The life of Nina Simone is one of blocked paths and surprising detours. Some people are born to an obvious destiny, only to find that society, circumstance, and chance steer them onto an entirely different course. Had Nina been born at a different time, she could very well have been a superstar of classical music at an early age. However, the severe oppression of African Americans in the United States during the 1950s forced her to find her fate down a different road. That she did so with flair, grace, and brilliance speaks to the resilience of the oppressed spirit. Though she battled terrible oppression, the greed of managers and lovers, and her own mental illness, she refused to allow the trials of life to stand in her way. What she left behind is a testament to the power of the human spirit, beautifully recorded in song. This book tell her incredible story.

Since her death in 2003, Nina Simone has been the subject of an astonishing number of rereleased, remastered, and remixed albums and compilations as well as biographies, films, viral memes, samples, and soundtracks. In Fantasies of Nina Simone, Jordan Alexander Stein uses an archive of Simone’s performances, images, and writings to examine the space between our collective and individual fantasies about Simone the performer, civil rights activist, and icon, and her own fantasies about herself. Stein outlines how Simone gave voice to personal fantasies through releasing dozens of covers of her white male contemporaries. With her covers of George Harrison, the Bee Gees, Bob Dylan, and others, Simone explored and claimed the power and perspective that come with race and gender privilege. Looking at examples from Simone’s four-decade genre-bending career—from songbook standards, jazz, and pop to folk, junkanoo, and reggae—and at her work’s many uptakes and afterlives, Stein mobilizes the psychoanalytic concept of fantasy to build a black feminist history with and for this multifaceted performing artist.

Black Women’s Liberation Movement Music argues that the Black Women’s Liberation Movement of the mid-to-late 1960s and 1970s was a unique combination of Black political feminism, Black literary feminism, and Black musical feminism, among other forms of Black feminism. This book critically explores the ways the soundtracks of the Black Women’s Liberation Movement often overlapped with those of other 1960s and 1970s social, political, and cultural movements, such as the Black Power Movement, Women’s Liberation Movement, and Sexual Revolution. The soul, funk, and disco music of the Black Women’s Liberation Movement era is simultaneously interpreted as universalist, feminist (in a general sense), and Black female-focused. This music’s incredible ability to be interpreted in so many different ways speaks to the importance and power of Black women’s music and the fact that it has multiple meanings for a multitude of people. Within the worlds of both Black Popular Movement Studies and Black Popular Music Studies there has been a long-standing tendency to almost exclusively associate Black women’s music of the mid-to-late 1960s and 1970s with the Black male-dominated Black Power Movement or the White female-dominated Women’s Liberation Movement. However, this book reveals that much of the soul, funk, and disco performed by Black women was most often the very popular music of a very unpopular and unsung movement: The Black Women’s Liberation Movement. Black Women’s Liberation Movement Music is an invaluable resource for students, teachers, and researchers of Popular Music Studies, American Studies, African American Studies, Critical Race Studies, Gender Studies, and Sexuality Studies.

Black Power Music! Protest Songs, Message Music, and the Black Power Movement critically explores the soundtracks of the Black Power Movement as forms of "movement music." That is to say, much of classic Motown, soul, and funk music often mirrored and served as mouthpieces for the views and values, as well as the aspirations and frustrations, of the Black Power Movement. Black Power Music! is also about the intense interconnections between Black popular culture and Black political culture, both before and after the Black Power Movement, and the ways in which the Black Power Movement in many senses symbolizes the culmination of centuries of African American politics creatively combined with, and ingeniously conveyed through, African American music. Consequently, the term "Black Power music" can be seen as a code word for African American protest songs and message music between 1965 and 1975. "Black Power music" is a new concept that captures and conveys the fact that the majority of the messages in Black popular music between 1965 and 1975 seem to have been missed by most people who were not actively involved in, or in some significant way associated with, the Black Power Movement.

