. . extraordinarily far-reaching. . . . highly accessible."-Notes"No one has written this way about music in a long, long time. Lucid, insightful, with real spiritual, political, intellectual, and emotional grasp of the whole picture. A book about why music matters, and how, and to whom."-Dave Marsh, author of Louie, Louie and Born to Run: The Bruce Springsteen Story"This book is urgently needed: a comprehensive look at the various forms of black popular music, both as music and as seen in a larger social context. No one can do this better than Craig Werner."-Henry Louis Gates, Jr., W.E.B. Du Bois Professor of the Humanities, Harvard University"[Werner has] mastered the extremely difficult art of writing about music as both an aesthetic and social force that conveys, implies, symbolizes, and represents ideas as well as emotion, but without reducing its complexities and ambiguities to merely didactic categories."-African American ReviewA Change Is Gonna Come is the story of more than four decades of enormously influential black music, from the hopeful, angry refrains of the Freedom movement, to the slick pop of Motown; from the disco inferno to the Million Man March; from Woodstock's "Summer of Love" to the war in Vietnam and the race riots that inspired Marvin Gaye to write "What's Going On."Originally published in 1998, A Change Is Gonna Come drew the attention of scholars and general readers alike. This new edition, featuring four new and updated chapters, will reintroduce Werner's seminal study of black music to a new generation of readers.Craig Werner is Professor of Afro-American Studies at the University of Wisconsin, and author of many books, including Playing the Changes: From Afro-Modernism to the Jazz Impulse and Up Around the Bend: An Oral History of Creedence Clearwater Revival. His most recent book is Higher Ground: Stevie Wonder, Aretha Franklin, Curtis Mayfield, and the Rise and Fall of American Soul.

    The nineties are marked by intense and often angry debates about racial authenticity and "selling out," and the participants in these debates--from politicians to filmmakers to rap artists--often draw on Malcolm's scorching rebukes to such moves. Meanwhile, Malcolm's "X" is marketed in countless business endeavors and is stylishly branded on baseball hats and T-shirts sported by every age, race, and gender. But this rampant commercialization is only a small part of Malcolm's remarkable renaissance. One of the century's most complex black leaders, he is currently blazing a new path across contemporary popular culture, and has even seared the edges of an academy that once froze him out. Thirty years after his assassination, what is it about his life and words that speaks so powerfully to so many? In Making Malcolm, Michael Eric Dyson probes the myths and meanings of Malcolm X for our time. From Spike Lee's film biography to Eugene Wolfenstein's psychobiographical study, from hip-hop culture to gender and racial politics, Dyson cuts a critical swathe through both the idolization and the vicious caricatures that have undermined appreciation of Malcolm's greatest accomplishments. The book's first section offers a boldly original and penetrating analysis of the major trends in interpreting Malcolm's legacy since his death, and the fiercely competing interests and ideologies that have shaped these trends. From mainstream books to writings published by the independent black press, Dyson identifies and examines the different "Malcolms" who have emerged in popular and academic investigations of his life and career. With impassioned and compelling force, Dyson argues that Malcolm was too formidable a historic figure--the movements he led too variable and contradictory, the passion and intelligence he summoned too extraordinary and disconcerting--to be viewed through any narrow cultural prism. The second half of the book offers a fascinating exploration of Malcolm's relationship to a resurgent black nationalism, his influence on contemporary black filmmakers and musicians, and his use in progressive black politics. From sexism and gangsta rap to the painful predicament of black males, from the politics of black nationalism to the possibilities of race in the Age of Clinton, Dyson's trenchant and often inspiring analysis reveals how Malcolm's legacy continues to spur debate and action today. A rare and important book, Making Malcolm casts new light not only on the life and career of a seminal black leader, but on the aspirations and passions of the growing numbers who have seized on his life for insight and inspiration.

    Eurocentrism. Caribbean Studies. British Studies. To the forces of cultural nationalism hunkered down in their camps, this bold hook sounds a liberating call. There is, Paul Gilroy tells us, a culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked. Challenging the practices and assumptions of cultural studies, "The Black Atlantic" also complicates and enriches our understanding of modernism.Debates about postmodernism have cast an unfashionable pall over questions of historical periodization. Gilroy bucks this trend by arguing that the development of black culture in the Americas arid Europe is a historical experience which can be called modern for a number of clear and specific reasons. For Hegel, the dialectic of master and slave was integral to modernity, and Gilroy considers the implications of this idea for a transatlantic culture. In search of a poetics reflecting the politics and history of this culture, he takes us on a transatlantic tour of the music that, for centuries, has transmitted racial messages and feeling around the world, from the Jubilee Singers in the nineteenth century to Jimi Hendrix to rap. He also explores this internationalism as it is manifested in black writing from the "double consciousness" of W. E. B. Du Bois to the "double vision" of Richard Wright to the compelling voice of Toni Morrison.In a final tour de force, Gilroy exposes the shared contours of black and Jewish concepts of diaspora in order both to establish a theoretical basis for healing rifts between blacks and Jews in contemporary culture and to further define the central theme of his book: that blacks have shaped a nationalism, if not a nation, within the shared culture of the black Atlantic.

