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.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Explores the vexed relationship between popular dance and value. In a critique of the Western art canon, it traces the shifting value systems that underpin popular dance scholarship and considers how different dancing communities articulate multiple and often paradoxical expressions of judgment, significance, and worth through their embodied practice. Employing a cultural theory approach, it focuses on the choreographic content of neo-burlesque striptease in London and New York, the dance styles of British punk, metal, and ska fans, and the vernacular dances of a British-Caribbean dancehall to interrogate how value is produced, negotiated, and reimagined. Yet this is not to assume that they are autonomous values untouched by the social frameworks in which they exist. Rather, the corporeal enunciations of value constructed by those engaged in popular dance forms are informed by a complex matrix of aesthetic, economic, political, and social values that are already in circulation
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Examines the role music has played in the formation of the political and national identity of the Bahamas. It analyzes Bahamian musical life as it has been influenced and shaped by the islands’ location between the United States and the rest of the Caribbean; tourism; and Bahamian colonial and postcolonial history. Focusing on popular music in the second half of the twentieth and early 21st c., in particular rake-n-scrape and Junkanoo, the author finds a Bahamian music that has remained culturally rooted in the local even as it has undergone major transformations. Highlighting the ways entertainers have represented themselves to Bahamians and to tourists, he illustrates the shifting terrain that musicians navigated during the rapid growth of tourism and in the aftermath of independence.
Unedited] The conference took place 18–24 February, 2008. The following contributions are cited separately in RILM: Kam-Au AMEN, Entertainment and cultural enterprise management (RILM ref]2012-19744/ref]); Peter ASHBOURNE, From mento to ska and reggae to dancehall (RILM ref]2012-19730/ref]); Erna BRODBER, Reggae as black space (RILM ref]2012-19729/ref]); Louis CHUDE-SOKEI, Roots, diaspora and possible Africas (RILM ref]2012-19739/ref]); Brent CLOUGH, Oceanic reggae (RILM ref]2012-19741/ref]); Carolyn COOPER, Reggae studies at the University of the West Indies (RILM ref]2012-19743/ref]); Samuel Furé DAVIS, Reggae in Cuba and the Hispanic Caribbean (RILM ref]2012-19733/ref]); Cheikh Ahmadou DIENG, Reggae griots in Francophone Africa (RILM ref]2012-19738/ref]); Teddy ISIMAT-MIRIN, Reggae in the French Caribbean (RILM ref]2012-19734/ref]); Ellen KOEHLINGS, Pete LILLY, The evolution of reggae in Europe with a focus on Germany (RILM ref]2012-19732/ref]); Amon Saba SAAKANA, The impact of Jamaican music in Britain (RILM ref]2012-19731/ref]); Roger STEFFENS, Reggae music in the bloodstream (RILM ref]2012-19736/ref]); Marvin Dale STERLING, Gender, class and race in Japanese dancehall culture (RILM ref]2012-19740/ref]); Michael E. VEAL, Dub: Electronic music and sound experimentation (RILM ref]2012-19742/ref]); Leonardo VIDIGAL, Reggae music documentaries in Brazil (RILM ref]2012-19735/ref]); Klive WALKER, The journey of reggae in Canada (RILM ref]2012-19737/ref]).
Abbey,Eric James, (Ed.And Intro.) and Helb,Colin, (Ed.And Intro.)
Format:
Book, Whole
Publication Date:
01/01; 2014
Published:
Lanham: Lexington Books
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
The following contributions are cited separately in RILM: Eric James ABBEY, The cult of Hellmouth: The success of contemporary hardcore (RILM ref]2014-01826/ref]); Sean AHERN, Let the Shillelagh fly: The dropkick Murphys and Irish—American hybridity (RILM ref]2014-01818/ref]); Brian COGAN, The last report: Throbbing gristle and audio extremes (RILM ref]2014-01823/ref]); Mika ELOVAARA, Am I evil? The meaning of metal lyrics to its fans (RILM ref]2014-01819/ref]); Marcus ERBE, By demons be driven? Scanning 'monstrous' voices (RILM ref]2014-01820/ref]); Kevin FELLEZS, Black metal soul music: Stone vengeance and the aesthetics of race in heavy metal (RILM ref]2014-01824/ref]); Ross HAGEN, No fun: Noise music, avant-garde aggression, and sonic punishment (RILM ref]2014-01822/ref]); Colin HELB, 'The time is right to set our sight on salvation': The strange tale of how the Hare Krishnas came to play hardcore punk (RILM ref]2014-01825/ref]); Eliut RIVERA-SEGARRA, Nelson VARAS-DIAZ, Heavy metal music in the Caribbean setting: Politics and language at the periphery (RILM ref]2014-01821/ref]); Evan WARE, Food for thought: On Sid Vicious's cannibalization of My way (RILM ref]2014-01817/ref]).
