Gender Pay Gap: Women Paid Average 33.8% Less Than Men At Sony, Warner, and Universal
The stats reveal differences in pay across the board.
Universal, Sony and Warner UK have released company figures that reveal the percentage difference of average hourly rates by gender. The numbers show the split between men and women across all levels of the label and the differences in bonuses given to each gender. At all three major companies, male executives have the highest-paid jobs and earn the biggest bonuses, by far.
Across the board, the gender pay gap is significant, averaging 33.8 per cent overall, with 29.8 per cent at Universal, 22.7 per cent at Sony and 49 per cent at Warner.
With regards to bonuses female executives make 49.2 less at Universal, 45 per cent less at Sony and an extreme 82 per cent less at Warner.
Bonuses are about evenly distributed by gender at Universal and Sony, but there is 11 per centless women get bonuses at Warner.
In comparison to the BBC wage gap difference of 10.7 per cent that caused outrage last October, the difference in pay by gender at major UK labels is much more alarming. But the gender pay gap at the labels remains smaller than international bank HSBC, which was determined to have a 59 per cent difference.
SoundExchange Has Now Paid Over $5BN To Artists And Labels, With $652M Distributed In 2017
The US organization, which collects performance royalties from online radio platforms, paid out a total of $652m to recorded music rights-holders in 2017 to surpass the milestone.
That figure represented a significant (-26%) drop on the $884m paid out in the prior year, but this wasn’t unexpected – thanks to the slowdown in digital radio’s growth, coupled with the fact that leading rightsholders (including the major labels) have now established direct agreements with Pandora.
In 2017 SoundExchange diversified its offerings to add services for the music publishing community in addition to its core business managing digital sound recording performance royalties.
SoundExchange President and Chief Executive Officer Michael Huppe (pictured) said: “Surpassing $5 billion in digital radio distributions marks an important moment for the new music economy. It’s a milestone for the digital music services and, of course, for the artists and rights owners who create the music that makes those services possible.
“We have been on course to diversify our offerings for several years now. With our entrance into music publisher services through the launch of SXWorks and the acquisition of the Canadian Musical Reproduction Rights Agency, SoundExchange is poised to become the leading global player administering both sound recording and music publishing rights on a multi-territorial basis.”
Luis Fonsi & Daddy Yankee’s ‘Despacito’ Video Reaches 5 Billion Views on YouTube
Luis Fonsi and Daddy Yankee’s “Despacito” video has established a new record. The clip reached 5 billion views on YouTube, making it the most watched video worldwide by the long shot (the next closest is Wiz Khalifa and Charlie Puth‘s “See You Again,” which has 3.5 billion views). What’s more, the video has increased by one billion views in the last six months alone.
“The day we shot the video, and I don’t know how many videos I’ve done, you could see the crew and the dancers and everybody enjoying the song. It was like no other video,” Luis Fonsi previously told Billboard about his experience filming the record-smashing video. “People were dancing on the streets when nobody was filming. Normally you would get somebody saying, ‘Can you please shut it off until we go back to filming again?’ But here, people were asking to leave it on. That was the first sign, right there.”
Last year, “Despacito” spent 16 weeks atop the Billboard Hot 100, tying Mariah Carey and Boyz II Men’s 1995 hit “One Sweet Day” for the most weeks at No. 1. On Billboard’s Latin charts, “Despacito” is still at No. 1 on the Hot Latin Songs chart, becoming the longest-running song with 49 weeks atop of the chart.
To celebrate the news, Luis Fonsi shared on Instagram a one-minute video in which he gathered the best clips of how the song became contagious worldwide.
Instrumental Listens to 30,000 New Songs A Day to Find the Next Hit. So Why Do We Need A&R People, Again?
nce upon a time, label A&R execs would scour smokey clubs to find the next superstar. Guess the robots have completely replaced that job function.
To find the next superstar, a startup known as Instrumental listens to thousands of songs every single day. And they’re not hiring hundreds of people to do it.
You guessed it: Instrumental uses machine learning to discover emerging talent. The company is targeting the music and entertainment industries and aiming to analyze a portfolio of indicators to pick the next breakout.
TalentAI, an online scouting tool, is the propriety platform of the company. It’s being pitched to music publishers, book publishers, record labels, promoters, and a select number of consumer brands. Basically, this AI weapon monitors billions of data points each day from sources such as Spotify and social networks. Accordingly, the data gathered delivers trending intelligence on the music and entertainment industry.
30,000 might seem a humongous amount — but TalentAI says it’s a piece of cake (with thousands of little crumbs).
London-based Blenheim Chalcot led the negotiations. The round also included ex-CEO of MTV International Bill Roedy. The fund will be mainly used to expand talent.
The round closely follows Warner Music Group’s acquisition of A&R insights startup Sodatone. Guess WMG is also betting big that data and machine learning will make a big difference in who gets tomorrow’s best-performing stars. Indeed, well-tuned algorithms could differentiate the winners — and make a difference in how label resources are allocated. Actually, it now appears that Warner Music Group will move its A&R monitoring functions to its newly acquired Sodatone music data platform. Similar to TalentAI, Sodatone combines streaming, social and touring data with the power of machine learning. Other critical metrics include loyalty and engagement among early followers.
Oh, there’s one metric that won’t be used by either platform: an A&R guy saying, ‘this is cool’.
What Streaming Music Services Pay
(Updated For 2018)
This Week In Billboard Chart History
The Piano Man landed his third Hot 100 leader. Plus, remembering feats by Pearl Jam, Michael Jackson & The Beach Boys.
Dec. 4, 1993
Pearl Jam tallied its first Mainstream Rock Songs No. 1, as “Daughter” spent its first of eight weeks at the summit.
Dec. 5, 1998
Celine Dion earned her fourth Billboard Hot 100 No. 1, and R. Kelly his second (and the most recent for each), as their ballad “I’m Your Angel,” ascended to No. 1.
Dec. 6, 1969
Long before it became a derisive stadium chant aimed at losing visiting teams, Steam‘s “Na Na Hey Hey Kiss Him Goodbye” crowned the Billboard Hot 100.
Dec. 7, 1991
Michael Jackson scored his 12th of 13 solo Billboard Hot 100 No. 1s – the most among male soloists – as “Black or White” reached the top in just its third week on the chart.
Dec. 8, 1990
notched his lone Billboard Hot 100 No. 1 with Stevie BBest known for uptempo freestyle classics like “Spring Love” and “I Wanna Be the One,” ballad “Because I Love You (The Postman Song).” The cut would leave its stamp at the summit for four weeks.
Dec. 9, 1989
Billy Joel provided a musical history lesson – literally, as the song made its way to classroom lesson plans – with “We Didn’t Start the Fire.” The rapid-fire lyrics helped the single became his third (and most recent) Billboard Hot 100 No. 1.
Dec. 10, 1966
The Beach Boys earned one of the most acclaimed Billboard Hot 100 No. 1s in the rock era’s history, “Good Vibrations.” The song became the group’s third of four leaders; nearly 22 years later, the act returned to the top with 1988’s “Kokomo.”
Video of the Week
“Highway Tune” – GRETA VAN FLEET
These boys are slowly bringing rock back.
“A guitarist or a drummer can get a cold and still play; I get a cold and sound like a wet mitten trying to sing you a love song. Charming.”
– Tori Amos