Krystal McRae Nicole Cardoza Krystal McRae Nicole Cardoza

Celebrate diversity in punk music.

When you think of punk music, what bands come to mind? You may think the Ramones, the Sex Pistols, or even Green Day. All of those bands are white, and the stereotypical image of a punk is white, too. Those are some of the main bands folks can associate with punk, but they aren’t the pioneers, or even the ones who invented the genre. In fact, like a lot of today’s musical genres, punk has its roots in Black music.

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By Krystal McRae (she/her)

When you think of punk music, what bands come to mind? You may think the Ramones, the Sex Pistols, or even Green Day. All of those bands are white, and the stereotypical image of a punk is white, too. Those are some of the main bands folks can associate with punk, but they aren’t the pioneers, or even the ones who invented the genre. In fact, like a lot of today’s musical genres, punk has its roots in Black music.

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Punk emerged in the 1970’s in NYC, and was the opposite of the colorful and psychedelic mainstream rock at the time (Pitchfork). Punk cut meandering guitar solos for short, aggressive, and often political songs, and fostered an ethos that anyone could start a band and play music if you had something to say. Although bands and audiences were largely white at the time, influential Black artists helped build the punk scene from the beginning, and used the genre to challenge the status quo.

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Black punks were unapologetic, and in your face, and they had EVERY RIGHT to be. Like Death for example, out of Detroit, who were punk before punk had a name. They turned down signing with Clive Davis because they didn’t want to change their name. In their hometown, they were doing something different. While everyone was listening to Earth, Wind and Fire, Death took a more “aggressive” approach to rock and roll (The New York Times).

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Punk, and rock belonged to Black people just as much as it belonged to anyone else. Yet, somewhere down the line, things got diluted. Even in the Riot Grrrl era of the early early 90’s, when feminist bands led by women took hold and used the punk scene as a place to expose, and fight patriarchy, Black women were often excluded. And maybe it was an “oversight,” but these things kept happening. It was as if the contributions of Black women were forgotten. This isn’t just a problem in punk music. Many music genres and cultural spaces from disco to rock are predominantly associated with white people despite the crucial role of Black musicians.

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We can take rock music back to Sister Rosetta Tharpe, Chuck Berry, and most definitely Willie Mae “Big Mama” Thornton, who recorded the original “Hound Dog.” However, the song didn’t receive the recognition it deserved until Elvis Presley came along, and re-recorded it for white audiences (Diversity, Inc). Each of what Tharpe, Berry, and Thornton did laid the foundation for rock and roll as we know today, and honestly laid the perfect foundation of what punk today is...this unapologetic attitude of being yourself, and existing the way you are.

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Luckily, Black women like Tamar-kali Brown, Simi Stone, Honeychild Coleman and Maya Glick changed the narrative and started the Sista Grrrl Riots in NYC in the 90’s. This was the place for Black women, and other Black punks to be themselves, be free, and to see the representation they were missing (Vice).

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Black people have always existed in this genre. It’s just that everyone else has to catch up. And even a few decades later, this conversation is still alive and well. I have gone to many shows here in NYC over the past 10-12 years, including many punk shows. And maybe this isn’t shocking, but often I am the only Black girl in the crowd, or one of the few people of color in general. While I feel welcome in the scene, there needs to be more done to fully embrace Black, Indigenous and other people of color, and to let them know there is a space for them, and to fully include them in this genre they created. Diversity in music scenes shouldn’t just be a box that's “checked off,” it’s a necessity.

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Now I am thankful for the work of organizations like Black Rock Coalition, who “represent a united front of musically and politically progressive Black artists and supporters” (BRC), and the Mad Collective, which is a POC punk collective focused on uplifting unheard voices in punk (Instagram). And, of course, the Sista Grrrl Riots, who put Black women at the forefront, instead of the shadows.

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This is part of decolonizing the scene, and making it more inclusive and safer for all artists and listeners. And that’s something we should all be working towards in all the spaces we’re in, whether it’s a house show or a neighborhood. The issues with the lack of inclusion in music aren’t just in the Punk scene, but part of a broader issue. The question remains, will folks listen to the solutions and actually implement them?

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​Krystal McRae (she/her) is a writer from NYC. When she’s not checking out/writing about local music, she is yelling about diversity in the music scene on her site “Scenes From the Underground.”

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Key Takeaways

  • Black people laid the foundation for not just rock, but much of the music genres we know today.

  • Punk is a sub-genre that is about being against the status quo, being unapologetic, and being yourself.

  • If we are to decolonize music, we have to include Black people in punk, and not forget their accomplishments.

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Raye Zaragoza Nicole Cardoza Raye Zaragoza Nicole Cardoza

Support musicians of color.

Late last year, I had a conversation on the difference between tokenism and inclusion in the music industry with fellow Americana artist Lizzie No that was published on Talkhouse.com. We chatted about how festivals, conferences, concerts, and events often believe they are practicing inclusion when really they are exhibiting harmful tokenism. “We have to talk about the differences between actually including people and bringing them to a seat at the table, versus using them to promote what’s already there.” - Lizzie No.

Happy Thursday and welcome back! Our latest podcast episode seemed to truly resonate with our listeners, prompting more curiosity of what a more and inclusive music industry would look like. Raye joins us today on the newsletter side to share more about her experience. If you missed it, find the latest Anti-Racism Daily podcast episode wherever you listen to podcasts.

