We Need to Stop Shaming Black Artists Like Drake for Being ‘Too White’ (Opinion)

Sufficient “dark” not his expressions, different within. Depicting a gentle picture and embracing a variety of music genres such as hip-hop and pop, Drake has faced criticism within the African-American community. Since becoming a prominent figure in the hip-hop scene, the rapper has been targeted by detractors who accuse him of either being white or behaving like a white person, questioning whether his lack of credibility in speaking like a black person refers to both verbal forms of the word.

Over the course of the previous five years, Drake can be considered as the most accomplished rap artist. On June 29, in just one day, his fifth studio album “Scorpion” achieved a Spotify milestone by receiving the highest number of global streams (132,384,203). Within this extensive 25-track double album, Drake passionately raps about love, his self-image, and his experiences as a father. Nevertheless, his fame remains intact.

“Nonstop,” the standout song on the album, does, nonetheless, confront his critics who claim he is not “black” enough. If you appreciate rap with social commentary similar to Kendrick Lamar and J. Cole, you will most likely find “Scorpion” to be disappointing.

“Yeah, I’m fair-skinned, but I’m still a dark individual,” he raps, boldly and protectively.

The documentary “Whitney” addresses the early career of Houston, in which she faced criticism for being perceived as a black woman with a Cinderella-like image. It explores the identity and race issues that the singer faced in the years leading up to her death in 2012. The film also touches on the racial dilemma faced by another crossover star, echoing the same challenges faced by Houston 30 years ago.

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Anita Baker received recognition for her outstanding performance in the category of Best R&B/Urban Contemporary Single/Female while James Ingram and Heather Locklear (!) Were announcing the nominees. Her decline in popularity can be traced back to the moment she was subjected to negative reactions at the 1989 Soul Train Music Awards, as depicted in the preceding documentary. The act of throwing shade was evident.

The beginning of Houston’s decline aligned with the union, which was tarnished by domestic violence and substance misuse, of their tumultuous, unstable relationship, and they encountered each other on that evening. “Whitney: Can I Be Me” implies that she engaged with Bobby Brown as a way to demonstrate herself, and Affected by the mocking, Houston possibly perceived the need to validate herself.

Why didn’t we start celebrating the success of black women unconditionally, regardless of whether or not their music was considered “black”? Why didn’t the network MTV pull all of its videos by black artists from the record label CBS Records, where Michael Jackson was signed, at the end of the decade? It’s hard to understand why her detractors thought she wasn’t talented enough, especially when talented ladies like Anita Baker, Chaka Khan, Stephanie Mills, and Whitney Houston were never fully embraced by America’s white commercial heights. Even in the recent documentary “Whitney,” it was claimed that she was sexually abused by her cousin Dee Dee Warwick, which might stretch the blame for her death onto the black community or Bobby Brown.

We actually want to hear him rap about his experience with blackness – the recent feud between T Pusha and him was a commentary on racism in the acting industry. Social media mercilessly exploited the shocking 2007 photo of him wearing blackface, which he said was a commentary on racism. As a biracial actor in Canada, he may have faced a certain degree of racism. While he deserves credit for keeping the content of his music real, even if Drake’s swagger is just a performance to be less “black-ish”, his music is still deserving of credit. However, the cold and hot reaction to Drake is just an indication that we haven’t evolved much since he was booed in Houston nearly 30 years ago.

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J Cool LL became a rap star by documenting the black American life and tackling social issues or politics directly in his live radio performances. Even though rap has always been primarily about entertainment, Run-DMC, in the 1980s, didn’t always rap about purely music-related topics. They continue the longstanding tradition of being acclaimed for their music, but it is unlikely that Drake will ever win a Pulitzer Prize for songs like “Nice for What,” “Bling,” or “Hotline.”

Did “Please Hammer, Don’t Hurt ‘Em” achieve the same level of sales as “Mama Said Knock You Out,” “Walking with a Panther,” and “Bigger and Deffer,” which each sold over 10 million copies? This raises the question of whether LL Cool J’s hits were never really politically or socially conscious. However, could it be that the rap ballad “I Need Love” and the party anthem “Going Back to Cali” were spared from being dismissed as “too mainstream” because he never quite reached the same level of commercial success as Whitney Houston or MC Hammer?

There are worse things for a music superstar to be than black-ish, too white, or too pop. Bobby Brown still wants to be “superficial” and “shallow” as it is his prerogative. Houston famously flopped with her single “Whatchulookinat” in 2002, showing how tough it is to be famous and rich. He spends a lot of time griping about how much he is not the socially incisive Pulitzer-winning poet Lamar is, but Drake is not.

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