Resilience Handbook a Rich and Music Cities Vibrant Music Resilience Handbook Scene Brings a Building Better Music Cities Lot of Happiness

#BETTER

MUSIC CITIES

RESILIENCE HANDBOOK A RICH AND MUSIC CITIES VIBRANT MUSIC RESILIENCE HANDBOOK SCENE BRINGS A BUILDING BETTER MUSIC CITIES LOT OF HAPPINESS. A plan for how music can drive recovery, IT’S LIKE AIR – IT’S build resilience and create better cities and urban development for all of us IMPORTANT. YOU NEED TO HAVE THAT IN YOUR LIFE JUST TO REMIND YOU THAT LIFE’S WORTH LIVING.

Dave Grohl, 20191

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1 FOREWORD EXECUTIVE SUMMARY

The economic and social shut-down imposed around the world in We want to rethink and reshape the role of response to the COVID-19 pandemic has forced all of us to re-examine our perspectives on the value attributed to many people music and culture in our cities, towns and and roles in society – whether it is the salaries of key workers such as places. This handbook begins this conversation. nurses or cleaners, or how we view the value of teachers and doctors.

Enforced isolation has also This timely report by Sound Milan is reimagining its But the foundations that music Our objective is not to be thrown into sharp relief the value Diplomacy highlights the case relationship with cars.2 Singapore is built on – as an amenity and an definitive. It is to be inquisitive. of arts and culture to our mental for culture as a tangible and is rethinking the design of its economy – are broken. Musicians How can we create more equitable health, wellbeing and ability quantifiable force for good and I public spaces.3 Around the world, are losing livelihoods. Live music music cities in recovery? If we are to connect with other human sincerely hope that policy makers the pandemic is encouraging a is shuttered. The industry – like imagining future cities with more beings whether or not we occupy take note. rethink in our urban environment. others – has lost significant bikes and fewer cars, with cleaner the same physical space in that In our hour of need, music has Industries are being upended and revenue. air and fewer polluters, with more moment. delivered for so many – this should norms, from the value of oil to diverse voices making decisions, We need music. And if we need be carried forward as a case study our need to congregate in shared why can’t we also create better The opportunity to listen to music, something, we create systems, in the power of culture to create offices is changing. But one music cities as well? practice an instrument, take a dance structures and policies to We can. community and deliver ongoing class or participate in Zoom choirs constant throughout has been a value to our society that deserves facilitate it, protect it and pay This handbook outlines how has been an anchor to many of us in collective need – and enjoyment investment and requires attention for it. This is not the case here. music has been treated civically, this time of crisis. Music, like almost – of music. The World Economic as part of any strategic planning Instead, the content is what is the impact music and culture nothing else, has fostered and Forum argues Beethoven can agenda. valued, not the creator. Long have on urban development “get us through the crisis”.4 Live perpetuated a sense of community standing inequities have reduced and nine strategies to improve and connection in moments of our streaming, instrument purchases Paul Pacifico artist incomes, gutted music resiliency and create a better most profound isolation. and new music being uploaded CEO, Association of Independent education programs and music ecosystem in the future. At online are increasing. More of us For decades, sport has successfully Music, UK promoted policies that support the same time, we are convening are listening to music or using made the case that it delivers Visiting Professor in the ‘Artist as multinational consolidation rather experts via our music cities it to combat social isolation. unarguable returns on investment a Startup’, Berklee Valencia, Spain than local talent development. conversations and events platform Most of us have seen the videos in terms of public health and Trustee, English National Ballet This should change. to debate, rethink and create a wellbeing. But music has never of Italians and Spaniards singing Strategic Advisor, Creative new global brain trust around quite managed to make its case in on balconies, or virtual choirs This handbook offers a different Industries Federation, UK building #bettermusiccities. that arena. Now, in the most bleak bringing together dementia path. If we reimagine the role of moments of this current crisis, we patients. music and culture in recovery, We can create better music cities see clearly the need, the impact and we can create a new norm – one and creative economies. This the results of music and culture in where they are active, resilient, requires economies to commit delivering positive outcomes in both economic and social contributors to bold policies, leadership and physical and mental health. Music for all of us. To do that, we need partnership. This handbook is just has demonstrated the power and to think about music and culture the start. There’s more to come. benefits of social prescribing like differently. We need to be honest never before. about what we have done before, Have a read. Think. what has worked and what has Comment. Act. Join us. not and how – with no additional www.bettermusiccities.com resources – we can create a better www.sounddiplomacy.com music and cultural ecosystem that www.musiccitiesevents.com works for all of us. #bettermusiccities

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2 3 NOTE FOR READERS INTRODUCTION

Our report is not aimed at predicting the future, nor criticizing any initiative for reacting to the plight of artists, musicians and creatives. Every penny that finds its way into a creative’s bank account or wallet is welcomed. The more support, the better.

We also want to note the • This report is one‑sided. It • All sectors of the music industry following: focuses on what cities – and are important and all deserve all of us who live in them – can to be treated intentionally and • This report is written in US do to better support music. It supportively. English, with USD as its main doesn’t outline what the music Please support all local talent. currency. It is not meant to sector can do to support cities. • Pay for live streams. Buy tickets prioritize one country over That’s for a future report. another; we felt that it was easier for future gigs. Go get those to write it this way to maintain • There is no intention to create guitar lessons you mentioned. consistency. But this handbook exceptionalism around music. Engage. Sing. Music is for all is globally relevant. All art is equal. All art is valuable. of us. Music is our thing. It is what we • We were also overwhelmed with know. That’s why we’ve written And thanks for reading. positive, critical feedback after about it. We believe the same Can’t wait to chat. sharing the initial draft. So treat can be said of dance, sculpture, Shain Shapiro, PhD this report as a fluid document. fine art or any other creative It is meant to ask questions, endeavour. Investing in them is create debate and discussion. investing in all of us. We expect this will be the first of many reports written on this • There are so many facets to topic as the world continues music that we infer in this to change every day. We have report, but do not explicitly go already begun the next one. into. For example, the cultural diversity in music is so vast that • We will be convening a brain some genres/disciplines will trust to continue expanding recover quicker than others. these ideas. If you are interested Music means so many things to in being involved, email so many people. We get that. [email protected]. Please read the report with the We will respond. word music meaning whatever you want it to mean. Image © rawpixel.com/Adobe Stock

4 5 SETTING THE STAGE

The world we inhabit now is different than the one that we shared two months ago. The impact of COVID-19 has brought innumerable challenges to our way of life – how we work, how we congregate and how we socialize.