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Unedited] Jazz is a music formed from a combination of influences. In its infancy, jazz was a melting pot of military brass bands, work songs, and field hollers of the United States slaves during the 19th c., European harmonies and forms, and the rhythms of Africa and the Caribbean. Later, the blues and the influence of Spanish and French Creoles with European classical training nudged jazz further along in its development. Jazz has always been a world-music in the sense that music from around the globe has been embraced and incorporated. This dictionary covers the history of jazz through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on significant jazz performers, band leaders, bands, venues, record labels, recordings, and the different styles of jazz.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
The following contributions are cited separately in RILM: Godfrey BALDACCHINO, Yoko ORYU, French Caribbean: Adieu foulard, adieu madras: A sonic study in (post)colonialism (RILM ref]2011-12101/ref]); Sergio BONANZINGA, Sicily: Navigating responses to global cultural patterns (RILM ref]2011-12111/ref]); Kathryn A. BURNETT, Ray BURNETT, Scotland's Hebrides: Song and culture, transmission, and transformation (RILM ref]2011-12104/ref]); Jennifer CATTERMOLE, Fiji Islands: A sustainable future for sigidrigi? (RILM ref]2011-12107/ref]); Ijahnya CHRISTIAN, English Caribbean: When people cannot talk, they sing (RILM ref]2011-12099/ref]); Judith R. COHEN, Ibiza and Formentera: Worlds of singers and songs (RILM ref]2011-12113/ref]); Cristoforo GARIGLIANO, Aeolian Islands: Three singers, their folk songs, and the interpretation of tradition (RILM ref]2011-12112/ref]); Waldo GARRIDO, Philip HAYWARD, Chiloé: An offshore song culture (RILM ref]2011-12109/ref]); Maria HNARAKI, Crete—Souls of soil: Island identity through song (RILM ref]2011-12110/ref]); Henry M. JOHNSON, Jersey: Jèrriais, song, and language revitalization (RILM ref]2011-12105/ref]); Soraya MARCANO, Spanish Caribbean: Liquid identities (RILM ref]2011-12100/ref]); Owe RONSTRÖM, Gotland: Where folk culture and island overlap (RILM ref]2011-12114/ref]); Heather SPARLING, Cape Breton Island: Living in the past? Gaelic language, song, and competition (RILM ref]2011-12102/ref]); Deatra WALSH, Newfoundland: From Ron Hynes to Hey Rosetta! (RILM ref]2011-12103/ref]); Oli WILSON, Papua New Guinea: Popular music and the continuity of tradition—An ethnographic study of the songs by the band Paramana Strangers (RILM ref]2011-12106/ref]).
Ake,David A., (Ed.And Intro.), Garrett,Charles, (Ed.And Intro.), and Goldmark,Daniel, (Ed.And Intro.)
Format:
Book, Whole
Publication Date:
01/01; 2012
Published:
Berkeley: University of California Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
The following contributions are cited separately in RILM: David AKE, Crossing the street: Rethinking jazz education (RILM ref]2012-05841/ref]); Tamar BARZEL, The praxis of composition-improvisation and the poetics of creative kinship (RILM ref]2012-05838/ref]); Jessica BISSETT PEREA, Voices from the jazz wilderness: Locating Pacific Northwest vocal ensembles within jazz education (RILM ref]2012-05840/ref]); Charles GARRETT, The humor of jazz (RILM ref]2012-05833/ref]); Daniel GOLDMARK, 'Slightly left of center': Atlantic Records and the problems of genre (RILM ref]2012-05837/ref]); John HOWLAND, Jazz with strings: Between jazz and the great American songbook (RILM ref]2012-05836/ref]); Loren Y. KAJIKAWA, The sound of struggle: Black revolutionary nationalism and Asian American jazz (RILM ref]2012-05839/ref]); Eric C. PORTER, Incorporation and distinction in jazz history and jazz historiography (RILM ref]2012-05831/ref]); Ken PROUTY, Creating boundaries in the virtual jazz community (RILM ref]2012-05834/ref]); Sherrie TUCKER, Deconstructing the jazz tradition: The subjectless subject of new jazz studies (RILM ref]2012-05842/ref]); Elijah WALD, Louis Armstrong loves Guy Lombardo (RILM ref]2012-05832/ref]); Christopher J. WASHBURNE, Latin jazz, Afro-Latin jazz, Afro-Cuban jazz, Cubop, Caribbean jazz, jazz Latin, or just...jazz: The politics of locating an intercultural music (RILM ref]2012-05835/ref]).
