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THE FIGHT FOR EQUALITY Shedding Light on Hollywood’s Gender Gap
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QUANTU M: Issues in Hollywood
Table of Contents
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Introduction Table of Contents Letter from the Editor Two Cents from Leading Ladies The Overview Top Paying Jobs in Hollywood Roles for Women, More for Men The Great Hack of 2014 Sony’s Glitch that Shook Hollywood Laying Down the Law Jennifer Lawrence’s Open Letter Discussion to Management Sony goes Head to Head Strength in Numbers Jennifer Lawrence Bradley Cooper Beyoncé Knowles Sean Carter Maria Sharapova Roger Federer Ellie Goulding Calvin Harris Top 50 in the Box Office Top 50 on the Charts The Future Contributers Masthead
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Letter from the Editor
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The wage gap is what is used as a statistical indicator often used as an index of the status of women’s earnings relative to men’s. It is, also, used in order Women, on average, earn 78% of what to compare the a man does for doing the same thing. earnings of most other races as well as ethnicities to the those of white males, a group generally not subject to race- or sex-based discrimination. The wage gap is typicallexpressed as a percentage (e.g., in 2013, women earned 78.3% as much as men aged 16 and over) and is calculated by dividing the median annual earnings for women by the median annual earnings for men.
When the economists speak of the “gender gap” these days, they usually are referring to systematic differences in the outcomes that men and women achieve in the labor market.
Signature
Through a close look at a fifteen year model, it was found that women’s cumulative earnings show a far greater disparity than most annual comparisons that are seen today. With women’s lower work hours and their years with zero earnings because of family care certainly are factors affecting the report’s findings: women workers in their prime earning years earned on average, 62% less than men, or only $0.38 for every dollar men earned. It is to say that during that 15-year period, the average woman earned only $273,592 while the average man earned $722,693.
Editor Emily R. Simms
Letter from the Editor
And this Hollywood gender wage gap isn’t just a first-world problem for mostly white women who earn millions of dollars thrown at them all day long and tote around free goody bags worth $168,000. As Mollie Hemingway catalogs at the Federalist, women lag absurdly far behind men in basically every Tinseltown gig. The most shocking stat: Since 1998, women’s representation in behind-the-scenes roles other than directing has gone up just 1 percent. And don’t get your hopes up about directing, either. The data Hemingway cites, from the Women’s Media Center, shows that women directed the same percent of the 250 top-grossing films in 2012 (9 percent) as they did in 1998. And we haven’t even talked about the fact that most of the roles women get in movies are lifeless.
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2 Cents from Leading Ladies
“ We need more diversity. We’re not telling the stories of many, we’re telling the stories of few. There’s a problem with the storytelling, with the protagonists...it’s in front of the camera, it’s behind the camera...This is not how we want to be working and we need to tell the stories of all. There’s misinformation out there. Someone wrote an article once that I made a certain amount of money for The Martian. I made less than a quarter of that in reality. And so people are already saying, ‘yeah, she’s making less than her male co-stars because she’s making this.’ I made less than a quarter of that in reality. There is a huge wage gap in the industry.”
“ I’m known for being selective in parts I either pick or pursue, and what matters most is that they be good female roles where the character isn’t cardboard or objectified, and where there’s real substance. No generic girlfriend or wife, and no sexy bombshell. Enough of that already!”
“ Having your story told as a woman, as a person of color, as a lesbian, or as a trans person or as any member of any disenfranchis ed community is sadly often still a radical idea.”
Two Cents from Leading Ladies
“ If I were to tell you what I got paid for movies, you would laugh.” — Oprah
“ It’s a male-dominated and driven business... You need to make something that’s undeniably good. If a woman makes a bad movie, or does something stupid, then the door just slams shut. It’s f*cked up.” “ If I make a decision, it’ll still seem like it’s up for debate. And I notice that a little bit at The Office, with, like, an actor: If I decided there’d be a certain way in the script, it would still seem open-ended, whereas, if I was a man I would not have seen that.” “ I would be lying if I didn’t say there was an element of wanting to be liked that influenced my decision to close the deal without a real fight. I didn’t want to seem ‘difficult’ or ‘spoiled.’
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At the time, that seemed like a fine idea, until I saw the payroll on the Internet and realized every man I was working with definitely didn’t worry about being ‘difficult’ or ‘spoiled.’”
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“ Both men and women should feel free to be sensitive. Both men and women should feel free to be strong…It is time that we all perceive gender on a spectrum, not as two opposing sets of ideals.”
Two Cents from Leading Ladies
“ To me, the thing that’s more unfair than the pay is the terminology that’s used to describe actresses who have a point of view, and want to have a voice in their life and their career, and what they choose to do. I’ve been called horrible things. If a “ No one has ever asked an actor, ‘You’re playing a strong-minded man was acting in man.’ We assume that men are strong-minded, or have opinions. But the same way that I a strong-minded woman is a different animal.” was acting, it would “ Girls need to know that being a feminist is a good thing. It doesn’t just be considered mean that you hate men. It means equal rights. If you’re doing the normal. To me, same job, you should be compensated and treated in the same way.” that’s the thing I “ I have these meetings with really powerful men and they ask me all find so frustrating the time, ‘Where are your kids? Are your kids here?’ It’s such a weird is calling women question. Never in a million years do I ask guys where their kids are. spoiled brats and It would be comparable to me going to a guy, ‘Do you feel like you see b*tches. We just your kids enough?’” want to have a voice in our life, and I don’t think that’s anything that shouldn’t be encouraged in any human.”
[1] Jessica Chastain [2] Kerry Washington [3] Kristen Stewart [4] Mindy Kahling [5] Jennifer Lawrence [6] Emma Watson [7] Rooney Mara [8] Zoe Zaldana [9] Meryl Streep [10] Charlize Theron [11] Amy Poehler
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Top Paying Jobs in Hollywood
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Top Paying Jobs in Hollywood
A producer is one who brings money to fund the film. He reads scripts, listens to all the ideas being put forward by the writer and then after choosing an idea, he makes up his own team. In Hollywood, a producer can be a writer, actor, investor, director and sometimes all of the above. The producer is the backbone of a successful film. He is responsible for all the phases of production. A good producer not only makes a good film but also stays in the budget throughout the process. The average salary of a producer ranges from $109,860 to $138,640.
Screen-writers add all the words to an actor’s movements. They often write the whole script and look around to sell their idea while other experienced screen-writers just put forward their idea in front of the director then the director’s response decides on the next level. The screen-writers are mostly hired by the producer and director in order to give words to their idea. Average salary is around $78,860.
Editors are the most hard working and important people in the making of a film yet so less glamorous. They spend days and nights in front of the consoles and transform hundreds of hours of shoots into ninety minutes beautiful film. Their pay scale is quite less as compared to the amount of work they do. Their annual salary is about $74,200.
Actors are the most wellknown people among people in Hollywood. all. They are the ones who enjoy the lime light. They bridge the words of a screen-writer’s and director’s vision with the audience. It takes them a few formal trainings to be successful. The most successful and topnotch actors can earn up to $20 million for a single film.
Hollywood is a big place and all the people working there are bound to be some extraordinary and great ones. The arena as big as Hollywood surely has most of the top paid actors, directors, producers and the rest of the film making team. Hollywood has wide variety of jobs for people from all walks of life but the highest paying jobs in Hollywood are for the people involved in the main stream only.
