An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.

An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.

Sounds of Freedom brings together some of the contruy's best-known musicians to share their thoughts on spirituality and social change. Philip Glass, the Indigo girls, Michael Franti, Michelle Shocked, Laurie Anderson and others reveal their inspiration and their commitments to peace and justice. Featuring a foreword by Vietnamese Zen Master Thich Nhat Hanh.

Release the sound of freedom over your life! No problem you face is too big or too small for Jesus to step in and solve! The Good News of the Gospel is that the power to set captives free is available to you, right now. Jenny Weaver struggled with many deep issues such as cutting, witchcraft, rebellion, self-hatred, rejection, sexual brokenness, drug addiction, violence, and even homelessness, but Jesus stepped in and set her freefrom every single stronghold and bondage! Now Jenny wants to show you how simple it is to walk in the freedom that your heart longs for. In The Sound of Freedom, you will receive the keys to: Receive and maintain your breakthrough miracle Break the cycle of up and down living Access a deeper, more satisfying relationship with God Saturate your atmosphere in the breaker anointing Sing prophetically to the Lord and release sounds from Heaven Discover and activate the different sounds of deliverance Identify and break the roots of strongholds Access the breakthrough power that Jesus purchased at the cross, and release its supernatural sound over every bondage, stronghold and impossibility you are facing today!

This is a unique collection of cover artwork of revolutionary Jazz releases in the USA in the 1970s, a time of great political and social importance for African-American artists. Martin Luther King, Malcolm X and John Coltrane loom large as self-determination, economic power and musical freedom led to artists finding new paths - both musical and economic. Away from the mainstream, many of these musicians chose to 'take control' of their economic worth by recording, releasing and distributing their own material. Thirty years later and these artefacts are a striking reflection of the time; pre-desktop publishing, pre-internet these small-run (sometimes as low as 500 copies), self-made sleeves are as iconic and historically important as the revolution of D-I-Y culture that sprang out of Punk. Soul Jazz Records have produced many releases relating to this music and this book is the first ever collection of this amazing artwork. The book comes with a large introduction contextualising the music and artwork and relating how the music came about along with interviews with many of the people involved.

It is possible to access the same sense of well-being, clarity, inner freedom, and loving connection realized by the world’s meditation masters. We can do this by shifting our awareness in the midst of our daily lives. Shift into Freedom presents innovative teacher Loch Kelly’s training manual for actively participating in the evolution of your own consciousness. Synthesizing insights from neuroscience and psychology with wisdom from the world’s contemplative traditions, Shift into Freedom offers an accessible and remarkably powerful series of meditations that lead us to a little-known natural capacity called “awake awareness.” Through an unfolding process of “small glimpses, many times,” these exercises shift us from a thought-based knowing to an awareness-based way of operating in the world. With continued practice, we learn to “unhook” from our customary home in our ego-based identity—and then sustain an embodied presence and relatedness known as “open-hearted awareness.” Loch Kelly teaches that this is “the meeting place of awakening and growing up, where we have the capacity to handle a fully emotional, intimate life and act with authenticity and compassion.” Learn more about: • How to separate awareness from thinking to realize that thoughts and emotions are not the center of who we are • How insights from neuroscience can help us learn how to embody awakening • Ego-identification, a pattern of thought that co-opts the body’s boundary program and creates a mistaken identity • The paradox of “being home while returning home” • Finding the off-switch for the chattering mind • How to intentionally and immediately shift into peace of mind any time of your day • Awakening as a natural process of human development, which unfolds as waking up, waking in, and waking out • Meditation practices for all phases of the journey of awakening and embodiment • Four stages of spiritual growth: recognition, realization, stabilization, and expression • Untying the “knots” in our mindbody system to liberate us from our deepest doubts and fears • How to move from deliberate mindfulness to effortless mindfulness and heart mindfulness • How to effortlessly focus without using attention • Discovering your innate happiness that is not dependent on circumstances • How to welcome and liberate sub-personalities after initial awakening • A user’s manual for your consciousness to help you free yourself from the limits of ego-identification and live from open-hearted awareness

