Content Warning:
The following contains subject matter relating to discrimination, harassment, abuse, and rape.
We at New Noise are committed to sharing stories and perspectives that encourage empowerment within our community and push back against abuse in all its forms.
It’s no secret that there are predators in our industry and scenes, people who use their positions of power to prey on fans and harass, gaslight, and abuse their fellow artists and industry folks. This is nothing new. There has always been a history of sexual violence and gendered discrimination in music, and it has fostered harmful attitudes and behaviors that persist today, reaching all the way down to the most micro local levels. It’s tempting to focus on the high-profile abusers, but it’s also crucial to address the ways we all consciously and subconsciously foster, justify, or ignore these dangerous dynamics.
Fortunately, more and more individuals are coming together to fight for top-down accountability, inclusion, and safety within our scenes.
Here, five such individuals offer their thoughts on the current state of the industry. It is essential not only to listen to the stories and critiques offered by those who are affected by discrimination and violence, but also to push ourselves—whether we fall into those categories or not—to listen and learn, to be accountable, and to proactively work toward creating a safer and more equitable music community.
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Ei Cee
Ei Cee has been a musician for over 10 years—playing in various bands and music scenes in the Greater Toronto Area—and has been organizing and putting on events for the last five years. Currently, they play in the queer grindcore band Holy Grinder and have a solo noise project called Goth Girl. Both projects are heavily influenced by Cee’s non-binary identity and connection to the trans community.
What do you see being handled inappropriately when it comes to tackling the subjects of sexism and sexual assault within our industry?
I would say that one of the biggest ways this subject is mishandled is lack of accountability, whether it be the abuser or their friends. I have witnessed quite a few situations where an abuser is outed, and their friends immediately rush to their aid or—even worse—attack the victim. These kinds of actions are what have created the unsafe environment that we are faced with now. It’s important to hold your peers accountable for their actions, especially people close to you. More importantly, believe victims and support survivors.
In regard to sexism, I can’t tell you how many festivals, shows, etc. I’ve seen with all cis-het male lineups last year alone. This is especially problematic within the heavier genres, which are male dominated. Promoters—and bands as well—need to take notice of this and start reaching out. It’s not an easy fix, but it’s not an impossible one either.
What do you believe are the actions that need to take place to create safer spaces? Specifically, what changes do you believe need to be established to allow people to come forward and hold artists and bands responsible for their actions?
Promoters and musicians need to be aware of what a safe space actually means, because I think there is a lack of understanding when it comes to this term. If people in the music community—and in any community, really—have an issue with a zero-tolerance mentality on racism, sexism, homophobia, transphobia, and sexual assault, then those people should not be welcomed in said communities. No one should have to feel threatened or unsafe at events that are meant to be fun and an escape from the bullshit we all deal with day to day.
In the last three or four years, I’ve seen many of my peers put on blast for various things: I’ve seen bands break up over one person’s disgusting choices, I’ve seen bands stay together despite someone’s disgusting choices, and I’ve seen fans of bands verbally assault victims of sexual assault. People in the music community need to take a hard stance on this kind of misconduct. Then, and only then, will there be any kind of improvement. It is definitely better than it used to be, but there is still a lot of work that needs to be done to create safer spaces for everyone.
Are there any areas where you’ve seen improvements in regard to creating safer spaces and directly confronting these issues?
There has definitely been an improvement in the last five years, [with] people starting to become aware of what needs to be done to create safer spaces for members of the community. People are starting to educate themselves and pass that knowledge onto their peers. I’ve noticed this especially in the more experimental scenes where there isn’t any tolerance [of] or even point to male bravado like in metal or hardcore. Nothing is perfect, but it is definitely less stressful, and I have seen very few problems arise.
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Vic Creature
Vic Creature is half of the Ontario doom duo Vile Creature. She has been drumming for just over three years, and playing with Vile Creature has been her first experience seeing the metal world from a musician’s perspective.