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$33K $87K $56K $96K $61K $91K $79K $74K $54K $125K $95K $73K $192K $88K $59K $50K $102K
Top Paying Jobs in Hollywood
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Animation Director Art Director Assistant Art Director Awards Show Producer Best Boy Body Double Boom Mic Operator Chauffeur Camera Operator Carpenter Costume Dept. Supervisor Costumer Craft Services Foreperson Dog Handler Dialect Coach Editor Fire Safety Adviser First Assistant Director Foley Artist Gaffer Gardener Grip Hairstylist
$66K $53K $112K $59K $100K $68K $111K $12,500 $66K $80K $72K $59K $93K $81K $62K $75K $104K $88K $88K $81K $59K $69K $75K
Hairstylist Trainee Lighting Technician Location Manager Mechanic Makeup Artist Model Builder Music Mixer Novelization Writer Payroll Accountant Personal Assistant Projectionist Prop Master Publicist Scenic Artist Script Supervisor Sculptor Set Decorator Sound Effects Editor Teacher Trailer Editor Wigmaker, Class 1 Wigmaker, Class 2 Wild Animal Trainer 2 / 2
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Roles for Women
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Photo Emly Smms Words Chris Jensen
THE INFILTRATION OF SONY PICTURES ENTERTAINMENT THAT SHOOK HOLLYWOOD
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The Great Hack of 2014
The studio’s secrets were safe in Mayer’s day, when they died within the walls of a soundproof telephone room adjoining his office. Pascal believed she didn’t need the soundproof room. Like everyone else in the entertainment industry these days, she communicated through e-mail that was believed to be secure. But this morning, as she began her day, she discovered that a bizarre specter had hijacked her computer. The screen glowed with a blood-red skeleton baring its fangs, and the words “Hacked By #GOP.” At 8:30 A.M. on November 24, the Monday before Thanksgiving, Amy Pascal arrived in her office in the Thalberg building, on the Sony Pictures lot, in Culver City, California. Pascal, 56, is among the most powerful people in Hollywood. Having spent 35 years in the trenches—from low-level secretary to her current job as co-chairman of Sony Pictures Entertainment, the global television-digital-and-motion-picture conglomerate— she has earned the expansive third-floor office that was occupied by studio head Louis B. Mayer, in the 1930s and 1940s, when the Sony lot was the domain of mighty Metro-Goldwyn-Mayer, and Mayer was known as “the Lion of Hollywood.” It was on these soundstages and movie sets that Atlanta was burned in Gone with the Wind and Dorothy followed the Yellow Brick Road to Oz. Since Sony and a consortium of investors purchased MGM, in 2005, its films have earned 142 Academy Award nominations, 10 of them for best picture. Get immediate access to this month's issue featuring Rihanna. Plus, get a free V.F. tote. Superimposed over the skeleton was an ominous
warning: We’ve obtained all your internal data including your secrets and top secrets. If you don’t obey us, we’ll release data shown below to the world. The “data” below consisted of five links that would turn out to be the internal records. Pascal thought it was a joke. Still, she called Michael Lynton, 55, Sony Pictures’ C.E.O. and chairman, who occupies an office down the hall. He and Pascal have been a team for nearly a decade now; Lynton handles administration and business affairs, leaving Pascal free to deal with the creative side of making movies. Lynton told her he’d been advised of the skeleton’s threat while driving to the studio that morning, having received a call from Sony’s C.F.O.,David R. Hendler,who explained they’d been hacked by an organization called Guardians of Peace. They were shutting Sony’s entire computer system down, including the network, Internet, and any customer-facing sites, to stop any further damage. On the previous Friday, November 21, Lynton, Pascal, and several other Sony executives had been sent an e-mail from a group calling itself “God’sApstls,” which included a demand for “monetary compensation” and to “pay the damage, or Sony Pictures will be bombarded as a whole.” On one of the company’s Twitter feeds, the same group had posted a
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crude depiction of Lynton and Pascal as ghouls in a surreal doomsday backdrop, along with a warning: “You, the criminals including Michael Lynton will surely go to hell. Nobody can help you.” Neither Lynton nor Pascal had seen those messages—Lynton’s had become lost in his in-box; Pascal’s had gone to her spam. Now what the 3,500 employees on the lot had started calling “the screen of death” flashed on every computer that was turned on in the massive Sony Pictures Entertainment network worldwide. Employees were instructed to im0.15 mediately turn off their computers and ensure that their phones and tablets were disconnected from Wi-Fi and not to engage in e-mail or download anything on the company lot. At that point it seemed like a temporary inconvenience. “A one-day problem,” Sony supervisor was calling it. For Pascal, it must have seemed too predictable, too “on the nose,” to employ the screenwriting term for dialogue that’s too obvious. So she returned to her workday, packed with meetings with producers, writers, agents, and executives, before the town shut down that Wednesday evening for Thanksgiving.
Such was the opening scene in what would become the entertainment industry’s most hair-raising real-life thriller. The studio had been taken hostage by vicious, unknown cyber-criminals who would release the company’s internal data into the hands of the media, leak by leak, eight giant dumps in all.The hacking of Sony Pictures would become “an international crisis, the cyber-attack that put Americans’ vulnerability on display, a free speech cause, an Oval Office gut-check, and a cautionary tale for the future of warfare,” says Rich Klein, a partner at the Washington, D.C.-based advisory firm McLarty Associates. On Dec. 19 the FBI blamed the hack on North Korea, which had issued threats over the film. The White House followed with economic sanctions. Sony was pilloried both for horrendous judgment (for making a comedy depicting the killing of North Korea’s sovereign leader) and its seeming capitulation (for its initial refusal to show the film). The studio and its Tokyo-based parent, Sony Corp., were already under siege. “Big Sony”—as studio executives refer to it—is facing a prolonged crisis after losing money for six of the past seven years. Sony Pictures remains one of its few moneymaking businesses. But as interviews and internal emails reveal, the studio was a deeply unhappy place, beset by pressures over disappointing profits, cost cutting and layoffs, the scorn of an activist investor, and tribal infighting. Sony Pictures CEO Michael Lynton pursued four separate opportunities to leave the company during the 18 months before the hack.
The Great Hack of 2014
In Sony’s view, the company is a blameless victim. In a December interview with National Public Radio, Lynton insisted his company was “extremely well prepared for conventional cybersecurity,” but faced “the worst cyberattack in U.S. history.” He has repeatedly described it as a “highly sophisticated attack.” Sony Pictures provided written responses to questions through Robert Lawson, its chief spokesman. He says Lynton has no plans to fire or discipline anyone. The CEO’s reasoning rests on the belief that because Sony’s assailant was a foreign government, with far more
resources than a renegade band of hackers, what happened was unstoppable. The studio simply faced an unfair fight. In a statement, Lawson argues that “any suggestion Sony Pictures Entertainment should have been able to defend itself against this attack is deeply flawed and ignores essential findings and comments made by the FBI and [Sony’s cybersecurity consultant] Kevin Mandia—the two parties most knowledgeable of the nation state threat and the evidence in this investigation. Joseph Demarest, then assistant director 4 / 6
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of the FBI’s cyber division, could not have been clearer when he told a U.S. Senate hearing that ‘the malware that was used would have slipped, probably would have gotten past 90% of the net defenses that are out there today in private industry, and I would challenge to even say government.’ ” Mandia, the statement continues, “has also explained how the sophistication of the exfiltration methods used in this attack made them virtually undetectable. And both Mandia and the FBI have stated that the malware used was undetectable by industry standard antivirus software.” In truth, there is no way to know whether Sony’s attackers would have prevailed over even impeccable cyberdefenses.
