Crossroads populate religious and folkloric beliefs all around the world. Stories of an intersection of dimensions, as well as of roads where a guardian-trickster deity awaits to carry human desires to the gods, are widely encountered in European, Caribbean, and West African lore (as well as the legends formed around blues and rock stars). The symbolism of the crossroads speaks directly to one's innate recognition of a charged metaphorical space; a space that is liminal, betwixt-and-between. This notion of the crossroads serves as inspiration for examining the relationship between U2's music and listeners' progressive political awareness—the marriage of critical consciousness and action for social justice and change. To this end, an in-depth study is carried out of six listeners' experiences at the potent crossroads of their developing progressive awareness and their encounters with U2's music.
Campbell,Patricia Shehan, (Ed.And Intro.) and Wiggins,Trevor, (Ed.And Intro.)
Format:
Book, Whole
Publication Date:
01/01; 2013
Published:
Oxford: Oxford University Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
The following contributions are cited separately in RILM: Carlos R. ABRIL, Perspectives on the school band from hardcore American band kids (RILM ref]2013-00778/ref]); Mayumi ADACHI, The nature of music nurturing in Japanese preschools (RILM ref]2013-00779/ref]); Sarah J. BARTOLOME, Education and evangelism in a Sierra Leonean village (RILM ref]2013-00763/ref]); Marisol BERRÍOS-MIRANDA, Musical childhoods across three generations, from Puerto Rico to the U.S.A. (RILM ref]2013-00768/ref]); Tyler BICKFORD, Tinkering and tethering in the material culture of children's MP3 players (RILM ref]2013-00788/ref]); Sally BODKIN-ALLEN, Interweaving threads of music in the Whariki of early childhood cultures in Aotearoa/New Zealand (RILM ref]2013-00775/ref]); Gregory D. BOOTH, Economics, class, and musical apprenticeship in South Asia's brass band communities (RILM ref]2013-00789/ref]); Lily CHEN-HAFTECK, Balancing change and tradition in the musical lives of children in Hong Kong (RILM ref]2013-00776/ref]); Judah M. COHEN, Reform Jewish songleading and the flexible practices of Jewish-American youth (RILM ref]2013-00751/ref]); Eugene DAIRIANATHAN, Chee-Hoo LUM, Reflexive and reflective perspectives of musical childhoods in Singapore (RILM ref]2013-00770/ref]); Sonja Lynn DOWNING, Girls experiencing gamelan education and cultural politics in Bali (RILM ref]2013-00749/ref]); Andrea EMBERLY, Venda children's musical culture in Limpopo, South Africa (RILM ref]2013-00752/ref]); Anna HOEFNAGELS, Kristin Harris WALSH, Constructions and negotiations of identity in children's music in Canada (RILM ref]2013-00791/ref]); Beatriz ILARI, Musical cultures of girls in the Brazilian Amazon (RILM ref]2013-00756/ref]); Alan M. KENT, Celticity, community, and continuity in the children's musical cultures of Cornwall (RILM ref]2013-00760/ref]); Alexandra KERTZ-WELZEL, Children's and adolescents' musical needs and music education in Germany (RILM ref]2013-00774/ref]); Young-youn KIM, Tradition and change in the musical culture of South Korean children (RILM ref]2013-00777/ref]); Magali Oliveira KLEBER, Jusamara Vieira SOUZA, The musical socialization of children and adolescents in Brazil in their everyday lives (RILM ref]2013-00757/ref]); Lisa Huisman KOOPS, Enjoyment and socialization in Gambian children's music making (RILM ref]2013-00766/ref]); Elizabeth MACKINLAY, The musical worlds of Aboriginal children at Burrulula and Darwin in the Northern Territory of Australia (RILM ref]2013-00769/ref]); Noriko MANABE, Songs of Japanese schoolchildren during World War II (RILM ref]2013-00753/ref]); Kedmon MAPANA, Enculturational discontinuities in the musical experience of the Wagogo children of central Tanzania (RILM ref]2013-00783/ref]); Kathryn MARSH, Music in the lives of refugee and newly arrived immigrant children in Sydney, Australia (RILM ref]2013-00782/ref]); Sara Stone MILLER, Terry E. MILLER, The role of context and experience among the children of the Church of God and Saints of Christ, Cleveland, Ohio (RILM ref]2013-00781/ref]); Amanda MINKS, Miskitu children's singing games on the Caribbean coast of Nicaragua as intercultural play and performance (RILM ref]2013-00761/ref]); Marvelene C. MOORE, The musical culture of African American children in Tennessee (RILM ref]2013-00771/ref]); Sylvia NANNYONGA-TAMUSUZA, Girlhood songs, musical tales, and musical games as strategies for socialization into womanhood among the Baganda of Uganda (RILM ref]2013-00754/ref]); Robert PITZER, Youth music at the Yakama Nation Tribal School (RILM ref]2013-00750/ref]); Christopher ROBERTS, A historical look at three recordings of children's musicking in New York City (RILM ref]2013-00792/ref]); Natalie SARRAZIN, Children's urban and rural musical worlds in North India (RILM ref]2013-00764/ref]); Hope Munro SMITH, Children's musical engagement with Trinidad's Carnival music (RILM ref]2013-00767/ref]); Janet L. STURMAN, Integration in Mexican children's musical worlds (RILM ref]2013-00759/ref]); Polo VALLEJO, Georgian (Caucasus) children's polyphonic conception of music (RILM ref]2013-00758/ref]); Peter WHITEMAN, The complex ecologies of early childhood musical cultures (RILM ref]2013-00780/ref]); Trevor WIGGINS, Whose songs in their heads? (RILM ref]2013-00793/ref]).
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
The definitive group biography of the Wailers—Bob Marley, Peter Tosh, and Bunny Livingston—chronicling their rise to fame and power and offering a portrait of a seminal group during a period of exuberant cultural evolution. Over one dramatic decade, a trio of Trenchtown R&B crooners swapped their 1960s Brylcreem hairdos and two-tone suits for 1970s battle fatigues and dreadlocks to become the Wailers—one of the most influential groups in popular music. A history of the band is presented from their upbringing in the brutal slums of Kingston to their first recordings and then international superstardom. It is argued that these reggae stars offered three models for black men in the second half of the 20th century: accommodate and succeed (Marley), fight and die (Tosh), or retreat and live (Livingston). The author meets with Rastafarian elders, Obeah men, and other folk authorities as he attempts to unravel the mysteries of Jamaica's famously impenetrable culture and to offer a sophisticated understanding of Jamaican politics, heritage, race, and religion.
Examines how Connecticut-born reggaetón artist Notch incorporates oratorical, visual, and musical cues in his music video, Qué te pica (What's itching you?), to establish connections between Latino and Caribbean communities in the U.S. These communities have typically been disavowed by hegemonic racial categories that distinguish between them. While Notch’s music disrupts these particular racial hierarchies, he also maintains hetero-normative patriarchal relations in his video. An analytic, Afro-Latino space is proposed to account for the ways that reggaetón as a musical genre, and Notch more specifically, unsettle certain distinctions between blackness and Latinidad, while simultaneously relying on stereotypes of black hypermasculinity.