Copyrights 2025

Written By:
Allen Johnston
Music Specialist

Big Joe Turner

The idea that major record labels will be devastated by the wave of artists reclaiming their
copyrights is almost laughable, especially when considering what these labels currently own
and control.

Major record companies have long relied on their back catalog as a built-in revenue stream.
Sales of CDs, digital streams, vinyl, and live performance recordings continue to sustain them
while revenue from new artists remains unpredictable. Over the decades, these corporations
have strategically structured the industry in their favor.

During the 1980s, major labels executed a plan that dismantled independent Black and White
retailers while securing dominance over distribution. They introduced the SoundScan system,
offering free computers to independent store owners and coalitions. This initiative gave labels
direct access to sales data, allowing them to pinpoint which catalog titles were consistent
sellers. With this knowledge, they could optimize manufacturing costs while maximizing profits.

Since they owned the copyrights, they essentially paid themselves through mechanical,
synchronization, and performance publishing rights.Recording contracts from that era—and even before—ensured that major labels retained nearlyall revenue streams from copyrights. Artists were left with only a fraction of publishing revenue, limited performance royalties, and sometimes a cut of merchandising. PA (musical composition) and SR (sound recording) copyrights for nearly every hit song before 1984 remain under the ownership or control of a major label or one of its affiliates. For instance, Sony Music might control the SR copyright of a song, hold at least 50% of the PA copyright through contractual agreements, and place the composition within its wholly owned publishing division. This setup allowed money to circulate internally, with one corporate division paying another. Additionally, many artists had taken advances against royalties, leading to labels claiming ownership over original songwriter shares as well.

Artists affected by these agreements include, but are not limited to: Aretha Franklin, Marvin Gaye, Otis Redding, Ray Charles, Chuck Berry, James Brown, Clyde McPhatter & The Drifters, Big Joe Turner, The Temptations, Little Richard, Wilson Pickett, Fats Domino, The Dominoes, Sly & The Family Stone, Lloyd Price, Martha & The Vandellas, Parliament-Funkadelic, The Four Tops, The Isley Brothers, Jackie Wilson, Smokey Robinson & The Miracles, Kool & The Gang, The Supremes, Frankie Lymon & The Teenagers, Earth, Wind & Fire, and many more.

Even in the worst-case scenario, where some artists reclaim their rights, major labels will simply renegotiate with savvy copyright owners who have financial leverage. For everyone else, it will remain business as usual—offering advances in exchange for new contracts.

These catalogs retain immense value in the digital age, particularly in streaming, film and commercial licensing, and corporate partnerships. With their industry connections, financial muscle, and technological infrastructure, major labels remain well-positioned to continue profiting from these assets.

Black Business in Colonial America

By Karleton Thomas

As enslaved Africans gained their freedom in colonial America, they used the labor activities

learned in slavery to start a new life. Across the cities and towns of this nation, free Blacks set

up agribusinesses. They took up as bricklayers, gunsmiths, shoemakers, nurses, and innkeepers

to form the initial steps of the Black business community. Collectivism underlined the economic

activity of free Blacks in colonial America as they worked to establish independence in an

outwardly racist society successfully.

Those days are long gone, and blatantly racist laws, such as those barring credit to free Blacks,

no longer sit on the books of American cities. By comparison, the discriminatory laws of today

hold little weight when viewed next to laws in place during colonial America. Few, if any, Black

businesses of that time were allowed to grow outside of the community, but colonial-era Black

businessmen thrived when compared to those of today.

Many arguments have been made regarding the decline of the Black business community -

integration, angry white mobs, racist laws, etc. Though all contributing factors, none can fully

explain the demise of the Black business community. As markets opened up and Blacks were

able to walk through doors closed to previous generations, one would expect burgeoning Black

business metropolises to follow, but despite our best efforts, that never happened.

