Creative BC’s Post

Share the Air - Representation on Canadian Radio ( 2013-2023 ) - Executive Summary ( SongData + Women in Music Canada + National Arts Centre - June 2024 ) - TOP 150 SONGS ON THE YEAREND REPORTS ( 2013 to 2023 ) reveal that songs by women and Trans* artists ( including transgender, nonbinary, genderqueer ) have been underplayed - - on Country, Alternative Rock and Active Rock radio, songs by women are most under-programmed ( average of 8.0% across formats ), women of colour ( average of 0.7% ) - on Top 40, Mainstream AC and Hot AC radio, there was more diversity on the yearend reports, with songs by women averaging about 1/3 of the airplay. However, this was mostly for songs by white women, as songs by women of colour averaged just 6.5% across these formats Throughout the analysis of the top 150 songs played on the 6 mainstream formats, a significant racial inequity was observed wherein songs by white men received the most airplay and those by artists of colour – especially women – were under-programmed. Perhaps most disconcerting of these findings is the near absence of songs by Indigenous artists from all 6 formats. Because the industry has historically been an inequitable cultural system, developed around racial segregation and gender discrimination, and because each sector of the industry has historically relied on the data generated by their own internal processes to make business decisions, they are reinforcing and indeed exacerbating pre-existing inequalities and discriminatory practices. See - Executive Summary ( English ) - https://lnkd.in/eGQGcMa5 Full Report ( English ) - https://lnkd.in/e_sVspwH See - Share the Air + Partageons les Ondes - https://lnkd.in/ebKXTTzK

The language in writing about women musicians must not describe them as outliers but reflect them as an integral part of the industry. For instance, when writing about a particular achievement of a music star, their gender need not be the focus. They should not be described as one of the best ‘female’ music stars, but rather as one of the ‘best music stars.’ Read more on the underrepresentation of women within the music industry at https://lnkd.in/ggXTNkuV #WomenInMusic #MusicWithoutBias #FemaleEmpowerment

A groundbreaking study by Concerts SA, in collaboration with SAMRO, IKS Cultural Consulting, the Norwegian Ministry of Foreign Affairs, and the Royal Norwegian Embassy, has unveiled the harsh realities faced by women in live music. Conducted in late 2023, this research surveyed 357 industry professionals, revealing profound gender inequalities 🎶🚨 . Key findings: - 56% of women earn less than R5,000 per month. - 63% face inappropriate remarks and mansplaining regularly. This vital research underscores the urgent need for systemic change to ensure fair pay, safe working conditions, and genuine representation for women in the industry. Despite the financial and psychological costs, an impressive 90% of women in the study feel confident in their place within the live music sector. It's time to address these disparities and support the incredible women who drive our industry forward. Read more about the study and join the conversation on how we can foster a more equitable and inclusive environment for all. #WomenInMusic #LiveMusic #GenderEquality #IndustryChange #SupportWomen https://lnkd.in/dCRJ7vp8

