Kelefa Sanneh has been a New Yorker staff writer since 2008, before which he spent six years as a pop-music critic at The New York Times. He is also a contributor to CBS Sunday Morning. Previously, he was the deputy editor of Transition, a journal of race and culture based at the W. E. B. Du Bois Research Institute at Harvard University. His writing has also appeared in a number of magazines and a handful of books, including Shake It Up: Great American Writing on Rock and Pop from Elvis to Jay Z, a Library of America Special Publication, and Da Capo Best Music Writing (2002, 2005, 2007, and 2011). He lives in New York City with his family.
One of Oprah Daily's 20 Favorite Books of 2021 - Selected as one of Pitchfork's Best Music Books of the Year
"One of the best books of its kind in decades." --The Wall Street Journal
An epic achievement and a huge delight, the entire history of popular music over the past fifty years refracted through the big genres that have defined and dominated it: rock, R&B, country, punk, hip-hop, dance music, and pop
Kelefa Sanneh, one of the essential voices of our time on music and culture, has made a deep study of how popular music unites and divides us, charting the way genres become communities. In Major Labels, Sanneh distills a career's worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music--as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble.
Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full. ©2021, 496 pages