The legal history of pop singer-songwriter Kesha Sebert has brought to light serious problems of gender and power in the US recording industry: it remains male dominated to its core. These contemporary problems have specific historical origins. Contextualising the 2008–2014 lawsuit between two rival producers over the exclusive right to Kesha's labour power suggests that elements of Victorian gender relations and class war were baked into the doctrine on which that 21st century case turned. Drawing empirically on court documents, and analytically on perspectives from history and sociology as well as feminist legal scholarship, this paper explains the persistent vitality of a ‘gendered erotic triangle’ in music production. By contextualising Kesha's gendered legal triangulation, and analysing a seemingly technical quibble about the interpretation of a statute of (temporal) limitation, this paper frames the commodification of singers’ labour power as central to a gendered project of class domination.

中文翻译：

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工人是音乐家吗？Kesha Sebert、Johanna Wagner 和明星歌手的性别商品化，1853-2014

流行歌手兼词曲作者凯莎·塞伯特（Kesha Sebert）的法律史揭示了美国唱片业严重的性别和权力问题：它的核心仍然是男性主导。这些当代问题具有特定的历史渊源。将 2008 年至 2014 年两家竞争生产商之间关于 Kesha 劳动力专有权的诉讼联系起来表明，维多利亚时代的性别关系和阶级战争的元素已被纳入 21 世纪案件所依据的学说中。本文以法庭文件为基础，从历史和社会学以及女权主义法律学术的角度进行分析，解释了“性别色情三角”在音乐制作中的持久生命力。通过将 Kesha 的性别法律三角剖分置于语境中，