African-American music

Seit 1999 ist dieser Plattenladen im elften Pariser Arrondissement eine feste Adresse für alle, die Musik nicht nur hören, sondern auch fühlen wollen.

Das Sortiment dreht sich ganz Black Music, von House und Hip Hop über Soul und Funk bis hin zu Latin und West Indies Music.

Der größte Teil davon natürlich auf Vinyl.

Mit rund fünfzehntausend Platten gibt's hier einiges zu entdecken, von seltenen Originalen bis hin zu echten Klassikern.

So when you were first thinking about Riverfront Jazz Festival, did you simply say, okay, I wanted to start with jazz and just do, you know, traditional jazz? Or did you start with, it's going to be about jazz, R&B, soul, neo soul?

Well, let me, what I said was, I think that black music All of it has come out of the black experience.

Yes.

So when you start looking at chords, chord progressions, and all these things like that, it's a part of all of it.

But he was saying that if you look at the chords and the chord progression, it's all the same.

So my thing is

that black music, that pop, jazz, hip hop, all of this came out of the womb of the black experience.

So it's all the same to me.

Jukebox is a dance box, and it represents music that was brought in by mostly Blacks and Black slaves, and it gravitated towards that type of crazed music.

Uh, white folks didn't like it, and they frowned on it, but they loved Black music.

They just wouldn't admit it.

White folks loved Black music, no question.

I think when the American, uh, slavery ended, and, and Blacks were freed and all that, musicians were able to express themselves in a way that they could never do before.

And a prime example of that would be Louis Armstrong, [upbeat music] who, um, really changed everything because Louis Armstrong played progressive music.

But Louis Armstrong was unique because he was the authentic person who loved and was outstanding musically, and he was a great person as a human being, no question.

But his music really changed everything because it made music more free.

Mm-hmm.

Now, as an academic, as a scholar, I was going through a book called African American Issues in Higher Edu- um, uh, African American Issue- Issues in African American Music.

Mm-hmm.

And it dealt with, uh, power, gender, race, and representation.

Tumaini has spent more than two decades helping answer that question.

From BET and MTV to REVOLT, Spotify, and YouTube, Tuma has quietly become one of the most influential Africans in the global music industry, helping shape how artists are discovered and how Black music reaches audiences around the world.

This isn't just a conversation about music.

It's about culture, technology, and the people behind the biggest artists on Earth.

Is where, where's the, the scene, or where, where's the performing rights organizations to make the deals with the platforms to monetize to, so that artists have more incentives? What, no, I'm just being 100% real.

Like, what, what, what, what, what, what, what, where's our narrative, our shared narrative in terms of, of, of, of what we want the world to know and how to empower the diaspora to kind of help? You know what I mean? That, that, that, uh, organization.

But you were in charge of Black music-

I wasn't, I, but, but-

I, I, I've peaked it, but I try not to be a cynic about everything, but you know where my first thought of mine went.

What was it? They, it's, it's, clear like transitioning away from black american music again and making and making and making space for other things like if like if you look around slowly but surely like things are starting to get not crazy but it's starting to look a little funny in the light with everything i think what's what happened to hollywood with black actors is happening to black music too and in this case it ain't even it ain't even just uk people taking our jobs but you know we got the whole k-pop thing and how that go that that you know which is basically what k-pop has completely replaced traditional black pop music in in terms of stardom and investment and all that the the bts got a show in baltimore tomorrow or month or next week like hon we we ain't get them shows in 2006 but i'm rambling but

No, go.

It's a symptom of a larger problem, I think.

It's good for him, but also a symptom of a problem.

I do kind of agree with what Mac is saying.

Like, I do think that there is kind of like a lack of support for American music or American black music at this time.

And I do also feel like in some cases, like a lot of American black artists are being pigeonholed just mainly in the either hip hop and R&B because that was the, for a while, that was kind of the genre that we were like running the game off of.