This pandemic is considered the has dropped.15 But a number of music, arts and culture is in Germany has created a special most pressing global challenge of businesses and industries increasingly important for mental relief fund for clubs and venues, since World War II.5 The COVID-19 have responded with creativity, health. totalling €1.5m ($1.7m).24 As relief crisis is affecting the world’s ingenuity and innovation. is pouring into the arts, upwards Many of the people who create workforce of 3.3 billion.6 Half Factories that previously made of $100m globally as of May 2020, the music, arts and culture of the world’s workforce is at cars have redirected efforts it is time to start thinking about that we consume and rely on risk of losing their livelihoods.7 to making ventilators. Clothing what we can learn from this crisis are in economic freefall. Over In Europe and the Americas, over manufacturers are now producing so when the next one occurs the 500 large‑scale outdoor music 40% employment work in at‑risk personal protective equipment. music, arts and creative sectors festivals have been cancelled sectors.8 Almost half (40%) of Restaurants have launched or are better prepared, resourced worldwide.18 Surveys from across American adults do not have $400 expanded their takeout and and structured to withstand the the United States and Europe saved in their bank accounts for delivery services. Fitness classes, shock.25 paint a grim picture. In the UK, emergencies.9 In the US, almost music lessons and language for example, over $60 million of 26 million people have applied courses are now taught online fees for musicians and bands have for unemployment insurance out of necessity, rather than as a been lost so far, according to the from March to the end of April.10 value‑add. MUSIC, Musicians Union.19 According to 78% of working Americans are Americans for the Arts, the US arts ARTS AND living paycheck to paycheck, and A constant in all of this, and culture industry has lost $4.5 food banks are undersupplied however, is our collective CULTURE ARE billion across more than 11,000 and overstretched. In Amherst, need for – and use of – organizations. A joint report by VITAL TOOLS Massachusetts, for example, music, arts and culture. In all German music associations one food bank distributed fact, demand is increasing TO INSPIRE estimates a loss of €5.4 billion 847% more food in March 2020 massively despite the creative ($6bn) for the music sector in the PEOPLE, RETAIN compared to March 2019.11 Over industries facing heavy next six months.20 According to 950,000 applied for Universal financial losses. the Australian Bureau of Statistics, COMMUNITY SPIRIT Credit (welfare) in the United only 47% of arts and recreation Kingdom since the crisis began.12 For example, the number of Apple AND ENHANCE businesses remain trading, 700,000 people lost their jobs in Music subscribers continues to 16 compared to before the crisis WELL‑BEING. Australia in the first month of the grow, now at 60m and Disney+ began.21 crisis, with unemployment there has reached 50 million subscribers expected to top 16%.13 In Germany, since their launch five months As a result, institutions and 718,000 companies have reduced ago.17 Music, arts and culture are governments all over the world are the hours of their employees vital tools to inspire people, retain making millions available in relief through a government furlough community spirit and enhance support for artists, musicians, program, in March and April.14 well‑being. From Italians and creatives and cultural nonprofits.22 Spaniards singing on balconies in Cities such as Detroit and Los For most economic sectors, the solidarity, to the growth of online Angeles in the US have created impact has been negative. With choirs, to virtual symphonies their own artist relief programs, in shops shuttered, factories closed and live streaming concerts and partnership with local foundations and millions of workers forced Clockwise from top right: museum exhibitions, the role and banks.23 The city of Hamburg Image © alex.pin/Adobe Stock to work from home, productivity Image © Antonio/Adobe Stock Image © PhotoSpirit/Adobe Stock

6 7 THIS IS WHAT WE KNOW PART 1 INTRODUCING 26 • The global arts, music and cultural industries were poorly THE GREAT PARADOX prepared to withstand such a crisis. • Throughout the COVID‑19 crisis, we are increasingly coming together through arts, music and culture. • We do not treat arts, music or culture as essential. But their output as commodities is proving essential.

Post‑industrial economies This connection needs repairing. The focus on music is consistent prioritize the development of We need to appreciate the creator with other Sound Diplomacy info‑commodities, which include as much as we appreciate the reports, but this guide goes any kind of software which has creation. To support this, we have beyond music as an industry, to be sold at volume and at a compiled this handbook: a guide vocation or educational tool. low price to make a profit and to better understand what has The arts can heal our common pay shareholders. Music has happened, how we could have wounds, so the real focus been reproducible as a "soft" prepared for it differently and here is how to fully share and product for over a century, so what can be done in the future. experience our common healing. it fits this model very well. The This is our Music Cities problem is that when music becomes a part of this model it Resilience Handbook. is disconnected from its creative roots as well as the creator, which are rarely respected.

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8 9 IT’S NOT ENOUGH TO HAVE 2.1 WHERE DOES THIS LEAVE US? TALENTED MUSICIANS. IT ALSO TAKES A WIDE VARIETY OF VENUES, OPPORTUNITIES FOR Below are three things we believe to be true: 2. IN CRISIS, WE CREATIVES TO CROSS‑POLLINATE, RELY ON WHAT WE KNOW – IF WE TURN TO MUSIC IN TIMES OF AND AFFORDABLE HOUSING. 1. ARTS, MUSIC NEED, WE WILL KEEP AND CULTURE ARE TURNING TO MUSIC IN A PUBLIC GOOD. ALL TIMES OF NEED. A CONFLUENCE OF EXTERNAL OF US RELY ON IT WITH THE BELIEF THAT IT IS ALWAYS THERE, AND FACTORS HELPS ENCOURAGE ALWAYS WILL BE. THE LATENT TALENT IN A

COMMUNITY TO FLOURISH. 3. THE ECONOMIC GROWTH EXPERIENCED BY THESE SECTORS IS EVIDENT AND WELL Davd Byrne, 201827 DOCUMENTED. YET, WE IGNORE THE ECONOMIC FACTORS NEEDED TO ENSURE ARTS, MUSIC AND CULTURE REMAIN UBIQUITOUS.

We call this The Great Paradox, and it has been exposed in the COVID-19 era. The public is consuming art, music and cultural goods at an accelerated rate, but they are not contributing enough financially to ensure that the artists, musicians, and creatives whose work they are consuming can meet their own basic

Clockwise from top right: needs. For the vast majority, their art is not paying Image © Max/Adobe Stock the bills, nor are the second and sometimes third jobs Image © master1305/Adobe Stock Image © kappa400/Adobe Stock they have to take, just to retain their ability to create.

10 11 2.2 EXPLORING THE GREAT PARADOX PLEASE APPRECIATE AND UNDERSTAND What we most rely on is what we most take for granted. THE ASSET VALUE OF THIS RARE When we turn on the tap and pour The creative industries are • The spaces and places needed But what if you heard the song What if we treated music, arts MUSIC ART, RIGHT a clean glass of water, few of us the same.28 Take music. When to write, produce and record the live? Add the following: and culture like any other form recognize the infrastructure, hearing a song on the radio, our track must have existed and been of infrastructure and prioritized HERE IN YOUR • Venues must have been built, systems and policies that led to minds are focused on enjoying affordable to the musician(s) it? This question can be asked by managed and operated. OWN BACKYARD, the ubiquity of that moment. that song – and that moment who uses them. This would have any organization, be it arts, music For those lucky enough to have – rather than appreciating the required design, construction, • Promoters would have been or culture‑led, or a government IS PRICELESS AND clean water, it is rare to imagine infrastructure and systems that logistics, transport, permitting, needed to coordinate concerts of any size, in any location. We INVALUABLE. – or understand – the extraction went into making it. Breaking this licensing, health and safety, and agents to book the artists. believe this question will be pumps, sewage treatment plants, down, here’s what had to occur: among other requirements. Ticketing companies would be asked, and to make the case, pipes and wells that must function needed to sell tickets. Tour we’ll focus on one artform that • An instrument would have Some form of industry must have correctly for that moment to • managers would have been hired. touches most others, music. Al Bell, Former CEO, Stax to be designed, shaped & existed to disseminate the song happen. This cognitive dissonance and Motown Records29 produced with all the materials – i.e radio stations or streaming is embedded in the hesitation • A number of ancillary jobs for it sourced, mined or grown, platforms. The business of by some of us to believe that and skills must have been developed and produced. administering the song would climate change is an existential developed, incubated and paid have occurred from management for including lighting, rigging, threat. In some regards, seeing • At an early age, individuals through to legal, accounting, sound engineering, catering, and believing are conflated. would have to be introduced HR and rights administration. tour management, hospitality to music and given the time servicing, maintenance, cleaning, and resources to learn how to There must have been an • security, design and so on. create it – to form organized economic framework to sounds out of notes, melodies, remunerate those who created We all need and want the output rhythms and tones. the music, every time it was that creativity provides. Yet, the played/sampled/used. This systems supplying music and • Spaces and places need would have enabled them culture are based on old and to exist so there is time to to earn a salary so they can outdated pipes and fittings, in dire fail – i.e improve the music. continue to make music. need of repair. Quick fixes can Be it bedrooms, rehearsal be applied to ensure the system spaces, incubators. works in the current crisis, but • Individuals or groups would we must now begin to consider have to convert an idea into a what a better world could look musical framework that could be like if we reform the system to understood by others – verses, reform The Great Paradox. choruses, a bridge and melodies that resonated with someone disassociated from its creation.

