Ethics – Copyright Clearance Center Rights Licensing Expert Tue, 18 Dec 2018 21:30:16 +0000 en-US hourly 1 Ethics – Copyright Clearance Center 32 32 Publishing Salary Survey Finds Gender Gap Persists Thu, 15 Nov 2018 08:30:06 +0000 Men in publishing earn an average of $87,000, but for women the average is only $60,000—a $27,000 gap, according to Publishers Weekly annual salary survey.

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In its upcoming issue, Publishers Weekly releases an annual salary survey, capturing the state of the publishing business – in dollars as well as diversity. According to Andrew Albanese, PW senior writer, the report for 2018 finds news to cheer as well as to disappoint.

Publishing Salary Survey Finds Gender Gap Persists

“A consistent theme of our annual salary survey is that change is needed in the publishing workforce. Change is coming, this year’s results do show, but very, very slowly.”

For 2018, the average annual salary for men in publishing rose slightly to $87,000. However, the average annual salary for women is only $60,000—a $27,000 gap. The good news is that gap actually closed a bit from last year—by just about $1000.

“Women also closed the pay gap in the management ranks—the most lucrative job area—by $3,000. Also according to the survey, 59% of management jobs were held by women in 2017, up from 49% in 2016. But in editorial, where women have tended to fare the best on the salary scale, men out-earned women $77,000 to $55,000,” Albanese reports.

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Global Voices For Workplace Equity Thu, 08 Nov 2018 17:10:59 +0000 The Workplace Equity Project reports the results of its 2018 survey, capturing data on diversity and equity-related issues in the scholarly publishing field.

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As 2018 opened, the Workplace Equity Project released a survey to capture and analyze data on diversity and equity-related issues in the scholarly publishing field worldwide. Now, WE has reported on the survey’s findings.

Global Voices For Workplace Equity

“We were pleased with the response to this effort. We got a great deal of support from industry organizations. And it was through these industry organizations who disseminated the survey and encouraged their members to participate that we were able to get the results from across the globe,” WE Project co-founder Simone Taylor explains.

Altogether, the industry earned some high grades as well as lower marks.

First, the good news. According to three out of four survey respondents, work/life balance is good in scholarly publishing. 60% said their organizations were supportive of diversity, and over half say people of all religions and all sexual orientations have equal opportunities for promotion.

But the findings and answers from nearly 1,200 individuals on six continents don’t stop there.

“We gave people an opportunity, in addition to being able to tick yes or no or answer questions, just to add anything else they needed to say. And a recurring theme in many of these comments was that irrespective of organizational policies, what people experienced depended on their line manager’s interpretation of that policy,” Taylor says.

“This presents a very interesting challenge to an organization,” she continues. “What is clear is that setting the policy is one thing, and we know that there have been quite a few initiatives in the industry to address work/life balance issues, to address promotion and compensation. But if your own line manager doesn’t understand or doesn’t interpret these things in the way the company intends, then your own experience is very, very different from others around you. And it’s a challenge for the industry, because your managers are the people who you have entrusted with the values of the organization. This presents an opportunity to have a better discourse with managers as well as better training and improved oversight.”

View the full transcript here.

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Creating Inclusive Cultures For LGBTIQ In Publishing Thu, 27 Sep 2018 08:00:41 +0000 Michiel Kolman of Elsevier and International Publishers Association shares his advocacy for LGBTIQ inclusion in the publishing industry.

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What makes us comfortable may also make us more successful. Diversity and inclusion in the workplace correlate to above-average profitability, according to a 2017 McKinsey survey of more than 1,000 companies in a dozen countries. For LGBTIQ employees especially, inclusive office cultures conclusively do drive higher achievement.

Equal treatment for all is, of course, a basic principle of civil society. We shouldn’t have to make a business case for it. As a challenge to discrimination in the workplace, though, the business case is a necessary and important argument to make, one among many others.

Over many years, Michiel Kolman has honed his skills as an advocate for diversity and inclusion in publishing as senior vice president, information industry relations and academic ambassador emeritus at Elsevier in Amsterdam, as well as on his travels around the globe as president of the International Publishers Association. Recently, Kolman spoke with CCC’s Beyond the Book podcast about why it is important for publishers to make LGBTIQ workplace inclusion a key principle in their hiring practices.

Creating Inclusive Cultures For LGBTIQ In Publishing

KENNEALLY: We’re looking forward to chatting with you about this very important topic and one that you have written a great deal about and spoken a great deal about. I’d like to start by asking you, why is it important to you and to Elsevier that publishers should make LGBTIQ workplace inclusion an important principle in their hiring practices? In other words, explain that business case that I was speaking of for LGBTIQ workplace inclusion.

