Part of rap renegade Eminem’s brilliance may have been his comedic proclivities, which he incorporated with aplomb into his lyrics, often parodying the obvious racial implication of his blockbuster success within a predominantly black genre.
Marshall Mathers was purposely slamming his lyrical bat against white sensibilities because of the fact that blacks of similar talents did not, however, experience the same type of commercial success that he did during his prime in the previous decade — and it was because of one reason that he had the intestinal fortitude to illuminate: he is white.
This subject returns to the forefront as universally liked Robin Thicke scored a rare quadruple whammy in music: a No. 1 album, No. 1 single, No. 1 downloaded hit and No. 1 dance song simultaneously. Just what is it about white artists who perform songs dipped in R&B that their black counterparts can’t seem to do consistently these days?
Prolific producer The-Dream says the trend of whites playing black music, while black superstars lean toward pop and dance, is striking:
“It’s called rhythm and blues; they just took the blues out of it for so long. What’s crazy is that blacks can’t do soul records any more. We love Adele singing it, but Beyoncé singing it? No,” he said, further pontificating: “This is where we see guys like Usher and Ne-Yo shying away from their R&B sound earlier in their careers to doing Euro-Dance type records with big name producers such as David Guetta and Calvin Harris.”
In other words, if you want to start stacking that paper real high, find a white guy with soul and get him a hit.
Take a look at the artists in the old and new millennium who sell black-oriented music better than black people do.