What the Music Said: Black Popular Music and Black Public CultureRoutledge, 2013 M09 13 - 215 páginas First Published in 1999. In What the Music Said, Mark Anthony Neal provides a timely study of from be-bop to Hip Hop. This book looks at the last fifty years of black popular music and provides an intriguing portrait of the existential and social forces that drove black communities to make music in protest, reaction and to fulfil their material and spiritual needs. |
Contenido
| 1 | |
From Protest to Climax Black Power State Repression and Black Communities of Resistance | 25 |
From Protest to Climax Black Power State Repression and Black Communities of Resistance | 55 |
Soul for Sale The Marketing of Black Musical Expression | 85 |
Soul for Real Authentic Black Voices in an Age Deterioration | 101 |
Postindustrial Soul Black Popular Music at the Crossroads ... | 125 |
Postindustrial Postscript The Digitized Aural Urbanlandscape | 159 |
Endnotes | 173 |
References | 185 |
Index | 191 |
Otras ediciones - Ver todas
What the Music Said: Black Popular Music and Black Public Culture Mark Anthony Neal Vista previa limitada - 2013 |
Términos y frases comunes
aesthetic African African-American African-American diaspora African-American youth American Aretha audiences aural bebop black church black community black expressive black male black middle class black music black nationalist black political black popular music Black Power black protest movement Black Public Sphere black urban spaces black women black youth blaxploitation Chitlin Civil Rights movement commercial commodification constructs contemporary black context corporate crack cocaine create critical critique dance discourse dominant Donny Hathaway early economic efforts emergence film Franklin Gamble and Huff Gaye’s genre ghetto ghetto pop Gordy Gordy’s Harlem influence Jackson Jackson Five jazz King’s label largely Malcolm X Marvin Gaye mass-market middle-class migration Motown narratives organic particularly popular music tradition post—Civil Rights postindustrial postindustrial city produced public spaces realities reflected release represented resistance rhythm and blues role segregated sensibilities soul music soundtrack South suggests traditional Black Public transformed urban landscape urban North WattStax What’s Going Wonder’s youth culture