Herramientas tecnologías en matemática Hoy día las TIC logran la

As previously touched on, Boucher has experienced a lot of sexism in the music industry. She begins her blog post entitled “I don’t want to be infantilized because I refuse to be Sexualized”425 _{with “I don’t want to have to compromise my morals in order}

to make a living.” She later states, “I’m tired of men who aren’t professional or even accomplished musicians continually offering to ‘help me out’ (without being asked), as if i did this by accident and i’m gonna flounder without them. or as if the fact that I’m a

424 _{Eric Weisbard, Top 40 Democracy (The University of Chicago Press, 2014), 20.}

425 _{Huffington Post, “Sexism In Music Targeted By Female Singer Grimes In New Blog Post” (Apr 24} 2013), http://www.huffingtonpost.com/2013/04/24/sexism-in-music-singer-grimes_n_3146111.html.

woman makes me incapable of using technology. I have never seen this kind of thing happen to my male peers.” Boucher was able to bypass this abhorrent environment when she first began producing music with her MacBook laptop with a connection to the internet. She could potentially still have become a successful producer without these technologies, but the number of hurdles Boucher would have had to jump through in a pre-internet music industry may have surpassed the ones she is forced to already confront today. She once said in an interview with SPIN in regards to sexism, “The more I’ve had to work in this industry, the more I’ve been shocked at the way people behave.”426 _She

later divulges in the interview, “With the first incarnations of Grimes I would make stuff and there would be a guy who would be doing the instrumental stuff and after awhile I realized, I’m actually falling into this niche that feels like what I’m supposed to do as a female: ‘Just be a singer and have someone do the tech-y stuff.’ The fact that that’s my

default reaction is absurd.” This illustrates that Boucher initially followed the dominant industry expectations of a female pop musician, but eventually realized the gendered subordination that comes with doing so and chose to actively resist it.

With the ability to produce and distribute music as Grimes in her own DIY studio (as she still does), Boucher bypassed many of the gatekeepers and their presumptive blatant misogyny to gain initial exposure. Boucher states in an interview with Rolling Stone,“I've been in numerous situations where male producers would literally be like, ‘We won't finish the song unless you come back to my hotel room.’ If I was younger or in a more financially desperate situation, maybe I would have done that. I don’t think there are few female producers because women aren’t interested. It’s difficult for women to get in. It’s a pretty hostile environment.”427 _{Producing at home may then be more than}

just an aesthetic or economic choice. It provides a space where Boucher can work on her music without consistently being subjugated asshe might be in recording studios. She

426 _{SPIN, “Grimes Comes Clean: Synth-Pop Provocateur on Her Big Year” (Dec 6 2012),} http://www.spin.com/2012/12/grimes-interview-2012-big-year/?page=0.

427 _{Rolling Stone, “Grimes on 'Art Angels' Follow-Up, Why She Loves Tool” (Apr 12 2016),} http://www.rollingstone.com/music/features/grimes-on-art-angels-follow-up-why-she-loves-tool- 20160412#ixzz46miHX9WB.

mentions it is the hostility of such environments that contributes to the fact that there are fewer female producers, not because of a lack of interest by female artists. In another interview, she states, “Going into studios, there’s all these engineers there, and they don’t let you touch the equipment…I was like, ‘Well, can I just edit my vocals?’ And they’d be like ‘No, just tell us what to do, and we’ll do it.’ And then a male producer would come in, and he’d be allowed to do it. It was so sexist. I was, like, aghast. It made me really disillusioned with the music industry. It made me realize what I was doing is important.” She still clearly experiences sexism in the music industry, but the importance lies in how Boucher can now speak out against it as a result of the cultural position that she has built for herself. Reaching this position was arguably facilitated by Boucher’s liberating use of the internet to bypass pre-internet music industry ideological barriers. Boucher is able to use her cultural position to resist and reveal the sexism that permeates in the music industry rather than having to compromise her morals in order for her music to be heard. This may cause her to serve as an example for future female artists to follow.

One such example could be Lorde, the project of New Zealand singer-songwriter Ella O’Connor, who cites Grimes as her musical idol.428 _{Lorde’s music has been similarly}

praised for infusing various genres. Her single, “Royals” (2013), sold over 10 million copies worldwide and charted on nine different Billboard charts, including Rock, Dance, R&B/Hip-Hop and Top 40.429 _{She has earned two Grammy Awards,}430 _{was named as one}

of TIME’s most influential teenagers in the world in 2013431 _{and was included in Forbes}’

“30 Under 30” list432 _{the following year}433_{. Lorde also resists a sexualized image and}

428 _{StyleCaster, “Who is Lorde? 5 Things to Know About the Singer Behind the Hit, ‘Royals’” (2013),} http://stylecaster.com/lorde-singer-royals/.

429 _{Billboard, “Lorde – Chart History” (Apr 2016),}

http://www.billboard.com/artist/1553855/Lorde/chart?f=379.

430 _{Grammy.com, “And The GRAMMY Went To…Lorde” (Jan 29 2014),} http://www.grammy.com/news/and-the-grammy-went-to-lorde.

431 _{TIME, “The 16 Most Influential Teens of 2013” (Nov 12 2013),}

http://time100.time.com/2013/11/12/the-16-most-influential-teens-of-2013/.

432 _{Forbes, “30 Under 30: Bruno Mars And Music’s Brightest Young Stars” (Jan 6 2014),}

http://www.forbes.com/sites/zackomalleygreenburg/2014/01/06/30-under-30-bruno-mars-and-musics- brightest-young-stars/#6787bce91504.

works against mainstream pop star expectations; she turned down an opportunity to tour with mega pop star Katy Perry because it “didn’t feel right.”434_{Clash Music}’s review of

her album Pure Heroine (2013) states, “[the album] has come at a time when we’re staring at Miley Cyrus and Rihanna, up at the cultural Frankenstein of our world stage and then at each other and thinking, ‘Is this a consequence of the culture and industry we’ve created around us? Is this what it takes to sell?’”435 _{Boucher arguably acts as a}

vanguard for forthcoming subversive female pop musicians like Lorde to follow. Born in 1996 (eight years after Boucher), Lorde has been recognized as a voice for an internet- bred generation. In the song “A World Alone” (2013), she croons “Maybe the internet raised us.”436 _{Whereas Boucher recognizes what a world before the internet was like,}

artists like Lorde are coming from a world where the internet has always existed. It is also a world that is better understood because artists like Boucher have produced ways in which to understand it. As Grimes, Boucher arguably used the internet as a means to help break into a male-dominated sexist industry and provide a path for others like Lorde to follow.