Marci Alboher’s Post

For me, the information I convey is based upon my very real and painful lived experiences, which most certainly include my being gay. While it may be the information that’s discriminated against, it’s impossible to separate the information I convey from how I gained such knowledge, understanding, and insight, which again includes my very real and painful lived experiences with discrimination. As such, I’ve long said that I’m exhausted from it. I haven’t said it’s humiliating; rather, I’ve said it’s demoralizing. Still…. And, I also can’t say I don’t take it personally because it’s very personal for the reasons stated. “I’ve battled racism and misogyny in British broadcasting for years. As a Black woman, it’s exhausting Gemma Cairney Sometimes a conversation on a vital topic can be the hardest one to have. The publication of the Misogyny in Music report by the women and equalities committee has opened such an important conversation. Based on evidence from women across the industry �� including academics, festival representatives, record-label executives and artists – it concluded that the music industry is a “boys’ club” in which women, especially Black women, face endemic discrimination, bullying and sexual harassment. For me, its findings hit home…. Postcolonial fallout is written into the DNA of so much of the way the UK works…. From the moment you walk into the buildings where some of the biggest creative ideas are incubated, you notice the lesser-paid and manual labour jobs, from reception to cleaning staff, being done by people of colour. Meanwhile, the top-tier bosses – those who get the final say on how to distribute the funds that make content happen – are so often white and male…. I have to admit, I’m tired…. It is the mould that needs to be broken rather than “slotted into” with tokenistic title appointments, it is in the mould that we so often find dated and constrictive working culture…. I can speak for myself when I say the humiliating feeling of having to prove yourself feels everlasting. From being told by a boss at a radio station that I need to further prove an expertise in specialist music in order to be given a permanent show, despite having been on a specialist music station for years, to the times I’ve been told that I’m only suited to “roving reporter” roles rather than main host. I’ve been striving to achieve in these industries since I was a teenager – landing my first presenting job as the co-host of the breakfast show on BBC1Xtra when I was 23. I’ve presented live TV and radio programmes, made documentaries (winning awards for more than one) and written a book that led me to go on a nationwide schools tour. So I can’t say I don’t take it personally when I see new opportunities offered to white men.” https://lnkd.in/g8CjKPph

The Misogyny in Music report had a lot of powerful findings, but how do we even begin to speak out? For the first essay of the new era of Drowned in Sound, I asked Nina Marie C. - who won a landmark case with Good Law Project last year - to unpick the world of SLAPPS, NDAs and to share some thoughts on the ifs and whens, if you decide to speak out. https://lnkd.in/eb-Ny5ei

#onthebookcase 'For every star, there are hundreds of less-recognized women who contribute to musical communities, influencing their aesthetics and expanding opportunities available to women. Hidden Harmonies: Women and Music in Popular Entertainment focuses not on those whose names are best known nor most celebrated but on the women who had power in collective or subversive ways hidden from standard histories. Contributors to Hidden Harmonies reexamine primary sources using feminist and queer methodologies as well as critical race theory in order to overcome previous, biased readings. The scholarship that results from such reexaminations explores topics from songwriters to the music of the civil rights movement and from whistling schools to musical influencers. These wide-ranging essays create a diverse and novel view of women's contribution to music and its production. With intelligence and care, Hidden Harmonies uncovers the fascinating figures behind decades of popular music. ' https://buff.ly/3XxMeHr

We need to talk about Black women and excellence in Ireland, and why social closure in Irish society is particularly a problem for this group. Our latest report for The Arts Council / An Chomhairle Ealaíon published earlier this week, highlighted a high rate of ineligible applications amongst young Black male artists, mainly in music. We concluded that this was a result of encouragement for new applicants without adequate supports and information. What the press highlights didn't say is that without these, application rates from Black and Black-Irish artists overall would have been staggeringly low. Broken down by gender, we see two patterns in application and award rates: (1) a very low application rate amongst female Black and Black-Irish artists and (2) a high rate of success amongst female Black and Black-Irish artists who do apply. The number of female Black and Black-Irish applicants is lower than male in almost all art forms, with the exception of Arts Participation and YPCE. Even in art forms which are heavily skewed female across the full range of applicants, such as dance, there are fewer female Black and Black-Irish applicants than male. The overall awards rate of female Black and Black-Irish artists in almost all art forms is impacted significantly by the low numbers applying. However the data on success rates proportional to application shows that female Black and Black-Irish artists are significantly more likely to be successful than male Black and Black-Irish artists. This is not mediated significantly by any particular art form. The rate of success of Black female applicants suggests that the quality of applications made is very high, and this indicated to us the possibility that only the most visibly successful female artists are being encouraged or supported to apply for funding. That was strongly confirmed by the qualitative data. It was summed up neatly by one of the interviewees, echoing a consensus across the research: "What often is the case with people of colour and Black artists particularly is that in order to even get on the stage, you have to have had such a huge demonstration of excellence, just to get the bare minimum. Whereas promotion of regular everyday decent artists, a white artist, it's easy. But to be a Black artist, you have to be better than good to justify them giving you an opportunity." Our review of Irish and international studies in the arts sector and wider labour market shows how widespread this issue is. This pattern of low application rates and good success rates from highly experienced Black and Black-Irish artists not only informed what we asked artists and arts organisations about how the sector is experienced overall, and underpins many of our recommendations about supports and information in the sector, it also has echoes in the title of the report, "Open Up". Read the full report here Link to summary report in comments below https://lnkd.in/eA6Tip7R

