He employed a bevy of talented African-American musicians, creative staffers, writers and, producers. He utilized technology to build his own recording studios, a managing division, and signed to long-term contracts most of the talented African-American singers of the time. During Motown’s infancy, he created music that not politically or racially polarizing. He did this so that the music he produced would not be perceived as being polemic to the consumers, as his target audience was not just the young, but those who were also the parents and grandparents of that generation. The music he produced and marketed was not perceived by the people who bought the records as inspiring sexual acts, rebellion against authority figures, etc., instead, its sound inspiring people to have fun and just dance. Later on, he did allow some Motown’s artists such as Stevie Wonder and Marvin Gaye to record songs whose lyrics were political. Though reluctant, he permitted the politicizing of the music because of the shift in Americans’ attitudes towards certain things, especially tolerance and acceptance. The Civil Rights Act of 1964 was in the forefront
He employed a bevy of talented African-American musicians, creative staffers, writers and, producers. He utilized technology to build his own recording studios, a managing division, and signed to long-term contracts most of the talented African-American singers of the time. During Motown’s infancy, he created music that not politically or racially polarizing. He did this so that the music he produced would not be perceived as being polemic to the consumers, as his target audience was not just the young, but those who were also the parents and grandparents of that generation. The music he produced and marketed was not perceived by the people who bought the records as inspiring sexual acts, rebellion against authority figures, etc., instead, its sound inspiring people to have fun and just dance. Later on, he did allow some Motown’s artists such as Stevie Wonder and Marvin Gaye to record songs whose lyrics were political. Though reluctant, he permitted the politicizing of the music because of the shift in Americans’ attitudes towards certain things, especially tolerance and acceptance. The Civil Rights Act of 1964 was in the forefront