Introduction

Written by: Hannah Toth

Following week one of Coachella, a discussion on women versus men in music has sparked online. Fans watched as Sabrina Carpenter headlined day one with an elaborate set, costume changes, and even a car with a fountain in it. On day 2, Justin Bieber graced the stage with a MacBook and YouTube. These differing headliners brought forth a discussion on the double standards for women within the world of music. If Sabrina Carpenter or Karol G went on stage and did the same lackluster performance, would they be treated the same as Justin Bieber? The Grey Journal reports that Bieber is earning about $10 Million, making him the highest-paid performer in the festival's history. His week one performance doesn’t reflect the amount he was paid; in fact, some considered it to be very low budget.  Other headliners, Sabrina Carpenter and Karol G, are being paid somewhere in the $4 Million to $7 Million range. This brings into question why men hold so much power within the music industry, and while female artists might top the charts, they hold little power within the studio. According to a statistic from musicwave.com, women make up less than ⅓ of the artists in the music world today, and behind the scenes make up about 13% of songwriters and 3% of producers. With such a male-dominated industry, women have been scrutinized for their actions, sexualized, and treated poorly. Similarly, artists who identify as Queer face challenges within the industry, along with being underrepresented. The male-dominated industry has created standards and norms that force artists into stereotypes and roles. 

Sexualization of Women 

Written by: Jenna Slyman

It is no secret that women have the short end of the stick when it comes to their portrayal in the media when compared to men. They are looked down upon for any decision they make, whether it's to embrace their sexuality, change genres of music, or even if they choose to conserve their sexuality. Whatever the case may be, women in this industry have been subjected to immense pressure to be perfect inside and out and have been oversexualized or pressured into revealing more than they wish. Where does this disruption of power come from? Is it those running the industry, or the consumers who make up their fan bases? Throughout history, prominent women in pop culture have been subject to objectification and prejudice. According to Lina Moore in her article, The Objectified History of the Female Pop Industry – The Garfield Messenger, this issue comes more so from the standpoint of degradation. Moore highlights the notion that many female pop artists’ music references sexual interests, desires, feelings, love, and passion, while their male counterparts include rash undertones of misogyny and sexual violence against women. It can be said that these misogynistic lyrics have an immense impact on women and young girls, often perpetuating unrealistic beauty ideals and overall body esteem. The direct effects on female pop stars can often be traced back to their record labels, as they are the ones pushing for these stars to project a certain image that they know will attract an audience and therefore money. Pop star Ariana Grande is a great example of this, especially since she rose to fame at a very young age. Producers back then took Ariana’s image and attempted to make her a sex symbol, once her contract with Disney ended.  Artists like Ariana have acknowledged and expressed their frustrations with the industry, saying they feel there are many more standards for women than for men.

Every generation has its own “it girl.” For this generation, we see Sabrina Carpenter and Olivia Rodrigo taking this title by storm. In this new age, these women arguably have more control over their personal image, performance style, and even the lyrics. Sabrina Carpenter is known for her risqué looks, photoshoots, performances, and hypersexual lyrics. But why is this different from when one of the former generational “it girls,” like Britney Spears? One could argue that Sabriana’s approach is completely on her own account, with little influence from male producers and labels. According to Inclusion in the Recording Studio? Gender and Race/Ethnicity of Artists, Songwriters and Producers across 1,200 popular songs from 2012 to 2023, only 12–15% of songwriters and 2–5% of producers are women (from USC Annenberg Inclusion Initiative studies). This suggests that men largely control the industry, ranging from what's being sung to how the artists are presenting themselves in media and on stage. However, Sabrina’s sense of wit, style, and projection of strong female energy gives a less degrading image of her and her fans, but rather one of womanhood and taking charge of her sexuality. Of course, people will always see a woman owning her body and sexuality and go on to slut shame her or sexualize her without her consent, but the way she portrays her image and her music stands out and separates her from former pop stars like Britney Spears. Britney, on the other hand, came up to stardom during a very culturally different time, and her creative choices were less independent and more so dictated by her label. According to Clotilde Pedron in the article Girls Just Wanna Have Fun? The Sexualization of Female Artists, Spears was met with unwanted oversexualization right from the get-go with her first hit single, “...Baby One More Time.” In this music video, Spears is depicted wearing a young schoolgirl’s outfit and pigtails. This is for the male gaze and was seen to attract great numbers and perhaps the wrong viewers. Another example of a more recent artist who faced immense backlash for her own portrayal of her sexuality was Miley Cyrus. After releasing “Wrecking Ball” at the age of 21, controversy broke loose, and the public opinion of her quickly went downhill. 

