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C’est la firme de management de Simple Plan, Coalition Music, qui a confirmé la nouvelle. Chady Awad avait justement remplacé David Desrosiers lorsque ce dernier avait pris une pause de SP pour traiter sa dépression de 2017 à 2019. Awad était également photographe et vidéaste pour Simple Plan. Simple Plan a mis fin à sa... View Article

«En octobre 2017, devant la vague de témoignages suscitée par le mouvement #moiaussi, j’ai senti une urgence : une fois sorties du silence, nous ne devions pas y retourner. C’est la raison pour laquelle j’ai lancé un appel. Ce livre est une chambre d’échos. Un chœur. Sans déesse ni héroïne en tête, des voix avancent. Nous faisons front commun.» Martine Delvaux «Je n'en ai jamais parlé à personne» : paroles recueillies et agencées par Martine Delvaux

This study contributes to debates about gendered career outcomes in the creative industries using data collected in interviews with Australian screen composers. We identify how gendered inequalities are legitimated through professional norms by comparing the responses of screen composers on barriers to women’s advancement. The article explores how three distinct interpretive repertoires help reproduce the gender inequality regime present in the screen composition field. These repertoires are ‘art vs. equality’, where working towards equality can be framed as antithetical to artistic ideals; ‘gendered music’, where men and women are posited as making fundamentally different types of music; and ‘confidence’, where men are framed as innately possessing certain entrepreneurial skills vital to success in the creative industries, while women both shoulder the blame for not possessing such skills and recognize the risks inherent for them in performing confidence. By focusing on repertoires, this study describes the means by which gender-based discrimination is made overt and offered justification among screen composers, posing challenges to organizations and individuals seeking to address gender inequality in the profession.

This study explores the identity work carried out by three female owner-managers in creative industry businesses, identified in Government reports as a discriminatory industrial sector for women in the UK. Through the development of narratives by the owners and other participants, observation of practice and review of online and offline materials, three cases emerged. These showed overlapping, different identities developed and performed through identity work. Each presented rational and logical persona as business leaders despite observation showing extensive use of intuition and gut feeling in both creative and entrepreneurial aspects of the business. Intuition and gut feeling were seen as inappropriate at work as they belonged to the home sphere, emotionally based and therefore automatically unreliable. While occupying male stereotypes and avoiding the female realm of emotion at work, these women expressed femininity through their emphasis on the maternal, ‘being a good mother' as a desired ideal being embedded in work as well as home practice.

As of 2019, there are an estimated 2.5 billion garners globally. Roughly half of all garners are female. Despite the figures, there is a serious underrepresentation of female gainers in the professional gaming and game development community. It is thus important to examine the underlying causes hindering equally capable female gainers and game developers from pursuing a serious career in gaming, at par with their male counterparts.In this article, the authorexamines the impact of the culturalassociationof games with the male demography, stereotypes andstructuralbarrierslimiting women from realizing theirfullpotential, female representation in video games and workplace, pervasive misogyny and sexual harassment of women across all levels in the industry, and lastly, the steps that can be taken to better the status quo in favour of women.

Non-consensual sexual contact in bars is common, but few studies have focused on the extent of this problem at electronic dance music (EDM) parties, which are growing in popularity. We aimed to estimate prevalence and correlates of non-consensual sexual contact among individuals who attend EDM parties in New York City (NYC). Adults (ages 18–40 years) entering EDM parties in NYC were surveyed in 2018 using time–space sampling. Participants (n = 1005) were asked whether they had experienced unwanted or uninvited sexual contact including unwanted groping, kissing, or touching at an EDM party. We estimate that 15.2% of EDM party attendees in NYC have experienced non-consensual sexual contact at such parties. The majority (62.5%) of those reported that it occurred 1–2 times and 49.1% were usually or always drunk or high during the encounter(s). Almost all women experiencing non-consensual contact (99.5%) were all or mostly touched by men; 38.6% of men were all or mostly touched by other men. Women were at more than twice the odds of reporting non-consensual sexual contact than men (aOR = 2.38, p < .05) with 21.8% of women reporting experiencing non-consensual sexual contact compared to 11.0% of men. Among women, those ages 18–24 were at over twice the odds (aOR = 2.75, p < .05) of experiencing non-consensual sexual contact than those ages 25–40. EDM party environments can increase susceptibility to non-consensual sexual contact. Prevention needs to be geared toward those at risk, and education is needed for those likely to commit non-consensual sexual contact.

