May 25, 2020
by Carla Hay
Directed by Kirby Dick and Amy Ziering
Culture Representation: The documentary “On the Record” interviews a predominantly black group of people (with some representation of white people)—including #MeToo accusers, media people and activists—who discuss the #MeToo movement and accusations against disgraced entertainment mogul Russell Simmons.
Culture Clash: Most of the accusers are black, and they say there’s extra pressure on them to stay silent if they are accusing a black man because of the justice system’s racial inequalities for black men.
Culture Audience: “On the Record” will appeal primarily to people who are interested in the #MeToo movement and social justice issues.
It’s hard enough for many survivors of sexual assault to come forward, but for many people of color, there are added layers of complexity if the person making the assault claim is accusing someone of their own race. Black people are particularly sensitive to being called a “race traitor” when it comes to putting black men in the U.S. criminal justice system, which has a checkered history of racial inequalities. The meaningful documentary “On the Record” shines a light on this issue, as it tells the stories of several women who claim that they’ve been sexually assaulted or harassed by disgraced entertainment mogul Russell Simmons.
Simmons is best known for being the co-founder of Def Jam (which started off as a hip-hop record label and expanded into television and film), Rush Communications and the fashion brands Phat Farm and Baby Phat. In late 2017, at the beginning of the #MeToo Movement resurgence, several women came forward to accuse Simmons of rape or other sexual assault. He has denied all the allegations, by saying all the encounters were consensual. However, he stepped down from his businesses shortly after the public accusations.
One of the accusers is Drew Dixon, who claims that Simmons raped her in 1995, when she was an A&R executive at Def Jam. Dixon gets the most screen time in “On the Record,” because her process of deciding to come forward to The New York Times is chronicled in the documentary. Part of the documentary feels like a semi-biography of Dixon, since so much of her personal history is in the film.
The movie also shows a great deal of Dixon at home (where she’s shown listening to some of the music she worked on and even digging through her stuff to find an old Junior Mafia demo tape), as well as revisiting some of the places where she worked early in her music career. She’s also seen visiting with friends, as they discuss her decision to go public with her accusations. And even some of Dixon’s phone conversations with New York Times reporter Joe Coscarelli (who co-wrote the New York Times article with Melena Ryzik) are in the documentary.
Dixon is the daughter of politically active parents—her mother Sharon was elected the first African American female mayor of Washington, D.C., in 1991—and she has an education from prestigious universities. (She’s a graduate of Stanford University and Harvard Business School.) Although she came from a privileged background and likes a wide variety of music, Dixon says in “On the Record” that her heart lies with the street culture of hip-hop and other urban music.
“Music has always been a language I spoke,” Dixon says in the documentary. “Hip-hop had this additional appeal that was empowering for people who were otherwise overlooked. I grew up feeling that it was my mission as the daughter of local politicians. Hip-hop combined the two things that I loved: activism and this sense of pride with music. It seems like it could, I thought, to change the world.”
She knew she wanted to work in showbiz when she had the experience of booking the entertainment for her mother’s mayoral inauguration party. Rare Essence, Big Daddy Kane and Kwamé were the performers. It was then that Dixon decided that she had a knack for working with artists, so she had her sights set on working in a record company’s A&R (artists and repertoire) department, which is responsible for signing artists and overseeing music that goes on albums. After she graduated from Stanford in 1992, Dixon moved to New York City and began paying her dues in the music business.
Dixon worked as a receptionist at Empire Artist Management, Jive Records and Warner Bros. Records. She eventually became an executive at Zomba Publishing. In 1994, she landed what she thought at the time was her dream job: working in the A&R department at Def Jam Records, which was riding high with hip-hop artists such as LL Cool J, Public Enemy, EPMD, Warren G and Redman.
