blacks praising Adele = blacks praising a white Jesus?

[L. Deezy]

It's still black radio. It's the reason radio if formatted to target different demos. Same for the billboard lists that tracks them.

lol... thank god for adult contemp.. But, yall straying away from my point.

 

[GrindtooFilthy]

This is what I don't get. You're calling out Black people for liking Adele's music, but then completely throw Beyonce under the bus. Then you prop up James Fauntleroy (who is more of a songwriter than he is a recording artist). All this boils down to is "I'm going to hate this popular artist and I'm going to use race to justify why you should hate them too. I also hate this popular artist because they don't make the type of music I feel they should be making, so I'm going to justify it by saying they make music that makes an entire race look bad. Last, here's an artist that I do like, but because the artists I don't like are popular, the artists that I do like remains underrated and overlooked".

nah he's 100% right and he's not mad about his favorite artist not becoming popular, he's mad because people can't form their own opinion and rely on the opinion of others

 

[IllmaticDelta]

lol... thank god for adult contemp.. But, yall straying away from my point.

it's urban adult

 

[GrindtooFilthy]

real instruments isn't cool anymore..

as a producer let me bring something things into this, the urban community is about sound progression. what the people want when it comes to instruments is sonics (aka how something sounds) not necessarily skill level

you can play a 4 chord progression on piano or guitar but it would sound boring once you probably heard it on a synthesizer, which is why i advise nikkas if you wanna make it you need to understand music theory, learn how to play piano (or any instrument), and the most important thing is to learn sound design that will be your bread and butter for the next few decades


if you're a good singer, you actually don't need autotune but nikkas just like slapping it on cause it sounds nice, like when you put some reverb on an acoustic guitar you don't need to but it just makes the overall aesthetic sound more pleasing

 

[Roland Coltrane]

Idk whether this nikka is insane or genius

he's 100% correct

 

[Vaulkner]

I don't even care about this kinda music but i'd smash the shyt outta Adele

 

[IllmaticDelta]

And yeah Beyonce caught a stray....NOT because she's Black. But because she's got a big voice, can do any type of project she wants, and simply chooses to make forgettable pop music....on top of being Black. I'd be fine with Beyonce if she did a mixture of R&B/soul stuff to go along with her Pop, but her catalog is very forgettable given her immense vocal talent. She has access to the top writers/producers in the world, yet REFUSES to take any creative chances. And that's the sad part.

Beyonce has never been a true or traditional soul artist. She's always been "HipHop-Soul" and the thing with HipHop Soul is that it's not selling anymore when black people do it. It's the same reason why Rihanna jumped from HipHop Soul to Dance-Pop. If she put an album closer to trad/neo soul, it would flop.

This whole thing is crazy. Black artists have to dumb down their music, put autotune on their voice, limit their talent, can't use chords anymore b/c we've conditioned young Blacks to think that true singing/real instruments isn't cool anymore......

another thing I wish people would stop saying. Even within HipHop a good deal of these "beat makers" play instruments. Even many of the guys that make the HipHop you hate





go to a random black church and you will we a ton of younger kids playing instruments

Zaytoven comes from the black church school of music

The Close Ties Between Zaytoven & The Church

HipHopDX: Let's discuss your introduction to music, when you were a child. Your father was a preacher and your mom was a choir director. Did you start on the piano because you wanted to or because your parents wanted you to be a part of the church as well?

Zaytoven: Nah, it was something I wanted to do. I was at church so much — choir rehearsals because my mom was the choir director and my dad was preaching. So typically when you're at church so much at that age, you're looking for something to do to keep you entertained. I started off playing the drums. That's what I really wanted to do at first. But that was the same instrument all the other little boys wanted to go play. It was a line to try and play the drums. So Sunday morning service, you might get to play one song. Looking over at the keyboard and the organs, nobody really wanted to play them. So I said, "Let me learn how to play the organ or the keyboard."

DX: Are you still involved with the church?

Zaytoven: Yeah, most definitely. I'm still the main musician at the church I play at. I'm there every Sunday — two services a Sunday, sometimes three. Choir rehearsals on Tuesday and any other event that they have, I make myself available.

DX: Have you had a chance to compose any music for the church?

Zaytoven: Most definitely. Me and the choir director, we come up with songs all the time.

DX: Has it been difficult to separate church life from studio life?

Zaytoven: No, not really. I grew up in church. Things that I value and believe in haven't changed at all. It doesn't matter who I'm around. That's one thing about being a producer: I'm there to help produce a song but I don't have to be involved in everything that goes on.