What do you see being handled inappropriately when it comes to tackling the subjects of sexism and sexual assault within our industry?
I think we need to be very conscientious about how we frame and talk about sexism and sexual assault—starting with people with the most power and loudest voices. Folks in the media who are attempting to cover these issues should spend more time thinking about the following: “Is what I’m writing about necessary and well-thought-out? Is my voice overshadowing others’? Who am I trying to speak for [or] represent? How can I share my resources and platform?” We still need more well-thought-out pieces of media that center on marginal voices.
When it comes to specifically writing about sexual assault in the media, I think writers need to be aware of the possible trauma they may stir up when it’s out in the world. If people give you feedback and it’s not positive, try to listen and be willing to change what you are doing. It doesn’t matter what your intentions are; what matters is the impact of your actions.
Some other things I see in the industry that [are] more insidious [are] everyday microaggressions. These are harder to pinpoint and address, because they are interwoven [in] our everyday lives and become normalized. An example would be how women and non-binary folks are treated at live shows: patronizing comments and questioning their credibility. Sound techs, promoters, bands, and staff working shows should all be held to the highest standard when addressing these things. Making it known that people can come to you with concerns and will be taken seriously is a huge step forward. In general, we all need to reflect on how we treat others. If we hold positions of power, we need to be brave and stand up for others.
What do you believe are the actions that need to take place to create safer spaces? Specifically, what changes do you believe need to be established to allow people to come forward and hold artists and bands responsible for their actions?
To make our spaces safer, it takes everyone—not just the people who are often targets of hate. Realize the labor it takes to address these heavy issues and that it often takes an emotional toll on victims. If you have extra time and energy, ask how you can help those doing the work to make their spaces safer. I have experience when it comes to community organizing, and all of that is possible with folks volunteering their time in different capacities. I will just warn that if men would like to help and be involved, be cool with not being the center [of] attention. Acknowledge that if you wanna help, you need to be in the background in a supporting role unless you are asked to do more. Also, if your community doesn’t have any organizational structure for doing this kind of work, consider finding some likeminded folks who could start a collective that has physical meetings. Invite others to join and share their ideas about safe spaces.
If you are part of a nonprofit or work somewhere that wants to do right by this, consider hiring someone to come in for anti-oppression and conflict resolution training. While it would be nice if everyone were knowledgeable about handling situations of sexism and sexual assault, not everyone is as woke as we would like. If there is extra money, spending it to collectively educate the groups we roll with is money worth spending.
With more awareness and action taking place thanks to the #MeToo movement, what do you believe are some other tools or organizations that we can begin to incorporate into our industry to help those in need?
It’s pretty obvious that people in the highest positions of power in our subgenres are artists and musicians. Too often, we see zero accountability when people speak out. On a general level, we all need to educate ourselves on how to intervene.
It’s hard to give specific advice, because each situation is complex in its own way. I would suggest reading as much as possible if you’re new to thinking about these subjects. Read literature that is written by women of color, folks with disabilities, trans folks, queers. It’s not like you have to be an expert to do the right thing, but I’m suggesting that the better informed we are, hopefully we can handle these subjects with more wisdom.
If you’re a promoter or work at a venue, set up a system where people can anonymously report. Put signs in the bathroom stalls that inform folks that if they are on a bad date or are being harassed, they can discreetly ask the bartender for some help. Set up an email account where people can report things that happen in your spaces. Let people know they are not alone and there are people who will believe you and have your back.
I also want to mention that, when it comes to the #MeToo movement, these subjects are more visible, which is important. But I think we should be aware of how we might be triggering survivors of sexual assault. Consent is everything, and we need to be mindful about what we share—on social media or in [real life]. If you feel compelled to speak about your own experiences, check in with people first and ask for their consent. If you want to talk about these subjects with folks who’ve experienced abuse, please be conscientious that you may be retriggering them.
