Black Womens Liberation Movement Music
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Author |
: Eileen M. Hayes |
Publisher |
: University of Illinois Press |
Total Pages |
: 250 |
Release |
: 2010-02-26 |
ISBN-10 |
: 9780252035142 |
ISBN-13 |
: 0252035143 |
Rating |
: 4/5 (42 Downloads) |
Synopsis Songs in Black and Lavender by : Eileen M. Hayes
Drawing on fieldwork conducted at eight women's music festivals, Eileen M. Hayes shows how studying these festivals--attended by predominately white lesbians--provides critical insight into the role of music and lesbian community formation. She argues that the women's music festival is a significant institutional site for the emergence of black feminist consciousness in the contemporary period. Hayes also offers sage perspectives on black women's involvement in the women's music festival scene, the ramifications of their performances as drag kings in those environments, and the challenges and joys of a black lesbian retreat based on the feminist festival model. With acuity and candor, longtime feminist activist Hayes elucidates why this music scene matters. Veteran vocalist, percussionist, producer, and cultural historian Linda Tillery provides a foreword.
Author |
: Reiland Rabaka |
Publisher |
: Taylor & Francis |
Total Pages |
: 190 |
Release |
: 2023-10-30 |
ISBN-10 |
: 9781000966794 |
ISBN-13 |
: 1000966798 |
Rating |
: 4/5 (94 Downloads) |
Synopsis Black Women's Liberation Movement Music by : Reiland Rabaka
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.
Author |
: Eileen M. Hayes |
Publisher |
: |
Total Pages |
: 290 |
Release |
: 2007 |
ISBN-10 |
: UOM:39015067680507 |
ISBN-13 |
: |
Rating |
: 4/5 (07 Downloads) |
Synopsis Black Women and Music by : Eileen M. Hayes
Features a collection of essays that detail black women's experiences in various forms of music and details such topics as black authenticity, sexual politics, access, racial uplift through music, and the challenges of writing black feminist biographies.
Author |
: Reiland Rabaka |
Publisher |
: Lexington Books |
Total Pages |
: 273 |
Release |
: 2016-05-03 |
ISBN-10 |
: 9781498531795 |
ISBN-13 |
: 1498531792 |
Rating |
: 4/5 (95 Downloads) |
Synopsis Civil Rights Music by : Reiland Rabaka
While there have been a number of studies that have explored African American “movement culture” and African American “movement politics,” rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American “movement music,” and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm & blues, and rock & roll. Here the mixture of music and politics emerging out of the Civil Rights Movement is critically examined as an incredibly important site and source of spiritual rejuvenation, social organization, political education, and cultural transformation, not simply for the non-violent civil rights soldiers of the 1950s and 1960s, but for organic intellectual-artist-activists deeply committed to continuing the core ideals and ethos of the Civil Rights Movement in the twenty-first century. Civil Rights Music: The Soundtracks of the Civil Rights Movement is primarily preoccupied with that liminal, in-between, and often inexplicable place where black popular music and black popular movements meet and merge. Black popular movements are more than merely social and political affairs. Beyond social organization and political activism, black popular movements provide much-needed spaces for cultural development and artistic experimentation, including the mixing of musical and other aesthetic traditions. “Movement music” experimentation has historically led to musical innovation, and musical innovation in turn has led to new music that has myriad meanings and messages—some social, some political, some cultural, some spiritual and, indeed, some sexual. Just as black popular movements have a multiplicity of meanings, this book argues that the music that emerges out of black popular movements has a multiplicity of meanings as well.
Author |
: Ruth Feldstein |
Publisher |
: Oxford University Press, USA |
Total Pages |
: 305 |
Release |
: 2013 |
ISBN-10 |
: 9780195314038 |
ISBN-13 |
: 0195314034 |
Rating |
: 4/5 (38 Downloads) |
Synopsis Do What You Gotta Do by : Ruth Feldstein
Do What You Gotta Do examines the role of black female entertainers in the Civil Rights movement.
Author |
: Patricia Hill Collins |
Publisher |
: Routledge |
Total Pages |
: 353 |
Release |
: 2002-06-01 |
ISBN-10 |
: 9781135960131 |
ISBN-13 |
: 1135960135 |
Rating |
: 4/5 (31 Downloads) |
Synopsis Black Feminist Thought by : Patricia Hill Collins
In spite of the double burden of racial and gender discrimination, African-American women have developed a rich intellectual tradition that is not widely known. In Black Feminist Thought, Patricia Hill Collins explores the words and ideas of Black feminist intellectuals as well as those African-American women outside academe. She provides an interpretive framework for the work of such prominent Black feminist thinkers as Angela Davis, bell hooks, Alice Walker, and Audre Lorde. The result is a superbly crafted book that provides the first synthetic overview of Black feminist thought.
