These differences in childhood cultural engagement set up lifelong divergences in the chances of different demographic groups making it into cultural occupations. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Both groups are right, but the first group tends to have its voice heard more often than the second group. The ‘poshness’ of specific cultural occupations, the absence of those from working class origins, is not a new thing.

In many occupations the default image of a cultural worker, as Henna points out, is a white man from a middle class background. During the pandemic many wondered why government institutions, funding bodies and even cultural workers were more concerned with keeping cultural institutions ‘alive’ than making sure all precarious, self-employed cultural workers would be guaranteed an income.

There really is an arts emergency, the reality of the class crisis is shocking, but this book shows how we can do something right now to change things. N2 - In Culture is Bad for You: Inequality in the Cultural and Creative Industries (Manchester University Press, 2020), authors Orian Brook, Dave O’Brien and Mark Taylor cut through a Gordian Knot of interconnected and complex factors that create and maintain multiple inequalities within the UK Creative and Cultural Industries (CCIs). COVID has exposed and reinforced the longstanding, embedded, structural inequalities that characterise the cultural sector. The last point is to understand how the interactions between institutions and workers produce inequalities.

Film and TV occupations are hostile to women; museums, galleries, and libraries are marked by their whiteness. What we found was that the proportions change a lot over time because the social class profile of the broader society changes over time.

The Take Part-survey used in Culture Is Bad for You makes clear the need for better surveys to measure cultural consumption. Culture is bad for you also theorises the mechanisms underpinning the long-term and long-standing class crisis in cultural occupations. In Culture is Bad for You: Inequality in the Cultural and Creative Industries (Manchester University Press, 2020), authors Orian Brook, Dave O’Brien and Mark Taylor cut through a Gordian Knot of interconnected and complex factors that create and maintain multiple inequalities within the UK Creative and Cultural Industries (CCIs). What kinds of policies on culture should the current government adopt to deliver the promise of ‘levelling up’ the North?