By Matthew Arthur, Nonprofit Intern
Over the past few years, the Me Too Movement has allowed sexual assault survivors to share their stories and highlight the problem of sexual violence in multiple industries and institutions in society. From government and media to film and sports, survivors have bravely exposed the predatory behavior of individuals in these fields and made it easier for other survivors to come forward and share their experiences. Although major figures and institutions in entertainment have been experiencing Me Too moments particular to their fields, the music industry appears to have avoided the same scrutiny as the film industry. According to a survey conducted by the Music Industry Research Association, 72% of female artists have felt discrimination in the workplace, and 67% have experienced sexual harassment. We know sexual violence exists in the music industry, as seen in documentaries such as Surviving R. Kelly and On the Record, but why has the music industry not experienced the same coverage and outrage as other established institutions? And will the music industry ever have its own Me Too Movement?
In order to examine why the music industry has not received as much coverage as film and media, we need to understand what separates music from other entertainment institutions. First, the music industry is a much smaller institution than the film industry, and it is becoming smaller and more fragmented as time progresses. This can be seen in how the Big Six music labels - Warner Music Group, Sony Music, EMI, BMG, Universal Music Group, and Polygram - battled economic hardships through the years. Marc Hogan, Senior Staff Writer for Pitchfork, reported that since the 1980s the Big Six music labels have been shrinking and by 2000 only three of the Big Six remain: Universal, Sony Music, and Warner Music Group. Independent musicians and freelance employees also contribute to this as well. Since 2007, freelance labor in the music industry has increased by 30% while traditional studio employees have decreased by 22%. Because of the downsizing and sales not peaking or surpassing figures like they did in the 1990s, this creates an environment of uncertainty, especially regarding job security, which might hinder people from coming forward and addressing misconduct.
Another important factor in the music industry that separates it from other entertainment communities is that it is geographically fragmented; it does not solely exist in one or two locations. While films and movies are overwhelmingly cast, filmed, and produced in Hollywood, music, on the other hand, is recorded and performed all over the country and around the world. It might seem paradoxical, but there are also multiple industries, such as merchandising and royalties, within the music industry that make up this economical ecosystem. These entities are everywhere. Because of how spread out and fragmented the music industry is, on top of the fact that music labels are decreasing in size, survivors face more barriers to coming forward and sharing their experiences in the music industry.
The complexities and fear of coming forward in the music industry can be seen in Amy Ziering and Kirby Dicks’s 2020 documentary, On the Record. In this Tell-All documentary, Drew Dixon, a former A&R Executive at Def Jam Records, recalls her experience working in the music industry in the 1980s and 1990s and shares her story of sexual assault while working with Def Jam Records co-founder, Russell Simmons. In the documentary, Drew reveals that in 1995, Russell Simmons invited her over to his apartment to listen to a new demo he had received. However, there was no demo, and Simmons sexually assaulted Drew, which resulted in her blacking out. Following her sexual assault, Drew left Def Jame Records to work for L.A. Reid, who also tried to manipulate her by quid pro quo. Emotionally and psychologically scarred, Drew eventually left the music industry as a whole and shared her story of sexual violence in the music industry in the New York Times in 2017, 22 years after her sexual assault.
Although there have been setbacks that have prevented the Me Too Movement from highlighting the necessary changes needed in music, things are beginning to change. The culture and mindset of “drugs, sex, and rock ‘n roll” is beginning to face its long overdue criticism. Many survivors are coming forward and sharing their stories and are spearheading the change needed in this field. Several documentaries, such as Leaving Neverland and On the Record, have been made to highlight how for decades survivors were afraid to come forward and report any misconduct they experienced. Because of their bravery and courage to stand up and face criticism from fans, the media, and fellow employees, we know how much of a problem sexual harassment and violence is in music and how to implement the much needed change.
It is not too late for music. It can evolve. New laws and policies have been written by federal, state, and local governments to make it easier for survivors to report misconduct, and many people in power within the music industry are taking a stand against sexual violence. In particular, singer, songwriter, and award winning musician Alanis Morissette has been campaigning to finally bring the Me Too Movement to the music industry. She has appeared on multiple interviews expressing her frustration over the current state of the music industry and arguing that together we can bring about change and end the predatory behavior within this field.
Companies and organizations associated with the music industry have also stated they plan on changing and expanding their sexual harassment policies in the workplace. Mark Redern, Editor of North American music magazine Under the Radar, has come forward and announced that his publication supports a zero-tolerance policy for sexual misconduct. His magazine demonstrated this principle when his staff voted to suspend coverage of the bands Ducktails and Hookworms following several reports of sexual misconduct. If society continues to support survivors and encourage change in the music industry, we can continue to demand that the music institution become a safe workplace for everyone.