As stories of racism and discrimination towards Black, Indigenous, and people of colour continue to dominate public discourse, more and more shocking allegations come to light about the lived experiences of systemic racism.

Description Cooperative Gaming provides context and practical advice regarding diversity in the games industry. The book begins with a deep dive into research literature and the history of diversity in the games industry to provide context around what diversity is and why it is a topic worth considering. The book looks at the different facets of diversity and games, exploring the issues and solutions within game development, studio management, event planning, and more. It provides people with practical advice about being a marginalized person in the games industry and how to be heard, how studios can support inclusive practices, and events can actively become more accessible to a diverse audience. Key Features • Explores the history of diversity in games • Provides important information around what it is like to be a marginalized person in the industry • Gives practical steps to improve the inclusivity of the industry that are designed to aid in contextualizing and upskilling new developers Author Bios Alayna Cole is the managing director of Queerly Represent Me, a not-for-profit championing queer representation in games. Alayna is also a producer at Sledgehammer Games, co-chair of the IGDA LGBTQ+ special interest group, and an award-winning games journalist and game developer. She was featured on the 2016 and 2017 Develop Pacific 30 Under 30 lists and the 2017 and 2019 Develop Pacific Women in Games lists, and she has received several other accolades in the industry. Jessica Zammit started writing in 2013 for Start Select Media, and for the next five years she followed her interest in writing about representations of mental health, diversity, and particularly, sexuality in video games. Jessica has been speaking about diversity in games at conventions such as PAX Australia since 2016 and has been featured on several other discussions in and around the topic of representation in games and games criticism. Along with her co-author, she is co-chair of the IGDA LGBTQ+ special interest group, and she was featured on the 2018 Develop Pacific 30 Under 30 and Women in Games lists.

Almost nothing is known about ?unwanted sexual attention? and women?s navigation of it when in bars and nightclubs. Using focus group discussions, this article addresses that gap. It develops knowledge of the behaviors that constitute unwanted, the safety strategies used to manage them, and examines how these practices underpin gender performance in night-time spaces: environments renowned for the dilemmas they pose to women. We then use these data to develop the concept ?feisty femininity? to highlight a neglected form of femininity that overtly resists unwanted encounters. This femininity can arguably play a role in efforts aimed at ending gendered violence.

By linking the notion of politics with clown practices played out during the biennial festival «Esse Monte de Mulher Palhaça» in Rio de Janeiro (2018), dedicated specifically to female clowns, the relations between politics and feminism are raised, as well as the question of the place of clowns and women within the social system in which they act. In addition to reassessing the concept of politics through this new field of application, looking at what artistic practices convey or denounce as inequalities, allows us to identify politicized and political social elements. The private sphere, the power relations, the importance of gender, and the body and sexuality as treated in the festival’s performances raise political issues. We are lead to think of the phenomenon of Brazilian female clowns as a political space of claims, in particular feminist ones, and a resistance to dominant sexist normativity.

Sweden has been hailed for its recent success in increasing the number of female directors, scriptwriters and producers. Published reports, panel discussions and a vast number of press conferences on the pressing matter of gender equality within the industry together with a 5050 quota have all put the Swedish film industry—and its CEO Anna Serner—on the map. However, the last couple of years has disclosed several scandals regarding sexism and discrimination in the Swedish film industry—just as in other national film industries. This paper sets out to discuss how female film workers (e.g., directors, actors and producers) understand and negotiate their experiences of male dominance within their work context. Based on a series of interviews with women working in Swedish film from the early 1960s until today, we analyze similarities and differences in experiences as well as how these experiences are explained by the interviewees. Their stories are analyzed by using feminist institutional theory to understand how policy, funding schemes and other institutional aspects are intertwined with their experiences. The paper sets out to analyze three themes: (1) comments and suggestions during production and post-production regarding female protagonists; (2) experience of gender trouble in the process of fundraising; and (3) strategies used by the interviewed filmmakers to produce a more women-friendly environment during productions.

