Leroi Jones Black Music

  leroi jones black music: Black Music Amiri Baraka, 1967 Discusses modern jazz movements and musicians, including Ornette Coleman, John Coltrane, Sonny Rollins, Cecil Taylor, Eric Dolphy, Archie Shepp, and Sun-Ra.
  leroi jones black music: Digging Amiri Baraka, 2009-05-26 For almost half a century, Amiri Baraka has ranked among the most important commentators on African American music and culture. In this brilliant assemblage of his writings on music, the first such collection in nearly twenty years, Baraka blends autobiography, history, musical analysis, and political commentary to recall the sounds, people, times, and places he's encountered. As in his earlier classics, Blues People and Black Music, Baraka offers essays on the famous—Max Roach, Charlie Parker, Miles Davis, John Coltrane—and on those whose names are known mainly by jazz aficionados—Alan Shorter, Jon Jang, and Malachi Thompson. Baraka's literary style, with its deep roots in poetry, makes palpable his love and respect for his jazz musician friends. His energy and enthusiasm show us again how much Coltrane, Albert Ayler, and the others he lovingly considers mattered. He brings home to us how music itself matters, and how musicians carry and extend that knowledge from generation to generation, providing us, their listeners, with a sense of meaning and belonging.
  leroi jones black music: Race Music Guthrie P. Ramsey, 2004-11-22 Covering the vast and various terrain of African American music, this text begins with an account of the author's own musical experiences with family and friends on the South Side of Chicago. It goes on to explore the global influence and social relevance of African American music.
  leroi jones black music: In The Break Fred Moten, 2003-04-09 Investigates the connections between jazz, sexual identity, and radical black politics In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on “The Burton Greene Affair,” exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance—culture, politics, sexuality, identity, and blackness itself—is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten’s concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, Moten’s wide-ranging discussion embraces a variety of disciplines—semiotics, deconstruction, genre theory, social history, and psychoanalysis—to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten’s ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition
  leroi jones black music: Tales of the Out & the Gone Amiri Baraka, 2009-12-01 Controversial literary legend Amiri Baraka's new short story collection will shock and awe.
  leroi jones black music: Lunch Poems Frank O'Hara, 2014-06-10 Celebrate the 50th Anniversary of Frank O'Hara's Lunch Poems Lunch Poems, first published in 1964 by City Lights Books as number nineteen in the Pocket Poets series, is widely considered to be Frank O'Hara's freshest and most accomplished collection of poetry. Edited by the poet in collaboration with Lawrence Ferlinghetti and Donald Allen, who had published O'Hara's poems in his monumental The New American Poetry in 1960, it contains some of the poet's best known works including The Day Lady Died, Ave Maria and Poem Lana Turner has collapsed ]. This new limited 50th anniversary edition contains a preface by John Ashbery and an editor's note by City Lights publisher Lawrence Ferlinghetti, along with facsimile reproductions of a selection of previously unpublished correspondence between Ferlinghetti and O'Hara that shed new light on the preparation of Lunch. Frank O'Hara's Lunch Poems, the little black dress of American poetry books, redolent of cocktails and cigarettes and theater tickets and phonograph records, turns 50 this year. It seems barely to have aged . . . This is a book worth imbibing again, especially if you live in Manhattan, but really if you're awake and curious anywhere. O'Hara speaks directly across the decades to our hopes and fears and especially our delights; his lines are as intimate as a telephone call. Few books of his era show less age.--Dwight Garner, The New York Times City Lights' new reissue of the slim volume includes a clutch of correspondence between O'Hara and Lawrence Ferlinghetti . . . in which the two poets hash out the details of the book's publication: which poems to consider, their order, the dedication, and even the title. 'Do you still like the title Lunch Poems?' O'Hara asks Ferlinghetti. 'I wonder if it doesn't sound too much like an echo of Reality Sandwiches or Meat Science Essays.' 'What the hell, ' Ferlinghetti replies, 'so we'll have to change the name of City Lights to Lunch Counter Press.'--Nicole Rudick, The Paris Review Frank O'Hara's famed collection was first published in 1964, and, to mark the fiftieth anniversary, City Lights is printing a special edition.--The New Yorker The volume has never gone out of print, in part because O'Hara expresses himself in the same way modern Americans do: Like many of us, he tries to overcome the absurdity and loneliness of modern life by addressing an audience of anonymous others.--Micah Mattix, The Atlantic I hope that everyone will delight in the new edition of Frank's Lunch Poems. The correspondence between Lawrence and Frank is great. Frank was just 33 when he wrote to Lawrence in 1959 and 38 when LUNCH POEMS was published The fact that City Lights kept Frank's LUNCH POEMS in print all these years has been extraordinary, wonderful and a constant comfort. Hurray for independent publishers and independent bookstores. Many thanks always to Lawrence Ferlinghetti and everyone at City Lights.--Maureen O'Hara, sister of Frank O'Hara Frank O'Hara's Lunch Poems--which has just been reissued in a 50th anniversary hardcover edition--recalls a world of pop art, political and cultural upheaval and (in its own way) a surprising innocence.--David Ulin, Los Angeles Times
