The Color Purple Collection by
Three novels by a New York Times-bestselling author--including the Pulitzer Prizewinner The Color Purple--that speak to the African experience in America. The Color Purple is Alice Walker's stunning, Pulitzer Prize-winning novel of courage in the face of oppression. Celie grows up in rural Georgia, navigating a childhood of ceaseless abuse. Not only is she poor and despised by the society around her, she's badly treated by her family. As a teenager she begins writing letters directly to God in an attempt to transcend a life that often seems too much to bear. Her letters span twenty years and record a journey of self-discovery and empowerment through the guiding light of a few strong women and her own implacable will to find harmony with herself and her home. In The Temple of My Familiar, Celie and Shug from The Color Purple follow the lives of a brilliant cast of characters, all dealing in some way with the legacy of the African experience in America. From recent African immigrants, to a woman who grew up in the mixed-race rainforest communities of South America, to Celie's own granddaughter living in modern-day San Francisco, all must come to understand the brutal stories of their ancestors to come to terms with their own troubled lives. Possessing the Secret of Joy portrays Tashi's tribe, the Olinka, where young girls undergo genital mutilation as an initiation into the community. Tashi manages to avoid this fate at first, but when pressed by tribal leaders, she submits. Years later, married and living in America as Evelyn Johnson, Tashi's inner pain emerges. As she questions why such a terrifying, disfiguring sacrifice was required, she sorts through the many levels of subjugation with which she's been burdened over the years. Hailed by the Washington Post as "one of the best American writers of today," Alice Walker is a master storyteller and a major voice in modern literary fiction.
A Master of Djinn by
Included in NPR's Favorite Sci-Fi And Fantasy Books Of The Past Decade (2011-2021) A Nebula Award Winner A Ignyte Award Winner A Compton Crook Award for Best New Novel Winner A Locus First Novel Award Winner A RUSA Reading List: Fantasy Winner A Hugo Award Finalist A World Fantasy Award Finalist A NEIBA Book Award Finalist A Mythopoeic Award Finalist A Dragon Award Finalist A Best of 2021 Pick in SFF for Amazon A Best of 2021 Pick in SFF for Kobo Nebula, Locus, and Alex Award-winner P. Djèlí Clark goes full-length for the first time in his dazzling debut novel Cairo, 1912: Though Fatma el-Sha'arawi is the youngest woman working for the Ministry of Alchemy, Enchantments and Supernatural Entities, she's certainly not a rookie, especially after preventing the destruction of the universe last summer. So when someone murders a secret brotherhood dedicated to one of the most famous men in history, al-Jahiz, Agent Fatma is called onto the case. Al-Jahiz transformed the world forty years ago when he opened up the veil between the magical and mundane realms, before vanishing into the unknown. This murderer claims to be al-Jahiz, returned to condemn the modern age for its social oppressions. His dangerous magical abilities instigate unrest in the streets of Cairo that threaten to spill over onto the global stage. Alongside her Ministry colleagues and a familiar person from her past, Agent Fatma must unravel the mystery behind this imposter to restore peace to the city--or face the possibility he could be exactly who he seems... Novellas by P. Djèlí Clark The Black God's Drums The Haunting of Tram Car 015 Ring Shout The Dead Djinn Universe contains stories set primarily in Clark's fantasy alternate Cairo, and can be enjoyed in any order.
God Help the Child by
At the center: a young woman who calls herself Bride, whose stunning blue-black skin is only one element of her beauty, her boldness and confidence, her success in life, but which caused her light-skinned mother to deny her even the simplest forms of love. There is Booker, the man Bride loves, and loses to anger. Rain, the mysterious white child with whom she crosses paths. And finally, Bride's mother herself, Sweetness, who takes a lifetime to come to understand that "what you do to children matters. And they might never forget." "Powerful.... A tale that is as forceful as it is affecting, as fierce as it is resonant." --Michiko Kakutani, The New York Times
Lies We Tell Ourselves by
In 1959 Virginia, the lives of two girls on opposite sides of the battle for civil rights will be changed forever. Sarah Dunbar is one of the first black students to attend the previously all-white Jefferson High School. An honors student at her old school, she is put into remedial classes, spit on and tormented daily. Linda Hairston is the daughter of one of the town's most vocal opponents of school integration. She has been taught all her life that the races should be kept "separate but equal." Forced to work together on a school project, Sarah and Linda must confront harsh truths about race, power and how they really feel about one another. Boldly realistic and emotionally compelling, Lies We Tell Ourselves is a brave and stunning novel about finding truth amid the lies, and finding your voice even when others are determined to silence it.
Go Tell It on the Mountain by
In one of the greatest American classics, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity. Baldwin's rendering of his protagonist's spiritual, sexual, and moral struggle of self-invention opened new possibilities in the American language and in the way Americans understand themselves. With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin tells the story of the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935. Originally published in 1953, Baldwin said of his first novel, "Mountain is the book I had to write if I was ever going to write anything else." "With vivid imagery, with lavish attention to details ... [a] feverish story." --The New York Times
Seed to Harvest by
The complete Patternist series-the acclaimed science fiction epic of a world transformed by a secret race of telepaths and their devastating rise to power. In the late seventeenth century, two immortals meet in an African forest. Anyanwu is a healer, a three-hundred-year-old woman who uses her wisdom to help those around her. The other is Doro, a malevolent despot who has mastered the power of stealing the bodies of others when his wears out. Together they will change the world. Over the next three centuries, Doro mounts a colossal selective breeding project, attempting to create a master race of telepaths. He succeeds beyond his wildest dreams, splitting the human race down the middle and establishing a new world order dominated by the most manipulative minds on Earth. In these four novels, award-winning author Octavia E. Butler tells the classic story that began her legendary career: a mythic tale of the transformation of civilization.
The Black Imagination by
This critical collection covers a broad spectrum of works, both literary and cinematic, and issues from writers, directors, and artists who claim the science fiction, speculative fiction, and Afro-futurist genres. The anthology extends the discursive boundaries of science fiction by examining iconic writers like Octavia Butler, Walter Mosley, and Nalo Hopkinson through the lens of ecofeminist veganism, post-9/11 racial geopolitics, and the effect of the computer database on human voice and agency. Contributors expand what the field characterizes as speculative fiction by examining for the first time the vampire tropes present in Audre Lorde's poetry, and by tracing her influence on the horror fiction of Jewelle Gomez. The collection moves beyond exploration of literary fiction to study the Afro-futurist representations of Blacks in comic books, in the Star Trek franchise, in African films, and in blockbuster films like Independence Day, I Robot, and I Am Legend.
The Underground Railroad by
Winner of the Pulitzer Prize Winner of the National Book Award Winner of the Andrew Carnegie Medal for Excellence in Fiction Longlisted for the Man Booker Prize Winner of the Arthur C. Clarke Award Finalist for the Dayton Literary Peace Prize Longlisted for the Prix M#65533;dicis One of the Best books of the Year: The New York Times, The Washington Post, NPR, The Boston Globe, The Seattle Times, HuffPost, Esquire, Minneapolis Star Tribune Cora is a young slave on a cotton plantation in Georgia. An outcast even among her fellow Africans, she is on the cusp of womanhood--where greater pain awaits. And so when Caesar, a slave who has recently arrived from Virginia, urges her to join him on the Underground Railroad, she seizes the opportunity and escapes with him. In Colson Whitehead's ingenious conception, the Underground Railroad is no mere metaphor: engineers and conductors operate a secret network of actual tracks and tunnels beneath the Southern soil. Cora embarks on a harrowing flight from one state to the next, encountering, like Gulliver, strange yet familiar iterations of her own world at each stop. As Whitehead brilliantly re-creates the terrors of the antebellum era, he weaves in the saga of our nation, from the brutal abduction of Africans to the unfulfilled promises of the present day. The Underground Railroad is both the gripping tale of one woman's will to escape the horrors of bondage--and a powerful meditation on the history we all share.
Blacktop Wasteland by
Los Angeles Times Book Prize Winner * New York Times Notable Book * NPR's Best Books of the Year * BookPage's #1 Mystery and Suspense of the Year * Sun Sentinel's #1 Best Mystery of the Year "I loved Blacktop Wasteland...[A] fast-paced, bareknuckle thriller." -Stephen King "A roaring, full-throttle thriller, crackling with tension and charm." -The New York Times Book Review "One of the year's strongest novels." -Sun Sentinel A husband, a father, a son, a business owner...And the best getaway driver east of the Mississippi. Beauregard "Bug" Montage is an honest mechanic, a loving husband, and a hard-working dad. Bug knows there's no future in the man he used to be: known from the hills of North Carolina to the beaches of Florida as the best wheelman on the East Coast. He thought he'd left all that behind him, but as his carefully built new life begins to crumble, he finds himself drawn inexorably back into a world of blood and bullets. When a smooth-talking former associate comes calling with a can't-miss jewelry store heist, Bug feels he has no choice but to get back in the driver's seat. And Bug is at his best where the scent of gasoline mixes with the smell of fear. Haunted by the ghost of who he used to be and the father who disappeared when he needed him most, Bug must find a way to navigate this blacktop wasteland...or die trying. Like Ocean's Eleven meets Drive, with a Southern noir twist, S. A. Cosby's Blacktop Wasteland is a searing, operatic story of a man pushed to his limits by poverty, race, and his own former life of crime.
The Making of Black Lives Matter by
The Black Lives Matter movement is only a few years old, but as Christopher J. Lebron argues in this book, the sentiment behind it is not; the plea and demand that "Black Lives Matter" comes out of a much older and richer tradition arguing for the equal dignity - and not just equal rights - of black people. The Making of Black Lives Matter presents a condensed and accessible intellectual history that traces the genesis of the ideas that have built into the #BlackLivesMatter movement. Drawing on the work of revolutionary black public intellectuals, including Frederick Douglass, Ida B. Wells, Langston Hughes, Zora Neal Hurston, Anna Julia Cooper, Audre Lorde, James Baldwin, and Martin Luther King Jr., Lebron clarifies what it means to assert that "Black Lives Matter" when faced with contemporary instances of anti-black law enforcement.
Great Speeches by African Americans by
Tracing the struggle for freedom and civil rights across two centuries, this anthology comprises speeches by Frederick Douglass, Sojourner Truth, W. E. B. Du Bois, Martin Luther King, Jr., and other influential figures in the history of African-American culture and politics.
Listen, Whitey! by
In Listen, Whitey! The Sounds of Black Power 1965-1975 author Pat Thomas examines rare recordings of speeches, interviews, and music from the Black Power Party, by noted activists Huey Newton, Bobby Seale, Eldridge Cleaver, Elaine Brown, The Lumpen and many others. He also chronicles the forgotten history of Motown Records: from 1970 to 1973, Motown's Black Power subsidiary label, Black Forum, released politically charged albums by Stokely Carmichael, Amiri Baraka, Langston Hughes, Bill Cosby & Ossie Davis, and many others. Listen, Whitey! also spotlights obscure recordings produced by SNCC, Ron Karenga's US, the Tribe and other African-American sociopolitical organizations of the late 1960s and early '70s, Black Consciousness poetry, and inspired religious recordings that infused god and Black Nationalism.
