Black-Talent Snatching: The Road to White Wealth

An entire white business infrastructure has been established that feeds directly from the talent of Black athletes, musicians, dancers, singers, comedians, and artists of every kind, who have set the standard for excellence in the entertainment field. White business people, with no discernible talent (save their access to a whites-only money supply), sit firmly over a massive wealth-generating enterprise no different from the old Southern post-slavery sharecropping model, while deriving incredible profits entirely from Black cultural genius.

Unmistakably, Black culture rules the entire world of entertainment, and Black physical prowess and athleticism are the core attraction of the most popular spectator sports. It is not unusual to see an entirely Black starting lineup for professional football and basketball games, the two most popular spectator sports. All noteworthy sports records are now in the hands of Blacks, or soon will be. Rap music has totally engulfed the youth of every nation that hears it, just as did blues, jazz, and rock & roll before it. Hip Hop in every nation and language fuels everything, from the nation’s dance parties to its commercial advertising to its political revolutions.

Originally, whites like Al Jolson and George Burns made careers by actually painting their faces pitch black, affecting a mock Black dialect, and dancing and singing like Blacks for the white audiences that thronged to see them. They called themselves “coon singers” and “minstrel singers,” and the very first Broadway shows and Hollywood movies all featured these blackface performers. European composer Gunther Schuller said: “The blacks have always invented the music. The whites take it over. Then the blacks invent something new.”

He was describing the culture bandits—the Gershwins, the Elvises, the Pat Boones, the Hall & Oates, the Claptons, the Osmonds, the Timberlakes, the Winehouses, the Eminems, the Backstreet Boys, and the Madonnas. Today, the charts are filled with the pale-skinned wannabes of the Motown legacy, including Adele, Duffy, Justin Bieber, Robin Thicke, Iggy Azalea, Meghan Trainor, Joss Stone, Sam Smith, and Macklemore. These imitators are simply going where the money is and catering to a white consumer that needs to see his/her entertainers singing Black whilst being white.

But those who sit behind the scenes counting the cash have always maintained an exclusive hold over the incredible riches and talent. The business agents, managers, producers, publishers, distributors, and copy- writers; the team owners, coaches, lawyers, vendors, media, advertisers, studio heads, etc.—a colossal financial enterprise—are almost entirely white, and, just as in the post-slavery sharecropping South, overwhelmingly Jewish. For every talented Black athlete and entertainer, there are thousands of whites siphoning a living for their families. The names of the stars are well known, but in America there are at least 403,000 people making on average $45,000 a year off the backs of these Black individuals in the fields of performing arts, spectator sports, and related industries.

A Jewish man named Joe Glaser came to be manager of many legendary Black jazz artists, including Duke Ellington, Billie Holiday, and Louis Armstrong, upon whose talents Glaser and his family grew wealthy. Armstrong is considered by many to be the greatest jazz artist of all time. In 1955, he nevertheless had to beg his manager and “best friend”—Joe Glaser—for his own money, quite pathetically pleading for “a little chance to govern myself.” Armstrong lightened the potentially offensive request by adding: “I just love your checks in my pockets—‘Oh’ They look so pretty…” An ingratiating Armstrong told Glaser that the Black man should “always have a White Man (who like you) can and will put his Hand on your shoulder and say— This is “My” Nigger’ and, Can’t Nobody Harm’ Ya.’” Armstrong referred to Glaser as his “Boss Man” and signed off his letter as “Your Boy.” He wrote that he “loved” Glaser because “He seemed to understand Colored people so much.”

The major recording label Capitol Records maintained a contract over the great musician Nat King Cole, who recorded more than 150 singles that reached the Pop, R&B, and Country charts—a record that has yet to be matched by any Capitol artist. His records sold 50 million copies during his career. Cole generated so much money for the white-owned record company that its iconic thirteen-story, earthquake-resistant building—the world’s first circular office building, erected in 1955—was nicknamed “The House That Nat Built,” in recognition of the enormous revenue-generating power of Capitol star Nat King Cole. Cole’s name, however, appears nowhere on his record company’s deed of ownership


The individual Black performer who becomes a “star” sometimes realizes a measure of personal financial gain, but the real money is that which (s)he generates: a behind-the-scenes business operation that is highly lucrative and exclusively white controlled.

From the new book How White Folks Got So Rich, which has achieved a 5-star rating on and become an underground bestseller. We have reports that it has been used as money by Black inmates in the prison system.