Zaytoven Balances His Christian Faith With Making Trap Music For Migos & Gucci Mane | HipHopDX


.
.

or



(piano and bass)

Okay. Well, talk to me about growing up in a musical household. Your dad was in a funk band. What influence did that have on you?
Yeah, my dad was in Lakeside and one of my uncles played with The Isleys and all their friends did music and I met all the old '70s and '80s dudes. I’m cool with Teddy Riley, one of the greats. It was cool, definitely a lot of knowledge got picked up from them, wisdom, or whatever you wanna call it—you know, this music shyt. I know how to play all instruments, anything but brass basically, and I’m sure if I bought a horn I could figure that out.

How many instruments can you play?
Everyone one of them except any that has to do with lips. Horns, I don’t know how to do that, but anything with the figures or beating on some shyt—I do that.

Do you have a favorite instrument?
Bass, probably because it was the easiest to learn because it's like one note at a time.

Ty Dolla $ign Just Wants to Be a Man | NOISEY

then a white person comes along, does the same thing we WERE doing and it sells. Not only does it sell, but Black ppl love it.

Black people love it when black people do it too but it's not going to sell like when white people love something

EDIT: Just to be clear, I have no problem with Adele. This is really the fault of Black/urban music radio stations and on a larger level, BET.

It has nothing to do urban radio or BET. It's a matter involving changing tastes in popular music and the larger consumer audience and sacrificing your art to reach that audience who happens to be white. Like I posted in another thread..

it has to do with oddness of soulful white singers being able to sound black vs nothing special about blacks, sounding black. Same thing we saw with Eminem within HipHop




From 2011

British phenom Adele and rapper Eminem are two of the music industry’s best-selling artists, having moved millions of units and digital downloads this year. Aside from their commercial success, there’s also something even more unique about both: they are part of an exclusive cadre of white artists who have hit it big with musical styles that make them popular amongst both mainstream and black audiences.

That is no easy feat, as the road to the Billboard charts is littered with so-called “blue-eyed soul” singers whose successes can be ephemeral. Though it may be hard to remember now, there was once a time when the likes of mainstream artists such as Madonna and New Kids on the Block were once mistaken for black singers, or wholeheartedly embraced a soul-infused sound. In the intervening years, numerous other artists ascended to stellar heights singing rhythm and blues (R&B) or rap music.

Over the last few decades, however, a once lengthy list populated by names like Teena Marie, Lisa Stansfield, and Dusty Springfield has been culled to a much smaller number. Those who remain – such as U.K. divas Joss Stone and Amy Winehouse – have seen endless amounts of ink spilled about their relevance and staying power within a genre whose singers are overwhelmingly black.



So why exactly do white soul singers catch fire in ways some black artists don’t? Theories abound, but one major factor may be society’s deeply ingrained beliefs about how white artists should sound.

“It’s fair to say that blue-eyed soul artists have always flirted close with being novelty acts, not because that’s their intention but because of society’s rigid, racial assumptions…that turns any white person who can credibly sing [into] a black aesthetic,” Oliver Wang, a sociology professor at California State University-Long Beach, told TheGrio.com.

Wang, the author of Classic Material: The Hip-Hop Album Guide, says that the preponderance of talented black singers can turn comparable white artists into an irresistible curiosity to mainstream audiences. Therefore, blue-eyed soul singers “seem extra special whereas, if a black artist sounded identical, that’s not seen as necessarily remarkable.”In other words, black singers may be victims of their own talents. Audiences are fickle, and will gravitate to the first thing that looks unusual.

“Thanks to shows like American Idol, society is starting to get numb to the black girl who can sing her ass off,” quipped Steve “Funkworm” Butler, a Chicago-based independent music producer and blogger. “Most believe that they can walk into any black church on Sunday morning, close their eyes, reach into the choir stands, and pull out a exceptional singer. And this is partially true.”

For that reason, ambient resentment toward blue-eyed soul artists has festered for years – most notably when George Michael (who has since gone pop) scored a controversial win in the R&B/Soul category of the American Music Awards back in 1989. That led to misguided assertions that white singers might be ‘taking over’ a medium pioneered by blacks for blacks.

“The larger issue is just that African Americans have had to be more protective of their cultural capital just because it’s the only capital that they had,” explains said Joseph G. Schloss, a professor at Baruch College in New York and author of a book on hip-hop culture in New York. “So it’s not so much about the music as it is about preserving resources for the community.”

