African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Surveys the origins of rock 'n' roll from the minstrel era to the emergence of Bill Haley and Elvis Presley. Dispelling common misconceptions, this book examines rock's origins in hokum songs and big-band boogies as well as Delta blues, detailing the embrace by white artists of African-American styles long before rock 'n' roll appeared. This study ranges far and wide, highlighting not only the contributions of obscure but key precursors like Hardrock Gunter and Sam Theard but also the influence of celebrity performers like Gene Autry and Ella Fitzgerald. Too often, rock historians treat the genesis of rock 'n' roll as a bolt from the blue, an overnight revolution provoked by the bland pop music that immediately preceded it and created through the white appropriation of music until then played only by and for black audiences. Here, Birnbaum argues a more complicated history of rock's evolution from a heady mix of ragtime, boogie-woogie, swing, country music, mainstream pop, and R&B—a melange of genres that influenced one another along the way, from the absorption of blues and boogies into jazz and pop to the integration of country and Caribbean music into R&B.
[By the way [Anthony Morgan], in another University publication you're quoted as saying: "I think the bigger issue is how little we know about the history and historical contributions of Jamaicans." Well, the issue is way bigger than Jamaica; it's a "race" issue, targeting and ridiculing Black people, all of whom are people of African descent, sons and daughters of slaves.] So those students, froshers, "...were just having fun," eh? There was "nò mal-intent?" according to director [Michel Patry]. Surely they could've found another and more interesting and humanly innocuous way to have (even more) fun. The blackface skit is a sad cliché, it's passé, plus it's not funny. Except for [White] people as they seek ways to fulfill their final stage of life: their pursuit of happiness, by any means. It serves us right; it's the 'house divided' maxim. We are fractured from pulling in so many directions. We lack cohesion and the essential elements that hold people together to secure a strong !foundation. We've long cut the ties that bind, so it's very easy for people to have their way with us.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
212 p., Examines writers, such as Louise Bennett, Aimé Césaire, Junot Díaz, Zora Neale Hurston, Derek Walcott, and Anthony Winkler, who engage humor to challenge representations of people of African descent within canonical Western texts and forms.
