RACISM IN THE MUSIC BUSINESS: Soul-Patrol.com's Bob Davis Wonders Why There's no Discussion.
December 28, 2005

Why isn't anyone talking about racism in the music business? I've been a fan of black music since the sixties, and have always been angry at the unaware racism of many (other) white people, who only listen to music by white artists.



Here in Philly, as elsewhere, the white bands get the work, and much of their music is a pale imitation* of what originated in and still comes out of the black community. I am particularly concerned about the affect of this form of racism on the great originators of R&B music, and those artists who continue in that tradition.






FEWER OPPORTUNITIES

One of the most obvious examples of racism in the music business in Philadelphia in recent years involved the Adam's Mark Hotel. The manager of the club there called Quincy's hired a black band, and got fired for doing so. There was litigation. The response of the hotel was to close the club.Other ways in which racism affects black musicians include:




- Only a very small percentage of venues in the Philadelphia region (and elsewhere) book black bands. Both known black recording artists and lesser known artists are given less opportunity in every aspect of the music business, locally and nationally. The chittlin' circuit, where black performers had a chance to hone their acts and gain popularity in the black community, no longer exists. Black musicians advise other black musicians that in order to get bookings, it's necessary to have white band members.




- Agencies that promote musicians for corporate, public and private events, as well as venues, promote only white bands or bands with some black faces; few, if any, promote all-black bands.




- It is harder for black artists to get record deals or airplay; only a few stations play black music; in Philadelphia region, two of the three stations that play black music are owned by white corporations.




- Few black artists are played on white stations.


- Newer black performers who gain recognition don't have much career longevity.


- Government & private funding of the arts is predominantly allotted to white artists.






THE HISTORY OF RACISM IN THE MUSIC BUSINESS

The history of racism in the music business has been documented in the PBS series on rock and roll, and in the more recent series on jazz. On the Tonight Show recently, Arsenio Hall said (talking about the white group 98 Degrees), " I remember when R&B groups used to be black." The PBS series on rock and roll showed how after the "British invasion," the careers of black artists who had been "cross-over" artists, meaning popular with both blacks and whites, took a sharp downward turn. When a black group recorded a new song, a white group would do a cover version before the original version was released. Great artists like Ruth Brown have been cheated by record companies. Many have lived and died in obscurity after (or without) briefmoments of fame. This includes many whose music is still loved and played, and continues to enrich our lives.




The PBS series on jazz documented how this music was copied by white bands,

while many of the black originators were shut out, and were shut out as performers because of their skin color.




*I do not mean to invalidate white musicians or their creativity. Most musicians (white or black) and other artists are oppressed by the entertainment industry and the injustices of this economic system. It is necessary to acknowledge, however, that the history of popular music since the 1950s (and earlier) has been the music industry's search for white performers who could imitate the music of black artists.






THE MYTH OF MONOLITHIC PUBLIC TASTE

The music business has, in recent years, pushed a narrower and narrower range of music on the public. Rap and hip-hop are marketed heavily; young people often have little exposure to any other genre. The reality is that there is a great diversity of preferences in music; there are audiences for every form of music. Radio and television stations restrict access to so much of our cultural heritage. Older audiences and performers are discriminated against, because of the demographic slant toward the young, so ageism comes into play. Critics and the public are increasingly dissatisfied with the low quality of present day popular music; meanwhile, many of the most talented musicians lack the opportunities they deserve.





GANGSTA RAP AND THE THUG

The image of the young black male as a "thug" is promoted heavily in gangsta rap. This is being done deliberately, to worsen the racist stereotype of black youth as dangerous, as the "enemy." The result is damaging not only to those who fit the stereotype, but also to other young black people, to the entire black community, and to white youth as well, who emulate this image. The materialism that is glorified in many music videos and rap lyrics is the antithesis of the long tradition in the African-American community of spirituality and great passion for social and economic justice.






