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Liner Notes
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A
1997 Interview With Our Ed-in-Chief
Commitment Magazine
How "ancient" is this interview? A pregnant Shawn Colvin performing on TV was a
big deal, the first Divas concert had just happened, female artists were still having
trouble getting airplay and concert bookings, and there was still an element of sexism in
the music industry. In this interview that appeared in Commitment Magazine http://www.committment.com in 1997, our Ed-in-Chief talked to Paula Davis about all this and
more--including what it was like to be a woman in the rock scene of the mid-1980's.
At the time of this interview seven years ago, Randi was a former Agent
Assistant with a major talent agency, but has since worked as an artist manager and
independent artist consultant.
In your former position at a well-known agency,
what did your job entail?
It varied, depending on which agent I was working for. I started out as a floater, which
meant working for many different agents, answering phones, doing correspondence, and
processing a few contracts here and there. Then, when I was promoted to a permanent desk,
my main duty was to process contracts and offers--which was great, because I learned a lot
about deals--then gradually I became like a liaison between the client (artist) and the
agent, as well as between the promoters and the agent.
How did you attain this position? What was your background?
I started out as a singer in a band when I was 17, but I had horrible stage fright and
discovered I enjoyed the business aspects as much as the singing. So, I left and started
managing our band, then another local band in my hometown, and started working in various
areas of the industry to learn as much about the business as I could. I did a lot of
local-level stuff and took a lot of college classes, then my first big break was when I
got a job with a national-level promoter. A few years later I moved to L.A. and eventually
landed a position at an agency.
You wrote, "When I started managing the band in 1985, attitudes about women in the
industry were such that I made sure to use "Randi" on all my business
correspondence instead of "Miranda" to give myself a better chance of getting a
foot in the door. At least that way, they might think I was a guy, or that the female
voice they were speaking to on the phone was 'Randi's' secretary.' Why did you feel it
necessary to do this? Did it work? What were the attitudes about women in music in 1985?
At that time Randi was a really uncommon name for a girl, so I thought if I used it on
blind resumes and correspondence, it might eliminate a potential barrier if the recipient
thought I was a guy. I also did it so the focus would be on what I did rather than the
fact that I was a female, because there weren't that many women managing metal bands then.
I was the only female manager in my town, and I'd only heard of two female national-level
managers, Sharon Osbourne and Wendy Dio. And although they were successful, there was
always someone who'd say they only had the job because of whom they married (Ozzy Osbourne
and Ronnie James Dio, respectively). I think it did work, because a lot of times I'd go in
for a job interview or would meet someone for the first time, and he'd say,
"Oh, I thought you were a guy!" I think had I used the name Miranda, some of
those doors would not have been open to me. It was definitely a good ice breaker.
As for the attitudes about women in the industry at that time...The mid-to-late eighties
were the height of music video, so a lot of people based their images of women in rock on
what they saw on MTV, which, for the most part, meant models in skimpy clothes. There were
also several books written by groupies and ex-groupies. So some men in the industry only
wanted women around if they were groupie types, which could be a real challenge to get
past.
Have attitudes toward women in music changed in recent years? If so, how and why?
Definitely. Some of the old attitudes are still there, but it's not as prevalent now. Even
five years ago we wouldn't have seen a visibly pregnant Shawn Colvin singing on T.V.. And
the sexism that is still there is a lot more subtle. In the past guys have walked up to me
and said something like, "I don't think women belong in the music business." Now
it's more subtle, more of a vibe you get, as opposed to someone telling you straight out.
But having said that, it is still hard for female rock artists to get bookings (hence,
Lilith Fair), you'll rarely hear a DJ play two female rock artists in a row unless it's in
a block of music by female artists, and while the recent "Divas" concert was a
good try, the fact is, that word doesn't always have a nice connotation. There's not even
a male equivalent word for diva, that I can think of. But, it takes time for a culture to
change. As we embrace strong women, music--and the business--will reflect that.
You wrote, early in the game a club owner, when I called to inquire about submitting a
demo, refused to discuss business with me, saying, "But you're a girl! This is about
booking a BAND..." Did this happen often? Why did this type of prejudice against
women exist in the music industry?
That was the worst example that happened to me, but similar situations happened a lot. The
first band I managed took a lot of guff from other bands for having a "chick
manager," for example. I overheard a lot of stuff like that. Looking back on it, I
was unprepared for the sexism. I knew it was out there, but I'd always had a lot of guy
pals--in fact, my best friend is a guy--so in my naivete I thought, if my guy pals hang
out with me, why wouldn't these other guys want to work with me? I learned fast! But in a
way it also opened my eyes and made me angrier about other forms of discrimination that
exist in the world.
Why did the prejudices against women exist? I think it comes from our cultural history and
the roots of rock and roll. Rock and roll was always about sexual expression. Originally,
the term "rock and roll" was a euphemism for sex. So right there, the performers
were like a boys' club, because at that time it wasn't considered socially acceptable in
our culture for women to show their sexuality. That made the industry a kind of exclusive
men's club, except for the occasional perceived bad girl who was permitted through the
back doors to have fun, but couldn't join the club.
What stereotypes about women in the music industry still exist today?
