30 years. In that time, my boobs have gotten me in serious trouble.
I was at a dinner party a few weeks ago and a woman who has been an executive with a world-renowned recording studio for 20 years walked in. When someone asked, “How is work?” She said, “Oh, you know, just trying to manage with my tiny girl brain.” I howled — not only because the comment was funny, and it was, but because I knew all too well what she meant.
We’ve all read stories about female artists in the business. I Googled “Sexism in the music industry” and it yielded 610,000 results. Almost all of them related to female artists. When I reached out about this piece I was inundated with stories from and about female artists. What I couldn’t seem to find were stories from women industry professionals — label heads, publicists, managers, visual artists like myself.
And once I started calling them, I realized this was a whole new ballgame. Many gave me stories, but all of them asked to remain anonymous or to not tell it at all because it would out them. They all felt like they would be fired, blackballed, it would get worse or it would perpetuate the b*tchy, slutty, crazy appellations they are already fighting. I understood it, but it bothered me.
We’ve all had those blatant moments. In the three decades I’ve been in this game, I’ve been manhandled, grabbed, groped and violated in inconceivable ways. I’ve thrown out torn clothing and cleaned bloodstains while I refused tears I was too proud to let fall. I’ve been called a whore, a tease, a groupie, a sycophant and everything in between. That sh*t is not ok, but I’m guessing none of it is news for any woman who works in a male-dominated field.
I’ve been called a whore, a tease, a groupie, a sycophant. But I’m guessing none of it is news for any woman who works in a male-dominated field.
To tell you the truth, as bad as that stuff is, it’s when my abilities come into question that I get pissed off. Defending my body can happen when I go to Walgreens, but when you dismiss my intellect or capacity to perform as a professional simply because I have boobs, that’s weird, and you and I now have a situation.
I sat down with the woman I was talking about earlier, along with three other very powerful women in the music industry to discuss this topic. It was fascinating. We all felt marginalized, ignored, disregarded and disrespected in instances, where if the shoe were on the foot of a man with our credentials, it would never have happened.
The most fascinating part was that we all did the same thing in our girl brains. We questioned if we were actually on the receiving end of misogyny or were just being sensitive. “Did I imagine that or was it real?” The fact that we all thought it told me all I need to know.
I asked how we could change it. That was the only question met with uncomfortable silence and “hey, girl” shoulder shruggin’. Our careers revolve around music, which has always been the driving force behind change. It’s the courage of the songwriter that plays in our minds when we hear a song that moves us. Be it political, personal or satirical. Artists are the people we get up and go to work for every day. How do we honor and respect them and not be that brave ourselves?
I certainly don’t have the answers. I’m not even sure all of it is intentional. Some dudes have just always worked with dudes and some people make snap judgements. Never good. But I have noticed that more ladies run the show these days. And more women are stepping into the roles that have traditionally been occupied by men. That’s good.
I’m going to start here. I’m going to put sound guys the world over on notice. Hey, sound guys, people with boobs also have the capacity to understand basic sound. There. I said it. Now, Do you have an XLR out or what?
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The world of music has long been notorious for being a sphere in which sexual harassment, assault and objectification are a daily reality for women – issues which are simply swept under the rug and slotted in the ‘boys will be boys’ folder of everyday sexism.
But in the past year there has been more than a glimmer of much-needed change. Social media and the internet have given voices to the previously-silenced – and where one voice is powerful, many can start a revolution.
Meet the female artists, journalists, gig-goers and trade insiders speaking out in order to make the industry a better place. Not just to work and perform, but to enjoy, because music is for everyone.
1. Andreea Magdalina
ANDREEA MAGDALINA
Founder of shesaid.so, a global community of women who work in the music industry with the aim to strengthen support networks, offer partnership opportunities and provide a platform for female-made content.
Established in September 2014, it now has over 1,000 members worldwide connecting women across all sectors of the industry, from PR to music management.
Speaking to The Huffington Post UK, Magdalina said: “shesaid.so’s mission is to create an environment where women are given equal opportunities in their career path.
“It’s been an incredible tool for empowering women music executives – our speaker events are a catalyst for conversation, increasing the profile of women who are making an impact in the industry around the world.”
2. Girls Against
GIRLS AGAINST
Five teenage feminists (Anna, Anni, Ava, Bea and Hannah) fighting against sexual assault at gigs and live music concerts.
The movement was created in October 2015 after one of the friends experienced sexual harassment at a Peace show in Glasgow. The group aims to start a discussion between fans, bands, promoters, venues and security companies, along with offering support to victims.
“We hope that if we all speak about the issue loudly and clearly, perpetrators realise that they are not welcome at gigs and we will not tolerate their behaviour,” Girls Against shared on their website.
3. Bethany Cosentino
DANIEL KNIGHTON VIA GETTY IMAGES
Half of American rock duo Best Coast, Bethany Cosentino has always been outspoken on the sexism she’s encountered as a female frontwoman.
In an essay written for Lena Dunham’s newsletter Lenny, the singer and guitar player shared her experiences of battling the patriarchy and calling out gig reviewers who only mention female artists’ outfits and appearance.
“We live in a world where a man can yell at me while I’m onstage, ‘Bethany, I wanna fuck you!’ and I am supposed to not only stand there and take it but also digest it as a compliment to add to my fierce arsenal of sexy confidence,” she wrote.
4. Jessica Hopper
TWITTER/JESSHOP
Editorial director of music at MTV, and author of ‘The First Collection of Criticism By A Living Female Rock Critic‘, Jessica Hopper frequently uses Twitter to promote women in the music industry, most famously with her open call for stories of sexism.
Her tweet shone light on how women are often made to feel they don’t ‘count’, with hundreds of responses flooding in from female musicians and music journalists.