12 13 2.3 THE GREAT PARADOX AND CITIES COMPOUNDING THE PROBLEM

As Richard Florida notes, creative‑led jobs in US cities have grown 72.5% since 2005, compared with a 13.6% growth in the overall workforce.30 This equates to an additional 11 million workers. While some cities have expanded their creative classes more than others, most US metropolitan areas and other cities around the world have witnessed an expansion and an accompanying increase in housing prices, rents and amenities. Cities are becoming more inequitable.31

Some places known as ‘music These statistics are comparable This competition often considers cities’ in the US have significant to other cities around the world. the essential foundations built into income disparities. Austin is Berlin and Dublin, both cities communities, to take advantage known as the Live Music Capital famed for music and nightlife, of this rise in workers, jobs and of the World.32 Yet, according suffer from similar affordable opportunities. To ensure such to the Austin Community housing challenges.37 None of growth provides opportunities Foundation, “the median these cities are outliers. What for a diversity of people – across income for White households is is true is both cities have used age, race, gender, occupation, $72,341 and $40,004 for Black music more than others to and so on – the policies that households.”33 The Nashville attract talent, market their city support growth must recognize Visitors and Convention Bureau and create jobs. As a result, it the pressure points. Reforming has trademarked the term Music can be argued that the rise of land‑use and zoning policies, City.34 Those in the top 10th creatives in cities (entrepreneurs, providing affordable housing, percentile, however, earned artists and musicians) increases public transit and education more than the combined wages social inequality.38 This can are all needed. Without this, of the bottom 90th percentile.35 further and reinforce The Great the paradox strengthens and a Both cities have seen housing Paradox, creating a number of successful music and cultural prices and rents rise with Austin’s complex contradictions in its city increases its inequality as among the largest in the US.36 wake. Cities compete for talent a byproduct of its success. across all sectors. Technology For example, often cities compete and professional services attract for a new arena or a festival as higher wages, which brings in a top priority, regardless of the more tax and disposable income. quality and availability of music This competition is waged education in their public schools. by chambers of commerce, Embedded in this ambition to tourism boards and economic develop a city’s creative economy development authorities. When a (and further The Great Paradox) place is deemed to be successful is a complex web of structural – so successful that it attracts racism and classicism – which creative entrepreneurs and further exacerbates this lack of workers to service, or create, understanding about the needs of such an economy – it is often the creative economy. Many cities done through displacement, remain riddled with inequitable rather than addition. This can land use policy that support a drive up rent and cost of living. heritage of redlining (particularly Yet, at the same time, cities in North America), racial, gender celebrate the output this creativity and class‑based income inequality produces – whether it is born and a lack of opportunities. and raised locally or imported. Cities that pursue creative Image © DavidPrado/Adobe Stock

14 15 economies without ensuring all At present, there are over 20 policy decisions are made to AT PRESENT, relief programs for musicians recognize these structural issues THERE ARE and creatives in Austin, TX.41 PART 2 often compound the problems. Apple received a $16m incentive OVER 20 RELIEF package for its new campus in Cities celebrate better coffee, Austin in 2018.42 While one cannot more murals, bragging rights if PROGRAMS FOR easily be replaced by the other, it WHAT WE HAVE DONE a famous musician emerges and MUSICIANS AND demonstrates that cities can be so on, but often lack the humility the agents of change to reform and comprehension to better CREATIVES IN The Great Paradox. The majority understand the paradox and of relief will be distributed in ISN’T WORKING the racism and often classicism AUSTIN, TX. APPLE cities and when lockdown is embedded in it. Music, arts and RECEIVED A eased and a new normal begins, culture can be a tool to assuage cities will be on the frontlines these structural urban issues if $16M INCENTIVE – determining if the world we built into community development, PACKAGE FOR ITS create is better than the one that rather than being bolted on. NEW CAMPUS IN preceded the pandemic. This work Amazon, for example, received can be assessed by our response $129 million in tax rebates in the AUSTIN IN 2018. to the crises in our music, arts US and €294m ($310m USD) in and cultural ecosystems. Europe in 2019.39 Reimagine the US rebate split into $100,000 disbursements, available to any Investment in the creative municipality, for example, to invest economy has prioritized the in music, arts and culture locally. end result and in some regards Alternatively, what if Amazon had ignored the nuts, bolts, screws, to dedicate 10% – $12.9 million – pipes and fittings that ensure the of their tax rebates to arts, music systems function, and in doing and culture. This is peanuts, so create, sustain and develop we get that. But it’s a start. jobs, skills and self‑worth. The Amazon built its business selling Great Paradox convinced us to culture. And its existing business focus all our energy on attraction is sustained on music, arts and and celebration, not incubation, cultural products. If all large firms development and maintenance. receiving such incentives were It is rare for cities that compete required to do this, it would add for multinational investment up. The total amount of incentives to invest equally in local music, offered in 2019 in the US according art or cultural infrastructure to Princeton, was $30bn.40 In the as a growth mechanism. US alone. 10% of that is a lot.

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16 17 3.2 HOW DO WE DEFINE MUSIC & 4. Music and 5. Leading with CULTURAL CITIES NOW? Cultural Tourism Live Music

While a number of definitions exist, including in our Music Cities 43 Manual, a more robust understanding of what a music As a tax generator or job creator, We all gravitate towards what and/or cultural city is – and therefore could be – is required in the a number of cities, towns we can see, feel and touch. post‑crisis world. But to consider what it could be – and influence – and regions have prioritized As a result, engagement with in the future, let’s outline the basis of what a ‘music city’ or a music tourism. Mississippi, for music is often tilted to focusing example, is the Birthplace of on live music, festivals and ‘cultural city’ is now. Better understanding what has been done in the America’s Music. New Orleans, ephemeral experiences. The past helps further outline, and contextualize, what has not worked. Melbourne, Berlin or Liverpool are widespread economic benefit Here are the current traits of a ‘music city’ or a ‘cultural city’. synonymous with music tourism. of live music, promoters, agents There’s a Frank Zappa statue and the live music ecosystem in Vilnius, Lithuania that draws is more immediately tangible. tens of thousands of tourists a Unlike other forms of music year, despite there being no link and cultural creation, it can be between Zappa and Lithuania.45 seen, felt and heard by anyone. 2. Existence of Same with the Depeche Mode So cities often gravitate to 1. Existence of Office of Cultural bar in Tallinn, Estonia.46 Music funding live music first, staging a Music Office 3. Branding Image © DWP/Adobe Stock Affairs, Nightlife tourism can be anywhere. festivals and building venues. or Taskforce & Night Mayor

