It focuses only on the biggest and most popular songs released in a given year, but as the Annenberg team says, their methods reflect which songs are championed most and have gotten the most resources. On average for the decade, 12.7 percent of songwriters, 2.8 percent of producers, and 21.8 percent of artists behind the year-end Hot 100 were women.Īn analysis of the Hot 100 chart isn’t a perfect approach, the researchers acknowledge. There’s a nominal improvement for producers and songwriters compared to a decade ago in 2012, when 2.4 percent of the songs’ producers and 11 percent of the songwriters were women, but there was effectively no change for female artists. Katherine Pieper, tells Rolling Stone. “For women artists, you’re seeing virtually identical trends from 2012, and we’re not seeing progress across the board. Despite a lot of the clamor and despite the cacophony of voices that things are changing, our data suggests strongly otherwise.”Īs Smith states, the gender-diversity numbers behind the 2021 year-end Hot 100 are in line with what they’ve been for the past decade. Stacy Smith, who authored the paper alongside Karla Hernandez and Dr. “There could be a lot of conjecture, articles written, performative stances, and checks and statements made, but I think the key word here is stagnancy,” Annenberg Inclusion Initiative founder Dr. This year’s study shows that 23.3 percent of artists, 4.4 percent of songwriters, and just 3.9 percent of producers for the biggest tracks of 2021 were women. That’s according to the USC Annenberg Inclusion Initiative’s latest “Inclusion in the Recording Studio?” report, which for the past five years has analyzed gender makeup of artists, songwriters, and producers behind all of the tracks on the Billboard’s year end Hot 100 and on the nominations for major Grammy categories, effectively quantifying how little representation women have in one of the most-eyed aspects of the music industry. For all the posturing and promises extended to women in music for years, the music industry has proven almost entirely ineffective at diversifying the mostly male ranks that create music’s biggest tracks.
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