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| Author | : David Nathan |
| Publisher | : New York : Billboard Books |
| Total Pages | : 408 |
| Release | : 1999 |
| Genre | : Biography & Autobiography |
| ISBN | : |
Personal portraits of over a dozen divine divas, from Nina Simone, Aretha Franklin, and Diana Ross to Patti LaBelle, Anita Baker, and Natalie Cole. 40 illustrations.
| Author | : David Nathan |
| Publisher | : New York : Billboard Books |
| Total Pages | : 408 |
| Release | : 1999 |
| Genre | : Biography & Autobiography |
| ISBN | : |
Personal portraits of over a dozen divine divas, from Nina Simone, Aretha Franklin, and Diana Ross to Patti LaBelle, Anita Baker, and Natalie Cole. 40 illustrations.
| Author | : Reiland Rabaka |
| Publisher | : Taylor & Francis |
| Total Pages | : 190 |
| Release | : 2023-10-30 |
| Genre | : Music |
| ISBN | : 1000966798 |
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.
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| Publisher | : |
| Total Pages | : |
| Release | : 19?? |
| Genre | : |
| ISBN | : |
| Author | : David Freeland |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 268 |
| Release | : 2009-09-23 |
| Genre | : Music |
| ISBN | : 1628469366 |
American soul music of the 1960s is one of the most creative and influential musical forms of the twentieth century. With its merging of gospel, R&B, country, and blues, soul music succeeded in crossing over from African American culture into the general pop culture. Soul became the byword for the styles, attitudes, and dreams of an entire era. Female performers were responsible for some of the most enduring and powerful contributions to the genre. All too frequently overlooked by the star-making critics, seven of these women are profiled in this book -Maxine Brown, Ruby Johnson, Denise LaSalle, Bettye LaVette, Barbara Mason, Carla Thomas, and Timi Yuro. Getting started during the heyday of soul, each of these talented women had recording contracts and gave live performances to appreciative audiences. Their careers can be tracked through the popularity of soul during the 1960s and its decline in the 1970s. With humor, candor, pride, and honest recognition that their careers did not surge into the mainstream and gain superstardom, they recount individual stories of how they struggled for success. Their oral histories as told to David Freeland address compelling issues, including racism and sexism within the music industry. They discuss their grueling hardships on the road, their conflicts with male managers, and the cutthroat competition in the recording business. As each singer examines her career with the author, she reveals the dreams, hopes, and desires on which she has built her professional life. All seven face up to the career swings, from the highs of releasing the first hit to the frustrating lows when the momentum stops. Although the obstacles to stardom are heartbreaking, these singers are committed to their art. With determination and style these seven have pressed onward with club appearances and recordings. They survive through their savvy mix of talent, hubris, and honesty about their lives and their music.
| Author | : Kathleen O'Reilly |
| Publisher | : Simon and Schuster |
| Total Pages | : 352 |
| Release | : 2005-04-05 |
| Genre | : Fiction |
| ISBN | : 1416516565 |
Don't hate me because I'm beautiful... Call me V. I used to be a nobody, just a girl from New Jersey who was probably going to hell anyway -- or worse, mediocrity and a size 14. Now I get whatever I desire just by casting a little spell....a flawless body, a luxury penthouse, and a Fifth Avenue shop where rich women clamor for my overpriced handbags. Even better, I have power. I can taunt my ex-husband, break hearts without guilt, and love every minute of it. My secret? I lost the one thing I never needed in the first place: my soul. I sold it. And you'll never guess who's got it now. She's a devil in disguise. You know her as the dishiest gossip columnist in the city's trashiest tabloid. I call her Lucy. And our deal is this: the more clients I recruit for her Life Enrichment Program, the greater my rewards. But just between us, my fast track to heartless apathy has hit a few speed bumps -- lately, I've had the totally annoying impulse to do things that are...good. First there was rescuing a kid in the park. Then there was the date with the handsome, decent guy who wasn't even a celebrity. What's next, giving to charity or something? All I know is Lucy doesn't like it, not one little bit. And when she finds out, there will be hell to pay...
| Author | : Jim McAvoy |
| Publisher | : Infobase Publishing |
| Total Pages | : 112 |
| Release | : 2002-01-01 |
| Genre | : Soul musicians |
| ISBN | : 143812161X |
| Author | : Ruth Feldstein |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 305 |
| Release | : 2013 |
| Genre | : Biography & Autobiography |
| ISBN | : 0195314034 |
Do What You Gotta Do examines the role of black female entertainers in the Civil Rights movement.
| Author | : Ruth Feldstein |
| Publisher | : Oxford University Press |
| Total Pages | : 305 |
| Release | : 2013-11-26 |
| Genre | : History |
| ISBN | : 019971827X |
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.
| Author | : Christina Baade |
| Publisher | : Wesleyan University Press |
| Total Pages | : 457 |
| Release | : 2021-05-18 |
| Genre | : Social Science |
| ISBN | : 0819579939 |
From Destiny's Child to Lemonade, Homecoming, and The Gift, Beyoncé Knowles-Carter has redefined global stardom, feminism, Black representation, and celebrity activism. This book brings together new work from sixteen international scholars to explore Beyonce's impact as an artist and public figure from the perspectives of critical race studies, gender and women's studies, queer and cultural studies, music, and fan studies. The authors explore Beyoncé's musical persona as one that builds upon the lineages of Black female cool, Black southern culture, and Black feminist cultural production. They explore Beyoncé's reception within and beyond North America, including how a range of performers—from YouTube gospel singers to Brazilian pop artists have drawn inspiration from her performances and image. The authors show how Beyoncé's music is a source of healing and kinship for many fans, particularly Black women and queer communities of color. Combining cutting edge research, vivid examples, and accessible writing, this collection provides multiple lenses onto the significance of Beyoncé in the United States and around the world.