A music office or taskforce Most cities and towns have offices 35 cities around the globe hold 7. Existing 6. History represents the music community for cultural affairs and arts which the title of UNESCO City of Music Institutions in public discourse/civic are tasked with supporting the and nine cities are part of the discussion. The cities that have development of cultural assets, Music Cities Network.44 Many set‑up, budgeted policymaking heritage and, in some cases, cities have turned to museums, music offices are few and far tourism. Many cities own and film or art, with budgets dedicated between. However, many cities operate their physical assets, for across tourism and economic have taken steps to legitimizing example, Denver in the US or many development to promote, Many cities, places and regions Many cities and places are lucky the needs of their music by Scandinavian cities. Most have assert and develop the brand. have music heritage and history. to have large scale institutions assembling music boards, expansive responsibilities covering Songs, sounds and movements that often take the reign in committees and task forces. Most the nonprofit music and cultural had to emerge from somewhere promoting that city or place’s of these organizations are led sector, education, public art and and those moments become music and cultural identity. by volunteers who focus on the historical preservation. Almost significant economic and tourism From the National Music Centre needs of the commercial music all lack the necessary budgets drivers for places. From a simple in Calgary, Canada to the Lincoln industry and its development to satisfy this wide mandate. In plaque commemorating where Center in Washington, or the new while others are led by city staff or addition, many cities like London, someone lived, to a theme park Elbphilharmonie in Hamburg, such managed by third party entities. Berlin, Sydney, Amsterdam and dedicated to a star’s birthplace, places are often the key driver for Tokyo are taking active and music and culture is often music, arts and culture in a place. intentional steps to develop governed through history and the The ‘place’ can often become and manage their night‑time celebration, or manipulation, of it. secondary to the ‘institution’. economies. The nighttime Institutions can also take the economy is usually defined as form of foundations who invest in any business primarily operating their localities. Examples include between 7pm and 7am across the Walton Family Foundation culture, logistics, hospitality, in Northwest Arkansas, or Aga tourism and healthcare. Image © f11photo/Adobe Stock Khan Foundation in Pakistan.

18 19 INSTEAD OF JUST OPENING 3.2 ANOTHER MUSIC OFFICE, WE NEED TO BE THINKING ABOUT HOW WHAT DOES THIS TELL US? EVEN THAT MODEL CHANGES TO EQUIP MUSICIANS AND ARTISTS TO ACCESS LIFETIME AND DIVERSIFIED INCOME. Each of these seven traits that cities and places take to manage their music and cultural ecosystems are important to support a thriving civic ecosystem. Having a music task force creates a need to foster dialogue between musicians, venues, other creatives and local governments.

Both the indirect and induced just opening another music 1,606 artists applied and 391 were economic activity from utilizing a office, we need to be thinking selected to receive around €3,000 historical asset or large institution about how even that model ($3,400) per month.49 The UK had contribute substantially to city changes to equip musicians a program between 1998 and 2003 tax bases, so much so that in and artists to access lifetime called the New Deal For Musicians, some places, preserving history and diversified income.48 effectively a social security overtakes investment in living program that provided living costs • There are few music related culture. Festivals are significant for musicians, so they could make actions being benchmarked economic drivers. The South music.51 And the United States against sustainability (including by Southwest Conference had the Federal Music Project, the UN’s Global 17 Sustainable and Festival was supposed to between 1935‑1943. This program Development Goals), occur March 13‑22, 2020. Its paid musicians to be musicians.52 climate action, and business cancellation cost its host, the resilience frameworks. In many regards, all cities are City of Austin an estimated music cities. The same goes 47 Much of the work related to $350m alone. But there are for towns, states and regions. If the seven traits – bar a handful few ties that bind here: there are people, there’s music, of cities – is ad hoc. Seattle There is often a lack of arts and culture. But there’s • and Austin deploy musician- understanding about how the not always coordinated support and artist‑specific healthcare seven traits tie together to for them. While nonprofits and programs.49 Germany supports a overarching city/place policy, initiatives exist that deploy music health care program for artists, comprehensive planning to reduce antisocial behavior and but this issue is less important and master planning. crime, there are few places that in countries with national health understand the role of music – systems. Few places in the US • The impact of these initiatives or other artforms – in reducing have city‑wide music education on quality of life indicators are crime. They do exist, such as programs available to all members rarely measured – the existence Kansas City, Missouri’s Teens in of the community; this is more of them is often considered Transition program, but they are common in European and good enough. There’s so much not everywhere.53 The same goes Australasian cities. While there work to be done to link music to for the impact of music on health are unionized musicians in most physical health, wellbeing, social and social care. Certain hospitals, American cities and towns, no prescribing and mental health. care homes and hospices offer city has deployed municipal‑wide music programs.54 Companies • We can open music offices and artist compensation policies or exist to employ musicians in offices of cultural affairs, but rights and most of the European hospitals or create choirs. But if all government support only countries or cities lack sustainable there is little investment in exists to advocate for the live compensation policies. Iceland understanding the role of music music experience in one way or is another outlier because the and culture on social prescribing, another (permitting, festivals, government offers salaries directly physical and mental health or busking, etc.) we’re no better to artists. For example, in 2017, off than we were. Instead of wider community benefit. Image © erwin widmer/EyeEm/Adobe Stock

20 21 3.3 WHAT HAS THIS LEFT US WITH? Image © Peeradontax/Adobe Stock Many cities have the wherewithal, relationships and fundraising power to identify a need to raise and distribute relief to musicians, artists and culture bearers. Most places recognize the inherent value of this output and those responsible for it. But it tends to end there. We are stuck in a state of triage, where getting relief funds out the door is the only priority. This is understandable, but first come, first served is not an equitable way to distribute funds because people have inequitable access to information. The state of music, arts and culture in our communities is as follows:

• We value music and culture • We do not consistently review Instead, let’s create music but lack policies to reflect and revise our activities to policies for all of us and that. We tend to value the art evolve best practices related to prioritize music’s external created, but not the creator. questioning that how we’ve done value – the value of music things, or continue to do things, We demonstrate respect for to all of us, to society, to • does not work for everybody. music, arts and culture. our health and wellbeing. The plight of musicians and the Increasing this will support • We have a system that overall music industry during perpetuates inequality. For a more capitalized sector; COVID‑19 is demonstrating a wider appreciation of live example, live streaming requires the impact that music has music; more local investment. a fast internet connection; those on society and our collective who most easily receive support failure in supporting it. We lack This means recognizing the are often those who have resilient policies, partnerships economic value of music as been beneficiaries before; a and programs. Our model is an industry, like any other reinforcement of traditional ways based on music’s internal industry. It means respecting of giving so as to get as much value – increasing the value of and paying fairly for music, money out the door as possible. music increases the value for be it a concert ticket, a live those actively engaged in it. stream or a street performer. It means refining how music – in policy – engages with all it touches – education, public health, city regeneration, mental health and overall wellbeing, vibrancy, tourism, equity, alcohol and liquor licensing and land use policies, to name a few.

