In Cornell West reading on Afro-American Music: From Bebop to Rap; West discussed three major points about Afro-American music. West also discuss on how Afro-American music alienated young people. Afro-American music, its rhythmic effects are meaningless with status quo according to West. Afro-American music is a reflection on Afro-American culture since the early times as slavery.
According to West “First, the rise of the United States as a world power focused international attention more pointedly on native U.S. cultural forms and styles.” As the Untied States grew in power, so did Afro-American music came to be with a social freedom and linguistic wealth instead of pecuniary wealth. Example, Jazz with its melody and vocalization shown frustrated aspirations and aggressive emotions of ...view middle of the document...
Also, songs that influent the Afro-American community as the folk blue in 1900th to the 1950th southern blues and the smooth jazz 1990th change by recording industry. Motown was the main cause, which made Afro-American music boom cross the United States according to West. Motown was a recording companying build by Berry Gordy in 1958, which made black musicians, writers, singers and producers a phenomenal success. Since, Motown was establish, West say that Afro-American lost its music soul touch by artists as James Brown who made “I wanna know if it’s good to you” and ‘Losse Booty.” Also, the Temptations songs as “My girl” and “Since I lost my baby”, which absolutely had no heritage music as previous Afro-American music had for black religious, gospel and its soul.
As Afro-American music grew so did Motown records, which became a so call “sell out” among the black community. Motown made Afro-American music from folk music about the spiritual struggle, personal empowerment, human rights and perseverance about the Afro-American community to a commercially market within the white American audience. According to West, Motown distort and produced music for Afro-American to dance: twist, jerk, boogaloo, philly dog and skate, deliberately filtering the core root of the Afro-American music.
The final point West made “Afro-American music is first and foremost, thought not exclusively or universally, a countercultural practice with deep roots in modes of religious transcendence and political opposition.”West agreement is that today artist music does not have a bit of soul struggle of the Afro-American community, but only interest in wealth for a status quo. Example, Michael Jackson was not a musical revolutionary within Afro-American history as Louis Armstrong.