WP2: The Musical and Social Movement of R&B
From WWII to SZA, one of the biggest genres in today's music industry.
Part 1: Bibliography
Beachy, Emma. “Tomorrow Our Seeds Will Grow: The Miseducation of Lauryn Hill and the Changing Landscape of Hip-Hop.” Musical Offerings, vol. 13, no. 2, 2022, pp. 85–99. Cedarville University, https://doi.org/10.15385/jmo.2022.13.2.3. Accessed 10 Feb 2024.
This article focuses on Lauryn Hill’s profound impact on the music landscape with her album, The Miseducation of Lauryn Hill. This album was critically acclaimed from a musical standpoint, but also made waves as social commentary that permeated mainstream hip hop. Beachy also recounts a brief history of hip hop and its origins in the Bronx in the 1970s. This includes discussions of the relationship between the public perception of hip hop and black identities. The piece ends by analyzing the thematic elements and narratives depicted in her music.
Bourque, Sylvie. "At the Grammys, Black Artists Continue to Go Unrewarded in the Major Categories - the Tribune." University Wire, Feb 13, 2024. ProQuest, http://libproxy.usc.edu/login?url=https://www.proquest.com/wire-feeds/at-grammys-black-artists-continue-go-unrewarded/docview/2925516727/se-2. Accessed 18 Feb. 2024.
In this article, Sylvie Bourque describes the controversy surrounding the connotations of race in regards to the Grammys. It begins by discussing the fact that Beyoncé, the most nominated artist in history, has never won “Album of the Year,” and that no black woman has won since Lauryn Hill in 1999. Then, she notes that many people believed SZA to be deserving of the award this year, but she lost to Taylor Swift, who has the most ever wins in this category. Finally, the article analyzes some of the problematic choices by the Academy in naming their categories and how black artists tend to be nominated in R&B and Hip Hop categories, but exempt from Pop, even when their music should be classified as such.
Chambers, Veronica. Queen Bey: A Celebration of the Power and Creativity of Beyoncé Knowles-Carter. Picador, 2020.
This book is a blend of biography, analysis, and cultural commentary, Chambers offers readers a comprehensive look at Beyoncé's rise to fame, her artistic evolution, and her role as a trailblazer in the realms of music, fashion, and activism. The book delves into Beyoncé's innovative approach to music videos, her boundary-pushing performances, and her unapologetic embrace of Black identity and feminism. The collection of essays demonstrate her fanbase’s undying love for her, as well as her impressive career. They are somewhat sporadically ordered and biased from the fan perspective, but informational nonetheless.
Charry, Eric. A New and Concise History of Rock and R&B Through the Early 1990s, Wesleyan University Press, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/socal/detail.action?docID=29039988. Accessed 9 Feb. 2024.
This book provides a more thorough historical context of the origins and development of the genre Rhythm and Blues. It begins in the 1950s, discussing smoother jazzy R&B artists like Nat King Cole and African American male groups, or “doo wop,” artists like the Mills Brothers. This section provides an glimpse into the relationship between the genre and the pop charts, as more crossover began to occur in this decade. The text then dives into concurrent social movements, most notably the Civil Rights movement of the 1960s, and R&B artists’ roles in the propagation of social change. Later, there is a section analyzing the parallel evolutions of R&B and hip hop as well, specifically in New York.
Gould, Jonathan. Otis Redding: An Unfinished Life. Crown Archetype, 2017.
Through meticulous research and compelling storytelling, this book paints a vivid portrait of Redding's journey. The book offers intimate insights into Redding's personal struggles, triumphs, and artistic evolution, shedding light on his unparalleled talent and charisma. Gould's exploration of Redding's impact on R&B/soul music and his enduring influence on popular culture. This book not only celebrates Redding's remarkable achievements but also examines the complexities of his life, including his untimely death, leaving readers with a profound appreciation for his enduring legacy and musical genius. Albeit, it is very long and thorough, so it is difficult to sift through the information.
Hasty, Katie. "R&B/Hip-Hop: In Grammys it Climbs, but Radio Declines." Billboard, vol. 117, no. 6, 2005, pp. 60. ProQuest, http://libproxy.usc.edu/login?url=https://www.proquest.com/trade-journals/r-amp-b-hip-hop-grammys-climbs-radio-declines/docview/227188738/se-2. Accessed 5 Feb. 2024.
Komara, Edward. "R&B in DC 1940-1960 - Rhythm & Blues, Doo Wop, Rockin' Rhythm and more." ARSC Journal, vol. 53, no. 2, fall 2022, pp. 318-73. Gale Academic OneFile, link.gale.com/apps/doc/A734328569/AONE?u=anon~165f4728&sid=bookmark-AONE&xid=9a732c30. Accessed 5 Feb. 2024.
This article is a review of an 1950s and 60s R&B compilation of 472 tracks from Washington, D.C. curated by Jay Bruder. In the article, Komara explores D.C.'s R&B scene and its implications. He discusses how the lack of attention from major labels obscured a lot of artists, which was a common theme with this genre at the time. He goes on to talk about the wide breadth of talent on display in the compilation, analyzing rhythm and blues, doo-wop, and rockin' rhythm subgenres, revealing the city's diverse music culture. This text is more niche than others as it focuses entirely on D.C., but it is emblematic of the overarching landscape.
