The Death of Rhythm and Blues

fabulous book and still relevant

GREAT !!

A sharp and bold verdict on the Soul-less RnB that replaced much of Black America's Soul music as the 70's became the 80's. It is a theory that as the African-American middle class grew, and as America became more materialistic under Reagan, the Soul Music became less deep and heartfelt and more polished.Compounded by an African-American generation that was more urban and less in touch with the Deep South rural essence, this new type of "Soul" was beloved by radio programme directors for sticking to a formula which re-assured companies that advertised who craved stability and low risk music policies to keep ratings high.The DJ's talent spotting declined, and the standard of music dropped. Of course, there are great Soul records from the 80's, but there were a heck of a lot of overproduced dull ones too.The author ends on a prophetic hope note, emphasising that the urban environment gives rise to a new Soul in it's people, a harsher one but no less creative and perhaps more energetic, resulting in the new "Soul" of working class African-America being reflected in Hip Hop, an music form a decade old but still relatively emergent at the time this book was written.A book that will interest anyone who is a fan of Soul, RnB, Hip Hop or students of the Reagan era USA.

NO LO HE PODIDO LEERLO PORQUE KINDLE BOOKS NO ME DEJAS ENTRAR EN MIS LIBROS QUE YA HE PAGADO. SOLUCIONEN ESE PROBLEMA ¡YA!

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I gained knowledge from reading this book, and I could relate completely. I am giving this book a four star simply because there was a lot of jargon that made some sections hard to read, if you are not a musician. Then again, it is a book about music.Here are some excerpts that moved me:"Through the history of black music in the United States, it has been through the repetition and revision of texts, through the interplay of black language and black music in a long chain of Signifyin(g) tropes, that African American peasants became and continue to be the poets in a land that initially denied them the right to be called artists of any stripe. But poets they have become, as makers of the spirituals and the blues, as creators of R&B and rock `n` roll, and as composers of works for the concert hall. It is clear from the nature of their texts and their tunes that the makers of this music--the repeaters and revisers of the musical derivatives of the ring--have privileged and honored the spirit of Esu as, for example, that spirit is personified in the redoubtable Harriet Tubman, who bid many thousands to come ride her train.." The only thing I can say is "preach brotha, preach!" - Big Sistah Pat"In the 1960s, gospel music became entertainment." Interesting! - Big Sistah Pat"Sometimes when "new" sounds emerge in jazz they are perceived as foreign to the black-music tradition and, consequently, are unacceptable to many critics, mostly white, who reside on the margins of the culture. For example, John Coltrane's sound was strongly criticized as being inferior, but was applauded and appreciated by listeners from within the culture." Ain't that some bull! De folks ise all dat matters!" - Big Sistah PatReviewer's Note:This comment reminds me of how the mainstream critics hate Tyler Perry. Yet he is loved and supported by numerous regular folks in Black American society. The so-called critics have no value to the folks that support Tyler's productions. They determine what is worthy of their support, not self appointed outsiders. He speaks to them and aspects of Black American culture they can identify."In the late nineteenth century, the advertising of musical products became the primary means of developing, perpetuating, and communicating the negative images of black people in American society. The coon song was the vehicle for repeating these messages in American culture. The stereotypes perpetuated by these publications linger as both conscious and unconscious images of blacks in the memory of countless Americans." What fool said that images aren't powerful! -- Big Sistah Pat"Essentially and most fundamentally, the African-American musical experience is largely self-criticizing and self-validating. As such experiences unfold, for example, listeners show approval, disapproval, or puzzlement with vocal and physical responses to, and interaction with, events as they occur. African Americans serve critical notice on inferior music making either by withholding their participation or, as in New York's tough Apollo Theatre in the 1940's and 1950's, by addressing criticism directly to the performers on stage. The culturally attuned are aware when the notes and the rhythms do not fit the context and when the idiomatic orientation is wrong; they know when an act is a Signifyin(g) one, when it is effective, and when it is not". You got that right. You know how well you are doing right then by the audience response. We are going to let you know. - Big Sistah PatI would recommend this book if you have a strong interest in learning about the origins and the evolution of African American music in the United States.

By far the best black music history lesson I’ve received in my forty plus years of loving the art. All we had/have to do is preserve our culture. I love us! Thank You Nelson for this history lesson. I’m gonna tell everyone I know about this book.

Compré este libro animado por una recomendación que Chuck D (de los Public Enemy) hacía en el Mojo. No vuelvo a hacerte caso en mi vida chuck.. el libro es un alegato a una supuesta cuestión racial del R&B por la que sólo los afroamericanos pueden hacer este tipo de música y si alguien que no es de esta raza lo hace es un truño o si un afroamericano se despista y se mueve un poco hacia algo más Mainstream es un vendido a su raza. En resumen, el típico crítico música que usa su opinión como un mazo de ataque en lugar de intentar luchar para la integración en la sociedad.