Today, most Black businesses fail within four years. For all the businesses being started by

Black entrepreneurs today, 87% will gross less than $15,000. Most can be categorized as

lifestyle businesses - entities run by its founder for the benefit of its founder. That’s a hard sell in

a community but despite this, the age of individualism looms on. It wasn’t the angry mobs or

racist laws that first slowed and then stalled progress, it was the varying motivations developed

amongst the Black community. Now, instead of a few options, Blacks were able to chart

individual pathways designed for their sole benefit. This produced outstanding, singular results,

but for many Black entrepreneurs the lack of community has proven to be an insurmountable

obstacle.

Our formerly enslaved, African ancestors practiced collectivism because pulling together to

ensure a chance at survival. Collectivism does not make much sense today but the principals

live on in cooperative business practices. A cooperative business model is one that responds to

the needs of all stakeholders; employees, customers, suppliers, the local community, the

environment and future generations, as well as investors. The adoption of the cooperative

business model as the framework for current and future Black business communities presents

two huge benefits: the recirculation of Black dollars and low unemployment.

The Black dollar and its effect or lack thereof has been well documented across academic

journals. At one point, it was reported the average lifespan of the Black dollar in the Black

community was six hours compared to 28 in Asian communities. That fact was proven to be

false but when the majority of businesses in Black communities are owned by individuals who

do not live or hire from that community - the truth is not far away. It is safe to assume that over

$.50 of every dollar spent leaves the community.

When a business in the Black community is owned by someone who lives and hires from the

community - we all benefit. Cooperative business models present a number of workforce

development opportunities for free Blacks who have been denied entry to the traditional job

market. As more cooperatives are formed, unemployment in those areas will dramatically

decrease, so will crime, drug use, and dependence on government programs. Grocery stores

wholly owned by the community can employ 100’s of employees with an invested interest in that

venture's success. They would live and work in the same area - tending to and protecting their

future.

Buffalo Soldier Project, San Angelo Texas, and Black History

By Lamont Jack Pearley

In this episode of the African American Folklorist, I speak with Sherley Spears, NAACP Unit 6219 President, Vice President of the National Historic Landmark Fort Concho Museum Board, and founder of the Buffalo Soldier Project. The National Historic Landmark Fort Concho Museum preserves the structures and archeological site features for pride and educational purposes, serving the San Angelo, Texas community. 

Sherley Spears

NAACP Unit 6219 President, Vice President of the National Historic Landmark Fort Concho Museum Board, and founder of the Buffalo Soldier Project.

One significant story coming from Fort Concho and the San Angelo community is the contributions and community development of and by the Buffalo Soldiers. On July 28, 1866, Congress passed the Army Organization Act, allowing African American men including many former slaves to serve in the specially created all-black military units following the Civil War.  The original troops were 9th and 10th Cavalry and the 38th, 39th, 40th, and 41st Infantry.  In 1869, the four infantry regiments were reorganized to form the 24th and 25th Infantry. Eventually, troops from each of these regiments served at Fort Concho. These black troops would be given the name ”Buffalo Soldiers," allegedly, by the Indian tribes because of their dark, thick, curly hair resembling buffalo hair. Fort Concho, originally established in 1867, was built for soldiers protecting frontier settlers traveling west against Indian tribes in the area.

Buffalo Soldiers

Buffalo Soldiers of the American 10th Cavalry Regiment

A notable member of the San Angelo community was Elijah Cox, a retired soldier from the 10th Cavalry. While never stationed with the Buffalo Soldiers at Fort Concho, Cox lived and worked many jobs there. He was a well-known musician and played for many of the socials and events held at Fort Concho. Elijah was a fiddler, he and his son, Ben played for all of the dances at the Fort. Elijah, born and remained a freeman, settled in San Angelo, Texas, and would learn the songs of the slave from ex-slaves now soldiers. Elijah would become the traditional bearer of these songs as he played fiddle, guitar, and sang. You can hear my podcast on his story here. 

FULL NEW EPISODE FEATURING SHERLEY SPEARS

These, and much more crucial historic narratives are being preserved by Ms. Sherley Spears and the organizations adamant of raising the awareness of African American contributions to the establishment and sustainability of Fort Concho & San Angelo, Texas.