Eps 6: Muisc Artists Androcentrism

— Sexism in the Music Tech Industry

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Perry Bowman

Perry Bowman

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Even a large group of artists, especially those who participated in the feminist movement of the 1970s, turned their art to liberating women from oppression in a culture dominated by men. They may not have taken much care of the label, but their work is likely to become the focus of a feminist interpretation. In short, feminist artists share a common understanding of how art practice perpetuates subordination, which is why the history of aesthetics illuminates their works.
In the late twentieth century, feminist art historians and theorists began to stress that, in order to understand the gender assumptions that reinforce the idea of art, it is essential to examine the work that women do in relation to their male counterparts. They opened up artistic presentations and began to use female body images widely in their work. While mainstream critique has pushed women artists into a marginalized corner, naming women's works is a means of recognizing them as often hostile cultures of invisibility and extinction.
It is also aware that the gender-specific historical, social and cultural framework within which art is produced and received has a lasting impact on issues of value and recognition. Art is art, and artists are artists, but they are not artists in the same way as their male counterparts in terms of their gender.
The ubiquitous Western concept of the artist is still underpinned by the idea of gender as a central component of art and artistry, as well as an essential component of culture. Pop music has a long tradition of seeing bodies that are considered less artistically solid and worthy of the masculine, and this is what pop music is still underpinning today.
Lady Gaga is a feminist because she's an attractive woman This is no different from being an ugly fat burner because, you know, feminists are all ugly and fat burners and bra burners.
There is nothing wrong with challenging a system that continues to keep women in second class. These myths serve to separate women from each other and to prevent them from joining a movement that aims more than gender equality and equal pay for equal work. The study of the institutional barriers that prevent women from ascending and the study of the barriers that prevent women from participating in the political, social and economic system.
The oft-heard reproach that there are no great female artists is that women are inferior to men in many respects in human development. Androcentric Culture was originally called Man - Made World , and the pioneering feminist author and artist Mary Nochlin, best known for Yellow Wallpaper, explored the same question in her lesser-known work Andros and Women in the Art of Art and Culture. Like No Kinn, Perkins looked at the obstacles faced by women who came up with the idea of breaking those barriers.
The visual arts category has long been the focus of feminist scholarly research, because its associated values have weeded out much of women's creative endeavors and actively prevented their attempts to pursue certain genres.
The dissolution of the value of the visual arts, however, occurred long before the emergence of feminists in the art scene in the 1970s. Although the visual arts may have been historically significant for the artistic influence of women, they have also contributed to the continued cultural and economic exclusion of women from the visual arts. The term "art" and its purpose, which constituted a large part of art in the last century, have remained small.
Whatever the motifs of the individual artists, it does not change the fact that from the perspective of an Emo fan, the frequency of these representations alone produces an incredibly one-sided image of women.
The toxic attitude towards women in emo culture is reinforced by the lyrical themes in music itself, and one side alone will not and cannot solve the problem. Fans who find the scene problematic should not only expect it to change, but also expect the music to actually change. The culture in which we make our music and the culture that makes music make us, not the other way around, the one-sided image of women.
When male musicians discuss music journalism, written largely by men, the consensus that has been developed is that intellectual musical tastes are associated with masculinity, and that women do not experience music on the same level. Of course, music taste is not as important as almost everything we have in our culture that is described as gender binary. When we try to balance the negative stereotypes of men and women in the music industry and culture in general, these changes are often cited as a result of women contradicting a man's "intellectual attachment" to music.
It is as easy to recognize the association of male intellectual music as if criticism were merely the opinion of a predominantly male audience, for that is what it is.