DOCSLIB.ORG

Encyclopedia of African American Music Advisory Board

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Encyclopedia of African American Music Advisory Board Encyclopedia of African American Music Advisory Board James Abbington, DMA Associate Professor of Church Music and Worship Candler School of Theology, Emory University William C. Banfield, DMA Professor of Africana Studies, Music, and Society Berklee College of Music Johann Buis, DA Associate Professor of Music History Wheaton College Eileen M. Hayes, PhD Associate Professor of Ethnomusicology College of Music, University of North Texas Cheryl L. Keyes, PhD Professor of Ethnomusicology University of California, Los Angeles Portia K. Maultsby, PhD Professor of Folklore and Ethnomusicology Director of the Archives of African American Music and Culture Indiana University, Bloomington Ingrid Monson, PhD Quincy Jones Professor of African American Music Harvard University Guthrie P. Ramsey, Jr., PhD Edmund J. and Louise W. Kahn Term Professor of Music University of Pennsylvania Encyclopedia of African American Music Volume 1: A–G Emmett G. Price III, Executive Editor Tammy L. Kernodle and Horace J. Maxile, Jr., Associate Editors Copyright 2011 by Emmett G. Price III, Tammy L. Kernodle, and Horace J. Maxile, Jr. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Encyclopedia of African American music / Emmett G. Price III, executive editor ; Tammy L. Kernodle and Horace J. Maxile, Jr., associate editors. p. cm. Includes bibliographical references and index. ISBN 978-0-313-34199-1 (set hard copy : alk. paper) — ISBN 978-0-313-34200-4 (set ebook) — ISBN 978-0-313-34201-1 (volume 1 hard copy : alk. paper) — ISBN 978-0- 313-34202-8 (volume 1 ebook) — ISBN 978-0-313-34203-5 (volume 2 hard copy : alk. paper) — ISBN 978-0-313-34204-2 (volume 2 ebook) — ISBN 978-0-313-34205-9 (volume 3 hard copy : alk. paper) — ISBN 978-0-313-34206-6 (volume 3 ebook) 1. African Americans—Music—Encyclopedias. I. Price, Emmett George. ML101.U6.E53 2011 780.89096073003—dc22 2010039693 ISBN: 978-0-313-34199-1 EISBN: 978-0-313-34200-4 15 14 13 12 11 1 2 3 4 5 This book is also available on the World Wide Web as an eBook. Visit www.abc-clio.com for details. Greenwood An Imprint of ABC-CLIO, LLC ABC-CLIO, LLC 130 Cremona Drive, P.O. Box 1911 Santa Barbara, California 93116-1911 This book is printed on acid-free paper Manufactured in the United States of America Contents Alphabetical List of Entries vii Topical List of Entries xiii Acknowledgments xxvii Introduction xxxi A Timeline of Significant Moments in African American Music xxxv Entries A–Z 1 Appendix 1. Significant Compositions by African American Concert, Jazz, and Gospel Composers 1015 Appendix 2. Significant Music Videos of African American Music 1023 Appendix 3. Major Archives, Research Centers, and Web Sites for African American Music 1031 A Selected Bibliography of Resources and Reference Works in African American Music 1039 A Selected Bibliography of African American Music: Genre Specific, 1989–2010 1059 About the Editors and Contributors 1071 Index 1089 This page intentionally left blank Alphabetical List of Entries Acid Jazz. See Jazz Basie, Count (1904–1984) Adams, Alton Augustus (1889–1987) Battle, Kathleen (1948– ) Adams, Yolanda (1961– ) Beach Music Adderley, Cannonball (1928–1975) Beale Street African Influences Bebop. See Jazz Afrofuturism Bechet, Sidney (1897–1959) Allen, Richard (1760–1831) Belafonte, Harry (1927– ) Allen, William Duncan (1906–1999) Berry, Chuck (1926– ) Alston, Lettie Beckon (1953– ) Big Bands American Federation of Musicians, The Black Arts Movement Anderson, Marian (1902–1993) Black Church Music—History Antebellum Period (1784–1860) Black Church Music—Hymnists and Antiphony (Call and Response) Psalmists Appropriation of African American Black Rock Music Music Black-Owned Music