As more reports are unearthed in the alleged assault by R&B star Chris Brown on fellow star Rihanna, some troubling details have emerged that beg for keen investigation. Several news sites have reported that not only was domestic violence against Rihanna a frequent occurrence in the relationship, but many industry executives and directors might have been aware of it, and instead, decided against any efficient intervention into the matter. Worse of, is the revelation that the pop stars might have officially broken up their relationship a week, or two, before the Grammy Awards on Feb 8, 2009, but were instead, in the interest of selling a public image, urged to keep up the act—a decision which might have inspired the tragic incident that took place that faithful day.

The music industry has a history of such antics, and it comes as no surprise to this author that it seemed to be more interested in the public image it hoped to sell, of these two young stars, than their emotional stability. Really, the boogeyman behind the curtain is Capitalism, and with the music industry perpetually generated on the ability to sell (lies, products, commodities, items, ideas), the sky has become limitless, in its avaricious desires. Such traces of arch-capitalism were employed in the early days of Rock ‘n Roll and Motown, when record labels, to incite more white consumers, released albums, made by black artists, with covers that featured images of white kids, or sometimes, white singers. This scheme which helped deny black artists their rightful due went on for decades, without any specific moral intrusion. The artists knew the powerlessness they possessed, especially in comparison to the strong-arm of the music industry, and would rather remain tight-lipped, in the face of such dehumanization.

With this context, it is presumable that both Chris Brown and Rihanna might have sensed something wrong in the demands of their A&R directors, but refused to speak up candidly against them, for fear of retribution. Most female artist have learned, over the years, to play the game safe, if they desire a fruitful successful career in the sexism-filled, misogyny-controlled world of the music industry. In a 2005 article titled "Love Hurts- ‘Rap’s Black Eye’," journalist Elizabeth M. Berry documented the penalties several female rap artists or critics faced, following their public critique of the misogynistic elements commercial Hip-Hop music abhors. It quoted a prominent make-up artist as concluding that, "people are unwilling to come forward and talk about what’s going on. They’re scared that they’ll lose their jobs." Those who cast their fears aside, however, soon became Public Enemy No. 1 of the industry. These women dared speak out courageously, but payed a steep price for it. What ensued were death threats, vicious e-mails, and all-out character-assassinations. The vituperative reaction the women were confronted by all happened under the watch of the industry. In many instances, they were encouraged by it. As one industry-victim would acknowledge, following her documentary on male violence against women, a courageous indictment against industry-sanctioned patriarchy can be quite costly. Liza Rios, the former-widow of the late-Bronx lyricist Big Pun, revealed that, following her documentary, "The industry closed a lot of doors to me, I guess it made them uncomfortable."

In this vein, most upcoming—successful and unsuccessful—music stars are more likely to acquiesce to the demands of the industry, rather than obstructing whatever unimaginable plans it has, in attempts to promote and package them. Pushing an artist against his/her will seems to be of little concern to the industry. Most artists, who, upon time, come to accept this reality, ultimately submit themselves to the visions industry marketers can concoct, and adapt themselves to the narratives drawn out for them. “Gangsta rappers” are no exception to this rule. The same methodology used to sell and promote a concept, in the world of f Rhythm & Blues, is used in convincing audiences to buy into the characters, played out by those considered “Gangsta rappers,” the industry wishes to sell. The same laws which govern the daily lives of R&B stars are administered in the lives of commercial Hip-Hop artists.

With the R&B train and commercial Hip-Hop train now running on parallel tracks, it has become easier for certain artists to, at the urging of their labels, alternate between the two genres. This deadly exercise, fueled by the industry, is what might encourage an artist like Chris Brown to engage in acts that would be hurtful to his, otherwise, harmless, puppy-eyes persona, that allures millions of teenage girls. Because he can rely on his commercial Hip-Hop demographic, the instinct to curtail his desires and impulses can lessen.

The music industry, whether it likes it or not, is complicit in the assault Rihanna suffered, and if this encounter does not account to a life-lesson, I’m not exactly sure what will.