The Black Rock Coalition is a New York-based artists' collective and nonprofit organization dedicated to promoting the creative freedom and works of black musicians.
The BRC was founded in 1985 in New York City by Vernon Reid (guitarist for the rock band Living Colour), Greg Tate (journalist for the Village Voice ), Dk Dyson (lead singer of Eye & I), and Konda Mason (producer), [1] but today has members from around the world. Members that helped propel BRC at that time include but are not limited to; Chuck Mosely (lead singer, Faith no More,1983-1988), Angelo Moore (lead singer, Fishbone), Corey Glover (lead singer, Living Colour), Bevis M. Griffin (frontman, Banzai Kik). [2] [3] Many of these members were key players in the formation centered on the band Living Colour to start with. The Black Rock Coalition was created to band black rockers together in the music world because of racial discrimination in the music industry. [4] At the time of formation of the BRC, society was racially stratified in that structural differences remained even though musical aesthetics spread beyond original borders. [5] There existed racialized associations that defined and categorized mankind. In other words, stereotypes depicted which music was coded as black or white, making claims of who had the right to produce a certain genre. African American musicians were experiencing a categorical struggle, as stereotypes were pervasive in the music industry. Behind the stereotypes, there was a notion produced by culture and mass media that “it was just easier to market conventional R&B to black kids, and conventional rock and roll to white kids.” [6] Consumers were ignorant to the fact that black musicians were capable of producing certain genres of music, such as rock ‘n’ roll, due to lack of exposure provided by mass media. Further, the idea that black people even wanted to play rock 'n' roll was implausible to many record executives and music consumers who held opinions as to what constituted authentic black music. [7] With black musicians wanting their sound to be heard and recognized, they began fighting racial stereotypes. One way these artists began pushing past the barriers was through marketing their albums by strategically designing album covers. In the 1980s and 1990s, some Black rock bands such as Living Colour and Fishbone had illustrations rather than photos as their album covers. LaRonda Davis, the executive of the Black Rock Coalition, explained this was a marketing tactic used to avoid any confusion that the consumer may have off their judgment of the album cover. "If you saw a Black person on the cover, the assumption was that the music was R&B or hip-hop. It was about the look of the person on the cover as opposed to the sound inside, which created more work for the marketers." [8]
The BRC began to combat racial stereotypes through accepting the “total spectrum” of black music. During this time, society essentially assigned certain genres of music to white people, and other genres black people. Furthermore, society decided "what constitutes 'real' rock ‘n’ roll music, including who is authorized to play that music and who is authorized to listen to and talk about it." [9] Because of this discrimination, along with the lasting effects of the Jim Crow laws, black musicians were limited in all aspects of their industry - the types of music they could play, where they could record, and where they could perform their music. Therefore, the Black Rock Coalition came together to band against racism in the music business. In order to do this, the group followed through on their manifesto - to find recording and performance spaces for black musicians to give them equal opportunities for success. [10]
The Black Rock Coalition was formed in order to reaffirm that white rock had evolved from black origins, to combat racial stereotyping in music, and also to work to re-establish rock forms as functionally black music and as further proof of black music’s power to make innovative leaps. By the 1960s, popular culture dictated that soul music was “black” and rock was “white,” despite the fact that black artists had created the rock genre. [11] In order to fight against these stereotypes and promote racial equality, the BRC supports and advocates performances by black musicians of musical styles publicly associated with whiteness – hard rock, heavy metal and thrash. [12]
Another one of the BRC's main goals was to re-establish Rock forms as black music. Because rock was commonly considered white music as many of the musical forms and styles associated with rock are considered white music. However, this is not the case in fact most of the musical elements associated with rock were invented by black musicians. Because rock has origins in blues, R&B, and gospel and in the 60's many rock artists were highly influenced by blues artists, [13] rock music has many of the same elements as blues and gospel. For example, the 12-bar blues structure is prominent in rock songs. Also the use of bending guitar strings and bottleneck slides became a staple of rock music, although these styles were created by blues artist years earlier. Furthermore, other rock music forms not necessarily based in blues were also created by black rock artists. Other elements of rock such as many rock guitar sounds were developed my black rock artists such as Chuck Berry, Jimi Hendrix, and others. The rock guitar sounds and rhythms that define rock music were developed by artists like Chuck Berry, Muddy Waters, and Sister Rosetta Tharpe. For example, Muddy Waters was one of the first musicians to amplify a guitar, which is one of the defining features of Rock music: “Muddy Waters caused a storm by playing through an amplifier, the sort of thing associated with rock n’ roll.” [14] The BRC seeks to reclaim these innovations that have come to be considered as white music.