The main difference between the older pop stars and the newer generation is control over what their personal image is. Female pop stars now are taking charge of their sexuality, image, career, and music. It’s widely known that artists like Britney Spears have been taken advantage of from an early age and had little to no say in what they could produce and release to the world. Now, owning one’s sexuality is a choice, and arguably, back then, it was mandatory. However, someone like Beyoncé seemed to have more control over her image and was less sexualized. This could be due to her record label and the overall role that she took when initiating her career. Beyoncé, unlike Britney, was seen as confident and a good role model for younger women. Britney, on the other hand, was shamed for her public image, while being hounded for interview questions and paparazzi photos throughout her career. The real question is, why are some women celebrated for their outward sexuality, and others are shamed? This could be due to personal choice vs. industry pressure. In many ways, pop stars are seen as role models for their fans, and the image that they portray has immense influence on media culture. What separates choice from pressure is why the artist is expressing themselves in this manner. Could it be empowerment and self-expression? Or is it systematic norms and expectations, as well as stereotypes and external pressure? Although each woman’s experience may be different, more than 2/3rds of the women in the pop music industry have experienced objectification, sexualization, and sexual harassment. 

According to the article, Expressive or Exploited? Female Sexuality in Pop - Eluxe Magazine, female sexuality is more on display than it ever has been. But the author raises the question of whether or not this female empowerment is designed by men. It is argued that many of the times male producers are the ones orchestrating what happens on stage, such as provocative moves and gestures, to what they are actually wearing and singing. Something else that differentiates between female empowerment and pressure is who is ultimately benefiting from the content. One thing is that this form of expression does sell music to both men and women, but it can be argued that these songs sell a certain image of women in general as well. Maybe this form of expression teaches young women to be overly sexual to be loved. That’s one way to look at this issue, but it could be equally possible that certain artists take charge of their sexuality, write about their personal experiences, and reclaim their body and voice. If you think about it, many of these women throughout pop history were going to be sexualized no matter how they dressed or what they sang about. It's not fair to place the majority of the blame on these women when they are taking charge of their personal sexuality. There are many instances where women, especially in the past, have been exploited and managed by certain men for their own benefit. The difference is that some of the newer pop generation have more control over their image and have the jurisdiction to express themselves in a manner that seems right for them. So, it depends on the artist, their circumstance, who's leading them, and what their intentions are to truly depict if they are simply just submitting themselves to misogyny. Misogyny would occur either way, no matter the woman's choice. Reclaiming their sexuality before someone can get their hands on it is empowering. To help resolve this issue, women leaders in the pop industry should be appointed to managerial positions over their female artists. This would ensure that, as a woman, the artist's best intentions would be in mind. It would also be important to reform record labels, as they have much power and authority over the artist's image. Certain guidelines and expectations should be set around sexualization, especially for minors and young adults. These actions would help the artist have more freedom, as well as make a clear difference between empowerment and coercion in the music industry. 

