The Story
Epic in scope and personal recollection, The Music is Black is the story of British imperial and colonial histories, the African diaspora, and contemporary British social history put into song. Black British music has been the soundtrack to periods of profound political, social, cultural, and demographic change. It is the music of identity, indefatigability, resistance, anger, celebration, love, loss; it is the music of possibility and hope. Opening with an exploration of the sound and identity of the African diaspora as shaped by the tumultuous forces of British imperialism and colonialism from the 1400s to 1900, Jacqueline Springer then surveys the black musical landscape in Britain from 1900 to 1970. Two major imports—American rap and Jamaican ragga—are singled out for their vital contributions to the homegrown genres central to the publication: lovers rock, Brit funk, 2 tone, jungle, drum & bass, trip-hop, and UK garage and grime. Each genre is then considered with an academic framing of its social and political landscape and artist interviews that include Carroll Thompson, Neville Staple, Kenny Wellington, Bluey Maunick, Fabio and Grooverider, Skye Edwards and Ross Godfrey of Morcheeba, Megaman, DJ Target, and Slimzee. Epic in scope and in personal recollection, The Music is Black bears witness to the resilience, ingenuity, and heart of all those who create.
Description
Epic in scope and personal recollection, The Music is Black is the story of British imperial and colonial histories, the African diaspora, and contemporary British social history put into song. Black British music has been the soundtrack to periods of profound political, social, cultural, and demographic change. It is the music of identity, indefatigability, resistance, anger, celebration, love, loss; it is the music of possibility and hope. Opening with an exploration of the sound and identity of the African diaspora as shaped by the tumultuous forces of British imperialism and colonialism from the 1400s to 1900, Jacqueline Springer then surveys the black musical landscape in Britain from 1900 to 1970. Two major imports—American rap and Jamaican ragga—are singled out for their vital contributions to the homegrown genres central to the publication: lovers rock, Brit funk, 2 tone, jungle, drum & bass, trip-hop, and UK garage and grime. Each genre is then considered with an academic framing of its social and political landscape and artist interviews that include Carroll Thompson, Neville Staple, Kenny Wellington, Bluey Maunick, Fabio and Grooverider, Skye Edwards and Ross Godfrey of Morcheeba, Megaman, DJ Target, and Slimzee. Epic in scope and in personal recollection, The Music is Black bears witness to the resilience, ingenuity, and heart of all those who create.
