I’d imagine most of us remember those fabulous ’80s, right? That’s when “classic rock” emerged as a radio format, often credited to the utterly loathsome Randy Michaels. By effectively shutting the door on new music, the genre became moribund, only occasionally spawning retro-new acts like the Black Crowes. For me, it’s when radio really started to suck.
But when hip-hop rose to dominate pop music — and when lots of classic-rock dudes had teenage sons who scorned dad’s records for the rap that their elders hated and feared, and did so beneath the private headphones of a Walkman — it got nasty. I vividly recall many station IDs where some male voice would snarl TODAY’S BEST CLASSIC ROCK…AND NO RAP. There was an action movie whose TV ads featured a black gangster snarling at Bruce Willis, “I’m wanna make you scream in pain!” and Willis replies, “Play some rap music.” Ha ha. A rock DJ in Fort Wayne told me that when he played Run-DMC’s cover of “Walk This Way,” the phone lines lit up immediately, and not in praise, if you know what I mean.
Racist? You bet. Hip-hop may not be your cup of tea, but you can’t say it hasn’t stood the test of time. Public Enemy comes up from time to time in my boxing classes, and it still sounds contemporary, which is not something you can say about the synth-heavy pop of the ’80s, which is so dated it makes you smell AquaNet. Even the scary-ass rappers every white person was afraid of have matured into cuddly pop-culture heroes (looking at you, Snoop Dogg) or even people we should respect and listen to; if you didn’t see Barack Obama paying tribute to Eminem last week, I certainly did, and reflected on when one of my editors in Fort Wayne, a true music appreciator across genres, was appalled by his Slim Shady debut to the point of alarm.
But some people, mostly old white GenX or Boomers, still hate it.
I thought of this a few years back, when I was browsing for a hairbrush at CVS and overheard a black woman, younger than me but not by much, singing along to Billy Joel on the store’s music system. She was doing it kind of absently, looking for something on the shelves too, but I was struck by how much feeling she managed to infuse in a lyric I’d already heard 187,000 times. She had every right to find it as lame as I did, but she didn’t.
This week we have a crew hanging drywall in the basement. They’re all black, and like all drywall crews, they pass the time playing music on a Bluetooth speaker. I’d expect a playlist, or a radio station, that draws from the deep wells of blackness in pop music, but no. At the moment, it’s the Eagles. Before that, U2. Before that, Hall & Oates. The only black artist I can recall hearing this morning is Tina Turner, and “What’s Love Got to Do With It,” a fine track, but not exactly a deep one for that artist. I texted the family about this, and Alan noted, “The first day I thought they were curating their playlist so as not to frighten the white folks upstairs. But no. (The crew leader) knew the lyrics and was singing along to a Foreigner song.”
When it dropped, I know I linked to Wesley Morris’ contribution to the 1619 Project, a podcast episode called “The Birth of American Music,” and I still think it’s one of the best explanations of how we got here that you can get in half an hour. It starts with a funny intro about yacht rock, and here’s the pivot point:
This is the sound not just of black America, but the sound of America. It is deeply American, almost especially when it’s sung by British people like David Bowie and Annie Lennox and Amy Winehouse. And it fills me with pride. Like, I know that there is something irresistible and ultimately inevitable about black music being a part of American popular music. But it also reminds me that there’s a history to this, a very painful history. And in the most perversely ironic way, it’s this historical pain that is responsible for this music.
It goes on from there, but I don’t want to spoil it.
There’s a whole YouTube subgenre of black people listening to white music. This is only a mild taste of it. And all of this is, I hasten to add, FINE. It is great that we can all enjoy all the music that’s out there, even Foreigner. I just think it’s funny, how that woman in the CVS could take a Billy Joel song and make it pretty great. I’d buy her record! “In the Aisles: A CVS Shopper Covers Billy Joel,” maybe. That would drive the rock DJs nuts. But these boneheads who run rock radio can’t find it in their cinder-like hearts to enjoy a little Kendrick Lamar.
OK, then. Just a few more days until widespread civil unrest breaks out in American cities! Let’s listen to music and take our minds off it.