By: Christie Eliezer
Paul McKessarNew Zealand Female Artists Plan Database Of “Problematic” Executives
A database of “problematic” male music executives which young women could consult before a job interview is one idea mooted in the wake of sexual harassment concerns in the New Zealand music industry.
The sector is looking at solutions after the Jan. 24 publishing of results of a month-long investigation of sexual harassment in the New Zealand industry by #MeTooNZ and news publisher Stuff resulted in two executives losing their jobs.
An open letter on addressing the problem was signed by female performers Lorde, Anna Coddington, Anika Moa, Mel Parsons, Tami Neilson, Hollie Smith and Bic Runga.
Last weekend
Stuff investigative reporter Alison Mau published a months long investigation into sexual harassment and exploitation by local music executives. The story named Lorde s former manager Scott Maclachlan and BENEE s manager Paul McKessar.
In the wake of that
Music 101 host Charlotte Ryan penned an essay outlining her own experiences, explaining that inappropriate behaviour has been rife throughout her time in music.
Yesterday,
The Spinoff s Leonie Hayden published a piece saying it was time for all men to step up and create change.
Earlier in the week, singer songwriter Anna Coddington took to social media, and with other prominent singers such as Julia Deans, Tami Nielson, Lorde, Bic Runga and others presented an open letter demanding change and accountability to take place in all tiers of the music industry
RICKY WILSON
Singer songwriters Lydia Cole and Possum Plows with music manager Amy Goldsmith; they spoke out about harassment and misuse of power in Aotearoa s music industry in a Stuff #metooNZ investigation.
ANALYSIS: Aotearoa s music industry has been rocked this week by stories of harassment and harmful behaviour. Now at a crossroads, will it choose to reform completely for the safety of its most vulnerable? Once you look closely at the music industry in Aotearoa, the juxtaposition of the artists who make the songs that make the money, and the executives who manage those artists and that money, is tellingly stark.
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