One of the first rock ‘n’ roll songs to ever be recorded was titled Sh-boom by the Chords, an all Black male rhythm ‘n’ blues group in 1954. The increase in popularity struck influence of covers by both Black and White musicians, and unfortunately the new cover made by the Canadian group greatly surpassed the popularity of the original recording. Although there was an increased interest that brought in White audiences to the musical genre due to its new exotic sound, the White audience revealed that they felt more comfortable with the Canadian made cover during the beginning of the racial integration stages in music. [15]
As a part of their mission, the Black Rock Coalition strives to embrace every aspect of black music, regardless of the genre being performed. The coalition itself works to document the culture and history of black music so it will be appreciated for what it is and the origins of a genre will not be lost. From the time of its creation, the Black Rock Coalition has been famous for hosting historical parties and exhibits, many of which follow along the guidelines that “Rock is black music. Rock is everyone’s music, but the origins of rock are Black... And there's no way you can get around that”. [16]
Among other activities, the BRC actively seeks performance venues, recording opportunities, and equitable distribution opportunities for black artists. They work to archive performance footage of cultural events related to their oeuvre, and to provide or publicize various educational opportunities (e.g. lectures, workshops, seminars, research, library and audio-visual resources, public forums/discussions, etc.). BRC also solicits funding for projects and provides networking opportunities. BRC and their volunteer base is a resource to their community of members and other organizations such as the Willie Mae Rock Camp for Girls. In 2015 the BRC celebrated their 30th anniversary throughout the month of September with "30 Years in 30 Days" that encompassed events to showcase their support. Events in Brooklyn, New York and neighboring locations ranged from a fund raiser for BRC's Original Rocker Scholarships, a vocal clinic at the Metrosonic Showroom, rehearsal space at the Funkadelic Studios for members and friends, performances by BRC's Orchestra playing tribute to Jimi Hendrix's live album Band of Gypsys at the BAMCafé, and various social events. [17] They also hosted "Million Man Mosh 3" at The Wind Up Space featuring artists such as Tamar-kali, Thaylo Bleu, and Throwdown Syndicate. [18] Some of the live recordings taken at the events will be included onto BRC's 8th Rock’n’Roll Reparations compilation album that highlights "songs that bring to light some of the issues that affect people and musicians of color" says BRC's executive LaRonda Davis. [19] Additionally, the BRC documents events and concerts performed by black rock groups, and puts on educational "workshops, seminars, research, library resources, audio-visual resources and public forums/discussions" to expose the public to black rock music and the true origins of rock music. [20] Without this contribution, it is likely that many black artists would have received a lack of publicity and opportunity in the music industry because of persisting racial stereotypes. The goal of the BRC was to "push for and end to 'musical apartheid,'. [21]
BRC addresses a phenomenon about the crossover of black musicians to white audiences. Two different positions were expressed on the crossover of black musicians to white audiences. Steve Perry (musician) saw the phenomenon of black artists topping the “Hot 100” as positive for its integration and implications for cross-racial harmony. Nelson George (music critic) saw this as a dilution of black social and cultural power, arguing that black artist who aimed at the mainstream were forsaking the black musical tradition. Living Color was one of the bands that were closely connected to the BRC and it played a significant role in the impact of the crossover of black music to white audiences. In the band's song “Which Way to America”, the effects of the crossover are reflected through the lyrics even though the two different lives depicted were not racially defined explicitly. The song also includes notions of problems within politics and economics that were derived from the crossover: “don’t want to crossover / but how do I keep from going under?” The lyrics signify the desire to live a traditional American life that is portrayed in the media, but their realistic America is far from that. [22]
The BRC is governed by an executive board and an advisory board; board members have included Me'shell Ndegeocello, Bernie Worrell, 24-7 Spyz, the members of Living Colour, Bill Stephney, Craig Street, Sekou Sundiata, Chocolate Genius, Don Byron and Nona Hendryx. Artists who have participated in BRC activities include Doug Pinnick (frontman and bassist for the progressive metal band King's X), Spacey T, Keziah Jones, Tamar-kali, Suffrajett, Graph Nobel, Imani Coppola, David Ryan Harris, Jeffrey Gaines, Sophia Ramos, FunkFace, Pillow Theory, Apollo Heights, Avery Brooks, The Family Stand, Carl Hancock Rux, Caron Wheeler, and DJ Reborn.