KOLMAN: Yeah, happy to do so. So first of all, it’s of course the right thing to do, but there is a clear business case. McKinsey already showed in studies in 2015, and they repeated them actually with a larger sample of companies in 2017, that it really pays off. There is a higher, better financial performance. So if you look, for instance, at companies which have an executive gender diversity, they perform 21% higher than the national industry average. If you look at companies with executive ethnic diversity, it’s even better – 33%. Companies that are not so diverse, they really pay a penalty for it. They perform like 29% worse than the industry average.

Why would it pay off, so to say? Why does diversity pay off? I think there are five important reasons. One is it helps in attracting and retaining top talent. It also improves what you call the customer orientation. It leads to better employee satisfaction. The decision-making process is better. And companies which are more diverse are also more creative and more innovative.

It’s not so surprising that LGBT employees are happier at companies that are strong on diversity, but it’s also the straight employees that are more likely to apply to more diverse companies and feel happier there and stay longer. So it pays off for retention, as well.

KENNEALLY: That’s a very strong case, but as you say, it is the right thing to do. Doing the right thing is something that has become important for businesses of all kinds around the world. Can you describe the evolution of attitudes towards LGBTIQ individuals in the workplace that you’ve witnessed at Elsevier and publishing in general?

KOLMAN: Yeah, absolutely. It wasn’t long ago, actually, that being gay was something you could get fired for or something that you would keep secret because it might harm your career. Luckily, in the last decade, that has changed. Certainly here in the West, where societies are more liberal, it’s much easier to be LGBT in the workforce.

I myself have been at Elsevier for over two decades and have only had, actually, a supporting environment, so I’m very happy about that. At Elsevier, for instance, I started a Pride chapter five years ago, and in the meantime, there are 10 chapters around the world. When we launched our chapter in London last year – actually, earlier this year – the CEO of our company came. So I think it’s a very strong signal that somebody who’s responsible for 7,000 people decides to spend part of his afternoon to signal that LGBT is important in the workplace.

If you look at the publishing world in general, I’m quite inspired what is happening in the UK. The Publishers Association of the UK has put diversity and inclusion high on the agenda. They have ambitious targets which I strongly support. For instance, in five years, they want 50% of all the leadership to be female and 15% of ethnic minorities. They’re also going to address LGBT issues. So that’s very important for all the publishing companies in the UK. For LGBT, we don’t have the right – the same kind of data that we do, for instance, for gender or around ethnicity.

If you look at the global perspective, things are, of course, more of a challenge in other countries, where sometimes being gay is a criminal offense in some countries, even, punishable by death. So for multinationals, it’s always an interesting challenge how to navigate through that. For instance, for Elsevier, we have offices around the globe, but we make it very clear when you’re in an Elsevier office, it’s our norms that are important – the Elsevier norms – so that you have to obey them as well. You cannot discriminate on sexual preference anywhere, also not in a country where it might not be acceptable to be gay or lesbian.

KENNEALLY: Michiel Kolman, it may be fairly obvious, but I think it’s important to discuss the importance to you and to any employee about being out at work. Why does that matter so much to LGBTIQ individuals? There’s an impact on the job performance, I suppose, apart from the important impact on the individual’s well-being.

KOLMAN: Absolutely. Of course, it’s extremely important if you can be yourself at work. It’s much easier when you’re out to connect with your colleagues. You come into the office on Monday morning, everybody tells their story about the weekend, and if you’re not out, you’re already hesitating – should I say that I was there with my partner and then try not to mention his gender or her gender? It’s a struggle. It’s much easier if you can just share some of your private life as well with your colleagues.

Studies have also shown if you’re out versus being not out, you do much better in the area of depression. You’re less depressed. You’re much more satisfied in your job – actually, twice as satisfied. And you’re also more creative. That’s all very important for the business case.

And if you look, for instance, now, publishing companies are really struggling to hire the right talent. The economy’s doing well. Everybody is competing for the same people. Nothing is more frustrating if you would hire the right person, invest in training, and after a year, they leave anyway, because they feel that in your company culture, they cannot be themselves – they cannot be out. So there’s a clear business case, actually, to create an environment where everybody can be out, to create an inclusive culture.

Creating Inclusive Cultures For LGBTIQ In Publishing

KENNEALLY: Tell us about some of the best practices that you’ve seen that help develop that inclusive culture.

KOLMAN: Sure. So it’s not only about having inclusive policies. Of course, they must be there, and they must be in place. But I think it’s very important to have visible LGBTI leaders, and I hope to be one myself. At the same time, it’s also important that the top leaders give public support. So you need that CEO commitment. As I mentioned earlier, when we had our London chapter, the Elsevier CEO, Ron Mobed, came. It’s very important.

It’s very important to engage the staff – not only the LGBTI folks, but it’s crucial, I think, to get the allies on board, which used to be called straight allies. It’s the majority that determines the culture much more, of course. So it’s very important that you be inclusive also for all your activities for the allies.

Communication is important. Do this as early as possible. For onboarding, mention that there are LGBT chapters, etc. And of course, when there are events, give them a big splash in the internal and external communication, as well.

Celebrate the successes. For instance, this year we have 10 Elsevier Pride chapters around the world. I think that’s something for us to celebrate.

