CRIMES OF RUMBA

The legal and historical question is: why has this scam and fraud been going on as an open secret that so many people knew for decades without outrage? Why has it become the fastest growing scam with scurrilous movies on the internet in the 21st century five decades after this fraud has been debunked and repudiated music makers and their nation?
Crimes of Rumba is the hottest, epic combination of business, politics, music, and of course, crimes behind the predatory conduct culture that has glamorized the worst corporate malpractice in US cultural history. As a matter of law, order, and economy, the state administration’s intolerance and the crackdown on musicians’ dissent and opposition to the colonial music cash crops’ production is authoritarianism at best without precedent in the world’s history of colonization and music. The truth concerning Congo music’s modernity has, to date, been subdued, allowing the wide acceptance of Fonior’s post-colonial fraud for America. The overwhelming evidence of Belgian Congo’s antithetical laws, policies, and institutions corroborated by Congolese musicians’ insights make the case against Fonior’s crimes of rumba for America the worst of the genres. The never exposed breadth of factuality and legality in the state administration’s ownership and economics of the Belgian Congo’s music industry until decolonization support and confirm the truthfulness and accuracy of Crimes of Rumba.
Simply put, the truth is no respecter of time, institution, or person. It demonstrably transcends them all. Many readers will discover Thierry Antha with the publication of Crimes of Rumba. International journalist, fierce advocate, record producer, and promoter of Congo music in the Congo DRC and North America for decades, Antha is the best authority in the knot and bolt of this industry among the few promoters, who have made the Congo music a runaway hit in American pop culture in the 1990s. His book, Crimes of Rumba is the best retelling about where Congo music’s modernity started with what state administration’s public policy, and where it ended with its plan of the enforced dichotomy of South American music’s diversity and Congo music for exports in Africa, Europe, and the Americas in the late 1950s.
“Fascinating, exhaustive treatise. A staggering amount of well-researched information backed not only the laws and policies of the Belgian Congo but with insights offered by Congolese musicians concerning the issue.” The US Review of Books
“Professorial, legalese, the historical encyclopedia of Congo music in the best chronology ever presented with Belgian Congo’s laws, policies, and Congolese musicians’ corroborating evidence.” Richard Liriss.
“The Silver Award Winner for expertly delivering complex characters, intricate worlds, and thought-provoking themes. How the Flemish administrators protected Congo music’s exceptionalism, while Walloons industrialized it with the addition of the legal diversity of South American music for export as the state administration's public policies and economics debunk the crimes of rumba. The factuality and legality of the Belgian Congo's institutions articulate how Fonior committed fraud and defrauded Congolese musicians’ copyrights and consumers’ human rights in America. It is like attending a history class about the sound, bad, fantastic, and ugly stories about the Belgian Congo. Congolese musicians and the exploitation of Congo music under the law.” Literary Titan.

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© Copyright 2019 by Thierry Antha.