Publishing Armstrong, Louis (1900–1971) Companies Associations. See Organizations and Black-Owned Record Labels Associations for African American Blake, Eubie (ca. 1883–1983) Music and Musicians Blakey, Art (1919–1990) Atlanta Symphony Orchestra. See Blind Boys of Alabama Concert Music—Conductors Blues and Performers Blues Revival. See Blues Badu, Erykah (1971– ) Boogie-Woogie Bailey, DeFord (1899–1982) Booker T. and the MGs Baiocchi, Regina Harris (1956– ) Boyer, Horace Clarence (1935–2009) Baker, Lavern (1928–1997) Boys’ Choir Movement, The. See Bambaataa, Afrika (1960– ) Educators, Schools, Colleges, and Banfield, William C. (1961– ) Universities Banjo Brass Bands viii | Alphabetical List of Entries Brown, James (1933–2006) Cox, Ida (1896–1967) Brown, Oscar, Jr. (1926–2005) Cube, Ice (1969– ) Brown, William Albert (1938–2004) Dance and Music Caesar, Shirley (1939– ) Dance Halls. See Popular Venues Calloway, Cab (1907–1994) (Cafe Society, Nightclubs, and Camp Meeting Songs Dance Halls) Carter, Betty (1929–1998) Davis, Miles (1926–1991) Charles, Ray (1930–2004) Davis, Rev. Gary (1896–1972) Charleston, South Carolina, and Davis, Sammy, Jr. (1925–1990) Surrounding Areas Dawson, William Levi (1899–1990) Chenier, Clifton (1925–1987) Delta Blues/Country Blues. See Blues Chicago Blues. See Blues Detroit, Michigan Chicago, Illinois Detroit Symphony. See Concert Chicago Renaissance. See Renaissance, Music—Conductors and Performers Chicago: 1935–1950 Diddley, Bo (1928–2008) Church Music. See Black Church Diddy (1969– ) Music—History; Black Church Disco Music—Hymnists and Psalmists Dixie Hummingbirds Civil Rights Movement Music Dixieland Jazz. See Jazz Classic Blues. See Blues Dixon, Willie James (1915–1992) Classical Music. See Concert Domino, Fats (1928– ) Music—Composers and Doo-Wop Repertoire; Concert Music— Dorsey, Thomas A. Conductors and Performers; Opera (1899–1993) Cleveland, James (1932–1991) Dre, Dr. (1965– ) Clinton, George (1940– ) Drifters, The Cole, Nat King (1919–1965) Eckstine, Billy (1914–1993) Coleman, Ornette (1930– ) Edmonds, Kenneth ‘‘Babyface’’ Colleges and Universities. See Educators, (1959– ) Schools, Colleges, and Universities; Educators, Schools, Colleges, and Historically Black Colleges and Universities Universities (HBCUs) Ellington, Duke (1899–1974) Coltrane, John (1926–1967) Elliott, Missy (1971– ) Concert Music—Composers and European Reception of Jazz. See Jazz Repertoire Experimental Music Concert Music—Conductors and Female Impersonators. See Performers Transgendered Performers Congo Square Field Hollers Cooke, Sam (1931–1964) Fife and Drum Cool Jazz. See Jazz Fitzgerald, Ella (1917–1996) Cooper, William Benjamin (1920–1993) Flack, Roberta (1937– ) Country Blues. See Blues Floyd, Samuel A., Jr. (1937– ) Country Music Franklin, Aretha (1942– ) Covers of African American Music. Free Jazz. See Jazz See Appropriation of African Funk American Music Game Songs Alphabetical List of Entries | ix Gangsta Rap. See Rap Music Hymns. See Black Church Music— Gaye, Marvin (1939–1984) Hymnists and Psalmists Gillespie, Dizzy (1917–1993) Improvisation Go-Go Ink Spots Gordy, Berry (1929– ) Instruments, Folk Gospel Music Jackson, Mahalia (1911–1972) Gospel Quartets. See Gospel Music Jackson, Michael (1958–2009) Graves, Denyce (1964– ) Jay-Z (1970– ) Green, Al (1946– ) Jazz Griot Jazz Age. See Jazz Hailstork, Adolphus (1941– ) Jefferson, Blind Lemon (1897–1929) Hairston, Jester (1901–2000) Johnson, George W. (ca. 1850–ca. Hampton, Lionel (1909–2002) 1910) Hancock, Herbie (1940– ) Johnson, Robert (1911–1938) Handy, W. C. (1873–1958) Joplin, Scott (1868–1917) Hard Bop. See Jazz Jordan, Louis (1908–1975) Hardcore Rap. See Rap Music Jubilee Singers Harlem Renaissance. See Renaissance, Jump Blues. See Blues Harlem: 1917–1935 Kansas City, Missouri, and the Harris, Corey (1969– ) Territories Hathaway, Donny (1945–1979) Kay, Ulysses (1917–1995) Hawkins, Coleman (1904–1969) Kerr, Thomas (1915–1988) Hawkins, Edwin (1943– ), and the Keys, Alicia (1981– ) Edwin Hawkins Singers King, B. B. (1925– ) Hawkins, Erskine (1914–1993) King, Betty Jackson (1928–1994) Hayes, Isaac (1942–2008) Knowles, Beyonce (1981– ) Henderson, Fletcher (1897–1952) LaBelle, Patti (1944– ) Hendrix, Jimi (1942–1970) Lane, William Henry (Master Juba) Hinderas, Natalie (1927–1987) (1825–1853) Hines, Earl (‘‘Fatha’’) (1905–1983) Latin and Afro-Caribbean Jazz. Hip Hop and Jazz. See Jazz See Jazz Hip Hop Culture Ledbetter, Huddie (Lead Belly) Hip Hop Music. See Rap Music (1889–1949) Historically Black Colleges and Lewis, Henry (1932–1996) Universities (HBCUs) Lewis, John (1920–2001) Holiday, Billie (1915–1959) ‘‘Lining Out’’ Holland, Jonathan Bailey Liston, Melba (1926–1999) (1974– ) Literature on African American Music Hooker, John Lee (1917–2001) Little Richard (1932– ) Horn, Shirley (1934–2005) Los Angeles, California, and the West Horne, Lena (1917–2010) Coast House Music Male Impersonators. See Houston, Whitney (1963– ) Transgendered Performers Humes, Helen (1913–1981) Marching Bands Hunter, Alberta (1895–1984) Marsalis, Branford (1960– ) x | Alphabetical List of Entries Marsalis, Wynton (1961– ) Oliver, King (1885–1938) Martin, Roberta (1907–1969) Opera Mary Mary—Erica Campbell (1972– ) Orchestras, Symphonies, and Chamber and Tina Campbell (1974– ) Ensembles Master P. (1970– ) Organizations and Associations for Mathis, Johnny (1935– ) African American Music and Mayfield, Curtis (1942–1999) Musicians Maynor, Dorothy (1910–1996) Outkast McFerrin, Bobby (1950– ) Parker, Charlie (1920–1955) McRae, Carmen (1920–1994)
Load more

  1267
Copy Link
Recommended publications
  • Black US Army Bands and Their Bandmasters in World War I
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent.
    [Show full text]
  • This Is Chicago
    “You have the right to A global city. do things in Chicago. A world-class university. If you want to start The University of Chicago and its a business, a theater, namesake city are intrinsically linked. In the 1890s, the world’s fair brought millions a newspaper, you can of international visitors to the doorstep of find the space, the our brand new university. The landmark event celebrated diverse perspectives, backing, the audience.” curiosity, and innovation—values advanced Bernie Sahlins, AB’43, by UChicago ever since. co-founder of Today Chicago is a center of global The Second City cultures, worldwide organizations, international commerce, and fine arts. Like UChicago, it’s an intellectual destination, drawing top scholars, companies, entrepre- neurs, and artists who enhance the academic experience of our students. Chicago is our classroom, our gallery, and our home. Welcome to Chicago. Chicago is the sum of its many great parts: 77 community areas and more than 100 neighborhoods. Each block is made up CHicaGO of distinct personalities, local flavors, and vibrant cultures. Woven together by an MOSAIC OF extensive public transportation system, all of Chicago’s wonders are easily accessible PROMONTORY POINT NEIGHBORHOODS to UChicago students. LAKEFRONT HYDE PARK E JACKSON PARK MUSEUM CAMPUS N S BRONZEVILLE OAK STREET BEACH W WASHINGTON PARK WOODLAWN THEATRE DISTRICT MAGNIFICENT MILE CHINATOWN BRIDGEPORT LAKEVIEW LINCOLN PARK HISTORIC STOCKYARDS GREEK TOWN PILSEN WRIGLEYVILLE UKRAINIAN VILLAGE LOGAN SQUARE LITTLE VILLAGE MIDWAY AIRPORT O’HARE AIRPORT OAK PARK PICTURED Seven miles UChicago’s home on the South Where to Go UChicago Connections south of downtown Chicago, Side combines the best aspects n Bookstores: 57th Street, Powell’s, n Nearly 60 percent of Hyde Park features renowned architecture of a world-class city and a Seminary Co-op UChicago faculty and graduate alongside expansive vibrant college town.