KENNEALLY: In fact, I was going to ask you about the activities that you organize as part of the Elsevier Pride structure there. You started that program in 2013 in Amsterdam, and you mentioned that you recently launched one in London. Apart from celebrating when there are occasions to do so, what other activities have you organized, and what’s been the reaction over the past five years?

KOLMAN: Yeah, so we’ve been very active, lots of activities. I think there were two categories, the more serious ones and the more fun ones. The fun ones are usually also fundraisers, so they have a serious touch to it. For instance, we did workshops around how can you be yourself at work – so how do you deal with challenges that you’re openly gay, but you meet a client, you meet an editor of an important journal. At one point, would you tell him or her that you’re gay, because we live in a straight-normative society? We had workshops, for instance, about kids of gay parents. We had two workshops about PrEP. This is a medication to prevent HIV. When we had the first one, people actually didn’t even know what the abbreviation stands for. What is great about Elsevier is that we got some of the local experts here from the health authorities, but we also flew in the editor-in-chief of our journal Lancet HIV, who has all the knowledge about PrEP. We had a workshop about intersex – what is it? How can we best support it?

And I think on the fun side, the highlight every year is what is officially called Pride Bingo, but often referred to as Drag Queen Bingo. So every year during Pride Week in Amsterdam, we have bingo. It’s a fundraiser, as well. We raise funds for Amnesty Pride. But the emcee is one – or actually a couple of years, we had two drag queens. And it’s a great, fun event. People love doing it. I had to kind of get my head around it a little bit when it was first suggested. This happens in our canteen where we eat our cheese sandwich with milk, and all of a sudden you have these two huge drag queens running around there. But people love the event. Hundreds of people join in. And it’s certainly not only the LGBT colleagues, but it’s also lots of our straight allies and also colleagues from other companies around Amsterdam.

Sorry, go ahead.

KENNEALLY: I was just going to say, that kind of an atmosphere really does – you were talking about sending messages. Something like that sends as clear a message as you can imagine.

KOLMAN: Absolutely, absolutely. I love that this is such a popular event that people asked me already in March, so when is it going to happen again? It always happens in July. So it’s good to put that on the agenda.

We also branch out internationally. We had an event in Chennai in India, which was, of course, quite special. At that time, it was illegal to be gay. That just changed last week. So a clear sign of activism on the side of Elsevier. There, we had an event about LGBT at work together with an organization called Workplace Pride and local organizations. The participation was from, of course, Elsevier colleagues. I was one of the speakers myself. But there were also participants from Accenture, IBM, Shell, and McKinsey, and it had lots of media coverage. This was really a big thing – how companies are involved in Workplace Pride – and it was in the Times of India and the local newspaper, The Hindu, etc. I was quite proud of Elsevier that we did this and showed a little activism in a country where it’s more difficult to be LGBT than, say, in the US or in the Netherlands.

KENNEALLY: Indeed. As president of the International Publishers Association, you often speak around the world, particularly around copyright and condemnation of censorship. In many countries, LGBTIQ communities face discrimination in law and in social practice. You were just describing the situation that had prevailed in India until the recent Supreme Court decision. As you probably imagine, such discrimination can have the spillover effect of censoring freedom of expression about these issues. So what is IPA doing to address this particular kind of censorship?

KOLMAN: Yeah, absolutely. So the IPA, although it’s a trade organization, it’s also an NGO. We have a human rights mandate, and we fight for freedom to publish, and we fight against censorship. Censorship can take all kinds of forms. It can be censorship of academic articles, as we see in China. We can see lots of censorship that happens now – many publications in Turkey.

An interesting example is the censorship that is now the case in Russia. Formally, it’s called censorship of non-traditional relationships, but it’s commonly more known as the anti-gay propaganda law. I opened the Moscow Book Fair as IPA president last year, so it was a dilemma for me. Should I speak out on this topic, which I knew was a sensitive topic in Russia? I decided to do so. It was my role, and I think my duty and obligation as IPA president to raise that issue that this kind of censorship is not a good thing. So I did so, and it got lots of press coverage as well. Interestingly, not at all in Russia (laughter) – actually, zero – but very much in the press outside of Russia.

My colleagues were a little bit worried also about my personal safety, because people had been arrested. I thought it was certainly worth the risk. Nothing happened, by the way. I joked a little bit that I had the number of the Dutch ambassador on speed dial. But in the end, everything was fine. I’m happy that I raised this issue – that censorship is a bad thing, it takes many forms, and we certainly should also speak out against anti-gay censorship.

KENNEALLY: I have to commend you for that activity and to say I think it’s important for listeners to recognize that the issues around inclusive cultures for LGBTIQ employees isn’t just about workplace. It’s about much more than that. That example you’ve just given us shows us how it really has an impact on everyone. When freedom of expression is restricted anywhere, it affects us all.

Do we have Michiel?