African American Music Trails of Eastern North Carolina by
Thelonius Monk, Billy Taylor, and Maceo Parker--famous jazz artists who have shared the unique sounds of North Carolina with the world--are but a few of the dynamic African American artists from eastern North Carolina featured in The African American Music Trails of Eastern North Carolina. This first-of-its-kind travel guide will take you on a fascinating journey to music venues, events, and museums that illuminate the lives of the musicians and reveal the deep ties between music and community. Interviews with more than 90 artists open doors to a world of music, especially jazz, rhythm and blues, funk, gospel and church music, blues, rap, marching band music, and beach music. New and historical photographs enliven the narrative, and maps and travel information help you plan your trip. Included is a CD with 17 recordings performed by some of the region's outstanding artists.
Seems Like Murder Here by
Winner of the 2004 C. Hugh Holman Award from the Society for the Study of Southern Literature. Seems Like Murder Here offers a revealing new account of the blues tradition. Far from mere laments about lost loves and hard times, the blues emerge in this provocative study as vital responses to spectacle lynchings and the violent realities of African American life in the Jim Crow South. With brilliant interpretations of both classic songs and literary works, from the autobiographies of W. C. Handy, David Honeyboy Edwards, and B. B. King to the poetry of Langston Hughes and the novels of Zora Neale Hurston, Seems Like Murder Here will transform our understanding of the blues and its enduring power.
Kennedy's Blues by 
Are You Entertained? by
The advent of the internet and the availability of social media and digital downloads have expanded the creation, distribution, and consumption of Black cultural production as never before. At the same time, a new generation of Black public intellectuals who speak to the relationship between race, politics, and popular culture has come into national prominence. The contributors to Are You Entertained? address these trends to consider what culture and blackness mean in the twenty-first century's digital consumer economy. In this collection of essays, interviews, visual art, and an artist statement the contributors examine a range of topics and issues, from music, white consumerism, cartoons, and the rise of Black Twitter to the NBA's dress code, dance, and Moonlight. Analyzing the myriad ways in which people perform, avow, politicize, own, and love blackness, this volume charts the shifting debates in Black popular culture scholarship over the past quarter century while offering new avenues for future scholarship. Contributors. Takiyah Nur Amin, Patricia Hill Collins, Kelly Jo Fulkerson-Dikuua, Simone C. Drake, Dwan K. Henderson, Imani Kai Johnson, Ralina L. Joseph, David J. Leonard, Emily J. Lordi, Nina Angela Mercer, Mark Anthony Neal, H. Ike Okafor-Newsum, Kinohi Nishikawa, Eric Darnell Pritchard, Richard Schur, Tracy Sharpley-Whiting, Vincent Stephens, Lisa B. Thompson, Sheneese Thompson
SOS/Calling All Black People by
This volume brings together a broad range of key writings from the Black Arts Movement of the 1960s and 1970s, among the most significant cultural movements in American history. The aesthetic counterpart of the Black Power movement, it burst onto the scene in the form of artists' circles, writers' workshops, drama groups, dance troupes, new publishing ventures, bookstores, and cultural centers and had a presence in practically every community and college campus with an appreciable African American population. Black Arts activists extended its reach even further through magazines such as Ebony and Jet, on television shows such as Soul! and Like It Is, and on radio programs. Many of the movement's leading artists, including Ed Bullins, Nikki Giovanni, Woodie King, Haki Madhubuti, Sonia Sanchez, Askia Touré, and Val Gray Ward remain artistically productive today. Its influence can also be seen in the work of later artists, from the writers Toni Morrison, John Edgar Wideman, and August Wilson to actors Avery Brooks, Danny Glover, and Samuel L. Jackson, to hip hop artists Mos Def, Talib Kweli, and Chuck D. SOS -- Calling All Black People includes works of fiction, poetry, and drama in addition to critical writings on issues of politics, aesthetics, and gender. It covers topics ranging from the legacy of Malcolm X and the impact of John Coltrane's jazz to the tenets of the Black Panther Party and the music of Motown. The editors have provided a substantial introduction outlining the nature, history, and legacy of the Black Arts Movement as well as the principles by which the anthology was assembled.
Afrofuturism: the world of black sci-fi and fantasy culture by
2014 Locus Awards Finalist, Nonfiction Category In this hip, accessible primer to the music, literature, and art of Afrofuturism, author Ytasha Womack introduces readers to the burgeoning community of artists creating Afrofuturist works, the innovators from the past, and the wide range of subjects they explore. From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas' will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book's topics range from the "alien" experience of blacks in America to the "wake up" cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.
Barracoon by
New York Times Bestseller * TIME Magazine's Best Nonfiction Book of 2018 * New York Public Library's Best Book of 2018 * NPR's Book Concierge Best Book of 2018 * Economist Book of the Year * SELF.com's Best Books of 2018 * Audible's Best of the Year * BookRiot's Best Audio Books of 2018 * The Atlantic's Books Briefing: History, Reconsidered * Atlanta Journal Constitution, Best Southern Books 2018 * The Christian Science Monitor's Best Books 2018 * "A profound impact on Hurston's literary legacy."--New York Times "One of the greatest writers of our time."--Toni Morrison "Zora Neale Hurston's genius has once again produced a Maestrapiece."--Alice Walker A major literary event: a newly published work from the author of the American classic Their Eyes Were Watching God, with a foreword from Pulitzer Prize-winning author Alice Walker, brilliantly illuminates the horror and injustices of slavery as it tells the true story of one of the last-known survivors of the Atlantic slave trade--abducted from Africa on the last "Black Cargo" ship to arrive in the United States. In 1927, Zora Neale Hurston went to Plateau, Alabama, just outside Mobile, to interview eighty-six-year-old Cudjo Lewis. Of the millions of men, women, and children transported from Africa to America as slaves, Cudjo was then the only person alive to tell the story of this integral part of the nation's history. Hurston was there to record Cudjo's firsthand account of the raid that led to his capture and bondage fifty years after the Atlantic slave trade was outlawed in the United States. In 1931, Hurston returned to Plateau, the African-centric community three miles from Mobile founded by Cudjo and other former slaves from his ship. Spending more than three months there, she talked in depth with Cudjo about the details of his life. During those weeks, the young writer and the elderly formerly enslaved man ate peaches and watermelon that grew in the backyard and talked about Cudjo's past--memories from his childhood in Africa, the horrors of being captured and held in a barracoon for selection by American slavers, the harrowing experience of the Middle Passage packed with more than 100 other souls aboard the Clotilda, and the years he spent in slavery until the end of the Civil War. Based on those interviews, featuring Cudjo's unique vernacular, and written from Hurston's perspective with the compassion and singular style that have made her one of the preeminent American authors of the twentieth-century, Barracoon masterfully illustrates the tragedy of slavery and of one life forever defined by it. Offering insight into the pernicious legacy that continues to haunt us all, black and white, this poignant and powerful work is an invaluable contribution to our shared history and culture.
Biographical dictionary of Black musicians and music educators by
An incomparable guide to the thousands of characters, from humble artisan to lofty genius, who people the unfolding history of music, this volume brings together all the pertinent biographical information about composers, performers, music theorists, and instrument makers from the days of praise chants to the bop and pop of today.
Can't Be Satisfied by
Muddy Waters invented electric blues and created the template for the rock and roll band and its wild lifestyle. Gordon excavates Muddy's mysterious past and early career, taking us from Mississippi fields to postwar Chicago street corners.
Dayglo! by
From growing up mixed-race in Brixton in the 1960s to being at the forefront of the emerging punk scene with X-Ray Spex in the 1970s, from finding faith with the Hare Krishna movement to balancing single motherhood with a solo music career and often debilitating mental health issues, the book openly explores Poly's exceptional life, up until her untimely passing in 2011.
I Am Not Your Negro by
In his final years, one of America's greatest writers envisioned a book about his three assassinated friends, Medgar Evers, Malcolm X, and Martin Luther King.
The Immortal Life of Henrietta Lacks (Movie Tie-In Edition) by
Intimate in feeling, astonishing in scope, and impossible to put down, The Immortal Life of Henrietta Lacks captures the beauty and drama of scientific discovery, as well as its human consequences.
My Soul Looks Back by
In this captivating new memoir, award-winning writer Jessica B. Harris recalls a lost era--the vibrant New York City of her youth, where her social circle included Maya Angelou, James Baldwin, and other members of the Black intelligentsia. In the Technicolor glow of the early seventies, Jessica B. Harris debated, celebrated, and danced her way from the jazz clubs of the Manhattan's West Side to the restaurants of the Village, living out her buoyant youth alongside the great minds of the day--luminaries like Maya Angelou, James Baldwin, and Toni Morrison. My Soul Looks Back is her paean to that fascinating social circle and the depth of their shared commitment to activism, intellectual engagement, and each other.
Odetta by
The first in-depth biography of Odetta, the legendary singer and "Voice of the Civil Rights Movement" who combatted racism and prejudice through her music. leader of the 1960s folk revival, Odetta is one of the most important singers of the last 100 years. Her music has influenced a huge number of artists over many decades, including Bob Dylan, Joan Baez, Harry Belafonte, Judy Collins, Janis Joplin, the Kinks, Carly Simon, Jewel and, more recently, Rhiannon Giddens and Miley Cyrus. But Odetta's importance extends far beyond music. Journalist Ian Zack follows Odetta from her beginnings in a deeply segregated Birmingham, Alabama to stardom in Los Angeles, where she helped the national heal after 9/11 through her music. It's hard to imagine the Civil Rights Movement without her opera-trained voice echoing at the March on Washington, the Selma to Montgomery march, and countless other rallies and protests, large and small. Odetta channeled her anger and shame into some the most powerful folk music the nation has ever heard. Through her lyrics and iconic persona, Odetta influenced lasting political, social, and cultural change. Through interviews with Joan Baez, Harry Belafonte, Judy Collins, Carly Simon, and many more, Ian Zack brings Odetta back into the spotlight, reminding the world of the folk music that powered the Civil Rights Movement and continues to influence generations of musicians today.
Redefining Realness by
New York Times Bestseller * Winner of the 2015 WOMEN'S WAY Book Prize * Goodreads Best of 2014 Semi-Finalist * Books for a Better Life Award Finalist * Lambda Literary Award Finalist * Time Magazine "30 Most Influential People on the Internet" * American Library Association Stonewall Honor Book In her profound and courageous New York Times bestseller, Janet Mock establishes herself as a resounding and inspirational voice for the transgender community--and anyone fighting to define themselves on their own terms. With unflinching honesty and moving prose, Janet Mock relays her experiences of growing up young, multiracial, poor, and trans in America, offering readers accessible language while imparting vital insight about the unique challenges and vulnerabilities of a marginalized and misunderstood population. Though undoubtedly an account of one woman's quest for self at all costs, Redefining Realness is a powerful vision of possibility and self-realization, pushing us all toward greater acceptance of one another--and of ourselves--showing as never before how to be unapologetic and real.
