The “Rolling Stone” co-founder’s recent comments make it easy to view Black music’s history solely through a foundational lens. But our past is more than just preamble.
was the rare Black woman who was able to achieve icon status in the white male-centric world of arena rock, but she was often presented as an outlier. Contemporaries like Nona Hendryx have yet to see widespread attention or acclaim from media that was too busy fawning over the genius of Mick Jagger and Bono. The rock establishment anoints Johnny Rotten and Joe Strummer, while names like Pauline Black and Poly Styrene continue to be obscured.
Wenner’s comments make it easy for the public to view Black music’s history solely through a foundational lens. In rock—and in hip-hop, jazz, and every form of popular music that Black people invent but white industries commodify—it’s tempting to reduce the history to a series of platitudes about who influenced whom. But Black music is brilliant in any era, regardless of how many white artists come to discover or be inspired by it. That genius cannot, should not, and will not be relegated.
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