Music inspiration album flow charts3/21/2023 ![]() Black people were not allowed in these neighborhoods, lest they be beaten or chased out by the same groups of white youth that sang covers of black doo-wop songs on the corners. ![]() In the 1950s, doo-wop became so popular in New York City that young Italian New Yorkers created their own doo-wop groups in their neighbborhoods. At the same time only white people were allowed inside the club as patrons. In the 1920s, some of the best black musicians were able to play jazz at Harlem’s Cotton Club, one of New York City’s most famous nightclubs. They then used what the slaves taught them to perform “coon songs'' and minstrel shows that mocked and belittled black people. White musicians learned to play the African instrument from slaves. The banjo, for instance, is the foundation of folk and country music. ![]() And nowhere is this unsettling truth more evident than in the history of American music.Ĭountless scenarios from music history demonstrate how dissociating black talent from black people abets systemic racism. Millions of black Americans have to navigate a society that shamelessly sees so much value in their creations, yet so little value in their wellbeing. At the core of this phenomenon is a paradox: America’s admiration for black culture has always coincided with its blatant disdain for black people. It’s been this way since the beginning of the music industry. Black people created nearly every major music genre in America, yet black people are underrepresented in industry leadership and awards.
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