TALK is cheap. DOING something costs time, money, and THINKING. I’ve been an advocate for women musicians since 1997. I founded a non-profit organization to promote and support women musicians in 2007. This year, we’re calling for a Symposium on Women in the Arts because all people learn through the ARTS. 115 people registered for this symposium to be held in Washington, DC, on Tuesday, August 4, 2015 @ 9 a.m. to 5 p.m. The problem is we tried to hold it at The White House but were denied access. Then, we tried the Library of Congress but they don’t allow groups to hold events during the day. Now, we’re trying George Washington U and Georgetown U but the Women’s Studies Departments at both schools “do not have resources” for this event. It’s ridiculous. Women are marginalized even more than people of color but they just do not see it. They do not receive the financial support earmarked by government funding of the arts. They are omitted from all-male big bands and orchestras. And they don’t fight to make things CHANGE. When women join together to change the world, everything will change. But like the poster above stated, “We have jobs, homes, cars and are ALLOWED to take little breaks (vacations) from time to time so we believe the illusion that we are free.” Women are second class citizens to males, Black and White. The only difference is White males have economic power (especially GAY WHITE MALES, who have no women to answer to or care for). Black males have little economic power but still tend to dominate women. When will women join together to make CHANGE in this world. TALK is cheap. We must DO something. If you are a women artist, author, architect, musician, composer, actress, filmmaker, or other cultural producer, Register for the symposium at the link on this page: http://wijsf.com/events/symposium.htm
To be a musician means that you make, create music
You make the sound of music play on instruments and
Write the lyrics that come out of the mouths of singers
You are the music, the rhythm, the rhyme
You’re the song, the sonata, the cliché that lifts lovers up to their souls
And mates them with the apple of their eye
It’s your choice, your charge, your habit, your determination
You become the instrument of melody, of music, of song
©2015 Joan Cartwright
The paper was presented at the British and American Studies Conference, in 2012, and is posted on the website of Fondazione Adkins-Chiti: Donne in Musica
Conscious Inclusion of Women Musicians
By Joan Cartwright, M.A.
Music, the sound of the spheres, begins in the womb! ~ Diva JC
This paper discusses the vast divide between performance opportunities and income earned by male and female musicians. Although female singers are quite visible on the world’s stages, few female instrumentalists are employed on a regular basis and even fewer women composers have their music commissioned for programs or films funded by private and public monies. Several proficient female jazz musicians are identified, and how and why women are omitted from performance is discussed. The need for everyone – producers, promoters, funders, and bandleaders – to consciously choose to include women musicians in programming, especially where public funding is involved, is emphasized.
Organizations like International Women in Jazz in New York, Fondazione Adkins Chiti: Donne in Musica in Rome, Italy, and Women in Jazz South Florida, Inc. struggle to present female musicians and composers. Revealing statistics on the disparity of music programming of women’s music in Europe reported that,
But women musicians excel and are leaders in their own right.
American Federation of Musicians: Survey Results. NEA Research Division Report #43. 2003.Phelps, Amy L. Beyond auditions: Gender discrimination in America’s top orchestras. University of Iowa. 2010.WIMUST. Women in Music Uniting Strategies for Talent. Fondazione Adkins Chiti: Donne in Music. Retrieved fromhttp://www.donneinmusica.org/wordpress/wimust/pdf/e-book-wimust/e-book-WIMUST-2012.pdf. 2012.Other Resources:Changing the Beat: A Study of the Worklife of Jazz Musicians.
This study examines the worklife of jazz musicians in New York, Detroit, San Francisco and New Orleans. Information from jazz artists using 2 different survey sampling methodologies – respondent-driven-sampling and a random sample of musician union members – are analyzed and discussed. The 3 volume study is available in PDF. 2003Changing the Beat: A Study of the Worklife of Jazz MusiciansVOLUME II: AMERICAN FEDERATION OF MUSICIANS: SURVEY RESULTS
A Study by Joan Jeffri
➔ The top instruments played by jazz musicians are piano/keyboard, trumpet and drums.
➔ 58.4 percent of the respondents earned their major income as musicians in the last 12 months and 53 percent earned all their income from their music. On average, 43.9 percent of this income came from work as a jazz musician. For Detroit, only 35.3 percent came from jazz work and in New Orleans, 57 percent.
➔ 36.3 percent have a college degree and another 28.7 percent have a graduate degree.
➔ 64.7 percent think they should be paid for people downloading their music on the Internet.
➔ 74.9 percent received music-related training in the city or region where they now reside. This is highest in Detroit (80.3 percent).
➔ 89 percent have health coverage; this is highest in Detroit at 92.1 percent. Only 18 percent obtained it from the musicians union, only 7.8 percent in Detroit.
