Women make headway as executives in industry

Monday, September 28, 1998

Women make headway as executives in industry

MUSIC: Female managers crash once male-dominated profession with
vigor, success and power

By Brent Hopkins

Daily Bruin Contributor

Just as listeners enthusiastically embraced British bands in the
’60s, pop fans have taken a liking to female musicians. Radio
airwaves now sound like a woman invasion of sorts. Once relegated
to back-up singing and dancing, or saccharin-sweet girl groups of
the ’60s, women have now emerged as a powerful force in the
recording industry.

Female artists are gaining popularity like never before,
regardless of their style. Hip-hop boasts Lauryn Hill as its latest
shining star, country artist Shania Twain turns up regularly on
mainstream radio, and alternative favorites Liz Phair, Courtney
Love and Shirley Manson of Garbage have generated much critical
buzz of late. The female-oriented Lillith Fair concert tour,
founded by Canadian singer/songwriter Sarah McLachlan, grabbed
headlines across the country as it continued its successful trek
across the United States.

While the number of women performers continues to climb, the
management side of the music industry is often seen as being
dominated by men. A computer search of business journal archives
revealed more stories about women in prison (18) than women
executives in music (one).

There is a wealth of information about women in other
industries, but at first glance, women are excluded from this
branch of entertainment. The old-boy network may prevail in some
instances, but according to Elyse Rogers, lead singer in the ska
band Dance Hall Crashers (D.H.C.), that is often not the case.

"For the most part, it is not problematic," she said, referring
to the gender issue, in a phone interview with the Daily Bruin.
"You just have to prove yourself as an individual."

Rogers is a bit of an oddity in the musical world. She not only
works on stage, but behind the scenes as a band manager as
well.

Beginning as a musician, she made the move into management by
somewhat of a default. Back in her college days at Berkeley, she
assumed the role of her band’s manager simply because no one else
wanted to do it.

Today, she continues the managerial work, not only with D.H.C.,
but also with a subsidiary of the Los Angeles-based promotion
company, Golden Voice. With Golden Voice, Rogers handles the
affairs of bands such as No Use For A Name and the up-and-coming
Hepcat.

Managers very rarely garner the fame that their bands earn, but
that is not from a lack of hard work. Whether working with the
artists themselves, dealing with agents, fueling interest through
promotional work, scheduling touring dates, or making business
decisions, the manager wears many hats.

Thankfully, gender is generally not an issue. When asked if it
played a role in her dealings with other music executives, Rogers
answered with a wry laugh,

"They’re more interested in what they can get from you, whether
you’re a man or a woman," Rogers says.

Michele Anthony, executive vice president for Sony Music, echoed
this sentiment. In an interview with Rolling Stone last year, she
rejected the notion that women were discriminated against due to
their gender.

"At Sony, it’s been about equality from the start,"Anthony
stressed. "It’s been more of a meritocracy than most other
companies; if you’re good, you succeed."

Anthony, frequently cited as one of the most important players
in the industry, began her career working with her father, famed
rock manager Dee Anthony. Her success is clearly not linked to
nepotism, however. She has been responsible for signing such major
acts as Pearl Jam, Alice In Chains and Aerosmith to Sony’s
roster.

Polly Anthony (no relation to Michele), now the president of
Epic and 550 Music, also illustrates the ability of qualified
individuals to rise through the ranks, regardless of their gender.
She began her career as a secretary in the promotions department
for Sony, making phone calls, trying to interest radio stations in
Sony’s artists. As she proved her merits there, she was promoted to
the vice presidency of Epic.

Handling this task capably, she helped promote Celine Dion’s
album, "Falling Into You," until it sold more than nine million
copies. With that success under her belt, she was selected to head
both Epic and 550 Music.

Though it is difficult to quantify success, it does seem that
women are indeed making remarkable progress as executives. Several
major labels, such as Elektra, Tommy Boy, and the aforementioned
Epic and 550 Music, now boast women as presidents. Just as their
counterparts on stage have gone from back-up to center stage,
industry women have moved from bringing coffee to boardrooms, to
making decisions in them.

510 Records

Musical groups like the Dance Hall Crashers, featuring female
artists, are becoming more common in recent years.

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