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Carina Zachary
Carina Zachary is the lead vocalist of the post-hardcore and alternative rock band Husbandry and a vocalist in the electronic collective Monsters On The Horizon. Hailing from the Bronx, she has been involved in several bands and projects throughout the New York City area.
What do you see being handled inappropriately when it comes to tackling the subjects of sexism and sexual assault within our industry?
I think it can be incredibly empowering for someone coming forward about sexism or sexual assault to have their experience shared on a platform that will hopefully reach many other individuals. However, often times, making the brave decision to come forward can bring along its own onset of harassment and judgement on an unfathomable scale—especially in the digital age of internet trolls and people eager to talk but not listen. By speaking out, survivors may have to deal with yet another form of abuse. It’s really important that we place emphasis on their stories with a completely unbiased approach and be more respectful [and] protective of their identities. We need to improve upon lending our ears, offering our support in equal amounts regardless of whether they expose themselves or choose to speak up anonymously.
What do you believe are the actions that need to take place to create safer spaces? Specifically, what changes do you believe need to be established to allow people to come forward and hold artists and bands responsible for their actions?
I think the key to creating safer spaces is eliminating the bystander effect. We cannot be afraid to speak up or intervene when witnessing someone in a dangerous situation. We need to step up and hold ourselves accountable for our own inaction. When we all, as a collective in the music scene [and] industry, decide that abuse will not be tolerated regardless of gender, race, creed, or circumstance, then we might start to see some changes, in my opinion. We might be able to be that voice for someone who may not feel capable of speaking out.
We can also start by acknowledging the fact that there are power dynamics that go into play, specifically with respect to a lot of successful bands and their fans. We’ve already seen many articles detailing abuse by older male musicians toward young women and girls, most in their teens. That band culture of preying on young fans who would jump at the chance to be noticed by someone they admire is despicable and truly irresponsible. As artists, whether we like it or not, we have the duty to create safe spaces and experiences where people can enjoy [and] connect with themselves, us, and others in a positive way.
Are there any areas where you’ve seen improvements in regard to creating safer spaces and directly confronting these issues?
Honestly, I think we’re heading in the right direction. More and more musicians and artists are using what influence they have to raise awareness and speak about these issues, whether through our own work, social media, etc. Still, we have a long way to go. I feel like the more stories people share, the more we can learn and dismantle our conditioning in order to bring about change. It’s forced us to realize how big of an affliction abuse is in society as a whole. [It has] led us to take a closer look at how it may be taking place in our workplace, schools, in the lives of those around us, and even in our own lives. We need to remain open and communicative with each other in order for things to progress.
With more awareness and action taking place thanks to the #MeToo movement, what do you believe are some other tools or organizations that we can begin to incorporate into our industry to help those in need?
I think the #MeToo movement—[which was] founded by Tarana Burke—has been instrumental in creating a conversation we desperately needed to be having. We need to keep in mind that abuse comes in many forms and does not conform to gender, race, social class, or age. That said, we must educate ourselves and aim to bring awareness to the oppressed and marginalized—women and LGBTQ people of color, for instance.
Organizations like The Anti-Violence Project based in New York work to support LGBTQ survivors and communities affected by HIV by providing counseling and advocacy. Donations are accepted and hotlines available for anyone who needs support. It’s also important to support the younger generation. Know Your IX is a survivor- and youth-led [organization] helping students end sexual violence in school. Through building a network of young advocates, they help bring about policy change and provide information to students on consent.
I think, through supporting survivors, whether it’s by donating to organizations, bringing awareness to the issue, or simply listening to their stories, we’re able to have a positive impact. We can also help by creating our own networks within the music scene that might encourage people to start having more conversations about consent and discuss other ways to support survivors of abuse.