KOLMAN: Sorry, yeah, you just dropped out the last moment.

KENNEALLY: OK. I’m not sure if you heard that. I can restate that. I’ll just take it again. Why don’t we do that, Jeremy? OK?

Well, Michiel, I want to commend you for doing just that and to underscore the point that I think listeners may begin to see much more clearly because of what you’ve just been saying, that when it comes to inclusive cultures and creating an environment that is welcoming for LGBTIQ employees, it’s about much more than the workplace, because it has an impact on perceptions around censorship and freedom of expression. And it’s my view that where freedom of expression is restricted, it has an impact on all of us.

KOLMAN: Absolutely. I couldn’t agree more.

KENNEALLY: Well, we appreciate speaking today with Michiel Kolman. He is the senior vice president, information industry relations and academic ambassador emeritus at Elsevier, as well as president of the International Publishers Association. He’s joined me today from his office in Amsterdam. Michiel Kolman, thank you for joining me on Beyond the Book.

KOLMAN: Thank you, Chris. Great being here.

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Publishing’s Gender Pay Gap Thu, 05 Jul 2018 08:00:16 +0000 The digital revolution that gave rise to independent publishing in the last decade has even replicated the traditional segregation and discrimination.

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According to the Institute for Women’s Policy Research, full-time working women in the United States earned only 80.5 cents for every one dollar earned by men. Women, on average, earn less than men in nearly every single occupation. Disappointingly for a profession where creativity is without gender, this pay gap exists for book authors, too.

Publishing’s Gender Pay Gap

Indeed, publishing’s gender pay gap is a rather remarkable one, as a scholarly paper recently published in PLOS One has founded. The paper’s researchers examined more than two million book titles published between 2002 and 2012 – and they discovered that book titles by female authors command nearly half (45%) the price of male authors’ books. Women are also underrepresented as authors in many prestigious genres. The digital revolution that gave rise to independent publishing in the last decade has even replicated the traditional segregation and discrimination.

“We find that indie publishing, though more egalitarian, largely replicates traditional publishing’s gender discrimination patterns,” according to the study’s co-author Dana Beth Weinberg.

“We conclude that, with greater freedom, workers in the gig economy may be inclined to greater equality but will largely replicate existing labor market segmentation and the lower valuation of female-typical work and of female workers,” she notes. A professor of Sociology at Queens College-CUNY, Weinberg is an “indie” author, too, having self-published the Russian mafia crime series, Kings of Brighton Beach, under the pseudonym D. B. Shuster.

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Putting an End to the Book Famine for the Blind Mon, 14 May 2018 08:00:48 +0000 253 million people live with vision impairment, yet less than 10% of published works are made into accessible formats.

The post Putting an End to the Book Famine for the Blind appeared first on Copyright Clearance Center.

Update (May 14, 2018): The Marrakesh Treaty has been ratified by 36 countries. In the United States, the Marrakesh Treaty bill (S. 2559), expanding access to copyrighted works for blind and visually disabled persons, will be taken up by the Senate in mid-May and is considered likely to pass. It garnered bipartisan sponsorship on the Hill, and enjoys broad public support.

According to the World Health Organization, an estimated 253 million people live with vision impairment: 36 million are blind and another 217 million have moderately to severely reduced vision. In addition, there are millions of people with other kinds of print disability, such as dyslexic people and persons who are paralyzed and cannot manipulate a book or an e-book.

They all suffer from what is known as the “book famine.” In developed countries, notes the World Blind Union, less than 10% of published works are made into accessible formats, while in developing countries the situation is even worse, because only 1% of books are ever made into accessible formats. This situation represents an enormous barrier to information, knowledge and education for blind and partially sighted people, especially students.

Marrakesh Treaty: A roadmap for equality

On July 18, 2016, American musician Stevie Wonder welcomed the entry into force of the Marrakesh Treaty with powerful words. “A treaty that promises to end the global book famine… A pact,” he said, “that means that the millions of people in the world who are blind or visually impaired will be able to read books in accessible formats in various regions where they did not previously have access, regardless of their financial means.”

“In an ideal world, all literary works would be available and discoverable to sighted and print disabled readers at the same time and price.” – José Borghino

To address this challenge, the Marrakesh Treaty to Facilitate Access to Published Works for Persons Who Are Blind, Visually Impaired or Otherwise Print Disabled, was adopted in 2013 under the auspices of the World Intellectual Property Organization (WIPO), and entered into force in 2016. The treaty was conceived to foster and ease the production and transfer of accessible books, including across national boundaries. To achieve these goals, it established a set of limitations and exceptions to copyright, mandatory for ratifying countries, for the benefit of the blind, visually impaired and otherwise print disabled. So far, 91 countries have signed the treaty and 33 of them have ratified it.

The practical side of accessible books

But is the Marrakesh Treaty enough in and of itself to solve the problem? Everyone involved seems to agree that it is not. The treaty itself, in its recitals, acknowledges that other mechanisms are needed to fight the book famine. Along with technological solutions, what is crucial to provide equal access to books is to promote accessible publishing, or the design and production of books in accessible formats from their conception.

