The Death of Rhythm and Blues

by Nelson George

Book Overview

From Nelson George, supervising producer and writer of the hit Netflix series, The Get Down, this passionate and provocative book tells the complete story of black music in the last fifty years, and... This description may be from another edition of this product.

• Format: Mass Market Paperback
• Language: English
• ISBN: 0452266971
• ISBN13: 9780452266971
• Release Date: October 1989
• Publisher: Plume Books
• Length: 222 Pages
• Weight: 0.80 lbs.
• Dimensions: 0.7" x 6.0" x 9.0"

Customer Reviews

still compelling

the cross over dream and what it meant for R & B is still felt all of these years later. Nelson George did a fantastic job of explaining his stance and also enlighten so many on what happen to R & B and what the future of it just might be. this book goes through various eras and you can see the blueprint of the past which leads to now. this book is timeless and still speaks to today on so many levels with the technilogy and the attitude toward the cross over dream at all costs. a must read.

Enlightening

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 Pat Reviewer'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 inf

A Forgotten Past

Nelson George's arguments are clear, well-organized, and powerful. While reading, I was forced to look at things differently than I ever had before. The ideological vision of integration is an honorable one, but the simple fact demonstrated in The Death of Rhythm & Blues is that integration is forever indebted to black utility for white profit. It is likely that race relations in this country would be quite different if whites had not benefited from the talent and ingenuity of black athletes and performers in such a profitable fashion. This is ground that history teachers rarely, if ever, tread on. It is quite tragic to know that the unique and powerful black culture from which basically all popular music is derived, can be so easily forgotten or ignored. George's position is most intriguing in that it reminded me that history may belong to the teller, but there are many stories to be told. I consider myself fortunate to have heard this one.

very honest

this book is very honest.10 years back the cross-over dreams achived by michael jackson,prince,lionel richie,whitney houston,janet jackson, and the rise of rap at the time put this book on point.cuz 10 years later rap has crossed over like the artist i mentioned and artists before them and though artists like michael jackson always had a cross over crowd many other artists have tried to hard to be pop accepted. and it's coast them careers and credibility.this book points out artists that have tried to hard to be accepted.also lack of black on black support as far as management,tour personnel,etcc.black radio and programmers.this is a must read very insightful and to the point.also it's my fave of his books cuz it predates everything that is happening in hip-hop and rap today not to mention the lameness that goes for r-n-b today.artist that tried to cross-over so bad have made it worse for todays r-n-b. this book shows that point and more.

Finally an honest book the goes beyond dates and names

I've read a lot of books on musical roots in the last 30 years...to understand what really happened in the history of black music in America you have to understand what went down for the African-American in a white controlled enviroment. Mr. George holds nothing back and lets true history smack us all in the face. I would like to comment on a couple of points relating to white men playing black-roots music. Nelson commented that although Elvis was totally involved in black music ( and hair styles, clothe,etc.) that he essentially became a "wimp". I feel his material got wimpy, because of the white-music-machine & Tom Parker..but,I beleive the inner Elvis had "soul" in it's truest form. Then Nelsons examples of white boys who actually could play the blues 1. Eric Clapton, who I find leaves me cold with the text-book perfect licks pumped out with computer accuracy & 2. Johnny Winter, who to my ear does the classic wanna-be style playing of "more- notes-faster"...typical of the white boy trying so hard to over compensate, that it loses what it was all about in the first place, FEELING! These are just small things that bugged me a bit...the book is not about white boys wanting to play black music...it has a much deeper and more important message...a very eye openning look at reality in the music buisness and the black experience...I will continue to read Nelson George, he is saying things I'd like my children to understand. People deserve to here the truth.