➔ 63.1 percent have life insurance, a high of 80.3 percent in Detroit and a low of 52.3 percent in San Francisco.
➔ 77.3 percent have a retirement plan; 82.3 percent of San Francisco musicians have such a plan.
➔ 61.0 percent earned $40,000 or less as a musician in 2001. 7 percent earned over $100,000.
➔ 31.7 percent played over sixteen jobs a month and 40.7 percent play with more than four different groups.
➔ 84.1 percent are male; 71.9 percent are white.
The status of women composers is dramatic. In most countries, they are equal in number to male composers, and in some countries more, however, only 1% of their music (traditional, popular, classical, contemporary) is programmed by public funded institutions 2 and 89% of public arts and culture institutions are directed by men. Throughout Europe, composers are unable to earn a living only from their musical compositions and performing rights. In many countries, the music-generated income is well below national poverty level. Few countries give creativity sabbaticals, stipends, worthwhile commissions, guaranteed number of performances of new works, finance for research, recording, promotion and production, leaving skills and talents unexploited, damaging artistic dynamism, influence and economic development. [Source]
Joan Cartwright, M.A. is a vocalist, composer, producer, author, and educator. She has toured five continents and published several books, including a memoir, three books of poetry, the Joan Cartwright Song Book, Songs for My Children, Amazing Musicwomen, A History of African American Jazz and Blues, and So, You Want To Be A Singer? Joan is a doctoral candidate in Business/Marketing at Northcentral University. In 2007, Joan founded the 501(c)(3) non-profit organization Women in Jazz South Florida, Inc. that promotes women musicians, globally. Since 2008, she has hosted over 140 Internet radio interviews of women composers and instrumentalists on her weekly BlogTalkRadio show Musicwoman. In 2013, WIJSF will host the first MUSICWOMAN Conference and Festival in Fort Lauderdale, Florida. Visit these websites: www.wijsf.org and www.joancartwright.com
My composition “Dreamin'” is featured in the new sitcom “Last Man”. This is the beginning of an exciting adventure on MJTV Network with my daughter, Mimi Johnson. Our sitcom “Last Man” written by Steve Moore, Mimi Johnson, and Love McNill, and starring them, Joan Cartwright, Vernechia Williams, and Malik Haynes, will premiere on January 31 at 7:00 p.m. on www.mjtvnetwork.info. Watch the trailer below:
In researching the number of musicians in the world, I found this information at these links:
- Musicians in the U.S. number 1 per every 316 and have 45 income streams
- Median pay for musicians in 2012 and number of jobs is 167,400
- How to define a musician
- 91 % of All Artists Are Completely Undiscovered – Mega-sized and mainstream artists make up 1.1% of all artists yet have 87.3% of Facebook page likes. They also have 88.4% of artist Twitter followers.
Presented at the 99th ASALH Convention on September 25, 2014, in Memphis, TN
Another one of those Amazing Musicwomen!
Originally posted on The Choklitfactory:
First off, if you haven’t seen Shutter Island, go see it! Good movie!
Composer Max Ritcher composed a mesmerizing piece of music available on the film’s soundtrack which he combines with the timeless voice of blues, jazz & R&B singer, Dinah Washington (1924 – 1963). The song is very haunting and pairs well with the theme of the movie which is just as haunting. Washington originally recorded This Bitter Earth in 1960 and it was later covered by artists like Aretha Franklin, Deborah Cox and The Satisfactions, before Ritcher used the vocals for this soundtrack.
A couple notes on Dinah. She married eight times, divorced seven times and was rumored to have had an affair with Quincy Jones. Dinah passed away at the age of 39 due to ingesting a mix of prescription drugs. Dinah is well known for her version of the timeless song, Unforgettable. In her 13…
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“Jazz is a marketing ploy that serves an elite few. The elite make all the money while they tell the true artists it’s cool to be broke.”
— Nicholas Payton (from On Why Jazz Isn’t Cool Anymore)
Originally posted on Nicholas Payton:
Charlie Parker died to play this music. Bud Powell died to play this music. After suffering through the worst holocaust in human history, these brilliant Black artists gave the world a gift. This gift was so potent that not only did it help them leverage some modicum of autonomy, but helped other oppressed peoples of the world find themselves. It even freed the souls of those who uprooted them from their homeland of Africa and enslaved them for centuries in a land not theirs. It is through Black music that White America began the process of healing itself.
I didn’t think back in May of 2005 when I was generously quoted in Stanley Crouch’s piece entitled, “The Colossus,” which extolled the virtues of Master Rollins, that I would have to sit up here today and call out the same publication for attempting to besmirch his character. I hesitate to write…
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