McMillan, Cassie. "'Who run the world?' Gender and the social network of R&B/hip hop collaboration from 2012 to 2020." Applied Network Science, vol. 7, no. 1, Dec. 2022, p. NA. Gale Academic OneFile, link.gale.com/apps/doc/A721150857/AONE?u=usocal_main&sid=bookmark-AONE&xid=733a60e. Accessed 10 Feb. 2024.
McNamee, Gregory. “Blues vs. Rhythm and Blues.” The Virginia Quarterly Review, vol. 90, no. 1, 2014, pp. 222–222. JSTOR, http://www.jstor.org/stable/44714091. Accessed 7 Feb. 2024.
Mitchell, Gail. "R&B." Billboard, vol. 124, no. 47, 2013, pp. 32-32,34. ProQuest, http://libproxy.usc.edu/login?url=https://www.proquest.com/trade-journals/r-amp-b/docview/1270345349/se-2. Accessed 5 Feb 2024.
Mitchell, Gail, and Andrew Unterberger. "R&B'S SOSE." Billboard, vol. 135, no. 13, 2023, pp. 146-147. ProQuest, http://libproxy.usc.edu/login?url=https://www.proquest.com/trade-journals/r-amp-bs-sose/docview/2874576756/se-2. Accessed 8 Feb. 2024.
Morgan, Joan. She Begat This. Atria Books, 2018.
This short book analyzes R&B in the cultural zeitgeist of the 90s and 2000s through the lens of Lauryn Hill’s album, The Miseducation of Lauryn Hill. Morgan begins by laying out the foundation of popular music at the time and the anticipation from the public that precluded the release of the album. The middle section of the book highlights the social importance of the rise of R&B and hip hop into popular culture and radio spaces, especially from the perspective of black representation in popular media. Finally, Morgan tells the story of the aftermath of the release of Miseducation, specifically Lauryn Hill’s lawsuit, tax evasion, rise, and somewhat fall because of the way that society had idolized her.
Rabaka, Reiland. The Hip Hop Movement : From R&B and the Civil Rights Movement to Rap and the Hip Hop Generation, Lexington Books/Fortress Academic, 2013. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/socal/detail.action?docID=1203909. Accessed 7 Feb 2024.
Ritz, David. Divided Soul. Music Sales, 2011.
This book is a biography of Marvin Gaye, covering his personal life, career, and the impact on music and society. It follows his story chronologically and is intensely detailed, as the author, David Ritz, spent days speaking with Gaye at his homes and on tour. Ritz's firsthand accounts provide deep insights into Gaye's struggles, triumphs, and creative process, offering readers a comprehensive understanding of the man behind the music. The book delves into Gaye's complex relationships, his battles with addiction, and his unwavering commitment to social activism through his music. Ritz also examines Gaye's profound influence on R&B and Motown, highlighting his innovative musical contributions and his role in shaping the genre's evolution during his time.
Stoia, Nicholas. "Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll." Music Theory Online, vol. 26, no. 4, 2020. ProQuest, https://doi.org/10.30535/mto.26.4.8. Accessed 5 Feb 2024.
The primary purpose of Stoia’s article is to analyze the parallels between various genres and country music, but there is a lot of very relevant information about lyric formulas in rhythm and blues specifically. He delves into the differences between pre and postwar blues, discussing how the end of WWII subsequently brought about an urbanized version of blues that became what we now know as R&B. This includes discussions about how R&B originated in the 1950s as a response to the mass migration of African Americans from rural areas in the south into cities in northern states. R&B included more modern instruments, notably the electric guitar, but still uses similar formulas to prewar blues. These include the twelve-bar scheme, and poetic phrasing with verses comprised of couplets and refrains. Artists mentioned include Ray Charles, Chuck Berry, Fats Domino, Ruth Brown, and Willie Dixon.
“SZA - Snooze (Lyric Video).” Youtube, uploaded by SZA, 12 December 2022,
This year, SZA was the most nominated artist at the Grammys. She won a few Grammys, including “Best R&B Song,” for her single, “Snooze,” off of her 2020 album, SOS. This video plays the song while the lyrics scroll, and provides a unique glimpse into contemporary, award-winning R&B. While contemporary R&B still has similarities to its postwar origins, it has evolved greatly. Popular contemporary artists like SZA lean towards a smooth, soulful, danceable sound. This genre is largely comprised of love songs and does not maintain the same prevalence of social commentary. “Snooze” is a sweet, and at times sultry, love song.
“The 35 Greatest R&B Artists of All Time.” Billboard, 14 Mar. 2022, www.billboard.com/photos/best-r-and-b-singers-of-all-time-6737387/35-1-michael-jackson/.
