Major Labels - Kelefa Sanneh
Kalefa Sanneh is the ideal critic to write Major Labels: A History of Popular Music in Seven Genres. Knowledgeable about many aspects of music and the cultures that give it context and meaning, Sanneh transcended his subcultural passions without losing enthusiasm for the influences that shaped him. He’s not a polemical critic insisting on “one way to rock” (to quote an ‘80s tune) or a gold standard by which all music is measured. For Sanneh, if music exists, it’s worthy of consideration, analysis and fair play.
Major Labels’ subtitle sets out Sanneh’s objective and methodology: A History of Popular Music in Seven Genres—Rock, R&B, Country, Punk, Hip-Hop, Dance, Pop. A History indicates the author’s postmodern modesty. He’s putting forth an (not the) account, organized according to the “names we give to communities of musicians and listeners.” Genres have porous boundaries and contested definitions, but our thoughts stumble without the aid of categories and Sanneh’s categories make sense.
Sanneh is the son of Gambian and South African immigrants and a child of the ‘80s. He was drawn to the rude tribalism of punk but was also pulled along by hip-hop’s popularity through his school years. As his interests widened, he became aware that music can bring us together but also tear us apart. That revelation seems to underpin his thoughtful analysis. Sanneh enjoys all seven genres and lends an honest ear to each example cited, whether popular or obscure. On vexed subjects such as the blatant sexism of certain hip-hop acts, he can argue the case from three sides.
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As a historian, Sanneh does remarkable work summarizing popular music from the past 50 years, sketching in the deeper roots. He is especially adept at untangling the attitudes behind the musicians and their fans. Where rock stars were wary of “selling out,” rappers bought and sold conspicuously and the wave of ‘80s Britpop (Culture Club, Depeche Mode) “wanted to be mainstream pop stars, adored by everyone.” He identifies R&B’s tendency to go “pop” in sound but remain largely Black in audience, while hip-hop draws all comers despite its pointedly Black stance. Starting with punk, most of the insurgencies in popular music began as counterinsurgencies (often met down the road by the next brigade of counter-counter insurgents). “Nonconformist” idioms rapidly impose their own conformity.
Major Labels is fun to read—and instructive. For fans of any one of Sanneh’s seven genres, his overview may bring back memories or uncover unexpected connections. As for genres you’ve never enjoyed, Major Labels offers understanding, a road map of the significant artists and trends you may have missed. Major Labels is essential reading for anyone seriously interested in popular music and pop culture.
