The twentieth century, while helping to bring many African-American artists to fame, also gave way for a handful of white musicians – Elvis Presley, Eric Clapton, and Bill Haley, to name a few – to appropriate black music and claim deviations of it as their own. Those who put the music on a wide-reaching stage for their own gain failed to acknowledge its history as a last-ditch effort for African Americans to embody their heritage under constant threat of submersion by a dominating white culture. Particularly prior to the rise of television and other sorts of visual media, it was easy for this problem to slide under the radar as popular audio broadcasts were forms of purely aural entertainment. No one would question the origins of the jazz, disco, or rhythm and blues that quickly became commonplace in American society. This issue led to mixed reactions of upset and pride among the African American community. Understandably, many called on these white artists to give credit where credit is due and make clear that the music they utilized for their own renown is not an accurate reflection of struggles they had encountered. Contrarily, some understood the taking of a people’s art as a compliment; a method of flattery to reach a public platform which they, as a result of ingrained social norms, could not have achieved on their own. While details such as personal motives and inspiration from former artists remain contested, there is nowadays far more awareness and encouragement to promote musicians within a genre. While being endowed with public fame was once the main priority of most artists, it is now paralleled by the ascription of credit to the music’s cultural roots.
Next page: “The History of the Blues”