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Ebony Jeanette
Ebony Jeanette’s lifework is connecting people with the entertainment and brands they love by converting messages into meaningful, discoverable media experiences. Based in both Los Angeles and Columbus, Ohio, when Jeanette isn’t headbanging at metal shows, she is handling publicity and marketing duties at her own PR company, Ebony Jeanette PR, and serving as the in-house publicist for extreme metal record label, Prosthetic Records. In addition, she helps families find their perfect home as a licensed Realtor with Delicious Real Estate.
Jeanette’s expertise includes content creation, public relations, digital marketing, and product management with laser focus on the successful development and implementation of results-driven publicity and marketing campaigns. Jeanette takes pride in delivering actionable and measurable results to gain maximum exposure for all clients.
As an avid writer and music journalist for over seven years, Jeanette’s work has been featured in: Music Connection Magazine, SonicBids, Substream Magazine, Cryptic Rock Magazine, Metal For Hire blog, and more. Ebony holds an MBA in Marketing from Argosy University, as well as a B.A. in Strategic Communications from Ohio State University.
You can follow Ebony Jeanette on Instagram @bettybadass13 and on Facebook.
What do you see being handled inappropriately when it comes to tackling the subjects of sexism and sexual assault within our industry?
I see the rush to publish character assassinations on both parties [as the issue] being handled inappropriately by media outlets. It is extremely difficult for victims of sexual assault to come forward and confront their attackers with the lightning speed of social media and news dissemination. I think that it is the duty of gatekeepers of press and information to make fact-checking a priority when breaking or reposting news stories that deal with this subject. It is also important to not cast judgement and to deliver only the facts on both sides until allegations are as fully vetted as possible.
What do you believe are the actions that need to take place to create safer spaces? Specifically, what changes do you believe need to be established to allow people to come forward and hold artists and bands responsible for their actions?
Within the music industry, the rampant culture of silence and dismissal in the name of “rock ‘n’ roll” or “that’s just how it is” around misogyny and sexual exploitation must be dispelled across all genres. Whistleblowing or just firing the person does not solve the problem.
Bands [and] artists can’t just stop at kicking the assaulters off tours and out of the band or stop at “no girls allowed on the bus” after shows; it’s more valuable to promote a culture of consent than it is to disassociate with perpetrators. At the end of the day, we’re all human beings, and we need to be more conscientious, more caring, and more educated about what consent means, what respect for women and men entails, and how it actually benefits the music industry rather than making calling out sexual assault the latest buzzworthy trend. Don’t get me wrong, when someone is committing sexual assault or harassment at your show or in your workplace, call them out, fire them, but don’t stop there. Use it as a teaching tool to show that we, as musicians and industry personnel, will no longer tolerate sexist culture and predatory behavior.
Creating safer spaces requires conversations and compassion. Women who work in the music industry need to be assured by their male counterparts that it is OK to report allegations of sexual assault and harassment without having their jobs or reputations compromised. The same goes for men who are victims of sexual assault and harassment. In fact, if you are working for a company even as a freelancer or contractor, that company is still legally obligated to investigate accusations of sexual misconduct. Suzanne Lucas, who runs the website Evil HR Lady, states in a recent Bustle article, “If your coworker is sexually harassing you, the company is still obligated to stop the harassment, even without an HR manager to conduct the investigation.”
Since these particular legal policies are not in place when it comes to working with or being a part of a band—or even just being in the audience at a show—safe spaces where victims can speak out are even more paramount. It’s easy for venues and bands to make their cell phone policies or mosh-pit [and] crowd-surfing policies known to audiences; this should be the same when it comes to sexual assault. I personally would welcome a sign at a venue that states a zero-tolerance policy for sexual assault and harassment.
Are there any areas where you’ve seen improvements in regard to creating safer spaces and directly confronting these issues?
The domination of social media in the digital age of instant information offers not only a means to prove sexual assault and harassment in real time, it also offers effective community support and promotion of those bands and music industry personnel who champion vigilance and are standing up for victims of assault and harassment. This is a vast improvement in awareness creation and confronting violators and needs to be kept at the forefront of the conversation around sexism in the music industry.