“No company is ever going to say, ‘We were just sloppy, so people got in,’ ” says cybersecurity expert James Lewis, senior fellow at the Center for Strategic and International Studies. “The fact that it’s a nation-state and is hard to defeat doesn’t mean you have to leave the doors wide open and put out the welcome mat.” The peril for corporate America seems to be growing even faster than the immense resources now mobilized to combat electronic crime. (The government has hardly been immune, with high-profile infiltrations of the IRS, the White House’s email system, and the U.S. Office of Personnel Management.) But for the most part, previous corporate invasions have afflicted customers, not businesses. This one hit home because 0.16 it showed how attackers could steal even executives’ most precious secrets—and bring a company to its knees.
As it was, the company had ample reason to have bolstered its defenses: For years, culminating with its release of The Interview, Sony Corp.’s business decisions have made it a virtual piñata for cyberassailants. And North Korea had been blamed for devastating high-profile electronic attacks in the past. Despite that, the company’s leadership failed repeatedly to take greater precautions.
The Great Hack of 2014
What happened at Sony stands as a landmark event. It struck terror in boardrooms throughout corporate America, and for all the unique elements in Sony’s situation, the lessons apply to every company. After all, to use an old line, there are only two kinds of companies: Those that have been hacked, and those that don’t yet realize they’ve been hacked. Countless behemoths have been victimized on a massive scale, including Target TGT -1.28% , Anthem WLP 0.00% , Home Depot HD -0.64% , and J.P. Morgan JPM -0.45% , suffering incursions for profit-oriented data theft or corporate espionage.
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“ Women, poor people, people of color, people with disabilities, immigrants, gay men, lesbians, bisexuals, trans people, intersex people — we have been pitted against each other and made to feel like there are limited seats at the table for those of us who fall into the category of other ...”
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Letter Jennifer Lawrence
Laying Down the Law
Signature
Sony’s hacked e-mails have revealed a troubling actors was to receive, and noted that Lawrence wasn’t the only truth — that even the wealthiest and most powerful actress getting shortchanged. The male actors — Christian women among us are burdened by the ever-present Bale, Jeremy Renner and Bradley Cooper — were each getgender pay gap. In a Dec. 5, 2013 exchange, Sony ting 9 points. Amy Adams, the lead actress, was getting just 7 and Columbia Pictures executives mulled over that points. (It should be noted that Amy Adams, at this point in her fact that Jennifer Lawrence was being paid less career, had been nominated for four Academy Awards — more than her male co-stars in “American Hustle.” The than Renner and Cooper combined. Bale had one Oscar win at inequity of the situation should have been obvious. the time.) Lawrence, meanwhile, had originally been receiving Lawrence only 5 points, which brought It’s hard for me to speak about my experience as a was later raised to 7 about an inworking woman because I can safely say my problems points, according to disputable the e-mail written aren’t exactly relatable. When the Sony hack happened by Andrew Gumpert, level of star power to and I found out how much less I was being paid than the Columbia Pictures the movie: lucky people with dicks, I didn’t get mad at Sony. I got President of BusiShe had just ness Affairs and Admad at myself. I failed as a negotiator because I gave ministration. The 0.22 starred in up early. I didn’t want to keep fighting over millions of e-mail proposed rais“The Hunger Games: dollars that, frankly, due to two franchises, I don’t need. ing Lawrence to be Catching equal with her male (I told you it wasn’t relatable, don’t hate me). Fire”, which co-stars. It’s unclear claimed one whether Lawrence’s of the largBut if I’m honest with myself, I would be lying if I didn’t orAdams’s compenest box ofsay there was an element of wanting to be liked that sation rates were infice opening creased, but to the influenced my decision to close the deal without a real critique that they weekend in movie history fight. I didn’t want to seem “difficult” or “spoiled.” At the were unfair in the and, earlier time, that seemed like a fine idea, until I saw the payroll first place, Sony Picin the year, tures Chairman Amy on the Internet and realized every man I was working Pascal responded: she had won with definitely didn’t worry about being “difficult” or “there is truth here.” the Oscar for Best Lead“spoiled.” This could be a young-person thing. It could ing Actress For some time, conbe a personality thing. I’m sure it’s both. But this is servatives have disfor her role an element of my personality that I’ve been working puted the truth of the in “Silver Linings Playagainst for years, and based on the statistics, I don’t gender wage gap. Debook.” Her conumerous credthink I’m the only woman with this issue. Are we socially spite star in that ible studies showing conditioned to behave this way? We’ve only been able that women earn film, Bradley Cooper, was to vote for what, 90 years? I’m seriously asking — my roughly 77 percent of nominated phone is on the counter and I’m on the couch, so a what men earn, confor an Oscar, servatives attack the calculator is obviously out of the question. Could there idea of a pay gap as but didn’t win. Until still be a lingering habit of trying to express our opinions “a myth” and “a total then, he was in a certain way that doesn’t “offend” or “scare” men? sham.” They claim best known that women make for his less23 percent less than than-Oscar men because women caliber performances in “The Hangover” franchise. take time out of their careers to care for children, choose less demanding jobs, or fail to negotiate for higher salaries as vigorStill, the Sony e-mail revealed that when Cooper ously as their male counterparts. But here, we have a situation and Lawrence starred together again, in “American that negates all those excuses. In Lawrence, we have a highly Hustle,” Cooper was getting the bigger paycheck. talented woman who is single with no children, and — as evThe e-mail detailed the “points” — or percentages idenced by her success — extremely hardworking. She likely of back-end profits — that each of the film’s main has a team of agents, managers and lawyers who advocate for
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her best interests in production deals, representatives not only skilled at negotiations but presumably well-informed on prevailing compensation standards in the industry. And yet, she’s still paid as though she’s less valuable than her male co-workers, who performed the same job she did. How much less was she to be paid? What’s the difference between 7 points and 9 points? Yup, about 23 percent.
Laying Down the Law
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Jennifer S. Lawrence and Amy Adams aren’t average women; they have far more power and resources to ensure they are paid what they are worth. So if, despite that, they still get paid just 77 cents for every $1 their male counterparts make, ordinary women negotiating on their own for an hourly wage as a cashier or an annual salary as a mid-level manager don’t stand a chance. If the pay gap is so flagrantly affecting one of Hollywood’s biggest female stars, can there be any doubt it’s also affecting typical working women — probably far worse?
knew Lawrence and Adams were being paid less. Several layers of lawyers and finance people likely touched the deals and knew the disparities. And yet, at least as of the writing of this one hacked e-mail, just a week before the movie’s first release date, the inequity was still in place.
