Serena Williams: Validation through Dilution

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There has been much fanfare about the new August cover  of Vanity Fair.  It features tennis great Serena Williams.  The black woman’s body is a beautiful sight to behold.  And a pregnant woman is a glorious representation of new life.  So when I saw the pregnant Williams I first thought it was beautiful.  Then I had to remind myself that she was carrying a white man’s seed.  But Williams is not alone in doing this.  It seems many black athletes,singers,politicians and actors love to dilute their black genetics.  Here’s a short list of black and (some biracial) people who over the years have continued to whiten their bloodline…

Ira Aldridge, Maya Angelou, Kofi Annan, Pearl Bailey, Amiri Baraka, Charles Barkley, Harry Belafonte, Julian Bond, Ed Bradley, Carol Mosely Braun, Lonnie Bristow, Avery Brooks, Georg Sanford Brown, Clarence Williams III, Johnetta Cole, Ward Connerly, Sammy Davis Jr., Father Divine, Frederick Douglass, Marian Wright Edelman, Olaudah Equiano (aka Gustavus Vasa), Franz Fanon, Roberta Flack, Henry Louis Gates, Clarence Gilyard, Cuba Gooding Jr., Berry Gordy, Dorien Harewood, Ken Hamblin, Calvin Hernton, Chester Himes, Gregory Hines, Michael Jackson, LaToya Jackson, Reggie Jackson, C.L.R. James, Rick James, Jack Johnson, James Earl Jones, Quincy Jones, Vernon Jordan, Monica Kaufman, Eartha Kitt, Earl Klugh, Ramsey Lewis, Wynton Marsalis, Ali Mazrui, James McDaniel, Bobby McFerrin, Barbara McNair, Edwin Moses, George Padmore, Clarence Page, Floyd Patterson, Scottie Pippen, Sidney Portier, Richard Pryor, Seal, Lou Rawls, Alphonso Ribiera, Dennis Rodman, J.A. Rogers, Roxie Roker, Diana Ross, Richard Roundtree, Leopold S. Senghor, O.J. Simpson, Mike Singletary, Kanye West, Michael Jordan,Taye Diggs, Kobe Bryant, Iman, Alfre Woodard, Garcelle Beauvais,Marcus Allen,Zoe Saldana,Derek Luke, David Oyelowo,Omar Hardwick,Kristoff St. John, Shelby Steele, Clarence Thomas, Melvin Van Peeples, Ben Vereen, Alice Walker, Hershel Walker, Walter White, Charles V. Willie, Montel Williams, Fred Williamson, Richard Wright, and William Julius Wilson.

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Why are we so desperate for white acceptance? Do we not value our African phenotype?  Why do we want to dilute our black genetics?  We are a beautiful people.  We are beautiful with our full lips,dark skin and African textured hair.  We don’t have to be mixed to be considered attractive.  We are taught to hate our own reflection. Over hundreds of years of imperial indoctrination,slavery and colonization we have lost knowledge of self.  They gave us  European mythology full of false white gods and black demons. This is evident by the fact that our most intelligent,successful and athletic even want to reproduce with their oppressor.   Many of these athletes and entertainers don’t see the beauty in themselves.  They can only see beauty in their biracial offspring.  Something that looks less black.  Something less hue-man. They feel by accepting the white penis or  white vagina will exclude them from black pain.  They think by kissing white lips they wont be spat upon by white racism.  But this is delusional. This shows how deep rooted the self hatred can be. Africans are the oldest people on the planet.  The black man is the Original man.  The black woman is the Original woman and the standard of beauty.  All these other races are subspecies. European culture is anti-African by it’s very definition.  But the reality is we don’t need their acceptance or consent for anything.  All we have to do is accept and love ourselves. And once we do that we’ll be taking the first steps in reclaiming power and control over our own destinies.