This newsletter is a free resource made possible by our paying subscribers. Consider giving $7/month on Patreon. Or you can give one-time on our website, PayPal, or Venmo (@nicoleacardoza). You can also support us by joining our curated digital community. Thank you to all those that have contributed!

Nicole

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By Raye Zaragoza (she/her)

Late last year, I had a conversation on the difference between tokenism and inclusion in the music industry with fellow Americana artist Lizzie No that was published on Talkhouse.com. We chatted about how festivals, conferences, concerts, and events often believe they are practicing inclusion when really they are exhibiting harmful tokenism. “We have to talk about the differences between actually including people and bringing them to a seat at the table, versus using them to promote what’s already there.” - Lizzie No. 

Tokenism: the practice of making only a perfunctory or symbolic effort to do a particular thing, especially by recruiting a small number of people from underrepresented groups in order to give the appearance of sexual or racial equality within a workforce. 

Inclusion: the action or state of including or of being included within a group or structure.

(dictonary.com)

As a New York City-born, Folk/Americana music artist and Brown woman of Mexican, Native American, Japanese, and Taiwanese ancestry, I have experienced firsthand the line between inclusion and tokenism. I have realized that this line is oftentimes one that I can see but one that the white folks in power can not see. To me, inclusion when you’re being invited to speak for yourself, as your whole self, and have an equal share of the mic to your white counterparts. Tokenism is when you’re being propped up by the pieces of you they want to exploit, a cosmetic cover-up for previous years of failing to bring in diversity, and one’s racial identity being centered and advertised more than the work itself. 

According to data collected by the Census Bureau in 2017, 73.6% of singers, musicians, and related workers are white, only 13% are black, and less than 1% are Indigenous. It is easy to see how this lack of representation has led to a hunger for diversity in the music industry. It’s time that we insist on effective inclusion rather than harmful tokenism within the music industry and beyond. 

While folk music is predominantly populated by white artists, it is heavily influenced by the work of Black artists. “In fact, without the spirituals sung by enslaved people, the railroad songs of the Reconstruction era, and the ragtime hits of the early twentieth century, modern folk music would not exist” (library.org). It is important to acknowledge that inclusion in the music industry, and specifically within folk music, is not about bringing underrepresented groups to the table, but about acknowledging that the table itself was inspired by the music of the underrepresented groups themselves — a credit that is long forgotten. 

In our conversation on Talkhouse.com, Lizzie elaborates on her experience of feeling tokenized throughout her music career: “When I’m on a bill, sometimes bookers will be fast and loose about labeling my music — like ‘African-American folk,’ or like ‘Black folk.’ And, sure, I’m a Black artist as a person, but I wouldn’t describe my music as Black music any more than any other Black artist’s music is Black music. So, yes, I find that to be a really good way for people to pat themselves on the back for booking me, and to let me know that they’re not as familiar with my music.”

Like Lizzie, I have experienced times where the line between inclusion and tokenism felt like it lit up like a Christmas tree in my mind. For example, there was the time I was on a panel that was questioned about whether the project encompassed indigenous issues and they pointed to me as their coverage of the “indigenous issue.”  And the time I was on a call with folks who wanted to use my music for a promotional video and they had never actually listened to my songs but were interested in my mixed racial identity. And the countless times concert promoters told me that they booked me cause they really needed a “diversity factor.” Tokenism is incredibly harmful because it leaves the artist questioning whether anyone is even listening to the work itself.

Inclusion, when done right, can be incredibly productive and can open doors for diverse folks. Folk Alliance International brought in the Indigenous Music Summit, a satellite conference led by and for Indigenous people in the folk music community (folkconference.org). Jonathan Azu started the Diversity in Music Employment database, a talent database of BIPOC and female music professionals looking for jobs in the industry (www.musically.com). The American Association of Independent Music (A2IM) created The Black Independent Music Accelerator (BIMA) to amplify independent, Black-owned music businesses (a2im.org). With inclusion, it is important that the mic is being passed not only to speak, but also to lead. I applaud these organizations and conferences for doing just that, and I hope we will continue to see more. 

As live events and national tours have been put on hold, it is time to reevaluate our inclusion practices in the music industry and take action by empowering those fighting for their voices and music to be heard. I am incredibly grateful for organizations and artists that fight for empowering and effective inclusion practices and bring more BiPoc folks into positions of power in the music industry. I hope you will consider lifting these voices and acknowledge the change that is needed. 

Raye Zaragoza (she/her) is an award-winning singer-songwriter who NPR Music called “one of the most fresh and compelling voices in folk music today." Her sophomore album Woman In Color offers an intimate exploration of coming into her own, in a country where for many, simply existing is political.

Lizzie No (she/her) is a New York based singer-songwriter, harpist and guitarist who released her second full-length album, "Vanity," on August 2, 2019. Rolling Stone Magazine called the first single, Narcissus," a "crisp alt-rock gem" and a "Song You Need To Know." The album was a "Now Hear This" pick in No Depression Magazine. Lizzie is currently working on her third studio album and creating content through her subscription service on ampeld.com/artist/lizzieno

KEY TAKEAWAYS

  • It is important that the mic is being passed not only to speak, but also to lead.

  • Musicians of color deserve to be recognized as their full selves.

  • Though most recognized folk musicians are white, the genre owes its existence to the work of black artists.

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PLEDGE YOUR SUPPORT

Thank you for all your financial contributions! If you haven't already, consider making a monthly donation to this work. These funds will help me operationalize this work for greatest impact.

Subscribe on Patreon | Give one-time on PayPal | Venmo @nicoleacardoza

Read More