This is clearest in the chapter devoted to hip-hop, the longest in the book and in some ways the most complex. In doing so, Sanneh provides the reader with a wealth of information, guiding them through these seven separate movements, whilst also showing how they overlap, sometimes in bizarre ways, resulting in odd musical collaborations. Still, Sanneh is clear about his intentions: as an omnivorous musicophile, he seems to be capable of writing about any genre he wants, but these seven provide a rough history of the development of some of the most mainstream music of the past 80 years. Sanneh focuses solely on America, with some trips across to England, and the timeline within which he operates is not long, roughly 1960 to the present day. There are some limitations to the book’s structure. He published Major labels: A history of popular music in seven genres in 2021.Each chapter loops back to the other genres to show their points of divergence, before travelling forward to explore the roads of sub-genres and musical fads. Since 2008 Kelefa has been a staff writer for The New Yorker.
He wrote for The New York Times, covering rock and roll, hip-hop, and pop music scenes from 2000 to 2008. Kelefa is an American journalist and music critic. Kelefa’s estimated net worth is $780,560. He earns his wealth from his career, therefore, he has amassed a fortune over the years. Kelefa’s average salary is $73,545 per year. He serves as a staff writer for The New Yorker, therefore, he earns a decent income. The occasion for this now iconic headline was a dual review by Kelefa of both Beyonce’s song and Ashanti’s Chapter II released July 1, 2003. The song was a sneak peek at the music icon that she would become. In 2003 Beyonce’s 2003 Dangerously In Love launched her into the stratosphere from which she was yet to return.
In July 2017, Kelefa wrote the article Music The Sole Beyonce: She’s No Ashanti. Jennifer Gonnerman – staff writer Kelefa Sanneh Beyonce
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