5. Becky Blomfield
LORNE THOMSON VIA GETTY IMAGES
Frontwoman of Bristol punk rock band Milk Teeth, Becky Blomfield is vocal about sexism in the music industry.
In a powerful new blog for The Huffington Post UK, Blomfield recounts the objectification she’s experienced and cites it as the reason there aren’t more female musicians.
“There are some people in the industry who try to manipulate women and market them as more of a product than a person,” she wrote.
“Hopefully it won’t be too long before the world catches up to the real definition of feminism – until then, don’t let the minority of assholes hold you back.”
6. Amber Coffman
TAYLOR HILL VIA GETTY IMAGES
Dirty Projectors singer and guitarist Amber Coffman started a media frenzy when she outed Heathcliff Berru, founder of Life or Death PR and Management, for inappropriate sexual behavior.
Her series of tweets prompted many other women to come forward with their own claims via social media and only a few hours later, Berru resigned from his position as CEO and issued a statement that he would be heading into rehab for drug and alcohol addiction.
Following the events, Coffman’s story prompted even more exposés of sexual assault and harassment within the industry.
7. Meredith Graves
BURAK CINGI VIA GETTY IMAGES
Perfect Pussy singer Meredith Graves wrote and read aloud a powerful essay on sexism and the notion of authenticity at the 2014 Basilica Soundscape Festival.
“Women are called upon every day to prove our right to participate in music on the basis of our authenticity,” she said.
“Our credentials are constantly being checked — you say you like a band you’ve only heard a couple of times? Prepare to answer which guitarist played on a specific record and what year he left the band.
“But don’t admit you haven’t heard them, either, because they’ll accuse you of only saying you like that genre to look cool.”
8. Rachel Brodsky
Rachel Brodsky, assistant editor at SPIN magazine, made the headlines earlier this month when she called out Miles Kane of The Last Shadow Puppets for hitting on her during an interview.
“Is it normal to be asked up to a male musician’s room — even as a joke? Or cheek-kissed, repeatedly high-fived, and stared down?,” she wrote.
“Even if he’s entirely harmless (and I’m sure that he is), is this the sort of thing that I should let go for the sake of my job?”
Brodsky hopes that her, and other women, speaking out will help increase “professionalism toward women in the music industry.”
9. Tracey Wise
TRACEY WISE
Regular gig-goer Tracey Wise has campaigned tirelessly online to create a safer environment for women at shows in the UK.
Her initiative, Safe Gigs For Women hopes to spread the word that it is not acceptable to harass women, encourage victims of assault to share their stories and liaise with venues to create a standard of safety.
Wise, who launched the movement in June 2015, has written a number of blogs for HuffPost detailing her experiences and ideas on how to implement change.
10. Lauren Mayberry
MERRICK ALES VIA GETTY IMAGES
Frontwoman of Scottish electro band Chvrches, Lauren Mayberry wrote a sharply-worded thought piece about sexual harassment on the internet.
“Why should women ‘deal’ with this?,” she said of sexist and derogatory comments online.
“Is the casual objectification of women so commonplace that we should all just suck it up, roll over and accept defeat? I hope not. Objectification, whatever its form, is not something anyone should have to ‘just deal with’.”
11. Rosie Solomon
This month English student and Redbrick Music writer Rosie Solomon’s review of a Baroness gig went viral.
The post, titled ‘This Is Not A Review‘, detailed the sexual assault 20-year-old Solomon experienced when watching her favourite band play in Birmingham.
“I wanted to write this article to encourage anyone to do the same,” she wrote.
“I am not an object of your sexual fantasy, I am a person and I have the right to see my favourite band live by myself without fearing for my safety.”
Speaking to HuffPost UK, Solomon describes being blown away by the response to her article.
“I have received messages from men and women alike thanking me for raising awareness of this problem and saying that I have changed their minds and they would now report similar incidents like this in the future
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CHARLI XCX SHEDS LIGHT ON FEMINISM IN THE MUSIC INDUSTRY WITH NEW DOCUMENTARY
KC ORCUTT NOVEMBER 26, 2015
Referring to feminism as the “F” word, Charli XCX‘s new BBC News documentary, The F Word And Me, is quick to include a much-discussed quote from Nicki Minaj in regards to being a female in music: “When I am assertive, I’m a b*tch. When a man is assertive, he’s a boss.”
During the 41-minute collection of clips tied together by Charli’s narration, the documentary focuses on the ways females are still a minority in music and in pop music, specifically. Throughout her travels to festivals such as Glastonbury and Lollapalooza, the 23-year-old singer talks to different women, such as Ryn Weaver and Ella Eyre, asking what feminism means to them.
For one example of how Charli shares her experiences in relation to being a woman in music, the documentary shares a clip where she’s interviewed regarding her flashing the stage at Glastonbury. The female reporter reacts to this incident saying, “These things happen at Glastonbury! It’s totally legitimate!” Following this scene, Charli gives you her perspective first-hand on how mass media portrays the incident as something people are outraged and disgusted by.
“Female pop stars are under constant scrutiny,” Charli narrates. She goes on to list all the ways in which females are torn apart in mass media, sharing a lot of truth. While the documentary is clearly from her personal, younger perspective, it does raise valid points throughout, directly shared from her experiences.
Charli’s discussion of how the Spice Girls and their notion of “Girl Power” was her first introduction to feminism is very relatable to her fans, and those who’ve grown up with similar female idols. She also discusses in detail Rihanna’s video for “B*tch Better Have My Money,” and how she understands why it was criticized, but why it’s an important video for our contemporary culture.
While reflecting on areas where change is still needed, overall the singer is optimistic things are changing for the better regarding sexism in the industry—especially in terms of celebrating self-identity and confidence for women in pop music.
sineadlaneluke 