Last summer, as the protests over the death of George Floyd raged, the music industry began to look closely at itself in terms of race – how it treats black artists, how black workers at music companies fare, how fair money across the board Company flows.
Major record companies, streaming services, and broadcasters have pledged hundreds of millions of dollars in donations, convened task forces, and promised to take concrete steps to diversify their ranks and correct inequalities. Artists like Weeknd and BTS donated money to support social justice, and Erykah Badu and Kelis signaled their support for economic reform in the music industry.
Everything seemed to be on the table. Even the term “urban” in radio formats and marketing – a racist euphemism for some, a sign of pride and sophistication for others – has been scrutinized. However, there was still great skepticism about whether the company was really determined to make significant changes, or whether its donations and lofty statements were more a matter of crisis PR
The Black Music Action Coalition, a group of artist managers, lawyers, and others, was formed last summer with the aim of holding the industry accountable. A “Testimony” is due to be released in June showing how well the various music companies have kept their promises and commitments to progress.
The report details the steps companies have taken towards race parity and tracks whether and where promised donations have been made. It also examines the number of black executives in leading music companies and the power they hold, as well as the number of black people sitting on their boards. Future reports will delve deeper into issues like industry equality itself, said Binta Niambi Brown and Willie Stiggers, aka Prophet, the coalition co-chairs in an interview this week.
“Our struggle is way bigger than just whether or not you wrote a check,” said Prophet, an artist manager who works with Asian Doll, Layton Greene, and other acts. “But the fact that you said you would write a check, we want to make sure that money was actually given and that it went to a place that actually hit the veins of the black community.”
The report, written by Naima Cochrane, a journalist and former label manager, is based on the annual media studies by advocacy group GLAAD, which track the depiction of LGBTQ characters in film and television and assign ratings to the various companies behind them. It is scheduled to be released June 19 through June 19, the annual public holiday marking the end of slavery in the United States.
The coalition’s public statements have made it clear that it sees itself as a stern and unwavering judge of the music industry, which has a dark history of exploiting black artists, despite the fact that black music has long been and remains its most important product. Last summer, an online campaign called #BlackoutTuesday produced painful comments that many black executives still feel are marginalized to this day, depending on white supervisors who are more empowered and make more money.
Brown, a label manager and artist manager, said the goal of the report was not punishment, but encouragement.
“We want to do it in a way that is more carrots than whip so we can continue to incentivize good behavior,” she said. “We want to hold people accountable, not cancel.”
Most major music companies have hired diversity officers and promoted some top black executives to positions equivalent to their white counterparts, although there are still only a handful of blacks at the top of the board.
A number of outside studies were also commissioned to examine diversity within the industry, including one from the Annenberg Inclusion Initiative at the University of Southern California and another from the Recording Academy, Berklee College of Music, and Arizona State University about Women in Music.
However, there has been relatively little public debate about how to look at artist contracts, including those from past decades, and how to cure unfair terms.
One company, BMG, examined thousands of contracts and found that out of 15 catalogs it owns that contain rosters of both black and non-black artists, 11 showed no evidence of racial discrimination. Among the four companies, the company found a “statistically significant negative correlation between being black and lower registered license fees” of 1.1 to 3.4 percentage points. BMG has promised to take action to correct this inequality.
These deeper issues of fairness in the music industry could be addressed in future coalition reports. They currently limit their scope to whether promises have been kept.
“Racism is a 400 year old problem,” said the Prophet. “We didn’t think it would be resolved in 12 months.”
