AFRAM #2: The Lies They Tell

Danisha Jefferson-Abye

There is seemingly a difference in the how the story developed…. The white acquisition of Rock music, that is. Race is used as a social construct all around the world and has, since White people began colonialism. However, when it came to White people mimicking Black Rock music in the 1960’s, there appears to be a difference in how it was executed in the United Kingdom, versus America. 

In the article, How Rock and Roll Became White by Jack Hamilton, he points out how in America, the “story” about how the genre essentially “fell into the hands” of white people, was because “black music effectively self-segregated” (Hamilton) and excluded White people from the party. This, as he points out “places the onus of separation on the black performers” (Hamilton). There is no recollection of Jim Crow and how music venues were segregated, or of how Black performers were unsafe even touring through certain parts of the country. There was no mention of the racism of White parents that disallowed their teenagers from listening to or purchasing records by Black musicians. There was no mention of all the Black artists that sang in the shadows behind white proxy’s pretending to be the source of the talent. In America, Rock was supposed to have had White roots. There was a desire to either erase the history or “blame the victims” of the thievery. This way, White Rock was seen as legitimate. 

In Europe, the origin story goes a bit differently. Holland points out that “white performers’ proximity” (Hamilton) to black artists provided a sense of legitimacy to White Rockers in the U.K., attempting to emulate the Black Sounds coming out of America. Their approach included having Black musicians on stage with them as a means to legitimize themselves, as well as give credit to Black ‘influencers’ in interviews and such. Artists such as Mick Jagger, Led Zepplan, Elton John, Joe Cocker, Humble Pie, David Bowe all had Black (typically female) back up singers as a means to gain legitimacy and possession through proximity to those who birthed the genre.  

While the strategy was different, the ultimate goal was the same- make White Rock legit. Once that happened, the sky became the limit. Black Rock music had been exploited to a point of no-return.