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Martin Munro's groundbreaking work traces the central - and contested - role of music in shaping identities, politics, social history, and artistic expression. Starting with enslaved African musicians, Munro takes us to Haiti, Trinidad, the French Caribbean, and to the civil rights era in the United States. Along the way, he highlights such figures as Toussaint Louverture, Jacques Roumain, Jean Price-Mars, The Mighty Sparrow, Aime Cesaire, Edouard Glissant, Joseph Zobel, Daniel Maximin, James Brown, and Amiri Baraka. 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Books in the series will examine the wide-ranging music of the African diaspora--including the folk-derived musical styles of the Americas as well as European-influenced concert hall music of the entire black Atlantic world--by analyzing issues critical to our interpretation of the music itself and exploring the relationships between music and the other black expressive arts. Focusing on blues, jazz, gospel, rhythm and blues, and soul music, California Soul is one of the first books to explore the rich musical heritage of African Americans in California. The contributors describe in detail the individual artists, locales, groups, musical styles, and regional qualities, and the result is an important book that lays the groundwork for a whole new field of study. The essays draw from oral histories, music recordings, newspaper articles and advertisements, as well as population statistics to provide insightful discussions of topics like the California urban milieu's influence on gospel music, the development of the West Coast blues style, and the significance of Los Angeles's Central Avenue in the early days of jazz. Other essays offer perspectives on how individual musicians have been shaped by their African American heritage, and on the role of the record industry and radio in the making of music. 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In the face of several major earthquakes and floods, riots and economic insecurity, police brutality and mass incarceration, some young black Angelenos turned to holy hip hop-a movement merging Christianity and hip hop culture-to \"save\" themselves and the city. Converting street corners to airborne churches and gangsta rap beats into anthems of praise, holy hip hoppers used gospel rap to navigate complicated social and spiritual realities and to transform the Southland's fractured terrains into musical Zions. Armed with beats, rhymes, and bibles, they journeyed through black Lutheran congregations, prison ministries, African churches, reggae dancehalls, hip hop clubs, Nation of Islam meetings, and Black Lives Matter marches. 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Shack focuses on some of the principal actors who played critical roles in shaping the jazz scene in Montmartre - Josephine Baker, Sidney Bechet, and Bricktop - but he also discusses others who opened clubs, underwrote loans, and contributed their musical talents to this unparalleled experiment.As an anthropologist, Shack pays particular attention to the club culture. He describes the musicians' experiences, the settings in which they performed, and the response of French audiences. Shack's meticulous research and encyclopedic knowledge of Montmartre's jazz culture, including the people and places involved, make this a riveting, authoritative work. 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Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought.  Porter examines several crucial moments in the history of jazz: the formative years of the 1920s and 1930s; the emergence of bebop; the political and experimental projects of the 1950s, 1960s and 1970s; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. 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What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black.","brand":"WoB","offers":[{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":50040768790801,"sku":"CIN0520232968VG","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ WELL_READ \/ SBYB","offer_id":50352716382481,"sku":"CIN0520232968A","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":53521290297617,"sku":"NLS9780520232969","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0520232968.jpg?v=1751391781"},{"product_id":"william-grant-still-book-catherine-parsons-smith-9780520215436","title":"William Grant Still","description":"During the 1930s and 1940s William Grant Still (1895-1978) was known as the \"Dean of Afro-American Composers.\" He worked as an arranger for early radio, on Broadway, and in Hollywood; major symphony orchestras performed his concert works; and an opera, written in collaboration with Langston Hughes, was produced by the New York City Opera. 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