    State Department unleashed an unexpected tool in its battle against Communism: jazz. From 1956 through the late 1970s, America dispatched its finest jazz musicians to the far corners of the earth, from Iraq to India, from the Congo to the Soviet Union, in order to win the hearts and minds of the Third World and to counter perceptions of American racism.Penny Von Eschen escorts us across the globe, backstage and onstage, as Dizzy Gillespie, Louis Armstrong, Duke Ellington, and other jazz luminaries spread their music and their ideas further than the State Department anticipated. Both in concert and after hours, through political statements and romantic liaisons, these musicians broke through the government's official narrative and gave their audiences an unprecedented vision of the black American experience. In the process, new collaborations developed between Americans and the formerly colonized peoples of Africa, Asia, and the Middle East--collaborations that fostered greater racial pride and solidarity.Though intended as a color-blind promotion of democracy, this unique Cold War strategy unintentionally demonstrated the essential role of African Americans in U.S. national culture. Through the tales of these tours, Von Eschen captures the fascinating interplay between the efforts of the State Department and the progressive agendas of the artists themselves, as all struggled to redefine a more inclusive and integrated American nation on the world stage.

    Board of Education of Topeka, Kansas," through the growth of strife and conflict in the 1960s to the major issues of the 1990s. harvard Sitkoff offers not only a brilliant interpretation of the personalities and dynamics of the civils-rights organization--SNCC, CORE, NAACP, SCLC, and others--but a superb study of the continuing problems plaguing the African-American population: the future that in 1980 seemed to hold much promise for a better way of life has by the early1990s hardly lived up to expectations. Jim Crow has gone, but, forty years after "Brown," poverty, big-city slums, white backlash, politically and socially conservativepolicies, and prolonged recession have made economic progress for the vast majority of blacks an elusive, perhaps ever more distant goal. All Americans who strove and suffered to make democracy real come vividly to life in these compelling pages.

    King’s speeches on labor rights and economic justice Covering all the civil rights movement highlights--Montgomery, Albany, Birmingham, Selma, Chicago, and Memphis--award-winning historian Michael K. Honey introduces and traces Dr. King's dream of economic equality. Gathered in one volume for the first time, the majority of these speeches will be new to most readers. The collection begins with King's lectures to unions in the 1960s and includes his addresses made during his Poor People's Campaign, culminating with his momentous "Mountaintop" speech, delivered in support of striking black sanitation workers in Memphis. Unprecedented and timely, "All Labor Has Dignity" will more fully restore our understanding of King's lasting vision of economic justice, bringing his demand for equality right into the present.

    In Black Noise: Rap Music and Black Culture in Contemporary America, Tricia Rose, described by the New York Times as a "hip hop theorist," takes a comprehensive look at the lyrics, music, cultures, themes, and styles of this highly rhythmic, rhymed storytelling and grapples with the most salient issues and debates that surround it.Assistant Professor of Africana Studies and History at New York University, Tricia Rose sorts through rap's multiple voices by exploring its underlying urban cultural politics, particularly the influential New York City rap scene, and discusses rap as a unique musical form in which traditional African-based oral traditions fuse with cutting-edge music technologies. Next she takes up rap's racial politics, its sharp criticisms of the police and the government, and the responses of those institutions. Finally, she explores the complex sexual politics of rap, including questions of misogyny, sexual domination, and female rappers' critiques of men.But these debates do not overshadow rappers' own words and thoughts. Rose also closely examines the lyrics and videos for songs by artists such as Public Enemy, KRS-One, Salt N' Pepa, MC Lyte, and L. L. Cool J. and draws on candid interviews with Queen Latifah, music producer Eric "Vietnam" Sadler, dancer Crazy Legs, and others to paint the full range of rap's political and aesthetic spectrum. In the end, Rose observes, rap music remains a vibrant force with its own aesthetic, "a noisy and powerful element of contemporary American popular culture which continues to draw a great deal of attention to itself."

    Rosa Parks was often described as a sweet and reticent elderly woman whose tired feet caused her to defy segregation on Montgomery’s city buses, and whose supposedly solitary, spontaneous act sparked the 1955 bus boycott that gave birth to the civil rights movement. The truth of who Rosa Parks was and what really lay beneath the 1955 boycott is far different from anything previously written. In this important book, Danielle McGuire writes about the rape in 1944 of a twenty-four-year-old mother and sharecropper, Recy Taylor, who strolled toward home after an evening of singing and praying at the Rock Hill Holiness Church in Abbeville, Alabama. Seven white men, armed with knives and shotguns, ordered the young woman into their green Chevrolet, raped her, and left her for dead. The president of the local NAACP branch office sent his best investigator and organizer—Rosa Parks—to Abbeville. In taking on this case, Parks launched a movement that exposed a ritualized history of sexual assault against black women and added fire to the growing call for change.

