Guide to Diversity, Equity, and Inclusion in the Music Industry

This book is a guide to diversity, equity, and inclusion in the American music industry from the perspectives of different segments of society – African American, Hispanic/Latino, Indigenous, Women, Asian, LGBTQ+, Mental Illness/Disorder and Physically Disabled/Different, Socioeconomic Status, and Religion. With the music industry’s entrepreneurial activities being that of cultural monetization, analysis of the work of Laura Mulvey and her concept of the Male Gaze, specifically, the heterosexual white male, suggests that the societal lens used to view all segments of society are in the hands of a group that does not understand the historical nuances that shape the culture and current actions of each group represented, and the current lived experiences of each segment in society whose culture is monetized. This showcases a gap in understanding that presents an opportunity for deep cultural appreciation once the individual perspectives of each group are added to the collective mind.This volume will be unique in that it will provide an overview of each group’s history in America, their current societal and music industry state, and possible solutions, with care taken to give voice to scholars from each community. An example of the need for this work comes from the African American community, where rappers have been consistently jailed for rap lyrics since the 1980s based on the assumption that rap was started by gang members. This shows the power of untrue societal assumptions in affecting laws that negatively affect a group, even though they are based on untruths that are perpetuated by executives – focusing mainly on the bottom line of their company - control of culture and social learning through media. Showing a lack of artistic autonomy, artists who sign with major labels often protest the content they are asked to create and release but must comply or remain in predatory contracts. Outside of sociology and media studies, which give broad overviews of each segment, there is no book that presents readers with historical documentation, a view of each group from multiple vantage points (internal and external), and how their history and social perceptions intersect in the music industry system to create crystalized pieces of culture that are filtered through the lens of Capitalism.