This article from Billboard is a listicle that gives a brief description of the impact of a number of influential artists in the R&B space. It provides a broad scope of the genre’s impact on music as a whole. Some of these artists include Michael Jackson, Marvin Gaye, Beyoncé, and Erykah Badu. The section on Marvin Gaye discusses the way that he redefined the genre with his music. His discography bridges the gap between original post war blues and contemporary R&B. From the anti-war social commentary of What’s Going On to the sensual lyrics of “Sexual Healing,” Marvin Gaye left an indelible mark on all facets of the genre. Overall, the list contains brief descriptions of each artist, but an extensive look into the biggest names in R&B.
Thomas, Greg. "Queens of consciousness & sex-radicalism in hip-hop: on Erykah Badu & the notorious K.I.M." Journal of Pan African Studies, vol. 1, no. 7, Mar. 2007, pp. 23+. Gale Academic OneFile, link.gale.com/apps/doc/A192394157/AONE?u=anon~4b1b4687&sid=bookmark-AONE&xid=4d60fd98. Accessed 16 Feb. 2024.
Waters, Sankofa Billye, et al. Celebrating Twenty Years of Black Girlhood: The Lauryn Hill Reader. Peter Lang, 2019.
This book, "Celebrating Twenty Years of Black Girlhood: The Lauryn Hill Reader," edited by Sankofa Billye Waters and others, is a comprehensive collection of essays, interviews, and critical analyses that delve into the multifaceted legacy of Lauryn Hill. It offers a deep exploration of Hill's impact as a musician, cultural icon, and advocate for social justice. Through a variety of perspectives and voices, the book examines Hill's groundbreaking contributions to hip-hop, R&B, and contemporary music, while also situating her work within broader discussions of race, gender, and identity.
Wolfson, Sam. "How R&B Got Back on Top." Observer, Suppl.the New Review, 2015, pp. 28-29. ProQuest, http://libproxy.usc.edu/login?url=https://www.proquest.com/scholarly-journals/how-r-b-got-back-on-top/docview/1713501980/se-2. Accessed 11 Feb. 2024.
Part 2: Reflection
For the past year, I have worked at RCA Records. Understandably, I spend most of my time both in and out of the office thinking about music. Since I was a child, music has been my biggest passion in life. Because of this, I feel as though I can confidently assert that I have a very developed understanding of music history and genre divisions. I have always listened to a little bit of everything, so in most music-related conversations, I can usually contribute something. RCA has a vast roster of both current and legacy artists and in my time with the company, my music tastes have notably changed because I feel some sort of innate allegiance to our artists. Today, RCA’s catalog spans all genres, but there is a heavy emphasis on the R&B space. The two most decorated R&B artists at the Grammys this year, SZA and Victoria Monet, are both signed to RCA. I have grown to love both of their discographies and realized that this genre is one of my blindspots because I have never really understood what differentiates it. I wanted to dive into R&B for this assignment and learn more about the progression of the genre, as well as what binds together artists that I know and love like Marvin Gaye, Lauryn Hill, and SZA, when their sounds frequently differ greatly.
My research for this project was illuminating, and validating. After reading about the history in some of my denser texts, and comparing this information with the controversy surrounding the perception of contemporary R&B, I learned so much about the genre, but also why the lines are blurry. While most genres are differentiated by a cohesive sound, R&B has become much more than that. The name “Rhythm and Blues” first appeared in the charts after World War II when blues migrated from the deep South into cities in more northern states. The new wave of music was very similar to prewar blues but utilized electric guitars and different thematic elements in the lyrics. The origins of this genre are very closely tied to the Civil Rights Movement and the black experience of the 1950s and 60s America. Many texts that I read marked this era as the first time that black musicians were making music for white audiences as well. This era of R&B had a more distinctive sound and structure, but as the genre progressed, especially in the awards space, R&B became a sort of umbrella term for black musicians. I read a lot of discourse surrounding how black musicians are treated by the Recording Academy. Many artists have found their music nominated in an R&B category rather than pop, because of their race, even when their music leans more pop or had immense popular radio success.
I embarked on this research intending to answer questions that I had and gather information and stories about R&B, simply to understand the genre better. I fully anticipated writing a fun profile on SZA with a strong foundation of information about her influences and the landscape of the genre she is frequently lumped in with. Instead, I found myself caring less about the genre itself and more about the social context. My contribution to this conversation may be an open letter to the Recording Academy, or an op-ed on the inherent racism of the nomenclature of the Grammys, or maybe a podcast about my experiences within the recording industry and how they compare to what the public sees. I expected to find 20 cohesive sources that would collectively inform my subsequent essay and would essentially synthesize them all, but my sources are far from cohesive. From lyrical analysis to history to Grammys announcements, they cover a broad expanse of R&B, while still only scraping the surface. I have since learned that attempting to synthesize my research into a new piece would be nearly impossible and I would be better off participating in the conversation from a new angle. There are so many important and extensive stories within this fold of music, that it would be doing them all a disservice by trying to condense the big picture into one paper. Overall, as I continue to explore this rich and diverse genre, I am compelled to not only appreciate its musical evolution but also to examine its socio-cultural significance and the challenges faced by black artists within the industry. My journey of discovery has transcended mere academic inquiry, igniting a passion within me to contribute to broader conversations surrounding race, representation, and equity in music.