They Can't Kill Us until They Kill Us by
Whether he's attending a Bruce Springsteen concert the day after visiting Michael Brown's grave, or discussing public displays of affection at a Carly Rae Jepsen show, he writes with a poignancy and magnetism that resonates profoundly. In the wake of the nightclub attacks in Paris, he recalls how he sought refuge as a teenager in music, at shows, and wonders whether the next generation of young Muslims will not be afforded that opportunity now. While discussing the everyday threat to the lives of Black Americans, Abdurraqib recounts the first time he was ordered to the ground by police officers: for attempting to enter his own car. In essays that have been published by the New York Times, MTV, and Pitchfork, among others--along with original, previously unreleased essays--Abdurraqib uses music and culture as a lens through which to view our world, so that we might better understand ourselves, and in so doing proves himself a bellwether for our times.
Little Lady with a Big Drum by
This, the official autobiography of Elayne Jones, is the story of one woman's remarkable life and career in her own words; a journey from meager beginnings as a self-described "skinny little girl from Harlem," to the highest echelons of classical music. With a musical talent and personal drive that enabled her to transcend racial and gender barriers, Jones became the first African American woman in the New York Philharmonic Symphony Orchestra. A world renown tympanist, Elayne Jones is a graduate of the Arts and Music High School in New York. She then attended Julliard, being among the first winners of the Ellington Julliard Scholarship. Jones' professional career began in 1949 with the New York City Opera. Over the course of five decades, Elayne Jones played with the American Ballet Theatre, Arthur Fiedler and the World Symphony Orchestra, Leopold Stokowski and the American Symphony Orchestra, Seiji Ozawa and the San Francisco Symphony, and the San Francisco Opera. In 1965 she won the LaGuardia Memorial Award in recognition of her outstanding achievements in music. She has presented over 375 solo lecture demonstrations nationally and internationally of percussion instruments in schools and colleges, and in 1975, National Educational Television produced and aired a TV special on PBS featuring Jones entitled, "A Day in the Life of a Musician." Countless performances by Jones include television, recordings, musicals, and ballets. Elayne Jones is universally recognized as one the most prominent African Americans of the 20th Century.Alongside music, Jones was also an accomplished amateur tennis player for some 43 years, until an injury forced her to give up the game. Some of the high points in playing included tennis matches with tenor Luciano Pavarotti and conductor Seiji Ozawa. Jones retired from her career in music in 1998. A mother of three, she currently resides in the San Francisco East Bay Area, in Walnut Creek, California.
All Boys Aren't Blue by
In a series of personal essays, prominent journalist and LGBTQIA+ activist George M. Johnson's All Boys Aren't Blue explores his childhood, adolescence, and college years in New Jersey and Virginia. A New York Times Bestseller! Good Morning America, NBC Nightly News, Today Show, and MSNBC feature stories From the memories of getting his teeth kicked out by bullies at age five, to flea marketing with his loving grandmother, to his first sexual relationships, this young-adult memoir weaves together the trials and triumphs faced by Black queer boys. Both a primer for teens eager to be allies as well as a reassuring testimony for young queer men of color, All Boys Aren't Blue covers topics such as gender identity, toxic masculinity, brotherhood, family, structural marginalization, consent, and Black joy. Johnson's emotionally frank style of writing will appeal directly to young adults. Velshi Banned Book Club Indie Bestseller Teen Vogue Recommended Read Buzzfeed Recommended Read People Magazine Best Book of the Summer A New York Library Best Book of 2020 A Chicago Public Library Best Book of 2020 ... and more!
Possibilities by
Herbie Hancock is a true icon of modern music: a jazz pianist and composer whose illustrious career has spanned seven decades and 14 Grammy Awards. Hancock's memoir will examine his extraordinary career, from his beginnings as a child prodigy in Chicago to his work with artists including Miles Davis, Wayne Shorter, Stevie Wonder, Kathleen Battle, Joni Mitchell, Sting, Paul Simon, Carlos Santana, Annie Lennox, John Mayer, Christina Aguilera and Tina Turner. He recalls learning to play the piano, changing the face of jazz, his marriage and his discovery of Buddhism.
I Know Why the Caged Bird Sings by
A phenomenal #1 bestseller that has appeared on the New York Times bestseller list for nearly three years, this memoir traces Maya Angelou's childhood in a small, rural community during the 1930s. Filled with images and recollections that point to the dignity and courage of black men and women, Angelou paints a sometimes disquieting, but always affecting picture of the people and the times that touched her life.
Spoken Word Revolution by
The Spoken Word Revolution brings to life the written and performed works of more than 40 of the most influential slam, hip hop, performance art and contemporary poets in the world today. This defining collection of spoken word poetry captures today's electrifying words and voices, in text and immediately live on one audio CD.
Killing Poetry by
In Killing Poetry, renowned slam poet, Javon Johnson unpacks some of the complicated issues that comprise performance poetry spaces. He argues that the truly radical potential in slam and spoken word communities lies not just in proving literary worth, speaking back to power, or even in altering power structures, but instead in imagining and working towards altogether different social relationships.
Russell Simmons Def Poetry Jam on Broadway ... and More by
This book contains up-and-coming Slam artists who have forever changed the face of poetry and offer a fresh, exuberant, insightful, and comedic look at who we are as Americans today.
The Essential Gwendolyn Brooks by
Discover the most enduring works of legendary poet Gwendolyn Brooks--the first black author to win a Pulitzer Prize--in one collectible volume "If you wanted a poem," wrote Gwendolyn Brooks, "you only had to look out of a window. There was material always, walking or running, fighting or screaming or singing." From the life of Chicago's South Side she made a forceful and passionate poetry that fused Modernist aesthetics with African-American cultural tradition, a poetry that registered the life of the streets and the upheavals of the 20th century. Starting with A Street in Bronzeville (1945), her epoch-making debut volume, The Essential Gwendolyn Brooks traces the full arc of her career in all its ambitious scope and unexpected stylistic shifts. "Her formal range," writes editor Elizabeth Alexander, "is most impressive, as she experiments with sonnets, ballads, spirituals, blues, full and off-rhymes. She is nothing short of a technical virtuoso." That technical virtuosity was matched by a restless curiosity about the life around her in all its explosive variety. By turns compassionate, angry, satiric, and psychologically penetrating, Gwendolyn Brooks's poetry retains its power to move and surprise. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today's most discerning poets and critics.
The Muse Is Music by
This wide-ranging, ambitiously interdisciplinary study traces jazz's influence on African American poetry from the Harlem Renaissance to contemporary spoken word poetry. Examining established poets such as Langston Hughes, Ntozake Shange, and Nathaniel Mackey as well as a generation of up-and-coming contemporary writers and performers, Meta DuEwa Jones highlights the intersections of race, gender, and sexuality within the jazz tradition and its representation in poetry. Applying prosodic analysis to emphasize the musicality of African American poetic performance, she examines the gendered meanings evident in collaborative performances and in the criticism, images, and sounds circulating within jazz cultures. Jones also considers poets who participated in contemporary venues for black writing such as the Dark Room Collective and the Cave Canem Foundation, including Harryette Mullen, Elizabeth Alexander, and Carl Phillips. Incorporating a finely honed discussion of the Black Arts Movement, the poetry-jazz fusion of the late 1950s, and slam and spoken word performance milieus such as Def Poetry Jam, she focuses on jazz and hip hop-influenced performance artists including Tracie Morris, Saul Williams, and Jessica Care Moore. Through attention to cadence, rhythm, and structure, The Muse is Music fills a gap in literary scholarship by attending to issues of gender in jazz and poetry and by analyzing recordings of poets both with and without musical accompaniment. Applying the methodology of textual close reading to a critical "close listening" of American poetry's resonant soundscape, Jones's analyses include exploring the formal innovation and queer performance of Langston Hughes's recorded collaboration with jazz musicians, delineating the relationship between punctuation and performance in the post-soul John Coltrane poem, and closely examining jazz improvisation and hip-hop stylization. An elaborate articulation of the connections between jazz, poetry and spoken word, and gender, The Muse Is Music offers valuable criticism of specific texts and performances and a convincing argument about the shape of jazz and African-American poetic performance in the contemporary era.
Stand up Straight and Sing! by
One of America's most admired and decorated artists tells her amazing story, from her childhood in the South to the world's greatest stages. Jessye Norman is not only one of the world's most admired and beloved singers, she is an American icon whose life story is as moving and dramatic as the great operatic roles she has performed on stage. Born and raised in Augusta, Georgia, nurtured in a close family and tight-knit community centered around the church, she studied the piano and sang the songs of her childhood, not dreaming that this passion for music might lead to her life's profession. InStand Up Straight and Sing!, Jessye Norman recalls in rich detail the strong women who were her role models, from her ancestors to family friends, relatives, and teachers. She hails the importance of her parents in her early learning and experiences in the arts. And she describes coming face-to-face with racism, not just as a child living in the segregated South, but also as an adult out and about in the world. She speaks of the many who have inspired her and taught her essential life lessons. A special interlude on her key relationship with the pioneering African American singer Marian Anderson reveals the lifelong support that this great predecessor provided through her example of dignity and grace at all times. The story of one woman's astonishing life,Stand Up Straight And Sing! is not just for lovers of music, but for everyone.
Marian Anderson by
Born in 1897, Marian Anderson fell in love with music at an early age. Almost a century later, The New York Times would declare that "Miss Anderson's place as the high priestess of American musicians, whatever their color, is not to be denied". Yet success did not come easy for this talented singer. Although in 1938 she would become the first African-American singer to perform at the White House, just one year later, the Daughters of the American Revolution denied Anderson use of their concert hall (instead, she performed for a crowd of 75,000 at the Lincoln Memorial). But Anderson persevered, and her subsequent honors include a performance as the first African-American soloist at the Metropolitan Opera, the Presidential Medal of Honor, and the Eleanor Roosevelt Human Rights Award. In the culmination of his lifelong fascination with Marian Anderson, Allan Keiler has superbly documented the life of this guarded public figure -- who is still enormously popular six years after her death (a collection of Anderson's works, Spirituals, recently reached number nine on the Tower Records classical music chart). Now correcting errors that app
Blackness in Opera by
Blackness in Opera critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas (Porgy and Bess, Aida, Treemonisha) alongside lesser-known works such as Frederick Delius's Koanga, William Grant Still's Blue Steel, and Clarence Cameron White's Ouanga! to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features reflections by renowned American tenor George Shirley. Contributors are Naomi André, Melinda Boyd, Gwynne Kuhner Brown, Karen M. Bryan, Melissa J. de Graaf, Christopher R. Gauthier, Jennifer McFarlane-Harris, Gayle Murchison, Guthrie P. Ramsey Jr., Eric Saylor, Sarah Schmalenberger, Ann Sears, George Shirley, and Jonathan O. Wipplinger.
William Grant Still and the Fusion of Cultures in American Music by 
Black Opera by
From classic films like Carmen Jones to contemporary works like The Diary of Sally Hemings and U-Carmen eKhayelitsa, American and South African artists and composers have used opera to reclaim black people's place in history. Naomi André draws on the experiences of performers and audiences to explore this music's resonance with today's listeners. Interacting with creators and performers, as well as with the works themselves, André reveals how black opera unearths suppressed truths. These truths provoke complex, if uncomfortable, reconsideration of racial, gender, sexual, and other oppressive ideologies. Opera, in turn, operates as a cultural and political force that employs an immense, transformative power to represent or even liberate. Viewing opera as a fertile site for critical inquiry, political activism, and social change, Black Opera lays the foundation for innovative new approaches to applied scholarship.
