The Death of Rhythm and Blues (Anglais) Broché – 15 août 2003
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Premium bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Descriptions du produit
Revue de presse
“[George’s] reading of history is not only interdisciplin- ary, it has a musical score.... His accounts of the colorful characters who populate this uncharted realm are often informative and...delightful.” —The Washington Post Book World
Présentation de l'éditeur
Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.
Pour obtenir l'appli gratuite, saisissez votre numéro de téléphone mobile.
Détails sur le produit
Si vous vendez ce produit, souhaitez-vous suggérer des mises à jour par l'intermédiaire du support vendeur ?
Commentaires en ligne
Commentaires client les plus utiles sur Amazon.com (beta)
Read the book! It's worth the money.
Oh, check out the publish date as it doesn't cover the most recent years of musical history.
Still 'The Death of Rhythm and Blues' is a MUST-READ for anyone seriously concerned about the future of Black music as well as the the Black community for, as Nelson bluntly puts it, "it is clear that Black America's assimilationist obsession is heading it straight towards cultural suicide" .
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 Pat
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 Pat
I 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.