Women Working in the Music Business (original) (raw)

questioning the potential of women-led music communities to deliver any kind of liberation for women music producers, needed to be urgently rethought in light of the momentous events of a global pandemic and political unrest following the murder of George Floyd by a police officer in the United States of America on May 25, 2020. The reverberations of these two events appeared to act like a wrecking ball as they fell upon the master's house of the global music corporations as they shook their professed liberal, egalitarian, meritocratic values (Bennett, 2018). In the midst of the global crisis, this chapter transformed into virtual fieldwork, reporting back from a lockdown. I called out via Twitter, Instagram and email to my students, my friends and my co-workers. Inspired by the work of Ahmed (2017), and in the spirit of what she has called the 'Feminist Killjoy', this work proceeds as a form of questioning what it might mean to live a feminist musical life. The first question always being, as Ahmed (2017) notes, what do we mean when we say women? Her answer is 'all those who travel under the sign of women' (Ahmed, 2017: 14, emphasis in original) and that includes gender non-conforming and non-binary LGBTQ and Black, Asian and ethnic minority persons. I shall use the term women here in this fully inclusive sense. This chapter additionally contributes to a growing body of discourse that considers the working conditions of music and the wider creative industries (

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