From Spirituals to Symphonies by
Exploding the assumption that black women's only important musical contributions have been in folk, jazz, and pop Helen Walker-Hill's unique study provides a carefully researched examination of the history and scope of musical composition by African American women composers from the nineteenth and twentieth centuries. Focusing on the effect of race, gender, and class, From Spirituals to Symphonies notes the important role played by individual personalities and circumstances in shaping this underappreciated category of American art. The study also provides in-depth exploration of the backgrounds, experiences, and musical compositions of eight African American women including Margaret Bonds, Undine Smith Moore, and Julia Perry, who combined the techniques of Western art music with their own cultural traditions and individual gifts. Despite having gained national and international recognition during their lifetimes, the contributions of many of these women are today forgotten.
Singing Like Germans by
In Singing Like Germans, Kira Thurman tells the sweeping story of Black musicians in German-speaking Europe over more than a century. Thurman brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. Through this compelling history, she explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public's understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. Thurman explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. An interdisciplinary and transatlantic history, Singing Like Germans suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.
The Heart of a Woman by
The Heart of a Woman offers the first-ever biography of Florence B. Price, a composer whose career spanned both the Harlem and Chicago Renaissances, and the first African American woman to gain national recognition for her works. Price's twenty-five years in Chicago formed the core of a working life that saw her create three hundred works in diverse genres, including symphonies and orchestral suites, art songs, vocal and choral music, and arrangements of spirituals. Through interviews and a wealth of material from public and private archives, Rae Linda Brown illuminates Price's major works while exploring the considerable depth of her achievement. Brown also traces the life of the extremely private individual from her childhood in Little Rock through her time at the New England Conservatory, her extensive teaching, and her struggles with racism, poverty, and professional jealousies. In addition, Brown provides musicians and scholars with dozens of musical examples.
The Strange Career of Porgy and Bess by
Created by George Gershwin and DuBose Heyward and sung by generations of black performers, Porgy and Bess has been both embraced and reviled since its debut in 1935. In this comprehensive account, Ellen Noonan examines the opera's long history of invention and reinvention as a barometer of twentieth-century American expectations about race, culture, and the struggle for equality. In its surprising endurance lies a myriad of local, national, and international stories. For black performers and commentators, Porgy and Bess was a nexus for debates about cultural representation and racial uplift. White producers, critics, and even audiences spun revealing racial narratives around the show, initially in an attempt to demonstrate its authenticity and later to keep it from becoming discredited or irrelevant. Expertly weaving together the wide-ranging debates over the original novel, Porgy, and its adaptations on stage and film with a history of its intimate ties to Charleston, The Strange Career of "Porgy and Bess" uncovers the complexities behind one of our nation's most long-lived cultural touchstones.
Country Soul by
In the sound of the 1960s and 1970s, nothing symbolized the rift between black and white America better than the seemingly divided genres of country and soul. Yet the music emerged from the same songwriters, musicians, and producers in the recording studios of Memphis and Nashville, Tennessee, and Muscle Shoals, Alabama--what Charles L. Hughes calls the "country-soul triangle." In legendary studios like Stax and FAME, integrated groups of musicians like Booker T. and the MGs and the Muscle Shoals Rhythm Section produced music that both challenged and reconfirmed racial divisions in the United States. Working with artists from Aretha Franklin to Willie Nelson, these musicians became crucial contributors to the era's popular music and internationally recognized symbols of American racial politics in the turbulent years of civil rights protests, Black Power, and white backlash. Hughes offers a provocative reinterpretation of this key moment in American popular music and challenges the conventional wisdom about the racial politics of southern studios and the music that emerged from them. Drawing on interviews and rarely used archives, Hughes brings to life the daily world of session musicians, producers, and songwriters at the heart of the country and soul scenes. In doing so, he shows how the country-soul triangle gave birth to new ways of thinking about music, race, labor, and the South in this pivotal period.
Black Country Music by
How Black musicians have changed the country music landscape and brought light to Black creativity and innovation. After a century of racist whitewashing, country music is finally reckoning with its relationship to Black people. In this timely work--the first book on Black country music by a Black writer--Francesca Royster uncovers the Black performers and fans, including herself, who are exploring the pleasures and possibilities of the genre. Informed by queer theory and Black feminist scholarship, Royster's book elucidates the roots of the current moment found in records like Tina Turner's first solo album, Tina Turns the Country On! She reckons with Black "bros" Charley Pride and Darius Rucker, then chases ghosts into the future with Valerie June. Indeed, it is the imagination of Royster and her artists that make this music so exciting for a genre that has long been obsessed with the past. The futures conjured by June and others can be melancholy, and are not free of racism, but by centering Black folk Royster begins to understand what her daughter hears in the banjo music of Our Native Daughters and the trap beat of Lil Nas X's "Old Town Road." A Black person claiming country music may still feel a bit like a queer person coming out, but, collectively, Black artists and fans are changing what country music looks and sounds like--and who gets to love it.
Ring Shout, Wheel About by
In this ambitious project, historian Katrina Thompson examines the conceptualization and staging of race through the performance, sometimes coerced, of black dance from the slave ship to the minstrel stage. Drawing on a rich variety of sources, Thompson explicates how black musical performance was used by white Europeans and Americans to justify enslavement, perpetuate the existing racial hierarchy, and mask the brutality of the domestic slave trade. Whether on slave ships, at the auction block, or on plantations, whites often used coerced performances to oppress and demean the enslaved. As Thompson shows, however, blacks' "backstage" use of musical performance often served quite a different purpose. Through creolization and other means, enslaved people preserved some native musical and dance traditions and invented or adopted new traditions that built community and even aided rebellion. Thompson shows how these traditions evolved into nineteenth-century minstrelsy and, ultimately, raises the question of whether today's mass media performances and depictions of African Americans are so very far removed from their troublesome roots.
Segregating Sound by
In Segregating Sound, Karl Hagstrom Miller argues that the categories that we have inherited to think and talk about southern music bear little relation to the ways that southerners long played and heard music. Focusing on the late nineteenth century and the early twentieth, Miller chronicles how southern music--a fluid complex of sounds and styles in practice--was reduced to a series of distinct genres linked to particular racial and ethnic identities. The blues were African American. Rural white southerners played country music. By the 1920s, these depictions were touted in folk song collections and the catalogs of "race" and "hillbilly" records produced by the phonograph industry. Such links among race, region, and music were new. Black and white artists alike had played not only blues, ballads, ragtime, and string band music, but also nationally popular sentimental ballads, minstrel songs, Tin Pan Alley tunes, and Broadway hits. In a cultural history filled with musicians, listeners, scholars, and business people, Miller describes how folklore studies and the music industry helped to create a "musical color line," a cultural parallel to the physical color line that came to define the Jim Crow South. Segregated sound emerged slowly through the interactions of southern and northern musicians, record companies that sought to penetrate new markets across the South and the globe, and academic folklorists who attempted to tap southern music for evidence about the history of human civilization. Contending that people's musical worlds were defined less by who they were than by the music that they heard, Miller challenges assumptions about the relation of race, music, and the market.
A Dixie Lullaby by
Tracing the roots of Southern music, Dixie Lullaby is a brilliantly original look at how the unifying powers of rock music in the 1970s and 1980s helped Southerners to come to terms with their complex racial past. Photos throughout.
Hidden in the Mix by
Country music's debt to African American music has long been recognized. Black musicians have helped to shape the styles of many of the most important performers in the country canon. The partnership between Lesley Riddle and A. P. Carter produced much of the Carter Family's repertoire; the street musician Tee Tot Payne taught a young Hank Williams Sr.; the guitar playing of Arnold Schultz influenced western Kentuckians, including Bill Monroe and Ike Everly. Yet attention to how these and other African Americans enriched the music played by whites has obscured the achievements of black country-music performers and the enjoyment of black listeners. The contributors to Hidden in the Mix examine how country music became "white," how that fictive racialization has been maintained, and how African American artists and fans have used country music to elaborate their own identities. They investigate topics as diverse as the role of race in shaping old-time record catalogues, the transracial West of the hick-hopper Cowboy Troy, and the place of U.S. country music in postcolonial debates about race and resistance. Revealing how music mediates both the ideology and the lived experience of race, Hidden in the Mix challenges the status of country music as "the white man's blues." Contributors. Michael Awkward, Erika Brady, Barbara Ching, Adam Gussow, Patrick Huber, Charles Hughes, Jeffrey A. Keith, Kip Lornell, Diane Pecknold, David Sanjek, Tony Thomas, Jerry Wever
African American Dance by
Africans brought as slaves to North America arrived without possessions, but not without culture. The fascinating elements of African life manifested themselves richly in the New World, and among the most lasting and influential of these was the art of African dance. This generously illustrated exploration of African American dance history follows the dynamics of the dance forms throughout each generation. Chapter 1 provides introductory information about the African continent and the heritage that spawned African American dance. Following is a discussion of the discrimination and marginalization endured by African Americans, and the fortitude with which the dance survived and became increasingly important in American culture. Chapters 2 and 3 explore black dance in the slavery era and the variety of black festivals and gatherings that helped to preserve and showcase African-based dance throughout the nineteenth century. Remaining chapters outline ten major characteristics that have consistently marked African American dance, and describe the various styles of black vernacular dance that became popular in America--the Ring Shout, Buzzard Lope, Cakewalk, Shimmy, Charleston, Black Bottom, Big Apple, Lindy Hop, and more. Chapter 8 concludes with a discussion of African dance at the end of the twentieth century and its important role in the flowering of African American arts. Instructors considering this book for use in a course may request an examination copy here.
The Dance Claimed Me by
Pearl Primus (1919-1994) blazed onto the dance scene in 1943 with stunning works that incorporated social and racial protest into their dance aesthetic. In The Dance Claimed Me, Peggy and Murray Schwartz, friends and colleagues of Primus, offer an intimate perspective on her life and explore her influences on American culture, dance, and education. They trace Primus's path from her childhood in Port of Spain, Trinidad, through her rise as an influential international dancer, an early member of the New Dance Group (whose motto was "Dance is a weapon"), and a pioneer in dance anthropology. Primus traveled extensively in the United States, Europe, Israel, the Caribbean, and Africa, and she played an important role in presenting authentic African dance to American audiences. She engendered controversy in both her private and professional lives, marrying a white Jewish man during a time of segregation and challenging black intellectuals who opposed the "primitive" in her choreography. Her political protests and mixed-race tours in the South triggered an FBI investigation, even as she was celebrated by dance critics and by contemporaries like Langston Hughes. For The Dance Claimed Me, the Schwartzes interviewed more than a hundred of Primus's family members, friends, and fellow artists, as well as other individuals to create a vivid portrayal of a life filled with passion, drama, determination, fearlessness, and brilliance.
Dancing Many Drums by
The first scholarly anthology on African American dance, Dancing Many Drums reevaluates "black" & "African American" as both racial & dance categories. Abundantly illustrated, the volume includes images of a wide variety of dance forms & performers, from ring shouts, vaudeville, & social dances to professional dance companies & Hollywood movie dancing.