Promoting the production of “born accessible” publications that can be fully accessed by all readers is one of the missions of the Accessible Books Consortium (ABC), a private-public partnership created in 2014 that aims to implement the objectives of the Marrakesh Treaty at a practical level. Led by WIPO, the Accessible Books Consortium includes in its board organizations representing globally authors, publishers, libraries, blind people and others.

ABC has published a number of practical tools to advance accessible publishing, including a Books for All starter kit and a set of detailed Best Practice Guidelines for Publishers. They also present an annual award to recognize leadership and achievements in advancing the accessibility of digital publications. In a recent interview, one of the winners of the 2017 award, Huw Alexander, Digital Sales Manager at SAGE Publishing, stated that “inclusive publishing encourages innovation and community. More simply, accessibility makes reading better.”

Connecting blind and the visually impaired readers with books

The Accessible Books Consortium also runs an ambitious Global Book Service: an online catalogue where libraries for the blind and organizations serving people who are print disabled can easily obtain the content they need. Joined so far by 25 libraries for the blind, it currently contains over 360,000 titles in 76 languages, and 165,000 loans have been made to blind, visually impaired or otherwise print disabled individuals.

“In an ideal world, all literary works would be available and discoverable to sighted and print disabled readers at the same time and price,” according to José Borghino, the Secretary General of the International Publishers Association, an organization that sits on the board of the ABC Consortium. “Thanks to great strides in collaboration among all in the information chain, from author to reader, and thanks to advances in technology, this may become reality sooner than some may imagine.”

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What Is Real Art? The VARA Debate Continues Tue, 13 Feb 2018 08:30:22 +0000 Aerosol art is the center of a court case that's setting a precedent for what qualifies as “real art” protected under the Visual Artists Rights Act (VARA)

The post What Is Real Art? The VARA Debate Continues appeared first on Copyright Clearance Center.

Note: This piece was originally published on June 23, 2017. It’s been updated to reflect the latest court rulings.

On February 12, Judge Frederic Block ruled that the developer, Jerry Wolkoff, had indeed violated the Visual Artists Rights Act (VARA) and ordered that he pay $6.7 million dollars in damages to the 21 graffiti artists represented in the suit. Mr. Wolkoff may appeal this ruling.

If you ever took the 7 train through Queens before 2014, you probably rode right past 5Pointz. And depending on your artistic leanings, you might have been impressed by the splashes of color and paint, or you might have been upset by the graffiti plastered across a five-story, block-long industrial building. Ah, artistic interpretation!

5Pointz Aerosol Art Center was an outdoor exhibition space in New York City, founded by graffiti veteran Jonathan Cohen. For nearly two decades, it was a graffiti “museum” attracting visitors, artists, musicians, filmmakers, photographers and admirers of all sorts. Brands like Deutsche Bank and Heineken even collaborated with artists for specific advertising campaigns featuring 5Pointz work.

As gentrification swept the city and the housing market demand increased, owner Gerald Wolkoff, who initially gave permission to the artists to paint on his building, whitewashed the graffiti in 2013, upsetting the artists who had curated the mass collection of works. The building was torn down a year later to make way for condominiums.

Should aerosal art be covered under VARA?

While this institution of “aerosol art” no longer exists, it is at the center of a New York court case. The plaintiffs – 23 graffiti artists whose work was displayed at 5Pointz – claim their work deserved special protections under the Visual Artists Rights Act (VARA), and, as such, are seeking damages from Wolkoff and his company, G&M Realty.

Initially, in 2013, the plaintiffs sought a temporary restraining order to prevent the destruction of their murals. After the murals had been painted over, the artists argued they were not given the proper 90-day notice of removal. These motions were ultimately denied. However, when the artists refiled the case in 2015, claiming that VARA was on their side, a judge ruled there was enough evidence to warrant a trial because G&M Realty’s argument discrediting the graffiti as not of “recognizable stature” wasn’t strong enough. The widespread awareness of 5Pointz and the visitors it attracted, coupled with the use of the graffiti in the Heineken and Deutsche Bank advertising campaigns, might have swayed him.

At the center of the current case lie the issues of whether graffiti can be considered visual art of “recognized stature” and whether THIS graffiti is “meritorious” and “recognized” by art experts and the artistic community; if so, then it qualifies for protection under VARA. Depending on whom you ask, the answer varies widely.

The court rulings could have implications moving forward that’d set a precedent for what qualifies as “real art.” Congress debated this precise issue during the passing of VARA but without resolution; if the plaintiffs prove successful in their lawsuit, those who initially opposed VARA will likely again argue that the statute is too far-reaching and broad.


Interested in topics like this? Check out:

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Tracey Armstrong on Women in Publishing: ‘Still Striving for Equal Pay’ Tue, 21 Nov 2017 08:00:25 +0000 CCC's CEO, Tracey Armstrong, discusses diversity and gender equality in publishing and beyond--a hot topic at this year's Frankfurt Book Fair.

