Privilege is the relative benefit that a group enjoys as a result of the discrimination or oppression of other groups. When we think about racism and discrimination, we often envision acts of deliberate meanness or quantifiable oppression of a disadvantaged group – hurtful words, tasteless jokes, deliberate exclusion from work or school, acts of violence, and so on – but it can just as easily take the form of privileges given to members of a more advantaged group.
First of all, you can’t choose to give up privilege – privilege is by definition an unearned advantage and you cannot choose to not have it. Guilt and shame are not, however, productive ways to deal with this.
Music is one of the most popular and powerful forms of media that kids and teens consume: more than half of Canadian teens say they would die without it, and nearly all consider it very important to their lives. 
I can look at the media and see people from my group widely represented as heroes, role models, leaders, news anchors, television hosts, and experts.
Pushing the boundaries for artistic expression has always been a part of popular music. However, the drive for profits may also be pushing the envelope of what is acceptable. In this section we examine some of the issues in today’s music.
Social justice activists and writers have built on Peggy McIntosh’s original essay on privilege in 1988, by adding to and modifing the original list to highlight how privilege is not merely about race or gender, but that it is a series of interrelated hierarchies and power dynamics that touch all facets of social life: race, class, gender, sexual orientation, religion, education, gender identity, age, physical ability, passing, etc. These categories will be further discussed below.
Music is a significant medium in a young person’s life, particularly during the teenage years. While other media may occupy a greater number of hours, it is most often from music that teenagers define their identities and draw cues about how to dress and to behave.
The Internet is revolutionizing how we access and listen to music. The development of MP3s, or digital song files, has made it easy to download virtually any piece of music online.
How things have changed in thirty years: more than ever before, queer people have a media presence. No longer relegated to the realms of innuendo and secrecy, we now see lesbians, gays, bisexuals, and transgender people represented on television and in mainstream film. Queer people see their reflections on screen in a largely positive light: stable, employed, charming, attractive, well-liked, and successful. And yet, there remain many challenges. The following sections will examine how media produces and legitimizes or delegitimizes queer sexualities, as well as how queer media differs from its heterosexual counterpart. To begin, though, it is worthwhile to examine the trajectory of queer media criticism over the past thirty years.
As in other media, queer people have gained a greater and more widely visible presence within the advertising world, with ad agencies courting the “Pink Dollar”. This is not surprising, considering that the gay, lesbian, bisexual, and transgender community is a multi-billion dollar target audience, estimated to be worth around $835 billion.