With more awareness and action taking place thanks to the #MeToo movement, what do you believe are some other tools or organizations that we can begin to incorporate into our industry to help those in need?
Just as the recent effect of tragic suicides within the music industry led to an influx of support hotlines being promoted by bands and industry organizations, the same can be applied to provide resources and support for victims of assault and harassment and to promote education and awareness to everyone. There needs to be more musicians sharing resources such as the Rape, Abuse & Incest National Network, RAINN, the nation’s largest anti-sexual violence organization. RAINN offers 24/7 assistance and can be contacted at 800.656.HOPE (4673). Callers are connected with trained staff members from a sexual assault service provider in their local area.
Additionally, as I mentioned previously, concert venues and workplaces can utilize their power to offer support and awareness by publicizing their zero-tolerance policies for assault and harassment. And, perhaps most importantly, the best tool that everyone has access to is the power of keeping the conversation going and evolving the conversation from “hot-button topic” to inspiring a lasting and revolutionary change within the culture of music and the music industry.
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Lauryn Mercer
Lauryn Mercer is a contributing writer for Metal Injection and Rocknuts. For the last 20 years, she has been a musician, guitar technician, and guitar teacher. In the last decade, her passion for victim advocacy has led her to volunteer with both civilian and military outlets. She pursued a bachelor’s degree in Human Services in order to work professionally with survivors of sexual assault.
What do you see being handled inappropriately when it comes to tackling the subjects of sexism and sexual assault within our industry?
Sex, drugs, and rock ‘n’ roll are three toxic amigos when it comes to sexual misconduct within the music industry. A prevailing and dominant theme like this still hasn’t become an antiquated idea, even in 2018. If you’ve been to any kind of event involving musicians, you’ll know that certain themes, such as these, will never die within the world of music. They’re linked [and] seeded deeply within the infrastructure of the music industry. More often than not, we even glorify them. The colloquial term “party like a rockstar” is synonymous with extravagance, indulgence, and excess. Even when celebrities die from the excess, we remember them fondly but hardly change our own ways.
If the formula is fun—which subsequently creates users and addicts—and makes money, then we’re going to have a hell of a time tackling the issue of sexual assault within the music industry. I mean, take a look at the “hottest women in metal” issues of magazines. We ardently focus on sex so often that it is hard to extrapolate the sex from music. I’m not sure that as a whole society we want to.
But I digress, so let’s focus on the sexual abuse in the industry: sexual misconduct and sexual assault aren’t crimes of passion, they are crimes of power. In any industry where there are power shifts, dominant personalities, and an attraction of wayward souls, you’ll find victims and aggressors. The biggest issue with sexual assault within the industry is the lack of bystander intervention. I think the social emphasis on sexual misconduct has educated the masses—even the unwilling—to a small degree to be more aware of their actions. However, watching potential situations for inappropriate behavior evolve in which a person could say something to ward off the incident is not only a problem within the music industry, it’s a social problem. The fear of saying the wrong thing, standing out, or pissing someone off deters many from stepping up when it may be time to do so.
The environment that the music industry creates adds another layer of pressure to stay quiet. I have been in situations where I have been all but told to “sit down and shut up, little girl” from bosses, industry reps, and even upon meeting Dave Mustaine at a National Association of Music Merchants event 10 or so years ago. He held my hand when another man approached him, and he told me, “This is Seymour Duncan, sweetie. He’s an important man.” [He] expected me, wordlessly, to be quiet while he blew me off to talk to him. Attitudes and behaviors are difficult to change but easy to identify.
What do you believe are the actions that need to take place to create safer spaces? Specifically, what changes do you believe need to be established to allow people to come forward and hold artists and bands responsible for their actions?
A safe space would be wonderful, but what would it look like? And who would come to use it? As an advocate with over 10 years of experience dealing with victims of sexual assault and rape, I can tell you that one of the predominant feelings of any survivor is fear and self-blame. They automatically blame themselves. In fact, there is a severe issue of underreported incidents [with] statistics [that] are obviously hard to quantify, because it’s hard to get a number from people who won’t speak up.