What Makes That Black? by
What Makes That Black? The African American Aesthetic in American Expressive Culture delineates the African-American aesthetic in both the African-American culture and the artistic cultural formation of the United States. It presents a definition of the African-American aesthetic using a typology of seventy-four tenets-markers that expand the aesthetic's definition to include its artistic structure, cultural function, and consciousness.¿ The book is both anecdotal and scholarly, creating an accessible dialogue in a research area sometimes burdened by excessive scholarly nomenclature. The power of story (art) reaches into cognitive spaces and impact understandings unreachable by linear academic argument. ¿ Physical features such as images, links to visual media, glossary, bibliography, and index make the project easier for teachers/students to use.¿ The book approaches the African-American Aesthetic from wide-ranging sources, cross-referencing literature, dance, oration, music, dress, sub-Saharan African aesthetics, scholarly text, visual arts, athletics, children's games, and anecdotal accounts.
George Clinton and the Cosmic Odyssey of the P-Funk Empire by
The first in-depth biography of one of music's most fascinating, colourful and innovative characters. This book is the most comprehensive history yet of the life, music and cultural significance of the last of the great black music pioneers and the era which spawned him. Clinton stands alongside James Brown, Jimi Hendrix and Sly Stone as one of the most influential black artists of all time who, along with his vast P-Funk army took black funk into the US charts and sold out stadiums by the mid 1970s with his mind-blowing shows and legendary Mothership extravaganzas. The book contains first hand interview material with Clinton, Bootsy Collins, Jerome Bigfoot Brailey, Junie Morrison, Bobby Gillespie, Afrika Bambaataa, Jalal Nuriddin (Last Poets), Juan Atkins, John Sinclair, Rob Tyner (MC5), Ed Sanders (The Fugs), Chip Monck ("The Voice of Woodstock ) plus other P-Funk associates and friends. The book presents an insiders' view of the rise of Parliament and Funkadelic from the doowop era and LSD-crazed early shows through to P-Funk s huge rise, the era of the Mothership and beyond.
The Funk Era and Beyond by
The Funk Era and Beyond is the first scholarly collection to discuss the significance of funk music in America. Contributors employ a multitude of methodologies to examine this unique musical genre's relationship to African American culture and to music, literature, and visual art as a whole.
Funk by
Get down with the music that mixes R&B and soul with a little rock'n'roll. This newest addition to the Third Ear ä The Essential Listening Companion series traces funk from its James Brown roots through today's groove with groups like the Red Hot Chili Peppers ä folks who got on the good foot. Alongside detailed artist biographies anecdotes and discographies this guide reviews and rates 1 500 recordings that illustrate each band's sound and musical impact. Artists covered include Average White Band George Clinton Herbie Hancock Rick James Chaka Khan Curtis Mayfield The Meters Prince Sly Stone Tower of Power War Wild Cherry and many more.
Funk: the music, the people, and the rhythm of the one by
Funk: It's the only musical genre ever to have transformed the nation into a throbbing army of bell-bottomed, hoop-earringed, rainbow-Afro'd warriors on the dance floor. Its rhythms and lyrics turned bleak urban realties inside out with distinctive, danceable, downright irresistable music. Funk hasn't received the critical attention that rock, jazz, and the blues have-until now. Colorful, intelligent, and in-you-face, Rickey Vincent'sFunk celebrates the songs, the musicians, the philosophy, and the meaning of funk. The book spans from the early work of James Brown (the Godfather of Funk) through today, covering funky soul (Stevie Wonder, the Temptations), so-called "black rock" (Jimi Hendrix, Sly and the Family Stone, the Isely Brothers), jazz-funk (Miles Davis, Herbie Hancock), monster funk (Parliament, Funkadelic, Bootsy's Rubber Band), naked funk (Rick James, Gap Band), disco-funk (Chic, K.C. and the Sunshine Band), funky pop (Kook & the Gang, Chaka Khan), P-Funk Hip Hop (Digital Underground, De La Soul), funk-sampling rap (Ice Cube, Dr. Dre), funk rock (Red Hot Chili Peppers, Primus), and more. Funk tells a vital, vibrant history-the history of a uniquely American music born out of tradition and community, filled with energy, attitude, anger, hope, and an irrepressible spirit.
The Confessions of Rick James by
To fans of sassy and savvy urban music, the name Rick James will forever be associated with the mainstream emergence of funk—that bottom-heavy blend of rock and soul that sparked a multiracial musical revolution in the 1970s and 1980s and has since influenced everything from rap to raves, punk to progressive rock. Along with the fame, the Grammy Award, and superstardom came drug abuse and even felony convictions, all of which are chronicled in this gripping, posthumous tell-all of the funk revolution.
Funk and Soul Covers by
Following the success of Jazz Covers, this epic volume of groove assembles over 500 legendary covers from a golden era in Black music. Psychedelia meets Black Power, sexual liberation meets social conscience, and street portraiture meets fantastical cartoon in this dazzling anthology of visualized funk and soul. Gathering both classic and rare covers, the collection celebrates each artwork's ability to capture not only a buyer's interest, but an entire musical mood. Browse through and discover the brilliant, the bold, the outlandish and the sheer beautiful designs that fans rushed to get their hands on as the likes of Marvin Gaye, James Brown, Curtis Mayfield, Michael Jackson, and Prince changed the world with their unique and unforgettable sounds. Featuring interviews with key industry figures, Funk & Soul Covers also provides cultural context and design analysis for many of the chosen record covers.
Bruce W. Talamon. Soul. R&B. Funk. Photographs 1972-1982 by
"For ten glorious years, I had the best seat in the house." -Bruce W. Talamon Talamon saw it all during the golden age of soul, R&B, and funk. Throughout the 1970s and early 1980s, this young African American photographer from Los Angeles found himself backstage with an all-access pass to the heart of the music scene. He caught his first big break landing a position as a staff photographer at SOUL Newspaper in LA in the early 1970s, just as soul, R&B, and funk were becoming part of the mainstream. He captured the rehearsals and sound checks, recording sessions and costume fittings, the quiet reflective moments and life on the road, and, of course, the wild photo shoots and memorable performances. These photographs define an era famed for its glamour, fabulous fashions, and utter devotion to the groove. Including close to 300 photographs from 1972 to 1982, the extensive Talamon archives are presented in full detail for the first time. Whether you're a diehard soul fan or a thrilled newcomer to the aesthetic magic of the 1970s, the collection exudes the infectious spirit of an exuberant age. Featuring icons such as Earth, Wind & Fire; Marvin Gaye; Diana Ross; Parliament-Funkadelic; Al Green; Gil Scott-Heron; James Brown; Barry White; Rick James; Aretha Franklin; the Jackson Five; Donna Summer; and Chaka Khan and many others; there are also several stops at the legendary Soul Train studios. Talamon documented a visual period in black music that lasted way past the midnight hour and will never come again. This release is an affordable, compact version of our Art Edition, limited to 500 copies and featuring a portfolio of four prints signed by Bruce W. Talamon.
Motown by
This new compilation features an A-Z listing and biography of nearly every Motown group since its beginning in 1959. The book also includes never-before-published photographs.
Motown Hits by
This Book Features 72 Motown classics: ABC * Ain't No Mountain High Enough * Baby Love * Ben * Come See About Me * Dancing in the Street * Do You Love Me * Easy * For Once in My Life * Heatwave * Higher Ground * I Can't Help Myself * I Hear a Symphony * I Heard It Through the Grapevine * I Second That Emotion * I'll Be There * Jimmy Mack * Mercy, Mercy Me (The Ecology) * My Cherie Amour * My Girl * Ooo Baby Baby * Stop! In the Name of Love * Three Times a Lady * War * Where Did Our Love Go * more! Melody lines, chords and lyrics, plus a section of guitar chord diagrams.
The Supremes by
Drawing on intimate recollections from friends, family, and Motown contemporaries, Mark Ribowsky charts the Supremes' meteoric rise and bitter disintegration. He sheds light on Diana Ross's relationship with Berry Gordy and her cutthroat rise to top billing in the group, as well as Florence Ballard's corresponding decline. He also takes us inside the studio, examining how timeless classics were conceived and recorded on the Motown "assembly line," and considers the place of Motown in an era of cultural upheaval, when not being "black enough" became a fierce denunciation within the black music industry.
Dancing in the Street by
A soul music great chronicles her career, which included such hits as "Heat Wave" and "Nowhere to Run," offering a backstage glimpse of the tensions, passions, triumphs, and tragedies behind the legend of Motown.
Before Motown by
When most people think of Detroit and music, they think of the Motown sound. But what many people forget is that Detroit has a remarkable jazz history, which became a major influence in what came to be known as the Motown sound. Before Motown is the first book about the history of jazz in Detroit. It shows the significant impact Detroit has had on the development of jazz in America, with its own sound, distinct from that of the other jazz centers of Chicago, New Orleans, St. Louis, or Kansas City.
God Save the Queens by
For far too long, women in hip-hop have been relegated to the shadows, viewed as the designated "First Lady" thrown a contract, a pawn in some beef, or even worse. But as Kathy Iandoli makes clear, the reality is very different. Today, hip-hop is dominated by successful women such as Cardi B and Nicki Minaj, yet there are scores of female artists whose influence continues to resonate. God Save the Queens pays tribute to the women of hip-hop--from the early work of Roxanne Shante, to hitmakers like Queen Latifah and Missy Elliot, to the superstars of today. Exploring issues of gender, money, sexuality, violence, body image, feuds, objectification and more, God Save the Queens is an important and monumental work of music journalism that at last gives these influential female artists the respect they have long deserved.
Ego Trip's Book of Rap Lists by
Ego Trip's Book of Rap Lists is more popular than racism! Hip hop is huge, and it's time someone wrote it all down. The Book of Rap Lists runs the gamut of hip hop information. This is an exhaustive, indispensable and completely irreverent bible of true hip hip knowledge.
Hip Hop Family Tree Book 4 by
Book 4 charts the rise of Dr. Dre and Def Jam records, and introduces new branches on the "tree": Will Smith, Salt-N-Pepa, Rakim, and Biz Markie. This volume is also jam-packed with films Hollywood released in an attempt to cash in on the phenomenon, like Breakin', Breakin' 2 Electric Boogaloo, Beat Street, Krush Groove and more.
Hip Hop Culture by
This work is a revealing chronicle of Hip Hop culture from its beginnings three decades ago to the present, with an analysis of its influence on people and popular culture in the United States and around the world. Scholarly and streetwise, backed by statistics, documents, and research, it recounts three decades of Hip Hop's evolution, highlighting its defining events, recordings, personalities, movements, and ideas, as well as society's response.
Music of the Soul by
Music of the Soul guides the reader through principles, techniques, and exercises for incorporating music into grief counseling, with the end goal of further empowering the grieving person.
Producing and Mixing Hip-Hop/R&B by
(Berklee Guide). Capture the authentic sounds of contemporary hip-hop/R&B with this step-by-step guide. Follow the process as a professional, self-producing artist tracks and mixes two hip-hop/R&B songs. Learn the effects, settings, and techniques used by the industry's top hip-hop/R&B producers and engineers. The DVD-ROM includes multitrack audio files for you to practice these techniques on any audio editing platform, with "mix in progress" tracks that let you check your work against that of the recording. You'll learn essential tools and techniques, sound processing recommendations and tips, and how to reproduce the sounds of professional hip-hop/R&B recordings.