The post Tracey Armstrong on Women in Publishing: ‘Still Striving for Equal Pay’ appeared first on Copyright Clearance Center.

‘Deeply Ingrained’ Attitudes

Women’s struggle to break into C-level positions in corporate settings is hardly exclusive to publishing, says Tracey Armstrong, president and CEO at Copyright Clearance Center.

“But I do think there’s some momentum” in publishing these days, she says. “I see the Publishers Association in the UK coming up with a program on diversity I’ve talked on a panel at London Book Fair about diversity. And I do think ‘diversity’ is further-reaching than gender diversity.

“But we do tend to do a lot of studies and a lot of talking. We contemplate the issue, but we don’t seem to be able to break the barrier. And I don’t think that some of this is unrelated to the US election.

“I think that over all, society is challenged in accepting women in positions of power. And that’s deeply ingrained in who we are, both men and women. I don’t think it’s appropriate to say that men are holding women back. I think that in many ways culture is holding them back. Societal norms are holding them back.”

In an interview with Publishing Perspectives ahead of her appearance on a panel with sister women executives on October 10 at Frankfurt Book Fair in its 2017 The Markets conference, Armstrong explored the all-but-invisible power of assumptions and behavior in our workplace lives today–and the proximity that women executives typically have, or not, to money and power in business.

Armstrong appeared on the panel with:

• Sophie de Closets of Fayard in Paris
• Arpita Das of Yoda Press in New Delhi
• Xandra Ramos-Padilla of Manila’s National Book Store and Anvil Publishing
• Vicky Williams of the UK’s Emerald Group
• Moderator Jane Tappuni of IPR License in the UK

To CEOs: ‘Get Out of the Office’

Armstrong is well aware of what “unconscious bias” might entail in a business setting. “Language, the harsh descriptions and emotional language that we use when we’re critiquing women as opposed to the more intellectual terms we use when we’re critiquing men. It’s so deeply embodied in who we are,” she says. “Writ large, that’s what’s going on.

“Then to go from the macro to micro, we don’t have women in positions of ‘owning revenue’ often enough” in corporate leadership. “I believe that’s very important. We see more women in executive positions in marketing, in human resources, and these are critical positions. But you tend to ascend past a certain point in an organization when you have P&L [profit and loss] ownership and you’re driving revenue or profitability or both. I think that’s an important element.”

In many conversations about women and advancement in the workplace, the topic of mentoring arises. “And I do think that mentoring is important,” Armstrong says. “But I think it’s as important for men to mentor women as it is for women to mentor women emerging in their careers. How those men made achievements in their careers, I think it’s important for them to impart that” to women.

“I think you see much more of women mentoring women,” Armstrong says. “And when we see executives wondering, ‘Why isn’t my organization more diverse?’ we need to ask what are they doing, what are those male CEOs and line owners doing to bring women up? What chances are they taking with women? What pilot programs are they initiating? Not studying the issue and going and interviewing.

“The talent of the future works for you already. You just haven’t met them yet. You’ve got to get out of your office. You’ve got to walk around the halls and meet these people. You’ve got to talk to them.”

Armstrong points to the kinds of discrepancies in workplace behavior that are so common that we tend not to notice them. “For example, in the younger generations, you may see employees leaving work early today,” she says, “both men and women, because family responsibilities are much more shared. But when the man leaves the office, he’s just ‘leaving early.’ The woman?—is explaining. ‘I’ve got to pick my son up.’ The way society has stovepiped and stereotyped that kind of behavior, it’s diminishing her contribution.

“Now, should she not say that? It’s hard for me to say that she shouldn’t say” that she has to leave to pick up a child from school. “But it’s important to recognize the ‘off-label’ effects of saying it, the off-label effects of diminishing our contributions for reminding our employers of our other obligations when, of course, our employers want as much of our mind-share as they can get.

“I think this is a serious challenge, particularly at the most senior levels. When you get past a certain threshold and you’re really trying to move” in your career, “you’re usually in the minority group in the room. If you’re really trying to ascend in your career, you’ve got to get used to being by yourself as the only female at the table.

“I’ve actually counseled women in my own company not to take notes in the meetings. I’m absolutely a nut about this, you can ask my colleagues, about rotating the note-taking. On the executive team? Male, female, dog, cat, bird, whoever you are, you’re going to take notes. And we rotate on a quarterly basis. Because before we did that, you can bet who was taking the notes. It was always the women, regardless of their position or title.”

‘These Waters Run Deep’

The subtlety of such culturally embedded expectations was reflected last Wednesday (September 20) in a report by Kim Parker and Renee Stepler at the Pew Center’s FactTank in which research indicates that, “In about a third of married or cohabiting couples in the United States, women bring in half or more of the earnings, a significant increase from the past.