How did Major Record Companies take control of Black Music?(Part 2)


In order to approach the situation scientifically, CBS
Records commissioned the Harvard University Business
School to do a study. Westbrooks served as the
coordinator. The title of the study was, A Study of the Soul
Music Environment Prepared for Columbia Records Group.
The Harvard team was officially titled the “Columbia
Records Project Group.” In his book The Anatomy Of A
Record Company: How To Survive The Record Business,
Westbrooks outlined some of the key rationales for the
study.
First, CBS wanted to determine the profit potential, so they
would not forfeit any market share. Second, CBS wanted to
examine the crossover potential (crossover indicating
crossing over from the Soul chart to the Pop chart in the
music industry trade magazines, or as many described it,
from the black chart to the White chart). Charts contribute
heavily to records being played on radio.
In 1972, when the study was conducted, CBS Records had
only two acts they felt could effectively penetrate the black
market: Sly Stone and Santana. “The following
recommendations were suggested to correct this: purchase
already developed talent rosters from companies like
Philadelphia International Records, Stax Records; revive
and re-establish proven talents (Isley Brothers, O’Jays, Lou
Rawls); take breaking groups and break them bigger (Earth
Wind and Fire, Harold Melvin and the Blue Notes); buy into
breaking trends (Jazz Fusion through Miles Davis and his
‘alumni’: Weather Report, Headhunters, Mahavishnu
Orchestra), and perpetuate success, Michael Jackson.”
Westbrooks.
The results of the study were quite striking. For instance,
CBS Records developed a black Music Marketing Division
that was copied throughout the industry by every major
record company doing business in black music. CBS
increased its artist roster from two progressive black oriented
acts in 1972, to one hundred and twenty-five in
1980 – the largest roster of black artists in the industry.
Michael Jackson broke all previous sales records with his
album “Thriller,” anticipating another big one with his next
album, “Bad.” At that time he was the number one music
artist/entertainer in the world. The bittersweet side of this, it
institutionalized black popular music, but it caused other
forms of music: blues, jazz and folk music to suffer virtual
elimination on most radio play lists and concert bills.
According to the study, it created more jobs for blacks, a
point that must be clarified. Though dozens of blacks were
employed to capitalize on this new found market, if the
discontinued black-owned record companies had survived,
hundreds of blacks would have been employed.

Ironically, Clive Davis, President of CBS Records during the
time of the study, denies ever having used it, “I went ahead
on creative feel, intuitive reasoning and common sense, not
because I had any study or blueprint. I’ve never read that
study, I’ve never seen it, and I’ve certainly never used it as
a blueprint. [The study] did not form the basis for any move
that I made,” Westbrooks.
According to Verdine White, bass player for Earth Wind and
Fire, “Columbia did a Harvard study on black music. Clive
followed the Harvard study in terms of the viability of black
music. He really made black music his goal. By signing us,
Philadelphia International, Bill Withers, and Herbie Hancock
(Miles was already on the label), they wanted to make a
change.” Mr. White said that since the 1920s and Bessie
Smith, Columbia had not been successful with black music.
Ray Barnes, a successful record producer at the time (late
1980s), suggests that there
may have been a hidden agenda behind the Harvard study.
He speaks of a conversation
he had with a top black executive associated with the study
(Westbrooks): I met with him
and he had just left the major company that he was working
with (CBS). He said, Im going
to tell you something about this industry that will probably
surprise you. He said, when I
was working for the major company, they had me do a
study on what it was that enabled
black people to make the kind of music that they do. He
said, the industry realized that
black people influenced from 75 to 90 percent of all music
made in America and the world. So that meant that these
people, black people, have the influence which influenced
almost all the music. The danger that was happening at
that time was: you had Motown, you had Stax, you had
Sussex. You had these black record companies at that time
who had the majority of the black acts.
He told me that CBS, Warner Brothers, Atlantic, Polygram,
all of them got together to do
this study. They wanted to find out what it is that makes
black music what it is. The idea is
that, if we can find the ingredients, then maybe we can
make the music without black
people. Then we wont have to have them. We can make
the music ourselves.