The Business Of Culture: How Black Storytelling Drives Global Trends

Key Concepts

Independent Creators: The growing importance of individual creators who have an "allegiance to nothing but the absolute truth," in contrast to legacy media.
Authenticity: A recurring theme, described as the key to breaking through algorithms and connecting with audiences, both for content creators and musical artists.
Black-Owned Media Strategy: The need for black media entities to have a specific point of view and target a niche audience, as "black culture isn't a monolith."
Creator Economy: The business side of content creation, emphasizing that strong community relationships and repeat clients are more valuable than large follower counts.
Equity Ownership: A financial strategy for creators to build long-term wealth by negotiating for equity in the brands they partner with, rather than just accepting one-time payments.
Conviction vs. Convenience: A framework for evaluating corporate DEI commitments, distinguishing between brands that genuinely believe in the cause (conviction) and those that retreat when it becomes difficult (convenience).
Innovation from Marginalization: The concept that the most creative and innovative ideas often come from marginalized communities who have had to "make lemonade out of lemons."
AI as an Equalizer: The perspective that AI presents a unique opportunity for the black community to dominate new industries because the knowledge gap is currently equal across all demographics.

The Rise of Independent Creators and Authenticity

Shanay Ingleton Smith argues that independent creators are "more important now than ever before" because there is a need for voices with an "allegiance to nothing but the absolute truth." She observes that much of her own news consumption now happens on platforms like TikTok, as traditional and legacy media often have allegiances that result in a "filtered perception of what's actually true."

For aspiring creators, her advice is straightforward: "you just got to start." She recommends a simple setup like a tripod and an iPhone to begin documenting and sharing one's story. The key to success, she states, is authenticity. "There's no one who can do you better than you," she explains, adding that "authenticity is the best way to sort of break through the noise and break through the algorithm."

Strategy for Black-Owned Media (The Root Case Study)

The discussion turns to the recent return of The Root to black ownership under Ashley Allison. Van Jones emphasizes that the significance is not just that she is black, but that she is "black and brilliant." He believes her leadership will counter the "dehumanization of black people" that has occurred in the five years since the peak of the Black Lives Matter movement. Jones argues that the focus should be on telling "the human story of what's going on... in our houses," covering issues like the disproportionate job losses among college-educated black women, which he notes is "not even a news story."

Marcus Collins offers a strategic framework for The Root. He advises the publication to first establish a clear "point of view of the brand." He argues that "black culture isn't a monolith" and that black media outlets are unfairly expected to represent all "permutations of blackness." His advice is to:

Define an Ideology: Determine what the brand believes and how it sees the world.
Use it as a Curatorial Lens: This ideology should guide all storytelling.
Target a Specific Audience: Focus on the people who share that worldview, whether it's "HBCU culture... Jack and Jill... whatever those different permutations... may be."

Authenticity vs. Commercial Success in Music (Hip-Hop)

Tina Davis reflects on the origins of hip-hop, which she notes was rooted in authenticity, with artists talking about what was happening in their neighborhoods. She references Russell Simmons's description of it as the "CNN of the ghetto." While acknowledging that the industry has shifted towards artists sounding similar, she sees a resurgence in the demand for authenticity. She advises artists to be true to themselves while perhaps incorporating a "little piece" of current trends, but not "selling out."

As a case study, she discusses Empire's early investment in the artist Shaboozey. Davis explains that as an A&R professional, "if you're looking for what's working right now, you're late." One must think "5 to 6 years" ahead. She describes Shaboozey as a unique "six five Nigerian African American with Wicks in his head" who is genuinely "urban country, hip hop and R&B all together." Empire invested with the confidence that the country music industry would eventually have to "catch up" to his authentic, genre-blending style.

Building a Creator Business: Beyond Follower Counts

Shanay Ingleton Smith dispels a major misconception in the creator economy. She states, "the people with the most followers aren't usually the people who are making the most money. It's actually the people with the strongest relationships and who have the most repeat clients."

She provides a powerful example:

Case Study: Janet Naylor: An influencer with her largest platform at 500,000 followers. After launching a business with Kensington Gray, she drove $600,000 in sales within the first three weeks.