Men Vs. Women in the Industry

Written by: Livia Epperheart

Throughout history, women have been treated differently than men, whether in access to education, the pay gap, or social expectations. While these differences are significant, there is an even more harmful form of treatment that women often face: sexualization. In the music industry, this issue is especially visible, where female artists are often marketed under the idea that “sex sells.” The sexualization of women in media has been a long-standing issue, becoming more prominent in the 1980s with the rise of MTV and music video broadcasting. A 1987 study published in the Journal of Broadcasting and Electronic Media analyzed 30 hours of MTV content and found that 57 percent of music videos portrayed women in objectifying ways. Since then, the amount of media content has only increased, suggesting that the exploitation and objectification of women has likely continued and expanded. Some critics argue that the music industry operates as a male dominated space, where women must navigate expectations that prioritize appearance over talent. This discussion will examine the double standard between men and women in the rap industry, how women are either exploited or attempt to protect themselves from sexualization, and the different types of publicity female artists face.

To begin, it is important to examine the double standard of vulgarity between female and male artists in rap. For example, Cardi B’s hit WAP sparked a national debate about decency, with many media outlets criticizing her for being “too sexual.” Conservative commentator Ben Shapiro described the song as “vulgar, disgusting, and degrading,” framing it as a cultural issue rather than simply a piece of music. This type of reaction highlights how explicit content created by female artists is often treated as a moral problem rather than artistic expression. In contrast, male artists such as Drake are frequently praised for their lyricism despite using explicit language and themes. In his song Houstatlantavegas, Drake includes the lines, “You go get fucked up and we just show up at your rescue. Carry you inside, get you some water and undress you… you my all and the next morning you’ll forget,” yet his work is often interpreted as storytelling rather than criticized for its implications. Another example is Cheechynaa and her song Peggy, which received significant backlash, much of it from male audiences, for its explicit lyrics. However, the song was intentionally created to challenge traditional gender norms and assert female dominance in the industry. These examples demonstrate that while male artists can be explicit without their credibility being questioned, female artists are more likely to face criticism that frames their work as inappropriate or unacceptable.

From an early age, women in the media are often exploited, and in the music industry this is especially visible through the way female artists are presented. Many are expected to perform in outfits that resemble lingerie, reinforcing the idea that “sex sells.” This should not be confused with women choosing to embrace their bodies or sexuality, as these expectations are often shaped by industry standards rather than personal agency. The music industry is also largely male-dominated, with women making up less than one third of artists between 2012 and 2020, according to data from the USC Annenberg Inclusion Initiative. The imbalance is even more extreme behind the scenes, where women accounted for only about 5 percent of music producers at their highest point in 2019, compared to the overwhelming majority of men. This context highlights how the industry is structured in ways that can contribute to the exploitation of female artists. One example is Britney Spears, who, as a teenager, was styled in a schoolgirl outfit for the Baby One More Time music video, which featured highly sexualized visuals despite her being only 16 years old at the time. In response to this kind of objectification, some female artists have chosen to wear baggier clothing to avoid being sexualized. Artists such as H.E.R., Ella Mai, and Billie Eilish have all, at different points in their careers, used clothing as a way to shift attention away from their bodies. Billie Eilish has even described her oversized clothing as a “security blanket.” However, when she later began wearing more fitted clothing, public attention quickly shifted to her body, with social media users on platforms like X making comments about her appearance. In response, she shared a video encouraging audiences to normalize real bodies, highlighting the persistent scrutiny female artists face regardless of how they choose to present themselves.

