'I think a blind spot in music scholarship is music largely of the diaspora' jenziaburgos on the new library for Black music history
, which collects articles, books, podcasts, and films to outline the Black roots of different popular music genres. Simple and accessible, the still-growing collection of resources felt like something that should have always existed, especially as the music industry has faltered when it comes to interrogating how it segregates Black artists by genre.
Something I was thinking about when I saw the library is the anti-racist reading lists that have been circulating for the past few months. There was a great Vulture articleof who are these lists actually for because they’re often so vague and genre-hopping. But the music library is very specific in its intent in taking an art form people engage with on a daily basis and pointing out how Black artists are often erased within it.
Many Black musicologists have spoken about [academia’s] preference for African-American vernacular music traditions. By that, I mean very U.S.-centric music that is directly of the tradition of American African descendants of slavery. Genres like jazz, blues—and we have people like W. E. B. Du Bois pointing out these traditions as beingAmerican music. And that’s important, and we have all these archives doing that work.
But when I was growing up listening to pop-punk, I didn’t know anything about any Black artists in those genres and punk more largely. I didn’t know about the history there because it wasn’t at the forefront of what we get taught. I wish I had a place that listed out all these genres and said,. I’ll say also, I hope that editors at publications will take a look and consider [Black journalists] for commission because that’s really important, too.
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