Crossing Over

Research Article| March 01 2018 Crossing Over: Musical Perceptions Within Black Adolescent Culture Venise T. Berry Venise T. Berry University of Iowa, Journalism and African American Studies Search for other works by this author on: This Site PubMed Google Scholar Email: venise-berry@uiowa.edu Journal of Popular Music Studies (2018) 30 (1-2): 45–56. https://doi.org/10.1525/jpms.2018.000015 Views Icon Views Article contents Figures Crossing Over: Musical Perceptions Within Black Adolescent Culture. Journal of Popular Music Studies 1 March 2018; 30 (1-2): 45–56. doi: https://doi.org/10.1525/jpms.2018.000015 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search How does George’s depiction of the Black American dream impact black reality, particularly in the eyes of today’s black youth? How do they feel as they watch their musical culture become a viable part of mainstream popular culture through adaptation, modification, and acculturation? Although crossing over has been widely discussed in popular music research,1 there has been no research that specifically focuses on black youth’s perceptions of crossing over.2 Historically, black musical style has always been a significant element of American popular music. Colonial society’s favorite social entertainment was music and dancing with musicians of that period coming from all groups and classes. (Southern 26) The market value of slaves with musical talent increased because black musicians often provided music for dance gatherings. On special occasions, such as weddings and funerals, slaves were sometimes allowed to sing spirituals with their masters. (106-107) The mid-nineteenth century for Black Americans... You do not currently have access to this content.