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Liner Notes for the Revolution : The Intellectual Life of Black Feminist Sound / Daphne A. Brooks.

By: Material type: TextTextPublisher: Cambridge, MA : Harvard University Press, [2021]Copyright date: ©2021Description: 1 online resource (608 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780674052819
  • 9780674258808
Subject(s): DDC classification:
  • 780.82/0973 23
LOC classification:
  • ML3556 .B74 2021eb
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Author’s Note -- Introduction -- Side A -- 1. Toward a Black Feminist Intellectual Tradition in Sound -- 2. “Sister, Can You Line It Out?”: Zora Neale Hurston Notes the Sound -- 3. Blues Feminist Lingua Franca: Rosetta Reitz Rewrites the Record -- 4. Thrice Militant Music Criticism: Ellen Willis & Lorraine Hansberry’s What Might Be -- Side B -- 5. Not Fade Away: Looking After Geeshie & Elvie / L. V. -- 6. “If You Should Lose Me”: Of Trunks & Record Shops & Black Girl Ephemera -- 7. “See My Face from the Other Side”: Catching Up with Geeshie and L. V -- 8. “Slow Fade to Black”: Black Women Archivists Remix the Sounds -- Epilogue: Going to the Territory -- Notes -- Acknowledgments -- Credits -- Index
Summary: An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyoncé. Daphne A. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of Black women on stage and in the recording studio. How is it possible, she asks, that iconic artists such as Aretha Franklin and Beyoncé exist simultaneously at the center and on the fringe of the culture industry? Liner Notes for the Revolution offers a startling new perspective on these acclaimed figures—a perspective informed by the overlooked contributions of other Black women concerned with the work of their musical peers. Zora Neale Hurston appears as a sound archivist and a performer, Lorraine Hansberry as a queer Black feminist critic of modern culture, and Pauline Hopkins as America’s first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism. She makes lyrical forays into the blues pioneers Bessie Smith and Mamie Smith, as well as fans who became critics, like the record-label entrepreneur and writer Rosetta Reitz. In the twenty-first century, pop superstar Janelle Monae’s liner notes are recognized for their innovations, while celebrated singers Cécile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as cultural historians. With an innovative perspective on the story of Black women in popular music—and who should rightly tell it—Liner Notes for the Revolution pioneers a long overdue recognition and celebration of Black women musicians as radical intellectuals.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780674258808

Frontmatter -- Contents -- Author’s Note -- Introduction -- Side A -- 1. Toward a Black Feminist Intellectual Tradition in Sound -- 2. “Sister, Can You Line It Out?”: Zora Neale Hurston Notes the Sound -- 3. Blues Feminist Lingua Franca: Rosetta Reitz Rewrites the Record -- 4. Thrice Militant Music Criticism: Ellen Willis & Lorraine Hansberry’s What Might Be -- Side B -- 5. Not Fade Away: Looking After Geeshie & Elvie / L. V. -- 6. “If You Should Lose Me”: Of Trunks & Record Shops & Black Girl Ephemera -- 7. “See My Face from the Other Side”: Catching Up with Geeshie and L. V -- 8. “Slow Fade to Black”: Black Women Archivists Remix the Sounds -- Epilogue: Going to the Territory -- Notes -- Acknowledgments -- Credits -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyoncé. Daphne A. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of Black women on stage and in the recording studio. How is it possible, she asks, that iconic artists such as Aretha Franklin and Beyoncé exist simultaneously at the center and on the fringe of the culture industry? Liner Notes for the Revolution offers a startling new perspective on these acclaimed figures—a perspective informed by the overlooked contributions of other Black women concerned with the work of their musical peers. Zora Neale Hurston appears as a sound archivist and a performer, Lorraine Hansberry as a queer Black feminist critic of modern culture, and Pauline Hopkins as America’s first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism. She makes lyrical forays into the blues pioneers Bessie Smith and Mamie Smith, as well as fans who became critics, like the record-label entrepreneur and writer Rosetta Reitz. In the twenty-first century, pop superstar Janelle Monae’s liner notes are recognized for their innovations, while celebrated singers Cécile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as cultural historians. With an innovative perspective on the story of Black women in popular music—and who should rightly tell it—Liner Notes for the Revolution pioneers a long overdue recognition and celebration of Black women musicians as radical intellectuals.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Feb 2023)