That's a tough question, because as angry as I get when I see the sexism, I also try not
to think about it. Again, what comes to mind is the one about women in the industry only
being in it to sleep with rock stars--which, by the way, is not a stereotype exclusive to
men. I look really conservative, but I've been asked by non-industry women what it's like
to sleep with rock stars--I have no idea. The diva thing also comes to mind.
How do you get past these stereotypes?
Even though it's a people business, if you want to be taken seriously, act serious. If
you're seen partying with a business contact, you may be talked about the next day, and
maybe even by the people you were partying with, if one of them wants your job. So don't
do it. As for the diva thing, again, the only thing you can control are your own actions,
so don't give them any extra ammunition.
What advice do you have for struggling female artists today?
Focus on the songs--especially the melody and the hook, because if the songs are strong
and you're putting yourself out there, someone will notice. And the stronger the songs,
the less production you'll need to get the point across, so you'll save money on demos
when you're struggling. Develop your stage presence. By that I mean the kind of presence
that comes from YOU, not the kind that comes from gimmicks or tricks. Watch Celine Dion or
Gloria Estefan onstage and you'll see what I'm talking about. And finally, know who you
are, because as a woman in the music industry you're going to alternately be called a
bitch or told you're "too nice," depending who's talking.
How can a female band/singer get attention in the music industry when the competition
is tough and everyone is fighting for a chance for a record contract?
Once you have all the above, the first thing you can do to position yourself for success
is to stop thinking of yourself as a "female artist" and think of yourself as an
"artist." Because the guys don't think of themselves as "male artists"
or "male singers" or whatever. The competition is tough for all artists,
regardless of gender, so your goal is to get thrown into the talent pool with everyone
else instead of a separate pool of "female artists." Be so good they don't care
what gender you are, they just want to hear you. Be so good they can't help but notice
you.
What are some of the most interesting experiences you've had in this industry?
That's a tough question, because it's a business where you experience a lot of fun, wacky
stuff. One of the funniest things that's happened was when I accidentally got locked in at
one of my favorite band's sound checks. This was back when I was writing for my college
newspaper to make contacts, and it was my first large venue sound check. I was supposed to
meet the tour manager about interviewing the band and he was expecting me, so security let
me in through the front of the venue. But I didn't have a backstage pass, because my pass
was coming from the tour manager, who was running late. So, the security guy had me hang
out nearby so no one would kick me out. Of course, the inevitable happened and the
security guy got called away, leaving me pass less and alone in this empty venue, because
the crew was on dinner break. About twenty minutes later the band comes onstage and starts
their sound check--which is really cool, until they notice me and get very angry because
no one's supposed to be at sound check.
There's a lot of gesturing and dirty looks in my direction until finally the lighting guy
comes running over, looking none too pleased, and orders me to leave. But the guard who
let me in still has the keys and has totally disappeared, and the only other way out is
through the dressing room area--which they don't want to do, because some of the band
members are back there. So the angry lighting guy orders me to stand by the soundboard
with him until security comes to escort me out. At that point, when I'm dying of
embarrassment because I've disrupted my favorite band's sound check and kissing my
interview goodbye, the tour manager finally comes out to see what the problem is. I
introduce myself, he greets me like he's known me for years, everyone's nice as pie, and
after the show I get a great interview. They actually were really nice guys, they were
just irritated with the people who weren't doing their jobs.
Have you met any famous musicians? If so, who?
For confidentiality reasons I don't name names, because I've worked with some of them. But
I have been fortunate enough to meet a lot of really interesting people. Also,
"met" is a relative term, because like in any other business, sometimes you're
at an event and meet someone really quickly, so you know they're probably not going to
remember you, because they meet so many people. So, naming them could come back to haunt
me! [Laughs.] But I still have people that I haven't met but would really like to, like
Jon Bon Jovi. I've always admired him as a performer, and I've learned a lot by observing
his career--he has incredible focus. And we both grew up in small, blue collar towns.
What have your years in the music business taught you?
Among other things...tenacity, to always have a back-up plan and be willing to change it,
to never, never leave the house without a resume, that sometimes the wackiest ideas are
the ones that work best, and that anything's possible.
Can you share any stories about famous musicians with us?
Again, since confidentiality is a big part of why I get hired, I don't name names, but I
have seen some interesting things over the years, like strange rider requirements. There
was a band that requested 12 pairs of white cotton tube socks, that was pretty
strange...or the artist who needed 500 live crickets because they were part of the show.
Then on the expense sheet right under that it said, "Exterminator," X number of
dollars...That was really funny. But most of the people I've met have been pretty down to
earth, like one artist who refuses shows on certain days because he's a dedicated dad who
doesn't want to miss taking his kids to karate class.
What do you see for women in the music industry in the next five years?
The industry is in such a transition period right now it's hard to make predictions.What
I'd like would be for the novelty aspect of being a female artist to wear off and have
them just be accepted as artists. I think the industry and some of the media has treated
the profusion of female artists like a trend...especially in rock and alternative. We're
already hearing some labels saying, in essence,"We have enough female artists, been
there, done that, we don't want to sign anymore." But the industry is trying. We had
the "Year of the Woman" a couple of years ago, which was a great step. I mean,
yes, it's one year of recognition out of forty-something, but it was a start. We just need
to keep the momentum going so we don't have a replay of the "girl group" trend
of the 60's, when there was this huge surge of female artists and then only a handful
during the next two decades. But we're working on it. It may take another forty years, but
we'll get there. ###
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