I like to have a Bluetooth speaker playing some of that stuff in my pit area but I prefer to focus in on the race when I push out of my pit, so silence on the way to the grid and while I wait to go out.

I have 2 Pandora channels I set up that I listen to on race day. Depending on the track, I have 45 minutes to 1:45 of drive time to the track, so I get most of my pre- race jamming done on that drive.

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Can playlists be strategic? You bet your PR they can. If despite your best intentions, you shoot off like a rocket the first 2 miles of a race or you find yourself dragging during the second half, choosing the right music can help provide some helpful discipline to your race strategy.

One of the most popular traditions in NASCAR Cup Series racing continues tonight as drivers walk out to their favorite songs during driver introductions for the Bass Pro Shops Night Race at Bristol Motor Speedway.

As one of the most influential and popular genres of the last three decades, rap has cultivated a mainstream audience and become a multimillion-dollar industry by promoting highly visible and often controversial representations of blackness. Sounding Race in Rap Songs argues that rap music allows us not only to see but also to hear how mass-mediated culture engenders new understandings of race. The book traces the changing sounds of race across some of the best-known rap songs of the past thirty-five years, combining song-level analysis with historical contextualization to show how these representations of identity depend on specific artistic decisions, such as those related to how producers make beats. Each chapter explores the process behind the production of hit songs by musicians including Grandmaster Flash and the Furious Five, The Sugarhill Gang, Run-D.M.C., Public Enemy, N.W.A., Dr. Dre, and Eminem. This series of case studies highlights stylistic differences in sound, lyrics, and imagery, with musical examples and illustrations that help answer the core question: can we hear race in rap songs? Integrating theory from interdisciplinary areas, this book will resonate with students and scholars of popular music, race relations, urban culture, ethnomusicology, sound studies, and beyond.

The term "rhythm and blues," often called "R&B," originated in the 1940s when it replaced "race music" as a general marketing term for all African American music, though it usually referred only to secular, not religious music. The term first appeared in commercial recording in 1948, when RCA Victor records began using "blues and rhythm" music as a descriptor for African American secular songs. The migration of African Americans to urban centers in the Northeast and Midwest during the early twentieth century helped to bring various regional styles of African American music together to influence one another. The migration also created new markets for these styles of music. Early on the term "rhythm and blues" was used for boogie woogie, African American swing, jazz, and blues. All of these styles influenced the development of what is called rhythm and blues today.

The gospel group the Birmingham Sunlights also presents two religious songs in doo-wop style, "If you missed me from singing" (at time code 5:00), and "We're going to move in the room of the Lord" (at time code 00:20:50), in the video of their concert at the Library of Congress in 2005.

Though it began as a general term for African American music, the synthesis of styles that became what is now called rhythm and blues caught on among a wide youth audience during the post war period and contributed to changing the racial divide in American society and music of the mid-twentieth century. Initially, white artists such as Elvis Presley performed and recorded, or "covered," rhythm and blues works by African American composers in order for those songs to be marketed to white audiences. But the effect was to bring both audiences and artists with an interest in this style of music together. The development of rhythm and blues occurred just as segregation became a growing social issue in American society. Both Black and white young people wanted to see the popular performers of the day, and mixed groups of youths sang doo-wop together on the street corners of many urban centers. This provoked a strong reaction of proponents of segregation and was one reason why rhythm and blues and early rock and roll were often seen as dangerous to America's youth. But with young people of all backgrounds identifying with these new musical styles, a generation was becoming ready for a more equal society.

The rest of her music career has mostly been spent screeching "WEEEED" over a super dirty early 00s Christina Aguilera beat and choreographing for the likes of Brooke Candy and Miley Cyrus. Miley Cyrus, of course, coming second only to Laganja in the race for pop stars who are extremely about marijuana cigarettes and oral sex. But if your flesh isn't rippling while "Legs" comes on something is terribly wrong with you, sorry.