THE POSITIVE TRADITION OF RHYTHM AND BLUES

The tradition of R&B, or what is aptly called "soul music" is alive and well, and continues to thrive in the communities in which this music started. Audiences and new artists are of all ages, including young people who are exposed to this genre. Soul oldies are featured on movie soundtracks, in commercials, and piped over the sound systems in public places. This reflects the hunger of audiences for more music of this genre. Many of the great originators of soul are still around, and are not honored.






ELITISM AND MUSIC

Elitism has created the myth that some kinds of music are superior to others, for example, that jazz is superior to rhythm and blues. So currently in Philadelphia, there are an increasing number of venues that hire black jazz musicians. Some R&B musicians also have developed a jazz repertoire, because there is more work for jazz artists. So a few find a way to survive, but that doesn't make it right that R&B artists and the art form of R&B are disregarded.






THE POSITIVE IMAGE OF THE BLACK MAN

The image of the black man that is projected in soul music is a threat to the white establishment in a different way than the image of the "thug" is. The black male R&B artist has long conveyed a terrifically strong positive energy in his presence and in his music. His personal power and charisma reflects a combination of spirituality, intelligence and virility that is perceived as threatening, because this is obviously a force that could prevail against oppression. So the suppression of soul music is another way

of crushing the black man, black political power, and black culture.






WHAT NEEDS TO HAPPEN?

Racism in the music business must be challenged, and must be ended. There is too much talent, and too little opportunity, both here in Philadelphia and elsewhere. Black musicians need to start talking about this, and speaking out. Shining light on this form of racism would succeed in ending it. Musicians must take power in the music business.




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Bob Davis

earthjuice@prodigy.net

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agree with some of that article, but not all of it. if some the younger urban/black crowd would act like they had some sense at some of these concerts, there would be less resistance to book all urban r&b acts. that being said, i doubt that the ojay's, destiny's child, maze, the commodores or earth wind and fire have the same problems that, jay-z, nas or r kelly have at their shows.

I might be naive but i dont think black music is being repressed on the radio seeing as RnB/Hip hop seems to pretty much dominate most radio station playlists, particularly here in england,I imagine its probably the same for the rest of the world . And for black musics prominance in america youve only got to glance at the billboard top 10!

I don t necessarily think the restriction of young black talent is an issue of racism, theyre are plenty of indian,asian,white bands & artists who will have the same trouble making a breakthrough

The music industry is led by market value and what ever is the presiding trend of the time ,be it boy bands,punk-lite girls ala avril lavigne, or rnb bands using shite acoustic guitars - craig david, will take presedence over anything new and original regardless of whatever race you are

Very true.



Exactly.


These two sections hit the nail right on the head. They want to keep them "in the ghetto, where they belong".

meltwithu said:

thats very true. When I was in saginaw mich,the last time they had a concert well a rap concert was in 1994 I beleive. In order to go to a rap concert now you have to go to Detroit and Lansing and other bigger cities. People was acting a fool when they had a rap concert. the concert I believe in 94 they held was the 69 boys and the geto boys .we hardly have r&b concerts where Im atless known rap concerts.All the time in my home Saginaw in the recent years they always have rock and country concerts.

So for the non Americans here, what exactly goes on at these modern Rap concerts? There's never been any controversy elsewhere as far as I remember.

laurarichardson said:

That part was all too true.

I don't think we should censor any artist who wants to present themselves this way, but I am sure there are tons of acts that got a thug makeover, or never got signed because they didn't fit this stereotype!

Wow, where did you get this Laura? Are you a soul patroller? Me and my mother are. We know Bob.

meltwithu said:

thank u.

Ellie said:

its callled in america "N%GG$S acting like N%GG$S"

Ellie said:

Shootings, stabbings, fighting I expect. A gun was fired in the air at one of Nas's London concerts this year. Glad I didn't go. Someone was also stabbed to death at an Ice Cube gig in Glasgow in 1994.

Oh yeah, actually I remember hearing about that Nas concert.

It's crazy though. If certain pricks want to go out and stab/shoot someone, surely they could do it without ruining their own evening at a concert they may have paid money to see

Ellie said:

Lots of different things. Girls shaking their mothers products everywhere (nohting wrong with that), guns in the air and fights.

BlaqueKnight said:

Good points BK, I'll piggyback and say racism remains a salient part of American life on many levels.

