Adele's 7 million albums sold = end of black/urban music?

[jackswstd]

she sold 7 million with this latest album already She's the music equivalent of the new Star Wars flick.

 

[Insensitive]

Rock music is twice as popular as pop in America – but R&B rules streaming




Rock music is twice as popular as pop in America - but R&B rules streaming - Music Business Worldwide

I remember you posting this before.
Dope information but fukk em for measuring R&B and Hip-Hop together.
Soon they will not be treated as separate entities with distinctly lineages but as "the same thing".

R&B/Hip-Hop Hot 100 as a label is like the "Race Records" of yesteryear.

 

[DontEemTry]

At the end of the day Adele has songs that resonate with her audience. Just so happens her audience is mad big.

I can't hate on the broad, its not like she slutted it up to make it. She just wrote some honest songs and people liked it.

Black music has lost a lot in terms of actual talent and musicianship. It's lost a lot of mystery too. Actual songwriting talent is quickly becoming rare and I stand by my opinion that Puffy was the worst thing to happen to R&B. He killed killed the genre when he made it cool to sing over hip-hop beats.

The end result is this lazy shyt we hearing on the radio now, where when you hear real R&B nikkas get confused and call it wierd.

I stopped fukkin with R&B and went back to Jazz. Funny thing is Jazz also went through a crisis like this and then when nikkas saw that the money from the watered down bullshyt stopped coming in they went back to the basics, jazz for the love of the art form.

R&B needs to die for it to be reborn. Ain't got shyt to do with Adele.

 

[IllmaticDelta]

Black presence on Billboard has been increasing exponentially in recent years, black artists dominated 2015, Weeknd, Wiz, Omarion, Silento (Nae Nae guy) & Fetty ran radio, black artists ran the streaming charts also and until the last few weeks of the year the highest selling albums came from black artists. African Americans are actually way over represented in the music industry have been for decades, but AA don't look at it like that, you look at it like you should be just as covered as people who have way more spending power than you on average and 4x your population To be honest you lot sound entitled, you're lucky that other races consume black music as much as they do in the states because if they supported black artists like blacks support their own you'd really be fukked. Come take a look at the state of the 'urban' industry in England, most of our black musical legends are working 9-5's/still on road & doing music on the side.

I wonder what hispanics think about this, don't they out number you guys now? Yet they're practically non existent in the entertainment industry over there unless they can fit into white or black cultural spaces.

Yes, there are more hispanics but they like black people, don't buy albums by the millions either. I keep trying to tell people on here, that's basically a "white" peoples thing. The other thing is, they don't produce any music that people want to appropriate by the masses so it lesson's their overall representation in the mainstream pop world which has really been linked to the innovations of black american music since the late 19th century.

 

[IllmaticDelta]

The consumption of AA music through industry and/or pop culture is exponentially bigger than most give it credit.
We are 13% of Americas pop. But take into account our percentage ratio to the global population of over 7 billion
The AA cultural footprint is extremely huge for our size

Yup

 

[IllmaticDelta]

Bro. Nobody cares or actually believed in that argument. It's a myth. Black People going out in huge droves to buy Entertainment was never a thing, just propaganda.


That's what I'm trying to make clear to you. That kind of Era you speak of never really existed.



.

blacks went out and supported their musicians but yeah, it was never on the scale that one needs to be multi plat sellers, dominate pop charts or become millionaires. That's exactly what the "Chitlin Circuit" was. These people made a living but only through live show/touring...never from actual physical sales

The fancy name for them is chitterlings: the intestines of hogs — the leavings, after all the prime meat has been carved away — cooked and served as an essential ingredient of soul food. In addition to their important culinary function, they gave their name to an equally important American musical phenomenon: the “chitlin’ circuit,” which flourished throughout the South for about two decades beginning in the late 1930s. The circuit first provided venues in big cities and minuscule crossroads for black-run dance bands — the most famous, and the best, being Jimmie Lunceford’s — and then venues for the pioneers in what was first known as the blues, then as rhythm and blues, then as rock and roll: B.B. King, Joe Turner, Wynonie Harris, T-Bone Walker, Little Richard, James Brown, Ray Charles, et al.

The chitlin’ circuit was more than just music — it nurtured comedians and was championed in the plays of August Wilson — but Preston Lauterbach’s focus is on “how the chitlin’ circuit for live music developed from the late 1930s and nurtured rock ’n’ roll from the early 1940s to the mid-1950s.” Lauterbach, a freelance writer based in Memphis, got more than he bargained for when he decided to write a book about it:

“The chitlin’ circuit story that unfolded through old newspapers, interviews with aged jitterbugs, torn scrapbooks, and city directories crossed unexpected backroads: the numbers racket, hair straighteners, multiple murders, human catastrophe, commercial sex, bootlegging, international scandal, female impersonation, and a real female who could screw a light bulb into herself — and turn it on. . . . These are the intertwined stories of booking agents, show promoters, and nightclub owners, the moguls who controlled wealth throughout the black music business. Until records eclipsed live shows as the top moneymakers, new sounds grew on the road and in nightclubs, through the dance business rather than in the recording studio. Though the moguls’ names are not recognized among the important producers of American culture, their numbers rackets, dice parlors, dance halls, and bootleg liquor and prostitution rings financed the artistic development of breakthrough performers.”