Creating a safe space would have to be a mutli-pronged approach and look like a variety of things. The needs of the community include education, prevention, and post-assault care. The “whistleblowers” now infamous from the 2017 Time Magazine cover have reminded assault victims of one very important virtue and tenant of feminism: agency. Agency is the ability to act, not simply be acted upon. The bravery of those who have come forward have propelled sexual assault into a new and much-needed national spotlight. It has taught those wrestling with shame that coming forward is the powerful act of agency. I’d like to see agency become a bigger part of safe-space ideals. There will always be bad people out there who want to do bad things. There will also be ignorant people out there, unaware of the bubble that has taught them the wrong way to treat others. Action will result in change, and hope inspires hope.
But this is a lofty goal. Predators aren’t noble beings; they’re aggressors who seek out individuals with flaws they can exploit such as kindness and naivety. The problem is that these traits should not be seen as weaknesses, and yet, they so often are. In the wake of a devastating sexual assault, far too often, a victim’s actions and words are the first things scrutinized by law officials and the public. A harrowing example of this comes from the recent and highly-publicized story from the survivor of Brock Turner’s sexual assault. Her aching words in a statement she read to him post-sentencing included the following: “I was pummeled with narrowed, pointed questions that dissected my personal life, love life, past life, family life, inane questions, accumulating trivial details to try and find an excuse for this guy who had me half naked before even bothering to ask for my name.”
The recent case concerning public figures Decapitated have brought to light very pointed issues: do we believe the girl(s) in question? Many see their dropped charges as proof of innocence, but here is what we all need to understand about rape: it is an incredibly difficult crime to prove. In fact, according to RAINN, 993 out of every 1,000 perpetrators go free. Brock Turner was convicted and sentenced to jail—to serve only three months in prison. The outrage from the public in response to his lack of jail time reflected just how frustrating the lack of justice seems. But here’s the deal: even if a violator serves jail time, it leaves a victim permanently changed for the rest of their lives. We should not be so focused on the justice system righting all the wrongs; rather, we should be concerned with how a person is going to heal from the incident. My job with Metal Injection put me at the frontlines of reactions from Decapitated’s fans and supporters. I was glued to the story and read about it from a variety of news outlets. While not everyone did this, the sad truth is that the girl in question was torn to shreds, accused of being everything unkind under the sun.
Unless we’re talking about children, a valuable insight to remember is that there is rarely a perfect victim. Victims are people who decided to drink or wear revealing clothing or make poor choices. That still doesn’t mean they deserve to be assaulted.
Modern backlash against rape culture demands that a woman should be able to wear what she wants and drink what she wants without fear of manipulation, harassment, and assault. So, I ask again, what would a safe space look like? A clothing booth? A chill-out center with water? I am, of course, being facetious, but a safe-space concept is an idea that, to be effective, needs to live in every guitar shop, every convention, every concert, every studio, in every team [and] band, in every manufacturer of gear, and in every music outlet, venue, and news source.
I can tell you from my own experiences in the industry how many times I narrowly escaped incidents that could’ve changed my life forever. There was no bystander intervention, there was no safe space [in which] to talk about what happened, and there were no repercussions for the perpetrators who preyed upon me—which, at the time, [I was] only 16 years old.
I mention my own story, because another important thing to keep in mind is that every case is unique, each survivor, victim, [or] in my case, potential victim has their own circumstance. Safe spaces are wonderful ideas. When it comes to issues of sexual assault—and, let’s be real, life in general—I have a motto: stack the deck in your favor. Anything we can do to lessen the prevalence and frequency of these acts is a good thing. While every case is different and requires unique solutions and perspectives, finding resources and help needs to have a jumping-off point. I would hope implementing safe spaces will help in that regard.
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