R B or Third World Atlas

R&B (Rhythm and Business): The Political Economy of Black Music

Author: Norman Kelley

Revised paperback edition: Norman Kelley joins hip-hop luminary
Chuck D and others to dissect the historical plight of black artists in the
recording industry--from blues to hip hop and all points between.

Who profits most from the spectacular success of black music? For
generations, African-Americans have created and driven varied musical genres: gospel,
blues, jazz, r&b, rock & roll, funk, hip hop, etc. Black musical creativity has, in
fact, fueled the modern music industry. Yet, of the country's ten largest
black businesses, not one is a record company.

Given that hip hop music alone has generated more than a billion dollars in
sales, the absence of a major black record company is disturbing. (Even Motown
is now a subsidiary of the Universal Music Group.) Nonetheless, little has
been written about the economic relationship between African-Americans and the
music industry. Here, for the first time, is a collection of voices and
perspectives that provides a nuanced investigation into this structure of stealing.
In R&B, Public Enemy's Chuck D, author Norman Kelley, and other journalists and
musicians combine forces to examine how black music has been developed,
marketed, and distributed within the structure of American capitalism. The
anthology dissects contemporary trends in the music industry, and explores how blacks
have historically interacted with the business as artists, business-people,
and as consumers. R&B also considers how the changes and developments within the
music business--from the frontier of digital technology to the consolidation
of the giant music conglomerates--might affect the future roles of
African-Americans in the industry.

CONTRIBUTORS INCLUDE: Norman Kelley, Brian Ward, Jeff Chang, Chuck D, Yvonne
Bynoe, Michael Roberts, Courtney Love, Danny Goldberg, Charles Mann, Reebee
Garofalo, Jarrett Murphy, David Sanjek, Richard B. Woodward, Karl Hagstrom
Miller, the NAACP, Stephen Calt, Adam Mansbach, Charles C. Mann, and Greg Tate.

Library Journal

Seminal rapper Chuck D of Public Enemy once asked the musical question, "Who stole the soul?" In this anthology, perhaps the first to deal solely with the business of black music, Chuck D, editor Kelley (author of the Nina Halligan mysteries), and other name contributors (including Courtney Love) attempt to come up with some answers. This is not a study of the appropriation of African American musical styles which was ably covered in Leroi Jones's Blues People: Negro Music in White America, among other titles but rather an examination of why white-owned entertainment conglomerates have profited so much and blacks as a whole so little from the worldwide explosion of hip-hop. Kelley's introductory piece sets the tone, describing the current state of the music industry as a continuation of a "structure of stealing" that has plagued African Americans for centuries. The history of the modern recording industry, including the gray line between major and "independent" labels, is dissected in several eyeopening contributions that should be required reading for anyone interested in popular music. The collection comprises 20 pieces (seven are new and two are substantially revised) from a variety of journalists, music industry insiders, and historians, as well as an interview with Rap Coalition founder Wendy Day. Recommended for larger public and all academic libraries. David Valencia, King Cty. Lib. Syst., Seattle Copyright 2002 Cahners Business Information.

Table of Contents:

	Introduction
Pt. 1	The Structure of Stealing
	Notes on the Political Economy of Black Music	6
	Papa's Got a Brand-New Bag: Big Music's Post-Fordist Regime and the Role of Independent Music Labels	24
	The Discordant Sound of Music	44
	Tell Me Something I Don't Already Know: The Harvard Report on Soul Music Revisited	59
	The Ballad of the Mid-Level Artist	77
Pt. 2	The Politics of Race Music
	The Anatomy of a "Race" Music Label	86
	Crossing Over: From Black Rhythm & Blues to White Rock 'n' Roll	112
	"All for One, and One for All": Black Enterprise, Racial Politics and the Business of Soul	138
	Soul for Sale: The Marketing of Black Musical Expression	158
Pt. 3	Do Plantains Go with Collard Greens? The Political Economy of Jazz and Salsa
	If You're Black Get Back: Double Standards in the Recording Industry	176
	Kind of Blue: Jazz Competes with Its Past, Settles for the Hard Sell	185
	Crossover Schemes: New York Salsa as Politics, Culture, and Commerce	192
Pt. 4	The Politics of the Noise
	Money, Power, and Respect: A Critique of the Business of Rap Music	220
	How Not to Get Jerked! The Hip Hop Elementary Roundtable	235
	Interview: Wendy Day, Advocate for Rappers	255
	Death of a Nation - Where Ignorance Is Rewarded for a New Race Creation: The Niggro	267
Pt. 5	The Future of Music
	The Heavenly Juke Box	272
	Music and New Technology: Making Music in the Digital Age	302
	Senate Testimony of the Future of Music Coalition, April 3, 2001	319
	Artist Rights and Record Companies: A Letter to Fellow Recording Artists	329

Interesting book: Police Manager or Hegemony or Survival

Third World Atlas

Author: Alan Thomas

This revised and updated second edition provides more than a collection of maps. It explores alternative ways of defining and mapping "Third World" and "development". It offers both historical and contemporary contexts discussing, for instance, Europe's colonization of Asia, Africa and Latin America and current issues such as environment degradation, famine, migration and gender.

The text examines three main questions: What is the Third World? How was it "made"? What changes are taking place in the Third World today? More generally, the atlas presents a variety of perspectives and explores how data can be presented and interpreted, and how much reliance we can place upon it. Students of geography, sociology, politics and international history, as well as development specialists, should find this guide useful.