Popular music since the 1950s as the exploitation of black music by white artists and corporations

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A number of scholars propose the idea that African-American culture and music were effective expression forms and social inclusion means. Although they originate from the folk music of the African-American slaves, "the root cause of transnational black identity" (Gilroy The Black Atlantic 1992, p.60), it served as an effective instrument for cultural and social inclusion throughout the 20th century.


In the study The Spirituals and the Blues the African-American scholar James H. Cone (1991, p. 130) argued that "whatever form black music takes, it is always an expression of black life in America and what the people must do to survive with a measure of dignity in a society which seems bent on destroying their right to be human beings".
The book Blues People is the first real try to place major black music genres as blues and jazz within the setting of Afro-American social history, it illuminates the impact of blacks on American history and culture. Terry Jones (2005) asserts that the blues is a musical opera about life and times of Black America. The blues is the story of Black America in worldly musical form. However, Harrison (1997, p. 18) insisted that "blues was always a multi-racial music. More importantly, surely, is the fact that it was the one musical common denominator for the poor, the exploited, the wage slaves of both races who often shared the same deprivations in the mines, the factories, and the fields. It was a music that grew from within those mixed communities".
According to Norman Kelley (Kelley 1999) 'blacks are a $400 million segment of the U. S. economy. ...
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