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Female music industry insiders talk gender, race, sexuality in pop music

Ladies

Artists utilizing and exploring their sexuality through music isn't news -- it's part of their self-expression.

But today, as much as ever, pop music’s biggest players, especially female -– be it Lady Gaga, Beyonce, Rihanna, Katy Perry or Nikki Minaj -– have all found ways to harness their sexuality to their benefit.

As the artists in the spotlight are considered by many to be heroes, the women who play quieter roles behind the scenes -- music critics, managers, publicists and industry leaders -- face obvious hurdles in a historically male-driven record industry.

In advance of the 10th Annual Experience Music Project Pop Conference at the UCLA this weekend, "Work It: Gender, Race, and Sexuality in Pop Music Professions" brought together a group of prominent music journalists, scholars, musicians and music industry professionals for a day-long conference at USC on Thursday to discuss the changing roles in today’s pop music.

Times pop music critic Ann Powers, also an organizer of the conference, led the day's first panel, "S/he works hard for the money." (Disclosure: Four Times writers, included this one, will be presenting work at the Experience Music Project Pop Conference this weekend.)

In front of an intimate audience at USC’s Tutor Campus Center, Powers led an open discussion with a slew of diverse industry insiders: Amy Blackman (of Cookman Management), Nicole Vandenberg (head of Vandenberg Communications), Evelyn McDonnell (journalist and memoirist), Lauren Onkey (from the Rock and Roll Hall of Fame and Museum), Hanna Pantle (from BMI), Kristen Madsen (Grammy & MusiCares foundations) and singer-songwriter Holland Greco.

For the women on the panel, gender and sexuality seemed to play a pivotal role in their daily life work.

"Unfortunately there is this battle of the sexes," said Pantle, assistant vice president of corporate and media relations at BMI. “You walk in a woman, you walk out a woman. You walk in a man, you walk out a man. It’s very hard to feel that you’re not a woman. Everyone comes in with their own impression of what you’re going to be. There is no avoiding it."

Blackman, who manages the Latin/hip-hop/rock collective Ozomatli, had to overcome being the only female in a room full of guys.

"They have an all-male crew and historically when we were traveling I was invited into these traditionally hallowed male spaces like the tour bus, recording studio and the dressing room -- and it's very apparent that I’m the only female in this space," she said. "I did in the beginning feel like I had to compensate for that by being .... really unreasonably aggressive, because I thought other women wouldn’t be taken seriously. [But] I realized there is authentic power in just being good at what I do.”

That relationship of females working in male-dominated workplaces (something that’s still a conversation in professions outside of music) easily becomes a sensitive subject as issues of sexuality, equality and money come into the conversation.

Vandenberg recalled prepping for her first touring experience with a male artist and the advice a male colleague gave her.

“I had my pen and paper and was very studious in taking notes because I wanted to do things right. But he was so awkward and he was getting at something, though I wasn’t quite sure what it was,” she said. “What he was ultimately trying to say was, ‘Don’t sleep with anyone in the band.’ I was horrified that was even something he thought he had to say."

Powers noted that because music is often fueled by sexuality, those conversations trickle down to the culture surrounding it and women are typically forced, or expected, to present themselves in a certain way by either choosing to play their sexuality up or down.

“Being one of the only girls around, a lot of times the guys are sexy and it’s tempting to get involved,” said Greco, an L.A.-based singer. “Being around them, there are people who become beautiful. It’s important to protect yourself. Males have a certain sexual behavior. It can become attractive. Sometimes you think, ‘You don’t care about anything. I want to be more like that. I want to have my pleasures and walk away.’ But for a girl it’s so different.”

Onkey didn’t work in the music business until she went to the Rock and Roll Hall of Fame and Museum, where she works as the vice president of education and public programs.

“I came at this job with a real challenge to expertise. Artists would look to the male members on my staff and assume I work for them, which was kind of a shock,” Onkey said. “You had to try to flow past it.”

Onkey added that she realizes she has her work cut out for her.

“Before this year’s class, 605 people were inducted, groups and individuals. Nine percent of that was women,” she said. “We’ve gotta do better than that.”

Pantle said although there have been strides –- Esperanza Spalding’s surprising Grammy win recently being one of them -- women still have a very long way to go to get equal footing in this business.

“I think there’s still a glass ceiling. I think it’s getting thicker, which is sad,” she said.

-- Gerrick D. Kennedy

twitter.com/GerrickKennedy

Photos: At top left, Nicki Minaj. Credit: Kirk McKoy / Los Angeles Times.

In the middle, Lady GaGa performs onstage during the 53rd Annual Grammy Awards held at Staples Center earlier this month. Credit: Kevin Winter / Getty Images

At right, Beyonce brought her "I Am....Sasha Fierce" tour to the Honda Center in Anaheim in 2009. Credit: Barbara Davidson / Los Angeles Times

 
Comments () | Archives (5)

anyone who brings up "gender" is probably not in touch with their own feminine or their masculine sides, or both.....(much as the people who bring up "race" have issues in that regard)...

it sounds like everyone at that conference definitely had issues...

there are plenty of sexy and powerful people in the music business.....some of whom have their priorities straight, and some who do not...

regarding the artists, you have those who are playing the sex card with very little else to back it up (which i find to be the case with those that were mentioned at the head of this article), and you have those who are focused on making great music, who also happen to be charismatic without having to hit you over the head with it....

personally, i prefer to listen to music with my ears, and not my eyes...

...and, furthermore, what i happen to find "sexy" is intelligence....
so, the female artists that i would place in this category, are such women as Ani DiFranco, Carla Kihlstedt, Shawn Colvin, Joni Mitchell, Suzanne Vega, Anne Dudley, Aimee Mann, and Sheryl Crow...

Katy Perry, Rihanna, Beyonce and many more wouldn't have come this far if they relied solely on their music. People unfortunately pay a great deal of attention to sexuality and rate music accordingly. .. funny.

"pop music’s biggest players, especially female -– be it Lady Gaga, Beyonce, Rihanna, Katy Perry or Nikki Minaj -– have all found ways to harness their sexuality to their benefit."

True, Lady Gaga has certainly "harnessed her sexuality." But it's ironic that she is mostly admired by young females and gay men. She certainly has benefitted from it much more than many of us who are forced by media to hear her songs a lot more than we want.

Like the vast majority of pop music, repetition breeds contempt.

While sexuality as you define it (primarily: sexual appeal as a woman to straight identified men) was indeed a theme at the conference (which I attended and spoke at): you didn't really touch on the other ways it was discussed: in terms of sexuality for out LGBT artists, audiences and critics; sexuality as an issue for women of color for whom race is always also an "issue"; and the way artists like Lady Gaga are smashing stable binaries of male/female and trans/cisgender in their videos.

And in response to Babe Ruth: With apologies to those who prefer to listen with their ears, listening with our eyes is something a lot of us do, even in listening to a recording when, for example, a transgressive, seductive or surprising voice conjures up a wholly unexpected mental image. It is not self-evident that music is solely or primarily an auditory medium, especially not in live performance.


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