Then again, many of those same film executives might not have been aware of their own pay gaps. Hacked e-mails also revealed that the co-presidents at ColumA few weeks ago at work, I spoke my mind and gave my bia pictures were paid significantopinion in a clear and no-bullshit way; no aggression, ly different salajust blunt. The man I was working with (actually, he was ries, though they working for me) said, “Whoa! We’re all on the same had the same job. team here!” As if I was yelling at him. I was so shocked The studio paid Michael De Luca because nothing that I said was personal, offensive, or, $2.4 million a to be honest, wrong. All I hear and see all day are men year but only speaking their opinions, and I give mine in the same paid Hannah Minghella $1.5 exact manner, and you would have thought I had said million a year — something offensive. or 37 percent less than De Luca. And again, realI’m over trying to find the “adorable” way to state my ize that a bunch opinion and still be likable! Fuck that. I don’t think of people up the I’ve ever worked for a man in charge who spent time studio food chain about this contemplating what angle he should use to have his voice knew wild disparity heard. It’s just heard. Jeremy Renner, Christian Bale, and and yet allowed Bradley Cooper all fought and succeeded in negotiating it to stand.
powerful deals for themselves. If anything, I’m sure they were commended for being fierce and tactical, while I was busy worrying about coming across as a brat and not getting my fair share. Again, this might have NOTHING to do with my vagina, but I wasn’t completely wrong when another leaked Sony email revealed a producer referring to a fellow lead actress in a negotiation as a “spoiled brat.” For some reason, I just can’t picture someone saying that about a man.
Those who don’t think the gender pay gap is really a thing insist that any differences between women and men’s wages are due to substantive differences between their jobs or otherwise unintentional variables. But from the JLaw exchange, we learn how direct and deliberate pay discrimination can be. The studio executives — yes, including women executives —
One of the sweeter things to surface in the hacked Sony e-mails is that Jennifer Lawrence’s personal e-mail address includes the undeniably cute nick name “peanutbutt.” But what is undeniably not cute is that Jennifer Lawrence is the butt of a joke society plays on women who work equally hard and contribute as much to their fields, and yet are paid a fraction of their male colleagues’ salaries. It’s evidence of just how engrained systemic gender discrimination is in our society. Even when we have all of the resources, accolades and power available, women are still devalued.
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Discussions to
The problem with unconscious bias is that it is more often that not invisible to managers; they may rationalize inequities and fail to consider that their biases– unchallenged assumptions– may be influencing how they set employee pay. Unconscious bias is common in the legal field, Liebenberg says. In fact, female Management equity partners at law firms make 60 to eighty percent less than their male counterparts, an ABA study shows. The average gap is 68 percent, but the largest noted was 89 percent. “If there’s a discrepancy between a woman and a man, it may be fine,” says Michele Mayes, general counsel at the New York Public Library and current chair of the ABA’s Commission on Women. “But there needs to be rigor around it. There needs to be an entire set of questions and checks to make sure it’s actually correct.” Too many employers, she says, quickly justify pay differences without fully investigating the situation or comparing the work of the two employees.
Discussions to Management
Hollywood gets particularly knocked for its problems, and indeed, there is only one female CEO of a Fortune 1000 entertainment company, Amy Miles of Regal. (See also: Women CEOs in the Fortune 1000, by the numbers.) But the gender pay gap is pervasive across industries, and all levels of organizations, says Anna Beninger, director of research at Catalyst, a nonprofit focused on issues facing female professionals. In 2007, Catalyst began tracking 10,000 MBA grads from top business schools and found that women start out earning an average $4,600 less than men at their very first job. The gap keeps growing over time, and after only two to three years, Catalyst has found, it surpasses $40,000. “It’s a common myth that these gaps are only at senior levels, but in fact it begins on day one,” says Beninger.
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Mayes suggests that many employers need to look more closely to scrutinize those pay gaps, and ask themselves key questions. Then, How does a person’s higher salary fit in with most of the existing pay structure? Why are the two types of people performing the same sort of work, but getting paid different? (Beninger notes, “How [people] got to their role no longer matters. What matters is their current job.”) And finally, if one person is being paid less than a colleague with a similar job, how would you explain that the salary disparity if it is discovered? “You can’t just hope the person won’t find out,” Mayes says. “In the age of the Internet and social media, [uncovering that info] is child’s play. And you are begging for trouble.” From her own experience in hiring lawyers, Mayes says she has had to walk away from candidates who sought higher pay than existing employees in similar positions.
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“ I can’t give it to them and then look the other person the [who makes less] in the eye the next day,” she says. “Because even if they don’t know, I do.”
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STAT U S
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S I N G LE
U N I TE D S TATE S
CAREER PROFILE Her big break came when she played Ree in Winter’s Bone (2010), which landed her Academy Award and Golden Globe nominations. Shortly thereafter, she secured the role of Mystique in franchise reboot X-Men: First Class (2011), which went on to be a hit in Summer 2011. Around this time, Lawrence scored the role of a lifetime when she was cast as Katniss Everdeen in the big-screen adaptation of literary sensation The Hunger Games (2012). That went on to become one of the highest-grossing movies ever with over $407 million at the domestic box office, and instantly propelled Lawrence to the A-list among young actors/actresses. Three Hunger Games sequels are scheduled for release in November 2013, 2014, and 2015, with Lawrence reprising her role at least for the first one (The Hunger Games: Catching Fire (2013)). In 2012 the romantic comedy Silver Linings Playbook earned her the Academy Award, Golden Globe Award, Screen Actors Guild Award, Satellite Award and the Independent Spirit Award for Best Actress, amongst other accolades, making her the youngest person ever to be nominated for two Academy Awards for Best Actress and the second-youngest Best Actress winner. DATE O F B I R TH 15 AU G U S T 19 9 0 R ES I D E N C E B E VE R LY H I LLS, CA O C C U PATI O N ACTR E S S YEA R S ACTIVE 20 0 6 - PR E S E NT N ET WO R TH $ 6 0 .0 0 0 .0 0 0
SOURCE OF INCOME TH E H U N G E R GAM E S:
PROJECTED GROWTH She’s attached to Richard Linklater’s romantic comedy The Rosie Project, which is a love story between a socially awkward scientist and the titular character who’s “quite intelligent for a barmaid”. Before any of these projects come to fruition we will see JLaw teaming with Chris Pratt for Passengers a sci-fi love story directed by The Imitation Game’s Morten Tyldum. In addition there are many other projects that are announced for Lawrence then somehow are never heard of again.
M OC K I N G J AY PA R T 2 H U N G E R GAM E S FR A N C H I S E J OY
28
FROM THE SOURCE “Not to sound rude, but [acting] is stupid. Everybody’s like, ‘How can you remain with a level head?’ And I’m like, ‘Why would I ever get cocky? I’m not saving anybody’s life. There are doctors who save lives and firemen who run into burning buildings. I’m making movies. It’s stupid.’”
BRADLEY COOPER
AG E
STAT U S
C IT I Z E N S H I P
40
S I N G LE
U N I TE D S TATE S
CAREER PROFILE After supporting roles in Wedding Crashers (2005), Failure to Launch (2006), The Comebacks (2007), The Rocker (2008), and Yes Man (2008), Cooper broke out with major roles in He’s Just Not That Into You (2009), The Hangover (2009), and Valentine’s Day (2010). He co-starred in the action film The A-Team (2010) and headlined the thriller Limitless (2011)_.Cooper received an Academy Award nomination for Best Actor after starring opposite ‘Jennifer Lawrence’ in David O. Russell’s Silver Linings Playbook (2012), as Pat Solatano. He then received two more consecutive Oscar nominations, Best Supporting Actor for playing Richie DiMaso in Russell’s American Hustle (2013) (again opposite Lawrence, though their characters shared no significant screen time), and Best Actor for playing Chris Kyle in Clint Eastwood’s American Sniper (2014), the highest grossing film of 2014. During this time period, Cooper also reprised his role in The Hangover Part II (2011) and The Hangover III (2013)_, turned in another strong dramatic turn in The Place Beyond the Pines (2012), and voiced Rocket Raccoon in the third highest grossing film of 2014, Guardians of the Galaxy (2014). DATE O F B I R TH 5 J A N UA RY 1975 R ES I D E N C E B E VE R LY H I LLS, CA O C C U PATI O N ACTOR / PR OD U C E R YEA R S ACTIVE 19 9 9 - PR E S E NT N ET WO R TH $100 .0 0 0 .0 0 0
wSOU RCE OF I NCOM E LI M IT LE S S
PROJECTED GROWTH Warner Bros. is looking to re-team with the in-demand actor to bring Gregg Hurwitz’s upcoming novel to screen. Orphan X reportedly centers on a man named Evan Smoak, also known as “Nowhere Man,” who helps others, sometimes through violent means. A job ends up drawing him into a world of human slavery, all engineered. The book isn’t due for publication until February 2016, but Warner Bros. is already in negotiations to preemptively pick up the film rights.