Image © dmitrimaruta/Adobe Stock

22 23 4.1 PART 3 INTRODUCTION OUR MUSIC CITIES

In the short-and medium-term, city budgets will RESILIENCE PLAN be strained and prioritized to provide – and pay for – core services. This includes housing, large transportation projects, healthcare, education and basic infrastructure maintenance. In many cases, relief funds for businesses, large and small, are being taken out of core operating budgets or rainy day funds, as has been done in Seattle, Washington, for example.55

In this case, they were drawn Financial relief is temporary. This mindset shift requires: from a cumulative reserve A new normal will emerge and • A shift to treat music, arts account and its capital projects whatever that is for all of us, music and culture by prioritizing account. In Liverpool UK, and culture will require investment its external value. £150,000 ($200,000) of strategic and support, be it through public investment money through its or private funds. This new normal • Cities to revise policies so capital infrastructure fund, will have to be more resilient to they are better suited to treat once ringfenced to spend on both the needs of musicians, music, arts and culture as a asset development, is now being artists and culture bearers, and support for all, rather than earmarked for relief to Liverpool’s the needs of cities and residents a job creator for some. music businesses, artists and as a whole. It must address racial, music entrepreneurs. This is a class and structural inequality • Enabling policymakers to first in the UK, and demonstrates and support all residents. All recognize and deal with the that music is, in this case, seen cities, towns and places can pressure points – increased housing cost, increased cost as a strategic investment.56 But become better music and not all cities, towns and local cultural cities, when we capitalize of living, gentrification – that and regional governments have on music’s external value. being a music or culturally the resources that Seattle and active city can engender. Liverpool are distributing. In • Finding ways to support music, Detroit, $100,000 is being raised arts and culture with less money, by the community.57 In New at least for the time being.59 Orleans, a raft of community Below are a number of strategies initiatives are leading the way.58 and initiatives that can be trialled now, to create more resilient, equitable and better cities and places – all through deliberate and intentional music, art and cultural policies. Each outlines how and why this should be done and some examples that we can learn from.

Image © Olly/Adobe Stock Image © Natalia/Adobe Stock

24 25 4.2 THIS IS HOW WE MOVE FORWARD

Our music cities resilience plan is based 1. PUT ARTISTS TO WORK – on the following premises: THE NINE INCENTIVISE CREATION FROM CRISIS. POINT PLAN: HOW CAN THIS BE DONE? WHY IS THIS IMPORTANT? WHO CAN WE LEARN FROM? 1. Put artists to work: There are • The system of relief funds – • Making music and other forms of • The City of Boise, Idaho, very few publicly incentivise creation and there are thousands being art is a means to regain control.60 has created a COVID‑19 available budgets implemented right now – can Commissioning Fund. A from crisis • Social distancing and isolation for arts and culture be utilised in the future to partnership between the is creating a boom in content at present. While some 2. Convert creativity create commissioning support. city, local foundations and its being created. Music distributors cities and countries are local music festival, Treefort, into community • For artists, encourage or are reporting a 20‑40% increasing budgets, this is the fund is aimed at using stipulate that recipients increase in content being not something we can investment vehicles the crisis as inspiration for of subsistence and relief uploaded.61 Instrument sales assume to be true new music.64 The goal is to 3. Create a city commit to creating new work. are also booming right now, everywhere. To inject money provide $1,000 in funding, for For venues, promoters and according to Rolling Stone.62 into arts and music registry a to‑be‑determined number of presenters, support could culture, muncipalities Increased intellectual property artists, to create works exploring, 4. Start a cultural be tied to encouraging the • can reppropriate (IP) production can create new documenting and/or reflecting promotion of – and working existing funding. infrastructure plan revenue. While not immediate, on personal experiences of the with – local, emerging content. 5. Create emergency if this content is consumed or COVID‑19 pandemic and its a future hit single is created, impact on their community. Nothing is a quick preparedness that IP will generate taxable fix. Much of this is plans (venue, revenue for years to come. focused on rebuilding a stronger foundation event, city-wide) • New partnerships are likely because resilience is to form, especially as for a built up over time so we 6. Ensure music, arts period of time, local music will continue to improve, and culture language be the only live music, until day‑by‑day. is included in policy touring structures recover. This is being demonstrated All of this frameworks already in China, where clubs is possible. All are reopening and local artists cities, towns and 7. Commit to genre are given more opportunities, places regardless of agnosticism due to the inability to tour.63 size and political affiliation can 8. Plan and develop do this. a night time These economy policy examples are all based on music 9. Set-up city-wide as a key industry, but all of the examples can artist compensation be transferred to other policies, music artforms and are meant liaison services & to support all cultural fair play schemes disciplines.

26 27 3. CREATE A CITY MUSIC REGISTRY

HOW CAN THIS BE DONE? • It is important that the rate • We recognize this requires • Cities could make available (i.e cost per usage) be pegged administration, investment a local copyright service – to a standard commercial (in & capitalization. It is a big using existing platforms and line with rights management idea. But during recovery, any in partnership with local organisations), so artists are money ‘left on the table’ is not Performing Rights Organizations remunerated fairly for all acceptable. There’s revenue (PROs), effectively establishing usage. The objective of such an existing in communities all 2. CONVERT CREATIVITY INTO non‑profit city music registries initiative is to further support around the world that isn’t COMMUNITY INVESTMENT VEHICLES or music libraries for those existing rights management being collected right now. systems, not replace them. who wish to participate. WHO CAN WE LEARN FROM? • Coordinating with libraries, HOW CAN THIS BE DONE? WHY IS THIS IMPORTANT? WHO CAN WE LEARN FROM? • The objective is to offer • Cities invest in other forms archives, museums and All relief or commissioning Creating a content legacy from Many sectors invest this way. an outlet to musicians to of music and cultural • • • local arts agencies, who may support distributed could come the COVID‑19 era can serve a For example, major music labels register their content, infrastructure. Cities own venues already be doing some of the with two conditions: That the community in three key ways: sign a number of artists to should they wish to do so. and lease land to other music registry/library/rights work recipient create a new piece of First, it would create a future development deals. Not all of uses. Red Rocks in Denver • Similar to property registries, could develop more public/ intellectual property/content (be library that is formally registered, these deals end up in a formal creating local music registries returned $65m to the city in private partnerships. 68 it a song, piece of art, collection tracked and monetized. Second, release. Some do, others don't. can provide a further support 2016. Cities invest in music of poetry) and that the granting it would provide insight into what Those who succeed support the structure to local creatives, that WHY IS THIS IMPORTANT? education, such as Abu Dhabi’s agency retains a small percentage cultural infrastructure is lacking capital required to develop all recent investment in Berklee can serve as a tool to collate • We understand the logistics of of equity in that IP, 1% for and as such, could be developed. those signed at the beginning.65 College of Music.69 If cities invest and organise local content, so such an initiative differ in each example, to be fed back into a Third, it would track creativity in music as physical property, Venture capitalists and any usage is remunerated. country, but the underlying community investment vehicle. across the community, providing • why not intellectual property? incubators do the same with objective – recognize & more insight into how to reinvest • The focus here is capturing That vehicle could then be apps and new technologies remunerate more intellectual • Hipgnosis Music Fund, a listed • in those artists that need it most. informal music content mandated to reinvest all future and pharmaceutical companies in cities, not competing property – is universal. investment company based in proceeds back into local and The community investment do this with drug trials. A few London and Los Angeles, has • with the private sector. • For music (or other artforms) to grassroots music, art and vehicle allows music and cultural become commercially successful seen their share price increase return revenues back to writers cultural infrastructure with city investing in itself, through and that success can support • Many songwriters are not during the crisis as it continues and artists – rent, bills & food – the recipients involved in the auspices of providing the ecosystem as a whole. One registered, and according to to purchase catalogues.70 the work must be registered with the process. Artists choose relief. It also turns relief successful drug patent can Billboard, over $250 million (in a performing rights organization, how the money gets spent. into a business transaction, finance hundreds of trials. total) sits unclaimed because such as ASCAP, BMI, PRS, GEMA, which can incentivize both service providers (ISPs) do not PPL, Sound Exchange, GVL, parties to invest themselves know who to pay.66 An additional SACEM, Unison or SESAC.67 more in the transaction. layer as a public service would, over time, return more • Music rights are recurring revenue to local musicians. revenue producing investment. • Over time, a city can become Music rights are retained for a catalogue in and of itself, 70 years. Every single time a whose library could be opened song is played, it earns revenue up to local businesses to for those involved. This may use in local advertisements, be fractions of pennies, but furthering a circular economy with more consumption around music made locally. comes more revenue which adds up over time. • This could embolden local musicians to create a music or • No matter where music is being artist liaison service, offering aired, those involved could be pre‑cleared music (potentially remunerated. This should be aligned with the registry) to local the case, but it isn’t universal. businesses to use in adverts and marketing materials. Keeping revenue in local hands further supports the widening of a city’s circular creative economy.