Born Eunice Waymon in Tryon, North Carolina, Nina Simone (1933-2003) began her musical life playing classical piano. A child prodigy, she wanted a career on the concert stage, but when the Curtis Institute of Music rejected her, the devastating disappointment compelled her to change direction. She turned to popular music and jazz but never abandoned her classical roots or her intense ambition. By the age of twenty six, Simone had sung at New York City's venerable Town Hall and was on her way. Tapping into newly unearthed material on Simone's family and career, Nadine Cohodas paints a luminous portrait of the singer, highlighting her tumultuous life, her innovative compositions, and the prodigious talent that matched her ambition. With precision and empathy, Cohodas weaves the story of Simone's contentious relationship with audiences and critics, her outspoken support for civil rights, her two marriages and her daughter, and, later, the sense of alienation that drove her to live abroad from 1993 until her death. Alongside these threads runs a more troubling one: Simone's increasing outbursts of rage and pain that signaled mental illness and a lifelong struggle to overcome a deep sense of personal injustice.

1964 was when the swinging sixties really began. Youth culture dominated the media and the spirit of optimism was ubiquitous. Yet there were also darker forces at work which proved to be equally significant for the future. Changing Times presents a clear and detailed picture of the many personalities, events and trends that made this year so remarkable. The escalation of the Vietnam War, elections in the USA and the UK, the struggle for civil rights and the imprisonment of Nelson Mandela are just some of the topics covered. Author Steve Millward makes the connections between music and politics and links them to the wider world of art, film, fashion, sport, science and technology. He also goes beyond the UK and America, covering developments in Africa and the Caribbean. Throughout the book, the focus remains upon the music – pop, rock, folk, soul, jazz, classical – which so consistently reached new heights of quality and innovation, the repercussions of which are still being felt today. Steve covers music recorded and released in 1964, as well as earlier recordings which had an impact that year. The most notable instance is The Beatles’ ‘I Want To Hold Your Hand’, recorded in October ‘63, which spearheaded the band’s breakthrough in the USA in 1964. Millward also celebrates the work of lesser-known but hugely influential figures such as Bert Berns, Eric Dolphy and Phil Ochs. The originality and insight contained in this book will appeal to intelligent readers of all ages and interests, in particular those with an interest in music history and politics. Steve draws inspiration from a number of authors, including Greil Marcus, Peter Guralnick, Susan Douglas, Alex Ross and Jonathon Green.

In 1835, at the age of 13, a young boy walked nearly 300 miles to Paris; he worked odd jobs and did whatever it took to survive. He eventually learned a craft: box making. Before long, the young boy had earned enough to open his own box-making store.The tale may seem a bit unremarkable until you consider the boy's name: Louis Vuitton.You know the brand, but not the man; take a look at the genius that created one of the most recognizable brands in the world with this biography.

"If one organization is synonymous with keeping hope alive, even as a faint glimmer in the darkness of a prison, it is Amnesty International. Amnesty has been the light, and that light was truth—bearing witness to suffering hidden from the eyes of the world."—from the Preface The first in-depth look at working life inside a major human rights organization, Keepers of the Flame charts the history of Amnesty International and the development of its nerve center, the International Secretariat, over forty-five years. Through interviews with staff members, archival research, and unprecedented access to Amnesty International's internal meetings, Stephen Hopgood provides an engrossing and enlightening account of day-to-day operations within the organization, larger decisions about the nature of its mission, and struggles over the implementation of that mission. An enduring feature of Amnesty's inner life, Hopgood finds, has been a recurrent struggle between the "keepers of the flame" who seek to preserve Amnesty's accumulated store of moral authority and reformers who hope to change, modernize, and use that moral authority in ways that its protectors fear may erode the organization's uniqueness. He also explores how this concept of moral authority affects the working lives of the servants of such an ideal and the ways in which it can undermine an institution's political authority over time. Hopgood argues that human-rights activism is a social practice best understood as a secular religion where internal conflict between sacred and profane—the mission and the practicalities of everyday operations—are both unavoidable and necessary. Keepers of the Flame is vital reading for anyone interested in Amnesty International, its accomplishments, agonies, obligations, fears, opportunities, and challenges—or, more broadly, in how humanitarian organizations accommodate the moral passions that energize volunteers and professional staff alike.

One of the last divas of jazz, Nina Simone (1933-2003) was one of the finest songwriters and musicians of her day. Jazz lover and music journalist Hampton met and befriended the soul diva in the 1950s. After that they corresponded regularly throughout Simone's career. Hampton and her brother delve into their memorabilia to create a vivid portrait of the singer.

Contains photographs and profiles of seventeen of the world's best known female rhythm and blues vocalists, including Dionne Warwick, Diana Ross, Chaka Khan, and Anita Baker; based on the author's personal relationships with the women featured.