Publicity surrounding female artists often focuses more on their personal lives and appearance rather than their music, which highlights a clear gender difference in media treatment. In a 2003 interview, Diane Sawyer questioned Britney Spears extensively while she was publicly dealing with a difficult breakup. Spears was asked about her personal relationships, a so called “shopping addiction,” and whether she was promiscuous. She later responded by saying, “I didn’t want to share anything private with the world. I didn’t owe the media details of my breakup. I shouldn’t have been forced to speak on national TV, forced to cry in front of this stranger, a woman who was relentlessly going after me with harsh question after harsh question. Instead, I felt like I had been exploited, set up in front of the whole world.” This reflects how invasive the questioning was and how her personal life was placed under public scrutiny. In contrast, male artists are more likely to have their work framed in terms of talent, career growth, and artistic identity rather than personal morality. In the same year, Britney Spears’ former partner Justin Timberlake was interviewed, but the focus of his interview was primarily on his music career, his love for music, and his soon transition into a solo artist after *NSYNC. Rather than being questioned about his personal life in a critical or invasive way, the discussion centered on his talent and professional future, which shows a clear difference in how male and female artists are portrayed in the media. Another example, a Pitchfork review of Take Care described Drake’s explicit content by stating that he “turns late-night sex and regret into something emotionally resonant,” framing similar themes as meaningful rather than controversial. A comparable pattern can be seen in coverage of Doja Cat, where Variety noted that her provocative image often competes with her musical accomplishments in public perception, suggesting that her appearance can overshadow her talent. This contrast raises broader questions about why female artists are more frequently judged based on their bodies and personal choices, while male artists are allowed to maintain focus on their artistry. Even in terms of presentation, male artists are often able to dress casually without criticism, while women wearing similar clothing may be labeled as unprofessional or unkempt. These patterns reflect a larger systemic issue in which women in the music industry are evaluated differently than men, reinforcing ongoing inequalities in how talent and success are recognized.

In conclusion, the treatment of women in the music industry reveals a persistent double standard that extends beyond entertainment and reflects broader societal inequalities. From the early sexualization of young artists to the unequal criticism of explicit content and the disproportionate focus on appearance and personal lives, female musicians are consistently held to standards that differ from those applied to men. While male artists are often praised for creativity and authenticity, women are more likely to be scrutinized and reduced to their image or perceived morality. These patterns not only shape how audiences view female artists, but also influence the opportunities and limitations placed on them within the industry.

Addressing this issue requires both awareness and change. Media outlets and industry professionals must take responsibility for how they frame female artists, placing greater emphasis on talent, skill, and artistic contribution rather than appearance or controversy. At the same time, audiences must become more critical of the content they consume, questioning why certain narratives are promoted and challenging the biases that continue to persist. Increasing representation of women behind the scenes, including producers and executives, can also help shift these standards and create a more balanced industry. By recognizing and actively challenging these double standards, the music industry can move toward a more equitable space where women are valued for their artistry rather than judged by their image.

Men in the Music Industry 

Written by: Mackenzie Carr

The dominance of men in the music industry didn’t happen by chance; it stems from a long history that still shapes it today. When the modern music business began to grow in the early 1900s, men had greater access to money, education, and connections. Because of that, they were the ones building record labels, running studios, and controlling distribution. From the very beginning, men were in charge of deciding what music got made, promoted, and heard by the public, and that kind of control doesn’t just disappear overnight.

At the same time, social expectations played a huge role. Women were often discouraged from pursuing serious careers in music, especially in leadership or technical roles. Even when women did succeed, they were usually pushed into performing rather than decision-making. Meanwhile, men were more likely to become producers, executives, or songwriters, the roles that actually shape the industry behind the scenes. So even though women were visible, they didn’t always have real power.

There was also a gap in technical skills. Jobs like sound engineering and music production were seen as “male” spaces, so women weren’t given the same opportunities to learn or work in those areas. Over time, this created a cycle: men remained in control and continued to hire and mentor other men. That made it even harder for women and nonbinary artists to break into those positions.

Because of all of this, men have historically dominated every level of the music industry, from executives to headlining artists. That has major cultural and economic effects; it influences what kind of music gets made, whose voices are heard, and who gets recognized or paid fairly. It also shapes how audiences think about talent and success, often tying musical authority to masculinity.

And this didn’t just stay in the past. As the industry grew into what it is today, men continued to hold most of the power, especially behind the scenes. Even now, many top executives, producers, and engineers are still men. That matters because those are the people deciding which artists get signed, how they’re marketed, and what becomes popular.