28 29 5. DEVELOP EMERGENCY PREPAREDNESS PLANS (VENUE, EVENT, CITY‑WIDE)

22% 85% HOW CAN THIS BE DONE? WHY IS THIS IMPORTANT? WHO CAN WE LEARN FROM? • It is imperative that the role of • Despite the pandemic, climate • Majestic Collaborations is one music, arts and culture – and the change remains our most serious of the United States’ leading infrastructure needed to sustain global challenge. From creating emergency preparedness it – be included in sustainability, more sustainable venues and organizations.74 Their platform, resilience and disaster relief festivals (including energy usage, The Art of Mass Gatherings, 6% planning. Utilising existing waste, water, transit, greening, can be used as a template resources, such as Performing supply chain management), to for all cities: This experiential Arts Readiness’73 emergency developing better community and immersive model is the venue plans, one can develop a engagement and participatory first of its kind to use festivals framework around understanding decision making, if we are as classrooms to activate an the risks associated with to create more equitable arts‑focused approach to the music, arts and cultural frameworks and more resilient resilience and emergency ecosystem, so better plans can music and cultural cities, we have preparedness. People who set 4. START A CULTURAL be deployed in future crises. to improve disaster planning up festivals are skilled at creating temporary cities with all of Incorporating music, arts and and emergency readiness. INFRASTRUCTURE PLAN • the necessary infrastructure culture in resilience plans can • Resilience and sustainability are such as water, waste, power, support better policies that will multi-faceted words. In music, and structures. When we HOW CAN THIS BE DONE? WHY IS THIS IMPORTANT? WHO CAN WE LEARN FROM? – over time – reduce climate they encompass the entire gather together to share our A community could create a WIKI London’s Cultural Infrastructure impact and meet the UN's • • Around the world, more and • UN’s Sustainable Development expertise, we elevate the safe, based cultural infrastructure Plan has mapped thousands of Sustainable Development Goals. more cultural venues are Goals framework. We believe sustainable, accessible, and map, including all places and spaces and places dedicated threatened with permanent resilient cities are gender community‑minded outcomes of spaces where music, arts and to culture, from art studios closure the longer the COVID‑19 equal, pay a living wage, have events in our communities. The culture are being developed. to recording facilities.72 It is crisis continues. From Singapore climate action plans and create participation of event producers, They could utilise existing used by developers to better to London, Austin to Seattle, partnerships to meet collective preservation professionals, urban data hubs & stores GIS understand how to provide music venues, theatres, bars, challenges. Every venue, space police/fire/paramedics, parks, technology and local knowledge community infrastructure and pubs and restaurants are facing or place has the potential planners, people of color, and data mining, Much of is used as a data tool to better an uncertain future where to contribute to improving presenters and performers is this data is widely available understand external trends, social distancing could be the our urban environment. This paramount to the potency of in most towns and cities, but including transport usage, crime norm for the next 18‑24 months emphasizes the value of this preparedness program. not organized in a usable or beyond. Knowing – with as reduction and business creation. public-private partnerships. fashion for policy making. much precision as possible – We are in this together. • The World Cities Culture • Similar maps exist in Berlin, Forum & Julie's Bicycle report The Plan could be hosted on the resources we have available Huntsville, Indianapolis, • Tackling Climate Change a city’s website and be open is increasingly important, so Amsterdam, Cardiff and Paris. Through Culture looks at how to the community to update. cities can better plan what This can also support a need to culture and climate change It could be as specific as the to incentivize, lobby for and • lobby for the Agent of Change policy can be brought together community desired could support as the crisis evolves. Principle (see page 32). in practical ways to foster a include things like choirs, music • Such mapping can be resilient and future‑proof and art teachers, venues, studios cross‑referenced against creative infrastructure in cities.75 and community incubators. employment, poverty, crime or health care statistics, which can • Performing Arts Readiness and • Cities invest in platforms and the City of Denver Arts and smart cities technologies. Over be used to better target support and action in the future. Like Venues are global leaders in 750 attended the last Smart emergency readiness plans and 71 any other community investment Cities Expo. This is aligned with strategies. The former has a focusing urban investment in decision, better mapping and analysis enhances precision. number of resources available hardware – a norm the world for free on their website, over. But this time, it supports • This plan could be used to through a partnership with the both hardware and software. inform comprehensive and Andrew W. Mellon Foundation.76 master planning frameworks, which would over time create more cultural infrastructure.