The Chronicle of Jazz by
A year-by-year history of people and events, this lively multi-layered account tells the whole story of jazz music and its personalities. The Chronicle of Jazz charts the evolution of jazz from its roots in Africa and the southern United States to the myriad urban styles heard around the world today, Mervyn Cooke gives us a narrative rich with innovation, experimentation, controversy, and emotion. The book is completely up to date, exploring the exciting recent developments in the world of jazz, from the rise of modern Big Bands and the renaissance of the piano trio to the popular appeal of Jamie Cullum and HBO's Treme. Featuring hundreds of rare images, from record-cover artwork to pictures of live performances, each chronologically arranged section contains special box features on such topics as the unique tonal qualities of the bass clarinet, jazz clubs in Paris, personality sketches, and seminal gigs and albums. A substantial reference section features information on international jazz festivals, a glossary of musical terms, biographies of musicians, and extensive discography, and further reading. A celebration of the most imaginative and enduring music of the last 120 years, The Chronicle of Jazz is an essential work of reference for all music lovers.
Up from the Cradle of Jazz by
Origins of New Orleans rhythm-and-blues -- The flush years, 1954-1963 -- Struggling out of the Sixties -- The Caribbean connection -- Epilogue : a cultural awakening--unto Katrina.
Talking New Orleans Music by
In New Orleans, music screams. It honks. It blats. It wails. It purrs. It messes with time. It messes with pitch. It messes with your feet. It messes with your head. One musician leads to another; traditions overlap, intertwine, nourish each other; and everyone seems to know everyone else. From traditional jazz through rhythm and blues and rock 'n' roll to sissy bounce, in second-line parades, from the streets to clubs and festivals, the music seems unending. In Talking New Orleans Music, author Burt Feintuch has pursued a decades-long fascination with the music of this singular city. Thinking about the devastation--not only material but also cultural--caused by the levees breaking in 2005, he began a series of conversations with master New Orleans musicians, talking about their lives, the cultural contexts of their music, their experiences during and after Katrina, and their city. Photographer Gary Samson joined him, adding a compelling visual dimension to the book. Here you will find intimate and revealing interviews with eleven of the city's most celebrated musicians and culture-bearers--Soul Queen Irma Thomas, Walter ""Wolfman"" Washington, Charmaine Neville, John Boutté, Dr. Michael White, Deacon John Moore, Cajun bandleader Bruce Daigrepont, Zion Harmonizer Brazella Briscoe, producer Scott Billington, as well as Christie Jourdain and Janine Waters of the Original Pinettes, New Orleans's only all-woman brass band. Feintuch's interviews and Samson's sixty-five color photographs create a powerful portrait of an American place like no other and its worlds of music.
Listen to This by
Listen to This stands out as the first book exclusively dedicated to Davis's watershed 1969 album, Bitches Brew. Victor Svorinich traces its incarnations and inspirations for ten-plus years before its release. The album arrived as the jazz scene waned beneath the rise of rock-and-roll and as Davis (1926-1991) faced large changes in social conditions affecting the African American consciousness. This new climate served as a catalyst for an experiment that many considered a major departure. Davis's new music projected rock-and-roll sensibilities, the experimental essence of 1960s' counterculture, yet also harsh dissonances of African American reality. Many listeners embraced it, while others misunderstood and rejected the concoction. Listen to This is not just the story of Bitches Brew. It reveals much of the legend of Miles Davis--his attitude and will, his grace under pressure, his bands, his relationship to the masses, his business and personal etiquette, and his response to extraordinary social conditions seemingly aligned to bring him down. Svorinich revisits the mystery and skepticism surrounding the album and places it into both a historical and musical context using new interviews, original analysis, recently found recordings, unearthed session data sheets, memoranda, letters, musical transcriptions, scores, and a wealth of other material. Additionally, Listen to This encompasses a thorough examination of producer Teo Macero's archives and Bitches Brew's original session reels in order to provide the only complete day-to-day account of the sessions.
Chick Webb - Spinnin' the Webb: the Little Giant by
(Reference). Chick Webb's short professional career (he died at age 30) served as an inspiration to young drummers at the dawn of America's big band/swing era. Simply stated, Webb is the guy who inspired the guys, who inspired the guys, who inspired you. Gene Krupa: "Chick taught me more than anyone." Buddy Rich: "As a soloist, Chick had no equal at the time." Papa Jo Jones "I don't speak of Chick Webb, the drummer, I speak of Chick Webb, the epitome." And Webb accomplished this as a black man crippled with a debilitating disease in a segregated society. His contributions as a drummer/bandleader changed the course of music in America, not the least of which was discovering Ella Fitzgerald. Author Chet Falzerano chronicles Webb's greatness in this celebration of the "little giant" including the recreation of Webb's drum set.
John Coltrane and Black America's Quest for Freedom by
Edited by prominent musician and scholar Leonard Brown, John Coltrane and Black America's Quest for Freedom: Spirituality and the Music is a timely exploration of Coltrane's sound and its spiritual qualities that are rooted in Black American music-culture and aspirations for freedom. A wide-ranging collection of essays and interviews featuring many of the most eminent figures in Black American music and jazz studies and performance --Tommy Lee Lott, Anthony Brown, Herman Gray, Emmett G. Price III, Tammy Kernodle, Salim Washington, Eric Jackson, TJ Anderson ,Yusef Lateef, Billy Taylor, Olly Wilson, George Russell, and a never before published interview with Elvin Jones -- the book examines the full spectrum of Coltrane's legacy. Each work approaches this theme from a different angle, in both historical and contemporary contexts, focusing on how Coltrane became a quintessential example of the universal and enduring qualities of Black American culture.
A Power Stronger Than Itself by
Founded in 1965 and still active today, the Association for the Advancement of Creative Musicians (AACM) is an American institution with an international reputation. George E. Lewis, who joined the collective as a teenager in 1971, establishes the full importance and vitality of the AACM with this communal history, written with a symphonic sweep that draws on a cross-generational chorus of voices and a rich collection of rare images. Moving from Chicago to New York to Paris, and from founding member Steve McCall's kitchen table to Carnegie Hall, A Power Stronger Than Itself uncovers a vibrant, multicultural universe and brings to light a major piece of the history of avant-garde music and art.
Griot by
A collection of musician-to-musician interviews centered around Black social issues in Jazz.
The Cosmobiography of Sun Ra by
Caldecott Medalist Chris Raschka shares his love of jazz great Sun Ra, just in time to mark the centennial of the musician's birth. Jazz musician Sun Ra (1914-1993) always said that he came from Saturn. Being from another planet, he was naturally intrigued by everything earthly -- especially music, because music is the one thing on Earth most like the stars. Earthlings themselves confused Sun Ra, the way they sorted themselves by color and fought wars against one another. So he made music. And he traveled with other musicians and singers, calling themselves the Sun Ra Arkestra, playing, singing, and dancing for people all over the planet. Because music, he said, is what holds us all together. Join acclaimed author-illustrator Chris Raschka in celebrating a legend of the jazz world who was truly one of a kind.
Sweet Soul Music by
This is the story of the rhythm-and-blues music of such performers as Ray Charles and Aretha Franklin. The author's earlier Feel Like Goin' Home is a history of the blues and Lost Highway deals with the story of rockabilly.
Nobody Knows Where the Blues Come From by
Musicians and music scholars rightly focus on the sounds of the blues and the colorful life stories of blues performers. Equally important and, until now, inadequately studied are the lyrics. The international contributors to Nobody Knows Where the Blues Come From explore this aspect of the blues and establish the significance of African American popular song as a neglected form of oral history.
Just My Soul Responding by
This richly textured study of some of the most important music and complex political events in America since World War II challenges the belief that white consumption of black music necessarily helped eradicate racial prejudice.
Respect Yourself by
The story of Stax Records unfolds like a Greek tragedy. A white brother and sister build a record company that becomes a monument to racial harmony in 1960's segregated south Memphis. Their success is startling, and Stax soon defines an international sound. Then, after losses both business and personal, the siblings part, and the brother allies with a visionary African-American partner. Under integrated leadership, Stax explodes as a national player until, Icarus-like, they fall from great heights to a tragic demise. Everything is lost, and the sanctuary that flourished is ripped from the ground. A generation later, Stax is rebuilt brick by brick to once again bring music and opportunity to the people of Memphis. Set in the world of 1960s and '70s soul music, Respect Yourself is a story of epic heroes in a shady industry. It's about music and musicians -- Isaac Hayes, Otis Redding, Sam and Dave, Wilson Pickett, the Staple Singers, and Booker T. and the M.G.'s, Stax's interracial house band. It's about a small independent company's struggle to survive in a business world of burgeoning conglomerates. And always at the center of the story is Memphis, Tennessee, an explosive city struggling through heated, divisive years. Told by one of our leading music chroniclers, Respect Yourself brings to life this treasured cultural institution and the city that created it.
Icons of R&B and Soul by
Offers an overview of the music's impact in American culture and how it reflected contemporary society's politics, trends, and social issues.
The Rough Guide to Soul and R and B by
The Rough Guide to Soul and R&Bis the definitive guide to the genre's greatest singers, musicians, songwriters and record labels, encapsulating the entire history of soul music from gospel and doo-wop, through funk and disco, to hip-hop and R&B. The guide includes detailed profiles of more than 300 artists, from such legends as Aretha Franklin, Ray Charles and Sam Cooke to contemporary stars like Prince, Mary J. Blige and Destiny's Child. There are reviews of hundreds of landmark albums, from James Brown's Live At The Apollo to Missy Elliott's Supa Dupa Fly. The guide includes recommended playlists for the key performers and sub-genres and comes complete with plenty of unforgettable photos from top music photographers and picture libraries.
Sly and the Family Stone's There's a Riot Goin' On by
The story behind the making of the album that signaled the descent of Sylvester Sly Stone Stewart into a haze of drug addiction and delirium is captivating enough for the cinema. In the spacious attic of a Beverly Hills mansion belonging to John and Michelle Phillips (of the Mamas and the Papas) during the fall of 1970, Sly Stone began recording his follow-up to 1969's "Stand!" the most popular album of his band's career.
