Kedar Massenburg Defends Neo-Soul Against Raphael Saadiq's Criticism

The debate surrounding the term "neo-soul" has reignited, bringing a sharp exchange between its creator, Kedar Massenburg, and R&B singer and producer Raphael Saadiq. Saadiq, known for his work with Tony! Toni! Toné! and a successful solo career, recently criticized the label, sparking a firm rebuttal from Massenburg.

Saadiq publicly denounced the term in an Instagram comment, stating, "Raphael Saadiq, D'Angelo, and Maxwell are not 'neo-soul' artists. Sorry, but that's the truth." He argued that "Neo-Soul was a term created by one Black executive purely as shorthand. It helped labels internally identify which acts would not require crossover marketing budgets—those funds were reserved for pop boy bands." Saadiq further elaborated that the term "signaled to executives in marketing meetings: these Black artists might sell 150k–350k, maybe 500k if they're really good, and 1M at best. It had nothing to do with the sound of the music." He contrasted this with hip-hop, which he described as a rich culture built by the people, suggesting neo-soul was merely "music industry jargon."

Kedar Massenburg, a pivotal figure in Black music culture since the 1990s, firmly rejects Saadiq's interpretation. Massenburg asserts that "neo-soul" was born from culture and represented a movement, not a corporate strategy. He emphatically states, "This ain't no marketing bullshit. This was a movement." He points out that he coined the term in 1995 while he was a manager, not yet an executive, directly refuting the idea that it was an executive-driven corporate label.

Born in 1963 in Flatbush, Brooklyn, Massenburg's journey began far from the music industry's executive suites. He graduated from Erasmus Hall High School in 1981 and Central State University in 1986, later earning a law degree from the University of North Carolina at Chapel Hill. His early career included marketing positions at PepsiCo and SmithKline Beecham Clinical Labs Pharmaceuticals. In 1995, he established Kedar Entertainment from his New York home with a modest $1,700 investment, initially focusing on artist management. He managed pioneering hip-hop acts like Stetsasonic and worked with influential collectives such as Freestyle Fellowship, deeply immersing himself in the Black Power culture of New York.

For Massenburg, neo-soul was fundamentally about identity, carrying a spiritual and cultural message distinct from mainstream R&B of the era. He recalls shaping visual identities that intentionally countered the hypersexualized imagery dominating music videos during the late 1990s. He highlights the deliberate soul presentation in the imagery of artists like Erykah Badu, with her head wraps and Afrocentric styling, D'Angelo's cornrows and vintage soul aesthetic, and India.Arie's natural beauty and introspective lyrics. "It was about the imagery and the message in the music," Massenburg states, adding, "It was about putting pride back into us."

Massenburg's involvement extended deeply into artist development. He discovered and cultivated artists like D'Angelo and Erykah Badu, signing them to their first major recording contracts through Kedar Entertainment. He recalls building D'Angelo's image around classic soul icons like Marvin Gaye, incorporating sepia-toned visuals inspired by Gaye's "What's Going On" and orchestras in videos like "Cruisin'," ensuring every creative decision served a purpose. He remarked, "I thought I had my Marvin Gaye," and "I had my Diana Ross with Erykah." His contributions included sequencing albums, shaping visuals, and guiding entire artistic directions, even contributing background vocals on Chico DeBarge's *Long Time No See* album.

From 1997 to 2004, Massenburg served as President of Motown Records, a position he assumed after already establishing his reputation as a tastemaker. During his tenure, he revitalized the historic label by signing neo-soul talents and re-signing legends like Smokey Robinson. While the term "neo-soul" gained mainstream success in the late 1990s with artists like D'Angelo, Maxwell, Erykah Badu, and Lauryn Hill, reports indicate many artists themselves expressed ambivalence or outright rejected the label, preferring to identify simply as soul artists. D'Angelo, a long-time collaborator of Saadiq, notably rejected the term, feeling it disconnected him from long-standing soul and funk traditions.

Despite this historical ambivalence, Massenburg maintains that his original intent for the term was rooted in a cultural awakening. He argues that "Marketing schemes don't last. Movements do," reinforcing his belief in the authenticity and lasting impact of what he defines as neo-soul. He points to Badu's lyrics referencing "360 degrees of knowledge" and mathematics from the Five Percent Nation teachings, noting, "You never saw my artists looking directly into the camera. Everything meant something."

Today, Massenburg has transitioned his entrepreneurial energy into the spirits and luxury drinks industry. Through his company, Massenburg Celebrity Beverages, he is developing a portfolio that includes a wine joint venture with R&B legend Patti LaBelle's Good Life brand, proprietary liquor brands, and dessert-inspired cream liqueurs designed with people of color in mind. Upcoming releases include sweet potato pie cream, banana cream pie flavor, and an apple-peach pie blend. He also owns Divine 9 Wine & Spirits and a luxury spirits brand called House of Soul, featuring tequila and vodka lines.

While he expresses pride in his musical legacy, Massenburg admits the modern music business no longer fulfills him creatively, lamenting, "I miss artist development. I miss people standing for something." Nevertheless, his influence persists, with contemporary R&B artists like H.E.R., Leon Thomas, and Brent Faiyaz drawing from the lineage he helped establish decades ago. Massenburg remains steadfast in his definition, explaining, "Neo means new. New soul music, reminiscent of our ancestors." The ongoing dialogue underscores the profound impact of labels and definitions within Black music, highlighting the tension between artistic expression, cultural identity, and commercial categorization.