We Shall Overcome to We Shall Overrun


Book Description

"We Shall Overcome to We Shall Overrun uses the metaphor of a nervous breakdown to critique the collapse of the American Civil Rights Movement from a historical perspective. Focusing on the years 1962 to 1968, using a topical chronological approach, this work seeks to discuss the major organizations and personalities central to the African American freedom struggle in the 1960s with an emphasis on the debate over the meaning, the means, and the attainment of 'black power.' The five major national groups that made up the civil rights coalition ultimately divided and "broke-down" as concerns of strategy and methodology were compounded by questions of black identity. A nuanced interpretive psycho-intellectual history such as this seeks to redefine our understanding of the American Civil Rights Movement altogether."--BOOK JACKET.




We Shall Overcome


Book Description

Chronicles America's Civil Rights movement through a collection of black-and-white illustrated photographs and two audio CDs narrated by Ossie Davis and Ruby Dee.




Protest & Praise


Book Description

Here is a skillful tracing of two tracks in the evolution of musical genres that have evolved from black religion. Songs of protest developed from the spiritual through social-gospel hymnody to culminate in songs of the civil-rights movement and the blues. Born in rebellion, they envision the Kingdom of God.Songs of praise, by contrast, express adoration. Beginning with the "ring-shout," Spencer follows the history of intoned declamation through the tongue song, Holiness-Pentecostal music, and the chanted sermon of the black preacher. Spencer's approach, termed theomusicology, unlocks the wealth of African-American sacred music with a theological key. The result is a fascinating account of a people's struggle with God in history.




Story behind the Protest Song


Book Description

Protest songs are united by the fact they all have something to say, something to dispute, or something to rile against, whether it be political, social, or personal. Story Behind the Protest Song features 50 of the most influential musical protests and statements recorded to date, providing pop-culture viewpoints on some of the most tumultuous times in modern history. Among the featured: songs about the Vietnam War, the civil rights movement, the most recent upheaval over policy in the Middle East, as well as teenage rebellion, animal rights, criticisms of mass media, and even protest songs that lambaste other protest songs. This indispensable guide tackles it all: the behind-the-scenes stories of the most influential protest songs in American popular culture, examining the subjects they address, the legacy they left, and the fabric of the songs themselves. Chronically arranged entries cover nearly 70 years of music and offer an expansive range of genres, including rock, punk, pop, soul, hip-hop, country, folk, indie, heavy metal, and more. Each entry discusses the songwriter(s); the inspiration behind the song; and the social, cultural, and political context in which the song was released. Following a detailed musical and lyrical analysis, the entries explain the songs' impact and relevance today. Among the featured: • The Unknown Soldier (The Doors) • Masters of War (Bob Dylan) • Say It Loud-I'm Black and I'm Proud (James Brown) • Get Up, Stand Up (The Wailers) • Big Yellow Taxi (Joni Mitchell) • Their Law (Prodigy) • American Idiot (Green Day) • Sweet Home Alabama (Lynrd Skynrd) • Born in the USA (Bruce Springsteen) • Southern Man (Neil Young) Entries are accompanied by further readings and a select discographies as well as a comprehensive resource guide at the end of the book. A must-read for students of music, history, and politics, this volume offers a unique reflection on the most significant and moving protest songs in American history.




