. Usually, they take the feedback to heart. “It’s not coming from a place of malice,” he says. “It’s just not having that deep connection to the community that we do.”
Historically, marketing to queer audiences has often meant marketing to white gay men in particular. But Moschetta stresses the importance today of treating queer consumers as a diverse community, not a monolith. “If it was just left to ads you take out duringhave advertised music and concerts -- “you’re going to miss whole parts of the community that we as a company spend our time making inroads with,” he says.
Moschetta says that in the past five years he has worked with an increasing number of artists from genres like country, rock and hip-hop. As a result, the company’s campaigns have become more specific: It threw an album-release party at a nightclub catering to gay black men, for instance, and it has also connected musician clients with organizations that support transgender women of color, who currently face disproportionate rates of violence. “The avenues are there,” he says.
Helping artists and labels make money is, of course, a big part of what these agencies do. But those who work for them emphasize their desire to uplift a segment of the population that continues to be persecuted, particularly under the current U.S. administration. “Even though LGBTQ market visibility is increasing and our economic spending power is rising, there is still major discrimination, violence and injustice happening,” says Cacciatore. “Those stories need to be told.
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