    [Show full text]
  • Unobtainium-Vol-1.Pdf
    Unobtainium [noun] - that which cannot be obtained through the usual channels of commerce Boo-Hooray is proud to present Unobtainium, Vol. 1. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We invite you to our space in Manhattan’s Chinatown, where we encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections by appointment or chance. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Please contact us for complete inventories for any and all collections. The Flash, 5 Issues Charles Gatewood, ed. New York and Woodstock: The Flash, 1976-1979. Sizes vary slightly, all at or under 11 ¼ x 16 in. folio. Unpaginated. Each issue in very good condition, minor edgewear. Issues include Vol. 1 no. 1 [not numbered], Vol. 1 no. 4 [not numbered], Vol. 1 Issue 5, Vol. 2 no. 1. and Vol. 2 no. 2. Five issues of underground photographer and artist Charles Gatewood’s irregularly published photography paper. Issues feature work by the Lower East Side counterculture crowd Gatewood associated with, including George W. Gardner, Elaine Mayes, Ramon Muxter, Marcia Resnick, Toby Old, tattooist Spider Webb, author Marco Vassi, and more.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Immigration and Restaurants in Chicago During the Era of Chinese Exclusion, 1893-1933
    University of South Carolina Scholar Commons Theses and Dissertations Summer 2019 Exclusive Dining: Immigration and Restaurants in Chicago during the Era of Chinese Exclusion, 1893-1933 Samuel C. King Follow this and additional works at: https://scholarcommons.sc.edu/etd Recommended Citation King, S. C.(2019). Exclusive Dining: Immigration and Restaurants in Chicago during the Era of Chinese Exclusion, 1893-1933. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5418 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Exclusive Dining: Immigration and Restaurants in Chicago during the Era of Chinese Exclusion, 1893-1933 by Samuel C. King Bachelor of Arts New York University, 2012 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in History College of Arts and Sciences University of South Carolina 2019 Accepted by: Lauren Sklaroff, Major Professor Mark Smith, Committee Member David S. Shields, Committee Member Erica J. Peters, Committee Member Yulian Wu, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School Abstract The central aim of this project is to describe and explicate the process by which the status of Chinese restaurants in the United States underwent a dramatic and complete reversal in American consumer culture between the 1890s and the 1930s. In pursuit of this aim, this research demonstrates the connection that historically existed between restaurants, race, immigration, and foreign affairs during the Chinese Exclusion era.
    [Show full text]
  • AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
    AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s.
    [Show full text]
  • MU/AAS 1103 Co
    MISSISSIPPI STATE UNIVERSITY COLLEGE OF EDUCATION DEPARTMENT of MUSIC COURSE SYLLABUS Course Prefix and Number: MU/AAS 1103 Course Title: African American Music Credit hours: Three (3) semester hours Type of Course: Lecture Catalog Description : Three hours lecture. A study of African musical and cultural traditions with focus on the impact of these traditions on the development and advancement of African-American music. College of Education Conceptual Framework: The faculty in the College of Education at Mississippi State University are committed to assuring the success of students and graduates by providing superior learning opportunities that are continually improved as society, schools, and technology change. The organizing theme for the conceptual framework for the College of Education at Mississippi State University is educational professionals - dedicated to continual improvement of all students’ educational experiences. The beliefs that guide program development are as follows: 1. KNOWLEDGE - Educational professionals must have a deep understanding of the organizing concepts, processes, and attitudes that comprise their chosen disciplinary knowledge base, the pedagogical knowledge base, and the pedagogical content knowledge base. They must also know how to complement these knowledge bases with the appropriate use of technology. 2. COLLABORATION - Educational professionals must continually seek opportunities to work together, learn from one another, forge partnerships, and assume positions of responsibility. 3. REFLECTION - Educational professionals must be willing to assess their own strengths and weaknesses through reflection. They must also possess the skills, behaviors, and attitudes necessary to learn, change, and grow as life-long learners. 4. PRACTICE - Educational professionals must have a rich repertoire of research-based strategies for instruction, assessment, and the use of technologies.