  leroi jones black music: Black Music LeRoi Jones, 2010-01-01 The essential collection of jazz writing by the celebrated poet and author of Blues People—reissued with a new introduction by the author. In the 1960s, LeRoi Jones—who would later be known as Amiri Baraka—was a pioneering jazz critic, articulating in real time the incredible transformations of the form taking place in the clubs and coffee houses of New York City. In Black Music, he sheds light on the brilliant young jazz musicians of the day: John Coltrane, Thelonious Monk, Miles Davis, Ornette Coleman, Cecil Taylor, Archie Shepp, Sun Ra, and others. Combining firsthand immediacy with wide-ranging erudition, Black Music articulates the complexities of modern jazz while also sharing insights on the nature of jazz criticism, the creative process, and the development of a new way forward for black artists. This rich and vital collection is comprised of essays, reviews, interviews, liner notes, musical analyses, and personal impressions from 1959–1967. “In Black Music, Baraka wrote with ecstasy—highly informed and intricate—about ecstatically complex music.”—Richard Brody, The New Yorker
  leroi jones black music: The Fiction of Leroi Jones/Amiri Baraka Amiri Baraka, 2000 For the first time under one cover, then, here is the collected fiction of one of America's greatest writers.--BOOK JACKET.
  leroi jones black music: Home; Social Essays Amiri Baraka, 1966
  leroi jones black music: The Autobiography of LeRoi Jones Amiri Baraka, 2012-04-01 The complete autobiography of a literary legend.
  leroi jones black music: Tales Amiri Baraka, 2016-02-16 “A clutch of early stories from the poet, playwright, and provocateur, infused with jazz and informed by racial alienation” (Kirkus Reviews). “Baraka was, without question, the central figure of the Black Arts Movement, and was the most important theorist of that movement’s expression of the ‘Black Aesthetic,’ which took hold of the African American cultural imagination in earnest in the late sixties. While known primarily for his plays, poems, and criticism of black music, Baraka was also a master of the short story form, as this collection attests. Tales first appeared in 1967 and is an impressionistic and sometimes surrealistic collection of short fiction, showcasing Amiri Baraka’s great impact on African American literature of the 1950s and 1960s. Tales is a critical volume in Amiri Baraka’s oeuvre, and an important testament to his remarkable literary legacy.” —Henry Louis Gates Jr. The sixteen artful and nuanced stories in this reissue of Amiri Baraka’s seminal 1967 collection fall into two parts: the first nine concern themselves with the sensibility of a hip, perceptive young black man in white America. The last seven stories endeavor to place that same man within the context of his awareness of and participation in a rapidly emerging and powerfully felt negritude. They deal, it might be said, with the black man in black America. Yet these tales are not social tracts, but absolutely masterful fiction—provocative, witty, and, at times, bitter and aggressive.
  leroi jones black music: S O S Amiri Baraka, 2014 A New York Times Editors' Choice One of the New York Times Book Review's 100 Notable Books Fusing the personal and the political in high-voltage verse, Amiri Baraka--whose long illumination of the black experience in America was called incandescent in some quarters and incendiary in others (New York Times)--was one of the preeminent literary innovators of the past century. Selected by Paul Vangelisti, this volume comprises the fullest spectrum of Baraka's rousing, revolutionary poems, from his first collection to previously unpublished pieces composed during his final years. Throughout Baraka's career as a prolific writer (also published as LeRoi Jones), he was vehemently outspoken against oppression of African American citizens, and he radically altered the discourse surrounding racial inequality. The environments and social values that inspired his poetics changed during the course of his life, a trajectory that can be traced in this retrospective spanning more than five decades of profoundly evolving subjects and techniques. Praised for its lyricism and introspection, his early poetry emerged from the Beat generation, while his later writing is marked by intensely rebellious fervor and subversive ideology. All along, his primary focus was on how to live and love in the present moment despite the enduring difficulties of human history.