New Post: Melissa Etheridge Reflects On Early Career In ‘Gender Equity In Music Report’: ‘My Queerness Protected Me’ - https://lnkd.in/gGm_WQ3c - Today (March 8) is International Women’s Day, and to mark the occasion Tunecore has released its fourth annual Be The Change: Gender Equity In Music Report. Prepared by research firm Midia, the study offers key findings on progress and challenges around representation for women and nonbinary people in the industry. Beyond the findings, the study incudes a forward from rock pioneer Melissa Etheridge, who reflects on the discrimination she has experienced and witnessed during her four decade career. She notes that while women have dominated the charts for decades, “typically white, male executives have profited from our labor.” She also tracks some of the changes she’s seen during her long music career, noting that the industry has become more inclusive for women and gender expansive people since she started out in the ’80s, a time, she writes, when being gay protected her from some of the discrimination she saw straight women experiencing. She emphasizes how crucial it is to truly be the change one is hoping to affect, writing that “people are sometimes driven by their own misunderstanding and fear, so if you become the love you want to see, we hope they will feel that and change.” Read Etheridge’s foreward in full: It’s no secret that the music industry has historically been a boys’ club. There have been decades of music defined by incredible women dominating the charts, but behind the scenes women have often been pushed aside and prevented from reaching the same career heights while typically white, male executives have profited from our labor. When I started in the business back in the ‘80s, the A&R reps who came out to see me were all men. There were very few women in the business, and this was the norm at the time. In the late ‘80s, the industry started to change. There was finally a bit of interest in women artists’ music and experiences. In 1988, when I was finally signed and my album came out, women were starting to break through the industry wall. Tracy Chapman, k.d. lang, Toni Childs, and Sinéad O’Connor were writing and releasing songs, and people finally started paying attention and realizing we had something to say. In music—as in life—being a woman comes with its own set of obstacles, both seen and unseen. Ranging from unequal pay and a diminished sense of autonomy to the countless cases of sexual harassment and abuse that have come to light in recent years from all corners of the industry. And, these obstacles are compounded for women of color and gender expansive individuals. What was the hardest for me was also a blessing. I was lucky enough to find steady work in L.A.’s lesbian bars, so when I entered the music industry, it was already known that I was g

Continuing on with our #WomensHistoryMonth theme, this week’s Understanding the Music Industry post will be focused on the gender gap in the music industry – from the realistic representation of female artists in the scene to disparities in their compensation, and potential solutions on the horizon. Gender inequality in the arts is an issue that has deep roots stretching far back into recorded history. For example, in ancient Greece, women were forbidden from participating in public performances, relegating all roles, including female characters, to be played by men. ⬇️ Throughout history women have experienced both progress and setbacks across different time periods, but the 19th century was when women’s talent and potential first began to be recognized, particularly with the emergence of female composers like Clara Schumann. These days it’s easy to look back at where we started and assume that because female musicians and artists are more commonplace now than ever before, that the gender disparity that historically impacted the arts no longer exists – but that is not the case… To give a benchmark of the lack of female representation in the music industry, let’s look at some stats. In 2021, only 14.4% of songwriters were women and more than half of the songs on the Hot 100 Year-End Charts from 2012 to 2021 lacked ANY women #songwriters. But the disparity doesn’t end on the production-side of music. A 2022 study by Dr. Stacy L. Smith found that female representation in music hasn't significantly increased in the past decade, showing that only 23.3% of artists on the Hot 100 Year-End Chart in 2021 were women. According to research by @snafu_records, less than 22% of streams on major platforms are from female artists. The study further highlights a lack of representation, particularly in the 'middle class' of music (creators earning up to $100,000/year). The good news is that change is on the horizon. @snafu_records recently announced a $1M-dollar fund dedicated entirely to supporting female creators. This initiative is a step towards addressing the imbalance and fostering gender equality in the music industry. Organizations like @GenderAmplified, a nonprofit that aims to celebrate women & non-binary people in music production, and many others are doing their part by raising female artists’ visibility and developing a pipeline for young women to get involved as music producers. Suffice it to say that while progress is being made, there's still work to be done. The inclusion of female music creatives is shifting, but true gender equality remains a goal worth pursuing – and one that’s at the heart of our values at NEWM. To all the female artists, songwriters, producers, and distributors: your talent and contributions are invaluable, and your voices deserve to be heard. If you’d like to share in amplifying women’s voices, give your favorite artist a shout out in the comments! 💬 💙 🔃