One of her first major successes at Def Jam was helping compile the hit soundtrack for the 1995 documentary film “The Show,” which featured songs from the Notorious B.I.G., 2Pac, Mary J. Blige, Method Man, Warren G, Bone Thugs-N-Harmony and A Tribe Called Quest. Dixon also mentions in the documentary how in her early days in the music business, she knew the Notorious B.I.G. (also known as Biggie Smalls) before he was famous, and he would look out for her in the streets that were his territory where he was a drug dealer. Dixon also takes credit for being the person who came up with the idea to pair Blige and Method Man for their 1995 hit “I’ll Be There for You/You’re All I Need to Get By.”
In the documentary, Dixon goes into extensive detail about sexual misconduct she says that she experienced while she was a Def Jam employee. Dixon says that Simmons started off with saying crude sexual comments and trying to kiss her, which she felt pressured to laugh off at the time because she was afraid that he would lose her job if she complained. She says his behavior worsened, as he began sexually exposing himself to her.
Dixon remembers how she felt about it at the time: “I thought he was like a tragic ADD [attention-deficit disorder] puppy dog that I had to keep retraining … He always sheepishly apologized later, so I thought, ‘He feels bad.'”
She says that Simmons violently raped after he lured her into his home by telling her that he wanted her to hear some music from a new artist. According to Dixon, Simmons overpowered her, ignored her frantic attempts to stop the assault, and then afterward acted as if the encounter was consensual. Almost all his accusers tell similar stories.
Dixon says she was so traumatized that she eventually quit working for Def Jam. She became an A&R executive at Arista Records in 1996, where she had success working with such artists as Aretha Franklin, Whitney Houston, TLC, Usher and Carlos Santana. But things began to go sour for her at Arista when her boss Clive Davis was pushed out of the company and Antonio “L.A.” Reid became president/CEO of Arista in 2000.
Dixon says that Reid sexually harassed her repeatedly, and when she rejected his advances, he began to undermine her work. She says that she tried to sign Kanye West and John Legend to Arista, but Reid refused to let her sign them, and she believes it was partly out of spite. Dixon eventually quit Arista in 2004, and enrolled in Harvard Business School. However, she hasn’t worked at a major record company since then.
Reid (who was fired from Sony Music’s Epic Records in May 2017, because of alleged sexual harassment) and Simmons declined to be interviewed for the documentary. They each issued denial statements that are in the film. After the documentary was made, Simmons and rapper/actor 50 Cent made public statements pressuring executive producer Oprah Winfrey and Apple TV+ to drop the movie, which they eventually did. HBO Max acquired “On the Record” film after the movie’s well-received world premiere at the 2020 Sundance Film Festival.
In “On the Record,” Dixon says that there were three things that happened in the fall of 2017 that compelled her to go public with her accusations: (1) When screenwriter/producer Jenny Lumet (daughter of acclaimed filmmaker Sidney Lumet) came forward with her own accusations about being raped by Simmons; (2) when Dixon saw the courage of Roy Moore’s accuser Beverly Young, who claimed that the disgraced politician sexually assaulted her when she was an underage teenager; and (3) when Dixon saw the statement that actor Harold Perrineau made about his actress daughter Aurora, who came forward with sexual-assault accusations against writer Maury Miller.
Dixon comments, “I thought, ‘I’d like to be a warrior. I’m tired of being a victim. I’ve been a victim for 22 years. Let me see what the other thing feels like. It can’t be worse.’ And that’s when I said, ‘Okay. I will go on the record.'”
Another accuser of Russell Simmons in the film is writer Alexia Norton Jones, who talks about how her past trauma still affects her. “He took a piece of me with him and he carried it with him for three fucking decades,” she says of Simmons. Dixon comments on going public after keeping silent for several years: “It was like pressing play on a movie I had paused 22 years ago in the middle of the scariest scene.” Other accusers in the film include Sheri Sher, a founding member of the all-female rap group Mercedes Ladies; singer/songwriter Tina Baker; publicist Kelly Cutrone; and model Keri Claussen Khalighi.
