Grand Theft Culture(You are being replaced)

Grand Theft Culture...

The services of black people are no longer needed.  It is clear that black people create…Europeans imitate.  They seem to have a fascination with black culture but despise black people. They like jazz,hip hop and r&b music.  But they feel it’s better if delivered in a white package.

Mac Miller...

Yelawolf...

Joss Stone...

Machine Gun...

G Eazy...

Sam Smith...

No one has been more overhyped than gay singer Sam Smith.  His music is constantly on the radio.

Christina...

Adele..

And the only white singer more overhyped than Sam Smith is probably singer Adele. White people love this woman.  Some white music critics have called her sound the “new soul”.  I beg to differ.  Her voice doesn’t move me like black soul singers. Adele’s voice is closer to someone like Celine Dion than someone like Aretha Franklin. Many black singers like Marvin Gaye or Al Green have songs that touch your spirit and bring you to tears.  White singers like Justin Timberlake and Robin Thicke can’t quite pull that off. Adele has a decent voice.  But it’s nothing if you compare her voice to singers like Patti Labelle,Anita Baker,Whitney Houston,Nina Simone,Chaka Khan or Gladys Knight.  They make her sound average at best.

How did Major Record Companies take control of Black Music?(Part1)

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To understand how major corporate record
entities manipulated control of black music, we have to go
back in time to dissect an elaborate, complex, financial and
legal methodology.
It is the common story of large businesses swallowing up
smaller businesses, but in this instance, there are some
unique peculiarities needing closer inspection.
This story begins in the 1980s with the sale of Motown
Records, a once black-owned record company, to MCA
Records and Boston Ventures Limited Partnership. The
Afrikan American community felt a great loss of one of its
cherished institutions. Around that same period it seemed
like war had been declared against the survival of black owned
record companies. Solar Records was involved in a
suit, counter-suit with Warner Brothers Records for control
of its assets. Sussex Records, a once fast growing black owned
record company, was forced to cease doing
business for tax reasons. Philadelphia International
Records, a quality black-owned record company, was
under the distribution control, lifeline to its financial survival,
of CBS Records (also known as Columbia Records).
These are mammoth events virtually placing the dominance
of recorded black music in the hands of major record
companies. The hidden agenda may have been the closing
of all doorways towards the development of full service
(production, manufacturing, distribution) black-owned
record companies in America. Had this occurred, as improbable
as it seems today, it is possible that black
record companies would have ultimately controlled a larger
or equal percentage of the music business, competing with
major record companies.
It was told to me by Dave Parker (oldest promotion man in
the business at that time), that of the $500 million dollars
made in 1987 by CBS Records, approximately 80% was
from black music. black-owned record companies were
obviously seen as a potential threat to the control of the
music market.
The battle to control market share can best be understood
by looking into the case of Stax Records. In the 1970s, it
was the largest, most diverse black-owned record company
in the music industry. Stax artists roster included such stars
as: Isaac Hayes, Otis Redding, Al Green, Rufus and Carla
Thomas, The Staple Singers, Booker T. & the MGs, and
more. It also had a jazz label, blues label, gospel label, and
even a comedy label where such artists as: Bill Cosby,
Richard Pryor and Jackie “Moms” Mabley launched their
careers.
This era paralleled the turbulent 60s, with the social,
cultural, political and musical climate being fueled by the
black Consciousness Movement and the Viet Nam Peace
Movement. The financial profits generated by black
recording artists and the phenomenal success of black
films and soundtracks caused black entertainment
businesses to be closely monitored.
Stax Records reached several peaks with the
overwhelming success of “Wattstax.” The live concert of
Stax artists in the Los Angeles Coliseum attracted some
one hundred and twelve thousand black people, without
incident. It produced a film of the same event that was seen
worldwide, and was the first to get into the revolutionary
technique at the time, video production.
The success continued when Isaac Hayes, one of Stax top
artists, won the Oscar for best original film score for “Shaft.”
This was during a time when black record companies (Stax,
Sussex, Motown) had the lion’s share of black artists. The
major record companies, not to be left behind, sat up, took
notice, determined to find a way to control the lucrative
black music market.

CBS Records took an aggressive lead by hiring Logan
Westbrooks, a pioneer in black music marketing, to
maximize their profit margin in black music. When
Westbrooks joined CBS, he was unhappy with the way
records by black artists were being marketed. “There was a
vice-president of pop promotion, and the person that
headed the black music division would report to that
individual.
My position was that we should have a complete and
separate marketing division reporting directly to the Vice President
of marketing, which is the same way that the
White side was structured. That also was on the premise
that CBS realize that the black market is a separate entity
and should be approached from a black marketing
standpoint as opposed to the way it had been done in the
past. They bought it.