Sad news to all our music industry colleagues in the UK... 😢 "The UK Government has rejected recommendations to help protect women in the music industry from harassment and discrimination despite unequivocal backing from the creative industries watchdog CIISA and a myriad of female voices speaking out across the sector. In its response to WEC’s landmark January report on ‘Misogyny in Music’, the Government said it is “clear that everyone should be able to work in the music industry without being subject to misogyny”. However, it stopped short of accepting the WEC’s recommendations to transform industry protections, despite WEC’s warning women in music face “endemic” discrimination. It also recommended the Government should legislate to protect workers from sexual harassment by third parties, a proposal the Government initially supported and then rejected last year. On non-disclosure agreements (NDAs), the report cited distressing testimonies of victims “threatened into silence”, with WEC urging to prohibit NDAs in cases involving sexual abuse, harassment, misconduct and bullying. The Government plans to bring in such measures in higher education but did not support the recommendation to do so for music despite the compelling evidence presented. Chair of the WEC, Rt Hon Caroline Nokes MP said: “The Committee’s report laid bare a “boys’ club” where sexual harassment and abuse is common and where ‘endemic’ misogyny has persisted for far too long.   “Following its shocking findings, women across the music industry have spoken out in the clearest possible terms about the need for transformative change. Improving protections and reporting mechanisms through necessary legislative and structural reforms are essential steps to achieving that.   “Ministers are letting women down with their feet dragging over NDAs. We have had platitudes and reassurance, but still no action despite evidence that the use of NDAs is rife, in far too many sectors, and they are being used to protect perpetrators and silence victims. “WEC is calling on the Government to re-think its stance, equip CIISA with the powers required to drive the changes needed or risk falling short over the action needed to protect women in the music industry from harassment and discrimination.” https://lnkd.in/dG2m4mFA #misogyny #musicbusiness #nda #harassment #discrimation #equality

“How much progress do you expect to make when you refuse to acknowledge that there is a problem within your organization?… It means understanding the hostility that women confront every day, and making a conscious choice to be part of a solution…. It means balancing the #power structure so that no performer feels invincible…. Organizations that don’t confront their power imbalance…will be left in the wake of progress. And worse, they will have these incidents of sexual misconduct occur and come to light again and again… ‘Would you rather be stuck in the woods with a bear or with a man?’ Much to many men’s chagrin, women had universally responded ‘bear.’…We women, as a group, overwhelmingly prefer the bear. Instead of telling us how crazy that is, consider that if a woman were attacked by a bear, it would take less than 14 years for the story to make the news. Nobody would worry over the bear’s reputation, or accuse us of lying. This is the right time to interrogate our musical institutions and ask what they value….is it #influence, clout, and prestige? Performing…requires the ability to show up authentically, and to work as a team. That means #trust — wielding less power and more #vulnerability. When we safely make space for that, our #humanity will appear…. Audience members, you are the only thing more valuable to an orchestra than a star player, no matter their behavior. Your #callforchange will, without a doubt, be the most powerful, and will do the most to protect the vulnerable.” ALL excerpts by Colleen Wheelahan-Phelps in Louisville Public Media 💔 #inspiredbyyou #OnRepeat Cindy Gallop #influencedbyyou always! #Together we can leverage our power and influence. Let’s start with identifying where we individually have agency and collectively can accelerate #progress! #Talent is an asset class. #InvestDifferent #leadership #business #philanthropy #investing #spending #money #music #community #diversity #equity #inclusion #belonging #strategy #innovation #mentalhealth #cultureofmoney

Part one of my interview with Aki and James of Nu House Studios is now up on Punknews!! We talked about how the studio came into being, the importance of creating a safe place for trans and queer artists, sharing knowledge, and so much more!! Read at the link below! https://lnkd.in/gXucW-MD