Virtually since R&B was in its infancy, white singers have had a place in the genre in ways large and small. For some, the flameout comes quicker than others: several Caucasian soul singers have suffered a painfully short half-life. In many instances, these artists cross over into even more successful pop careers.

Fairly or not, the permutation from soul to pop has led to some accusations that white singers cynically manipulate black audiences to achieve mainstream career advancement. Industry observers acknowledge an element of opportunism, but add that it’s also contingent on how faithful the individual singer is to his or her black audience.

“It’s more about the artist working to maintain a relationship with the African American community as much as it is about their specific musical choices; and each can influence the other,” Schloss said. “I think Teena Marie would be a perfect example of that.”

The majority of white soul singers and rappers (Eminem being the among the most prominent examples) work hard to maintain the loyalty of black audiences. Yet there’s little doubt that some blacks view white artists with suspicion. Here’s where territoriality rears its head: because soul has historically been black, some may resent the encroachment of white artists on this turf.

But what determines whether a blue-eyed soul singer explodes like Robin Thicke, or fizzles quicker than neo-soul crooner Remy Shand? Timing may be everything, experts say: some argue that only one or two white R&B artists at a time can hold a grip on the public’s imagination successfully.

Evidence strongly substantiates this theory. After all, the prominence of Stone, Winehouse and Adele materialized in successive waves. Once one career cooled, the other’s seemingly gained momentum.

This differs from the paradigm exhibited by black R&B artists, which often sees multiple singers occupying the limelight at the same time.

“The problem with being treated as a novelty of sorts is that there’s usually only room for one at any given time, thus limiting their opportunities,” said CSU’s Wang. “In contrast, you can have Kelly Rowland, Beyonce and Rihanna all chasing after the same market simultaneously.”

For that reason, charges of white soul singers “taking over” seem overblown at best. Particularly because according to industry watchers, the politics of the music business and entrenched cultural preferences can play a decisive role in the career of white soul artists.

“It’s still very hard to break a white singer into the urban market,” Butler argues. “These artists, for the most part, still need to be cuddled by successful black producers or collaborate with successful black artists. That cosign makes it a little easier for them to get accepted by black audiences.”

How white artists keep black music alive

 

[GrindtooFilthy]

SZA's album last year was some

track 4 was fire though

 

[Booker T Garvey]

i kinda get what he's saying, but if this were true then timberlake, miley, beiber, all of them would be doing big numbers too

look at the gap in last weeks album sales charts here:
Building Album Sales Chart | HITS Daily Double

Adele did 3 mil (with only one single released)
Beiber is #2 with 170k

nah, she's just on another level, it's not even about R&B, Pop, Country, White, Black....people just like her music for whatever reason, I don't, but I don't live in a bubble either...give props where they are due

 

[Rawtid]

She makes good music and has an excellent voice. Shes better than some AA artists but not all.

 

[JustCKing]

Another thing to consider is that mainstream R&B used to have crossover records that didn't pander. Remember when R. Kelly had people of different races, ages, and backgrounds in love with "I Believe I Can Fly". Monica had a #1 with "First Night". Alicia Keys hit it big with "Fallin", "You Don't Know My Name", and "No One". Brandy had #1's. You had Mariah Carey killing it. Aaliyah went #1 with "Try Again".

We don't have that now. Mainstream R&B isn't as universal as it used to be. Chris Brown has made some dope records ("Fine China"), but it doesn't get the response that record like "Loyal" does. Same goes for Trey Songz. Dude has a song with Aretha Franklin and has shared the stage with Stevie, but it's not his more soulful records that get airplay.

 

[JustCKing]

In terms of Beyonce, she's proven that Black artists can win with Pop ballads:

 

[Will Ross]

The white person doing black anything is always hyped up

 

[MF budz]

If she spent less time mad at Adele and more time promoting whatever the fukk she wants then she might get something done.

 

[AyBrehHam Linkin]

This is what I don't get. You're calling out Black people for liking Adele's music, but then completely throw Beyonce under the bus. Then you prop up James Fauntleroy (who is more of a songwriter than he is a recording artist). All this boils down to is "I'm going to hate this popular artist and I'm going to use race to justify why you should hate them too. I also hate this popular artist because they don't make the type of music I feel they should be making, so I'm going to justify it by saying they make music that makes an entire race look bad. Last, here's an artist that I do like, but because the artists I don't like are popular, the artists that I do like remains underrated and overlooked".

Lol /thread