“But in most couples,” the report reads, “men contribute more of the income, and this aligns with the fact that Americans place a higher value on a man’s role as financial provider.”

The nationally representative survey behind this finding comprised input from 4,971 adults and was conducted in August using Pew Research Center’s American Trends panel.

Armstrong, asked if there’s a time ahead when such biases can be reversed, says, “We’re just trying to keep the lid on them for now, trying to keep it from getting worse.

“I have a 21-year-old daughter,” Armstrong says, “and do I think it will be meaningfully better for her? I don’t think it will be worse. I’m not confident how much better it will be.”

Looking at the political landscape of the autumn, Armstrong says, “In the last 18 months, we’ve learned a lot, certainly in the United States, about how deeply rooted are the biases that we thought we’d progressed on. That definitely includes gender bias.

“I read recently about Hillary Clinton, for example, a question of whether any other politician had ever been asked so many times to apologize. I think that’s an excellent insight. I’m not making a comment as to whether she should have apologized for some of her choices such as the email server” that became a point of distraction and bitter dispute in the 2016 US presidential election.

“The point is, how much are we going to labor over these things, how many minutiae are we going to ask her to apologize for? As opposed to offenses committed by male politicians. We’re not getting apologies from our current president on some of his vulgar language, which we have on videotape.”

Such double standards—expectations of female apologies but not male apologies—show us that “These waters run very deep,” Armstrong says, “so I don’t think we’re going to see marked improvement one generation from me” in her daughter’s time.

“We can certainly think about systemic changes in education. We can certainly think about equal pay” for women and men, “which we’re still striving toward. Think about that.”

And when was the last time you heard male employees being asked how they deal with work-life balance?

“That’s because ‘balance’ is much more a heart-word than a head-word,” Armstrong says. “And we do tend to deal with women much more heart-words, words out of the chest, than words out of the head. In all areas.

“Look at the differences in emails as an example,” she says. “I’ll get an email from a young woman that says, ‘I love that idea.’ And then I’ll get one from a young man who says, ‘I think that idea is great.’”

Sharply attuned to these distinctions, Copyright Clearance Center’s Tracey Armstrong says she’s glad to be participating in the Frankfurt panel at The Markets. And she has no delusions of how entrenched so many biases may be.

“In 2017, we’re having to have a panel on women executives in publishing,” she says. “And we’re still striving for equal pay.”

This post originally appeared in Publishing Perspectives.

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Frankfurt Book Fair 2017: A Look Ahead Thu, 05 Oct 2017 08:00:40 +0000 CCC’s Director of International Relations has a few recommendations for can’t-miss events if you’re going to #FBM17.

The post Frankfurt Book Fair 2017: A Look Ahead appeared first on Copyright Clearance Center.

With Frankfurt Book Fair 2017 only a week away, CCC’s Michael Healy, Executive Director of International Relations, has a few recommendations for can’t-miss events that you should mark on your calendar if you’re going to the Fair:

  • Frankfurt Rights MeetingThis has been a “must attend” event for senior rights professionals for 30+ years. The program is always fascinating and the networking excellent. Looking forward especially to the sessions on Japan this year.
  • The MarketsThe Markets is always a great, concentrated opportunity to learn about what’s happening in particular key markets and some lesser-known ones. UK, India and Malaysia feature this year. The panel discussion on women in publishing, featuring CCC’s President and CEO Tracey Armstrong, looks like one not to be missed!
  • Knowledge Engineering: The new business value accelerator in the digital transformation journeyIf you’re a publisher interested in extending the value of your content, this session on knowledge engineering should be essential. Learn how data analysis can drive content discovery for your business with CCC’s CTO Babis Marmanis and Carl Robinson, senior publishing consultant at Ixxus.
  • Towards a copyright manifesto for international publishingCopyright is a hot topic right now and no longer just for lawyers and academics. This session features insights from those on the front line of the copyright wars, including me!
  • Open Access Master Class: University APCs: Publishers and institutional leadership require a solution for the inefficiency of Article Publication Charges (APCs). Join Maurits van der Graaf of Pleiade Management and Consultancy and Laura Cox of Ringgold in conversation with CCC’s Chris Kenneally, Business Development Director to find out what a business-minded application that serves all stakeholders could mean to the bottom line for you, and your partners too.
  • The Arts+: Frankfurt isn’t just about books these days, and The Arts+ is the place to find out what the future of the creative industries looks like. Great sessions on the interplay between tech and creativity are promised.

Exhibitors to visit:

  • IPR License: Hall 4.2, Stand E19
  • Guest of Honor 2017: France: Hall F.1 Stand A1
  • Copyright Clearance Center: Hall 4.2 Stand E18


We’ll see you at the Frankfurt Book Fair, 10-15 October 2017.