BRC had an active radio show in the 1980s. As of 2020 it maintains a website as well as an email list and a regular mailing list, an Internet radio station (BRC Radio @ Soul-Patrol.Net), and a Twitter page.
Blues is a music genre and musical form that originated amongst African-Americans in the Deep South of the United States around the 1860s. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the African-American culture. The blues form is ubiquitous in jazz, rhythm and blues, and rock and roll, and is characterized by the call-and-response pattern, the blues scale, and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes, usually thirds, fifths or sevenths flattened in pitch, are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove.
Funk is a music genre that originated in African-American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of various music genres that were popular among African-Americans in the mid-20th century. It deemphasizes melody and chord progressions and focuses on a strong rhythmic groove of a bassline played by an electric bassist and a drum part played by a percussionist, often at slower tempos than other popular music. Funk typically consists of a complex percussive groove with rhythm instruments playing interlocking grooves that create a "hypnotic" and "danceable" feel. It uses the same richly colored extended chords found in bebop jazz, such as minor chords with added sevenths and elevenths, and dominant seventh chords with altered ninths and thirteenths.
Rock and roll is a genre of popular music that evolved in the United States during the late 1940s and early 1950s. It originated from African American music such as jazz, rhythm and blues, boogie-woogie, electric blues, gospel, and jump blues, as well as country music. While rock and roll's formative elements can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954.
Rock is a broad genre of popular music that originated as "rock and roll" in the United States in the late 1940s and early 1950s, developing into a range of different styles from the mid-1960s, particularly in the United States and the United Kingdom. It has its roots in 1940s and 1950s rock and roll, a style that drew directly from the genres of blues, rhythm and blues, and from country music. Rock also drew strongly from genres such as electric blues and folk, and incorporated influences from jazz and other musical styles. For instrumentation, rock has centered on the electric guitar, usually as part of a rock group with electric bass guitar, drums, and one or more singers. Usually, rock is song-based music with a 4
4 time signature using a verse–chorus form, but the genre has become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political. Rock was the most popular genre of music in the U.S. and much of the Western world from the 1950s to the 2010s.
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations.
Soul music is a popular music genre that originated in the African-American community throughout the United States in the late 1950s and early 1960s. It has its roots in African-American gospel music and rhythm and blues. Soul music became popular for dancing and listening, where U.S. record labels such as Motown, Atlantic and Stax were influential during the Civil Rights Movement. Soul also became popular around the world, directly influencing rock music and the music of Africa. It also had a resurgence in the mid-to late 1990s with the subgenre neo-soul, which added modern production elements and influence from hip-hop.
Country rock is a music genre that fuses rock and country. It was developed by rock musicians who began to record country-flavored records in the late 1960s and early 1970s. These musicians recorded rock records using country themes, vocal styles, and additional instrumentation, most characteristically pedal steel guitars. Country rock began with artists like Buffalo Springfield, Michael Nesmith, Bob Dylan, Nitty Gritty Dirt Band, the Byrds, the Flying Burrito Brothers, The International Submarine Band and others, reaching its greatest popularity in the 1970s with artists such as Emmylou Harris, the Eagles, New Riders of the Purple Sage, Linda Ronstadt, Little Feat, Poco, Charlie Daniels Band, and Pure Prairie League. Country rock also influenced artists in other genres, including The Band, the Grateful Dead, Creedence Clearwater Revival, The Rolling Stones, and George Harrison's solo work, as well as playing a part in the development of Southern rock.