  leroi jones black music: Selected Poetry of Amiri Baraka/LeRoi Jones Amiri Baraka, 1979 Containing these poems which the author most wants to preserve, this volume summarizes the career to date of the man who has been called the father of modern black poetry. It confirms Amiri Baraka as one of the major figures of contemporary American poetry.
  leroi jones black music: Black Fire Imamu Amiri Baraka, 1971
  leroi jones black music: Amiri Baraka Jerry Watts, 2001-08-01 Amiri Baraka, formerly known as LeRoi Jones, became known as one of the most militant, anti-white black nationalists of the 1960s Black Power movement. An advocate of Black Cultural Nationalism, Baraka supported the rejection of all things white and western. He helped found and direct the influential Black Arts movement which sought to move black writers away from western aesthetic sensibilities and toward a more complete embrace of the black world. Except perhaps for James Baldwin, no single figure has had more of an impact on black intellectual and artistic life during the last forty years. In this groundbreaking and comprehensive study, the first to interweave Baraka's art and political activities, Jerry Watts takes us from his early immersion in the New York scene through the most dynamic period in the life and work of this controversial figure. Watts situates Baraka within the various worlds through which he travelled including Beat Bohemia, Marxist-Leninism, and Black Nationalism. In the process, he convincingly demonstrates how the 25 years between Baraka's emergence in 1960 and his continued influence in the mid-1980s can also be read as a general commentary on the condition of black intellectuals during the same time. Continually using Baraka as the focal point for a broader analysis, Watts illustrates the link between Baraka's life and the lives of other black writers trying to realize their artistic ambitions, and contrasts him with other key political intellectuals of the time. In a chapter sure to prove controversial, Watts links Baraka's famous misogyny to an attempt to bury his own homosexual past. A work of extraordinary breadth, Amira Baraka is a powerful portrait of one man's lifework and the pivotal time it represents in African-American history. Informed by a wealth of original research, it fills a crucial gap in the lively literature on black thought and history and will continue to be a touchstone work for some time to come.
  leroi jones black music: Raise, Race, Rays, Raze Amiri Baraka, 1971 This book contains essays on race relations in America since 1965.
  leroi jones black music: Beautiful Enemies Andrew Epstein, 2006-09-21 Although it has long been commonplace to imagine the archetypal American poet singing a solitary Song of Myself, much of the most enduring American poetry has actually been preoccupied with the drama of friendship. In this lucid and absorbing study, Andrew Epstein argues that an obsession with both the pleasures and problems of friendship erupts in the New American Poetry that emerges after the Second World War. By focusing on some of the most significant postmodernist American poets--the New York School poets John Ashbery, Frank O'Hara, and their close contemporary Amiri Baraka--Beautiful Enemies reveals a fundamental paradox at the heart of postwar American poetry and culture: the avant-garde's commitment to individualism and nonconformity runs directly counter to its own valorization of community and collaboration. In fact, Epstein demonstrates that the clash between friendship and nonconformity complicates the legendary alliances forged by postwar poets, becomes a predominant theme in the poetry they created, and leaves contemporary writers with a complicated legacy to negotiate. Rather than simply celebrating friendship and poetic community as nurturing and inspiring, these poets represent friendship as a kind of exhilarating, maddening contradiction, a site of attraction and repulsion, affinity and rivalry. Challenging both the reductive critiques of American individualism and the idealized, heavily biographical celebrations of literary camaraderie one finds in much critical discussion, this book provides a new interpretation of the peculiar dynamics of American avant-garde poetic communities and the role of the individual within them. By situating his extensive and revealing readings of these highly influential poets against the backdrop of Cold War cultural politics and within the context of American pragmatist thought, Epstein uncovers the collision between radical self-reliance and the siren call of the interpersonal at the core of postwar American poetry.
  leroi jones black music: Black Music. LeRoi Jones (pseud.). Amiri Baraka, 1967
  leroi jones black music: Transbluesency Amiri Baraka, 1995 A selection from Baraka's mostly out-of-print collecions of poetry, from 1961 to the present.
  leroi jones black music: Everything Is Cinema Richard Brody, 2008-05-13 From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a serious-minded and meticulously detailed . . . account of the lifelong artistic journey of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.
  leroi jones black music: Freedom Sounds Ingrid Monson, 2007-10-18 An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.