Though the artists who were shaping their music and their careers on the chitlin’ circuit during the late 1940s and early ’50s eventually became known to a national audience that crossed and transcended racial lines, at the time they worked in an almost entirely black world that was virtually unknown to the “pop” (i.e., white) world. When Billboard magazine in 1949 “renamed its African-American music bestseller list from ‘Race Records’ to ‘Rhythm and Blues Records,’ ” however, it was a sign of change. Still, Lauterbach makes an important point:

“Influential gatekeepers have tended to treat ‘rhythm and blues’ as a genre-defining term rather than what it was, a marketing phrase, shorthand for black popular music in whatever form happened to be selling. The standardized definitions of rock ’n’ roll, courtesy of institutions such as the Rock and Roll Hall of Fame and Rolling Stone magazine, emphasize a fusion of black rhythm and blues and white country-western sounds, as if the two styles brought distinct elements to a new mixture. While that certainly applies to Bill Haley and Elvis Presley, some of the first rock ’n’ roll stars as such, it implies a shared primacy that simply didn’t exist at the true dawn of rock ’n’ roll. While black music was clearly rockin’ by 1949, country and western fans delighted to the sounds of yodels, waltzes, accordions, fiddle, and steel guitars — great stuff, but not the stuff of rock ’n’ roll.”

What happened to the music that was nurtured on the chitlin’ circuit was, of course, what has happened to black music throughout American history: Whites discovered it, fell in love with it and adapted it — “covered” it, to use the music-business term — to suit their own gifts and tastes. The great musical wave that brought rock and roll into being in the mid-’50s certainly profited many black musicians, among them Little Richard, James Brown, B.B. King and Ray Charles, but the greatest attention and financial rewards mostly went to whites. After the rise of rock and roll, black music moved into the mainstream as it never had before, but the music business then, as now, was owned and operated by whites for whites.

“The Chitlin’ Circuit,” by Preston Lauterbach, about pre-rock black music.


chitlin circuit acts never appeared on "white" charts or radio until they crossed over to white fans, who brought their albums in larger numbers. Great example here

@ 6:25.... @ 6:46 "The sales of blues was not that great when the fan base was pred black" and @ 7:26 "things changed rapidly for R&B when white american teenagers with cash to spend, caught on to black music"

 

[DJDONTNOBODYPAYME]

blacks went out and supported their musicians but yeah, it was never on the scale that one needs to be multi plat sellers, dominate pop charts or become millionaires. That's exactly what the "Chitlin Circuit" was. These people made a living but only through live show/touring...never from actual physical sales

“The Chitlin’ Circuit,” by Preston Lauterbach, about pre-rock black music.


chitlin circuit acts never appeared on "white" charts or radio until they crossed over to white fans, who brought their albums in larger numbers. Great example here

@ 6:25.... @ 6:46 "The sales of blues was not that great when the fan base was pred black" and @ 7:26 "things changed rapidly for R&B when white american teenagers with cash to spend, caught on to black music"

No doubt.


I wouldn't say that Artists shouldn't strive for those numbers everytime they put somethin out (as One should). But going Multi-Plat for the "everyday artist" [for lack of a more better word] on the regular like that is kinda like some Trojan Horse shyt .

 

[Booker T Garvey]

anybody remember PERSPECTIVE RECORDS?
Perspective Records - Wikipedia, the free encyclopedia

this was JIMMY JAM/TERRY LEWIS' label, they were an indie-major on UNIVERSAL record label...their roster included: MINT CONDITION, SOUNDS OF BLACKNESS, LO-KEY, and later on SOLO

these acts went GOLD regularly, got air-play on URBAN radio, toured the country, just never shattered any sales records - but had respectable sales. all of these artists fan bases were primarily, if not 100% = BLACK. this is not debatable, this is not something i made up for the COLI, in fact, this is what their primary purpose was for the label - cover our R&B/SOUL (no hip hop) demographic.

yet here we are...in 2016...muthafukkas arguing that in order for black artists to sell anything over 100K, they need white $$ and it's ALWAYS been this way

Jadakiss said in an interview once "after 700K it's all white people!" i know you all have seen that interview before...was he lying? his numbers were way off?

I find it incredibly ignorant for anybody, of ANY race, to argue that black people have such a strong record of stealing and bootlegging, that any artist that legitimately went GOLD did so off the strength of WHITE dollars. have you nikkas smoked so many blunts and drank so much lean that you can't even REMEMBER the 90's!? everybody had CD's. EVERYBODY.

 

[DJDONTNOBODYPAYME]

Bro you need to do some more History. Getchur head stuck outta the 80s




Black folks LOVE the 80s, I swear

 

[Wild self]

At the end of the day Adele has songs that resonate with her audience. Just so happens her audience is mad big.