You can also see this imbalance in how artists are treated. Male artists are often given more freedom to experiment and evolve over time. They can change their sound, take breaks, or come back years later without losing credibility. Women, on the other hand, are often judged much more harshly. There’s more pressure on their appearance, their image, and how relevant they are at any given moment. That double standard shows how deeply these gender expectations are still built into the industry.

This difference becomes really clear in live performances and big cultural moments, like Coachella. During weekend one this year, the contrast between performers like Justin Bieber and Sabrina Carpenter stood out in a way that reflects these larger patterns.

Justin Bieber, as a male artist who has been in the industry for years, didn’t have to prove himself in the same way. His performance leaned heavily on his reputation and established fan base. There’s a certain level of trust and loyalty that follows male artists like him, who are allowed to just show up, perform, and pretty much just mess around on stage; they can be received positively because their status is already secure. Even if the performance isn’t perfect, it doesn’t really threaten their place in the industry at all.

Sabrina Carpenter, on the other hand, had a completely different experience. As a younger female artist, there’s an expectation that she has to do more than just perform; she has to impress. Her set is judged on everything: her vocals, choreography, outfits, stage presence, and even how she presents herself visually. It’s not just about the music; it’s about the full image. There’s this added pressure to be flawless because female artists are often seen as more replaceable if they don’t meet those expectations. Even if her performance was perfect, there will always be more complaints than that of a male performer. Justin was also paid a solid seven million, compared to Sabrina and Karol G, the other headliners, at three million.

What’s most interesting is that this isn’t always something people consciously notice, but it shows up in how performances are talked about online and in the media. Male artists are more likely to be evaluated on their legacy or overall vibe, while female artists are picked apart in more detail. That difference reflects the deeper structure of the industry, who is trusted, who is scrutinized, and who has to constantly prove their worth.

At the same time, the industry isn’t exactly the same as it used to be. There has been a shift in recent years, with more conversations about gender inequality and more women stepping into roles that were once male-dominated. More female artists are producing their own music, running their own brands, and pushing for creative control.

Technology has also helped change things. Platforms like Spotify and SoundCloud have made it easier for artists to share their work without relying entirely on traditional gatekeepers. This has opened the door for more diverse voices and started to challenge the power structures that have existed for so long.

Even with that progress, though, men’s influence in the music industry is still very present. The systems that were built decades ago haven’t fully gone away; they’ve just started to be questioned. And as the industry keeps evolving, there’s a growing push for more balance and representation, with the goal of creating a space where success isn’t so heavily shaped by gender

Why does the Industry only Highlight Men?

Written by: Hannah Toth

No matter the era, straight male artists top the Billboard Top 100. Artists and bands like Ed Sheeran, The Beatles, and even NSYNC have overshadowed and controlled the industry while management overlooks females and LGBTQ+ artists. In recent years, nonmale artists have begun to top the charts more, with artists like Billie Eilish and Sam Smith are examples of this change; both are members of the LGBTQ+ community and have become some of the biggest names in music. Even with these changes, a common occurrence in the industry is that only a couple of Queer artists are given support and a spotlight at a time. People who stood out for not following gendernorms are considered once-in-a-lifetime individuals, but they shouldn’t be; other people who do the same are just not given as much time to create music or given the platform to do so. The industry tends to put out male pop stars who all resemble Ed Sheeran in sound and style. While this is necessarily a bad model to follow, it creates a lack of diversity and overshadows the work of other, diverse artists. In particular, gay male artists get swept under these Ed Sheerans and only a few slip through the cracks. In an interview with The Guardian, music critic and author of the Y2K pop oral history Reach for the Stars, Michael Cragg states that “A lot of male artists got swept up in the beige world of Ed Sheeran and Lewis Capaldi, where today you can sell millions of albums” with ballad-style albums and love songs. Openly gay artists have also used this model to succeed, and Cragg even cites the success of Calum Scott, an openly Gay artist who creates this kind of music. There is nothing wrong with creating music that will sell, but it becomes a problem when that style of music is mass-produced and controls the radio. The industry will pump out these artists and songs, over-crowding the top 100 with 25 songs about heartbreak and marriage. Those that more closely resemble the popular music of the time are given a platform, but when they try to change their sound and create different music, they’re met with backlash. In 2019, artist Lil Nas X released his song “Old Town Road.” It became one of the biggest hits of the year, but when he created his album “Montero” in 2021, many people criticized his work and said the album was “too gay” or not what they expected from him. Criticism like this forced people into a box, as the industry sees it, and demands the same generic content, instead of the creatively different work that artists might want to make. 