30 31 6. ENSURE MUSIC, ARTS AND CULTURE LANGUAGE 7. COMMIT TO GENRE AGNOSTICISM IS INCLUDED IN POLICY FRAMEWORKS

HOW CAN THIS BE DONE? WHY IS THIS IMPORTANT? WHO CAN WE LEARN FROM? HOW CAN THIS BE DONE? WHY IS THIS IMPORTANT? WHO CAN WE LEARN FROM? • Developing a simple city, state, • Cities tend to refer to music • Since the publication of the • Music education is a personal • Actively engaging audiences in • The Knight Foundation regional or national council as ‘live music’ only. Live music Grassroots Music Venues Rescue endeavour – private schools hip‑hop, metal or EDM, religious and Little Giant Creative & committee resolution is important, but it’s only one Plan in 2015, written by a task and families choose which or tribal music, for example, developed the first Institute framework to define what a element of a music ecosystem. force assembled by the Mayor instruments and genres to can lessen misconceptions for Hip‑Hop Entrepreneurship music ecosystem is, how it It does not exist in a vacuum. of London, a number of policy expose their kids to. Cities and stereotypes related to in Philadelphia in 2017.83 The relates to city governance and successes have happened in the should develop coordinated the cultures the music comes 9-week intensive course Understanding music’s role in basic rules of engagement • UK. A number of organisations communication and resource from. This can help bond helped participants create education, crime reduction, on how to support it can who sat on the task force helped platforms to outline the communities together. their own taxable businesses. help focus investment and health and wellbeing, planning institute the Agent of Change breadth of music available to The Bronx, in New York City, resources in the future. and zoning and alcohol licensing Principle in the UK, (Music Venue be learned and appreciated • How music is supported in city • is collaborating with a new is just as important as ensuring Trust, Musicians Union, UK Music, and then prioritize funding government is fraught with Start with the facts: music, museum dedicated to hip-hop to • a city has a thriving live music BPI, Mayor of London, Village to non‑binary musicians and genre discrimination, however arts and culture are key to the create a number of community and entertainment scene. Underground, 100 Club etc.).77 diverse music genres. unintentional it is. Traditional economic, social and cultural forms of music education programs introducing the To do that, language needs health of a city. Outline, • • The 'agent of change principle' • This does not mean orchestras dominate, so participating in origins and craft of the genre to be written – agreed to and beginning in general terms and encapsulates the position that should be defunded, as this an orchestra or choir may be to the borough’s residents. voted on – to define what moving to the specific, how a person or business (ie the would be counterproductive, a child’s only introduction to These types of community a music (or art, or culture) 84 this is the case. Ensure equity, agent) introducing a new land but a more holistic, pan‑genre music outside of the home. This programs can be replicated. ecosystem is and its role. diversity, inclusion and climate use is responsible for managing approach should be taken with is changing, but a widespread action is included. Often, the the impact of that change, so whatever funding is available. revision of music education word ‘music’ doesn’t feature as to not negatively impact the • For any event, festival or policy which prioritizes in a city’s bylaws, other than existing infrastructure.78 Same conference that utilizes public diversifying genres can have to mandate noise pollution. goes if a venue wished to open funding to support it's arts significant benefits cognitively, in a residential neighbourhood. Consult with economic or entertainment program, socially and emotionally. • It is law in the UK, some parts development, inclusive growth, organizers should be incentivized of Australia and San Francisco. • Teaching hip‑hop to kids also business and talent attraction, to include as wide of a range of Please refer to the appendices teaches movement, dance, planning, licensing, tourism and genres as possible. This should for more information. choreography and coordination. environment health colleagues. remain one’s personal choice, Introducing DJ equipment • Property taxes for music venues but more promoting, outlining, Refer to policy templates and electronic music puts • have been reduced. Relief and celebrating a wide genre of developed by Sound technology and computer has been targeted to support music and art can – over time – 82 Diplomacy or other models programming at the forefront. music venues and musicians create more familiarity with it. that are a good fit for Similar to food, earlier exposure Music in London.79 All of this began your community. to new things results in more with a simple document, familiarity and comfortability. Music written by the Taskforce – This can lead to empathy, defining what a grassroots something we all need more of. Music music venue is.80 Without the definition, there was no way for it to be protected by policy. Culture By defining it, policymakers Culture were able to discuss it as a Art singular, identifiable piece of infrastructure, different from ArtCulture pubs, theatres or bars. Now the term grassroots music venues Art can be searched in Hansard, the public record of parliamentary proceedings in the UK.81

32 33 8. PLAN AND DEVELOP NIGHT TIME ECONOMY POLICY

HOW CAN THIS BE DONE? WHY IS THIS IMPORTANT? • Businesses that trade in the night‑time economy are • Develop a network of local One of the most challenged • providing a number of key businesses that trade primarily sectors suffering in the COVID‑19 services during crisis. From at night to form a local support crisis is businesses associated music venue operators creating alliance. This can be done by with the night‑time economy, temporary hospitals and triage $ creating a new page on your our bars, restaurants, music units, to festival and event city, town, place or foundation’s venues, nightclubs and other producers supporting health website, outlining a few key entertainment amenities. Around care logistics.85 These skills points: The night‑time economy the world, music venues and are transferable and require is valued and not forgotten; all restaurants have been forced $ intentional, supportive and $ resources available to support to close: many will not reopen. structured city policy. it at present are collated in one Millions of people are and place; and when the recovery will be out of work because WHO CAN WE LEARN FROM? begins, local government will of this. As a result, having a • A number of cities have $ be more willing to positively comprehensive understanding $ professionals dedicated to engage with it as a sector of the regulations, policies and managing, supporting and and recognize its economic, ordinances related to these developing the night‑time social and cultural value businesses can be a substantial economy. From Orlando to without emotion or opinion. tool to ensure they are Washington DC, Fort Lauderdale provided with more supportive to Seattle, San Francisco to policies after the crisis. Iowa City, these cities look at 9. SET‑UP CITY‑WIDE ARTIST COMPENSATION POLICIES, • Only a handful of cities around the night‑time economy as an MUSIC LIAISON SERVICES & FAIR PLAY SCHEMES the world have established area that each city needs to night‑time economy consider, regulate, research management structures, and strategize. The same goes HOW CAN THIS BE DONE? WHY IS THIS IMPORTANT? WHO CAN WE LEARN FROM? either through Night Mayors, in Europe and around the • Create an artist compensation • Resilience in one’s music and • The UK Musicians Union night‑time economy managers world. Paris, Mannheim, Zurich, policy, outlining that if there is cultural community is created has operated a fair play or night‑time councils. Every Amsterdam, Groningen, Berlin, any public fiscal involvement by developing a model of venue scheme and network city has bars, restaurants and Sydney, Melbourne, New Delhi, – be it through providing consumption that replenishes in the UK since 2010.87 music venues. It is time to Tokyo and Lviv all have night a publicly owned space or itself – so local artists are being • Music Managers Forum FanFair treat all cities as 24-hour cities time economy infrastructures. providing a break on taxes provided with new opportunities. scheme has successfully in policy and be proactive in A map of all cities that do or fees – any content (live, This can be accomplished by reduced ‘touting’ or ‘scalping’ at positively and actively engaging, this is available online.86 recorded) being used would diversfiying mural and public participating venues in the UK.88 rather than either ignoring it or be remunerated fairly. art commissioning in cities – over‑regulating these essential • Colorado created a trial music • Create a policy outlawing so more local artists are able businesses and their employees. supervisor position, staffed by the marking-up of secondary to showcase their art in their DeVotchka drummer Shawn tickets to events hosted or communities. Local musicians King, who focused on creating sold within city limits, so when can be tasked with doing the partnerships with local musicians events return, fans are not same thing for local businesses and businesses, so local being asked to pay more than via adverts or initiatives. businesses used local music the ticket price outlined by on their adverts and marketing the artist and their team. This materials.89 This created a could be done by creating a cost-effective solution for the network of participating venues, businesses, promotion of local as a coalition in partnership music and a new revenue source with ticketing companies and for artists, all the while keeping municipal/regional government. the revenue in the community. This could be implemented everywhere, with more robust databases and music libraries being utilized to connect local businesses with local music.

34 35 5.1 PART 4 WHERE DO WE GO FROM HERE?

So here we are. This handbook proposes a model where music, arts and culture are a primary economic, social and cultural driver of urban recovery. If all of these examples were in place before the crisis, it could be argued that there would be less hardship. Instead, we find ourselves in a precarious position.

Only 27% of those surveyed at One of the simplest and most cultural cities. We must recognize the end of April said they would effective ways to develop that with past growth, inequality return to a concert or festival economic growth is to influence increased. Better planning now (or sporting match) before there – and encourage – creativity. will better prioritize resources, is a vaccine.90 In such a time, We dedicate a lot of resources which is especially important where social security budgets to extracting materials from the because resources will be limited are strained and cities are going ground to power society. We could for some time. And in the process, into debt, it is difficult for extract more from ourselves to let us never forget what we rely governments to prioritize or do the same thing. The more that on in crisis – each other. consider music, art or culture – is made, the more is available Take these ideas and because in times of abundance, to be earned. But to capitalize these sectors were ancillary, on this opportunity and initiate scrutinize them. Try them not primary economic growth a strategy that can lead us back out. Add to them. Work sectors. But now is the best time to growth, we must create more with us to make all our to treat music intentionally. resilient, politically engaged, cities better. Let’s create humble and equitable music and #bettermusiccities.

