#MeToo went missing in the Australian music industry.
After the recognition of treatment of women at Sony and the resulting resignations/dismissals, Ruby Jones started investigating the wider situation in our music industry. She quickly found that music women – artists, managers, staffers at every level – are subjected to “harassment, abuse and assault”. She discovered that no-one was talking but “Everybody Knows”. And that is the title for a five episode audio series Ruby has created to report the results of her investigations. You can connect with it here:
Australia Council’s new International Engagement Strategy
We are pleased to share with you our new International Engagement Strategy 2021-25, including a new International Engagement Fund and professional development opportunities.
The COVID-19 pandemic has significantly disrupted our normal ways of working and collaborating internationally. Our new International Engagement Strategy responds to these disruptions, while continuing to foster and support international engagement for Australian artists and creative workers.
Read and download a copy of the new strategy here.
The strategy has been informed by national and international sector consultation, and an evaluation of the activity delivered under the Australia Council’s International Arts Strategy 2015-2020.
Read our Impact Report here, which presents findings and insights from the evaluation.
Also, Australia Council on COVID support
That Australia Council also has an updated edition of its Guide to Government COVID-19 Assistance for the Arts 2021 which covers the range of support payments for individuals and organisations, provided through the Australian and state and territory governments. This Edition includes clarification in Section 2 around the eligibility of arts and creative workers for the COVID-19 disaster payment where they have lost hours of work due to lockdowns in other locations, even if they do not live in that location.
We have discovered a wealth of information about music museums on this website: https://trilcenavarrete.com/ Introducing her series of articles, Trilce Navarreto writes: “Exhibiting music highlights the challenge of presenting the intangible, through tangible and digital objects, with fragmented collections. In this post I explore these topics as experienced in various Museums of Music across the world while arguing that music can help close the gap between culture and heritage.”
Workshop in Cultural Affairs
The Center for Cultural Affairs at Indiana University (which has a very large music school) has announced its 2021-2022 Workshop in Cultural Affairs series. We have a great lineup this year with speakers from across disciplines doing research in cultural affairs. You’ll find information on the workshop series, and also other happenings at the CCA in its newsletter here: Center for Cultural Affairs
What music labels learn when you pre-save music
In a recent TikTok video, musician Clinton Kane riffs on the push by labels to get fans to pre-save music from artists, even before their songs are released. In the video, his management team demands hundreds of thousands of pre-saves before his song can be released. It’s surprising, but the message is clear: Labels want your RSVP before they’ll even schedule the main event.
The pitch to music fans is all about convenience. Tap save now and, when it’s released, a new song or album will show up in your library immediately. The benefits for the artists and labels are arguably greater: Pre-saving music requires direct access to your account on whatever music service you use. If you attempt to add or save music ahead of its release, a disclaimer will pop up alerting you to the potentially eye-popping amounts of data you’re giving access to, from your music library and listening habits.
While listeners get convenience, developers (either labels or third-party services) get data—possibly more than you know. Depending on the service, you may turn over your name, email address, subscription type, and number of followers. But that’s only the start. You also may hand over your listening history, like recently played content, content saved in your music library, your top artists, and any playlists you’ve made and followed.
Drake sets another record
On September 3, Drake broke his own record for the biggest 24-hour album debut on Spotify.
His June 2018 release, Scorpion, held that record for over three years – racking up over 132 million day-one Spotify chart plays. His latest set, Certified Lover Boy, finally eclipsed that peak: It pulled in 153.4 million global Spotify chart streams on release day.
So will Certified Lover Boy now crush Scorpion’s other long-lasting record on Spotify: the most streams in an opening week for an album?
According to MBW’s analysis: no, it won’t. The current numbers suggest that Certified Lover Boy is going to fall short of Scorpion’s global week-one tally on Spotify.
This fact tells its own story about the promiscuity of the modern music fan – and the challenge of maintaining an audience’s attention with a blockbuster album in 2021… (MBW)