As times have changed, so have the opinions of critics, and Queer artists are becoming more mainstream. The success of artists like Troy Sivan, Billie Eilish, and Chappell Roan has allowed for more artists to be open about their sexuality and create the type of music they want to. But in some cases, Queer artists are still being overshadowed by their straight male counterparts, and these artists are given huge platforms to create and perform. In order for things to keep progressing, the industry needs to give more time to Queer artists and their music. They need to be given the same opportunities as their male counterparts. 

Implications of Men in the Industry 

Written by: Amanda Carlyle

The music industry has been heavily shaped by men for decades, from performers and producers to executives and business owners. While male artists and leaders have made major contributions to global music culture, male dominance has also created significant inequalities. Men continue to receive more visibility, leadership opportunities, and creative control than women and gender-diverse artists. This affects who becomes successful, whose voices are heard, and what messages are promoted to audiences. According to Skoove, “80% of the top 1,000 Spotify artists are male, while only 20% are female and less than 1% identify as non-binary”. This statistic reveals that male artists still dominate the most-streamed music in the world. Because streaming success often leads to higher earnings, sponsorships, sold-out tours, and media attention, this imbalance gives men greater power and influence in the industry. As a result, women and underrepresented artists may struggle to compete for the same level of recognition.

Another major implication of men in the music industry is their control over leadership and decision-making positions. Men have historically occupied many of the top jobs in record labels, publishing companies, management teams, and production studios. These positions determine which artists are signed, how much money is invested in them, and which songs receive radio play or playlist placement. When men dominate these spaces, their perspectives often shape what is considered marketable or profitable. This can lead to bias, whether intentional or unintentional, that favors male artists or male-centered music trends. This means that men are not only more visible on stage but also behind the scenes, where some of the most important business and creative choices are made. Because of this imbalance, women may have fewer chances to gain mentorship, studio experience, or executive influence. Male leadership can therefore shape the future of music in ways that limit diversity and equal opportunity.

Male dominance in the music industry also affects the way masculinity is portrayed to the public. Many male artists are marketed as powerful, wealthy, emotionally reserved, and in control. These images are common in genres such as rap, rock, and pop, where success is often linked to status, money, luxury, and toughness. This repeated portrayal can shape how audiences, especially young listeners, define masculinity. Boys may begin to believe they must hide emotions, act aggressively, or gain wealth to be respected. Men who do not fit this image may feel excluded or pressured to change themselves. Male artists themselves can also suffer because they may feel forced to maintain a public persona instead of expressing vulnerability. Although more artists today openly discuss mental health and emotions, the pressure to appear strong and successful remains a powerful influence created by male-centered industry standards.

Another implication is the way lyrics and media can reinforce stereotypes or sexism. When male voices dominate charts and radio stations, their messages often become the most widely heard. Some songs promote positive themes, but others portray women as objects, trophies, or symbols of male success. Repeated exposure to these ideas can normalize disrespectful attitudes toward women and influence cultural expectations. This problem is not only about representation but also about content. If the most popular music repeatedly connects masculinity with dominance and femininity with appearance or submission, audiences may internalize those beliefs. Women artists may also feel pressured to fit male expectations in order to succeed. At the same time, male artists who reject these stereotypes may struggle to gain acceptance in industries that reward traditional gender roles. This shows how male dominance affects both women and men by limiting authentic expression and reinforcing outdated social norms.