I can't hate on the broad, its not like she slutted it up to make it. She just wrote some honest songs and people liked it.

Black music has lost a lot in terms of actual talent and musicianship. It's lost a lot of mystery too. Actual songwriting talent is quickly becoming rare and I stand by my opinion that Puffy was the worst thing to happen to R&B. He killed killed the genre when he made it cool to sing over hip-hop beats.

The end result is this lazy shyt we hearing on the radio now, where when you hear real R&B nikkas get confused and call it wierd.

I stopped fukkin with R&B and went back to Jazz. Funny thing is Jazz also went through a crisis like this and then when nikkas saw that the money from the watered down bullshyt stopped coming in they went back to the basics, jazz for the love of the art form.

R&B needs to die for it to be reborn. Ain't got shyt to do with Adele.

Puff really a cancer to black music

Working hard on everything BUT the quality.

 

[Booker T Garvey]

Bro you need to do some more History. Getchur head stuck outta the 80s




Black folks LOVE the 80s, I swear

this was the 90's....don't make me hit you with another neg fam.

 

[Wild self]

Bro...I just posted fukking black artists who sold millions of records and went diamond...did none of them have black fans? And I'm not arguing Adele standing with black people I'm arguing that Black people not buying records like they used to in combination with records being moved solely by white artists = danger for the Black artist trying to get their due. Ain't no fantasy about what I said because ain't nothing fantasy about the artist's I named.
How about instead of arguing about the highest selling artist right now, we buy records from our artists? But of course nikkas too lazy for that.

I'm tired of nikkas saying this and that artist is so relevant and run shyt but they're never relevant enough to spend $10 bucks on. Make Future double platinum. Make Ross platinum. Make Thug platinum. Make Kendrick multiplatinum. For all this stannery Drake gets, he should he doing prime 50 numbers. All these "street platinum" "street diamond" artists could go REAL platinum if we wanted. Since black folks "run the pop culture", give our artists big debut weeks and second weeks and watch white folks who buy get curious and add on. Which is what happened with an album like GKMC. You're defending black people never buying records (which is not true) and not buying records today because you probably want to continue to not buy them.

But in 2025 when every artist presented to us is white (because no artist gets national attention without big budgeting period) nikkas will wonder what happened.

But continue believing black people never supported their artists though.

 

[DJDONTNOBODYPAYME]

this was the 90's....don't make me hit you with another neg fam.

Fool the 80s and the 90s is the same thing to Black People. Nothing happened before then and nothing happened after that.


You're comparing a 20 year time frame, perpendicular to when Retail Entertainment Sales were at their peak overall to an entire History of music

I don't know where you lived at either but everybody has Bootlegs . I've personally been makin my own since 97'-98' on a Radio & Cassette Tape.



This whole Thread pretty much put your lack of knowledge on front street. Literally

 

[IllmaticDelta]

anybody remember PERSPECTIVE RECORDS?
Perspective Records - Wikipedia, the free encyclopedia

this was JIMMY JAM/TERRY LEWIS' label, they were an indie-major on UNIVERSAL record label...their roster included: MINT CONDITION, SOUNDS OF BLACKNESS, LO-KEY, and later on SOLO

these acts went GOLD regularly, got air-play on URBAN radio, toured the country, just never shattered any sales records - but had respectable sales. all of these artists fan bases were primarily, if not 100% = BLACK. this is not debatable, this is not something i made up for the COLI, in fact, this is what their primary purpose was for the label - cover our R&B/SOUL (no hip hop) demographic.

yet here we are...in 2016...muthafukkas arguing that in order for black artists to sell anything over 100K, they need white $$ and it's ALWAYS been this way

Jadakiss said in an interview once "after 700K it's all white people!" i know you all have seen that interview before...was he lying? his numbers were way off?

I find it incredibly ignorant for anybody, of ANY race, to argue that black people have such a strong record of stealing and bootlegging, that any artist that legitimately went GOLD did so off the strength of WHITE dollars. have you nikkas smoked so many blunts and drank so much lean that you can't even REMEMBER the 90's!? everybody had CD's. EVERYBODY.

if most white acts went from 2-5x platinum to going gold or less in this modern climate whats the big deal if blacks went from gold (500,000) to 50,00-100,000? I find the white market dip on their own white acts even more alarming since there are more white people with more money to spend/waste

 

[Booker T Garvey]

Fool the 80s and the 90s is the same thing to Black People. Nothing

stopped reading after this. this will be the last time i address you on this forum.
you're just trolling and you're lucky i'm not a moderator

if most white acts went from 2-5x platinum to going gold or less in this modern climate whats the big deal if blacks went from gold (500,000) to 50,00-100,000? I find the white market dip on their own white acts even more alarming since there are more white people with more money to spend/waste

Napster killed the "old model" so everybody's sales are down, everybody knows this.
but at the same time 50 cent came well after the napster era and sold a ton of records
these last 5 years have been brutal for R&B/HIP HOP sales, everybody isn't gonna sell 5 million albums, that's exceptional in ANY era
but when the #1 hip hop and R&B artists are barely going platinum