Aug 14, · “White,” “Western,” “classical” music is the overarching basis for lots of American pop songs. Chromatic-chord harmony, clean timbre of Sep 24, · Country music needs a revolution: Essay. TODAY Network examine the state of race in country music, the Black Country Music Association. When the industry appeared to turn a blind eye to 1 day ago · Research paper for 6th graders. Case study down syndrome child essay tourism Global industry, application essay ideas? Introduction for sports research paper elements of a definition essay. Southwood school case study answers employment in india essay, dissertation topics in radiography classical music vs pop music essay. Essay about school
Country music needs a revolution: Essay from Rissi Palmer
With two exceptions, they were all white. I had to laugh — not because as a category Yacht Rock is absurd, but because what I tasted in that absurdity was black.
I started putting each track under music industry essay. Which artists would saunter up to the racial border? And which could do their sauntering without violating it? What bowls you over is the intensity of his yearning — teary in the verses, snarling during the chorus. Playing black-music detective that day, I laughed out of bafflement and embarrassment and exhilaration. Go, white boy. The problem is rich. The purity that separation struggles to maintain?
Black music is a completely different story. The visceral stank of Etta JamesAretha Franklin, live-in-concert Whitney Houston and Prince music industry essay electric guitar. And the spirit travels from host to host, racially indiscriminate about where it settles, selective only about who can withstand being possessed by it, music industry essay. Mick Jagger and Robert Music industry essay and Steve Winwood and Janis Joplin and the Beatles jumped, jived and wailed the black blues.
Tina Turner wrested it all backtripling the octane in some of their songs. The truth is more bounteous and more spiritual than that, more confused. That confusion is the DNA of the American sound, music industry essay. Flaws and all, these are homeowners as opposed to renters. No matter what, though, music industry essay, a kind of gentrification tends to set in, underscoring that black people have often been rendered unnecessary to attempt blackness.
Sometimes all the inexorable mixing leaves me longing for something with roots that no one can rip all the way out. Blackness was on the move before my ancestors were legally free to be.
It was on the move before my ancestors even knew what they had. It was on the move because white people were moving it. And the white person most frequently identified as its prime mover is Thomas Dartmouth Rice, a New Yorker who performed as T.
On went the light bulb. What they saw caused a permanent sensation. He reportedly won 20 encores, music industry essay. Rice repeated the act again, night after night, for audiences so profoundly rocked that he was frequently mobbed during performances.
Across the Ohio River, not an arduous distance from all that adulation, was Boone County, Ky. As they were being worked, sometimes to death, white people, desperate with anticipation, were paying to see them depicted at play.
Other performers came and conquered, particularly the Virginia Minstrelswho exploded inmusic industry essay, burned brightly then burned out after music industry essay months. In their wake, P. Barnum made a habit of booking other troupes for his American Museum; when he was music industry essay on performers, he blacked up himself. By the s, minstrel acts were taking over concert halls, doing wildly clamored-for residencies in Boston, New York and Philadelphia.
A blackface minstrel would sing, dance, play music industry essay, give speeches and cut up for white audiences, almost exclusively in the North, at least initially. Blackface was used for mock operas and political monologues they called them stump speechesskits, gender parodies and dances. Before the minstrel show gave it a reliable home, blackface was the entertainment between acts of conventional plays. The performers were beloved and so, especially, were their songs.
They played Irish melodies and used Western choral harmonies, not the proto-gospel call-and-response music that would make life on a plantation that much more bearable. Black artists were on the scene, like the pioneer bandleader Frank Johnson and the borderline-mythical Old Corn Mealwho started as a street vendor and wound up the first black man to perform, as himself, on a white New Orleans stage.
His stuff was copied by George Nichols, who took up blackface after a start in plain-old clowning. Yet as often as not, blackface minstrelsy tethered black people and black life to white musical structures, like the polka, which was having a moment in The mixing was already well underway: Europe plus slavery plus the circus, music industry essay, times harmony, comedy and drama, music industry essay Americana.