Excerpt from the OpEd in todays Irish Examiner "The great disappearing act: Irish female musicians. Radio stations have been disappearing Irish female musicians for years and it’s only getting worse, writes Margaret E. Ward "Despite multiple campaigns over the years, such as Women on Air #WakingTheFeminists Why Not Her? #MiseFoste, #FairPle and HerStory Ireland which highlighted issues ranging from exclusion and sexism to bullying, misogyny, and sexual harassment, the industry's response has been disappointingly tepid. Data tells the story.   The story is further elucidated by data, with the WhyNotHer? collective publishing a list of what Irish and UK radio stations play since 2020. The figures are damning — in the entirety of 2023, a mere 3% of the top 100 most played songs on radio were sung by Irish women. The preceding year recorded a staggering 0%. This dearth of representation makes it exceedingly challenging for artists to build a following, perform at concerts and festivals, or secure record label contracts, rendering making a living as a musician nearly impossible.". Read Full Article here: https://lnkd.in/d7-KGZDX

Beyond the Stage: The Eurovision Song Contest and Europe's Racial Reckoning The Eurovision Song Contest has long been celebrated as a vibrant display of European diversity and musical talent, showcasing artists from across the continent in a spirit of unity and cultural exchange. Since 1966, when Milly Scott from the Netherlands became the first Black singer to grace the Eurovision stage, the contest has featured numerous Black and brown artists, including Dave Benton, who in 2001, made history as the first Black singer to win, representing Estonia. Such milestones might suggest a progressive platform for diversity and inclusion within Europe's cultural sphere.Yet, the controversy surrounding French pop star Aya Nakamura, rumored to perform at the opening ceremony of the Paris Olympics, underscores a stark reality: the presence of Black and brown artists in European cultural events does not negate the racial issues that pervade the continent. Nakamura, a Black female artist of global renown, faced backlash from far-right groups in France, casting a shadow over her suitability to represent the nation. This incident is emblematic of the broader challenges Black and brown individuals face in Europe, where their success in cultural and artistic arenas often collides with racial discrimination and resistance to their acceptance and recognition. The National Rally, formerly known as the National Front, under the leadership of Marine Le Pen, continues to stir controversy with its stance on immigration and multiculturalism, which many criticize for fostering division and intolerance. The party's history, marked by instances of racism and xenophobia, as well as the specific case of Youssoupha, a French-Congolese rapper whose anthem for the French football team was sidelined due to political controversy, underscores the politicization of racial and ethnic identities in France—a microcosm of broader European struggles with diversity and inclusion. Thus, while the Eurovision Song Contest and other cultural showcases might present an image of inclusivity and diversity, incidents like those involving Nakamura and Youssoupha reveal the persistent racial discord beneath the surface. These controversies serve as poignant reminders that representation in cultural platforms does not automatically translate into broader societal acceptance or change. They highlight the ongoing need for concerted efforts to confront racism and enhance inclusivity across Europe, ensuring that the celebration of diversity on stage reflects a deeper commitment to equality and justice within society.

<Artist Right in korea> ▢ Issues Several issues have been pointed out regarding the "Artists' Rights Protection Act" and the operation of related government systems: - Firstly, there are limitations in the current law, such as the deletion or reduction of penal and compensation clauses, as well as the reduction of independence and authority of the Artists' Protection Officer and the committee, failing to fully achieve the original intention or purpose of the law - Secondly, although the committee deliberates and resolves cases of reported violations against artists, when the committee issues corrective orders, the Minister of Culture, Sports and Tourism may only impose fines of up to 5 million won for non-compliance, which is seen as insufficient to effectively deter unfair practices by businesses, even if they refuse fair profit distribution to artists. - Thirdly, while prompt handling of investigations is crucial for remedy, unlike the National Human Rights Commission or the Sports Ethics Center, where separate organizations and personnel are employed for investigation tasks, the investigation tasks for artists are handled by government officials such as the Artists' Protection Officer, resulting in processing only half of the cases reported within a year. ※ Consequently, there is a proposal for the enactment of the "Artists' Rights Protection Act Amendment Bill" (sponsored by Representative Kim Seung-soo, Bill No. 2126043), which includes provisions for imposing fines for non-compliance with corrective orders. ▢ Future Tasks There is a need to establish systems for enhancing the status and rights protection of artists through active communication and collaboration with artists in the field, as well as through legislative amendments. It is necessary to continuously gather opinions from the artistic community regarding the specific provisions of the law, such as measures for handling grievances and procedures, to ensure that the "Artists' Rights Protection Act" is effectively implemented. Discussions are needed to address the shortcomings of the current law, including the addition of types of artistic rights infringements not covered by current legislation. Besides imposing fines for non-compliance with corrective orders, more stringent measures are needed to enhance effectiveness. Allocating necessary budgets and establishing dedicated organizations are equally important as enacting the law to ensure its implementation. ※ Additionally, there is a proposal for the enactment of the "Artists' Rights Protection Act Amendment Bill" (sponsored by Representative Im Jong-seong, Bill No. 2124419), which includes provisions for establishing the Office for Artist Rights Protection and Sexual Harassment/Sexual Violence Remediation. **The current issue in the Culture and Arts Act in the Korean National Assembly is taken out by the National Assembly as a national report written by me