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Vol. 30 (2010) through current issue
Black Music Research Journal includes articles about the philosophy, aesthetics, history, and criticism of black music. BMRJ is an official journal of the Center for Black Music Research and is published by the University of Illinois Press.
The University of Illinois, 1965-75
Joy Ann Williamson charts the evolution of black consciousness on predominately white American campuses during the critical period between the mid-1960s and mid-1970s, with the Black student movement at the University of Illinois at Urbana-Champaign serving as an illuminating microcosm of similar movements across the country. Nationwide black student college enrollment doubled from 1964 to 1970, with the greatest increase occurring at mostly white universities. As Williamson shows, however, increased admission did not bring with it increased acceptance. Confronted with institutional apathy or even hostility, African Americans began organizing. Drawing on student publications of the late 1960s and early 1970s, as well as interviews with former administrators, faculty, and student activists, Williamson discusses the emergence of Black Power ideology, what constitutes â€œblackness,â€? and notions of self-advancement versus racial solidarity. Promoting an understanding of social protest and measuring the impact of black student activism on an American university, Black Power on Campus is an important contribution to the broader literature on African American liberation movements, the role of black youth in protest movements, and the reform of American higher education.
William Patterson and the Globalization of the African American Freedom Struggle
A leading African American Communist, lawyer William L. Patterson (1891â€“1980) was instrumental in laying the groundwork for the defeat of Jim Crow by virtue of his leadership of the Scottsboro campaign in the 1930s. In this watershed biography, historian Gerald Horne shows how Patterson helped to advance African American equality by fostering and leveraging international support for the movement. Horne highlights key moments in Patterson's global activism: his early education in the Soviet Union, his involvement with the Scottsboro trials and other high-profile civil rights cases of the 1930s to 1950s, his 1951 We Charge Genocide petition to the United Nations, and his later work with prisons and the Black Panther Party. Through Patterson's story, Horne examines how the Cold War affected the freedom movement, with civil rights leadership sometimes disavowing African American leftists in exchange for concessions from the U.S. government. He also probes the complex and often contradictory relationship between the Communist Party and the African American community, including the impact of the FBI's infiltration of the Communist Party. Drawing from government and FBI documents, newspapers, periodicals, archival and manuscript collections, and personal papers, Horne documents Patterson's effectiveness at carrying the freedom struggle into the global arena and provides a fresh perspective on twentieth-century struggles for racial justice.
African American Activism in the International Political Economy
This book describes how the first African American mass political organization was able to gain support from throughout the African diaspora to finance the Black Star Line, a black merchant marine that would form the basis of an enclave economy after World War I. Ramla M. Bandele explores the concept of diaspora itself and how it has been applied to the study of emigre and other ethnic networks. _x000B__x000B_In characterizing the historical and political context of the Black Star Line, Bandele analyzes the international political economy during 1919-25 and considers the black politics of the era, focusing particularly on Marcus Garvey's Universal Negro Improvement Association for its creation of the Black Star Line. She offers an in-depth case study of the Black Star Line as an instance of the African diaspora attempting to link communities and carry out a transnational political and economic project. Arguing that ethnic networks can be legitimate actors in international politics and economics, Bandele also suggests, however, that activists in any given diaspora do not always function as a unit._x000B_
Julie A. Gallagher documents six decades of politically active black women in New York City who waged struggles for justice, rights, and equality not through grassroots activism but through formal politics. In tracing the paths of black women activists from women's clubs and civic organizations to national politics--including appointments to presidential commissions, congressional offices, and even a presidential candidacy--Gallagher also articulates the vision of politics the women developed and its influence on the Democratic party and its policies. Deftly examining how race, gender, and the structure of the state itself shape outcomes, she exposes the layers of power and discrimination at work in all sectors of U.S. society.