Despite these challenges, the music industry has opportunities to create a fairer future. More women are becoming executives, producers, and independent artists through digital platforms. Men in the industry can also use their influence positively by mentoring women, supporting equal opportunities, and challenging harmful stereotypes. Labels and streaming platforms can promote more balanced playlists, fair hiring practices, and diverse leadership teams. Audiences also play an important role by supporting artists based on talent rather than gender expectations. The implications of men in the music industry are therefore both positive and negative: men have helped build the global music business, but their dominance has also contributed to inequality and narrow definitions of success. Statistics such as men making up 80% of top Spotify artists show that change is still needed (Skoove). A more inclusive industry would allow different voices and experiences to thrive.

The Bigger Picture

Written by: Hannah Toth

The socialization theory states that people normalize and internalize values, behaviors, and beliefs. In the music industry, men hold the majority of jobs and higher positions, allowing them to control the majority of the decisions being made. About 70-90% of jobs within the music industry are held by men. The idea that men are superior has been internalized and has made people believe that they are better off in these roles. In the same way, different beliefs have been normalized in the industry, like how women have to show more skin to sell albums or how artists have to sound like more popular artists to sell albums. These values have been spread through studios and companies, forcing these beliefs on all new artists and creating the industry we see today. The media also spreads these beliefs around as they advertise these concepts to children and listeners, making them view the industry in a specific way. They see hypersexualized women and begin to believe that this is what a pop star looks like; they think that this is how you see albums. In modern music, many of the most popular singers wear the same style of body suit and show off skin, showing this value and the normalization of it. It also makes people believe they have to be a certain way to succeed in music; you must sound like Alex Warren and Ed Sheeran or dress like Sabrina Carpenter and Taylor Swift. These artists are all individuals who have cemented their place in modern music and topped the charts. Nothing is wrong with creating music like theirs, but diversity is needed, and people need to see themselves represented in the industry. More female rappers, more Queer singers on the main stage, and women shouldn’t need to look a certain way and dress a certain way to sell out arenas. The normalization of these things has created an unrealistic image of what a pop star should look like and sound like. It has forced artists into boxes and now diversity in the industry is hard to produce and make sure it succeeds. 

Solutions

Written by: Amanda Carlyle, Mackenzie Carr, Livia Epperheart, Jenna Slyman, Hannah Toth

Women in the music industry have been subjected to excessive sexualization and sexual imagery, often perpetuated by their labels and producers. To help resolve this issue, women leaders in the pop industry should be appointed to managerial positions over their female artists. This would ensure that, as a woman, the artist's best intentions would be in mind. It would also be important to reform record labels, as they have much power and authority over the artist's image. Certain guidelines and expectations should be set around sexualization, especially for minors and young adults. These actions would help the artist have more freedom, as well as make a clear difference between empowerment and coercion in the music industry. 

The industry needs to give more time to non-male artists and create a more diverse industry. People who are creatively different shouldn't be met with backlash and not given the same opportunities to succeed. Not every artist to top the Billboard needs to be an Ed Sheeran type, and more diverse music would create a better listening experience for people. People who don't follow the norm shouldn't be hated for their music, and creative differences should be celebrated, rather than being pumped out the same type of music. The industry and audience should support artists, specifically male, who show emotions in their work, rather than feed into the sterotype of men shouldn't cry or feel emotions. People should feel supported and free to create whatever music they would like. Encouraging positive changes would help impact the billboard variety. 

More females should hold higher positions in the industry. More female managers, producers, and leaders to help female voices be heard in the industry. Allowing more diversity in leadership would improve the treatment of artists, as they could better relate to the people they're working with. More diversity in leadership overall could better the industry and help to get artists representations where they previously had little to none. 

All artists should be paid the same for big events, especially headliners. Sabrina Carpenter, Karol G and Justin Bieber all headlined the event and should be paid the same amount. No matter the level of fame, they were all selected to headline and should therefore make the same amount. When looking and the effort put into the performances, you wouldn't believe the pay discrepancy between the artists.