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03567aam a2200409 i 4500 001 7C0CBC48AEF911EB87B7F7C926ECA4DB 003 SILO 005 20210507010010 008 200814t20212021maua b 001 0 eng 010 $a 2020030775 020 $a 0674052811 020 $a 9780674052819 035 $a (OCoLC)1192305743 040 $a MH/DLC $b eng $e rda $c DLC $d OCLCO $d YDX $d OCLCF $d DLC $d OCLCQ $d SLV $d YDX $d OCLCO $d BDX $d YUS $d INR $d TDF $d IOU $d SILO 042 $a pcc 043 $a n-us--- 082 00 $a 780.82/0973 $2 23 100 1 $a Brooks, Daphne, $e author. 245 10 $a Liner notes for the revolution : $b the intellectual life of black feminist sound / $c Daphne A. Brooks. 246 30 $a Intellectual life of black feminist sound 264 1 $a Cambridge, Massachusetts : $b The Belknap Press of Harvard University Press, $c 2021. 300 $a viii, 598 pages : $b illustrations ; $c 25 cm 504 $a Includes bibliographical references and index. 505 0 $a SIDE A. Toward a black feminist intellectual tradition in sound -- "Sister, can you line it out?": Zora Neale Hurston notes the sound -- Blues feminist lingua franca: Rosetta Reitz rewrites the record -- Thrice militant music criticism: Ellen Willis & Lorraine Hansberry's What might be -- SIDE B. Not fade away: looking after Geeshie & Elvie / L.V. -- "If you should lose me": of trunks & record shops & black girl ephemera -- "See my face from the other side": catching up with Geeshie and L.V. -- "Slow fade to black": black women archivists remix the sounds -- Epilogue: Going to the territory. 520 $a Daphne A. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of African American women on stage and in the recording studio. Liner Notes for the Revolution offers a startling new perspective on these acclaimed figures -- a perspective informed by the overlooked contributions of other black women concerned with the work of their musical peers. Zora Neale Hurston appears as a sound archivist and a performer, Lorraine Hansberry as a queer black feminist critic of modern culture, and Pauline Hopkins as America's first black female cultural intellectual. Brooks tackles the complicated racial politics of blues music recording, collecting, and rock and roll music criticism. She makes lyrical forays into the blues pioneers Bessie Smith and Mamie Smith, as well as fans who became critics, like the record-label entrepreneur and writer Rosetta Reitz. In the twenty-first century, pop superstar Janelle Monae's liner notes are recognized for their innovations, while celebrated singers Cecile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as serious cultural historians. Above all, Liner Notes for the Revolution reads black female musicians and entertainers as intellectuals. At stake is the question of who gets to tell the story of black women in popular music and how-- $c Provided by publisher 650 0 $a African American women musicians. 650 0 $a African American women $x History and criticism. $x History and criticism. 650 0 $a African American women $x Intellectual life. 650 0 $a Musical criticism $z United States $x History. 650 0 $a African American feminists. 941 $a 4 952 $l OVUX522 $d 20220317014604.0 952 $l CEAX572 $d 20210728010918.0 952 $l CAPH522 $d 20210508010104.0 952 $l BAPH771 $d 20210507010057.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=7C0CBC48AEF911EB87B7F7C926ECA4DB 994 $a C0 $b IOUInitiate Another SILO Locator Search