Vol. 3 (2009) - vol. 6 (2012)
Black Women, Gender & Families analyzes, develops, and furthers Black Women's Studies paradigms. It centers the study of Black women and gender within the critical discourses of history, the social sciences, and the humanities. Second, this journal provides an Africana/Black Studies and Women's Studies cross-field and interdisciplinary venue for Black womanist and Black feminist theories, methodologies, and analyses. Third, it more fully integrates gender as an analytic category, and strengthens Black Women's Studies as a paradigm for studying black women, gender, families, and communities—especially policy-related issues within the broader disciplines of Black Studies and Women's Studies. Fourth, this journal provides the space for interdisciplinary, comparative/transnational studies of Global Africa/the African Diaspora and other women, families, and communities of color, using Black Women's Studies frameworks.
BWGF is peer-reviewed and published in collaboration with the African American Studies and Research Program at the University of Illinois at Urbana-Champaign.
Blackness in Opera critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas (Porgy and Bess, Aida, Treemonisha) alongside lesser-known works such as Frederick Delius's Koanga, William Grant Still's Blue Steel, and Clarence Cameron White's Ouanga! to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features reflections by renowned American tenor George Shirley._x000B__x000B_Contributors are Naomi Andre, Melinda Boyd, Gwynne Kuhner Brown, Karen M. Bryan, Melissa J. de Graaf, Christopher R. Gauthier, Jennifer McFarlane-Harris, Gayle Murchison, Guthrie P. Ramsey Jr., Eric Saylor, Sarah Schmalenberger, Ann Sears, George Shirley, and Jonathan O. Wipplinger.
A pivotal member of the hugely successful bluegrass band Flatt and Scruggs and the Foggy Mountain Boys, Dobro pioneer Josh Graves (1927-2006) was a living link between bluegrass music and the blues. In Bluegrass Bluesman, this influential performer shares the story of his lifelong career in music._x000B__x000B_In lively anecdotes, Graves describes his upbringing in East Tennessee and the climate in which bluegrass music emerged during the 1940s. Deeply influenced by the blues, he adapted Earl Scruggs's revolutionary banjo style to the Dobro resonator slide guitar and gave the Foggy Mountain Boys their distinctive sound. Graves's accounts of daily life on tour through the 1950s and 1960s reveal the band's dedication to musical excellence, Scruggs's leadership, and an often grueling life on the road. He also comments on his later career when he played in Lester Flatt's Nashville Grass and the Earl Scruggs Revue and collaborated with the likes of Boz Scaggs, Charlie McCoy,Â Kenny Baker, Eddie Adcock, Jesse McReynolds,Â Marty Stuart, Jerry Douglas, Alison Krauss, and his three musical sons. A colorful storyteller, Graves brings to life the world of an American troubadour and the mountain culture that he never left behind._x000B_
The Jimmy Rogers Story
In Blues All Day Long , Wayne Everett Goins mines seventy-five hours of interviews with Rogers' family, collaborators, and peers to follow a life spent in the blues. Goins' account takes Rogers from recording Chess classics and barnstorming across the South to a late-in-life renaissance that included new music, entry into the Blues Hall of Fame, and high profile tours with Eric Clapton and the Rolling Stones. Informed and definitive, Blues All Day Long fills a gap in twentieth century music history with the story of one of the blues' eminent figures and one of the genre's seminal bands.
The Radio Interviews
This collection assembles the best interviews from Steve Cushing's long-running radio program Blues Before Sunrise, the nationally syndicated, award-winning program focusing on vintage blues and R&B. As both an observer and performer, Cushing has been involved with the blues scene in Chicago for decades. His candid, colorful interviews with prominent blues players, producers, and deejays reveal the behind-the-scenes world of the formative years of recorded blues. Many of these oral histories detail the careers of lesser-known but greatly influential blues performers and promoters._x000B__x000B_The book focuses in particular on pre-World War II blues singers, performers active in 1950s Chicago, and nonperformers who contributed to the early blues world. Interviewees include Alberta Hunter, one of the earliest African American singers to transition from Chicago's Bronzeville nightlife to the international spotlight, and Ralph Bass, one of the greatest R&B producers of his era. Blues expert, writer, record producer, and cofounder of Living Blues Magazine Jim O'Neal provides the book's foreword.