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R Kelly conviction: will this be music’s #MeToo moment?

“It’s too late,” Robert Kelly, carrying sun shades indoors, smoke billowing up from the cigar in his left hand, toasted with associates. “They should’ve did this shit 30 years ago.”

It was May of 2018 and the R&B artist, referred to as R Kelly, had been keeping off lawsuits because the Nineteen Nineties. But he was underneath renewed scrutiny after BuzzFeed reported that he was holding girls in a “cult-like” setting, requiring them to ask his permission to eat or use the toilet.

Kelly brushed off the allegations, swivelling liquor in a plastic cup as he bragged: “The music has already been injected into the world.”

Three years later, the 54-year-old could be headed to jail for all times. In current weeks 45 witnesses in a Brooklyn courtroom instructed stomach-churning tales about Kelly’s bodily, psychological and sexual abuses. Now, one of many best-selling recording artists in current historical past is lastly going through the implications. The jury on Monday discovered Kelly responsible of all costs of intercourse trafficking and racketeering, together with sexually exploiting youngsters.

It is little surprise why Kelly beforehand felt invincible. He had endured a long time of allegations and lawsuits, every one systematically delayed or settled, as music executives and employees seemed the opposite method whereas his star rose. Kelly’s enduring hits comparable to “I Believe I Can Fly” dominated major college graduations, at the same time as black girls sued him for abusing them as youngsters.

“Nothing trumps the almighty dollar in the music industry,” stated Jim DeRogatis, a Chicago music journalist and critic who has reported on R Kelly’s transgressions for greater than 20 years. “Much more so than film, politics, any other realm in #MeToo, there’s this image of the ‘bad boy’ hip hop or rock n roll star.”

R Kelly performs at the pre-Grammy gala in 2011
R Kelly performs on the pre-Grammy gala in 2011 © Mark J Terrill/AP

Kelly’s comeuppance, thought of probably the most high-profile felony conviction in trendy music historical past, has shed an uncomfortable mild on the practices of an trade that has made a fortune from these “bad boys”. 

The artist bought greater than 40m albums over the course of his profession. Even as listening waned this yr because of his public shame, his former label RCA has made almost $2m in royalty income, Billboard estimated in August.

In 2017 the #MeToo movement swept the movie and tv industries as reporting uncovered the abuses of Harvey Weinstein and others, toppling scores of highly effective titans of enterprise and politics. But with just a few exceptions, the music enterprise has not undergone the identical second of reckoning that was felt elsewhere in Hollywood or company America.

Many widespread musicians, together with David Bowie, Bob Dylan and Michael Jackson, have been accused of sexual misconduct through the years. Lurid tales abound of rock stars seizing upon starry-eyed teenage followers.

However, with Kelly’s conviction, music now has its Weinstein — a singular determine whose acts have been too pervasive and heinous to be ignored. But will the trade change this time?

When the music stops

In some respects, Kelly has already been muted over the previous few years. He has been nearly erased from the radio and dropped by report labels Sony and Universal. Kelly’s month-to-month Spotify listeners have halved from greater than 8.3m in 2018 to 4.9m as of this week, in accordance with Chartmetric knowledge. But this determine nonetheless places him on par with acts comparable to Stevie Nicks and The xx.

As he faces monetary crises, Kelly not too long ago sounded out buyers to purchase his share of his songwriting catalogue, in accordance with folks approached by the singer. Yet a listing stacked with monster hits is now a fireplace sale; even Merck Mercuriadis, the chief who has gobbled up hundreds of catalogues at eye-popping costs lately, says he has “no interest”.

Barry Massarsky, who values music belongings, stated he “would not touch” the duty of appraising Kelly’s catalogue. “Buyers would be really skittish. We’ve never had to deal with reputational risk before,” he stated. “It’s all about predicting future cash flows, and how would you do that here?”

Yet whereas the trade shuns him now, music executives have identified about accusations in opposition to Kelly for many years.

At the highest of this record is Clive Calder, who made billions by signing teen stars Nsync and Britney Spears, along with R Kelly, constructing his firm Jive Records right into a Nineteen Nineties pop powerhouse. Calder instructed the Washington Post in 2018 that “clearly we missed something”, however added that he was “not a psychiatrist”. 

After Kelly was arrested for little one pornography costs in 2003, Barry Weiss, Jive’s chief govt from 1991 to 2011, instructed the New York Times: “For better for worse, he’s got to stay true to his audience. R Kelly’s got to be R Kelly.”

Weiss instructed the FT that when he made that remark, he had “no idea of the extent of the reprehensible behavior that was going on”. 

Weiss stated that contracts usually forestall report corporations from dropping an artist until they’re convicted of a criminal offense. “Once you sign them, you’re locked into a contract,” he stated. “[The artist] is not an employee. They don’t work for you. It’s a work for hire agreement.”

Even now, there may be little to point that both Weiss or Calder’s careers have been impacted by their affiliation with Kelly. Last yr, trade bible Rolling Stone featured Weiss in a glowing sequence about “industry leaders”, whereas Calder is retired within the Cayman Islands, having bought his empire for $2.7bn.

Calder couldn’t instantly be reached for remark.

“Executives are paralysed. They are burying their heads in the sand,” stated Drew Dixon, a former A&R govt who has accused music mogul Russell Simmons of rape. “The notion that this dysfunctional culture is necessary to produce the magic of a hit record is a cop-out.”

Drew Dixon
Drew Dixon, a former A&R govt who has accused music mogul Russell Simmons of rape, which he denies © Getty/Equality Now

Dixon in her early 20s landed her dream job: scouting expertise for Def Jam recordings the place she labored with artists such because the Notorious B.I.G. But she ended up leaving the corporate after she alleges Simmons raped her. She would finally exit the trade solely. Simmons has denied Dixon’s allegations and has stated all his relationships have been consensual.

Kelly will be in jail for not less than 10 years. Yet his music will stay on, as report corporations and streaming providers level fingers at one another over who ought to be accountable to resolve whether or not to take his songs offline.

Sony’s RCA and Universal Music every personal chunks of Kelly’s copyrights. Neither firm promotes his work and each have dropped Kelly from their roster. But they hold his music online.

One main label govt on the pair, talking anonymously, defended the selection to maintain Kelly’s music out on the earth, arguing that eradicating it might punish the co-writers of his songs who nonetheless earn a living from them. Another govt stated the streaming providers ought to make the decision on what content material they host.

Spotify in 2018 briefly eliminated Kelly’s music from its highly effective playlists, however reversed the coverage just a few weeks later, stating on the time: “We don’t aim to play judge and jury.” 

Sony, Universal Music and Amazon declined to remark for this story, whereas Spotify and YouTube didn’t reply to requests for remark.

Dixon says she is discouraged by the relative silence from huge musicians and music executives this week. “R Kelly is the sacrificial lamb,” stated Dixon. “They decide: we’ll cut off that appendage and keep it moving.”

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