B U R NT WE T H OT A M E R I CA N S U M M E R: FI R ST DAY OF CA M P A LOHA AM E R I CAN S N I PE R
FROM THE SOURCE “They’re a source of energy in life. I’ve always wanted to be in a war or baseball movie, but the thought of having no women on set for six months — that’s hell. I don’t know if it’s animalistic or what, but men become like peacocks with their feathers up when women are around.”
29
BEYONCE KNOWLES
AG E
STAT U S
C IT I Z E N S H I P
34
M AR R I E D
U N I TE D S TATE S
CAREER PROFILE A self-described “modern-day feminist”, Beyoncé creates songs that are often characterized by themes of love, relationships, and monogamy, as well as female sexuality and empowerment. On stage, her dynamic, highly choreographed performances have led to critics hailing her as one of the best entertainers in contemporary popular music. Throughout a career spanning 18 years, she has sold over 118 million records as a solo artist and a further 60 million with Destiny’s Child,making her one of the best-selling music artists of all time.She has won 20 Grammy Awards and is the most nominated woman in the award’s history. The Recording Industry Association of America recognized her as the Top Certified Artist in America during the 2000s decade. In 2009, Billboard named her the Top Radio Songs Artist of the Decade, the Top Female Artist of the 2000s and their Artist of the Millennium in 2011. Time listed her among the 100 most influential people in the world in 2013 and 2014. Forbes magazine also listed her as the most powerful female musician of 2015.
DATE O F B I R TH 4 AU G U ST 19 8 1 R ES I D E N C E LOS A N G E LE S, CA O C C U PATI O N SINGER YEA R S ACTIVE 19 97 - PR E S E NT N ET WO R TH $ 45 0 .0 0 0 .0 0 0
SOURCE OF INCOME ON TH E R U N (2 014 )
PROJECTED GROWTH She’s attached to Richard Linklater’s romantic comedy The Rosie Project, a love story between a socially awkward scientist and the titular character who’s “quite intelligent for a barmaid”. Before any of these projects come to fruition we will see JLaw teaming with Chris Pratt for Passengers a sci-fi love story directed by The Imitation Game’s Morten Tyldum. In addition there are many other projects that are announced for Lawrence then somehow are never heard of again.
MA D E I N A M E R I CA G LOBA L C IT I Z E N FE STIVA L
30
FROM THE SOURCE “I’ve always considered myself a feminist, although I was always afraid of that word because people put so much on it. When honestly, it’s very simple. It’s just a person that believes in equality for men and women. Men and women balance each other out, and we have to get to a point where we are comfortable with appreciating each other.”
SEAN CARTER
AG E
STAT U S
C IT I Z E N S H I P
45
M AR R I E D
U N I TE D S TATE S
CAREER PROFILE He is one of the world’s best-selling artists of all time, having sold more than 100 million records, while receiving 21 Grammy Awards for his musical work, and numerous additional nominations. Consistently ranked as one of the greatest rappers ever, he was ranked number one by MTV in their list of The Greatest MCs of All-Time in 2006. Three of his albums, Reasonable Doubt (1996), The Blueprint (2001), and The Black Album (2003), are considered landmarks in the genre with all of them featured in Rolling Stone ‘s list of the 500 greatest albums of all time. an entrepreneur and investor, Jay Z co-owns the 40/40 Club, and is the co-creator of the clothing line Rocawear. He is the former president of Def Jam Recordings, co-founder of Roc-AFella Records, and the founder of Roc Nation. He also founded the sports agency Roc Nation Sports and is a certified NBA and MLB sports agent. As an artist, he holds the record for most number one albums by a solo artist on the Billboard 200 with 13. He was also ranked the 88th greatest artist of all time by Rolling Stone.
DATE O F B I R TH 4 D E CE M B E R 19 6 9 R ES I D E N C E LOS A N G E LE S, CA O C C U PATI O N R A PPE R / PR OD U C E R YEA R S ACTIVE 19 8 6 - PR E S E NT N ET WO R TH $5 6 0 .0 0 0 .0 0 0
SOURCE OF INCOME ON TH E R U N
PROJECTED GROWTH In March 2015, Jay Z completed the $56 million purchase of Aspiro, a Norwegian company that operates the subscription-based music streaming service, Tidal. The music service combines lossless audio., whose main idea of the service is to bring major revenue streams back to the music artists themselves as the idea of an artist-owned streaming platform was stated as to “restore the value to music by launching a service owned by artists.” Jay Z currently is a major shareholder in the company.
R OC NAT I ON A R MA N D D E B R I G NAC TI DA L
FROM THE SOURCE “I’m not a business-man, I’m a business, man.”
31
MARIA SHARAPOVA
AG E
STAT U S
C IT I Z E N S H I P
28
M AR R I E D
NYAGAN
CAREER PROFILE Sharapova became the world No. 1 for the first time on August 22, 2005, at the age of 18, and last held the ranking for the fifth time for four weeks from June 11, 2012, to July 8, 2012. Her 35 singles titles and five Grand Slam titles—two at the French Open and one each at the Australian Open, Wimbledon, and US Open—rank third among active players, behind Serena and Venus Williams. She won the year-ending WTA Finals in her debut in 2004. She has also won three doubles titles. Sharapova has been featured in a number of modeling assignments, including a feature in the Sports Illustrated Swimsuit Issue. She appeared in many advertisements, including those for Nike, Prince, and Canon, being the face of several fashion houses, most notably Cole Haan. Since February 2007, she has been a United Nations Development Programme Goodwill Ambassador, concerned specifically with the Chernobyl Recovery and Development Programme. In June 2011, she was named one of the “30 Legends of Women’s Tennis: Past, Present and Future” by Timeand in March 2012 was named one of the “100 Greatest of All Time” by Tennis Channel. Y EA R TO DAT E E AR N I N G S
$29.5 MIL
DATE O F B I R TH 19 A PR I L 29 87 R ES I D E N C E B R A D E NTON, FLOR I DA O C C U PATI O N T E N N I S PLAY E R YEA R S ACTIVE 19 9 3 - PR E S E NT N ET WO R TH $19 0 .0 0 0 .0 0 0
PROJECTED GROWTH The Roland Garros title kicked in valuable bonuses from sponsors Nike and Head. Other major endorsement partners include Avon Products (new in 2014), Samsung, Tag Heuer and Evian. Sharapova launched her own candy line, Sugarpova, in 2012. Sales doubled in the past year to more than three million bags of candy.