Join Us at the Hot Spots, Location: Hall 4.2 N99

Knowledge Engineering: The New Business-Value Accelerator in the Digital Transformation Journey Add to your calendar app: Wednesday, 11 October, 11:00–11:30

Open Access Master Class: University APCs  Add to your calendar app: Thursday, 12 October, 15:00–15:30

Visit Us at Hall 4.2, Stand E18

Book a Meeting with the team

Tweet with Us@copyrightclear#cccfrankfurt#fbm17

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Is Attribution Enough? Thu, 31 Aug 2017 16:05:22 +0000 Common misconception: If I give attribution, then I can use that copyright owner’s photograph, article, chart or graph, and not get into copyright infringement trouble.

The post Is Attribution Enough? appeared first on Copyright Clearance Center.

If you give attribution when using someone else’s copyrighted content at work, can you avoid copyright infringement? Wells Fargo Sr. Company Counsel – IP Carrie Hefte says “no”. Hear Carrie explain what happens when an employee uses online images in a presentation without the photographer’s permission.

Video Transcript

Hi, I’m Carrie Hefte and I work at WellsFargo. I’ve been here a long time as one of the intellectual property attorneys, and so I’ve heard every crazy idea that an employee might have about copyright law. And here’s one of them: If I give attribution, in other words write down the copyright owner’s name, then I can use that copyright owner’s photograph, article, chart or graph, and not get into copyright infringement trouble. That’s not true, of course, and one of our employees found that out the hard way.

So, one of our employees, years ago, was going to be giving a public-facing seminar. She needed a couple of photographs to put into her PowerPoint presentation, so she went out on the Internet, grabbed two photos, and then put the photographer’s name under those two photos, thinking that would get her out of copyright infringement trouble. That doesn’t get you out of copyright infringement trouble, and, of course, someone in the audience ratted on her. Yes, believe it or not, someone in the audience ratted on her and contacted the photographer and said, “Hey, did you know this woman at WellsFargo is using your photographs?” The photographer didn’t know that, and the next thing I saw was a cease and desist letter. So, we of course negotiated a settlement and paid the photographer.

You may think that copyright owners don’t come after people who are infringing on their copyrights, but that’s very few of those instances go to a lawsuit. They settle, just like the situation I explained. So, you need to keep yourself out of trouble by not thinking that giving the copyright owner attribution will keep you out of copyright infringement trouble. Thank you.

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Can Copyright Undermine Fake News? Fri, 17 Mar 2017 08:00:54 +0000 Platforms seek tech-driven solutions to combat fake news, but copyright enforcement may be the simplest solution.

The post Can Copyright Undermine Fake News? appeared first on Copyright Clearance Center.

There was a time when a news story was either classed as ‘news’ or ‘not news.’ If the story was current and significant, it was news, but if it was too lighthearted or lifestyle focused, it was not. These days, however, there is a third category: fake news.

From Pope Francis’ endorsement of Trump to the Pizzagate conspiracy, which led a gunman to enter a Washington pizzeria, fictional news stories  spread wildly across social media last year.

Top 3 fake political news stories on Facebook in 2016*

  • “Obama signs executive order banning the Pledge of Allegiance in Schools Nationwide” –
    2,177,000 shares, comments and reactions
  • “Pope Francis shocks world, endorses Donald Trump for President” – Ending The Feed
    961,000 shares, comments and reactions
  • Trump offering free one-way tickets to Africa & Mexico for those who wanna leave America –
    802,000 shares, comments and reactions

Such was the volume of misinformation in 2016 that trust in news reporting has deteriorated. According to figures from BuzzFeed News, hoaxes about US politics racked up 10.6 million shares, comments and reactions on Facebook last year. And fake news managed to steal the headlines to such an extent that Oxford Dictionaries selected ‘post-truth’ as its word of the year for 2016.

The public once enjoyed high-quality content paid for through advertising, subscriptions, and licensing, and protected by copyright.  Platforms, through intentional and unintentional design, political lobbying, and disregard of rights have undermined that traditional model.  I get the utopian vision of the early internet days.  At the time, there was an ethos that if the old business models were destroyed, we would reach a nirvana of citizen journalists and user generated content.  Platforms developed a new model based on clicks, but revenue models based on clicks are a difficult path for supporting a network of stringers, photographers, and reporters around the world.

As anyone in industry knows, enforcing copyright without the backing of platforms is not only expensive, it’s virtually impossible. Platforms have made combating copyright protection one of their key lobbying priorities, and have funded Astroturf organizations to hide their corporate interests.  Now as platforms seek fancy, tech-driven solutions to identifying and combating fake news — such as the use of artificial intelligence — they continue to avoid the simplest solution.

It should come as no surprise that it seems the only solution not being discussed by platforms is the support of copyright:  the legal regime that has enabled high-quality news for centuries.

Countless individuals across the globe are frustrated by the content they receive from their news and social feeds. They want news that will deepen their understanding of the world, make them feel enlightened and informed, and inspire them to share ideas of importance to them. If platform companies started to help creators defend their rights, and stopped lobbying against copyright, they would both provide users with something useful, and begin fixing the mess they created.


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