Jann Wenner, co-founder of Rolling Stone Magazine (1967), is a sexist and a racist. His new book, ”The Masters” is a series of seven interviews with those he defines as music masters of their era. They are Bono, Bob Dylan, Jerry Garcia, Mick Jagger, John Lennon, bruce Springsteen, and Pete Townsend. They are white male music masters at best, according to Mr. Wenner; for some, you might argue the talent and originality. Wenner built his magazine as a music authority with interviews and music lists.
Jagger hung around Black blues music types, namely, Muddy Waters, and stole or copied his music with the sounds of the South Side blues musicians who migrated from Memphis. He copied their sound and their style right here in Chicago clubs and studios. The club was the Checkerboard on 43rd and Indiana, and the studio was Chess Records on South Michigan Avenue and P.S.Recording Studios on 23rd Street.
For example, the difference between Jagger and Waters was more than musical style. It was also Jagger, a White male with privilege, versus Black Muddy Waters. Jagger eventually took Waters to Europe and added him as a highlight to his show. Racism made Jagger what he was. This was the case for many white musicians. Elvis Presley was a copy composite from the Black church, Little Richard and Jackie Wilson, without a doubt.
In a New York Times interview, Wenner explains a statement in his new book. He said Black entertainers did not enter his “zeitgeist.” “I was referring to Black performers, not to the female performers. Ok? Just to get that accurate. Insofar as the women, none were as articulate enough on this intellectual level.”
“Of Black artists — you know, Stevie Wonder genius, right? I suppose when you use a word as broad as ‘masters,’ the fault is using that word. Maybe Marvin Gaye or Curtis Mayfield. I mean, they just didn’t articulate at that level.”
So, the breadwinner is saying that for the rock and roll crowd, neither Blacks nor women measured up to the intellectualism of Bono, Mick Jagger, and John Lennon. These are not necessarily people you refer to as intellectuals. Oh well.
Wenner’s statement is not only stereotypical but, most of all, insulting. What it points to is not the intellectualism of an era of music but the racism of it. This era is known for abusing Black entertainers, who often were the originators and trendsetters, who missed too many paydays. They played far too often, where they were taken advantage of. They lacked the proper legal documents and representation, and artists were ripped off.
Their pay too often was in the form of a Cadillac car, suits, and maybe, just maybe, a house. They didn’t make the money or play the stages of the white male artists Wenner writes about. The Black artists were on the “chitlin circuit,” which was usually clubs and one-night stands in Black neighborhoods. Sometimes, the artists were not paid in full. This happened so much that Aretha Franklin insisted until the day she died that she would be paid in full before an appearance. To say Black artists didn’t have the intellectualism to talk about their music and contributions represents Wenner’s racism.
Masters…
So, if you want to look at the “MASTERS” of an era, here are a few who contributed significantly to the defining of the music and who contributed to the contemporary American music scene. They are not in order.
Little Richard gave rise to a new sound that became known as Rock and Roll. It was a blend of Gospel, R&B, and a new sound. No doubt he is the founder of Rock and Roll.
Chuck Berry was a new performer, as he and his guitar did a hop-type dance across the stage. He defied gravity.
Ray Charles sang every genre of music. It was all done with soul and a special “Brother Ray” touch that no one matched.
Quincy Jones has blended music every which way it could go with 12 notes. He has delivered every musical genre there is. He is the ultimate music master.
Marvin Gaye gave rise to a brand new musical concept with “What’s Going On” classical message music, if you, please.
Michael Jackson (Photos Courtesy of Instagram)
Michael Jackson, from bubble gum music to epic shows with the touch of a jacket and glove, created brand new music and performances. He made pop culture pop.
Aretha Franklin (Photos Courtesy of Instagram)
Aretha Franklin, with a strong base in gospel, was the nightingale of an era.
Clockwise: Diana Ross, Miles Davis and John Coltrane, Berry Gordy and Whitney Houston (All Photos Courtesy of Instagram)
Miles Davis and John Coltrane gave new sounds to the instruments they played. Their sounds are unique, so much so that you know who it is when you hear it.
Stevie Wonder is a genius wonder with original music and a harmonica touch that forces dance and tears.
Diana Ross gave a glamour definition to women with a sweet voice as a lead singer and as a solo artist. Her rendition of Billie Holiday is one to remember.
Whitney Houston’s voice was strong and with purpose. She was the all-time pop star.
And the master of them all was Berry Gordy. He didn’t sing, but he took music to another level and delivered the Motown Sound to the world. It defined an era.