DorothyParkerWasCool said:

agreed...but let's be real, we bring enough of this shit on ourselves. it's almost to the point where you're surprised if something DOESN'T pop off at a concert. record companies are all about making money...so if they can make some money off of 5 hoodrats or 5 farmer boys from iowa, they'll do it. the only color labels see is green. but when you become more a liability than an asset, you're gonna get bounced. it's not just black folks acting up all the time (if we acted out like some white folks did at the last woodstock concert--reported rapes, fires and widespread vandalism, there would have been a congressional hearing on that)...it's all about perception--music with aggressive overtones-sex violence drugs, etc will draw that crowd to the concert and put all those people in the same venue. can't recall any fights at a will downing or kem concerts.

meltwithu said:

This has a lot of validity. I'm sure 98% of the people at Rap concerts are there peacefully enjoying the music. It's that other 2% who fuck it up for everybody else. And as I pointed out before, it's people like Russell Simmons and Damian Dash and P Diddy who help perpetrate the "thug" image of urban young black men. It makes them richer to sell that image. If they didn't actively push it, then maybe it wouldn't be so prevelant. In Stepin Fetchit's day, he had no choice but to play that role. We have a lot more choices today , but too many go after the almighty buck, and don't care of the consequences

jjhunsecker said:

98% ??? I think you are pushing it...lets say..45%

DorothyParkerWasCool said:

Try to find a copy of Bob Herbert's column in the New York Times this past Monday. He makes the point that while racism is still alive here in the USA, we Black people also have to do more to curb the social pathology and lack of ambition that does exist in certain segments of our community . THAT is something too many of our so-called leaders find Political Incorrect to say
[Edited 12/28/05 12:05pm]

Cha know, it's not like white rockers are the best role models or audience participants either. I think everyone's being too tough on themselves.

prettymansson said:

98% don't come looking for trouble..but 80% of them will whup your ass if start trouble with them

When it comes to music, our subjective tastes are still segregated. Most white folk like primarily white artists. Most black folk like primarily black artists.

But I have to wonder what the solution is. The industry can't FORCE whites to pick up a Me'Shell Ndegeocello or Donnie album. The industry can't FORCE black folk to give Josh Rouse or Beck a try.

The systemic changes in music -- the payola-esque radio paradigm and the micro-marketing to niche listeners -- makes the problem worse, not better.






Yes indeed. These artists are treated like, and act like, exotic zoo animals, in cages created by themselves and their employers. In fact, sometimes I think that the negative image of the Hit-Pop MC is casting a bad light on black music in general. If you don't thug out, you don't get promoted or "put on." Black music doesn't have a Nirvana-esque band, or the equivalent of a "punk" movement, to alter the landscape, and Prince has already been there, done that.


Hit-Pop has become a macabre parody of hip-hop and the black identity as a whole. I think it will, eventually, die a horrid death, and black musicians will either fill the breach, or toil in obscurity.

So when it goes, what will happen? Disco stuck around for a while, and a lot of new and old artists co-opted its sound for their success. Hip-hop, Prince, MJ, et al. arose out of that era. What will happen when Hit-Pop goes? Will the Van Hunts, the Jaguar Wrights, the Bilals, or new up-and-comers rise? Or will Hit-Pop so taint black music as to set it back permanently?

BlaqueKnight said:

No disagreement, brother. Yet much of the dehumanization is occurring at our own hands.

anyone done a head count at a Van Halen (or any other "white" act) concert and come up with the total number of black audience members?

namepeace said:

I don't think its occuring at our own hands. I think we sit back and do nothing to stop it as well as support the very circumstances that bring us to that.

Excellent post you made earlier there, btw.

I'm not disputing what you say, but didn't Philadelphia just get rid of its only modern Rock radio station, converting to Hip Hop?

Maybe things are different on the local level than the national level.

oh so now everyone is concerned about racism and thinks it's wrong?

did something change in the past week? hmmmm...

CinisterCee said:

co sign. or chose themselves to take on the thug image in order to get successful. the same with women and all that sex sells bull