Jann Arden Exposes the Deep-Rooted Sexism and Racism in the Music Industry

Rolling Stone Publisher Jann Wenner’s Controversial Comments Shed Light on Music Industry’s Bias

Introduction

The recent controversial comments made by Rolling Stone magazine founder Jann Wenner have once again cast a spotlight on the underlying sexism and racism that permeate the music industry. Wenner, in his forthcoming book “The Masters”, stated that Black musicians and Joni Mitchell did not possess the level of articulation that their white counterparts did. Although Wenner later apologized for his comments, they have brought to the surface the unspoken biases that have long plagued rock journalism. This incident serves as a reminder that it’s high time we address and confront these biases in order to foster a more inclusive and equitable music industry.

Unveiling Implicit Bias in Music Criticism

Wenner’s comments are not just personal opinions – they shed light on the deeply ingrained biases that have influenced music criticism for nearly six decades. Since the founding of Rolling Stone in 1967, the magazine has been primarily focused on white male artists, often relegating women and Black musicians to secondary roles or objects of fascination. Wenner’s beliefs and the subsequent influence of his magazine have shaped the critical standards of the music industry today.

The Detrimental Impact on Black and Female Artists

The repercussions of this bias are far-reaching and significant. Countless Black and female musicians may have had their careers cut short because their work was not valued by Rolling Stone and other publications that adopted similar perspectives. Additionally, the stories of these artists may have been overlooked and left out of historical records because certain book editors believed that only books about white male artists would sell. This perpetuated the notion that the target audience for music books was the same as the readership of Rolling Stone, further marginalizing the experiences and contributions of diverse artists.

Towards a Reevaluation of Artistic Criteria

Simply ousting Wenner from the board of the Rock and Roll Hall of Fame is not enough. What is urgently needed is a complete reevaluation of the criteria by which artists are deemed important, influential, and relevant. The pervasive influence of Wenner’s views within the industry necessitates a thorough examination of the training given to critics and editors. Many professionals who were influenced by Wenner are still actively working in journalism and book publishing, shaping the narratives and perceptions of contemporary music.

Challenging “Rockism” and Embracing “Poptimism”

In 2004, critic Kelefa Sanneh coined the term “rockism,” describing the idolization of older, authentic legends while dismissing the latest pop stars. This mindset perpetuates the denigration of genres like disco and champions the growling performer while disregarding lip-syncers. To counter this, Sanneh advocated for “poptimism” – an inclusive perspective that recognizes the value of all popular music, irrespective of the artist’s genre or image.

The Need for Intersectional Criticism

While the rise of poptimism has brought attention to a broader range of musical expression, it is important to acknowledge that sexism and racism remain pervasive within the industry. Women and Black artists continue to face barriers and are often more embraced in the world of pop than in rock. In order to advance the conversation and utilize music criticism as a tool for social change, it is imperative that we confront and challenge these underlying biases with transparency and openness. Without doing so, any outrage surrounding controversies like Wenner’s comments will be performative and fail to bring about meaningful change.

Conclusion

Jann Wenner’s recent comments about Black and female musicians have provided a stark reminder of the deeply entrenched biases within the music industry. It is high time that we reckon with these biases, reevaluate the criteria for artistic recognition, and foster a more inclusive and equitable music industry. By challenging sexism and anti-Blackness with openness and transparency, we can ensure that music criticism becomes a catalyst for social change and the amplification of diverse voices. Only then can we dismantle the barriers that have impeded the progress of marginalized artists for far too long.