How We Undermine Positive Black Music in the Digital Age
By Raymond Hagans
In contemporary conversations around the quality and content of popular music, especially within the Black community, a troubling trend often emerges—nostalgia-driven critiques that overlook current artists making meaningful contributions. Far too frequently, individuals lament the perceived degradation of musical values, clinging to pre-1980s standards as the only benchmark for “positive” Black music. While there is merit in appreciating the powerful, socially conscious anthems of the past, it is both shortsighted and harmful to ignore or dismiss the positive voices that exist in today’s music.
This issue becomes even more problematic when these critiques inadvertently elevate the very content they claim to oppose. The modern digital ecosystem is driven by visibility. When someone shares a link to a controversial or hypersexualized music video and adds commentary condemning it, they may believe they are discouraging its popularity. However, the act of sharing alone contributes to its virality. I refer to a recent discussion between two individuals over text, forwarding a video to 100 people, who then each forward it to another 100, can quickly generate thousands of views. Even when shared with negative intent, the video’s view count increases, boosting its popularity and validating the artist’s approach from a market perspective.
The issue here is not just about music taste but about how influence and attention operate in the digital age. Negative attention is still attention, and in today’s content economy, clicks and views translate into success, regardless of the sentiment behind them. This realization makes it even more critical for community members to be intentional about where they place their energy and how they direct their audiences.
The person in the conversation who expressed frustration with these negative shares made an essential point: there are many positive Black artists making music today who lack the support they deserve, particularly from their own community. This isn’t merely an artistic issue—it’s a cultural one. The visibility of artists is determined by the volume of engagement they receive. When consumers consistently share or discuss only the most controversial or mainstream content, they marginalize the very voices they claim to miss.
The broader implication here is that cultural preservation and progression require active participation. If the community wants more positive music, then it must promote positive music. Sharing and celebrating artists who produce uplifting, meaningful, or empowering content is a form of advocacy. It sends a message to the industry about what kind of content is in demand. Ignoring or failing to recognize these artists while simultaneously decrying the current state of music is counterproductive.
A telling example from the conversation involves Chrisette Michele, an artist known for her soulful, introspective, and positive music. Despite being active in the industry for nearly two decades, she was unknown to the critic in question until recently. This highlights a key disconnect—those who criticize today’s music often do so from a place of limited exposure rather than informed analysis. This is particularly troubling given that the accessibility of music has never been greater. Streaming platforms, social media, and online communities make it easier than ever to discover new voices, yet many listeners remain in echo chambers, consuming only what algorithms or controversy push to the top.
This pattern reflects a passive form of consumption. People allow popular culture to dictate their playlists, and then complain about what’s popular. But musical culture, like any culture, is participatory. If positive Black music is to thrive, it must be uplifted through collective support. That support doesn’t just mean buying albums or concert tickets; it means recommending artists to friends, sharing their work on social media, and using every available platform to amplify their message.
It’s also important to unpack the implications of defining “positive” music narrowly, as something that existed only before 1980. While there is undeniable greatness in the legacy of artists like Marvin Gaye, Nina Simone, and Curtis Mayfield, equating all modern music with negativity does a disservice to a whole generation of creators. There are modern artists—male and female, mainstream and underground—who continue to make art with substance. Whether it’s Avery Sunshine, Rapsody, Leon Bridges, Chrisette Michele, PJ Morton, or many others, there’s no shortage of artists blending musical excellence with powerful messages.
Moreover, clinging to past eras can come across as gatekeeping. It assumes that progress stopped at a certain point and that current creators are inherently inferior. This mindset not only alienates younger listeners and artists, but also perpetuates a false dichotomy between “real music” and “today’s music.” Both can coexist, and both can be powerful in their own right. In fact, today’s artists often build upon the foundation laid by their predecessors, incorporating modern styles while maintaining the spirit of positivity, resilience, and community uplift.
The conversation also exposes a deeper issue of listening—or the lack thereof. The critic, it seems, refuses to acknowledge the points being made by someone genuinely trying to offer perspective. This dynamic reflects a broader societal problem: the unwillingness to listen to viewpoints that challenge our own assumptions. Effective cultural critique must begin with empathy and curiosity, not defensiveness. It must also be rooted in understanding rather than nostalgia or cynicism.
The real challenge, then, is not that positive Black music doesn’t exist—it’s that it’s being ignored, dismissed, or overshadowed by louder, flashier content that doesn’t represent the full spectrum of Black artistry. This is not a new phenomenon. The music industry has long prioritized what sells over what uplifts. However, in the age of user-driven platforms, the power has shifted. Listeners are no longer passive recipients. They are curators, influencers, and gatekeepers in their own right.
So the question becomes: What kind of culture do we want to support? Do we want to contribute to the virality of content we find problematic, or do we want to help positive artists build sustainable careers? Do we want to complain about what’s wrong with the culture, or do we want to be part of what makes it better?
It’s time for a shift in perspective. Rather than continually sharing and reacting to negative examples, we should begin by amplifying the good. That means actively seeking out artists who inspire us, sharing their work with others, and celebrating their achievements. It means supporting platforms and curators who prioritize positive Black voices. It also means holding ourselves accountable for how our media habits shape the culture around us.
The dialogue from the text messages reveals a critical cultural conversation that needs to be had more openly. It challenges us to think about how we engage with media, how we support or neglect our artists, and how we define what is worthy of celebration. Positive Black music is not a relic of the past—it is alive and evolving. The question is whether we are paying enough attention to notice, and whether we are willing to act as champions of the music—and the values—we claim to believe in.
