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We look forward to supporting the wonderful mission of Youth Music and are thrilled that our Managing Editor, Louise Unsworth, has been re-invited as a judge for this year’s awards.
Our Head of Business Development, Oliver Winstone, shares: “Hal Leonard Europe eagerly anticipates the fifth Youth Music Awards. Proud of our enduring partnership, we look forward to joining the Youth Music team and industry colleagues in celebrating the exceptional talent, dedication, and musical achievements recognised at this annual event, which continues to push boundaries.”
#YMAs24Hal Leonard
I’m thrilled to return as a judge for the fifth annual Youth Music Awards, in association with Hal Leonard Europe. These brilliant awards celebrate young people and grassroots organisations representing a more diverse, inclusive and creative music industry. 🎶
#YMAs24
It's great to see that the BRIT Awards are committed to making the show more inclusive, responding proactively to last year’s feedback by taking concerted actions for 2024. Nice one Dr Jo Twist OBE (she/her)YolanDa Brown OBE DL and the BPI team. #BRITs
The 60 / 40 gender split in favour of female artists for the nominees in the Artist of the Year category is one of the standout developments following last year’s controversy. Doubling the number of nominations for Artist of the Year, International Artist of the Year and introduction of R&B as its own genre award are also positive steps forward, together with greater transparency in setting out the makeup and demographics of the Voting Academy.
Plus the selection of Youth Music funded partner Saffron Records as the 'Official Supported Non-Profit for 2024' for the BRIT Awards & Mercury Prize is brilliant to see.
It’s important now to build on this positive momentum as there’s more to be done to ensure a creative, diverse, and inclusive music industry. For young people, it’s imperative they see people like them represented in the nominations, awards and wider music industries. From a wide range of backgrounds in terms of gender, ethnicity, disability and socioeconomic background. It’s about young people having role models representing them and their lives both on and off stage.
It’s also great for creativity too. Greater diversity produces greater music. Artists from a range of backgrounds create songs and lyrics often expressing their own lived experiences, challenges and observations on society. This provides us with rich, thoughtful music from a multitude of voices, platforming the diversity and creativity of the UK.
And it all starts at the grassroots, supporting young people at the earliest age to make, learn and then earn in music. This is the national ecosystem we support and invest in at Youth Music and we ask the music industries to do the same with us. This in turn will create the very pipeline of diverse creative talent that’s being called for.
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The link between creative industries and historic buildings is often talked about but the reality is inspiration and innovation need context and catalyst.
In performative arts how you, the audience, experiences it is key to how you appreciate it. Being able to be that close to ‘the next big thing’ in an atmosphere designed to inspire you to engage was a critical part of a band’s evolution, let alone the repetition of curating your art through repetitive practice (as discussed by Malcolm Gladwell in Outliers in respect of the Beatles in Hamburg).
It would be interesting to map how many of those 23 were in historic buildings.
The sobering reality that only 11 of the 34 grassroots music venues that Oasis played on their first tour still exist today.
Gone are 23 spaces that took a punt on a new band from Manchester who would become one of the most iconic in British music history.
That's 23 communities that aren't getting the chance to hear the chords of the next 'Definitely Maybe' for the first time.
Let’s protect the sacred live music spaces we have in the UK, ensuring that both fans and the next generation of superstars have the same opportunities Oasis had.
This #WorldRadioDay, let's confront the stark reality of the persistent, decades-long oversight that has artists from GRAMMY-winning global icons to local emerging artists left uncompensated for U.S. radio airplay. It's a mistreatment that often takes people by surprise, and it's easy to understand why. It's in sharp contrast to both global norms and practices within other platforms in the United States.
Across every other democracy, terrestrial radio compensates artists for their work. Similarly, the U.S. recognizes the value artists bring to streaming, satellite, and cable. Yet #BigRadio has benefited from hundreds of billions in advertising revenue generated over a century from the loophole that exempts them from paying artists for their music. This is all at the expense of those who created the music that drew in the listeners.
Artists should be fairly compensated each and every time their recorded work is used. It's the right thing to do. It’s time that broadcasters share a fair portion of their earnings. The American Music Fairness Act is a pivotal opportunity to correct the longstanding oversight. Let's join together to ensure a fairer future. It's not just about music; it's about justice, equity, and the future of our industry. #MusicFairness#FairCompensation#IRespectMusic
The United States is the ONLY democratic country where artists aren't paid for the use of their music on AM/FM radio. The artists who make the music we know and love deserve recognition and compensation for their work wherever it's played.
This #WorldRadioDay, we're turning the spotlight on radio. It's time for #MusicFairness.
Join us in support of the American Music Fairness Act:
https://lnkd.in/gugnjhNW