    Today he’s chair of their School of the Arts film division. Jamal Joseph’s personal odyssey—from the streets of Harlem to Riker’s Island and Leavenworth to the halls of Columbia—is as gripping as it is inspiring.Eddie Joseph was a high school honor student, slated to graduate early and begin college. But this was the late 1960s in Bronx’s black ghetto, and fifteen-year-old Eddie was introduced to the tenets of the Black Panther Party, which was just gaining a national foothold. By sixteen, his devotion to the cause landed him in prison on the infamous Rikers Island—charged with conspiracy as one of the Panther 21 in one of the most emblematic criminal cases of the sixties. When exonerated, Eddie—now called Jamal—became the youngest spokesperson and leader of the Panthers’ New York chapter.He joined the “revolutionary underground,” later landing back in prison. Sentenced to more than twelve years in Leavenworth, he earned three degrees there and found a new calling. He is now chair of Columbia University’s School of the Arts film division—the very school he exhorted students to burn down during one of his most famous speeches as a Panther.In raw, powerful prose, Jamal Joseph helps us understand what it meant to be a soldier inside the militant Black Panther movement. He recounts a harrowing, sometimes deadly imprisonment as he charts his path to manhood in a book filled with equal parts rage, despair, and hope.

    This anthology contains some of the African-American rights advocate's most noted writings and speeches, including "Declaration of the Rights of the Negro Peoples of the World" and "Africa for the Africans."Marcus Mosiah Garvey was a Jamaican political leader, publisher, journalist, entrepreneur, and orator who was a staunch proponent of the Black Nationalism and Pan-Africanism movements, to which end he founded the Universal Negro Improvement Association and African Communities League (UNIA-ACL). He also founded the Black Star Line, a shipping and passenger line which promoted the return of the African diaspora to their ancestral lands.

    on December 4, 1969, and attorney Jeff Haas is in a police lockup in Chicago, interviewing Fred Hampton’s fiancée. She is describing how the police pulled her from the room as Fred lay unconscious on their bed. She heard one officer say, “He’s still alive.” She then heard two shots. A second officer said, “He’s good and dead now.” She looks at Jeff and asks, “What can you do?”The Assassination of Fred Hampton is Haas’s personal account of how he and People’s Law Office partner Flint Taylor pursued Hampton’s assassins, ultimately prevailing over unlimited government resources and FBI conspiracy. Not only a story of justice delivered, the book puts Hampton in a new light as a dynamic community leader and an inspiration in the fight against injustice.

    A firebrand who straddled both the American civil rights and Black Power movements, Carmichael would stand for the rest of his life at the center of the storm he had unleashed that night. In Stokely, preeminent civil rights scholar Peniel E. Joseph presents a groundbreaking biography of Carmichael, using his life as a prism through which to view the transformative African American freedom struggles of the twentieth century. During the heroic early years of the civil rights movement, Carmichael and other civil rights activists advocated nonviolent measures, leading sit-ins, demonstrations, and voter registration efforts in the South that culminated with the passage of the Voting Rights Act in 1965. Still, Carmichael chafed at the slow progress of the civil rights movement and responded with Black Power, a movement that urged blacks to turn the rhetoric of freedom into a reality through whatever means necessary. Marked by the assassinations of Malcolm X and Martin Luther King, Jr., a wave of urban race riots, and the rise of the anti-war movement, the late 1960s heralded a dramatic shift in the tone of civil rights. Carmichael became the revolutionary icon for this new racial and political landscape, helping to organize the original Black Panther Party in Alabama and joining the iconic Black Panther Party for Self Defense that would galvanize frustrated African Americans and ignite a backlash among white Americans and the mainstream media. Yet at the age of twenty-seven, Carmichael made the abrupt decision to leave the United States, embracing a pan-African ideology and adopting the name of Kwame Ture, a move that baffled his supporters and made him something of an enigma until his death in 1998.A nuanced and authoritative portrait, Stokely captures the life of the man whose uncompromising vision defined political radicalism and provoked a national reckoning on race and democracy.

    It covers an incredible range of topics and offers fresh insights on nearly every page... the author's great gift is his ability to penetrate the minds of both slaves and masters, revealing not only how they viewed themselves and each other, but also how they contradictory perceptions interacted.

    With record-collector zeal, Cook analyzes everything from Sidney Bechet's 78s to Norah Jones' recent chart-topper.

    . . . Not many scholars will ever be able to achieve the kind of synthesis of 'doing' and 'writing about' their subject matter that Chernoff has achieved, but he has given us an excellent illustration of what is possible."—Chet Creider, Culture"Chernoff develops a brilliant and penetrating musicological essay that is, at the same time, an intensely personal and even touching account of musical and cultural discovery that anyone with an interest in Africa can and should read. . . . No other writing comes close to approaching Chernoff's ability to convey a feeling of how African music 'works'"—James Koetting, Africana Journal"Four stars. One of the few books I know of that talks of the political, social, and spiritual meanings of music. I was moved. It was so nice I read it twice."—David Byrne of "Talking Heads"The companion cassette tape has 44 examples of the music discussed in the book. It consists of field recordings illustrating cross-rhythms, multiple meters, call and response forms, etc.