Author |
: Brittney C. Cooper |
Publisher |
: The Feminist Press at CUNY |
Total Pages |
: 348 |
Release |
: 2016-12-19 |
ISBN-10 |
: 9781558619487 |
ISBN-13 |
: 1558619488 |
Rating |
: 4/5 (87 Downloads) |
Synopsis The Crunk Feminist Collection by : Brittney C. Cooper
Essays on hip-hop feminism featuring relevant, real conversations about how race and gender politics intersect with pop culture and current events. For the Crunk Feminist Collective, their academic day jobs were lacking in conversations they actually wanted. To address this void, they started a blog that turned into a widespread movement. The Collective’s writings foster dialogue about activist methods, intersectionality, and sisterhood. And the writers’ personal identities—as black women; as sisters, daughters, and lovers; and as television watchers, sports fans, and music lovers—are never far from the discussion at hand. These essays explore “Sex and Power in the Black Church,” discuss how “Clair Huxtable is Dead,” list “Five Ways Talib Kweli Can Become a Better Ally to Women in Hip Hop,” and dwell on “Dating with a Doctorate (She Got a Big Ego?).” Self-described as “critical homegirls,” the authors tackle life stuck between loving hip hop and ratchet culture while hating patriarchy, misogyny, and sexism. “Refreshing and timely.” —Bitch Magazine “Our favorite sister bloggers.” —Elle “By centering a Black Feminist lens, The Collection provides readers with a more nuanced perspective on everything from gender to race to sexuality to class to movement-building, packaged neatly in easy-to-read pieces that take on weighty and thorny ideas willingly and enthusiastically in pursuit of a more just world.” —Autostraddle “Much like a good mix-tape, the book has an intro, outro, and different layers of based sound in the activist, scholar, feminist, women of color, media representation, sisterhood, trans, queer and questioning landscape.” —Lambda Literary Review
Author |
: Ashley D. Farmer |
Publisher |
: UNC Press Books |
Total Pages |
: 287 |
Release |
: 2017-10-10 |
ISBN-10 |
: 9781469634388 |
ISBN-13 |
: 1469634384 |
Rating |
: 4/5 (88 Downloads) |
Synopsis Remaking Black Power by : Ashley D. Farmer
In this comprehensive history, Ashley D. Farmer examines black women's political, social, and cultural engagement with Black Power ideals and organizations. Complicating the assumption that sexism relegated black women to the margins of the movement, Farmer demonstrates how female activists fought for more inclusive understandings of Black Power and social justice by developing new ideas about black womanhood. This compelling book shows how the new tropes of womanhood that they created--the "Militant Black Domestic," the "Revolutionary Black Woman," and the "Third World Woman," for instance--spurred debate among activists over the importance of women and gender to Black Power organizing, causing many of the era's organizations and leaders to critique patriarchy and support gender equality. Making use of a vast and untapped array of black women's artwork, political cartoons, manifestos, and political essays that they produced as members of groups such as the Black Panther Party and the Congress of African People, Farmer reveals how black women activists reimagined black womanhood, challenged sexism, and redefined the meaning of race, gender, and identity in American life.
Author |
: bell hooks |
Publisher |
: Routledge |
Total Pages |
: 220 |
Release |
: 2014-12-17 |
ISBN-10 |
: 9781317588610 |
ISBN-13 |
: 1317588614 |
Rating |
: 4/5 (10 Downloads) |
Synopsis Ain't I a Woman by : bell hooks
A classic work of feminist scholarship, Ain't I a Woman has become a must-read for all those interested in the nature of black womanhood. Examining the impact of sexism on black women during slavery, the devaluation of black womanhood, black male sexism, racism among feminists, and the black woman's involvement with feminism, hooks attempts to move us beyond racist and sexist assumptions. The result is nothing short of groundbreaking, giving this book a critical place on every feminist scholar's bookshelf.
Author |
: Ruth Feldstein |
Publisher |
: Oxford University Press |
Total Pages |
: 305 |
Release |
: 2013-11-26 |
ISBN-10 |
: 9780199314577 |
ISBN-13 |
: 0199314578 |
Rating |
: 4/5 (77 Downloads) |
Synopsis How It Feels to Be Free by : Ruth Feldstein
Winner of the Benjamin L. Hooks National Book Award Winnter of the Michael Nelson Prize of the International Association for Media and History In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam!" Simone, and her song, became icons of the civil rights movement. But her confrontational style was not the only path taken by black women entertainers. In How It Feels to Be Free, Ruth Feldstein examines celebrated black women performers, illuminating the risks they took, their roles at home and abroad, and the ways that they raised the issue of gender amid their demands for black liberation. Feldstein focuses on six women who made names for themselves in the music, film, and television industries: Simone, Lena Horne, Miriam Makeba, Abbey Lincoln, Diahann Carroll, and Cicely Tyson. These women did not simply mirror black activism; their performances helped constitute the era's political history. Makeba connected America's struggle for civil rights to the fight against apartheid in South Africa, while Simone sparked high-profile controversy with her incendiary lyrics. Yet Feldstein finds nuance in their careers. In 1968, Hollywood cast the outspoken Lincoln as a maid to a white family in For Love of Ivy, adding a layer of complication to the film. That same year, Diahann Carroll took on the starring role in the television series Julia. Was Julia a landmark for casting a black woman or for treating her race as unimportant? The answer is not clear-cut. Yet audiences gave broader meaning to what sometimes seemed to be apolitical performances. How It Feels to Be Free demonstrates that entertainment was not always just entertainment and that "We Shall Overcome" was not the only soundtrack to the civil rights movement. By putting black women performances at center stage, Feldstein sheds light on the meanings of black womanhood in a revolutionary time.