In October 2017, the British Film Institute declared that it would commit to specific targets for gender equality and diversity in key production roles on films with support from the Film Fund. This decision by the BFI to set targets, arguably, did not come just from their own diversity and inclusion goals. Activist film-makers had previously called for targets for the Film Fund, especially for women directors. This chapter will give an accounting of the current state of gender (in)equality in the UK industry by: outlining new research that has clarified the stagnant inequality in the UK film industry; articulating the key role of a network of activist groups (that include researchers, professional and campaigning bodies, exhibitors and film-makers) to bring attention to the problem; putting pressure on the film industry and public bodies; and summarising institutional responses to that pressure since 2016, with a critical analysis of the potential and limits of the BFI’s relatively recently implemented diversity and equality targets.

Preventing and responding to sexual violence in nightlife settings is increasingly of global concern. The goal of this article was to identify and summarise academic studies on nightlife-related sexual violence. Specifically, to explore the nature, extent and consequences of, or associations with nightlife-related sexual violence, and interventions to prevent and respond. Of the 61 studies identified, 29 explored or reported on the nature of nightlife-related sexual violence, 22 provided information on extent, 38 on associations, and 19 on prevention and response. The majority of studies had been implemented in the past ten years (2009–2018) and in high-income countries. The review illustrates that nightlife-related sexual violence is pervasive, with lifetime prevalence reaching over 50% amongst numerous study samples. Studies suggest that a combination of factors at an individual, relationship, and community/environmental level is associated with nightlife-related sexual violence. No studies directly explored consequences, and few studies evaluated prevention and response approaches. Globally, further research is required to understand nightlife-related sexual violence, and inform the development of prevention programmes across all but particularly low and middle-income countries. Critically, interventions aimed at preventing and responding to nightlife-related sexual violence require thorough evaluation, with findings disseminated in both lay and academic literature.

Despite the well-documented under-reporting of sexual violence, to date, no research has considered reporting practices within the specific context of music festivals. Drawing on 16 in-depth interviews with victim-survivors, this article examines survivors’ experiences of (non)reporting sexual violence in festival settings. We argue that while some barriers to reporting are shared across contexts, others play out in context-specific ways. Our research argues that the liberal, often transgressive culture of music festivals, combined with site-specific policing practices and spatial context, creates unique impediments to reporting with particular implications in responding to, and aiming to prevent, sexual violence at music festivals.

Sexual violence in the music industry is known to impact negatively on women’s participation. We examine how grassroots venues and promoters can implement changes to tackle sexual violence and work towards gender equality. We draw on UK-based, impact-focused research which sought to raise awareness of sexual violence, and to facilitate anti-violence changes within organisations. We find that working across a city’s music scene and engaging with oversight organisations such as local authorities can aid in persuading venues and promoters to seek training. However, for individuals leading on changes, personal experiences of sexual violence as a victim/survivor or bystander are important factors in their decision. We conclude that men in the music industry need to become more aware of the need for change, and willing to act on that awareness; and that more women need to own, manage, and run venues and events.

Open letter from new group seeks action on racism and better career development

Gendered Violence at International Festivals is a groundbreaking collection that focusses on this highly important social issue for the first time. Including a diverse range of interdisciplinary studies on the issue, the book contests the widely held notion that festivals are temporal spaces free from structural sexism, inequalities or gender power dynamics. Rather, they are spaces where these concerns are enhanced and enacted more freely and where the experiential environment is used as an excuse or as an opportunity to victim blame and shame. In this emerging and under-researched area, the chapters not only present original work in terms of topics but also in theoretical and methodological approaches. All of the chapters are cross- or interdisciplinary, drawing on gender, sexualities, cultural and ethnicity studies. Studies from a range of highly regarded academics based around the world examine the subject by looking at examples from a wide range of destinations, including Spain, Argentina, Nigeria, Zimbabwe, Australia, Canada and the UK. This significant book progresses understanding and debates about gendered festival experiences and emphasises the symbolic and physical violence often associated with them. This will be of great interest to, undergraduate and postgraduate students and academics in the field of Events Studies. It will also be of use to practitioners or non-profit workers in the festival industries, including festival management organisations and planning committees.