Who knew that what we really needed in this life was a vaudevillian musical theatre-style cover of Radiohead's "Creep" from a drag queen dressed like a nightmarish Alice in Wonderland character while performing a puppet show to scared-looking children? But here we are, and it's glorious. These three and a half minutes aren't an accurate reflection of Jinkx Monsoon's entire music career, though, as she's also released two whole albums, each filled with songs that are wildly different to each other. Exhibit A: this filthy club banger that comes with a music video crammed with men's ripped abs on Grindr. Exhibit B: This extravagantly sung burlesque ode to bacon. Exhibit C: This completely lyric free lounge-style samba song. Do with that information what you will.

Race records is a term for 78-rpm phonograph records marketed to African Americans between the 1920s and 1940s.[1] They primarily contained race music, comprising various African-American musical genres, blues, jazz, and gospel music, rhythm and blues and also comedy. These records were, at the time, the majority of commercial recordings of African American artists in the U.S., and few African American artists were marketed to white audiences. Race records were marketed by Okeh Records,[2] Emerson Records,[3] Vocalion Records,[4] Victor Talking Machine Company,[5] Paramount Records, and several other companies.

African-American culture greatly influenced the popular media that white Americans consumed in the 1800s. Still, there were not any primarily black genres of music sold in early records.[10] Perry Bradford, a famous black composer, sparked a transition that displayed the potential for African American artists. Bradford persuaded the white executive of Okeh Records, Fred Hager, to record Mamie Smith, a black artist who did not fit the mold of popular white music.[7] In 1920, Smith created her "Crazy Blues"/"It's Right Here for You" recording, which sold 75,000 copies to a majority-black audience in the first month. Okeh did not anticipate these sales and attempted to recreate their success by recruiting more black blues singers.[11] Other big companies sought to profit from this new trend of race records. Columbia Records was the first to follow Okeh into the race records industry in 1921, while Paramount Records began selling race records in 1922 and Vocalion entered in the mid-1920s.[12]

The term "race records" was coined in 1922 by Okeh Records.[12] Such records were labeled "race records" in reference to their marketing to African Americans, but white Americans gradually began to purchase such records as well. In the 16 October 1920 issue of the Chicago Defender, an African-American newspaper, an advertisement for Okeh Records identified Mamie Smith as "Our Race Artist".[13] Most of the major recording companies issued "race" series of records from the mid-1920s to the 1940s.[14]

In hindsight, the term race record may seem derogatory; in the early 20th century, however, the African-American press routinely used the term the Race to refer to African Americans as a whole and race man or race woman to refer to an African-American individual who showed pride in and support for African-American people and culture.[15]

Billboard (magazine) began publishing charts of hit songs in 1940. Two years later, the company's list of songs popular among African Americans was created: Harlem Hit Parade. It listed the most popular records in Harlem"[16] and began to replace the term "race music" in the industry. The Harlem concept was replaced by R&B chart listings in June 1949.[17]

Marketing race records was especially important in the late 1920s, when the radio brought competition to the record industry.[11] To maximize exposure, record labels advertised in catalogs, brochures, and newspapers popular among African Americans, like the Chicago Defender. They carefully implemented words and images that would draw in their targeted audience.[9] Race records ads frequently reminded readers of their shared experience, claiming the music could help African Americans who moved to the North stay connected with their Southern roots.[19]

The control of white owned music companies was tested in the 1920s, when Black Swan Records was founded in 1921 by the African American businessman Harry Pace. Black Swan was formed to integrate the black community into a primarily white music industry, issuing around five hundred race records per year.[6] The creation of this company brought widespread support for race records from the African American community. However some white companies in the music industry were strongly against Black Swan and threatened the company on multiple occasions.[6]

Pace not only issued jazz, blues, and gospel records, but he put out race records that deviated from popular African American categories. These genres included classical, opera, and spirituals, chosen by Pace to encourage the advancement of African American culture. He intended the company to provide an economic ideal for African Americans to strive towards, proving that they could overcome social barriers and be successful. Hence, Black Swan paid fair wages and allowed artists to showcase their race records using their real names.[9] Pace urged record companies owned by white individuals to recognize the demands of African Americans and increase the flow of race records in the future. Black Swan was eventually purchased by Paramount Records in 1924.[1] 0852c4b9a8

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