In his seminal article "Freedom Then, Freedom Now," renowned civil rights historian Steven F. Lawson described his vision for the future study of the civil rights movement. Lawson called for a deeper examination of the social, economic, and political factors that influenced the movement's development and growth. He urged his fellow scholars to connect the "local with the national, the political with the social," and to investigate the ideological origins of the civil rights movement, its internal dynamics, the role of women, and the significance of gender and sexuality. In Freedom Rights: New Perspectives on the Civil Rights Movement, editors Danielle L. McGuire and John Dittmer follow Lawson's example, bringing together the best new scholarship on the modern civil rights movement. The work expands our understanding of the movement by engaging issues of local and national politics, gender and race relations, family, community, and sexuality. The volume addresses cultural, legal, and social developments and also investigates the roots of the movement. Each essay highlights important moments in the history of the struggle, from the impact of the Young Women's Christian Association on integration to the use of the arts as a form of activism. Freedom Rights not only answers Lawson's call for a more dynamic, interactive history of the civil rights movement, but it also helps redefine the field.

The African American struggle for civil rights in the twentieth century is one of the most important stories in American history. With all the information available, however, it is easy for even the most enthusiastic reader to be overwhelmed. In Rethinking the Black Freedom Movement, Yohuru Williams has synthesized the complex history of this period into a clear and compelling narrative. Considering both the Civil Rights and Black Power movements as distinct but overlapping elements of the Black Freedom struggle, Williams looks at the impact of the struggle for Black civil rights on housing, transportation, education, labor, voting rights, culture, and more, and places the activism of the 1950s and 60s within the context of a much longer tradition reaching from Reconstruction to the present day. Exploring the different strands within the movement, key figures and leaders, and its ongoing legacy, Rethinking the Black Freedom Movement is the perfect introduction for anyone seeking to understand the struggle for Black civil rights in America.

Classical composers seeking to create an American sound enjoyed unprecedented success during the 1930s and 1940s. Aaron Copland, Roy Harris, Howard Hanson and others brought national and international attention to American composers for the first time in history. In the years after World War II, however, something changed. The prestige of musical Americanism waned rapidly as anti-Communists made accusations against leading Americanist composers. Meanwhile a method of harmonic organization that some considered more Cold War-appropriate--serialism--began to rise in status. For many composers and historians, the Cold War had effectively "killed off" musical Americanism. In The Sound of a Superpower: Musical Americanism and the Cold War, Emily Abrams Ansari offers a fuller, more nuanced picture of the effect of the Cold War on Americanist composers. The ideological conflict brought both challenges and opportunities. Some Americanist composers struggled greatly in this new artistic and political environment. Those with leftist politics sensed a growing gap between the United States that their music imagined and the aggressive global superpower that their nation seemed to be becoming. But these same composers would find unique opportunities to ensure the survival of musical Americanism thanks to the federal government, which wanted to use American music as a Cold War propaganda tool. By serving as advisors to cultural diplomacy programs and touring as artistic ambassadors, the Americanists could bring their now government-backed music to new global audiences. Some with more right-wing politics, meanwhile, would actually flourish in the new ideological environment, by aligning their music with Cold War conceptions of American identity. The Americanists' efforts to safeguard the reputation of their style would have significant consequences. Ultimately, Ansari shows, they effected a rebranding of musical Americanism, with consequences that remain with us today.

Rabaka explores funk as a distinct multiform of music, aesthetics, politics, social vision, and cultural rebellion that has been remixed and continues to influence contemporary Black popular music and Black popular culture, especially rap music and the Hip Hop Movement. The Funk Movement was a sub-movement within the larger Black Power Movement and its artistic arm, the Black Arts Movement. Moreover, the Funk Movement was also a sub-movement within the Black Women’s Liberation Movement between the late 1960s and late 1970s, where women’s funk, especially Chaka Khan and Betty Davis’s funk, was understood to be a form of “Black musical feminism” that was as integral to the movement as the Black political feminism of Angela Davis or the Combahee River Collective and the Black literary feminism of Toni Morrison or Alice Walker. This book also demonstrates that more than any other post-war Black popular music genre, the funk music of the 1960s and 1970s laid the foundation for the mercurial rise of rap music and the Hip Hop Movement in the 1980s and 1990s. This book is primarily aimed at scholars and students working in popular music studies, popular culture studies, American studies, African American studies, cultural studies, ethnic studies, critical race studies, women’s studies, gender studies, and sexuality studies.