认识吉他手，要求有意义地改变音乐行业对待女性的方式
In response to reports from around the world that women in the music industry experience endemic abuse and harassment, these guitar playing women want to see their peers and colleagues do something meaningful to stop it.
图片：按
全球音乐产业终于面对了妇女在数十年中隐含着隐含的知识的真理：骚扰，虐待和剥削该行业的男性是地方性的。
超过（67％的）妇女对American Music Industry Research Association调查已受到性骚扰，近一半英国女音乐家have been sexually harassed at work, and almost half (45 per cent) ofNew Zealand women承认他们在音乐上或演奏音乐的地方感到不安全。
最近，澳大利亚独立报告“Raising Their Voices”对1,600多名受访者进行了调查，所有受访者都在音乐行业工作。它表明，有82％的性伤害或骚扰受害者没有举报。一半以上的人报告说，他们的经历被驳回或以其他方式处理，从而使虐待者能够继续其职业生涯而不会产生后果。
该调查的妇女受访者中有近75％受到了骚扰，超过90％的人报告了领导职位的负面歧视，例如管理和主管。
The gatekeepers
在意见中守护者今年早些时候，电影制片人塔曼娜·拉赫曼（Tamanna Rahman） - 调查音乐的肮脏秘密：妇女反击在好莱坞多年以来，在北爱尔兰的英国广播公司（BBC）上放映了北爱尔兰的掠夺性行为，该行为是“为什么#MeToo绕过音乐行业？”答案很简单：“只看看门人”。
英国广播公司在2017年透露that sexual abuse and exploitation of women and minors was “endemic”. Yet few heads have rolled. There is a culture, much as there was in pre-Weinstein Hollywood, of men excusing their abuse, assault and exploitation of women as part of the hedonistic industry lifestyle.
但knowing是一回事。做出有意义的改变是另一个。“我们很抱歉……改变将会到来。”澳大利亚的高峰音乐组织APRA AMCO回应提高声音。
Female music industry workers would be entirely justified in responding, “Why hasn’t it already happened?” Sorry means nothing without measurable, imminent action.
Where women are in positions of leadership, and where women have a voice, there is enhanced security for other women.
他们还可以在媒体，奖励和绩效机会方面取消其他女性。
Australian women still earn less than men in the music industry, they’re underrepresented in radio playlists, festival lineups, in awards and judging panels, and on major industry boards according to research released in August by the University of Sydney’s Women, Work and Leadership Research Group (在一份名为“跳动”).
澳大利亚唱片行业协会（ARIA）finally recognised women in their (still) male-dominated boards and workplace in 2018.Women are still disproportionately技术和后台角色也处于不利地位。该报告建议，妇女需要在董事会，领导层中看到并代表妇女，并且应该根据性别标准决定公共资金。
Reluctant activists
澳大利亚歌手，词曲作者兼吉他手Jaguar Jonze（Deena Lynch）承认她从不打算也不希望成为激进主义者，但是她在音乐行业中遭受虐待的经历使她陷入了角色。她最近介绍了在澳大利亚行业活动中发表演讲关于她自己的经历和对故事的渴望，以及提高声音的共同故事，成为变革的催化剂。
“It has taken a lot of sacrifice and energy from survivors to establish awareness, but it can’t stop there,” Lynch explains. “Awareness is just a first step, there is much more work to be done to address specific issues, bring about a cultural shift and begin to reform. We now require commitment to change and action. I hope that with the Music Industry Review report, the industry leaders will commit and implement the recommendations to begin the process of creating safe arts workplaces.”
Dorothy Carvello是大西洋的第一位女A＆R主管Anything For A Hit），成立现在面对音乐, an organisation that enables women to share their experiences in a safe space, and to find legal counsel for advice. One of their major intentions, and campaigns, is to end the non-disclosure agreements that gag women from speaking publicly about abuse, harassment and any settlement arrangements.
在地上
但是，对于当今行业工作的人来说，现实是什么？找出答案的最简单方法是问他们。Izy Hewitt is the guitarist and vocalist of Baby Mullet, a Melbourne punk-rock trio completed by Kate Dougherty (bass, vocals) and Mack Ellis (drums), and it doesn’t take much probing for her to share her experience of microagressions and casual sexism playing in a band in 2022.
“Often at shows other bands will ignore me and Kate and only speak to Mack,” Hewitt says of the gender-disparities backstage. “Sound engineers don’t believe we can lift our gear, or they’ll explain how to use our own gear, but they don’t do the same to Mack. Or we get the classic: ‘You guys are really good for a girl band’.”