Group Harmony by
In 1948, the Orioles, a Baltimore-based vocal group, recorded "It's Too Soon to Know." Combining the sound of Tin Pan Alley with gospel and blues sensibilities, the Orioles saw their first hit reach #13 on the pop charts, thus introducing the nation to vocal rhythm & blues and paving the way for the most successful groups of the 1950s. In the first scholarly treatment of this influential musical genre, Stuart Goosman chronicles the Orioles' story and that of myriad other black vocal groups in the postwar period. A few, like the Orioles, Cardinals, and Swallows from Baltimore and the Clovers from Washington, D.C., established the popularity of vocal rhythm & blues nationally. Dozens of other well-known groups (and hundreds of unknown ones) across the country cut records and performed until about 1960. Record companies initially marketed this music as rhythm & blues; today, group harmony continues to resonate for some as "doo-wop." Focusing in particular on Baltimore and Washington and drawing significantly from oral histories, Group Harmony details the emergence of vocal rhythm & blues groups from black urban neighborhoods. Group harmony was a source of empowerment for young singers, for it provided them with a means of expression and some aspect of control over their lives where there were limited alternatives. Through group harmony, young black males celebrated and musically confounded, when they could not overcome, complex issues of race, separatism, and assimilation during the postwar period. Group harmony also became a significant resource for the popular music industry. Goosman interviews dozens of performers, deejays, and industry professionals to examine the entrepreneurial promise of midcentury popular music and chronicle the convergence of music, place, and business, including the business of records, radio, promotion, and song writing. Featured in the book's account of the black urban roots of rhythm & blues are the recollections of singers from groups such as the Cardinals, Clovers, Dunbar Four, Four Bars of Rhythm, Five Blue Notes, Hi Fis, Plants, Swallows, and many others, including Jimmy McPhail, a well-known Washington vocalist; Deborah Chessler, the manager and songwriter for the original Orioles; Jesse Stone, the writer and arranger from Atlantic Records; Washington radio personality Jackson Lowe; and seminal black deejays Al ("Big Boy") Jefferson, Maurice ("Hot Rod") Hulbert, and Tex Gathings.
Vocal and Stage Essentials for the Aspiring Female R&B Singer by
(Book). Many of young women who come to Terri Brinegar for vocal lessons aspire to be a professional R&B and pop singer. Often, they know little of what is actually involved, how hard the work is, and how important it is to be a good musician and bandleader. Many may have entered the competitive world of music blindly, with very little guidance to aid them along the way. This book and its accompanying CD present Terri's unique approach to vocal technique, musicianship, gigging, working with a band, stage performance techniques, and much more. In Vocal and Stage Essentials for the Aspiring Female R&B Singer Brinegar shares with her extensive stage experience, her success as a bandleader to some of the greatest musicians in the world, her skills as a musician and songwriter, her training in classical voice, and her years as a vocal coach. Brinegar believes a strong foundation of vocal technique is necessity to success in any style of singing. She is probably one of the few teachers with both a classical background and years of stage experience singing blues and R&B. While there are many books on technique, few, if any, have been written with Brinegar's broad and comprehensive take on the contemporary music industry.
The Commandments of Early Rhythm and Blues Drumming by
Eight years in the making, this prequel" to The Commandments of R&B Drumming delves into the rhythm and blues of the 1940s and 1950s, an incredible musical era when shuffles ruled the airwaves and modern groove playing was in its infancy. Written by Zoro and Daniel Glass, drummer for Royal Crown Revue, this book is loaded with history, photos, graphics, exercises, and transcriptions, and includes the most comprehensive guide to shuffle playing ever written. "This book/CD package is well researched, clear in its goals, and enlightening and inspiring in its approach. Keep this one on your bottom shelf; you're going to want to return to it again and again." ---Modern Drummer "Simply put, this is an essential requirement for every drummer's library." ---Drummer "I am so impressed with what Daniel and Zoro have done to secure the heritage of the modern drumset. The Commandments of Early Rhythm and Blues Drumming is a must---every inspired drummer needs to experience and learn from this masterpiece. The book will take you on a journey through our history---and knowing where we came from will assist us in our vision for the future! Thank you both for your hard work, so that generations ahead of us can forever enjoy this magical era!" ---Dom Famularo Drumming's Global Ambassador "In the modern era of R&B drumming, there aren't too many drummers more qualified than both Zoro and Daniel Glass who could have tackled this subject matter with as much passion as these gentlemen have . . . Anyone wanting to delve into the roots of modern hip hop and R&B will want to look no further than this resource; it's excellent in every regard." ---DrumScene"
Black Diamond Queens by
African American women have played a pivotal part in rock and roll--from laying its foundations and singing chart-topping hits to influencing some of the genre's most iconic acts. Despite this, black women's importance to the music's history has been diminished by narratives of rock as a mostly white male enterprise. In Black Diamond Queens, Maureen Mahon draws on recordings, press coverage, archival materials, and interviews to document the history of African American women in rock and roll between the 1950s and the 1980s. Mahon details the musical contributions and cultural impact of Big Mama Thornton, LaVern Baker, Betty Davis, Tina Turner, Merry Clayton, Labelle, the Shirelles, and others, demonstrating how dominant views of gender, race, sexuality, and genre affected their careers. By uncovering this hidden history of black women in rock and roll, Mahon reveals a powerful sonic legacy that continues to reverberate into the twenty-first century.
The Chitlin' Circuit by
For generations, "chitlin' circuit" has meant second tier--brash performers in raucous nightspots far from the big-city limelight. Now, music journalist Preston Lauterbach combines terrific firsthand reportage with deep historical research to offer a groundbreaking account of the birth of rock 'n' roll in black America.
Race, Rock, and Elvis by
Did Elvis Presley's brand of rock 'n' roll help revise racial attitudes in postwar America? Michael T. Bertrand delves into this question and many others to investigate popular music's revolutionary influence on black-white relations in the South. Youthful fans of rhythm and blues, rock 'n' roll, and other black-inspired music often broke from their segregationist elders and ignored the color line. Not coincidentally, these same young white people--the southern branch of a national and commercialized youth culture--led a general relaxation of racist attitudes. Bertrand argues that African American music facilitated a new recognition of black people as fellow human beings. African American audiences welcomed Elvis with enthusiasm while racially mixed audiences flocked to music venues at a time when adults expected separate performances for black and white audiences. Bertrand also describes the critical role of radio and recordings in making African American culture available to white fans on an unprecedented scale. Over time, southern working-class youth used the new music to define and express new values and build their own identities.
What Are You Doing Here? by
Laina Dawes is not always the only black woman at metal shows and she's not always the only headbanger among her black female friends. In her first book, the Canadian critic and music fan questions herself, her hardcore heroes and dozens of black punk, metal and hard-rock fans to answer a knee-jerk question she's heard a hundred times in the small clubs where her favourite bands play: What are you doing here?' She investigates how black female musicians and fans navigate the metal, hardcore and punk music genres that are regularly thought of as inclusive spaces.'
Women Who Rock by
A stellar and unprecedented celebration of 104 musical artists, Women Who Rock is the most complete, up-to-date history of the evolution, influence, and importance of women in music. A gorgeous gift book, it includes a stunning, specially commissioned, full-color illustrated portrait of every musician and group. From Bessie Smith and The Supremes to Joan Baez, Madonna, BeyoncéAmy Winehouse, Dolly Parton, Sleater-Kinney, Taylor Swift, and scores more, women have played an essential and undeniable role in the evolution of popular music including blues, rock and roll, country, folk, glam rock, punk, and hip hop. Today, in a world traditionally dominated by male artists, women have a stronger influence on popular music than ever before. Yet, not since the late nineteen-nineties has there been a major work that acknowledges and pays tribute to the female artists who have contributed to, defined, and continue to make inroads in music. In Women Who Rock, writer and professor of journalism Evelyn McDonnell leads a team of women rock writers and pundits in an all-out celebration of 104 of the greatest female musicians. Organized chronologically, the book profiles each artist and places her in the context of both her genre and the musical world at large. Sidebars throughout recall key moments that shaped both the trajectory of music and how those moments influenced or were influenced by women artists. With full-color illustrated portraits by women artists, Women Who Rock will be THE long-awaited gift book for every music fan, feminist, and female rocker, young and old musicians.
I Feel Good by
From one of the most important, iconic and influential musicians of the 20th century, James Brown, comes this honest and fascinating biography. Though Brown's career is well covered in the music charts, tabloids and rumour mill, there remains a story beyond mere chronology. This autobiography charts Brown's childhood memories, his musical triumphs, troubles with the law and struggles with his inner demons and truly gets to the heart of this legend. In essence, this is the full, unabridged story of James Brown, told - as no one else could - in his own words.
Otis Redding by
Otis Redding's definitive southern soul voice resonates down the years as a thing of profound beauty and unfathomable emotional depth. His unique vocal delivery gave Motown's pop artists a run for their money, while his stage presence matched pioneering funk magus - and fellow Georgia native - James Brown for sheer entertainment value. Otis quickly rose from obscurity to mainstream crossover success, chiefly thanks to his dizzying performance at the Monterey festival in 1967.
Ray Charles by
The critically acclaimed biography traces Ray Charles amazing story from the abject disadvantage of being orphaned, black and blind in the South of the 1930s to the height of international success.With many quotes and exclusive interviews, including several with Ray Charles himself as well as from those who worked with, or were simply influenced by, the man who more than anyone else could truly be called the founding father of soul music.
Spirit Rising by
Grammy Award-winning singer Angélique Kidjo is known for her electrifying voice and fearless advocacy work. In this intimate memoir, she reveals how she escaped Communist Africa to make her dreams a reality, and how she's prompting others all around the world to reach for theirs as well.
Soul, Country, and the USA by
Soul music and country music propel American popular culture. Using ethnomusicological tools, Shonekan examines their socio-cultural influences and consequences: the perception of and resistance to hegemonic structures from within their respective constituencies, the definition of national identity, and the understanding of the 'American Dream.'
Love, Peace, and Soul by
(Book). Love, Peace, and Soul tells the story of the television phenomenon known as Soul Train , a show created in the land of bell bottoms, afros, and soul power; a show that became the touchstone of the Baby Boomer generation. Don Cornelius, host and owner of the show, was one of the coolest cats on television. With his platform shoes, wide neckties, and mellifluous voice, he showed the world just how corny American Bandstand was in comparison. In 2012, fans were shocked to hear one of the most powerful men in the music and television business took his own life. Love, Peace, and Soul is a celebratory, behind-the-scenes collection of anecdotes, stories, and reflections, from the people who were there, about the host, the show, and the power of black music and dance on television. Music and television connoisseurs will enjoy the history of not just Soul Train , but of other shows, including Shindig! , Don Kirshner's Rock Concert , Hullabaloo , American Bandstand , and Graffiti Rock . Entrepreneurs will be interested in Cornelius' humble beginnings with the local version of the show in Chicago, created with his own money. Fans will delight in the lively images and the quirky details. The first mass market book on Soul Train since Cornelius's passing, this volume has something for everyone. Includes afterword by Gary Harris.
Soul Train by
From Ahmir "Questlove" Thompson of the award-winning hip-hop group the Roots, comes this vibrant book commemorating the legacy of Soul Train--the cultural phenomenon that launched the careers of artists such as Tina Turner, Stevie Wonder, the Jackson 5, Whitney Houston, Lenny Kravitz, LL Cool J, and Aretha Franklin. Questlove reveals the remarkable story of the captivating program, and his text is paired with more than 350 photographs of the show's most memorable episodes and the larger-than-life characters who defined it: the great host Don Cornelius, the extraordinary musicians, and the people who lived the phenomenon from dance floor. Gladys Knight contributed a foreword to this incredible volume. Nick Cannon contributed the preface.
