The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
“That’s just the way it is,” you say? Sounds like something Black artists in the past heard while signing away their publishing because they couldnโt afford legal representation. Guess what? Many Black artists still canโt afford attorneys. So how are we supposed to also have the records, clothing, videos, stage shows, direction and a budget? Would Stevie Wonder or Whitney Houston have been marginalized because they didnโt walk into the room with a specific number of followers and their own budget? Thatโd be hard in any year considering how many Black people grow up at or below the poverty line. Itโs even harder in the year of COVID-19.
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
The part of the story that keeps getting overlooked is how that mistreatment brought about the use of similar tactics by Black execs against their own. Itโs known within our community that you prefer to sign white artists doing Black music because of the monetary bottom line. However, you have no problem hiring a Black songwriter, producer, musician, vocal coach and more to help these preferred artists be acceptable in the Black community.
“That’s just the way it is,” you say? Sounds like something Black artists in the past heard while signing away their publishing because they couldnโt afford legal representation. Guess what? Many Black artists still canโt afford attorneys. So how are we supposed to also have the records, clothing, videos, stage shows, direction and a budget? Would Stevie Wonder or Whitney Houston have been marginalized because they didnโt walk into the room with a specific number of followers and their own budget? Thatโd be hard in any year considering how many Black people grow up at or below the poverty line. Itโs even harder in the year of COVID-19.
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
Itโs no secret that most of you have been limited in your abilities at labels. However, there are some who’ve had the ability to do more but just havenโt. Weโre all aware of the history of countless Black artists being denied basic artistic rights like publishing, promotion and โ as simple as it sounds โ room and board. We also know about Black artists whoโve had music stolen and repackaged by white artists.
The part of the story that keeps getting overlooked is how that mistreatment brought about the use of similar tactics by Black execs against their own. Itโs known within our community that you prefer to sign white artists doing Black music because of the monetary bottom line. However, you have no problem hiring a Black songwriter, producer, musician, vocal coach and more to help these preferred artists be acceptable in the Black community.
“That’s just the way it is,” you say? Sounds like something Black artists in the past heard while signing away their publishing because they couldnโt afford legal representation. Guess what? Many Black artists still canโt afford attorneys. So how are we supposed to also have the records, clothing, videos, stage shows, direction and a budget? Would Stevie Wonder or Whitney Houston have been marginalized because they didnโt walk into the room with a specific number of followers and their own budget? Thatโd be hard in any year considering how many Black people grow up at or below the poverty line. Itโs even harder in the year of COVID-19.
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
Some may ask about the timing of this message. However, the timing couldnโt be more appropriate. Itโs been more than two months since the initial call for accountability and reconciliation with regard to systemic racism in the music industry. While there may have been some headway created for execs, public silence seems to indicate that those voices have been pacified and itโs back to business as usual.
Itโs no secret that most of you have been limited in your abilities at labels. However, there are some who’ve had the ability to do more but just havenโt. Weโre all aware of the history of countless Black artists being denied basic artistic rights like publishing, promotion and โ as simple as it sounds โ room and board. We also know about Black artists whoโve had music stolen and repackaged by white artists.
The part of the story that keeps getting overlooked is how that mistreatment brought about the use of similar tactics by Black execs against their own. Itโs known within our community that you prefer to sign white artists doing Black music because of the monetary bottom line. However, you have no problem hiring a Black songwriter, producer, musician, vocal coach and more to help these preferred artists be acceptable in the Black community.
“That’s just the way it is,” you say? Sounds like something Black artists in the past heard while signing away their publishing because they couldnโt afford legal representation. Guess what? Many Black artists still canโt afford attorneys. So how are we supposed to also have the records, clothing, videos, stage shows, direction and a budget? Would Stevie Wonder or Whitney Houston have been marginalized because they didnโt walk into the room with a specific number of followers and their own budget? Thatโd be hard in any year considering how many Black people grow up at or below the poverty line. Itโs even harder in the year of COVID-19.
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
Some may ask about the timing of this message. However, the timing couldnโt be more appropriate. Itโs been more than two months since the initial call for accountability and reconciliation with regard to systemic racism in the music industry. While there may have been some headway created for execs, public silence seems to indicate that those voices have been pacified and itโs back to business as usual.
Itโs no secret that most of you have been limited in your abilities at labels. However, there are some who’ve had the ability to do more but just havenโt. Weโre all aware of the history of countless Black artists being denied basic artistic rights like publishing, promotion and โ as simple as it sounds โ room and board. We also know about Black artists whoโve had music stolen and repackaged by white artists.
