PDF The Vince Guaraldi Collection (Songbook): Piano (Artist Transcriptions) by Vince Guaraldi in Arts-Photography

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9 of 9 people found the following review helpful. Maureen Mahons Right to Rock: the Black Rock Coalition and the Cultural Politics of RaceBy Michell G. Goetz. When we think of rock `n roll; the first image that comes to mind is the white male guitarist; or the iconic Led Zeppelin. Ironically; it was not this credited white male who invented rock n roll in the 1940s and 1950s; but southern black artists such as Little Richard; Chuck Berry; and Etta James. It is still debated how large of a role these black artists had in revolutionizing the music industry through the introduction of rock. After the death of Jimi Hendrix; a rock legend; black rock music disappeared from the mainstream. In the post-civil rights era; white Americans popularized rock music; and the culture became associated with white aesthetics rather than black. Throughout the past few decades; the music industry has made it inconceivable to embrace black rocker music into mainstream pop culture. During the 1980s black rock musicians and listeners were ostracized by society for falling out of the black mainstream and norm; and were classified as not being `black enough. In order to survive in the industry; many black musicians were forced to reconstruct their music and tastes based on the racial identities that existed in society. In 1985 Greg Tate; Konda Mason; and Vernon Reid; became aware of this unfortunate situation and founded the Black Rock Coalition (BRC) in New York City; and in Los Angeles in 1989. In the book Right to Rock; cultural anthropologist Maureen Mahon takes an ethnographic approach by observing and participating in the proactive organization and role of the BRC. She states; "Their goal in forming the organization was to bring together musicians and their supporters so they could begin to address the music industrys resistance to black rock (pg. 7)." In order to expand the stereotypes of black identity; the BRC further expressed the idea that black rock was anything but an oxymoron. Members of the BRC were mainly middle-class college educated African-American men and women between the ages of twenty and forty. It was common for a BRC member to have experienced integration in their schools during the 1960s and 1970s. As a result; their musical tastes were `culturally contaminated by non-blacks in their environment. They integrated this wider perspective of music into their own practices; and enjoyed the same musical tastes of some of their white peers. Unfortunately; black rockers were marginalized by producers; record companies; and whites; for not being `black enough. Mahon explains this choice of `staying true to ones blackness and the dilemma in producing a crossover album: "Many black artists and audiences see crossover as a choice that requires crossing out aspects of ones blackness to gain mainstream pop chart visibility (pg. 158)." In 1988; MTV aired a song from the black rock band; Living Colour. Many BRC members were discouraged by their success because it was a result of British rock star Mick Jagger; who persuaded Epic records to sign the band. Mahon added; "Most disturbing for BRC members was the fact that a white star had to validate a black band before it could gain recognition (156)." Unfortunately; the groups success was limited and their acceptance never accumulated in mainstream black culture. Even more; these rockers were recognized by other blacks for neglecting their racial roots. In the context of the post-civil rights movement and the racism that continually persisted; many blacks began to emphasize their differences from whites. The author notes that "this process fixed the meaning of black and set the terms of post-civil rights era notions of black authenticity (pg. 117)." Members of the BRC avoided the identities established by this movement and challenged the assumptions of rock and race. They promoted bands such as Bad Brains; Living Colour; and Fishbone; by resourcefully creating venues and opportunities in clubs and bars in New York City for bands to gain exposure and generate a fan base. They not only sponsored events; but they provided outlets for black musicians to produce CDs; expose themselves in newsletters and radio shows; and popularize their message by `word of mouth. Instead of attacking the institution that had excluded blacks in the rock world; they decided to create their own genre. The coalition discussed a myriad of issues during their meetings each week and allowed people from different backgrounds a chance to voice concerns and organize resolutions for change. One of the most salient issues that Mahon voiced throughout her book was the strict assumption on what constituted authentic black music. Black authenticity is commonly associated with the ethics of the working-class. Lower-class blacks ostracized middle-class blacks because they were seen as neglecting their true blackness by assimilating into white culture. Mahon describes this dilemma when she says "on the one hand their blackness limited full acceptance by whites in situations where integration did not eliminate racialization...some blacks felt that their association with what was perceived to be white institutions and practices compromised their blackness (pg. 58)." Black rockers are torn by the idea of a `double-consciousness and are constantly questioned about their true identity. As a result of this double-consciousness they are forced to justify themselves because they do not fall under the normal characterizations of black or white. Another important issue that Mahon touches upon is the paradox of black authenticity; or societys `anxiety of influence. Blacks