SOURCE OF INCOME E N D OR S E M E NTS PR I Z E M ON E Y
FROM THE SOURCE “A great tennis career is something that a 15-year-old normally doesn’t have. I hope my example helps other teens believe they can accomplish things they never thought possible.
33
ROGER FEDERER
AG E
STAT U S
C IT I Z E N S H I P
64
M AR R I E D
S WI TZ E R L AN D
CAREER PROFILE Federer holds several records of the Open Era: holding the world No. 1 position for 302 weeks. Federer has reached 27 men’s singles Grand Slam finals, including 10 in a row from the 2005 Wimbledon Championships to the 2007 US Open, both statistics being records. He also appeared in 18 of 19 finals from the 2005 Wimbledon through to the 2010 Australian Open. He reached the semifinals at 23 consecutive Grand Slam tournaments, from the 2004 Wimbledon Championships through the 2010 Australian Open.[20] At the 2015 US Open, he played in a record 64th consecutive Grand Slam tournament, reached a record 46th Grand Slam quarterfinal, a record 38th Grand Slam semifinal and a record 27th Grand Slam final. Earlier at the 2013 French Open, Federer reached a record 36th consecutive Grand Slam quarterfinal. Federer has won the most matches in Grand Slams (297) and is the first to record 65+ wins at each Grand Slam tournament.
Y EA R TO DAT E E AR N I N G S
$ 67 MIL
DATE O F B I R TH 8 AU G U ST 19 8 1 R ES I D E N C E SWIT Z E R LA N D O C C U PATI O N T E N N I S PLAY E R YEA R S ACTIVE 19 9 8 - PR E S E NT N ET WO R TH $32 0 .0 0 0 .0 0 0
SOURCE OF INCOME E N D OR S E M E NTS
PROJECTED GROWTH Federer has won the ATPWorldTour.com Fans’ Favourite Award a record 13 times consecutively and the Stefan Edberg Sportsmanship Award a record 11 times (2004–2009, 2011–2015),[169] both being awards indicative popularity. He also won the Arthur Ashe Humanitarian of the Year Award twice in 2006 and 2013. He was named the Laureus World Sportsman of the Year for a record four consecutive years. Federer is at times referred to as the Fed Express or FedEx, and the Swiss Maestro.
PR I Z E M ON E Y
FROM THE SOURCE “My dad said if you become a tennis professional just make sure you get into the top hundred, because you have to make a little bit of money. You make a living so you can pay your coaching and, you know, your travels.”
34
ELLIE GOULDING
AG E
STAT U S
C IT I Z E N S H I P
28
S I N G LE
U N I TE D K I N G D O M
CAREER PROFILE In 2010, she became the second artist to top the BBC’s annual Sound of... poll and win the Critics’ Choice Award at the Brit Awards in the same year. She released her debut studio album, Lights, in 2010; it debuted at number one on the UK Albums Chart and has sold over 850,000 copies in the UK. Her cover of Elton John’s “Your Song” reached number two in the UK in December 2010 and on 29 April 2011 she performed the song at the wedding reception of Prince William and Catherine Middleton at Buckingham Palace. Goulding’s second studio album, Halcyon, was released in October 2012. Halcyon debuted at number two on the UK Albums Chart and after 65 weeks reached number one. Halcyon debuted at number nine on the US Billboard 200. Halcyon Days, a repackaged edition of Halcyon, was released on 23 August 2013; it included new singles including “Burn”, which became her first UK number-one single. At the 2014 Brit Awards she received the award for British Female Solo Artist. Goulding released her third studio album, titled Delirium, on 6 November 2015, with “On My Mind” as the album’s lead single. DATE O F B I R TH 3 0 D E CE M B E R 19 8 6 R ES I D E N C E LON D ON, E N G LA N D O C C U PATI O N S I N G E R / S ON GWR ITE R YEA R S ACTIVE 20 0 8 - PR E S E NT N ET WO R TH $ 185 .0 0 0 .0 0 0
SOURCE OF INCOME D E LI R I U M “LOVE M E LI K E YOU D O”
PROJECTED GROWTH On 7 September 2015, it was announced that Goulding would be performing at the 2015 AFL Grand Final, along with Canadian musician Bryan Adams and American musician Chris Isaak.[91] On 17 September, Goulding debuted her single, “On My Mind”, the lead track from Delirium, on BBC Radio 1’s Breakfast Show. She also announced that Delirium would be released on 6 November. Goulding subsequently performed “On My Mind” at the Apple Music Festival later that week.
MA J OR LA Z E R “P OWE R FU L” I H EART RAD IO M US IC FE STIVA L A PPLE M U S I C FE STIVA L A FL G R A N D FI NA L
35
FROM THE SOURCE “It annoys me that guys can easily write about one-night stands, but if a girl writes about one? God, that’s terrible, you know?”
CALVIN HARRIS
AG E
STAT U S
C IT I Z E N S H I P
31
S I N G LE
U N I TE D K I N G D O M
CAREER PROFILE Adam Richard Wiles (born 17 January 1984), better known by his stage name Calvin Harris, is a Scottish DJ, record producer, songwriter, singer and remixer. His debut album, I Created Disco, was released in 2007 and was the precursor to his top-10 singles “Acceptable in the 80s” and “The Girls”. Harris holds the record for the most top 10 hits from one studio album on the UK Singles Chart with nine hits, surpassing Michael Jackson. In October 2014, he became the first artist to place three songs simultaneously on the top 10 of Billboard’s Dance/Electronic Songs chart. He also became the first British solo artist to reach more than one billion streams on Spotify. Harris has received seven Brit Award nominations—two for Best British Male, and four Grammy nominations, winning a Grammy for Best Music Video in 2013. He received the British Academy’s Ivor Novello Award for Songwriter of the Year in 2013 and at the 2015 Billboard Music Awards was named Top Dance/Electronic Artist. Additionally, Harris topped Forbes ‘list of the world’s highest-paid DJs for three consecutive years from 2013 to 2015. Harris also runs his own record label Fly Eye Records. Y EA R TO DAT E E AR N I N G S
DATE O F B I R TH
$ 66 MIL
17 J A N UA RY 19 8 4 R ES I D E N C E LOS A N G E LE S, CA O C C U PATI O N M U S I C IA N YEA R S ACTIVE 20 0 9 - PR E S E NT N ET WO R TH $110.5 W0 0 .0 0 0
SOURCE OF INCOME LI M IT LE S S B U R NT
PROJECTED GROWTH On 17 July 2015, Harris and London-based production trio Disciples released the single “How Deep Is Your Love”. The song peaked at number two on the UK Singles Chart. The song peaked at number three on the Hot Dance/Electronic Songs and marked Harris’s eighth top ten hit since the chart’s launch, making it the most of any act. In September, Harris was featured on Dillon Francis’s EP This Mixtape Is Fire, collaborating on a Moombahton style track entitled “What’s Your Name”.