Poems of a Political Prisoner


Book Description




The Battle Hymn of the Republic


Book Description

It was sung at Ronald Reagan's funeral, and adopted with new lyrics by labor radicals. John Updike quoted it in the title of one of his novels, and George W. Bush had it performed at the memorial service in the National Cathedral for victims of September 11, 2001. Perhaps no other song has held such a profoundly significant--and contradictory--place in America's history and cultural memory than the "The Battle Hymn of the Republic." In this sweeping study, John Stauffer and Benjamin Soskis show how this Civil War tune has become an anthem for cause after radically different cause. The song originated in antebellum revivalism, with the melody of the camp-meeting favorite, "Say Brothers, Will You Meet Us." Union soldiers in the Civil War then turned it into "John Brown's Body." Julia Ward Howe, uncomfortable with Brown's violence and militancy, wrote the words we know today. Using intense apocalyptic and millenarian imagery, she captured the popular enthusiasm of the time, the sense of a climactic battle between good and evil; yet she made no reference to a particular time or place, allowing it to be exported or adapted to new conflicts, including Reconstruction, sectional reconciliation, imperialism, progressive reform, labor radicalism, civil rights movements, and social conservatism. And yet the memory of the song's original role in bloody and divisive Civil War scuttled an attempt to make it the national anthem. The Daughters of the Confederacy held a contest for new lyrics, but admitted that none of the entries measured up to the power of the original. "The Battle Hymn" has long helped to express what we mean when we talk about sacrifice, about the importance of fighting--in battles both real and allegorical--for the values America represents. It conjures up and confirms some of our most profound conceptions of national identity and purpose. And yet, as Stauffer and Soskis note, the popularity of the song has not relieved it of the tensions present at its birth--tensions between unity and discord, and between the glories and the perils of righteous enthusiasm. If anything, those tensions became more profound. By following this thread through the tapestry of American history, The Battle Hymn of the Republic illuminates the fractures and contradictions that underlie the story of our nation.




The Funk Movement


Book Description

Rabaka explores funk as a distinct multiform of music, aesthetics, politics, social vision, and cultural rebellion that has been remixed and continues to influence contemporary Black popular music and Black popular culture, especially rap music and the Hip Hop Movement. The Funk Movement was a sub-movement within the larger Black Power Movement and its artistic arm, the Black Arts Movement. Moreover, the Funk Movement was also a sub-movement within the Black Women’s Liberation Movement between the late 1960s and late 1970s, where women’s funk, especially Chaka Khan and Betty Davis’s funk, was understood to be a form of “Black musical feminism” that was as integral to the movement as the Black political feminism of Angela Davis or the Combahee River Collective and the Black literary feminism of Toni Morrison or Alice Walker. This book also demonstrates that more than any other post-war Black popular music genre, the funk music of the 1960s and 1970s laid the foundation for the mercurial rise of rap music and the Hip Hop Movement in the 1980s and 1990s. This book is primarily aimed at scholars and students working in popular music studies, popular culture studies, American studies, African American studies, cultural studies, ethnic studies, critical race studies, women’s studies, gender studies, and sexuality studies.




How Free Is Free?


Book Description

This title traces continuing racial inequality and the ongoing fight for freedom for African American's in America. It tells how despite two major efforts to reconstruct race relations, injustices remain.




The Music Has Gone Out of the Movement


Book Description

After the passage of sweeping civil rights and voting rights legislation in 1964 and 1965, the civil rights movement stood poised to build on considerable momentum. In a famous speech at Howard University in 1965, President Lyndon B. Johnson declared that victory in the next battle for civil rights would be measured in "equal results" rather than equal rights and opportunities. It seemed that for a brief moment the White House and champions of racial equality shared the same objectives and priorities. Finding common ground proved elusive, however, in a climate of growing social and political unrest marked by urban riots, the Vietnam War, and resurgent conservatism. Examining grassroots movements and organizations and their complicated relationships with the federal government and state authorities between 1965 and 1968, David C. Carter takes readers through the inner workings of local civil rights coalitions as they tried to maintain strength within their organizations while facing both overt and subtle opposition from state and federal officials. He also highlights internal debates and divisions within the White House and the executive branch, demonstrating that the federal government's relationship to the movement and its major goals was never as clear-cut as the president's progressive rhetoric suggested. Carter reveals the complex and often tense relationships between the Johnson administration and activist groups advocating further social change, and he extends the traditional timeline of the civil rights movement beyond the passage of the Voting Rights Act.




For My People


Book Description