By Emily Woolf
February 23, 2023
An article, published by James Tapper in The Guardian, caused outcry in early December 2022, as it highlighted the sharp decline of working-class representation within the creative sector.
“Analysis of Office for National Statistics data found that 16.4% of creative workers born between 1953 and 1962 had a working-class background, but that had fallen to just 7.9% for those born four decades later.”
Social Mobility and ‘Openness’ in Creative Occupations since the 1970s, Dave O’Brien, Orian Brook, Andrew Miles, Mark Taylor
There is currently heightened media attention surrounding inaccessibility within artistic industries. This is primarily due to the discourse on Hollywood’s ‘nepo-baby’ culture, after the publication of New York Magazine’s “The Year of the Nepo Baby” 2022 cover. The publication exposed how some of Hollywood’s elite are the children of previously successful, famous people. The piece highlighted the inaccessibility of the creative industry, especially for those who aren’t from an affluent background, without family connection.
Last week I spoke to Dave O’Brien, Professor of Cultural and Creative Industries, at The University of Sheffield, whose research was originally featured in The Guardian article. O’Brien, alongside his colleagues, Orian Brook, Andrew Miles and Mark Taylor, co-wrote the decisive research, dispelling the myth that working class representation was more prominent in the 1960s and 1980s . The perception of a ‘Golden Age’ of classless access to creative employment during this era is false.
“We tried to identify how there has been this massive social change in the class composition of British society and we can see continuity. It was a struggle in the 1980s and it’s a struggle now.”

The popularity of working-class artistry, epitomised by the ‘Madchester’ culture established in the late 1980s, included some of the most iconic musicians of the era, such as The Stone Roses, The Happy Mondays and New Order. However, the renowned sound of the popular Hacienda nightclub, founded by Salford-born, music mogul Tony Wilson, contributed to a false narrative of accessibility within the industry during this period.
“Structural inequalities in the creative industries are nothing new and they are deep-seated. Equally deep-rooted reforms in career support and in hiring and promotion practices are required in order to reverse these.”
O’Brien’s research emphasised the need for practical, tangible change within the industry to ensure inclusivity within the creative sphere. He also co-authored the book Culture Is Bad For You, which discusses how the cultural inequalities in childhood have a significant effect on future career trajectories. The key to more diversity within the creative sphere is more access and exposure to it from an early age.
To hear the interview in full, stream here on Spotify.
Why is the arts considered an exclusive space for the middle-classes?
I discussed this question with two students currently attending The Glasgow School of Art, Celeste Knight and Jude Porter-Chambers. Their interview highlighted how, without financial support, they are forced to incorporate recycled material into their work. Jude discusses how this has impacted his most recent project.
“I’ve always had to work with scraps, with recycled materials, left overs. The wood that I use to make my instruments still has peoples names written on it. I could sand that off but I leave it on as a statement now.”

Jude’s personal protest against the aristocracy of the creative sphere encompasses an important message of defiance. However, more importantly, it is recognition of pride.
This article is an adaptation of an item created for our show ‘The Lunch Bunch,’ on Liverpool Student Radio, recorded on the 17/02/23 which you can listen to here. https://open.spotify.com/show/0MsUzMKuG8ka4SGBIo7aQP





