In popular music, a cover version, cover song, remake, revival, or simply cover is a new performance or recording by a musician other than the original performer or composer of the song. Originally, it referred to a version of a song released around the same time as the original in order to compete with it. Now, it refers to any subsequent version performed after the original.
The United States' multi-ethnic population is reflected through a diverse array of styles of music. It is a mixture of music influenced by the music of Europe, Indigenous peoples, West Africa, Latin America, Middle East, North Africa, amongst many other places. The country's most internationally renowned genres are traditional pop, jazz, blues, country, bluegrass, rock, rock and roll, R&B, pop, hip-hop/rap, soul, funk, religious, disco, house, techno, ragtime, doo-wop, folk, americana, boogaloo, tejano, surf, and salsa, amongst many others. American music is heard around the world. Since the beginning of the 20th century, some forms of American popular music have gained a near global audience.
Electric blues is blues music distinguished by the use of electric amplification for musical instruments. The guitar was the first instrument to be popularly amplified and used by early pioneers T-Bone Walker in the late 1930s and John Lee Hooker and Muddy Waters in the 1940s. Their styles developed into West Coast blues, Detroit blues, and post-World War II Chicago blues, which differed from earlier, predominantly acoustic-style blues. By the early 1950s, Little Walter was a featured soloist on blues harmonica using a small hand-held microphone fed into a guitar amplifier. Although it took a little longer, the electric bass guitar gradually replaced the stand-up bass by the early 1960s. Electric organs and especially keyboards later became widely used in electric blues.
African-American music is a broad term covering a diverse range of musical genres largely developed by African Americans and their culture. Its origins are in musical forms that developed as a result of the enslavement of African Americans prior to the American Civil War. It has been said that "every genre that is born from America has black roots."
Crossover is a term applied to musical works or performers who appeal to different types of audiences. This can be seen, for example, when a song appears on two or more of the record charts, which track differing musical styles or genres. If the second chart combines genres, such as a "Hot 100" list, the work is not a crossover.
Blue-eyed soul is rhythm and blues (R&B) and soul music performed by white artists. The term was coined in the mid-1960s, to describe white artists whose sound was similar to that of the predominantly black Motown and Stax record labels. Though many R&B radio stations in the United States in that period would only play music by black musicians, some began to play music by white acts considered to have "soul feeling"; their music was then described as "blue-eyed soul".
Modern Sounds in Country and Western Music is a studio album by American singer and pianist Ray Charles. It was recorded in February 1962 at Capitol Studios in New York City and United Western Recorders in Hollywood, and released in April of that year by ABC-Paramount Records.
Music history of the United States includes many styles of folk, popular and classical music. Some of the best-known genres of American music are rhythm and blues, jazz, rock and roll, rock, soul, hip hop, pop, and country. The history began with the Native Americans, the first people to populate North America.
Samba rock is a Brazilian dance culture and music genre that fuses samba with rock, soul, and funk. It emerged from the dance parties of São Paulo's lower-class black communities after they had been exposed to rock and roll and African-American music in the late 1950s.
American popular music is popular music produced in the United States and is a part of American pop culture. Distinctive styles of American popular music emerged early in the 19th century, and in the 20th century the American music industry developed a series of new forms of music, using elements of blues and other genres. These popular styles included country, R&B, jazz and rock. The 1960s and 1970s saw a number of important changes in American popular music, including the development of a number of new styles, such as heavy metal, punk, soul, and hip hop.
This article includes an overview of the events and trends in popular music in the 1960s.
This article includes an overview of the major events and trends in popular music in the 1950s.
Progressive soul is a type of African-American music that uses a progressive approach, particularly in the context of the soul and funk genres. It developed in the late 1960s and early 1970s through the recordings of innovative black musicians who pushed the structural and stylistic boundaries of those genres. Among their influences were musical forms that arose from rhythm and blues music's transformation into rock, such as Motown, progressive rock, psychedelic soul, and jazz fusion.
black rock coalition.
black rock coalition.