In response to a lacking representation of non-men across the industry, a non-profit We Are Moving The Needle 7 is on a mission to empower, provide resources, and foster inclusivity for women in the recording industry, with artists such as Maggie Rogers and HAIM on their advisory board. Furthermore, Secretly Group, an international conglomerate with massive indie artists under their many subsidiary labels (including Bon Iver, Mitski, Phoebe Bridgers, Bright Eyes and more), very recently announced its plan to recognize a workers’ union as a result of the public pressure that ensued following the release of a staff-written letter, detailing poor wages, systemic race and gender inequality, unfair expectations of employees, and, ultimately, the label not listening to marginalized voices or worker concerns. The recognition of this union is a step in the right direction and may set a strong precedent for other labels — for example, Republic Records, who represent major artists such as Ariana Grande, recently installed an action committee that seeks to tackle these issues amongst others. Additionally, an organization called Music Workers Alliance seeks economic and social justice for artists, and Future of Music, a non-profit fighting for the rights of artists, is focusing on everything such as fair streaming pay, to harassment protection. 8 Unionizing and organizing seems to be the beginning of an answer. One particularly exciting union, the Union of Musicians and Allied Workers (UMAW) was built and driven by musicians entirely online during the course of the pandemic. The organizers began with one-off efforts such as No Musicians for ICE, demonstrating the power of collective action. Gig workers of any industry have had to do the same and fight for their protections, as history has shown, time and time again, that those in power will take advantage of people without protections, hence, why they aren’t given by people in power in the first place. Thus, UMAW addresses the void AFM and SAG leaves, allowing independent musicians to find solidarity and protections for systemic issues of
racism and sexism, as well as fair and equitable pay. One particularly exciting union, the Union of Musicians and Allied Workers (UMAW) was built and driven by musicians entirely online during the course of the pandemic. The organizers began with one-off efforts such as No Musicians for ICE, demonstrating the power of collective action. 9 Gig workers of any industry have had to do the same and fight for their protections, as history has shown, time and time again, that those in power will take advantage of people without protections, hence, why they aren’t given by people in power in the first place. Thus, UMAW addresses the void AFM and SAG leaves, allowing independent musicians to find solidarity and protections for systemic issues of racism and sexism, as well as fair and equitable pay. I believe that focusing on the industry’s lack of centralized leadership is paramount in tackling this issue, as it is hindering sustainable change. Consider this: in Boston, a set of standards, the Line Drawn Theatre Standards, were created by the New England Theatre Community in an effort to create safe working spaces through actionable items, from EDI to Intimacy Direction, to ensure artists know how and where they can report misconduct, should they need to. 10 The music industry, whether it be label by label, or a larger collective effort, should consider enacting a similar set of standards, developed in working groups of musicians, industry stakeholders, legislators, academics, and more. This issue demands deeper research and organization to acquire radical policy change and accountability in the industry. There should be trauma-informed practices and mental health resources for such a vulnerable job. Early career professionals in training programs deserve better education without instruction to expect certain issues in the industry, but seek to question and change them, and minors who attend shows deserve safety and more visible recourse options to hold the musicians and/or label accountable. Trauma is a lifelong battle that nobody should have to face, nor combat in public. While there is an expectation for artists to speak about issues such as this one on social media, and the response to worldwide social injustices have blurred lines between activists and musicians, who we should really be expecting vocality from is the people who have the ability to provide change, to amend the inadequate protections and culture of abuse that has been allowed to continue in this industry for so many decades. Executives need to listen. The musicians are gathering. It is time for change.
Endnotes
abuse in the industry go unchecked. Clearly, long-term, sustainable, and standard structures and protections are necessary for the music industry to continue to breed exceptional art, free from interruption of abuse. Male musicians and executives have a responsibility to not enable harmful behavior, to speak up and speak out, and to place more marginalized voices in their ranks, in addition to making adequate space for those who have created their own spaces. The makeup of female and non-binary music executives remains staggeringly low, not to mention non-cismen executives still get paid 30 percent less than men and only 15 percent of women in music run labels. Even on the creative side, a recent USC study assessing the industry’s level of inclusion based on the Billboard Hot 100 charts from 2012-2020 found that women comprised only 21.7% of artists, 12.3% of songwriters, and 2.1% of producers. 6 With so few women allowed entry into the industry, and even fewer allowed into executive roles — which we know is not for lack of skill — this adds to an environment with little advocacy for the issues women face in the workplace.
1. Ellise Shafer, “‘It’s About Damn Time’: Anti-Sexual Assault Movement Takes Root in L.A.’s Indie Music Scene,” Variety, September, 24, 2020. 2. Jason Newman, “Charlie Walk: Top Music Executive Accused of Sexual Misconduct Over Decades,” Rolling Stone, February 22, 2018. 3. Elias Leight, “There’s a Musician’s Union. Many Musicians Are Unaware — or Unable to Join,” Rolling Stone, May 6, 2019. 4. Thea De Gallier, “'I wouldn’t want this for anybody’s daughter': will #MeToo kill off the rock'n'roll groupie?,” The Guardian, March 15, 2018. 5. Janell Hobson, “Black Women, Hip-Hop &
‘On the Record’ Spotlights Music Industry,” MS. Magazine, May 27, 2020. 6. Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Karla Hernandez & Kevin Yao, “Inclusion in the Recording Studio?: Gender and Race/Ethnicity ofArtists, Songwriters & Producers across 900 Popular Songs from 2012-2020,” USC Annenberg Inclusion Initiative, March 2021. 7. Wearemovingtheneedle.org 8. Futureofmusic.org 9. Liz Pelly, “With Gigs Canceled and No Relief, Musicians Form a Nationwide Union,” In These Times, December 7, 2020. 10. Line Drawn Harassment Initiative, stagesource.org
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