Culture is Bad for You: Inequality in the Cultural and Creative Industries

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Essential reading for citizens, policy makers, employers, artists and fans - and for those who study them. Since defining culture is closely related to inequalities, as academics we should not reproduce these distinctions like the survey does. The result is as much a manifesto for change as well as a valuable addition to scholarship countering the ‘celebratory discourse’ in relation to the CCIs over the past 25 years. The fact that they may be saying no to unpaid work doesn’t mean they’re not committed or passionate or talented. In the UK, the press is full of tales of culture in crisis, with redundancies sitting alongside potential organisational and business failures.

But occasional crises showed that faith in the system was tied to contemporary concerns about the medical profession, the power of the state and attitudes to individual vaccines.The industry is risk averse as a result of the huge costs of production (and of subsequent distribution and marketing), set against the uncertainty of success. although I knew about pretty much everything this book discussed, I'd never read something that went this much into detail when it comes to inequalities in the industry. For Art Prints please allow 5 working days for unframed prints and 15 working days for framed prints/ stretched canvas. We often hear claims that there was a “golden age” in cultural work, and that the situation’s got worse more recently, particularly with reference to social class: we show that this is entirely due to changes in the labour market, and that cultural work has always been unequal. Culture is Bad For You: by Orian Brook, Dave O'Brien, and Mark Taylor, Manchester, Manchester University Press, 2020, 384 pp.

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Projects in development include an ambitious plan to reinterview a hundred people working in CCIs from the Panic! Dr Orian Brook is Chancellor’s Fellow in Social Policy, in the University’s School of Social and Political Science, and a member of the Department of Culture, Media and Sport’s College of Experts. There are things that organisations like the Arts Council and DCMS could do, given the right support, such as committing amounts of money to Black-led organisations. What kinds of policies on culture should the current government adopt to deliver the promise of ‘levelling up’ the North?Recommended articles lists articles that we recommend and is powered by our AI driven recommendation engine.

Finance is provided by PayPal Credit (a trading name of PayPal UK Ltd, Whittaker House, Whittaker Avenue, Richmond-Upon-Thames, Surrey, United Kingdom, TW9 1EH). Vaccinating Britain investigates the relationship between the British public and vaccination policy since 1945.Some of the people who’d had the most negative experiences working in culture were women of colour from working-class backgrounds. You might also have decided you wanted to work in the creative industries: sure, you might have had to do a couple of unpaid internships in art galleries, or you might have spent months on writing your first Fringe show that you ended up losing money on, but you had good contacts that meant you were pretty sure that a promising agent would come to one of your performances, and you could keep living in your parents’ house in London while you were putting this together. During the pandemic many wondered why government institutions, funding bodies and even cultural workers were more concerned with keeping cultural institutions ‘alive’ than making sure all precarious, self-employed cultural workers would be guaranteed an income.