SXSWorld
Issue link: https://sxsw.uberflip.com/i/600882
1 4 S X S W o r l d | N O V E M B E R 2 0 1 5 | S X S W. C O M t can start with calling a woman a "bitch" and end in glorifying rape, and that's just lyrics on a Rick Ross record. Levity and lyrics aside, startling revelations by female artists in all genres of music—Lady Gaga raped at 19 by a record company executive; online insults and violent threats to Chvrches' Lauren Mayberry; Kesha's accusations of assault against producer and mentor Dr. Luke—mean that misogyny is no joke or rapping matter. Normally, these disclosures might be dismissed as salacious headline fodder, but they are part of a growing conversation about gender equality among women, and some men, working in music. This summer, when Pitchfork senior editor Jessica Hopper sent out an inquiry on her Twitter page asking women for their experiences of sexism in the music busi- ness, she was amazed at the response: "I just asked what are your typical experiences," says Hopper. "In 19 hours I had 400 direct replies, and it soon went into the thousands. I wasn't intending to start a conversation." But one has started. The shaming and demeaning of women via physical and verbal assault is out in the open. Women know it isn't just the music business; it's every business. Relegating women to second-class citizens is as old as some guy writing that Adam created the evil temptress Eve from a spare bit of bone. Hopper experienced sexism early in her career. While working as a booking agent, a club manager referred to her as a groupie, demeaning her professional position in front of the band she repre- sented. "He thought that was a great joke. He clearly didn't respect me. It totally burned me," she says. But, Hopper got on with her job. Like most women, you brush it off. "I haven't really experienced anything extreme," says Mimi Parker, co-singer and drummer for the band Low and a veteran of more than two decades working in music. "Sometimes in clubs, the sound guy will say something derogatory, but I never think of it as anything more than they are an idiot. I think of it as somebody being an ass- hole rather than sexist." "It's sad to say, because it's commonplace not just in the music industry, but many aspects of society, I've almost become desen- sitized to it," says Melbourne, Australia-based musician and video producer Becky Sui Zhen. "Whether it's because someone is being sexist or just a rude person is not always distinguishable. In the music industry, I demand the same respect as any person would and have no issue confronting rudeness when I experience it." Sui Zhen says Melbourne has a community with lots of strong female artists and she feels sup- ported. Hopper says she was lucky enough to have strong men- torship early in her career, from men, too: "I had real champions and so many positive instances that I took that as the truth." Most major cities now have female-centered arts and perfor- mance groups, but there is care to make sure breaking down barriers doesn't result in erecting new ones. "Sexism in music continues to thrive with the use of the term 'female musician.' At times this label is used to better describe a group of artists, but it's used too often by the music industry and audiences as a descriptor of a cer- tain genre or style of music," says Rachael Pazdan, the founder of the New York City arts produc- tion company Hypnocraft, which includes The Hum, a weekly event in Brooklyn described as a series "for musicians who are women." "The same can be said for the phrase 'female-fronted band.' Women are not a genre of music," she adds. After fewer than two months of producing The Hum, Pazdan was surprised at comments from women who say they've never played with another woman before: "These women are used to going to men to get their creative ideas approved." Pazdan thinks women's com- petitive natures go against them and they need to collaborate more: "Just start creating a community," she advises. After centuries of Artemisia Gentileschi-style re-victimizing of women who speak out against rape in the arts, 2015 could turn out to be the year when women's voices are heard. Bill Cosby's alleged multiple rapes and Dr. Dre's past of violent misogyny have both been called out. Reebok dropped Rick Ross from an endorsement deal, but only after women's rights group UltraViolet pressured the company. "I don't know what more there is that women can do than they are already doing," says Hopper. "Men need to show up and talk to women around them, and listen to their experiences." "Undoubtedly," says Pazdan, "men definitely need to be part of this conversation." Still, though gender bias is a societal problem, redefining the work- place can't happen without women defining their needs and terms, which can be difficult after centuries of a working world defined by men. T J es s ica H o p p e r w il l b e a F e a ture d S p e a ke r a t t h e 20 1 6 SX S W M u s ic C o n - fe re n ce. S e e s x s w.co m /m u s ic fo r m o re i nfo rm a t io n . Music Industry's Gender Bias Problem Needs Societal Solution by Linda Laban J es s ica H o p p e r I D AV I D S A M S O N