Ever wondered how much Resident Advisor’s editors get paid? Current job vacancies in London and New York reveal the truth – and it’s roughly a tenth of a £750k bailout…

One of the most bizarre aspects of the dance music world is that no one seems to know how much things cost. Now, by this, we don’t mean stuff like the prices of drinks at the bar or how much you’ve got to shell out for tickets – we mean more on the business side of things.

For instance, how much does it cost to book Carl Cox to play? Nobody knows. Obviously, the price is going to vary depending on factors such as like distance to travel, the length of the set he’d be expected to play, and so on. But even with that in mind, the average person has no idea as to what that means monetarily.

And the dance music press is an even more secretive place – they dislike talking about money even more than the industry itself does. So with that in mind, Ears To The House poses a question at the start of another working week – how much do the editors at Resident Advisor get paid for what they do?

Well, once we put aside our bemusement at the notion that Resident Advisor’s editors actually do any work, we set to look for clues to the answer. And truth be told, we were expecting this task to be a lot harder than this – but the answer was on Doors Open, their very own dance music jobs website.

They’re currently advertising for two new editors – one based in London, and the other in New York. The adverts, if you can be bothered to read through all this kind of self-congratulatory nonsense…

…reveals the answer – the successful candidates can expect to earn between £45,000 and £75,000 per year. Ears To The House has previously heard rumours that editor-in-chief Whitney Wei earns over £100,000 herself – these kinds of salaries suggest the grapevine might not be far off.

To put it another way, Resident Advisor’s new editors in London and New York could earn roughly the equivalent of 10% of the £750,000 bailout given to the site by British taxpayers back in October 2020. But what does anyone expect at this point, if not this hubris?

Let’s not forget this is the same company that once had the sheer arrogance to say in their bailout application form that “our contribution to the national and international reputation of the cultural sector could not be replaced”. It seems that the relentless hiring spree continues unabated…

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