Black Popular Music In Britain Since 1945

Black Popular Music in Britain Since 1945 provides the first broad scholarly discussion of this music since 1990. The book critically examines key moments in the history of black British popular music from 1940s jazz to 1970s soul and reggae, 1990s Jungle and the sounds of Dubstep and Grime that have echoed through the 2000s. While the book offers a history it also discusses the ways black musics in Britain have intersected with the politics of race and class, multiculturalism, gender and sexuality, and debates about media and technology. Contributors examine the impact of the local, the ways that black music in Birmingham, Bristol, Liverpool, Manchester and London evolved differently and how black popular music in Britain has always developed in complex interaction with the dominant British popular music tradition. This tradition has its own histories located in folk music, music hall and a constant engagement, since the nineteenth century, with American popular music, itself a dynamic mixing of African-American, Latin American and other musics. The ideas that run through various chapters form connecting narratives that challenge dominant understandings of black popular music in Britain and will be essential reading for those interested in Popular Music Studies, Black British Studies and Cultural Studies.

Black Popular Music in Britain Since 1945 provides the first broad scholarly discussion of this music since 1990. The book critically examines key moments in the history of black British popular music from 1940s jazz to 1970s soul and reggae, 1990s Jungle and the sounds of Dubstep and Grime that have echoed through the 2000s. While the book offers a history it also discusses the ways black musics in Britain have intersected with the politics of race and class, multiculturalism, gender and sexuality, and debates about media and technology. Contributors examine the impact of the local, the ways that black music in Birmingham, Bristol, Liverpool, Manchester and London evolved differently and how black popular music in Britain has always developed in complex interaction with the dominant British popular music tradition. This tradition has its own histories located in folk music, music hall and a constant engagement, since the nineteenth century, with American popular music, itself a dynamic mixing of African-American, Latin American and other musics. The ideas that run through various chapters form connecting narratives that challenge dominant understandings of black popular music in Britain and will be essential reading for those interested in Popular Music Studies, Black British Studies and Cultural Studies.

Black Popular Music in Britain Since 1945 provides the first broad scholarly discussion of this music since 1990. The book critically examines key moments in the history of black British popular music from 1940s jazz to 1970s soul and reggae, 1990s Jungle and the sounds of Dubstep and Grime that have echoed through the 2000s. While the book offers a history it also discusses the ways black musics in Britain have intersected with the politics of race and class, multiculturalism, gender and sexuality, and debates about media and technology. Contributors examine the impact of the local, the ways that black music in Birmingham, Bristol, Liverpool, Manchester and London evolved differently and how black popular music in Britain has always developed in complex interaction with the dominant British popular music tradition. This tradition has its own histories located in folk music, music hall and a constant engagement, since the nineteenth century, with American popular music, itself a dynamic mixing of African-American, Latin American and other musics. The ideas that run through various chapters form connecting narratives that challenge dominant understandings of black popular music in Britain and will be essential reading for those interested in Popular Music Studies, Black British Studies and Cultural Studies.

Since the turn of the 21st century, there have been several genres birthed from or nurtured in Black Britain: funky & tribal House, Afrobeats, Grime, Afro Swing, UK Drill, Road Rap, Trap etc. This pioneering book brings together diverse diasporan sounds in conversation. A valuable resource for those interested in the study of 21st century Black music and related cultures in Britain, this book goes incorporates the significant Black Atlantean, global interactions within Black music across time and space. It examines and proposes theoretical approaches, contributing to building a holistic appreciation of 21st century Black British music and its multidimensional nature. This book proffers an academically curated, rigorous, holistic view of Black British music in the 21st century. Drawing from pioneering academics in the emerging field and industry professionals, the book will serve academic theory, as well as the views, debates and experiences of industry professionals in a complementary style that shows the synergies between diasporas and interdisciplinary conversations. The book is interdisciplinary. It draws from sociology, musicology and the emerging digital humanities fields, to make its arguments and develop a multi-disciplinary perspective about Black British music in the 21st century.

Ten essays, covering the period from 1800 to the present, place the contribution of black musicians (who in Britain include South Asians--such are the vagaries of racial tagging) to popular music in its socio-historical context, considering as well social attitudes and media responses to black music. Annotation copyrighted by Book News, Inc., Portland, OR

Don?t Stop The Carnival" is the story of Black music in Britain from Tudor times to the mid-1960s. It is a story framed by slavery, empire, colonialism and the flow of music around the Black Atlantic of Africa, the Caribbean, the USA and Great Britain. It is about the passage of temporary but influential visitors such as The Fisk Jubilee Singers, The Southern Syncopated Orchestra and Paul Robeson; about the post-1945 migration of people from the colonial empire to Britain; about the new energies released by independence in the ex-colonies that created new musical forms such as ska, rocksteady and West African highlife.00It is the story of a struggle against racism, but also of institutions like the military that provided spaces for black musicians from the middle ages to the mid-20th century. It is the story of individuals such as the trumpeter John Blanke in the court of Henry VIII, Ignatius Sancho writing minuets in the 18th century, Billy Waters scraping the catgut on the streets, the violinist George Bridgewater and his falling out with Beethoven, the composer Samuel Coleridge-Taylor whose music is still played today, and popular 1930s entertainers such as?Hutch? and Ken?Snakehips? Johnson. Above all, it is the story of those who changed the face of British music in the postwar period in ways that continue to evolve in the present.00?It is the story of actual Windrush arrivals such as calypsonian Lord Kitchener, and singer Mona Baptiste; of Edric Connor, Cy Grant and Winifred Atwell who made inroads into the BBC and British hearts; of those who brought calypso and steel band to Britain?s streets; of Caribbean jazz musicians such as Leslie Thompson, Joe Harriott, Dizzy Reece and Andy Hamilton; of great West African highlifers such as Ambrose Campbell and Ginger Johnson; of escapees from apartheid South Africa, such as Louis Moholo-Moholo who brought the sounds of Soweto to British jazz.