Rhythm and Blues (professional wrestling) From Wikipedia, the free encyclopedia Rhythm & Blues was a tag team composed of The Honky Tonk Man and Greg "The Hammer" Valentine in the World Wrestling Federation from 1989 to 1991 and later on in the independent circuit for a short run.https://en.wikipedia.org/wiki/Rhythm_and_Blues_(professional_wrestling)
Rhythm and blues, often abbreviated as R&B, is a genre of popular music that originated in African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular.
From Simple English Wikipedia, the free encyclopedia Rhythm and blues (also known as R&B or RnB) is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists. It is now performed worldwide by people of many cultures and ethnic groups.
Rhythm and blues, often abbreviated as R&B, is a genre of popular music that originated in African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to urban African Americans , at a time when "urbane, rocking, jazz based music with a heavy, insistent beat" was becoming more popular.
Rhythm and Blues (professional wrestling) From Wikipedia, the free encyclopedia Rhythm & Blues was a tag team composed of The Honky Tonk Man and Greg "The Hammer" Valentine in the World Wrestling Federation from 1989 to 1991 and later on in the independent circuit for a short run.
- Gap in the chart
Linked here are Billboard magazine's number-one rhythm and blues hits. The Billboard R&B chart is today known as the Hot R&B/Hip-Hop Songs chart.
From May 22, 1948 to October 13, 1958, multiple charts were published, which explains the overlap in the dates of the charts. The 1942 "Harlem Hit Parade" chart, based on juke box plays, became the "Race Records Juke Box" chart in 1945, and the "Race Record Best Sellers" chart, based on sales, began in parallel in 1948. They were renamed as R&B charts in 1949. A third, "Jockeys" chart, based on radio airplay, was introduced in 1955, and a unified chart was only introduced in 1958. Because of the
From November 30, 1963 to January 23, 1965 there was no Billboard R&B singles chart. Some publications have used Cashbox magazine's stats in their place. No specific reason has ever been given as to why Billboard ceased releasing R&B charts, but the prevailing wisdom is that the chart methodology used was being questioned, since more and more white acts were reaching number-one on the R&B chart. According to researcher Joel Whitburn, "there was so much crossover of titles between the R&B and pop
Rhythm and blues ou R&B é um termo comercial introduzido nos Estados Unidos no final da década de 1940 pela revista Billboard.O termo foi usado originalmente para descrever gravações comercializadas predominantemente por artistas Afro-americanos, num momento em que um estilo baseado no jazz com uma batida pesada e insistente estava se tornando mais popular.
Rhythm and blues (lyhyennetty usein R&B tai R’n’B) viittaa rajoitetummassa merkityksessä 1950-luvulla ja 1960-luvun alussa suosittuun afroamerikkalaisen populaarimusiikin tyyliin, joka vaikutti voimakkaasti rockmusiikin syntyyn ja kehitykseen.
Rhythm and blues alebo rhythm'n'blues (skrátene R'n'b, R&B) je pojem ktorý po prvýkrát použil Jerry Wexler z Billboard magazínu v USA v roku 1949 na označenie afroamerickej populárnej hudby, ktorá kombinovala džez, gospel a blues.
- Jewish-owned record companies and the promotion of African American music
- Jewish women in the business end of rhythm and blues
- Business practice and relations with black artists
- Jews in the business with black identity
- Brill Building songwriting
Though the music itself developed in African-American communities, the Jewish influence in rhythm and blues, particularly in terms of the music's presentation to a wider audience, was important. According to the Jewish writer, music publishing executive,and songwriter Arnold Shaw, during the 1940s in the United States there was generally little opportunity for Jews in the WASP-controlled realm of mass communications, but the music business was "wide open for Jews as it was for blacks."Jews playe
Jewish composers, musicians, and promoters had a prominent role in the transition from jazz and swing to doo-wop and rock 'n' roll in American popular music of the 1950s, while Jewish businessmen founded many of the labels that recorded rhythm and blues during the height of the vocal group era. According to Israeli Jewish historian Ari Katorza, although only two percent of the total US population was Jewish, their representation in the music industry was much higher, and by this time they owned
Deborah Chessler, a young Jewish sales clerk interested in black music, attended shows at black and white performance venues in segregated Baltimore, where she absorbed the music that influenced her own songwriting. After the shows, she tried to sell her songs, which she described as in the "black vein", to the groups backstage. Chessler, who could not read or write music, would repeat melodies she composed in her mind until she could find a pianist to transcribe them. She wrote the lyrics to he
The prevailing narrative of the historical record has described the unfair treatment of black performers by the men who ran the postwar music industry; the most controversial among them were the Jewish owners of independent record companies that sprang up in the United States in the 1940s. Record company owners such as Herman Lubinsky had a reputation for exploiting black artists, and only a few Jewish owners were never accused of dealing unfairly with the black artists they recorded. The someti
There were also Jews in the music business who considered themselves black culturally, but Jewish in their roles as entrepreneurs who managed black singing groups. Jewish creative people in the industry—artists, arrangers, producers, and songwriters—also sometimes preferred to mask their ethnic background and assume an African American cultural identity. According to Jerry Wexler, these men identified with black culture, spoke and carried themselves as if they were "black", and married ...
The American girl groups of the late 1950s and early 1960s had a sound directly influenced by the vocal harmonizing of the earlier black groups who sang doo-wop. Many of the doo-wop songs informing early rock 'n' roll music were written by "Brill Building" writers, most notably the songwriting team of Jerry Leiber and Mike Stoller, who wrote songs for the Robins, the Clovers, and then did the same for the Coasters. The "Brill Building" hit-maker businesses in New York were known for the strong J
The Rhythm and Blues Foundation is an independent American nonprofit organization dedicated to the historical and cultural preservation of rhythm and blues music. The idea for the foundation came in 1987 during discussions about royalties with entertainer Ruth Brown, entertainment attorney Howell Begle, and Ahmet Ertegun, the head of Atlantic Records.
- Damon Williams (Chairman), Jeff Harleston (Executive Committee), Bruce Resnikoff (Executive Committee) Iris Gordy (Executive Committee) Claudette Robinson (Executive Committee) Ted Reid (Executive Committee)
- related to: Rhythm and blues wikipedia