BLACK MUSIC CONGRESS REPORT: 'Are white artists like Eminem, Justin Timberlake and Christina Aguilera appropriating black music?'

(Feb. 23, 2004) The music industry was charged with institutional racism at the Black Music Congress’ debate entitled ‘Are white artists like Eminem, Justin Timberlake and Christina Aguilera appropriating black music?’ held at City University London on January 31.
The perception was that the industry was keen to promote white artists performing black music, but reluctant to invest commensurate resources in black artists performing black music or specific types of black music. Although participants felt that white artists could participate within black music genres, so long as they acknowledged their sources and influences, there was however a view that there was a deliberate “political” and “racist” policy to sell black music styles with proven commercial potential using “safe” white faces.
Jazz musician Jamie Callum and soul singer Joss Stone were pointed out as examples – the former, a recipient of a reputed £1m record deal and huge marketing by the same company that didn’t offer the same opportunities to the more innovative black jazz musician Courtney Pine, and the latter is currently receiving a major push performing a style that most black artists would not be allowed to perform because the gate-keepers of the industry view it as non-commercial and old-fashioned.
Secondly, it was acknowledged that appropriation has been happening for decades – well before the likes of Elvis Presley, Pat Boone and Bill Haley. However, participants highlighted that an insidious aspect was the process by which copycat white artists over time came to be regarded as the kings and inventors of black music genres. Today’s faces of rock n roll, and the fact that American ska/pop band No Doubt thought ska was invented by the 2-Tone movement in Britain, were cases in point.
Whilst accepting that white artists appropriate black music, panellist Dave Woolf, co-manager of Beverley Knight and head of the DWL promotions company, he felt the debate question would only tie us up in knots, and a more relevant question to address ‘How can we improve the odds that the industry will give black artists the same chances as white artists?”
Fellow panellist Lisa Lindahl, an urban music publicist, put forward the symbiotic advantages of white participation by pointing to the pop, mainstream doors that were open to rapper Redman through his collaboration with Christiana Aguilera in the hit record ‘Dirrty’.
Athough panellist Mykaell Riley, a senior lecturer at Westminster University and founder of the Black Music Education Trust, highlighted the fact that black music participation in Britain has historically been inclusive, he nevertheless added that the industry continues to demonstrate “systematic, and endemic institutional racism.”
Also, whether to define the music as urban music or black music, was another issue which was repeatedly touched upon (it will be the subject of the May 22 debate entitled ‘Is it black music or urban music?’). The general consensus was that the all-embracing ‘urban music’ was another tactic used to appropriate black music without acknowledging its black roots. As one participant, Dean Okai, put it: “Urban is the new jazz, the new rock n roll.” It’s another way in which “ownership is taken away from us.”
BMC Background
The Black Music Congress offers a forum for debating issues around black music. Its programmes take place at City University London as part of the Cultural Industries Unit;s outreach programme. Entry is free, and is open to the University students and the general public. The participants are predominantly black, but not exclusively. They are a mixture of people interested, and those actually working, in the music business as artists or industry practitioners.
BMC was founded by Kwaku, a music business lecturer and journalist.
THE BMC PROGRAMME FOR 2004
Are the sisters really doing it for themselves? March 13 . 3-6pm. Oliver Thompson Theatre, City University, Northampton Sq, London EC1. £Free, but it’s advisable to pre-book by emailing editor@britishblackmusic.com subject: booking gender.
Is it black music or urban music? May 27. 3-6pm. Oliver Thompson Theatre, City University, Northampton Sq, London EC1. £Free, but it’s advisable to pre-book by emailing editor@britishblackmusic.com subject: booking genre
END

I have heard these stories for years, with artists like Elvis, Madonna, Eminem, Christina ext..
maybe the artists aren't aware but it's defiently happening

Money and fame are the only things that can be appropriated here. In that sense this is a meaningless gripe. The people who need to know the truth will know it-- whether that's the whole world or just the artists themselves. For those that ignore an art form for years and only take interest when an Elvis or Eminem, Spike Lee or Yao Ming (yes basketball can be artful) excel, then that's their loss. On the bright side, Eminem might attract fans that might not have delved into the Tribe Called Quests and Rakims otherwise.

If anyone has a problem with it then blame the Neptunes for wanting to make more money.

psykosoul said:

the problem's bigger than that. the neptunes produce more black artists than white ones, it's just that their work with justin timberlake got so much hype. go to www.startrakmusic.com. it has a list of all the artists they've worked with since the beginning and the majority of them are black. I think it's just that the public was so eager to embrace justin timberlake's neptunes and timbaland produced songs because he's sweet little justin who makes cute nonthreatening songs. Not NORE or Kelis or Snoop.

I think it's amazing how everybody fell all over Justified as if justin did all the work himself. I'm not going to lie, I like the singles off of that album but when I'm listening to them i don't listen to them as a justin timberlake song but as a neps or timba song. most people don't even realize that's what they're listening to and don't wanna. Many of the suburban kids who embrace eminem and the beastie boys don't even want to touch anyone else in the rap genre. they just want to listen to their white boys. I don't think this is the fault of eminem or the beasties as they have openly acknowledged their rap influences but some people just aren't listening.

okay, that's pretty much the end of my rant.