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Why, despite the number of high profile female rock musicians, does rock continue to be understood as masculine? Why is rock generally assumed to be created and performed by men? Marion Leonard explores different representations of masculinity offered by, and performed through, rock music, and examines how female rock performers negotiate this gendering of rock as masculine. A major concern of the book is not specifically with men or with women performing rock, but with how notions of gender affect the everyday experiences of all rock musicians within the context of the music industry. 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.

"Dangerous men" at the top of the industry are abusing their power, the BBC has been told.

This article brings to attention and explores women?s use of non-traditional forms of resistance to online sexual harassment. In this piece we use Anna Gensler?s Instagram art project Instagranniepants to examine how women are appropriating the language and practices of the cyber realm to expose online sexual harassment and to engender a creative resistance which is critical, comedic and entertaining. Drawing from interdisciplinary literature on witnessing, satire and shaming, we explore the techniques Gensler uses to not only document harassment but also resist, engage and punish those who seek to perpetrate it. This article problematises the stereotype of women as passive victims of online public spaces, and is critical of popular discourses that portray online spaces as exclusively risky and that position women as the natural victims of online violence. It concludes that a more nuanced account of women?s negotiation of online spaces is necessary, particularly as an overarching narrative of risk and victimisation undermines the liberatory potential of the online realm.

Up-and-coming Los Angeles comedian reflects on her experience of assault among some of the funniest people on the planet

Sexual assault. Rude and outspoken sexism.

Après une vague de dénonciations de gestes à caractère sexuel dans le milieu artistique, l'Union des artistes (UDA) annonce avoir déposé des griefs pour harcèlement.

In 2016, only four of forty-seven DJs booked for Musikkfest, a festival in Oslo, Norway, were women. Following this, a local DJ published an objection to this imbalance in a local arts and entertainment magazine. Her editorial provoked booking agents to defend their position on the grounds that they prioritise skill and talent when booking DJs, and by implication, that they do not prioritise equality. The booking agents’ responses, on social media and in interviews I conducted, highlight their perpetuation of a status quo in dance music cultures where men disproportionately dominate the role of DJing. Labour laws do not align with this cultural attitude: gender equality legislation in Norway’s recent history contrasts the postfeminist attitudes expressed by dance music’s cultural intermediaries such as DJs and booking agents. The Musikkfest case ultimately shows that gender politics in dance music cultures do not necessarily correspond to dance music’s historical associations with egalitarianism.

Un regroupement d’humoristes comprenant plusieurs têtes d’affiche du Québec crée le Festival du rire de Montréal. La première mouture du nouvel événement prendra l’affiche à l’été 2018, promettent les artistes.

Emerging scholarship has considered the potential for online spaces to function as sites of informal justice. To date, there has been little consideration of the experiences of individuals who seek justice online, and the extent to which victims’ justice needs can be met online. Drawing on the findings of a mixed-methods research project with street harassment victims in Melbourne, Australia, I consider participants’ reasons for, and experiences of, disclosing their encounters of street harassment online. I examine the extent to which these ‘map on to’ a selection of victim’s justice needs. While it is evident that online spaces can function as sites of justice, it is vital to ask for whom and in which contexts justice can be achieved online.

L’écrivaine et militante Léa Clermont-Dion, qui avait révélé en 2014 avoir été agressée sexuellement à l’âge de 17 ans, a déposé une plainte à la police contre le fondateur de l’Institut du Nouveau Monde, Michel Venne. Des allégations d’agression sexuelle que nie ce dernier.

Une écrivaine de la Rive-Sud de Québec accuse l’éditeur Michel Brûlé de l’avoir agressée sexuellement à sa résidence du Vieux-Québec, en mars 2014, alors qu’elle venait lui proposer un manuscrit. Jill Côté a porté plainte à la police de Québec, vendredi, pour un incident dont M. Brûlé nie l’existence.

Sept ex-employées se vident le cœur.

Neuf femmes racontent au «Devoir» ainsi qu’au 98,5 FM avoir été victimes de harcèlement et d’agressions sexuelles de la part du fondateur de Juste pour rire, Gilbert Rozon, et ce, dans la foulée du mouvement #MeToo. Certaines d'entre elles étaient même mineures au moment des incidents rapportés. Et pendant des années, elles ont cru être seules.

Neuf femmes racontent au «Devoir» ainsi qu’au 98,5 FM avoir été victimes de harcèlement et d’agressions sexuelles de la part du fondateur de Juste pour rire, Gilbert Rozon, et ce, dans la foulée du mouvement #MeToo. Certaines d'entre elles étaient même mineures au moment des incidents rapportés. Et pendant des années, elles ont cru être seules.

Avances sexuelles en string, parties intimes exhibées ou empoignées, tentatives de séduction insistantes dans des salles de montage: 11 personnes ont raconté à La Presse avoir subi des inconduites, ou en avoir été témoins, de la part du producteur et animateur Éric Salvail, la plupart du temps dans un contexte professionnel.

Women frequently experience unwanted sexual touching and persistent advances at bars and parties. This study explored women?s responses to these unwanted experiences through online surveys completed by 153 female bargoers (aged 19-29) randomly recruited from a bar district. More than 75% had experienced sexual touching or persistence (46% both). Most women used multiple deterrent strategies, including evasion, facial expressions, direct refusals, aggression, friends? help, and leaving the premises. Women experienced negative feelings (disrespected, violated, disgusted, angry, embarrassed), especially from incidents involving touching. Cultural change is needed to reduce substantial negative impacts of sexual harassment on women in drinking and other settings.

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.

Singer paused the show after witnessing the incident from the stage

Sweden's biggest music festival will be replaced next year by a women-only alternative after reports of a series of rapes and sexual assaults at this year's event.