Women In The Music Industry

Women In The Music Industry – In a study published by USC’s Annenberg Inclusion Initiative, data shows that there has not been much progress in terms of the inclusion of women in music. Underrepresented racial and ethnic groups have seen an increase in inclusion.

The report analyzed the gender and race/ethnicity of artists, songwriters and producers across 900 popular songs from 2012 to 2020, based on

Women In The Music Industry

Year-End Hot 100 Chart. Grammy nominations were also analyzed by gender and race/ethnicity in five categories: Record of the Year, Album of the Year, Song of the Year, Best New Artist and Artist of the Year.

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The study was conducted by Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Karla Hernandez and Kevin Yao. Read the full report here.

Hot chart of the year 100 in 2020. Of those, 79.8% were men and 20.2% were women, which 2020 was not much different from the percentage of female artists

The Hottest 100 Year Chart in recent years. The highest percentage of female artists represented on the chart was in 2016, when 28.1% of artists were female.

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Female artists were more common in the pop genre (32%) over the past nine years, and less common in hip-hop/rap (12.3%), where 7.1 men were recorded for one artist. and one for women.

The top artist of the past nine years was Drake, with 41 hits. On the women’s chart, Nicki Minaj and Rihanna won 21 hits each. Ten of the 13 artists from the past nine years are from underrepresented racial/ethnic groups.

Of the 173 artists in 2020, 59% were underrepresented and 41% were white. 2020 was the fourth year in a row that the percentage of poorly represented artists increased. The least represented artists were most likely to appear in the R&B/soul (92.1%), hip-hop/rap (87.3%) and pop (36.3%) genres.

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Of the total of 449 songwriters entered in 2020, 87.1% were male and 12.9% were female. In nine years, 12.6% of songwriters were women, a ratio of seven songwriters for every female songwriter.

According to the study, female songwriters were more likely to work on dance/electronic (20.5%) and pop (18.7%), and were more likely to work on hip-hop/rap (6.3% ), R&B (9.1%). to work. or country (10.6%).

Of the 198 producers registered in 2020, 98% were men and 2% were women. Over a sample of six years (2012, 2015, 2017 and 2018-2020), a total of 1,291 producers were accepted. Of them, 97.4% of producers were men and 2.6% were women. That’s a ratio of 38 men to every woman producer.

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Of the 33 women named as producers in the six years studied, nine were women of color. Only one woman of color was credited as a producer in 2020—Mariah Carey received a producer credit for “All I Want for Christmas is You,” a song first released in 1994.

Of the 1,359 Grammy Award nominees between 2013 and 2021, 13.4% were women and 86.6% were men. It is a ratio of 6.5 men elected to one elected woman.

Women may be nominated for Best New Artist, followed by Song of the Year. For nine years, about 10% or less of the nominees for Record of the Year or Album of the Year were women. Only one woman was nominated for Producer of the Year in the entire sample.

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From 2020 to 2021, the percentage of female Grammy nominees increased significantly, reaching a nine-year high, as 28.1% of nominees were women. There were four times as many women nominated for a Grammy Award in 2021 in the five major categories reviewed than in 2013.

LB Cantrell is the magazine’s director of operations and content, where he oversees, directs and executes all of the company’s operations. LB oversees all related issues, including its six annual print and online issues. He also leads special, large-scale company projects, facilitates annual company events, and more. LB is a native of Georgia and graduated from Middle Tennessee State University’s Recording Industry Management Program.

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According to a new report, Nicki Minaj is one of the few top female songwriters in the industry where 57% of songs do not have female writers. Jamie McCarthy/Getty Images hide text

According to a new report, Nicki Minaj is one of the few top female songwriters in the industry where 57% of songs do not have female writers.

The music industry is nowhere near achieving gender equality. According to a new study from the USC Annenberg Inclusion Initiative, women lag behind men as artists, but the problem is worse when it comes to things like songwriting, production and engineering.

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The study, funded by Spotify, examined the artists, songwriters and producers known for songs that appeared on the year-end Billboard Hot 100 chart since 2012. By their numbers, less than a quarter of chart artists in 2021 were women. In the past decade, that number has dropped to 21%.

In the last decade, women made up only 12.7% of songwriters. The study also counted producers from the selected age group and found that women make up only 2.8%.

In 2019, the Recording Academy launched an initiative called Women in the Mix to try to combat the lack of women in production and engineering, asking artists, labels and managers to consider at least one female two when hiring a maker or maker. an engineer. According to the study, the effort failed to produce any measurable improvement.

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“Business solutions must do more than pay lip service to create change,” Stacy Smith, founder of the USC Annenberg Inclusion Initiative said in a statement. “They need to address the root causes of exclusion and have strong monitoring and accountability measures to ensure that it results in real progress.”

The study compared the progress made by women in the music industry to the progress made by people of color. In 2021, 57% of artists were people of color, compared to 38.4% in 2012.

Women of color have made exceptional progress — making up more than half of all female artists in 2021, as well as outpacing white women as songwriters. But only one woman of color was accepted as a producer in 2021.

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The report also continued its investigation into the Grammys, where the percentage of women nominated in major categories dropped for the first time since 2019. “I was made to feel invisible. I thought I was a team player. “Just last week I was accepted as a make-up artist in a film,” says Nadia Khan, chief artist and founder of Women in CTRL, an organization that pushes for equality for women and non-women. binary in the music industry. “All because I’m a woman.”

Khan is one of many women fighting to change the industry right now. Last February she was named the first female chairman of the trade association Independent Music Association. It’s a role she campaigned for after discovering that only one of 11 organizations representing various sectors of the music industry has a woman on staff.

Khan’s experiences in the industry are not unique. For a long time, it was an open secret that working in music meant joining a boy band. One where stories of women being abandoned and disempowered are common. “I’m often compared to artists from completely different genres because we look alike,” says songwriter, producer and singer Gracey. It’s also one that hasn’t had its “me too” moment yet.

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A PR, who wishes to remain anonymous, tells me: “The wrong company culture can make you feel like you can’t say no to things, especially in your early years. People use their cachet to control your actions sometimes. I noticed that being an artist or someone in the industry used to make me feel uncomfortable and that I was told by colleagues and peers that I was imagining things or that I should feel lucky to get male attention. “

A manager I talk to tells me that he almost quit the music industry after a producer put some lyrics on his female singer’s song and tried to steal it. He says: “It hurts to say that you were persecuted. But it was tiring. I got constant calls from his manager. And after it was over, the boss sent me text messages that I don’t like!”

Now, from introducing balanced lineups to introducing anti-sexual harassment guidelines for studios, it seems that the industry is starting to change. Last summer, UN Women used input from nearly 6,000 women, along with experts, to create an inclusive concert plan. (This was successfully tested at the Strawberries and Creem festival in Cambridge.)

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Meanwhile, after the artists like

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