And the muses for so many of the songs were enslaved Americans, music industry essay, people the songwriters had never met, whose enslavement they rarely opposed and instead sentimentalized. These adaptations, known as U. s, took over the art form until the end of the Civil War. But a good time predicated upon the presentation of other humans as stupid, docile, music industry essay with lust and enamored of their bondage?
What blackface minstrelsy gave the country during this period was an entertainment of skill, ribaldry and polemics. But it also lent racism a stage upon which existential music industry essay could become jubilation, contempt could become fantasy. Paradoxically, its dehumanizing bent let white audiences feel more human. They could experience loathing as desire, contempt as adoration, music industry essay, repulsion as lust. They could weep for overworked Uncle Ned as surely as they could ignore his lashed back or his body as it swung from a tree.
Music industry essay where did this leave a black performer? When they were hired, it was only in a pinch. Once, P. Barnum needed a replacement for John Diamond, his star white minstrel. In a New York City dance hall, Barnum found a boy, music industry essay, who, it was reported at the time, could outdo Diamond and Diamond was good. The boy, of course, was genuinely black. And, as Juba, Lane was persuasive enough that Barnum could pass him off as a white person in blackface.
After the Civil War, black performers had taken up minstrelsy, too, music industry essay, corking themselves, for both white and black audiences — with a straight face or a wink, music industry essay, depending on who was looking.
Black troupes invented important new dances with blue-ribbon names the buck-and-wing, the Virginia essencethe stop-time. But these were unhappy innovations. A black minstrel was impersonating the impersonation of himself. Think, for a moment, about the talent required to pull that off, music industry essay.
According to Henry T. Yet that no-frills excellence could curdle into an entirely other, utterly degrading double consciousness, one that predates, predicts and probably informs W. American popular culture was doomed to cycles not only of questioned ownership, challenged authenticity, dubious propriety and legitimate cultural self-preservation but also to the prison of black respectability, which, with brutal irony, could itself entail a kind of appropriation.
It meant comportment in a manner that seemed less black and more white. It meant the appearance of refinement and polish. He was perfect for radio, yet when he got a TV show of his ownit was abruptly canceled, his brown skin being too much for even the black and white of a television set. There was, perhaps, not a white audience in America, particularly in the South, that would not have resented, in a very energetic fashion, the insult of being asked to look at the majestic singing of a real Negro.
Is their blackness an act? Is the act under white control? Just this year, Harold E. Doley Jr. Motown was a full-scale integration of Western, classical orchestral ideas strings, horns, woodwinds with the instincts of both the black church rhythm sections, gospel harmonies, hand claps and juke joint Saturday nights rhythm sections, guitars, vigor. Black women in ball gowns. Stables of black writers, producers and musicians. Backup singers solving social equations with geometric choreography.
And just in time for the hegemony of the American teenager. Even now it feels like an assault on the music made a hundred years before it. Motown specialized in love songs. But its stars, those songs and their performance of them were declarations of war on the insults of the past and present. The scratchy piccolo at the start of a Four Tops hit was, in its way, a raised fist.
The proliferation of black music across the planet — the proliferation, in so many senses, of being black — constitutes a magnificent joke on American racism. It also confirms the attraction that someone like Rice had to that black man grooming the horse.
But something about that desire warps and perverts its source, lampoons and cheapens it even in adoration. Loving black culture has never meant loving black people, too. Loving black culture risks loving the life out of music industry essay. If freedom's ringing, who on Earth wouldn't also want to rock the bell? InJ.
Kennard, a critic for the newspaper The Knickerbocker, hyperventilated about the blackening of America. Except he was talking about blackface minstrels doing the blackening. Nonetheless, Kennard could see things for what they were:. The negro poets, to be sure! Do they not set the fashion, and give laws to the public taste? Let one of them, in the swamps of Carolina, compose a new song, and it no sooner reaches the ear of a white amateur, than it is written down, amended, that is, almost spoilt, printed, music industry essay, and then put upon a course of rapid dissemination, to cease only with the utmost bounds of Anglo-Saxondom, perhaps of the world.
What a panicked clairvoyant! It was an anxiety over white obsolescence.
How Prince Transformed the Music Industry - Evolution Of - NowThis
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