Joy Reid may have moved on from MSNBC, but her controversial remarks continue to capture attention. During a recent conversation with writer and podcaster Wajahat Ali, Reid made the sweeping claim that “white people can’t invent anything,” arguing instead that “mediocre white men” appropriate culture from black individuals. This assertion led to significant backlash and scrutiny regarding its accuracy.
Reid and Ali were discussing the topic of wokeness in relation to the Smithsonian Institution and President Donald Trump’s administration. In their discussion, Ali stated, “These people cannot create culture on their own. Without black people, brown people, the DEIs, there’s no culture in America.” Reid echoed Ali’s sentiment, suggesting that the history of white Americans is one of theft and appropriation, which she cited in reference to Elvis Presley’s version of the song “Hound Dog.”
However, the debate over whether Elvis “stole” the song from black musicians is more complex than Reid’s comments imply. “Hound Dog,” which became a hit for Presley in 1956, was originally recorded by Willie Mae “Big Mama” Thornton in 1952. Yet, neither artist wrote the song—the credit goes to the songwriting duo of Jerry Leiber and Mike Stoller, both of whom were white. This detail complicates Reid’s narrative, as her assertion overlooks the collaborative nature of music-making across racial lines.
The version of “Hound Dog” that Reid specifically referenced as being “stolen” was actually shaped by multiple artists. The original recording by Thornton, renowned for its raw blues style, differs significantly from Presley’s energetic rendition, which was influenced by yet another version recorded by Freddie Bell and the Bellboys in 1955. Stoller himself has clarified that Presley’s iconic performance was, in part, a reflection of Bell’s rendition, raising further questions about ownership and originality in musical creation.
While conversations about cultural appropriation are necessary, they require a nuanced understanding of musical history. Elvis effectively popularized pieces of music with deep roots in black culture, but it is misleading to frame this solely as theft. The interplay between white and black artists has long been part of the fabric of American music. Thus, claims like Reid’s may benefit from a more thorough historical context.
In the end, Reid’s assertions may provoke strong reactions but also expose weaknesses in the arguments surrounding cultural appropriation. The truth, as it often does, resides in the complexities of history and credit that resist oversimplification.
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