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Journal Article
Black Sacred Music (1992) 6 (2): 144–149.
Published: 01 September 1992
... of a People's Cultural Pol­ icy." Mr. Foster's theme was that art is a potent weapon in the class struggle. He stated that in five thousand years of recorded history, ruling classes (including the modem capitalist class) have used art to buttress their regimes and to establish their domination over the working...
Journal Article
Black Sacred Music (1992) 6 (1): 282–294.
Published: 01 March 1992
...Cornel West Copyright © 1992 by Duke University Press 1992 On Afro-American Popular Music: From Bebop to Rap Corne] West The salient feature of popular music in First World capitalist and Third World neocolonialist societies is the appropriation and imitation of Afro-American musical forms...
Journal Article
Black Sacred Music (1992) 6 (1): 36–46.
Published: 01 March 1992
.... It was not necessarily an attempt to succeed in terms of capitalist ideals. This was to come later with the rise of the Negro bourgeoisie. The blues are the ideology of the field slave- the ideology of a new "proletariat" searching for a means of judging the world. Therefore, even though the blues are cast in highly...
Journal Article
Black Sacred Music (1991) 5 (1): 1–11.
Published: 01 March 1991
...: "The poets of [negritude] will not stop at the limits of the [African] continent. From America, black voices will take up the hymn with fuller unison."9 Even today, the problems of Afro-America-capitalist exploitation, state repression, selective prosecution, civil terrorism, personal and systemic racialism...
Journal Article
Black Sacred Music (1994) 8 (2): 1–29.
Published: 01 September 1994
..., such as Hamilton Baya at the kukesha, move from event to event and share an oral tradition of Christian song. In the contemporary urban societies of Africa there is an integration of the Western solo tradition in church worship and a growing capitalistic business of music. Radio and audio cassettes are becoming...
Journal Article
Black Sacred Music (1994) 8 (1): 218–238.
Published: 01 March 1994
... the symbolizing rapper as some sort of charlatan but rather to aver that Hammer's message is a restatement of the traditional capitalist American values of success and prosperity as opposed to traditional African American values that look to social and spiritual transformation. We are left to wonder if God...