Anderson,William M., (Ed.And Pref.), Campbell,Patricia Shehan, (Ed.And Pref.), and Seeger,Anthony, (Foreword)
Format:
Book, Whole
Publication Date:
01/01; 2011
Published:
Lanham: Rowman & Littlefield Education
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
The following contributions are cited separately in RILM: William M. ANDERSON, Michael B. BAKAN, Patricia Shehan CAMPBELL, Jackie Chooi-theng LEW, Phong NGUYỄN, Pornprapit PHOASAVADI, Music of Southeast Asia (RILM ref]2010-13857/ref]); William M. ANDERSON, Patricia Shehan CAMPBELL, Teaching music from a multicultural perspective (RILM ref]2010-13846/ref]); William M. ANDERSON, Kuo-huang HAN, Tatsuko TAKIZAWA, Ricardo D. TRIMILLOS, Music of East Asia (RILM ref]2010-13856/ref]); William M. ANDERSON, Kristin Olson RAO, Music of South Asia: India (RILM ref]2010-13858/ref]); Sarah J. BARTOLOME, Pierre Cary (Kazadi wa Mukuna) KAZADI, Elizabeth OEHRLE, Music of sub-Saharan Africa (RILM ref]2010-13847/ref]); Bryan BURTON, Kay L. EDWARDS, Music of native peoples of North America (RILM ref]2010-13853/ref]); Milton L. BUTLER, Marvelene C. MOORE, Rosita M. SANDS, Linda B. WALKER, African American music (RILM ref]2010-13848/ref]); Patricia Shehan CAMPBELL, David G. HEBERT, World beat (RILM ref]2010-13855/ref]); Patricia Shehan CAMPBELL, Ellen MCCULLOUGH-BRABSON, Euro-American music (RILM ref]2010-13852/ref]); Patricia Shehan CAMPBELL, Music of Europe (RILM ref]2010-13851/ref]); Ann C. CLEMENTS, Peter DUNBAR-HALL, Sarah H. WATTS, Music of Oceania and the Pacific (RILM ref]2010-13854/ref]); David G. HEBERT, Jazz and rock music (RILM ref]2010-13850/ref]); Rita KLINGER, Christopher ROBERTS, George D. SAWA, Terese VOLK TUOHEY, Music of the Middle East (RILM ref]2010-13859/ref]); Dale A. OLSEN, Milagros Agostini QUESADA, Amanda C. SOTO, Music of Latin America and the Caribbean (RILM ref]2010-13849/ref]). The first edition is abstracted as RILM ref]1990-07600/ref], the second as RILM ref]1996-23510/ref].
Belafonte,Harry, (Author) and Shnayerson,Michael, (Collab.)
Format:
Book, Whole
Publication Date:
01/01; 2011
Published:
New York: Alfred A. Knopf
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
A personal account of an era of enormous cultural and political change, which reveals Harry Belafonte as not only one of America's greatest entertainers, but also one of our most profoundly influential activists. Belafonte spent his childhood in both Harlem and Jamaica, where the toughness of the city and the resilient spirit of the Caribbean lifestyle instilled in him a tenacity to face the hurdles of life head-on and channel his anger into positive, life-affirming actions. He returned to New York City after serving in the Navy in World War II, and found his calling in the theater, before transitioning into a career as a singer and Hollywood leading man. During the 1960s civil rights movement, Belafonte became close friends with Martin Luther King, Jr., and used his celebrity as a platform for his activism in civil rights and countless other political and social causes. This book tells the inspiring story of an original and powerful entertainer who has always engaged fiercely with the issues of his day.
