![]() ![]() “When people decide to be pledge-takers or decide to jump on a hot thing people are making press noise about, they need to think seriously because a lot of folks are watching. “There’s very little follow through, very little praise or consequences based on their actions,” she says. Smith says that while pledges are well-intentioned, they usually don’t work. Ron Perry worked with Jenna Andrews to co-produce BTS’s “Butter.” The Weeknd and Max Martin, who both signed the pledge, worked with fellow signee Ariana Grande, who produced and engineered the “Save Your Tears” remix on which she was featured. Only four of the 476 people who took the pledge actually worked with a female producer on a Hot 100 song. One of the more notable solutions from the industry to address diversity concerns, those who took the pledge vowed they would consider at least two women for production and engineering roles every time they were hiring for a project.īut according to the study, the pledge has proven rather ineffective. “The information has been out there, and there’s been a collective forgetting that this is the experience women face in the business.”Īlong with the charts and Grammy nominations, the Annenberg researchers also dug into the “Women in the Mix” pledge the Recording Academy launched in 2019 - a year after former CEO Neil Portnow said women had to “step up” for their representation at the Grammys. “Women are sexualized and stereotyped, they are dismissed, and they are not seen as leaders in their roles,” Pieper says, citing issues women have reported to them in previous studies. Recruiting, retaining, and growing a stronger base of women in the recording studio can’t happen if women aren’t looked at as equals, she says. Katherine Pieper, the co-author for this year’s study, says the toxic environment women in the music industry face is a key factor in a lack of improvement. Linda Perry is the only woman to have earned a Producer of the Year nomination for more than a decade.ĭr. Producer of the Year has been the most overwhelmingly male category, with men getting more than 98 percent of the nominations. Over the past decade, Best New Artist has been the only category even close to an even split of male and female nominees, with women taking up 55 percent of the nominations for the category since 2013. ![]() In 2022, just 14.2 percent of nominees across those categories were women, compared to 28 percent last year, marking the first time since 2016 that the number of women nominated across the big five decreased. While women aren’t represented much within the list, the Annenberg researchers note that racial diversity has improved over the decade, with over 57 percent of artists on the 2021 Hot 100 year-end chart coming from underrepresented racial groups compared to just more than 38 percent in 2012.īeyond the charts, Grammy nominations across the major five categories (Song of the Year, Record of the Year, Album of the Year, Best New Artist, and Producer of the Year) weren’t any better. It focuses only on the biggest and most popular songs released in a given year, but as the Annenberg team says, their methods reflect which songs are championed most and have gotten the most resources. To Own the Next Viral TikTok MomentĮvery Time Someone Streams 3lau's Next Song, Fans Will Get PaidĪn analysis of the Hot 100 chart isn’t a perfect approach, the researchers acknowledge. 'Payola Is Illegal': Lawsuit Revives Pay-for-Play Accusations in Radio Industry Despite a lot of the clamor and despite the cacophony of voices that things are changing, our data suggests strongly otherwise.” “For women artists, you’re seeing virtually identical trends from 2012, and we’re not seeing progress across the board. Stacy Smith, who authored the paper alongside Karla Hernandez and Dr. “There could be a lot of conjecture, articles written, performative stances, and checks and statements made, but I think the key word here is stagnancy,” Annenberg Inclusion Initiative founder Dr. This year’s study shows that 23.3 percent of artists, 4.4 percent of songwriters, and just 3.9 percent of producers for the biggest tracks of 2021 were women. That’s according to the USC Annenberg Inclusion Initiative’s latest “Inclusion in the Recording Studio?” report, which for the past five years has analyzed gender makeup of artists, songwriters, and producers behind all of the tracks on the Billboard’s year end Hot 100 and on the nominations for major Grammy categories, effectively quantifying how little representation women have in one of the most-eyed aspects of the music industry. Ariana Grande - Credit: Jordan Strauss/Invision/AP Imagesįor all the posturing and promises extended to women in music for years, the music industry has proven almost entirely ineffective at diversifying the mostly male ranks that create music’s biggest tracks.
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