Ding Dong, The Grandmaster P*nk is Dead.
Many journalists point to the Disco Demolition Night of 1979 as the death of R&B and the sonically black American sound; However, we can trace the construction of the coffin by the saw dust on the hands of Clive Davis.
If Payola was not enough to stifle creativity and blur the reflection of regional black American, the guerrilla tactics of pitting black artists against one another did.
The supposed rivalry between Phylis Hyman and Whitney Houston destroyed an ecosystem that allowed the likes of Diana Ross, Donna Summers, Chaka Khan, Aretha Franklin and Patti Labelle to all co-exist in.
It became the constitution of “There can only be one.”
“There can only be one.” Echoed the old racist epithets that claimed goodness and worthiness could only be found in a Black American’s servility.
The indentured redesigned by Clive Davis would take form in full control of marketing, 360 deals written in the finest print of shackles shaped letters and the no-entry sign to other black artists whose sound and image were alike.
While Clive Davis and his counterparts forged a mirage of hegemony, seen in the 90s, the 2000s would exposed the machine working the Wiz. With the explosion of the Brandy and Monica feud, the endorsement of D*ddyism and the final chapter of Clive’s most prized “Boxer” (Whitney), it was clear that the trajectory of black superstardom could only survive on the necrosis of a ShouldaWouldaCouldaBeen.
Similar to Orwell’s Animal Farm, it would take seasons after season for Clive to final be crossed out.
The audacious golden ticket of dying in one’s sleep has given me solace for one thing; Surely, on the other side, the great Napoleon of music will answer to the spiritual cry of justice for those he brought to slaughter.
Good riddance, mothaf*cker.