Yesterday Out & Wild Festival got rejected for a joint Arts Council Bid. Next week Ill be waiting for the rejections or lack of reply when I reach out to brands to support the biggest festival in the UK for queer women and those who are non-binary. Lack of funding and support for women in arts and music is shocking. This year The Department of Culture, Media and Sport refused to take any of the concrete actions recommended by a Misogyny in Music report. This was despite the report clearly showing discrimination and harrasment alongside documented evidence. 1️⃣ 51% of women reporting experiencing gender discrimination and 2️⃣ 33% reporting being sexually harassed while working as a musician. Almost two thirds of respondents said that this abuse and harassment is a career barrier. This goes alongside the shocking findings that nearly half of female festival goers (43%) under 40 say they have faced unwanted sexual behaviour at a music festival, We need the abuse and misogyny to stop. And we needed funding for support and safe spaces. #womeninmusic

'On average, female musicians earn less than their male colleagues. The average annual income from music for men is £21,750, and for women it is £19,850........Female musicians who are Black, Asian, or from other minority ethnic groups were 10% more likely to earn in the lowest income band than white women, with 35% of ethnic minority women earning £7,000 or less, compared with 25% of white women.' https://lnkd.in/et_rUfC9

Gender inequality in the music industry is particularly prevalent among women and gender minorities in genres like rock, rap, and wild electronic music. Women make up a small percentage of artists, producers, and musicians. A 2020 study found that between 2012 and 2019, only 21.6% of artists on the Billboard Hot 100 were women. This gap extends to concert lineups and music festivals, where male acts dominate. Addressing this gap is critical to creating a more diverse and inclusive music industry.

The 25 Best Pride Songs of 2024 (So Far): Staff Picks https://ift.tt/SMigbl4 At a time of year where calls for increased representation reach a fever pitch, the LGBTQ+ community is especially in need of greater depiction in the music business. As a recent survey conducted by Queer Capita, The Orchard and Billboard found, nearly half of surveyed LGBTQ+ workers said they found the music industry’s current levels of representation to be lacking, while a mere 8% felt their respective companies provided adequate resources for their queer-identifying employees. Simply put, queer music professionals are ready to see real change happen for their community. Related Love Letters to the LGBTQ Community: Read the Notes From Doechii, UMI, Allison Ponthier… 06/01/2024 It’s a sentiment shared by the queer community at large today — while state legislatures around the U.S. have already introduced over 500 anti-LGBTQ bills, reporting shows that public reception of such legislation has shifted. The Human Rights Campaign released a polling memo in May, showing that according to a number of national polls, a majority of Americans agree that legislation against the LGBTQ+ community has gone too far. Yet in an industry where queer professionals feel they’re not being adequately platformed and a time where LGBTQ+ people are actively under attack, it sure feels like 2024 has been a banner year for queerness in music. Across genres and styles, LGBTQ+ artists have provided fans with some of the most-loved music of the last six months. Some queer artists have even managed to find massive success on the charts, a feat considered practically impossible in musical eras past. If the first few years of the 2020s marked a queer awakening in popular music, then 2024 may well serve as the start of an official queer renaissance. With so many excellent entries from LGBTQ+ musicians to choose from in 2024, which ones stand out amongst the rest? Below, Billboard staffers offer our picks of the 25 best songs from LGBTQ+ artists released in 2024. via Billboard https://ift.tt/3t6jFcM June 26, 2024 at 01:00PM

Over a month ago, DONNE | Women in Music released a report highlighting a significant gender disparity in classical music. The findings revealed that 92.5% of the repertoire played by over 100 orchestras worldwide was composed by men. Donne Report 2024: https://lnkd.in/eyrinkn6 Our additional analysis shows that 89.9% of chief conductors are men, with only 10.1% being women. This stark contrast underscores the need for greater diversity and inclusion in orchestral leadership and programming. The women who have managed to break through this glass ceiling include Marin Alsop, Simone Young, #ElimChan, Kristiina Poska, #DaliaStasevska, #EvaOllikainen Intermusica, Han-Na Chang, #AnnaMariaHelsing, #JoannaMacGregor, #NathalieStutzmann and Mei-Ann Chen Read more about these findings: https://lnkd.in/eKFwV_kP