  leroi jones black music: Ugly Beauty: Jazz in the 21st Century Philip Freeman, 2022-01-28 What does jazz mean 20 years into the 21st century? Has streaming culture rendered music literally meaningless, thanks to the removal of all context beyond the playlist? Are there any traditions left to explore? Has the destruction of the apprenticeship model (young musicians learning from their elders) changed the music irrevocably? Are any sounds off limits? How far out can you go and still call it jazz? Or should the term be retired? These questions, and many more, are answered in Ugly Beauty, as Phil Freeman digs through his own experiences and conversations with present-day players. Jazz has never seemed as vital as it does right now, and has a genuine role to play in 21st-century culture, particularly in the US and the UK.
  leroi jones black music: Preface to a Twenty Volume Suicide Note... LeRoi Jones, 1969
  leroi jones black music: The Dead Lecturer Amiri Baraka, 1964 Published under the author's earlier name: LeRoi Jones.
  leroi jones black music: Now Dig This! Kellie Jones, 2011 This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works.
  leroi jones black music: Elvis in Vegas Richard Zoglin, 2020-11-10 *The inspiration for the CNN original series Vegas: The Story of Sin City* “Outstanding pop-culture history.” —Newsday The “smart and zippy account” (The Wall Street Journal) of how Las Vegas saved Elvis and Elvis saved Las Vegas in the greatest musical comeback of all time. Elvis’s 1969 opening night in Vegas was his first time back on a live stage in more than eight years. His career had gone sour—bad movies, mediocre pop songs that no longer made the charts—and he’d been dismissed by most critics as over-the-hill. But in Vegas he played the biggest showroom in the biggest hotel in the city, drawing more people for his four-week engagement than any other show in Vegas history. His performance got rave reviews; “Suspicious Minds,” the song he introduced there, gave him his first number-one hit in seven years; and Elvis became Vegas’s biggest star. Over the next seven years, he performed more than 600 shows there, and sold out every one. Las Vegas was changed, too. By the end of the ‘60s, Vegas’ golden age—when the Rat Pack led a glittering array of stars who made it the nation’s premier live-entertainment center—was losing its luster. Elvis created a new kind of Vegas show: an over-the-top, rock-concert extravaganza. He set a new bar for Vegas performers, with the biggest salary, the biggest musical production, and the biggest promotion campaign the city had ever seen. He opened the door to a new generation of pop/rock artists and brought a new audience to Vegas—not the traditional well-heeled older gamblers, but a mass audience from Middle America that Vegas depends on for its success to this day. At once “a fascinating history of Vegas as gambling capital, celebrity playground, mob hangout, [and] entertainment Valhalla” (Rolling Stone) and the incredible “tale of how the King got his groove back” (Associated Press), Elvis in Vegas is a classic feel-good story for the ages.
  leroi jones black music: EyeMinded Kellie Jones, Amiri Baraka, 2011-05-27 Selections of writing by the influential art critic and curator Kellie Jones reveal her role in bringing attention to the work of African American, African, Latin American, and women artists.
  leroi jones black music: Four Lives in the Bebop Business A. B. Spellman, 1985 Score
  leroi jones black music: Four Black Revolutionary Plays LeRoi Jones, 1971
  leroi jones black music: Blues People Amiri Baraka, 1995 This study attempts to place jazz and the blues within the context of American social history. The author, Leroi Jones - also known as the poet Amiri Baraka - combines a knowledge of black American culture with his direct contact with many of the musicians who have provided the backbone to this vital strand of American 20th-century culture.
  leroi jones black music: The LeRoi Jones/Amiri Baraka Reader Imamu Amiri Baraka, William J. Harris, 1991 Amiri Baraka-dramatist, poet, essayist, orator, & fiction writer-is perhaps the preeminent African-American literary figure of our time. Yet, until now, it has been impossible to find the full range of his work represented in one volume. The LeRoi Jones/Amiri Baraka Reader provides the most comprehensive selection of Baraka's work to date, spanning more than thirty years of a brilliant, prolific, & controversial career in which he has produced a dozen books of poetry, twenty-six plays, eight collections of essays & speeches, & two books of fiction. This essential anthology also contains previously unpublished work-including essays on Jesse Jackson & James Baldwin-as well as a chronology & a full bibliography. The LeRoi Jones/Amiri Baraka Reader includes poems from Preface to a Twenty Volume Suicide Note, The Dead Lecturer, Black Magic, Hard Facts, It's Nation Time, & Poetry for the Advanced; the plays Dutchman, Great Goodness of Life, & What Was the Relationship of the Lone Ranger to the Means of Production?; essays from Blues People, Social Essays, Black Music, Daggers & Javelins, & The Music: Reflections on Jazz & Blues; & much, much more.