Smith breaks down the math for building a million-dollar business: "It really only takes 10,000 people to spend $100 with you to make $1 million." The key is cultivating a true community of people who have "intimacy" with the creator and are willing to invest their "hard earned dollars" in them, rather than just being passive observers "with their popcorn."

Navigating Public Scrutiny as a Public Figure

Van Jones addresses the challenge of handling public scrutiny in an era where any statement can be clipped and critiqued online. As a live television commentator, he describes his work as a "real time high wire, no net, no do over," unlike content creators who can do multiple takes. He presents two paths for public figures:

Play it Safe: Only say things that appeal to your base.
Challenge Your Audience: This requires immense self-love and doing the majority of the work "off camera" through prayer, meditation, and self-forgiveness.

He offers a crucial perspective on criticism: "It's completely unrealistic and unfair to be a public figure and only want people to notice when you get it right, and then to be mad when people notice when you get it wrong. That is not how it works."

Financial Wisdom for Creators

When asked what a creator should do with their first big paycheck, the panel's advice was unanimous and practical.

Tina Davis: "Save it... Don't buy a chain." She stresses investing in things that "appreciate," like real estate, and avoiding the trap of living above one's means to project an image of wealth.
Shanay Ingleton Smith: "Ask for equity ownership." She argues that creators are often the "lifeline for these brands" and should negotiate for a stake (e.g., 10-15% equity) in exchange for their endorsement. She cites historical examples of this strategy's success:
- Allen Iverson's deal with Reebok, which set aside funds for him to access later, ensuring long-term wealth.
- Jason Weaver's mother negotiating for equity in The Lion King for his singing role as Simba, resulting in him still getting paid to this day.

Reclaiming the Narrative: DEI, Marketing, and Black Culture

Marcus Collins addresses the corporate pullback on DEI commitments, framing it as a matter of "convenience and conviction." Brands that retreated did so because it became inconvenient, revealing a lack of true conviction. He cites Ben & Jerry's, who sued their own parent company (Unilever) to protect their activism, as an example of true conviction.

He then presents a powerful argument about the source of cultural innovation:

"Innovation comes from marginalization." He posits that because black people have been one of the most marginalized groups in the U.S., they have become the most creative. "That's why we cook the best, the music sound the best, our vibes are best... Everything comes from us because we are coming from a place with less and therefore we make more out of it."

Collins critiques the exploitative stance of brands that "tap into culture" or "hijack culture." He argues that culture should be seen as "a place to give, not a place to take." Marketers and brands are obligated to "pay homage and pay respect to the humans that actually made those things happen."

AI as a Tool for Empowerment and Domination

Van Jones presents a highly optimistic view of Artificial Intelligence for the black community. While acknowledging that black people are "threat sensitive for a reason," he urges them to also be "opportunity sensitive." He describes AI as part of a massive "disruption wave" where "the floor is going to be torn out, but the ceiling is going to be torn off too."

His core argument is that AI represents a moment of true equality:

"99.9% of black people don't know anything about AI. I say that's true. And 99.9% of white folk don't know anything about AI either... That's called equality."

This level playing field, he argues, is a historic opportunity. Connecting back to Marcus Collins's point, Jones declares that giving the "most innovative, the most creative" people in the world—who created a global art form from "two turntables and a microphone"—the "most powerful creative tools ever" will lead to domination, not just catching up. He concludes by noting that the very minerals powering AI (cobalt, copper) come from Africa, and that "African genius is going to dominate this thing."

Synthesis & Conclusion

The discussion highlights a pivotal moment in media, culture, and technology. The power is shifting from legacy institutions to authentic, independent creators who can build deep, monetizable communities. For these creators and for black-owned media at large, success requires a clear strategic focus, financial savvy that prioritizes long-term equity over short-term cash, and the resilience to navigate public scrutiny. The panel argues that brands must move beyond performative, "convenient" support for black culture and instead contribute with genuine "conviction." Finally, emerging technologies like AI are framed not as a threat, but as an unprecedented opportunity for the black community to leverage its inherent innovation and creativity to lead and dominate in the next economic and cultural era.