36 37 5.2 CONCLUSION

The COVID-19 global pandemic demonstrates a need to think about music and culture differently. Resilience means many things to many people. But this we believe to be true:

If we improve our policy and governance ecosystems; Resilience If we create active, deliberate and intentional policies that are truly equitable; means we care. If we take measures to engage music, arts and culture in our community policy making, Caring means we discourse and debate; Then we will sustain this need to do more. valuable resource that we are all relying on more than ever. If we do more, we’ll be better off, wherever we are, whatever we look like.

Clockwise from top left: Image © snedorez/Adobe Stock Image © ODIN Daniel/Adobe Stock Image © bepsphoto/Adobe Stock Image © nagaets/Adobe Stock

1 https://www.citylab.com/life/2019/10/ 28 For the purpose of this report, the 65 Lawyer Drummer (2016) Sound Diplomacy London, Berlin, Barcelona, New Orleans dave-grohl-foo-fighters-interview-grunge- creative industries include music, art, 66 Billboard (2019) music-scene-brand/601051/ dance, performing arts, film and mixed- +44 207 613 4271 67 For conflict of interest declaration, the 2 https://www.theguardian.com/ media. It does not include gaming, www.sounddiplomacy.com libraries and museums – this report would writer is a shareholder in Unison -> www. world/2020/apr/21/milan-seeks-to- unisonrights.com prevent-post-crisis-return-of-traffic- require further research should it include No reproduction or copying of this work is permitted pollution these sectors. We don’t know enough 68 Colorado Creative Industries (2018) without written consent of the authors. about these sectors to comment. 3 https://nymag.com/ 69 Zawya (2020) This report was written by Shain Shapiro, PhD. intelligencer/2020/04/how-to-rethink- 29 https://eu.theadvertiser.com/story/ 70 Music Business Worldwide (2020b) news/2018/10/11/music-cities- A number of people contributed to it in a short time public-space-after-covid-19-start-with- 71 http://www.smartcityexpo.com/en/home tape.html convention-lafayette/1511432002/ period, including (in no particular order): 72 Greater London Authority (2019) Tara Tank, Rob C. Hain, Sherri McConnell, Matthew 4 https://www.weforum.org/ 30 Citylab (2019a) 73 Performing Arts Readiness (2020) agenda/2020/04/covid-19-and-joy-in- 31 Citylab (2019b) Kowal, Bryce Merrill, Duncan McKie, Azucena Mico, times-of-crisis/ 74 Majestic Collaborations (2020) Katja Hermes, Frank Kimenai, Rob Challice, Paul 32 KVUE (2018) Pacifico, Tom Huston, Chris Stelly, Molly North, Jesse 5 Bloomberg (2020) 75 Julie’s Bicycle (2019) 33 Spectrum News (2019) Elliott, Jean Michael Schert, Greg Lawrence, Sly James, 76 Performing Arts Readiness (2020) 6 International Labour Organization (2020) 34 Trademarkia (2020) Joni Wickham, Chiara Badiali, Dominique Greco, Olaf 77 The Agent of Change Principle holds the 7 The Guardian (2020a) 35 Fox 17 (2019) Furniss, Lisa Gedgaudas, Dave Webster, Lucas Knoflach, entity that creates a change in an area 8 Sectors considered at high risk of Kayla Hain, Frank Kimenai, Keith Harris, Larry Leblanc, 36 Curbed Austin (2020) responsible for the impact this change disruption are accommodation and Jett Glozier, Whitney Ringen, Elizabeth Cawein, can have in that area. In the case of food service activities; manufacturing; 37 Deutsche Welle (2019) Michael Blair, Chris Bye, Colin Kendrick, Mark Davyd, music, usually the Agent of Change either real estate, business and administrative 38 Mic (2015) Dennis Madsen, Tara Hernandez, Lewis Jamieson, Kaley requires the building that arrives the latest activities; and wholesale and retail trade, 39 Fortune (2019) (be it the music venue or the residential Beisiegal, Laura Mueller, Daryl Friedman, Reid Wick repair of motor vehicles and motorcycles. 40 Princeton Economics (2020) development) to soundproof adequately and others. 9 ABC News (2019) 41 Recording Academy (2020) to avoid nuisances and complaints, and/ Thank you for all comments, insight, razor sharp editing 10 The Washington Post (2020) or to inform the new residents that they and critical thought. We’re all building better music 42 Wired (2018) are moving next to a music venue or within 11 Common Dreams (2020) cities together. 43 Sound Diplomacy (2019) an entertainment area which permeates 12 The Guardian (2020b) 44 Music Cities Network (2020) noise. 13 The Guardian (2020c) 45 Atlas Obscura (2020) 78 https://www.womblebonddickinson.com/ 14 Frankfurter Allgemeine (2020) uk/insights/articles-and-briefings/agent- 46 Depeche Mode Baar (2020) 15 McKinsey & Company (2020) change-principle-new-revised-nppf 47 Fox Business (2020) 16 The Telegraph (2020) 79 https://www.screendaily.com/news/ 48 Fox Business (2020) london-mayor-sadiq-khan-launches- 17 The New York Times (2020) 49 Smash Seattle (2020), Health Alliance for 23m-culture-at-risk-fund/5149494.article 18 Forbes (2020a) Austin Musicians (2020) 80 https://www.london.gov.uk/sites/ 19 Music Business Worldwide (2020a) 50 Icenews (2017) default/files/londons_grassroots_music_ venues_-_rescue_plan_-_october_2015. 20 Live Musik Kommission (2020) 51 Shapiro, Shain (2020) pdf 21 https://www.theguardian.com/ 52 https://www.loc.gov/rr/program/bib/ 81 https://hansard.parliament.uk/ world/2020/apr/08/as-we-crave-the- newdeal/fmp.html return-of-our-cultural-life-arts-workers- search?searchTerm=%22grassroots%20 53 KSHB Kansas City (2019) and-organisations-are-being-left-behind music%20venues%22&partial=False 54 https://musicandmemory.org/ and 22 Organization for Economic Co-operation 82 https://www.rollingstone.com/music/ https://www.dhs.wisconsin.gov/music- and Development (2020) music-news/how-one-man-is-using-hip- memory/index.htm hop-to-diversify-architecture-629922/ 23 CIty of Detroit (2020), American 55 Crosscut (2020) Federation of Musicians Local 47 (2020) 83 Institute of Hip-Hop Entrepreneurship 56 Culture Liverpool (2020) (2020) 24 Norddeutscher Rundfunk (2020) 57 Detroit Free Press (2020) 84 Universal Hip Hop Museum (2020) 25 Calculated from Sound Diplomacy’s internal research. 58 WWOZ (2020) 85 Los Angeles Times (2020) 26 This term is borrowed from Arlie 59 CNBC (2020) 86 Nighttime.org (2020) Hothschild’s amazing book, Strangers in 60 World Economic Forum (2020) 87 Musicians Union (2020) Their Own Land. This book influenced this 61 Forbes (2020b) 88 http://fanfairalliance.org/have-your-say/ report and you should read it. 62 Rolling Stone (2020) 89 The Denver Post (2016) 27 http://davidbyrne.com/explore/ american-utopia/press/how-to-build-a- 63 Resident Advisor (2020) 90 Reuters (2020) music-scene-according-to-david-byrne 64 Treefort Music Fest (2020) Design, Artwork & Illustration: www.aliceclarke.com