Black Artists Chronicle Long-Standing Exploitation in the Music Industry
From the early days of “race records” to the streaming age, Black musicians have repeatedly been squeezed out of the profits they earned.
In the 1940s and 1950s, record labels carved out a separate category called “race records,” selling them exclusively in Black neighborhoods. Although sales were high, the artists received little or no royalties. Little Richard, a pioneer of rock‑and‑roll, later recounted that he earned nothing from his own recordings because he was unaware of how to demand payment. The practice also encouraged white artists to record sanitized covers of Black songs. Pat Boone’s 1956 cover of Little Richard’s “Tutti Frutti” reached the pop charts while the original did not, and Richard received no share of Boone’s sales.
Prince’s career illustrates a more modern form of exploitation. After signing with Warner Bros. Records at 19, he struggled to secure ownership of his master recordings. In 1999, he publicly announced that he would re‑record his catalog to regain control, a strategy that predated the high‑profile re‑recording campaigns of later artists. Prince’s online NPG Music Club, launched in 2001, allowed him to distribute music directly to fans before the advent of mainstream streaming services. In 2014, Warner Bros. returned Prince’s masters to him under a new agreement that also required him to release two new albums through the label.
Sam Moore, the lead singer of Sam & Dave, pursued a lawsuit against the American Federation of Television and Radio Artists (AFTRA) Health and Retirement Funds in 1993. He claimed that the organization had miscalculated his earnings, resulting in a pension of only $2,285 and a monthly payment of $67, far below the $3 million he estimated he should have earned. The nine‑year legal battle concluded with an $8.4 million settlement for the class, though Moore received only a fraction of the total.
In 2020, Megan Thee Stallion filed a lawsuit against her former label, 1501 Certified Entertainment, alleging that the contract was “unconscionable.” She claimed the label took 60 % of her earnings and required her to pay producers, mixers, and featured artists from the remaining 40 %. The suit also alleged that the label prevented her from releasing new music. The parties settled in 2023, freeing Megan from the contract.
These cases highlight several systemic issues: unequal royalty distribution, opaque pension calculations, and contracts that favor labels over artists. While some artists have successfully reclaimed masters or secured settlements, the broader industry still relies on legacy practices that can leave Black musicians underpaid. The rise of direct‑to‑fan platforms and streaming services offers new avenues for control, but only if artists are equipped with transparent accounting and legal support.
The music community continues to push for reforms that address royalty transparency, fair contract terms, and equitable distribution of streaming revenues. As more artists share their experiences, the industry faces increasing pressure to overhaul practices that have historically marginalized Black creators.
The current situation remains mixed: while high‑profile artists have reclaimed masters and secured settlements, many independent Black musicians still navigate contracts that limit their earnings. Continued advocacy and legal scrutiny are essential to ensure that future generations of Black artists receive fair compensation for their work.
