David Bowie and Cultural Appropriation: Examining His Use of African American Musical Styles and Its Impact on Modern Music Discussions

David Bowie and Cultural Appropriation: Examining His Use of African American Musical Styles and Its Impact on Modern Music Discussions

David Bowie, one of the most influential figures in rock history, was known for his constant reinvention and genre-blending artistry. However, as modern discussions around cultural appropriation in music evolve, some critics and scholars have revisited Bowie’s career, questioning the ethics of his use of African American musical styles.

 

Bowie’s landmark album Young Americans (1975) saw him dive into what he called “plastic soul,” a heavily R&B-influenced sound that drew from the Black music scene of the era. He collaborated with African American musicians, including Luther Vandross and Carlos Alomar, and openly acknowledged the inspiration he took from soul and funk. While some praised Bowie for introducing these styles to a wider audience, others argue that his success in the genre exemplifies how white artists often benefit more from Black musical innovations than Black musicians themselves.

 

In a 1974 interview, Bowie himself criticized the lack of representation of Black artists on mainstream platforms like MTV, highlighting the racial barriers within the music industry. His stance contrasts with accusations of cultural appropriation, as he appeared to be an advocate for racial equity in music. Still, questions remain: Did Bowie’s work amplify Black artistry, or did it overshadow it?

 

Today, conversations about cultural appropriation in music are more prominent than ever, especially with artists in pop, hip-hop, and electronic music facing scrutiny over their influences. While Bowie’s legacy remains largely untarnished, his career provides a critical case study in how white musicians navigate and profit from Black musical traditions. His impact on these discussions serves as a reminder that appreciation and appropriation often exist in complex, overlapping spaces—challenging artists and audiences to consider the origins of the music they cel

ebrate.