Hewitt says it’s common for men in the audience to approach her and Dougherty after performances, making physical and verbal suggestions and provocations that she’s certain men don’t have to tolerate.
So how could things get meaningfully better for women in the industry? Would having more women in backstage crews, still a hugely male-dominated industry, help?
她说：“我认为这绝对会。”“我年轻的时候，我去了女孩摇滚！墨尔本是女性和非二进制的墨尔本，所有关于女性的人都充满信心地占用空间和播放音乐。有谈话考特尼·巴内特（Courtney Barnett）以及所有这些著名的女性在音乐中分享如何发言和建立信心。这创造了一个社区。”
女孩岩！于2001年成立于2001年，在美国的波特兰，在建立进入网络之前，是女子岩石阵营联盟，该联盟现在在世界各地拥有阵营。墨尔本手臂成立于2015年，现在运作Amplified Victoria。
休伊特说，在提高声音报告中强调了虐待和骚扰的报道，回应了自己的后台经历。
“当您加入一个较小的乐队并且在工作中遭受骚扰或虐待时，除非您有经理，否则您将留给自己的设备。这可能是如此艰巨，因为如果发生了什么事，我就没有管理，也不想在社交媒体上分享。”
就休伊特而言，她能够将其报告给场地并告诉她的乐队成员。这给了她一些慰藉，知道她在心理上得到了支持，但是男性肇事者是否甚至了解他所造成的伤害，并劝阻我们不知道。
休伊特认为，场地经理和乐队预订者有能力创造更安全的空间。她应该知道，作为墨尔本主要音乐场所之一的酒保。
“我在乐队中的人经历了一些非常不舒服的经历。我是墨尔本音乐场所的调酒师，即使在这份工作中，我也必须看着这些人玩。我已经看到乐队以性骚扰和虐待而闻名，这些乐队适用于我的工作场所。”
她说，在对乐队进行预订之前，应该有明确规定的规则，以教育他们如何以尊重的方式进行演出。
“预订者应该更有信息，并明确表明场地不会容忍任何类型的骚扰，虐待或歧视，而如果违反这些规则，则将其踢出去。”
…for a girl
Anna Lienhop是墨尔本Post-Punk-Grunge Trio Moody Beaches的歌手和吉他手，并参与了Girls Rock！墨尔本作为导师。她曾在休伊特（Hewitt）这样的场地工作，并可以证明某些男人（后台和观众）对摇滚女性的贬低态度。
Lienhop说：“我十几岁的时候就在十几岁的时候演奏音乐，而在我的二十多岁时，当非淘汰仍然是一种新颖性。”
“As far as music venues go, a lot are proactive in trying to create safe spaces for patrons and artists. In terms of quotas and safety of staff, it’s slow progress. It’s such a casualised workforce that the high staff turnover means that knowledge doesn’t stay in the sector.”
尽管员工流动人数很高，但Lienhop认为，可以通过正式协议达成更大的平等和女性代表性。
“Representation quotas could be written into venue agreements with artists. Some booking agents will look at [a band’s] application to play at a venue, and if they value community, inclusiveness and representation, they’ll opt for artists accordingly.”
Lienhop has refused to play shows, for reasons from representation of gender to a misalignment in political beliefs. She recognises that this is a benefit of having a day job that means music isn’t her bread-and-butter.
“Working on the door at a music venue and as an artist, I’ve chosen from experience to be selective about venues. I’m lucky enough that managers and co-workers have supported me. If someone is making comments about my body or being abusive, I’ve felt able to go to a manager or security and ensure that I feel safe.”
但是，这是许多女性没有感觉的安全性的，这是显而易见的提高声音report and inJaguar Jonze’s speech at BIGSOUND。“I can’t and won’t be complicit in the system that broke me and hurt me,” she told the assembled audience. As an artist, and an activist, she said, “I have power, I have a voice, I’ve found purpose.”
When she releasedWho Died and Made You King?这是对前索尼首席执行官丹尼斯·汉德林（Denis Handlin）的前一份澳大利亚调查报告的主题ABC去年的四个角落。
Jonze’s bravery and honesty has enabled women musicians to admit their own stories publicly and anonymously. It’s not the first time, and it likely won’t be the last time we lament men’s abuse of their power and dominance in the music industry.
Both Hewitt and Lienhop asserted that women have to have each other’s backs. Men – who vastly这个行业的人数超过女性– have to have our backs too, though. We are each part of the change, as professionals within the industry and/or as music lovers.
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