Soul Music by
The idea is as strange as it is commonplace---that the "soul" in soul music is more than just a name, that somehow the music truly taps into something essential rooted in the spiritual notion of the soul itself. Or is it strange? From the civil rights movement and beyond, soul music has played a key, indisputable role in moments of national healing. Of course, American popular music has long been embroiled in controversies over its spiritual purity (or lack thereof). But why? However easy it might seem to dismiss these ideas and debates as quaint and merely symbolic, they persist. In Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown, Joel Rudinow, a philosopher of music, takes these peculiar notions and exposes them to serious scrutiny. How, Rudinow asks, does music truly work upon the soul, individually and collectively? And what does it mean to say that music can be spiritually therapeutic or toxic? This illuminating, meditative exploration leads from the metaphysical idea of the soul to the legend of Robert Johnson to the philosophies of Plato and Leo Strauss to the history of race and racism in American popular culture to current clinical practices of music therapy. Joel Rudinow teaches in the Philosophy and Humanities Departments at Santa Rosa Junior College and is the coauthor of Invitation to Critical Thinking and the coeditor of Ethics and Values in the Information Age.
Nowhere to Run by
Soul evolved from gospel and blues to speak to an entire generation-black and white-about the importance of pride, freedom, determination, and R-E-S-P-E-C-T.Nowhere to Run examines the lives behind the legends of soul with energy, warmth, and emotion-the same qualities that characterized songs such as 'Baby, I Need Your Loving,' 'Papa's Got a Brand New Bag,' and 'I Heard It Through the Grapevine.' Author Gerri Hirshey takes us on a bus tour with the Temptations and on the backroads of rural Georgia with James Brown. Diana Ross reminisces about her lean teen years in Detroit; at home in California, ex-Supreme Mary Wilson fills out the story. 'The Wicked' Wilson Pickett tells his best stories long after the midnight hour in a New York City dressing room. And Michael Jackson, driving his Camaro and singing along to the radio, talks about opening shows for the great soul acts when he was a child.But soul faded, giving way to disco, rap, and black pop. And the artists who once captured the heart of the world soon had, as Martha and the Vandellas' 1965 hit put it, 'Nowhere to run to baby, nowhere to hide.' In this enthralling narrative, Gerri Hirshey captures the triumphs and failures of soul like no one else before or since, telling the soul story through the eyes of those who lived the dream-and the often harsh reality.
Songs of Slavery and Emancipation by
Throughout the history of slavery, enslaved people organized resistance, escape, and rebellion. Sustaining them in this struggle was their music, some examples of which are sung to this day. While the existence of slave songs, especially spirituals, is well known, their character is often misunderstood. Slave songs were not only lamentations of suffering or distractions from a life of misery. Some songs openly called for liberty and revolution, celebrating such heroes as Gabriel Prosser and Nat Turner, and, especially, celebrating the Haitian Revolution. The fight for freedom also included fugitive slaves, free Black people, and their white allies who brought forth a set of songs that were once widely disseminated but are now largely forgotten, the songs of the abolitionists. Often composed by fugitive slaves and free Black people, and first appearing in the eighteenth century, these songs continued to be written and sung until the Civil War. As the movement expanded, abolitionists even published song books used at public meetings. Mat Callahan presents recently discovered songs composed by enslaved people explicitly calling for resistance to slavery, some originating as early as 1784 and others as late as the Civil War. He also presents long-lost songs of the abolitionist movement, some written by fugitive slaves and free Black people, challenging common misconceptions of abolitionism. Songs of Slavery and Emancipation features the lyrics of fifteen slave songs and fifteen abolitionist songs, placing them in proper historical context and making them available again to the general public. These songs not only express outrage at slavery but call for militant resistance and destruction of the slave system. There can be no doubt as to their purpose: the abolition of slavery, the emancipation of African American people, and a clear and undeniable demand for equality and justice for all humanity.
Spirituals and Gospels for Aspiring Singers by
(Vocal Collection). A collection of traditional favorites including Amazing Grace, Joshua Fit the Battle of Jericho, Rock My Soul, Steal Away, Swing Low, Wade in the Water and more.
Nothing but Love in God's Water (v. 1 & 2) by
Volume 1 of Nothing but Love in God's Water traced the music of protest spirituals from the Civil War to the American labor movement of the 1930s and 1940s, and on through the Montgomery bus boycott. This second volume continues the journey, chronicling the role this music played in energizing and sustaining those most heavily involved in the civil rights movement. Robert Darden, former gospel music editor for Billboard magazine and the founder of the Black Gospel Music Restoration Project at Baylor University, brings this vivid, vital story to life. He explains why black sacred music helped foster community within the civil rights movement and attract new adherents; shows how Martin Luther King Jr. and other leaders used music to underscore and support their message; and reveals how the songs themselves traveled and changed as the fight for freedom for African Americans continued. Darden makes an unassailable case for the importance of black sacred music not only to the civil rights era but also to present-day struggles in and beyond the United States. Taking us from the Deep South to Chicago and on to the nation's capital, Darden's grittily detailed, lively telling is peppered throughout with the words of those who were there, famous and forgotten alike: activists such as Rep. John Lewis, the Reverend Ralph Abernathy, and Willie Bolden, as well as musical virtuosos such as Harry Belafonte, Duke Ellington, and The Mighty Wonders. Expertly assembled from published and unpublished writing, oral histories, and rare recordings, this is the history of the soundtrack that fueled the long march toward freedom and equality for the black community in the United States and that continues to inspire and uplift people all over the world.
Singing in the African American Tradition by
(Homespun Tapes). Individuals, friends, choirs, church, camp and community groups of any background will enjoy participating in this uplifting singing tradition. Ysaye, a charter member of the great a cappella group Sweet Honey in the Rock, teaches melodies, harmonies, rhythms and counter-melodies to 17 traditional songs from African American culture, including spirituals, hymns, gospels and songs from the Civil Rights Movement.
The Jubilee Singers and Their Songs by
Fisk University was founded in 1866 to provide higher education to African-Americans who became free after the Civil War. To raise money for the institution, the school's chorus — known as the Jubilee Singers — began performing concerts of Negro folksongs and spirituals. Their popularity and fame spread rapidly, and by 1880, it had toured the northern states, performed at Boston's World Peace Jubilee and at the White House, sung for Queen Victoria, and toured Great Britain and Europe. The book recounts their remarkable story and is supplemented by 139 great spirituals, complete with texts, and fully notated in both open score and in a two-stave keyboard reduction ideal for rehearsal and performance. Songs include such all-time favorites as "Down by the river," "Go down, Moses," "Way over Jordan." "This old-time religion," and many, many more.
My Favorite Spirituals by
As well known in his day as his contemporary Paul Robeson, the African-American tenor Roland Hayes thrilled audience throughout the United States and Europe with his interpretations of songs he first heard at the Mount Zion Baptist Church in Gordon County, Georgia. As a student at Fisk University, Hayes performed with the institution's celebrated Jubilee Singers, a choral group that introduced listeners around the world to the glories of gospel music. Thirty of Hayes' arrangements, described by The New York Times as "simple and tasteful," are assembled here in a collection of beloved spirituals set comfortably for medium voice, with piano accompaniments of only moderate difficulty. Divided into three sections, the music interprets a series of biblical events — the first concerning the Old Testament and featuring such well-known tunes as Deep River and Dry Bones; the second part comprises songs based on teachings from the Old and New Testament, including You're Tired, Chile, I'm Troubled, Steal Away, and Good News. The final section focuses on songs celebrating the life of Christ: Sister Mary Had-a But One Child, Hear de Lambs a-Cryin'?, The Last Supper, Were You There?, and others. In addition to an introductory chapter, the author has also provided perceptively written notes to each song, which either reconstructs the spirit of the melody or provides some background history. A rich and informative collection, this volume will appeal to lovers of great spirituals and anyone who delights in the rich legacy of African-American music.
Voices of the Black Theatre by 
Footnotes by
The triumphant story of how an all-Black Broadway cast and crew changed musical theatre--and the world--forever. "This musical introduced Black excellence to the Great White Way. Broadway was forever changed and we, who stand on the shoulders of our brilliant ancestors, are charged with the very often elusive task of carrying that torch into our present."--Billy Porter, Tony, Grammy, and Emmy Award-winning actor If Hamilton, Rent, or West Side Story captured your heart, you'll love this in-depth look into the rise of the 1921 Broadway hit, Shuffle Along, the first all-Black musical to succeed on Broadway. No one was sure if America was ready for a show featuring nuanced, thoughtful portrayals of Black characters--and the potential fallout was terrifying. But from the first jazzy, syncopated beats of composers Noble Sissle and Eubie Blake, New York audiences fell head over heels. Footnotes is the story of how Sissle and Blake, along with comedians Flournoy Miller and Aubrey Lyles, overcame poverty, racism, and violence to harness the energy of the Harlem Renaissance and produce a runaway Broadway hit that launched the careers of many of the twentieth century's most beloved Black performers. Born in the shadow of slavery and establishing their careers at a time of increasing demands for racial justice and representation for people of color, they broke down innumerable barriers between Black and white communities at a crucial point in our history. Author and pop culture expert Caseen Gaines leads readers through the glitz and glamour of New York City during the Roaring Twenties to reveal the revolutionary impact one show had on generations of Americans, and how its legacy continues to resonate today. Praise for Footnotes: "A major contribution to culture."--Brian Jay Jones, New York Times bestselling author of Jim Henson: The Biography "With meticulous research and smooth storytelling, Caseen Gaines significantly deepens our understanding of one of the key cultural events that launched the Harlem Renaissance."--A Lelia Bundles, New York Times bestselling author of On Her Own Ground: The Life and Times of Madam C.J. Walker "Absorbing..."--The Wall Street Journal
The Routledge Companion to African American Theatre and Performance by
The Routledge Companion to African American Theatre and Performance is an outstanding collection of specially written essays that charts the emergence, development, and diversity of African American Theatre and Performance--from the nineteenth-century African Grove Theatre to Afrofuturism. Alongside chapters from scholars are contributions from theatre makers, including producers, theatre managers, choreographers, directors, designers, and critics. This ambitious Companion includes: A "Timeline of African American theatre and performance." Part I "Seeing ourselves onstage" explores the important experience of Black theatrical self-representation. Analyses of diverse topics including historical dramas, Broadway musicals, and experimental theatre allow readers to discover expansive articulations of Blackness. Part II "Institution building" highlights institutions that have nurtured Black people both on stage and behind the scenes. Topics include Historically Black Colleges and Universities (HBCUs), festivals, and black actor training. Part III "Theatre and social change" surveys key moments when Black people harnessed the power of theatre to affirm community realities and posit new representations for themselves and the nation as a whole. Topics include Du Bois and African Muslims, women of the Black Arts Movement, Afro-Latinx theatre, youth theatre, and operatic sustenance for an Afro future. Part IV "Expanding the traditional stage" examines Black performance traditions that privilege Black worldviews, sense-making, rituals, and innovation in everyday life. This section explores performances that prefer the space of the kitchen, classroom, club, or field. This book engages a wide audience of scholars, students, and theatre practitioners with its unprecedented breadth. More than anything, these invaluable insights not only offer a window onto the processes of producing work, but also the labour and economic issues that have shaped and enabled African American theatre.
The Bubbly Black Girls Sheds Her Chameleon Skin by
THE STORY: What's a black girl from sunny Southern California to do? White people are blowing up black girls in Birmingham churches. Black people are shouting Black is beautiful while straightening their hair and coveting light skin. Viveca Stant
