ABSTRACT
The variations in the system of inclusion or exclusion, depending on one's perspective, are based on the values and biases of each society. This chapter demonstrates the variety of ways in which the global cultural economy is not a universal model of rules and principles but maintains the cultural codes of particular places. It explores forms of exclusion in Bollywood, Hollywood and the Jamaica music industry. The chapter discusses the concept of intersectionality and focuses on certain bases of inclusion to make the argument, but understand the interesting nature of bases of exclusion. It deals with reggae-dancehall to show the contrast with cultural expression or product associated with marginalised people. When 'ghetto people music' becomes economically valuable, cultural credibility becomes cultural capital. The chapter also discusses the longevity of stereotypical representations even in the face of diversity measures in the United Kingdom.