and whites; in trying to build their `cultural capital; too often forget that culture is learned. They overlook the fact that ones identity is influenced by other races; cultures; and ideas. The author strongly states; "One is black not simply because of ancestry or phenotype but because of practice and consciousness...This perspective reminds us that blackness is created; enacted; and produced through the choices we make (pg. 11)." Black and white authenticities are not exclusive from one another. Black rockers have accepted their multicultural existence and claim their blackness to be defined by more than one race. There is no way to classify black music; and what is authentic cannot be over-generalized within a society. Black rockers questioned the stereotypes of both white rock and black mainstreams and created their own forms of identity through rock music. Throughout Right to Rock; Maureen Mahon effectively uses the Black Rock Coalition to emphasize how society places stereotypical restrictions on groups of people that hold a similar position of race; class; gender; religion; and culture. This book is a profound research study to explore how the BRC redefined the appropriateness of black music. It clearly demonstrates how race has little determination in an individuals musical preference. As the book unfolds; the author brings to surface the limitations of black aesthetics in social; political; and economic contexts.7 of 7 people found the following review helpful. Economic RacismBy JR Hillafter reading Maureen Mahons Right to Rock: The Black Rock Coalition and the Cultural Politics of Race; you will realize; just as I have; that Professor Mahons work is every bit as much about economics as it is about rock and race. The book is a cleverly crafted critique of the cultural; political; and economic confines that plague African American rock artists and prevent them from achieving success. Mahon not only reveals the pulse of the African American rock scene in the Black Rock Coalition; but also paints a poignant portrait of the business practices that shape the decision-making processes of the major production companies in the United States.Early in her study Mahon defines the term "cultural capital" as "knowledge; influence; and power based on cultural rather than economic resources." (42) This concept appears time and again throughout Mahons work; and is especially highlighted by her interviewees who constantly refer to an increased emphasis on the importance and necessity for African Americans to have the essence of blackness. Blackness is not solely defined by race; but also by persona - by style and poise; by culture and pride; by language and expression. Blackness does not have to include a passion for rap or hip-hop; and likewise does not have to exclude an interest in rock `n roll. In fact; as Mahon reminds us; "Rock `n rolls original architects were African Americans like Little Richard; Ruth Brown; Bo Diddley; Etta James; and Chuck Berry." (7) Thus it becomes apparent that blackness; as most see it today; is a skewed version of its reality - it need not come attached to a particular style of music or a particular way of life - it is engrained in the diversities of the African American mores and serves to provide them with the cultural capital that has become a necessary means to success within the supposedly neo-liberal society of the United States.When questioned by her grandmother about what she had been working on; Mahon responded that she was writing about blacks who were being denied the right to play rock. To this; her grandmother responded; "But Maureen; I thought rock `n roll was black. Isnt Chuck Berry rock `n roll?" (92) Herein Mahon obviates the transformation that has taken place not only regarding black music; but how varieties of music are percieved along different racial lines. Why has this occurred? Mahons study; while not specifically answering this question; certainly offers some explanations for the racial robbery of rock `n roll.Perhaps the most influential factor in separating black artists from recording success was the bleak economic situation of the black recording artists and the black community at large. The recording industry; like any major business in a capitalistic society; is concerned about one thing - money. This emphasis on profits eliminates the risk acceptance in the industry; thereby eliminating the possibility of an executive taking a chance on a black musician; especially a black rocker; when he can invest his time and money in a white band whose success is far more likely. Once the music video caught fire and became a necessity to any groups musical success; the likelihood of a black breakthrough seemed even less likely - once again due to the economic barriers that shut them out of success. "Black artists faced a Catch - 22: Without a video; they would have difficulty developing an audience and without the audience; they might not get the chance to produce a video." (169) Thus; for black rockers who lacked a loyal audience; the need for an outlet for their music was dire; and the result of this need was the foundation of the Black Rock Coalition. Offering an opportunity to surround oneself with people of similar passions; the BRC also served as a means to cut through the economic red tape that stifled the success of so many talented black entertainers by giving them an audience; as well as offering distribution and performance networks.The hardships that face the members of the black rock community are often not only the fault of the music industrys supply side economic conditions; but in fact are often the result of the dismal demand that exists in the marketplace for music for black rock. Black rockers are not only being ostracized by white rockers and white industry