  leroi jones black music: Mo' Meta Blues Ahmir "Questlove" Thompson, Ben Greenman, 2015-05-12 You have to bear in mind that [Questlove] is one of the smartest motherf*****s on the planet. His musical knowledge, for all practical purposes, is limitless. --Robert Christgau A punch-drunk memoir in which Everyone's Favorite Questlove tells his own story while tackling some of the lates, the greats, the fakes, the philosophers, the heavyweights, and the true originals of the music world. He digs deep into the album cuts of his life and unearths some pivotal moments in black art, hip hop, and pop culture. Ahmir Questlove Thompson is many things: virtuoso drummer, producer, arranger, Late Night with Jimmy Fallon bandleader, DJ, composer, and tireless Tweeter. He is one of our most ubiquitous cultural tastemakers, and in this, his first book, he reveals his own formative experiences--from growing up in 1970s West Philly as the son of a 1950s doo-wop singer, to finding his own way through the music world and ultimately co-founding and rising up with the Roots, a.k.a., the last hip hop band on Earth. Mo' Meta Blues also has some (many) random (or not) musings about the state of hip hop, the state of music criticism, the state of statements, as well as a plethora of run-ins with celebrities, idols, and fellow artists, from Stevie Wonder to KISS to D'Angelo to Jay-Z to Dave Chappelle to...you ever seen Prince roller-skate?!? But Mo' Meta Blues isn't just a memoir. It's a dialogue about the nature of memory and the idea of a post-modern black man saddled with some post-modern blues. It's a book that questions what a book like Mo' Meta Blues really is. It's the side wind of a one-of-a-kind mind. It's a rare gift that gives as well as takes. It's a record that keeps going around and around.
  leroi jones black music: Somebody Blew Up America & Other Poems Amiri Baraka, 2014 The publication of Amiri Baraka's SOMEBODY BLEW UP AMERICA & OTHER POEMS makes one more mark in the development in modern Black radical & revolutionary cultural reconstruction... Readers of course will want as quick as possible to read for them-self the now controversial title poem..., but check-out, among the others, In Town'--pure-pure dark post-Plantation molasses...--Kamau Brathwaite Poetry. African American Studies. Fifth printing.
  leroi jones black music: New Black Music Jeff Schwartz, 2004
  leroi jones black music: Groove Theory Tony Bolden, 2020-10-21 Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. In part one of this two-part book, Bolden undertakes a theoretical examination of the development of funk and the historical conditions in which black artists reimagined their music. In part two, he provides historical and biographical studies of key funk artists, all of whom transfigured elements of blues tradition into new styles and visions. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.
  leroi jones black music: Black Music LeRoi Jones (Amiri Baraka), 2010-01-01 Discusses modern jazz movements and musicians, including Ornette Coleman, John Coltrane, Sonny Rollins, Cecil Taylor, Eric Dolphy, Archie Shepp, and Sun-Ra.
  leroi jones black music: Black Power Charles V. Hamilton, Kwame Ture, 1992-11-10 An eloquent document of the civil rights movement that remains a work of profound social relevance 50 years after it was first published. A revolutionary work since its publication, Black Power exposed the depths of systemic racism in this country and provided a radical political framework for reform: true and lasting social change would only be accomplished through unity among African-Americans and their independence from the preexisting order.
  leroi jones black music: Dutchman Imamu Amiri Baraka, 1967
  leroi jones black music: Digging Amiri Baraka, 2009 As a commentator on American music, and African American music in particular, Baraka occupies a unique niche. His intelligence, critical sense, passion, strong political stances, involvement with musicians and in the musical world, as well as in his community, give his work a quality unlike any other. As a reviewer and as someone inside the movement, he writes powerfully about music as few others can or do.—Steven L. Isoardi, author of Central Avenue Sounds: Jazz in Los Angeles Every jazz musician who has endured beyond changing fashions and warring cultures has had a signature sound. Amiri Baraka—from the very beginning of his challenging, fiery presence on the jazz scene—has brought probing light, between his off-putting thunderclaps, on what is indeed America's classical music. I sometimes disagree insistently with Amiri, and it's mutual; but when he gets past his parochial pyrotechnics, as in choruses in this book, he brings you into the life force of this music.—Nat Hentoff, author of The Jazz Life
  leroi jones black music: It's Nation Time Amiri Baraka, 1970
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To provide a better shopping experience, our website uses cookies. Continuing use of the site implies …

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Leroi, Le Roi or Roi is a French given name and surname of Norman origin. Coat of arms of Le Roy, Normandy. Bibliothèque nationale de France. In …

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Discover your style with LeRoi, where streetwear meets elegance. Inspired by the energy of the streets, LeRoi combines urban edge with refined …

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