WE T H OT A M E R I CA N S U M M E R: FI R ST DAY OF CA M P
FROM THE SOURCE
A LOHA AM E R I CAN S N I PE R
36
AT THE BOX OFFICE RAN K
M OV I E TITLE
F E M ALE LEAD
TOTAL G R OS S
ST U D I O
3 6 9 12 17 18
In si d e O u t C i n d e r e ll a P i t ch Pe r f e c t 2 Fifty Shades of Grey M a d M a x : Fu r y R o a d Th e D i v e r g e n t S e r i e s : In su r g e n t Spy Tr a i n wr e ck Th e In t e r n Wa r R o o m Th e Vis i t Th e Pe r f e c t G u y Ju p i t e r A s c e n d in g
Amy Poeh l er L i l y James An n a Ken d ri ck D akot a Joh n son C h arl i z e Th eron Sh ai l en e Wood l ey
3 5 5 .9 12 .6 0 3 2 01 .151 .3 5 3 18 3 .78 5 .415 16 6 .167.2 3 0 15 3 .6 3 6 .3 5 4 13 0 .179 .07 2
BV BV UNI UNI WB LG / S
M el i ssa M cC art h y Amy Sch u mer An n e Hat h aw ay Pri sci l l a C . Sh i rer O l i vi a D eJon g e San aa L at h an M i l a Ku n i s
110 .8 2 5 .7 12 110 .0 3 8 .13 0 07 1 .0 3 8 .19 0 0 67.2 17.187 0 6 4 .77 3 .5 4 0 0 5 6 .6 67.9 2 1 0 47.3 87.7 2 3
F OX UNI WB TrIs UNI SGEM WB
20 21 31 34 36 42 48
WOM E N I N FI LM Why are women under-represented? “The Hunger Games: Mockingjay – Part I,” “Gone Girl” and “Maleficent” are powered by indelible female protagonists and rank among the biggest films of last year, but women are still treated like second-class citizens when it comes to most Hollywood movies, according to a new study.
WO M E N
MEN
Male dominance in this arena is out of touch with the demographics of the moviegoing population, given that women buy half of the tickets sold each year. What they’re seeing on screen are women who are less defined than their male counterparts. A larger percentage of male characters were shown in the workplace — 59% to 41% — while 85% of men had identifiable jobs, compared to 75% of women. Sixty one percent of male characters were identified only by their professional roles, whereas only 34% of females have that kind of designation. In contrast, 58% of females were identified by the roles they assume in their personal lives such as wives or mothers. That’s the case for only 31% of male characters. Women are also younger than men on screen; the majority are in their 20s (23%) and 30s (30%). Men over 40 accounted for 53% of characters whereas women that age represented 30% (female authority figures onscreen).
37
A BV
STU D I O NAM E
BV
B U E N A V I STA
FOX
2 0 TH C E N T U RY F OX
FO C U S
FO C U S
LG / S
LO O K I N G G L AS S STU D I O
PA R
PA R A M O U N T P I CT U R E S
SGEM
SGEM
Tr i s
Tri s
UNI
U N I V E R S A L ST U D I O S
WB
WAR N E R B R OT H E R S
W/ D I M
W/ DI M
WEIN
WEIN
ST U D I O S U C C ES S
ECIFFO XOB E HT TA RAN K
M OV I E TITLE
MALE LEAD
TOTAL G R OS S
ST U D I O
1 2 4 5 7 8
C h ri s Prat t Robert D ow n ey Jr. Vi n D i esel Jon Hamm M at t D amon Tom C ru i se
6 5 2 .9 01 .6 41 4 5 9 .0 0 5 .8 6 8 3 5 2 .78 6 .8 3 0 3 5 3 .78 6 .8 3 0 2 0 0 .0 0 9 .4 41 19 5 .0 4 2 .377
UNI BV UNI UNI F OX PAR
Pau l Ru d d Ji m Parson s Tom Ken n y
179 .5 27.4 6 6 177.3 97.510 16 2 .9 9 4 .0 3 2 16 2 .7 2 6 .5 6 3
BV F OX PAR SONY
15 16 19 22 23 24
Ju r a ss ic Wo r ld Av e n g e r s : Ag e o f U l t r o n Fu r i o u s 7 Minions Th e M a r t i a n M i ssi o n : I m p o s s ib le R o u g e N a t io n An t - Ma n H o me (2 015 ) Th e S p o n g e b o b M o v ie : S p o n g e Ou t o f Wa t e r H o t e l Tr a n s y lv a n ia S t r a i g h t Ou t t a Co m p t o n S a n An d r e a s K i n g s m a n : Th e S e c r e t S e r v i c e To mo r r o wl a n d Spectre Get Hard
16 1 .0 5 8 .6 8 5 15 5 .19 0 .8 3 2 12 8 .2 6 1 .74 2 0 9 0 .9 57.011 0 9 0 .411 .4 5 3 0 8 9 .76 0 .9 5 6
UNI WB F OX BV SONY WB
25
Te r m in a t o r : G e n i s y s
0 8 9 .2 5 6 .4 2 4 0 8 1 .2 8 4 .8 3 0
PAR F OX
26 27 28 29 30 32 33 34 35 37 38 39 40 41 43
Ta ke n 3 Te d 2 Maze Runner: Th e S c o r ch Tr i a ls P i xe l s Pa d d i n g t o n Pa u l B la r t : Ma l l Co p 2 G o o se b u m p s M a g i c M ike X X L Th e We d d in g R in g e r B l a ck M a s s Va c a t i o n Bridge of Spies Th e Pe a n u t s M o v ie Fa n t a s t i c Fo u r
079 .9 8 8 .6 11 078 .747. 5 8 5
UNI F OX
076 .2 2 3 .578 07 1 .0 3 8 .19 0 0 6 8 .5 5 0 .5 5 8 0 6 6 .013 .0 57 0 6 4 .4 6 0 .2 11 0 6 2 .19 9 .5 4 6 0 5 8 .8 8 4 .18 8 0 5 6 .8 6 0 .6 0 6 0 5 6 .76 3 .8 0 0 0 5 6 .117.5 4 8 0 5 3 .8 6 2 .9 6 3
SONY W/ D I M SONY SONY WB SGEM WB WB BV F OX F OX
44 45 46 47 49 50
Fo c u s (2 015 ) Southpaw In si d i o u s Ch a p t e r 3 Po l t e r g e is t Th e M a n f r o m U . N . C. L. E M c Fa r l a n d , U S A
0 5 2 .4 2 1 .9 5 3 0 5 2 .2 18 .5 5 8 0 47.4 2 5 .12 5 0 47.3 87.7 2 3 0 4 5 .4 4 5 .10 9 0 4 4 .4 8 2 .410
WB WE I N FOCUS F OX WB BV
10 11 13 14
Ad am San d l er O ’Sh ea Jackson , Jr. D w ayn e Joh n son C ol i n Fi rt h Georg e C l oon ey D an i el C rai g W i l l Ferrel l Kevi n Hart Arn ol d Sch w arz en eg g er L i am N eeson Set h M acFarl an e D yl an O ’Bri en Ad am San d l er Hu g h B on n evi l l e Kevi n James Jack Bl ack C h an n i n g Tat u m Kevi n Hart Joh n n y D ep p Ed Hel ms Tom Han ks Bi l l M el en d ez M i l es Tel l er M i ch ael B Jord an W i l l Smi t h Jake Gyl l en h aal L ei g h W h an n el l Sam Rockw el l Hen ry C avi l l Kevi n C ost n er
38
ON THE CHARTS RAN K
S O N G TITLE
F E MALE ART I ST
4 6 13 15 16 18 20 21 24 26 30 36 44 45 46 49
Pe d e s t r i a n a t B e s t Hello Tr y i n g Fr e s h W it h o u t B l o o d Ghosttown H i g h b y t h e B e a ch D o n ’ t Wa n n a F ig h t Here L e a v e A Tr a c e S h i p t o Wr e ck Good for you Fo u r F i v e S e c o n d s L i sb on B i t ch B e t t e r H a v e My M o n e y B i sc u i t s R u n Aw a y W it h Me
C ou rt n ey Barn et t Ad el e Bu l l y Gri mes M ad on n a L an a D el Ray Al abama Sh akes Al essi a C ara C h vrch es Fl oren ce an d t h e M ach i n e Sel en a Gomez Ri h an n a ( Pau l M cC art n ey, Kan ye West) Wol f Al i ce Ri h an n a Kasey M u sg raves C arl y Rae Jep sen
WOM E N I N TH E M US IC I N D USTRY Why are women under-represented? Gender inequality is a big issue in the music industry. At first glance, it may not seem so. Names like Aretha Franklin, Taylor Swift, and Beyonce have become synonymous with success. Billboard’s profile of the fifty most successful women in music impresses. Jody Gerson, first in command at the Universal Music Publishing Group since January 2015, was a former co-president and head of the West Coast office at Sony/ATV. Julie Greenwald is chairman and C.O.O. at Atlantic Records. Michele Anthony is executive vice president at Universal Music Group. Many more make the industry proud.
