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Since before the American Civil War, African American and Japanese encounters produced relationships and discourses of knowledge that transcended Eurocentric conceptions of civilization and hierarchies of personhood. Black Transnationalism and Japan introduces the diverse activity and intellectual movements created, shaped, and led by Japanese and African American people. While some Pan-Asianisms and Pan-Africanisms urged a uniting of colonized spaces against the colonizer, and were often expressed in the form of decolonization movements, this volume introduces various transnational phenomena that transcended such dichotomies. Black American-Japanese transnational encounters often occurred on the non-state level from within the two new competing empires of America and Japan. Such transnational encounters reveal not only heretofore hidden historical actors, friendships, and solidarities, but also innovative cultural productions that challenged hierarchies of race, culture, and imperialism.

HISTORY / Asia / Japan. --- Black Transnationalism, Afro-Americans, Japan, Global History, Afro-Asian solidarity, transwar perspective, Japanese music, Jazz, Black music, Racism.

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Charles Mingus is among jazz's greatest composers and perhaps its most talented bass player. He was blunt and outspoken about the place of jazz in music history and American culture, about which performers were the real thing (or not), and much more. These in-depth interviews, conducted several years before Mingus died, capture the composer's spirit and voice, revealing how he saw himself as composer and performer, how he viewed his peers and predecessors, how he created his extraordinary music, and how he looked at race. Augmented with interviews and commentary by ten close associates-including Mingus's wife Sue, Teo Macero, George Wein, and Sy Johnson-Mingus Speaks provides a wealth of new perspectives on the musician's life and career. As a writer for Playboy, John F. Goodman reviewed Mingus's comeback concert in 1972 and went on to achieve an intimacy with the composer that brings a relaxed and candid tone to the ensuing interviews. Much of what Mingus shares shows him in a new light: his personality, his passions and sense of humor, and his thoughts on music. The conversations are wide-ranging, shedding fresh light on important milestones in Mingus's life such as the publication of his memoir, Beneath the Underdog, the famous Tijuana episodes, his relationships, and the jazz business.

Jazz musicians --- Mingus, Charles, --- Mingus, --- Mingus, Charlie, --- american culture. --- bass players. --- big band. --- biographies. --- biography. --- black music. --- candid interviews. --- charles mingus. --- engaging. --- entertainment industry. --- entertainment. --- historical. --- history. --- humor. --- in depth interviews. --- interviews. --- jazz age. --- jazz business. --- jazz composers. --- jazz greats. --- jazz music. --- jazz musicians. --- journalism. --- live entertainment. --- music history. --- page turner. --- performance arts. --- race. --- relationships. --- social issues. --- tijuana episodes. --- us history.

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Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In this collection of critical studies, contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world. 1. This important and very timely book provides a critical look at the role of music in teaching about the Black Lives Matter movement and the importance of promoting social equality via fieldwork from the perspectives of scholars of color. 2. This collection is an accessibly written tool for scholars and students in higher education. It uses case studies to help readers navigate teaching, studying, fostering understanding, and being an activist-scholar during this contemporary era of the Black Lives Matter movement. 3. It is the first book in our new series, Activist Encounters in Folklore and Ethnomusicology, and flows directly from important conversations currently occurring within the American Folklore Society and the Society for Ethnomusicology. As such, it will have a strong audience among Ethnomusicologists as well as Folklorists and instructors using music to teach about Black Lives Matter and current events. It has potential among general readers as well.

Black lives matter movement. --- African Americans --- Blacklivesmatter movement --- Social movements --- Music --- History and criticism. --- Protest songs. --- Black people --- Blacks --- Negro music --- Negro songs --- Topical songs (Negro) --- Topical songs (Negroes) --- African American music --- Afro-American music --- Afro-American songs --- Black American music --- Black music (African American music) --- Political ballads and songs --- Songs --- Topical songs --- Radicalism --- Music.

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This book explores the complexity of Cuban dance music and the webs that connect it, musically and historically, to other Caribbean music, to salsa, and to Latin Jazz. Establishing a scholarly foundation for the study of this music, Raul A. Fernandez introduces a set of terms, definitions, and empirical information that allow for a broader, more informed discussion. He presents fascinating musical biographies of prominent performers Cachao López, Mongo Santamaría, Armando Peraza, Patato Valdés, Francisco Aguabella, Cándido Camero, Chocolate Armenteros, and Celia Cruz. Based on interviews that the author conducted over a nine-year period, these profiles provide in-depth assessments of the musicians' substantial contributions to both Afro-Cuban music and Latin Jazz. In addition, Fernandez examines the links between Cuban music and other Caribbean musics; analyzes the musical and poetic foundations of the Cuban son form; addresses the salsa phenomenon; and develops the aesthetic construct of sabor, central to Cuban music. Copub: Center for Black Music Research

Latin jazz --- Blacks --- Afro-Cuban jazz --- Jazz --- Negroes --- Ethnology --- History and criticism. --- Music --- Black persons --- Black people --- Blacks -- Cuba -- Music -- History and criticism.. --- Latin jazz -- History and criticism. --- aesthetics. --- african diaspora. --- afro cuban music. --- black music. --- caribbean music. --- cuba. --- cuban dance music. --- cultural history. --- ethnomusicologists. --- ethnomusicology. --- famous musicians. --- historical perspective. --- interviews. --- latin jazz. --- latin music. --- music analysis. --- music and culture. --- music historians. --- music history. --- music students. --- music terminology. --- musical biographies. --- musical foundations. --- musicology. --- nonfiction. --- rhythms. --- salsa music. --- song forms.

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Music and Revolution provides a dynamic introduction to the most prominent artists and musical styles that have emerged in Cuba since 1959 and to the policies that have shaped artistic life. Robin D. Moore gives readers a chronological overview of the first decades after the Cuban Revolution, documenting the many ways performance has changed and emphasizing the close links between political and cultural activity. Offering a wealth of fascinating details about music and the milieu that engendered it, the author traces the development of dance styles, nueva trova, folkloric drumming, religious traditions, and other forms. He describes how the fall of the Soviet Union has affected Cuba in material, ideological, and musical terms and considers the effect of tense international relations on culture. Most importantly, Music and Revolution chronicles how the arts have become a point of negotiation between individuals, with their unique backgrounds and interests, and official organizations. It uses music to explore how Cubans have responded to the priorities of the revolution and have created spaces for their individual concerns. Copub: Center for Black Music Research

Music --- Socialism and music. --- Music and socialism --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Political aspects --- History and criticism. --- Cuba --- 20th century --- History and criticism --- Socialism and music --- Muziekgeschiedenis --- Politiek --- 20e eeuw --- 20th century. --- african diaspora. --- art and music. --- black music. --- cuba. --- cuban history. --- cuban revolution. --- cubans. --- cultural historians. --- cultural history. --- dance styles. --- ethnomusicologists. --- ethnomusicology. --- folklore. --- international relations. --- latin american studies. --- music and culture. --- music and politics. --- music historians. --- music history. --- musical styles. --- musicians. --- political history. --- political revolution. --- religious traditions. --- socialism. --- soviet union.