executives; but by black rappers and black industry executives as well. The reason for this is simple. To those in the music industry; black rock was not white enough to appeal to white audiences and not black enough to appeal to black audiences. So; just as MTV and Sun records shunned the black rock movement; so too did BET and Motown records who didnt think the black rockers would be received by either a white or a black audience.As classical economic doctrine has taught us; and as Mahon again reiterates in her Right to Rock; where there is no demand; there will be no supply. For this reason; it seems apparent that the role of the Black Rock Coalition should be not necessarily to increase the supply of black rockers; but instead to increase the demand for such rockers;. Through this increase in demand; a market niche will be formed and will offer an opportunity for black rockers to step up and fill the void that they have long awaited. Suddenly the music companies will be seeking out the artists; instead of the artists desperately seeking representation from the music companies. Suddenly the public will watch black rock videos; go to black rock shows; and buy black rock albums. Suddenly real possibilities replace unlikely dreams. Whether the market is one for goods or for services; cars or candy; rap or rock; a change in demand will cause a change in the market. Herein lays the key to success for the black rock community - increase the demand for black rock and the increased supply of black rock in mainstream media will surely follow.Like Living Colour demonstrated in the mid-1980s; success can be attained in the rock world even if you are African American; but even they; the supposed models of success for black rockers; were not content with what they had achieved. For this reason; among others; the Black Rock Coalition was founded; and for this reason; among others; the Black Rock Coalition still exists today. The organization cannot disappear without the appearance of distinct differences in the music industry; and specifically within the propensity for industry executives to racially classify distinct genres of music. Only once the racial emphasis has vanished from rock culture can all people; regardless of race; experience "the physicality of rock; [the way] it fills your body; reverberates inside you; and entrances you." (263) After reading Maureen Mahons latest work; for perhaps the first time in my life; I understand that the right to rock exists not in the color of your skin or the style you do your hair - it exists in your blackness; in your whiteness; in whatever sense of pride and self-understanding guides you through the labrynth that we call life. Find that and you can find a way out of the confines of capitalism and limited market shares. Find that and you can create demand and stimulate supply for whatever it is youre selling. Find that - and you can achieve anything.3 of 12 people found the following review helpful. Black Rock: Whats It All About?By H. AL-THANIElvis is Black-or at least everything about his legacy is. Rock is not only black; but black rockers are also white; the problem of sales in the Black Rock industry is not the limited number of fans they have-the problem is the unwillingness of music executives to sign on Black Rock artists because of the lack of a fan base. These arguments are simply two of the many that are fired around by Maureen Mahon; the author of the book Right to Rock: The Black Rock Coalition and the Cultural Politics of Race. Mahon examines the Black Rock Coalition (BRC) and the way in which the "BRC members assert cultural ownership; stressing that African American innovators made central contributions to the development of rock" (19). The central argument of her book is focused around the history of Rock and how it ought to be embraced by black-Americans. According to her study; the history of rock lies in the heritage of African-Americans and thus should return to them. They should "reclaim" it. And what is Black Rock? Mahon argues "white rock" is really Black as Black artists created this genre-she states that Elvis "borrowed his hip swivels and vocal delivery from black performers." (151) She also states that he succeeded because he "produced the appealing "Negro Sound and Negro Feel" while avoiding the baggage of actually being black" (150). And so Elvis played black music to white audiences and eventually this black music was associated with whites and has been associated with them ever since. With the labeling of rock under white music; black rock groups have had difficulties in obtaining music contracts. The music industry doesnt want to sign Black rock bands; including black executives. Rocks identity has changed just as the Black identity has changed-Blacks used to be associated with rock; however their image evolved just like all identities. Mahon cannot "reclaim" rock for the black community because it does not represent the black community anymore; Mahons inability to see things from the outside due to her involvement in the BRC has hindered her judgment. Mahon fails to conclude what she iterates throughout the book-"black-identified "rock `n roll" of the 1950s became white-identified "rock" in the 1960s" (204). This should have been her conclusion and not "No matter how marginalized from the center; African Americans have produced and imagined in ways that rock the world and it is vital for us to mark and claim this cultural inheritance" (266). Rocks history is identified with African Americans but its current status is identified with white musicians. Mahon has missed the point: you cannot force African Americans to become fans of Rock and you cannot "reclaim" something that has evolved into something else. Rock has moved on from what it was.Get over it.