40
MEN
Overall, it is the behaviour of individuals that will change things for the better and any initiative or interest group that can get this across, such as the Women in Music organization, deserves the support of the entire music community. Men could learn by listening to women’s concerns, as women do with men. This seems obvious, but it is often forgotten.
WO M E N
Yet all is not well. In the U.K, for example, facts speak for themselves. Women working in the business are more inclined to have a superior qualification as compared to their male colleagues but nearly 50% of them earn less than £10,000 ($15,000).3 Moreover, even though there are more women in the population than men in working age, 61% of music professionals in the U.K. are male. In sectors such as promotion, management and live music, that number rises to 70%.4 Except for the salaries, the United States is unlikely to be that different. The uneven distribution of the genders is partly to blame on long work hours that force women to make a choice between work and family life. Nowhere is this more evident, it seems than in the field of music production and engineering. In Nashville, Tennessee, fewer than 5% of all professional producers and engineers are women5 and, overall, only six females have ever been nominated for best producer at the Brits and Grammys combined; none have won the prize.’
STRAHC E HT NO RAN K
S O N G TITLE
M ALE ART I ST
1 2 3 5 7 8 9 10 11 12 14 17 19 22 23 25 27 28 29 31 32 33 34 35 37 38 39 40 41 42 43 47 48 50
C a n ’ t Fe e l M y Fa c e Tr a p Qu e e n H o t l i n e B li n g I K n o w Th e r e ’s G o n n a b e ( G o o d T Imes) King Kunta Fu ck U p S o m e Co m m a s H o w C o u ld Yo u B a b e Where are U Now Th e H il ls W h a t We n t D o wn S t a y i n m y Co r n e r Let it Happen S.O.B S u n d a y Ca n d y Dreams Al l Yo u r Fa v o r it e s B a n d s C o f f ee M r. M is u n d e r s t o o d K n o w Yo u r s e l f Pr e t t y P im p i n Magnets R e t u rn t o t h e M o o n L e t t h e G o o d Ti m e s R o ll s S o m e t h in g S o o n Ong Ong Ev e r y d a y Yo u E a r n e d I t C a n ’ t Ke e p Ch e ck i n g m y P h o n e Ad v e n t u r e o f a L if e t i m e Fa n t h e F la m e s Th e Wo l f Tr o u b le L e a n On D i me d O u t
Th e Weekn d Fet t y Wap D rake Jai me XX f t . You n g Th u g Ken d ri ck L amar Fu t u re Tobi as Jessu Jr. Jack U f t . Ju st i n Bi eber Th e Weekn d Foal s Th e Arcs Tame Imp al a N at h an i el Rat el i f f an d t h e N i g h t Sw e a ts D on n i e Tru mp et & Soci al Exp eri ement B eck D aw es M i g u el Eri c C h u rch D rake Ku rt Vi l e D i scl osu re f t . L ord e E L VY J D M cPh erson C ar Seat Head rest Bl u r A$ ap Rocky, Rod St ew art , M i q u el Th e Weekn d U n kn ow n M ort al O rch est ra C ol d p l ay Sh eer M ag M u mf ord an d Son s C ag e t h e El ep h an t M aj or L az er f t .M o, D j Sn ake Ti t u s An d ron i cu s
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QUANTU M: Issues in Hollywood
The Future
“ We have to be made equal. I will say that it [the pay gap] has to do with the distribution of films and how films are financed. The top ten buyers in the United States for films - for every territory - there is not one woman. Men and women have different tastes sometimes but if the people that are choosing what goes out into the multiplexes are all of one persuasion, the choice will be limited and then that will be a selffulfilling prophecy, you see?’
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Masthead
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QUANTU M: Issues in Hollywood
Most government jobs will be run by men and women on the 50-50 ratio. Then, since women are often better at diplomacy they are more often diplomats, while most men are more likely to be researchers, for any subject. More women will still be teachers on a 60-40 ratio. Nurses can often be men and women are also usually professional doctors as well as men. Men are more likely to be surgeons. Equal Gender Societies and do not restrict sexuality and dating. Alternative energy will be used to power cars, and hybrids are common, but as ethanol-solar mixes, instead of gasoline-electric. All motorized vehicles will be driverless, but bicycles and other smaller transportation devices besides motorcycles will be legal. Abortion will be legal until a fetus is 4 months old, and stem cell research will be completely legal with no restrictions. Alcohol is still legal but if one person drinks too much of it, at the time the person’s Blood Alcohol Content reached .12 it would reformulate to become a non-alcoholic drink.
"You know, equality is a myth, and for some reason, everyone accepts the fact that women don't make as much money as men do. I don't understand that. Why do we have to take a backseat?" — Beyonce
The Future
A liberated woman is a woman who empowered through the women’s liberation movement to cease participating in traditional gender roles. Most refuse to shave their legs or underarms. The liberated female also participates and watches sports traditionally for males. These types of women are found in North America and Europe where society’s enforcement of traditional gender roles is nothing, and women and men are free to do what they want. In the future, more and more women will be liberated and enjoy the luxuries once enjoy exclusively by males, and males will enjoy the luxuries only enjoyed females. By 2020, usually both the man and woman in a family will be in the workforce. Both housewives and househusbands are rare. If a couple have children, the woman will sometimes begin working at home, but the couple can alternate working at home and other options are accepted from the society such as having a stay-at-home-dad or stay-at-home-mom for their children.
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Contributors
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Contributing Editors Contributors Stephan Bass Holly Wood Kevin Braddock Nick Compton Alex Needham
Contributing Writers Tobit Roche Stephanie Donaldson Glen Garrett Melanie Tibbs Ben Williams Johnny Sharp
Contributing Photographers Christ Brooks Alan Clarke Ivan Ruberto Joey Marion Danny Pena Marcus Tomlinson Katya de Jacklin
Contributing Illustrators Joy Scull Andreas Neophytou Aimee Sy Kavita Sodha Contributing Web Kristen McNally Micky Bacchus
Contributing Stylists Hana Al Sayed Tamara Fulton Alexandra Tults Kavita Sodha 1 / 2 QUANTU M: Issues in Hollywood
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Editorial Assistant Martine Ehrhart
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Creative Director Emily R. Simms
Managing Editor Michele Damato
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Editor Emily R. Simms
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