    [Show full text]
  • Updates & Amendments to the Great R&B Files
    Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the
    [Show full text]
  • THE GOD GROOVE by DAVID RITZ
    For immediate release Contact: Yona Deshommes Associate Director of Publicity [email protected] (212) 698-7566 THE GOD GROOVE By DAVID RITZ David Ritz has written over 50 books. Ritz’s job as a ghostwriter molded his prime directive into becoming the voice of who he was writing about, rejecting the temptation to implant his/her own point of view into the story. So, you’ve never really seen a clear portrait of the man himself until The God Groove, his first memoir. Seeking an escape from death by boredom in advertising, Ritz began his 40-plus year journey as a writer and ghostwriter with a simple but seemingly impossibly goal: to be Ray Charles’ first biographer. What began with a 32-year-old husband and father of two’s plane ride from Dallas to Los Angeles to bang on Ray’s front door began an odyssey from which he never truly returned as the same man. The God Groove places Ritz in rooms with artists, musicians and academics who have shaped the last 50 years in American culture: the late Aretha Franklin, Blues legend Etta James, and the tortured genius of Marvin Gaye, for whom he writes the titles to the now- classic “Sexual Healing”, the first stone on the path to Ritz becoming a songwriter in his own right. For immediate release Contact: Yona Deshommes Associate Director of Publicity [email protected] (212) 698-7566 Ritz documents the thoughts and feelings of late bluesman B.B. King on a tour bus through the cotton fields of the deep South.
    [Show full text]
  • I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
    ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent.
    [Show full text]
  • American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
    Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies.
    [Show full text]
  • Hip Hop Matters
    HIP HOP MATTERS HIP HOP MATTERS Politics, Pop Culture, and the Struggle for the Soul of a Movement S. Craig Watkins Beacon Press, Boston Beacon Press 25 Beacon Street Boston, Massachusetts 02108-2892 www.beacon.org Beacon Press books are published under the auspices of the Unitarian Universalist Association of Congregations. © 2005 by S. Craig Watkins All rights reserved Printed in the United States of America 09 08 07 06 8 7 6 5 4 3 2 1 This book is printed on acid-free paper that meets the uncoated paper ANSI/NISO specifications for permanence as revised in 1992. Text design by Patricia Duque Campos Composition by Wilsted & Taylor Publishing Services Library of Congress Cataloging-in-Publication Data Watkins, S. Craig (Samuel Craig) Hip hop matters : politics, pop culture, and the struggle for the soul of a movement / S. Craig Watkins. p. cm. Includes bibliographical references (p. ) and index. ISBN 0-8070-0986-5 (pbk. : acid-free paper) 1. Rap (Music)—History and criticism. 2. Hip-hop. I. Title. ML3531.W38 2005 782.421649—dc22 2004024187 FOR ANGELA HALL WATKINS, MY WIFE AND BEST FRIEND CONTENTS PROLOGUE Hip Hop Matters 1 INTRODUCTION Back in the Day 9 PART ONE Pop Culture and the Struggle for Hip Hop CHAPTER ONE Remixing American Pop 33 CHAPTER TWO A Great Year in Hip Hop 55 CHAPTER THREE Fear of a White Planet 85 CHAPTER FOUR The Digital Underground 111 PART TWO Politics and the Struggle for Hip Hop CHAPTER FIVE Move the Crowd 143 CHAPTER SIX Young Voices in the Hood 163 CHAPTER SEVEN “Our Future...Right Here, Right Now!” 187 CHAPTER EIGHT “We Love Hip Hop, But Does Hip Hop Love Us?” 207 CHAPTER NINE Artificial Intelligence? 229 EPILOGUE Bigger Than Hip Hop 249 ACKNOWLEDGMENTS 257 NOTES 261 BIBLIOGRAPHY 279 INDEX 283 PROLOGUE Hip Hop Matters Stakes is high.
    [Show full text]