ASIAN AMERICAN music writer to articulate this at the level it deserves: Egregious racism and misogyny have a long history in rock & roll — from those on the industry side who have appropriated Black artists’ work to those at the top of the publications who dictated what has been featured. The gatekeepers have always been a boys’ club — specifically a white boys’ club.
In the Nineties, I moved from Ghana to New York City to attend art school. Then I worked at the United Nations. And by the later Nineties, I an internship atBeing a Black female journalist covering rock music, it takes stamina, passion, and patience, because there’s loneliness in it and cultural isolation. I just pushed forth on what I wanted to do.When I heard music, I understood. I understood what musicians are saying, how they’re tapped into something we’re not.
My first road tour was with Steve Miller and I thought he made a pass at me, and then he told me, “That was just a test. How could you actually sleep with the subject of your story, and then the next day shove a microphone in his face?” It was a wakeup call. There was no way I was ever going to have a liaison with one of the people I was writing a story on. happened all the time. Rick Wakeman answered the door in a towel, and he wouldn’t get dressed.
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