Sil Lai Abrams, another Simmons accuser who claims that he raped her, was an executive assistant at Def Jam in the 1990s. She describes the work environment: “It didn’t feel like an office, so much as you were almost like in a club.” Abrams comments that although there is “tremendous mobility for women” in the music business, “a lot of sexual harassment was baked into the culture.” Dixon also mentions that when she began working for Def Jam, Lyor Cohen (who was president of the record company and Simmons’ second-in-command at the time), wrongly assumed that Dixon had slept with Simmons to get the job.
Although some of Simmons’ accusers are white (such as Baker, Cutrone and Khalighi), most of the Simmons accusers are black. #MeToo movement founder Tarana Burke says, “A lot of black women felt disconnected to #MeToo initially. They felt like, ‘That’s great this sister is out there. We support her as an individual, but this movement is not for us.”
“Intersectionality” author Kimberlé Crenshaw comments on how #MeToo accusations are handled and perceived: “America picks and chooses who they are going to listen to. Not only does class have an indicator, but what that person looks like is an indicator. So, who we listen to is who we see as valuable in America.”
Dr. Joan Morgan (a feminist/cultural critic) and author Shanita Hubbard also weigh in with their thoughts on how black women might experience the #MeToo movement differently from other people. “I thought the black community would hate my guts,” Dixon says in explaining one of the reasons why she was very reluctant to come forward with her accusations about Simmons, who was responsible for employing and financially enriching a lot of black people.
Kierna Mayo, a former writer/editor at The Source (a leading hip-hop magazine), has this to say about black #MeToo survivors: “It’s high time that the lens turns to us, and that we’re allowed to be heard—and more importantly to be believed.” Mayo says that she believes the Simmons accusers because she knows what it’s like to be alone with Simmons. In the documentary interview, she doesn’t come right out and say that she has a #MeToo story about him, but she hints that if she did, she’s not ready to talk about it on camera.
One of the more powerful moments in the film is when Dixon, Abrams and Lumet meet up to show support for each other. Lumet says, “I didn’t expect anyone to be in it for the long haul with me. I’m glad I met you guys, because we’re in it for the long haul.”
The three women are also very candid in discussing colorism and admitting that being light-skinned black people gives them a “light privilege” advantage that people with darker skin might not have. Dixon comes right out and says: “Part of the reason why I did speak out is because I have ‘light privilege.'”
The documentary is undoubtedly sympathetic to the accusers and takes the viewpoint the accusers should not be vilified for how long it might have taken them to come forward, because every individual has a unique path in coming to terms with whatever trauma they experienced. Still, Lumet expresses guilt that is common for people who waited several years to tell their #MeToo stories: “I wish I could’ve gotten my shit together earlier so he [Russell Simmons] would’ve left everyone alone.”
“Off the Record” is a very female-centric movie, but there are a few men who are interviewed in the movie. Miguel Mojica, who was an A&R coordinator for EMI Records around the time that he knew Dixon back in the mid-1990s, says in the documentary that Dixon told him that Simmons raped her not long after it allegedly happened.
Mojica remembers that when he first met Dixon, “She was a bright spirit” and “we hit it off right away.” But he says she also changed after the alleged rape and wasn’t as light-hearted as she was when they first met. Other men interviewed in the movie are rapper/music producer Daddy-O and attorney Gary Watson, a former outside counsel to Def Jam.
Going public with the accusations wasn’t the only major life change for Dixon that’s chronicled in “Off the Record.” In the documentary, Dixon says that she asked her husband for a divorce, partly because of what she was going through with coming forward as a #MeToo survivor. (Dixon’s ex-husband and their two children are not in the movie.) But on the bright side, Dixon is shown taking steps to get back in the music industry, as there’s a scene of her mentoring a young singer named Ella Wylde.
Although Dixon gets the majority of the screen time compared to the other accusers, “On the Record” co-directors Kirby Dick and Amy Ziering don’t lose sight of the overall message that they obviously want the film to have: Sexual misconduct should not be excused because of someone’s race, and #MeToo survivors should not be shamed or pressured to keep silent because of their race.
HBO Max will premiere “On the Record” on May 27, 2020.