Bringing together leading experts in the field of gender and popular music, this collection emphasizes the ways we can shape our personal understandings of what gender is or could be in the music industry.
Popular music contains multiple sites of exploration of masculinity, femininity and combinations of these. At the same time, however, the popular music industries remain sites of gender inequality, with men dominating power structures, maintaining boys clubs that lock women and gender diverse folks out of music spaces and networks, and police access to genres and instruments. At worst, music can be dangerous for those involved due to gender-based violence. These problems in turn lead to new types of creativity and solidarity as people search for solutions and a more egalitarian music experience. This handbook presents a multi-faceted exploration of how gender shapes our musical experiences, whether as audiences, artists or music industry workers, taking an intersectional approach that incorporates perspectives from different sites, genres and subject positions within music making.
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Brings together leading experts to give an overview of the current state of research into gender, popular music and the music industries.
List of figures and tables
Contributors
Acknowledgements
Researching Music and Gender under Capitalist, Patriarchal, and (Neo)Colonial
Power
Catherine Strong, Sarah Raine, Tami Gadir, and Sharon Kong-Perring
Part 1: Histories
1. Filipino Jazzmasculinity in Manilas Mainstream Press, 1955-1973
Krina Cayabyab
2. Dig Them Out: Women in Rock Memoirs as Archive
Christine Feldman-Barrett
3. Black Queer Women Artists and the Shapes, Textures and Boundaries of R&B
Music
Elizabeth Falade
4. Feminisms and the Popular Music Industry from the 2000s
Ann Werner
5. Looking for the Gang of Trannies: Trans History of Punk and the Problem
with Recovery
Jay Szpilka
Part 2: Hearing and Seeing Gender
6. Touch Tuning into Gender Dynamics of Performance Spaces
Tina Krekles
7. Musical Worldbuilding in Drag: Trans-Coded Spliced Collage and Audience
Co-Creation
Sarah E. Cooper
8. Im Not That Interested in Gear: Passive Disinterest Toward Music
Technologies Among Women and Gender-Diverse Instrumentalists
Jeri Karmelic
9. Welcome to the Queendom: New Gen Feminism and Blackness in Vinidas
Queendom
Tiara Wilson
10. Queer Futures on Stage: Chappell Roan and the Power of Performance
Aesthetics
Deanne Kearney
11. Growth versus Real Abilities: Nationalized Discourses, Fan
Surveillance, and Live Controversies of Japanese K-Pop Girl-Group Members
Mayako Shibagaki Liu
Part 3: Politics and Policies
12. Cultural Work, Music and Gender
Rosa Reitsamer
13. Addressing Gender-Based Violence and Harassment Within Music Higher
Education
Anna Bull
14. Navigating Gender Dynamics in Chinas Popular Music Education
Wai Chung Ho
15. Rewiring the Infrastructure of the Danish Music Industry: Affects, Gender
and Processes of Transformation
Kristine Ringsanger
16. Making Change from Outside the Industry: Salome MC
G.J. Breyley, with Salome MC
17. Supernova Hasbara: Psytrance Propaganda and Imperialist Feminism in a
Time of Genocide
Tami Gadir
18. Why Did You Separate Me from the Earth?: On the Meaning of Climate
Justice, Gender and Pop Music
Mathew Klotz
Part 4: Engaging with place and space
19. Working With the Crew: Reflections on Integrating Participatory and
Co-Creative Methods into Queer Nightlife Studies
Maria A. G. Witek and Luis Manuel Garcia-Mispireta
20. Gendered Points in Mapping the Music of Migration
Abigail Gardner
21. Super Shy Girl Groups and Male Intrusion: An Autoethnographic
Reflection on Gender and the Female Body in K-Pop Fieldwork and Industry
Through Self Data
Sharon Kong-Perring
22. Mateship, Misogyny and Men Still Making a Scene: Gender Inequalities in
the Australian Band Scene
Freya Linke-Langley
23. Localised Understandings of Gender and Queerness in the K-Pop Fandom(s):
BTS United Nations Speech as a Case Study
Mathieu Berbiguier
24. Lip-Synching Freedom: Drag, Gender Identity and the Politics of
Performance within the Creative Industries of Postsocialist Serbia
Andrija Filipovic
Part 5: Interventions
25. Commodifying the Sad Girl: Fantagonism, Parasociality and Social Media
Dehumanisation of Female Singer-Songwriters
Jenessa N. Williams
26. Moving Beyond Freedom Through Improvisation: A Feminist Reframing of
Inclusive Improvised Music Making
Sarah Raine
27. Interventions on Gender Inequality in the Dutch Popular Music Industries
Britt Swartjes
28. What Happened After Their Voices were Raised: Assessing Industry Action
on Gender Inequality and Safety in Australian Music
Catherine Strong and Bianca Fileborn
29. Conventions of Concealment: Deterritorializing Disabled Musicianship
Jasmine Hazel Shadrack
30. Parenting and Music Careers
Shelley Brunt and Liz Guiffre
31. 'It comes From a Place of Caring and Passion: Gender Equality Activism
and Initiatives in Australian Music Scenes, 2015-2020
Hannah Fairlamb
Music is Never Stopping: An Interview with Sally Anne Gross
Sally Anne Gross and Catherine Strong
Index
Catherine Strong is Associate Professor in the Music Industry program at RMIT in Melbourne, Australia. Among her publications Towards Gender Equality in the Music Industry: Education, Practice and Strategies for Change (co-editor, Bloomsbury 2019) and Death and the Rock Star (co-editor, 2015).
Sarah Raine is an SFI-IRC Pathway Fellow in the School of Music, University College Dublin, Ireland, and the PI of a four-year funded project. She is author of Authenticity and Belonging in the Northern Soul Scene (2020) and co-editor of Towards Gender Equality in the Music Industry (Bloomsbury, 2019) as well as the co-Managing Editor of Riffs: Experimental Writing on Popular Music.
Sharon Kong-Perring is a PhD Candidate at Birmingham City University, UK, researching Anglophone K-Pop fandoms and audiences. She is a historian-museum professional-academic by day and journalist by night, researching cultural experiences around the world. She is the co-editor of Riffs Popular Music Journals first special edition on Asian/Oceanic popular music.
Tami Gadir is Lecturer in Music Industry at RMIT University in Melbourne, Australia. Gadirs research addresses the social and political mechanisms of musical life. Her book, Dance Music: A Feminist Account of an Ordinary Culture (Bloomsbury, 2023) uses gender to show how dance floors are a reflection of the social dynamics that exist in ordinary life.
