As student Summer Hathaway so delicately put it in 2003 movie School of Rock: “I researched groupies on the internet. They’re sluts, they sleep with the band.” Whether they are or not, the word groupie is synonymous with the idea of an obsessive fan girl, the kind who sets out only to sleep with band members. So why is such a nickname thrown around so frivolously, and women in music – whether as a fan or professional – dismissed as groupies?
Women being involved in the industry is nothing new. In fact, the compulsion for me to write about it came after hearing a Radio 4 documentary on female music journalists in the 60s. Yet almost 60 years on the notion that women in the music industry are some sort of novelty – that they’re there due to romantic interest rather than a genuine passion – is still worryingly prevalent.
Let’s start with the fans – the ones seemingly most often dismissed, as though it’s some sort of insult, as ‘fangirls;’ who are assumed to be in a crowd solely to ogle at the lead singer like some sort of pests. In an interview with Virtuoso Sounds, Penn Badgley, lead singer of Mothxr (and of Gossip Girl fame) said of his desire to see men at their gigs: “When it’s all girls of a certain age, it’s likely that our music might not be their primary interest.” While Badgley later apologised, the sentiment is one that is sadly far too common in the music industry. It’s not just an age thing either. Rachel Riordan is 27 she’s a blogger and an avid gig-goer. Yet far too often she finds her intentions questioned.
“I'll get comments such as 'Wow you post about [that band] a lot' 'Is something going on with you and (band member)?' 'They're not even that good, you only like them because of what they look like'” It seems that the idea of women being interested in music for, well, the music, is somewhat alien.”
Discussing the issue in her book ‘Gender, Metal and the Media’ in which she explores the gendered experience of metal fans, Rosemary Lucy Hill, lecturer in Sociology at the University of Leeds, speaks about the far too common occurrence of women proving themselves. When dubbing themselves as fans of a band, “they’re subject to a barrage of questions to prove the authenticity of their fandom” – a poignant way women must work twice as hard to secure their place in the industry.
What’s perhaps saddest about the dismissal of these fans is their dedication and devotion is often seminal to the success of bands and musicians. They’re important, and if not more, just as relevant as their male counterparts.
Unfortunately, but perhaps unsurprisingly, these assumptions regarding women’s interests aren’t reserved solely for fans. It’s no secret that being a women working in the music industry is tough. In 2013 collection society PRS for Music reported that only 13% of their members were women; in the same year, it was reported that 78% of front-page articles in the music press were written by men, and that men accounted for 84% of all people mentioned or quoted in those lead pieces. It’s not improved since, as in a 2017 survey by UK Music it transpired that while women make up 60% of interns or entry-level business roles in the music industry, they make up 30% of senior executive positions. It’s a lot of numbers, but it only touches upon the gender imbalance in the industry. Sadly, this is down not to a lack of desire from women to be in the industry, but rather a backwards attitude towards those who are.
For Rebecca Mason, a PR and music journalist, she often finds herself not taken seriously.
“Having booked a band for a gig last year, a member of the band began talking to me and we began seeing each other. Once the gig had passed, he proceeded to tell me that my gig wasn’t a ‘serious’ gig and so he treated it differently to any other gig.”
Becky Rogers, another music journalist, also found this when doing work experience for NME. While working with two others also doing work experience – both male – Becky found her workload hugely differing from theirs, despite having more experience than one, and exactly the same as the other.
“I was given tasks like checking past articles were up-to-date, writing up news (that was never published) or helping research things for the actual writers to do. Both of the others were asked to research and write their own articles.”
The same was the case for Holly Marsden, a music photographer, who found her role questioned at a festival.
“The security were questioning whether I had the right type of pass to be able to take photos, even though it was the same as the other photographers (who were all male). They even grabbed my dress to look at my pass, even though it was in plain sight.”
As Rosemary Hill says in ‘Gender, Metal and the Media’, “all women involved in rock are [seen as] groupies, whether a fan, journalist or even a musician.” There’s a constant suggestion of an ulterior motive – “It's as if I'm not seen capable of enjoying music,” says Rachel. “I’m perceived to be watching a band regardless of how they sound and purely for some ulterior motive.
Another issue which often comes into play when tackling sexism and inequality in music is exactly what I’ve done here – highlighting these musicians, fans, journalists etc. as ‘female’ versions of their roles. Indeed, the idea of dubbing a woman as a ‘female musician’ seems ridiculous; you would never say ‘male musician,’ they’re simply musicians, and women are too. The idea of a ‘female band’ or ‘female musician’ has become a genre almost in itself, with unfair (and unjustified) comparisons drawn simply because of gender.
This highlighting seems counterproductive, suggesting that women in music are some sort of novelty or anomaly. That said, when pubs are banning any music played be female-fronted bands (as a pub in Middlesborough have done) perhaps there is an importance in highlighting that there are women in music, and they are good. Until it is normal, is there any harm in celebrating the existence of women in the music industry when they’re seemingly ignored by festival booking agents, magazines and, far too often, so-called music fans?
“Maybe one way around it is to treat them the same,” suggests Becky, “like mention their gender that’s fine but it has to be done both ways. Describing what a woman’s wearing on stage, while talking about a man’s achievements, that’s the bit that frustrates me.”
Indeed, the idea that it’s abnormal for a woman to be a successful musician, journalist, photographer is damaging. The fact that a woman’s place in a photo pit, or the offices of a magazine, are questioned simply because she’s a woman are questioned show that attitudes are still shockingly backwards. If we can find some glimmer of hope, however, it seems this need to work harder is only feeding a determination.
“I think it spurs you on. There’s so many people who want you to do well, for me it has outweighed the negatives, so it’s important to remember these people,” says Becky. “It’s more about showing those who have discouraged you that they’re wrong for doubting you, and you can do it.”