The part of the story that keeps getting overlooked is how that mistreatment brought about the use of similar tactics by Black execs against their own. Itโs known within our community that you prefer to sign white artists doing Black music because of the monetary bottom line. However, you have no problem hiring a Black songwriter, producer, musician, vocal coach and more to help these preferred artists be acceptable in the Black community.
“That’s just the way it is,” you say? Sounds like something Black artists in the past heard while signing away their publishing because they couldnโt afford legal representation. Guess what? Many Black artists still canโt afford attorneys. So how are we supposed to also have the records, clothing, videos, stage shows, direction and a budget? Would Stevie Wonder or Whitney Houston have been marginalized because they didnโt walk into the room with a specific number of followers and their own budget? Thatโd be hard in any year considering how many Black people grow up at or below the poverty line. Itโs even harder in the year of COVID-19.
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
The Black creative community stands with you in your fight for equality on the executive side of music. But there is still a lingering question: Are you your brothers’/sisters’ keeper? Iโm referring to an element barely mentioned in your narratives, the Black creative: Black artists, songwriters, producers, musicians, engineers and more that you represent. As a Grammy Award-winning songwriter, composer, creative advocate and industry veteran of 15 years, the increasing mistreatment of the Black creative by executives within our community is alarming.
You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
Some may ask about the timing of this message. However, the timing couldnโt be more appropriate. Itโs been more than two months since the initial call for accountability and reconciliation with regard to systemic racism in the music industry. While there may have been some headway created for execs, public silence seems to indicate that those voices have been pacified and itโs back to business as usual.
Itโs no secret that most of you have been limited in your abilities at labels. However, there are some who’ve had the ability to do more but just havenโt. Weโre all aware of the history of countless Black artists being denied basic artistic rights like publishing, promotion and โ as simple as it sounds โ room and board. We also know about Black artists whoโve had music stolen and repackaged by white artists.
The part of the story that keeps getting overlooked is how that mistreatment brought about the use of similar tactics by Black execs against their own. Itโs known within our community that you prefer to sign white artists doing Black music because of the monetary bottom line. However, you have no problem hiring a Black songwriter, producer, musician, vocal coach and more to help these preferred artists be acceptable in the Black community.
“That’s just the way it is,” you say? Sounds like something Black artists in the past heard while signing away their publishing because they couldnโt afford legal representation. Guess what? Many Black artists still canโt afford attorneys. So how are we supposed to also have the records, clothing, videos, stage shows, direction and a budget? Would Stevie Wonder or Whitney Houston have been marginalized because they didnโt walk into the room with a specific number of followers and their own budget? Thatโd be hard in any year considering how many Black people grow up at or below the poverty line. Itโs even harder in the year of COVID-19.
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
An open letter to the Black Music Industry by a Black Music Creative:

The Black creative community stands with you in your fight for equality on the executive side of music. But there is still a lingering question: Are you your brothers’/sisters’ keeper? Iโm referring to an element barely mentioned in your narratives, the Black creative: Black artists, songwriters, producers, musicians, engineers and more that you represent. As a Grammy Award-winning songwriter, composer, creative advocate and industry veteran of 15 years, the increasing mistreatment of the Black creative by executives within our community is alarming.
You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
Some may ask about the timing of this message. However, the timing couldnโt be more appropriate. Itโs been more than two months since the initial call for accountability and reconciliation with regard to systemic racism in the music industry. While there may have been some headway created for execs, public silence seems to indicate that those voices have been pacified and itโs back to business as usual.
Itโs no secret that most of you have been limited in your abilities at labels. However, there are some who’ve had the ability to do more but just havenโt. Weโre all aware of the history of countless Black artists being denied basic artistic rights like publishing, promotion and โ as simple as it sounds โ room and board. We also know about Black artists whoโve had music stolen and repackaged by white artists.
The part of the story that keeps getting overlooked is how that mistreatment brought about the use of similar tactics by Black execs against their own. Itโs known within our community that you prefer to sign white artists doing Black music because of the monetary bottom line. However, you have no problem hiring a Black songwriter, producer, musician, vocal coach and more to help these preferred artists be acceptable in the Black community.
“That’s just the way it is,” you say? Sounds like something Black artists in the past heard while signing away their publishing because they couldnโt afford legal representation. Guess what? Many Black artists still canโt afford attorneys. So how are we supposed to also have the records, clothing, videos, stage shows, direction and a budget? Would Stevie Wonder or Whitney Houston have been marginalized because they didnโt walk into the room with a specific number of followers and their own budget? Thatโd be hard in any year considering how many Black people grow up at or below the poverty line. Itโs even harder in the year of COVID-19.
