Listing 1 - 2 of 2 |
Sort by
|
Choose an application
Despite rhythm and blues culture's undeniable role in molding, reflecting, and reshaping black cultural production, consciousness, and politics, it has yet to receive the serious scholarly examination it deserves. Destructive Desires corrects this omission by analyzing how post-Civil Rights era rhythm and blues culture articulates competing and conflicting political, social, familial, and economic desires within and for African American communities. As an important form of black cultural production, rhythm and blues music helps us to understand black political and cultural desires and longings in light of neo-liberalism's increased codification in America's racial politics and policies since the 1970's. Robert J. Patterson provides a thorough analysis of four artists-Kenneth "Babyface" Edmonds, Adina Howard, Whitney Houston, and Toni Braxton-to examine black cultural longings by demonstrating how our reading of specific moments in their lives, careers, and performances serve as metacommentaries for broader issues in black culture and politics.
Rhythm and blues music --- African Americans --- Music, Rhythm and blues --- R & B (Music) --- R&B (Music) --- Rhythm 'n' blues music --- Popular music --- Blues (Music) --- Soul music --- Social aspects --- History. --- Political aspects --- History and criticism. --- Attitudes. --- r&b, rhythm and blues, blues, black culture, african american, inequality, kenneth edmonds, babyface, adina howard, whitney houston, whitney, toni braxton, music, black music, black inequality.
Choose an application
Music, magic and myth are elements essential to the identities of New Orleans musicians. The city's singular contributions to popular music around the world have been unrivaled; performing this music authentically requires collective improvisation, taking performers on sonorous sojourns in unanticipated, 'magical' moments; and membership in the city's musical community entails participation in the myth of New Orleans, breathing new life into its storied traditions. On the basis of 56 open-ended interviews with those in the city's musical community, Michael Urban discovers that, indeed, community is what it is all about. In their own words, informants explain that commercial concerns are eclipsed by the pleasure of playing in 'one big band' that disassembles daily into smaller performing units whose rosters are fluid, such that, over time, 'everybody plays with everybody'. Although Hurricane Katrina nearly terminated the city, New Orleans and its music—in no small part due to the sacrifices and labors of its musicians—have come back even stronger. Dancing to their own drum, New Orleanians again prove themselves to be admirably out of step with the rest of America.
Rhythm and blues music --- Musicians --- Music History & Criticism, Popular - Jazz, Rock, etc. --- Music --- Music, Dance, Drama & Film --- History and criticism --- History and criticism. --- Music, Rhythm and blues --- R & B (Music) --- R&B (Music) --- Rhythm 'n' blues music --- African Americans --- Popular music --- Blues (Music) --- Soul music --- Artists --- Music. --- Civilization-History. --- Communication. --- Arts. --- Cultural History. --- Media Studies. --- Arts, Fine --- Arts, Occidental --- Arts, Western --- Fine arts --- Humanities --- Communication, Primitive --- Mass communication --- Sociology --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Civilization—History. --- Arts, Primitive
Listing 1 - 2 of 2 |
Sort by
|