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ABSTRACT
The success of America’s one-time most-popular band had everything to do with race. While rock and roll briefly integrated popular music at mid century, after Woodstock the form resegregated into rock, performed almost exclusively by and for white audiences, and soul, performed almost exclusively by and for Black listeners. Capitalizing on a racial backlash to the achievements of the civil rights movement, by the mid 1970s country-inflected rock reached the height of popularity among white audiences. But white American audiences have always hungered for Black music. When Journey added a Motown-influenced lead singer, they turned in the opposite direction: cultural appropriation. In a modern twist on minstrelsy without blackface, Journey delivered a “safe” form of Black music to the white audiences who still craved it. This is not immediately evident listening to Journey’s hits. It is only through a look at the origins of their most important composers, a careful analysis of their “deep cuts,” and discussion of exceptions that proved the rule, that the importance of race in the development of Journey’s popularity—and its culmination with their megahit “Don’t Stop Believin’”—becomes clear.
Disclosure Statement
No potential conflict of interest was reported by the author(s).
Notes
1. Perry is the child of Portuguese immigrants but does not identify as Latino.
2. While I follow standard conventions referring to individuals by last name, to do so with Carlos Santana would disingenuously confuse the man with the band that bore his surname. To account for this I am, albeit unconventionally, referring to him by his given name.
3. My use of the word “Negro” is not to describe people (Black or African-American being more appropriate in that case) but historically rooted musical styles and/or literary genres.