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
An open letter to the Black Music Industry by a Black Music Creative:

The Black creative community stands with you in your fight for equality on the executive side of music. But there is still a lingering question: Are you your brothers’/sisters’ keeper? Iโm referring to an element barely mentioned in your narratives, the Black creative: Black artists, songwriters, producers, musicians, engineers and more that you represent. As a Grammy Award-winning songwriter, composer, creative advocate and industry veteran of 15 years, the increasing mistreatment of the Black creative by executives within our community is alarming.
You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?
Some may ask about the timing of this message. However, the timing couldnโt be more appropriate. Itโs been more than two months since the initial call for accountability and reconciliation with regard to systemic racism in the music industry. While there may have been some headway created for execs, public silence seems to indicate that those voices have been pacified and itโs back to business as usual.
Itโs no secret that most of you have been limited in your abilities at labels. However, there are some who’ve had the ability to do more but just havenโt. Weโre all aware of the history of countless Black artists being denied basic artistic rights like publishing, promotion and โ as simple as it sounds โ room and board. We also know about Black artists whoโve had music stolen and repackaged by white artists.
The part of the story that keeps getting overlooked is how that mistreatment brought about the use of similar tactics by Black execs against their own. Itโs known within our community that you prefer to sign white artists doing Black music because of the monetary bottom line. However, you have no problem hiring a Black songwriter, producer, musician, vocal coach and more to help these preferred artists be acceptable in the Black community.
“That’s just the way it is,” you say? Sounds like something Black artists in the past heard while signing away their publishing because they couldnโt afford legal representation. Guess what? Many Black artists still canโt afford attorneys. So how are we supposed to also have the records, clothing, videos, stage shows, direction and a budget? Would Stevie Wonder or Whitney Houston have been marginalized because they didnโt walk into the room with a specific number of followers and their own budget? Thatโd be hard in any year considering how many Black people grow up at or below the poverty line. Itโs even harder in the year of COVID-19.
The music business is full of risks. Thatโs common knowledge. But while some of you are too afraid to take any risks, others will only execute business that benefits them on multiple sides of the transaction. When A&Rโs commandeer the budgets of signed artists and steer them to exclusively work with the songwriters and producers they manage in order to get paid on the side, sometimes the quality of music suffers. This business practice and others by executives across many levels might be called โbusiness as usual.โ Most in the creative community call it โunethical.โ Do you intend on doing more of that with expanded powers? Or are you seeking job security when those practices arenโt successful?
Weโve created and waited while youโve claimed to have our best interests at heart. We created for you while you promoted the false narrative that R&B was dead when, in fact, it was alive and well; being performed by artists with faces of a different color. All while youโve acted as though there was no room for more than a few Black artists of a remotely similar nature at a time. All Black people arenโt alike, and neither is the music. For some reason, thatโs not of interest. This criterion doesnโt seem to be as prevalent in other genres for some reason but I know itโs just a โpart of the hustle.โ Honestly, there’s always been a place for hustlers in this industry. Right now, however, there seems to be too many hustlers and not enough music people on the executive side.
We don’t entirely fault you for subscribing to the generational curse of doing bad business. Some of you did so unwittingly. Others did it in order to gain access to the system they used to want to change. Some are just continuing the cycle of mistreatment that they experienced. Weโve seen your actions and you donโt entirely look like victims. Weโve seen some of you using artists as scapegoats for failed business decisions. Weโve seen others monetizing access to the same industry that you wouldnโt have been able to afford getting into. Weโve seen you shut down peopleโs careers because they had an opinion or stood up for themselves. Weโve also seen the few of you who understand the bigger picture, but won’t act or speak up. Weโve seen you but have you seen yourselves?
Weโre in the midst of a historical moment of change we may never see again in our lifetimes. This change can actually be an enduring one, so it should include all of us. These are the conversations that have been going on for years and continue at the present. Youโve initiated the larger conversation but thereโs more than one side to it. Black creatives who are in the trenches every day want to sit down with you and have meaningful conversations about sustainable change. Where are the plans for music business literacy, viable pathways for Black creatives across all genres and more accountability from you, among other things?
The legacies of great Black music executives like Berry Gordy, Clarence Avant and Quincy Jones bring the responsibility for pushing the Black music community forward and leaving it better than you found it. You donโt need permission from white executives to do right by your community. But will you? Are you doing it for the culture or to the culture?