Chris Harbem  

Music Biz: Charity Welfare Billionaire Kids Club

Urban music producer Pharrell is the only African descendant of an African slave from a middle class home who is STUPID enough to market to the public something like the Billionaire Boys Club.

Pharrell’s success started after a weaker guy from New York who ran to Virginia to get away from the rough NY city streets named Teddy Riley met him and used song lyrics called “Rump Shaker” that Pharrell had written.

The opportunity GIVEN to Pharrell, however, happened during a time when major record labels were experimenting with Hip Hop culture by giving CHARITY to New York City kids who had seemingly mastered the new American music style.

The hint of an opportunity to profit from such charity gave birth to new independently owned labels who invested into Hip Hop music in an effort to sell to a major label and to the “hungry for something new” public.

Artist such as Timberland, 50 Cent, Alicia Keys, and numerous others received charitable contributions from Sony Music’s Columbia Records nd Warner Music Group's Elektra Records to develop their style of music making into marketable product to be sold to the public.

BMG Music, now merged with Sony Music, gave charitable investments to Hio Hop executive P Diddy who brought Biggie Smalls and Faith Evans and many others, and pop/soul/urban producers LA Ried and Babyface Edmunds; who gave more charitable opportunities to Tony Braxton, TLC, Usher, and many others.  

While at Warner Music Group’s Elektra Records Missy Elliot and urban R\B singer/actress Brandy noticeably later benefited from that same type of charity.

It was the Polygram corporation, now known as Universal Studios’ Universal Music Group, that owned or distributed labels like MCA Records, Motown Records, Mercury Records, Atlas Records, Polydor Records, and Island Records who gave numerous charitable developmental recording opportunities to artist like New Edition who gave birth to Bell Biv DeVoe, who started the Urban style that remained contemporary urban music for 20 years, from urban music producers , Dallas Austin, Jimmy Jam and Terry Lewis, and Teddy Riley, who gave Pharrell his unearned shot at being in the music business.

Pharell’s lack of personal and professional development shines through with his new Billionaire Boys Club project.

The fact is true because Hip Hop is a culture that grew from starving criminals from urban communities who took advantage of business opportunities to profit from selling Opium product, Cocaine, and Marijuana that was distributed into African American communities by the US organized crime families after being brought into the country by primarily African American businessman Frank Green, and Mexican and South American crime cartels.

The African Americans who benefited from the use of the illegal narcotics sold on the streets were seen as the wealthy from the poor urban ghettos of the United States, so the children of their communities tried to be like them, and as a result, some, became like them.

The artwork from those children who were brilliant artists from the culture is now popular worldwide.

Hip Hop artist/producer Pharrell, however, is not from rough illegal narcotic ridden urban streets, but instead a VERY QUIET Virginia Beach, Virginia suburb where no Billionaires boys lived.

Hip Hop and mental illness can be directly traced to each other.

I guess that’s what Pharrell is proving himself to be; an ignorant American black kid not from the streets who wants to combine is ignorant idea of what the streets and the suburbs is all about.

The way to solve the problem is to fully engross Pharrell into true urban culture with the violence and death to surround him. 

I’m more than certain that Pharrell would be killed easily very quickly.

How about someone sit the delusion Virginia boy down and tell him he’s not a little boy any more, and that his Daddy was never a billionaire.

Chris Harbem