Bloomsbury Handbook of Gender and Popular Music Industries

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 Journal’s first special edition on Asian/Oceanic popular music.Tami Gadir is Lecturer in Music Industry at RMIT University in Melbourne, Australia. Gadir’s 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.

• List of figures and tablesContributorsAcknowledgementsResearching Music and Gender under Capitalist, Patriarchal, and (Neo)Colonial PowerCatherine Strong, Sarah Raine, Tami Gadir, and Sharon Kong-PerringPart 1: Histories1. Filipino ‘Jazzmasculinity’ in Manila’s Mainstream Press, 1955-1973Krina Cayabyab2. Dig Them Out: Women in Rock Memoirs as ArchiveChristine Feldman-Barrett3. Black Queer Women Artists and the Shapes, Textures and Boundaries of R&B MusicElizabeth Falade4. Feminisms and the Popular Music Industry from the 2000sAnn Werner5. Looking for the ‘Gang of Trannies’: Trans History of Punk and the Problem with RecoveryJay SzpilkaPart 2: Hearing and Seeing Gender6. Touch – Tuning into Gender Dynamics of Performance SpacesTina Krekles7. Musical Worldbuilding in Drag: Trans-Coded ‘Spliced Collage’ and Audience Co-CreationSarah E. Cooper8. ‘I’m Not That Interested in Gear’: Passive Disinterest Toward Music Technologies Among Women and Gender-Diverse InstrumentalistsJeri Karmelic9. Welcome to the Queendom: New Gen Feminism and Blackness in Vinida’s ‘Queendom’Tiara Wilson10. Queer Futures on Stage: Chappell Roan and the Power of Performance AestheticsDeanne Kearney11. ‘Growth’ versus ‘Real Abilities’: Nationalized Discourses, Fan Surveillance, and Live Controversies of Japanese K-Pop Girl-Group MembersMayako Shibagaki LiuPart 3: Politics and Policies12. Cultural Work, Music and GenderRosa Reitsamer13. Addressing Gender-Based Violence and Harassment Within Music Higher EducationAnna Bull14. Navigating Gender Dynamics in China’s Popular Music EducationWai Chung Ho15. Rewiring the Infrastructure of the Danish Music Industry: Affects, Gender and Processes of TransformationKristine Ringsanger16. Making Change from Outside the Industry: Salome MCG.J. Breyley, with Salome MC17. Supernova Hasbara: Psytrance Propaganda and Imperialist Feminism in a Time of GenocideTami Gadir18. ‘Why Did You Separate Me from the Earth?’: On the Meaning of Climate Justice, Gender and Pop MusicMathew KlotzPart 4: Engaging with place and space19. Working With the Crew: Reflections on Integrating Participatory and Co-Creative Methods into Queer Nightlife StudiesMaria A. G. Witek and Luis Manuel Garcia-Mispireta20. Gendered Points in Mapping the Music of MigrationAbigail Gardner21. ‘Super Shy’ Girl Groups and Male Intrusion: An Autoethnographic Reflection on Gender and the Female Body in K-Pop Fieldwork and Industry Through Self DataSharon Kong-Perring22. Mateship, Misogyny and Men Still Making a Scene: Gender Inequalities in the Australian Band SceneFreya Linke-Langley23. Localised Understandings of Gender and Queerness in the K-Pop Fandom(s): BTS’ United Nations Speech as a Case StudyMathieu Berbiguier24. Lip-Synching Freedom: Drag, Gender Identity and the Politics of Performance within the Creative Industries of Postsocialist SerbiaAndrija FilipovicPart 5: Interventions25. Commodifying the ‘Sad Girl’: Fantagonism, Parasociality and Social Media Dehumanisation of Female Singer-SongwritersJenessa N. Williams26. Moving Beyond ‘Freedom’ Through Improvisation: A Feminist Reframing of Inclusive Improvised Music MakingSarah Raine27. Interventions on Gender Inequality in the Dutch Popular Music IndustriesBritt Swartjes28. What Happened After Their Voices were Raised: Assessing Industry Action on Gender Inequality and Safety in Australian MusicCatherine Strong and Bianca Fileborn29. Conventions of Concealment: Deterritorializing Disabled MusicianshipJasmine Hazel Shadrack30. Parenting and Music CareersShelley Brunt and Liz Guiffre31. 'It comes From a Place of Caring and Passion’: Gender Equality Activism and Initiatives in Australian Music Scenes, 2015-2020Hannah Fairlamb‘Music is Never Stopping’: An Interview with Sally Anne GrossSally Anne Gross and Catherine StrongIndex