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Gender inequality is universally understood to be a continued problem in the music industry. This volume presents research that uses an industry-based approach to examine why this gender imbalance has proven so hard to shift, and explores strategies that are being adopted to try and bring about meaningful change in terms of women and gender diverse people establishing ongoing careers in music. The book focuses on three key areas: music education; case studies that explore practices in the music industry; and activist spaces. Sitting at the intersection between musical production, the creative industries and gender politics, this volume brings together research that considers the gender politics of the music industry itself. It takes a global approach to these issues, and incorporates a range of genres and theoretical approaches. At a time when more attention than ever is being paid to gender and music, this volume presents cutting edge research that contributes to current debates and offers insights into possible solutions for the future.
Dorothy Carvello knows all about the music biz. She was the first female A&R executive at Atlantic Records, and one of the few in the room at RCA and Columbia. But before that, she was secretary to Ahmet Ertegun, Atlantic's infamous president, who signed acts like Aretha Franklin and Led Zeppelin, negotiated distribution deals with Mick Jagger, and added Neil Young to Crosby, Stills & Nash. The stories she tells about the kingmakers of the music biz are outrageous, but it is her sinuous friendship with Ahmet that frames her narrative. He was notoriously abusive, sexually harassing Dorothy on a daily basis. Carvello reveals here how she flipped the script and showed Ertegun and every other man who tried to control her that a woman can be just as willing to do what it takes to get a hit. Never-before-heard stories about artists like Michael Jackson, Madonna, Steven Tyler, Bon Jovi, INXS, Marc Anthony, and many more make this book a must-read for anyone looking for the real stories on what it takes for a woman to make it in a male-dominated industry.
The field of music production has for many years been regarded as male-dominated. Despite growing acknowledgement of this fact, and some evidence of diversification, it is clear that gender representation on the whole remains quite unbalanced. Gender in Music Production brings together industry leaders, practitioners, and academics to present and analyze the situation of gender within the wider context of music production as well as to propose potential directions for the future of the field. This much-anticipated volume explores a wide range of topics, covering historical and contextual perspectives on women in the industry, interviews, case studies, individual position pieces, as well as informed analysis of current challenges and opportunities for change. Ground-breaking in its synthesis of perspectives, Gender in Music Production offers a broadly considered and thought-provoking resource for professionals, students, and researchers working in the field of music production today.
Gender, Branding, and the Modern Music Industry combines interview data with music industry professionals with theoretical frameworks from sociology, mass communication, and marketing to explain and explore the gender differences female artists experience. This book provides a rare lens on the rigid packaging process that transforms female artists of various genres into female pop stars. Stars—and the industry power brokers who make their fortunes—have learned to prioritize sexual attractiveness over talent as they fight a crowded field for movie deals, magazine covers, and fashion lines, let alone record deals. This focus on the female pop star’s body as her core asset has resigned many women to being "short term brands," positioned to earn as much money as possible before burning out or aging ungracefully. This book, which includes interview data from music industry insiders, explores the sociological forces that drive women into these tired representations, and the ramifications for the greater social world.
What is it like to work as a classical musician today? How can we explain ongoing gender, racial, and class inequalities in the classical music profession? What happens when musicians become entrepreneurial and think of themselves as a product that needs to be sold and marketed? Gender, Subjectivity, and Cultural Work explores these and other questions by drawing on innovative, empirical research on the working lives of classical musicians in Germany and the UK. Indeed, Scharff examines a range of timely issues such as the gender, racial, and class inequalities that characterise the cultural and creative industries; the ways in which entrepreneurialism – as an ethos to work on and improve the self – is lived out; and the subjective experiences of precarious work in so-called ‘creative cities’. Thus, this book not only adds to our understanding of the working lives of artists and creatives, but also makes broader contributions by exploring how precarity, neoliberalism, and inequalities shape subjective experiences. Contributing to a range of contemporary debates around cultural work, Gender, Subjectivity, and Cultural Work will be of interest to scholars and students in the fields of Sociology, Gender and Cultural Studies.
Leonard addresses core issues relating to gender, rock and the music industry through a case study of 'female-centred' bands from the UK and US performing so called 'indie rock' from the 1990s to the present day. Using original interview material with both amateur and internationally renowned musicians, the book further addresses the fact that the voices of musicians have often been absent from music industry studies. Leonard's central aim is to progress from feminist scholarship that has documented and explored the experience of female musicians, to presenting an analytic discussion of gender and the music industry. In this way, the book engages directly with a number of under-researched areas: the impact of gender on the everyday life of performing musicians; gendered attitudes in music journalism, promotion and production; the responses and strategies developed by female performers; the feminist network riot grrrl and the succession of international festivals it inspired under the name of Ladyfest.
This book is a timely examination of the tension between being a rock music fan and being a woman. From the media representation of women rock fans as groupies to the widely held belief that hard rock and metal is masculine music, being a music fan is an experience shaped by gender. Through a lively discussion of the idealised imaginary community created in the media and interviews with women fans in the UK, Rosemary Lucy Hill grapples with the controversial topics of groupies, sexism and male dominance in metal. She challenges the claim that the genre is inherently masculine, arguing that musical pleasure is much more sophisticated than simplistic enjoyments of aggression, violence and virtuosity. Listening to women’s experiences, she maintains, enables new thinking about hard rock and metal music, and about what it is like to be a women fan in a sexist environment.
Women in Audio features almost 100 profiles and stories of audio engineers who are women and have achieved success throughout the history of the trade. Beginning with a historical view, the book covers the achievements of women in various audio professions and then focuses on organizations that support and train women and girls in the industry. What follows are eight chapters divided by discipline, highlighting accomplished women in various audio fields: radio; sound for film and television; music recording and electronic music; hardware and software design; acoustics; live sound and sound for theater; education; audio for games, virtual reality, augmented reality, and mixed reality, as well as immersive sound. Women in Audio is a valuable resource for professionals, educators, and students looking to gain insight into the careers of trailblazing women in audio-related fields and represents required reading for those looking to add diversity to their music technology programs.
This book focuses on the role of education in relation to music and gender. Invoking a concept of musical patriarchy and a theory of the social construction musical meanings, Lucy Green shows how women's musical practices and gendered musical meanings have been reproduced, hand in hand, through history. Covering a wide range of music, including classical, jazz and popular styles, Dr Green uses ethnographic methods to convey the everyday interactions and experiences of girls, boys, and their teachers. She views the contemporary school music classroom as a microcosm of the wider society, and reveals the participation of music education in the continued production and reproduction of gendered musical practices and meanings.
The Music Industry Handbook, Second edition is an expert resource and guide for all those seeking an authoritative and user-friendly overview of the music industry today. The new edition includes coverage of the latest developments in music streaming, including new business models created by the streaming service sector. There is also expanded exploration of the music industry in different regions of the UK and in other areas of Europe, and coverage of new debates within the music industry, including the impact of copyright extensions on the UK music industry and the business protocols involved when music is used in film and advertising. The Music Industry Handbook, Second edition also includes: in-depth explorations of different elements of the music industry, including the live music sector, the recording industry and the classical music business analysis of business practices across all areas of the industry, including publishing, synchronisation and trading in the music industry profiles presenting interviews with key figures workings in the music industry detailed further reading for each chapter and a glossary of essential music industry terms.