LEADER 00000cam a2200505 i 4500 
001    on1192305743 
003    OCoLC 
005    20210309090828.0 
008    200814t20212021maua     b    001 0 eng   
010      2020030775 
020    9780674052819|q(hardcover) 
020    0674052811|q(hardcover) 
024 8  40030345773 
035    (OCoLC)1192305743 
040    MH/DLC|beng|erda|cDLC|dOCLCO|dYDX|dOCLCF|dDLC|dOCLCQ|dSLV
       |dYDX|dOCLCO|dBDX|dYUS 
042    pcc 
043    n-us--- 
049    CKEA 
050 00 ML3556|b.B74 2021 
082 00 780.82/0973|223 
100 1  Brooks, Daphne,|eauthor. 
245 10 Liner notes for the revolution :|bthe intellectual life of
       black feminist sound /|cDaphne A. Brooks. 
264  1 Cambridge, Massachusetts :|bThe Belknap Press of Harvard 
       University Press,|c2021. 
264  4 |c©2021 
300    viii, 598 pages :|billustrations ;|c25 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references and index. 
505 0  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    "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"--|cProvided by publisher 
650  0 African American women musicians. 
650  0 African American women|xMusic|xHistory and criticism. 
650  0 African American women|xIntellectual life. 
650  0 Musical criticism|zUnited States|xHistory. 
650  0 African American feminists. 
650  7 African American feminists|2fast|0(OCoLC)fst01201928 
650  7 African American women|xIntellectual life|2fast
       |0(OCoLC)fst00799457 
650  7 African American women musicians|2fast|0(OCoLC)fst00799509
650  7 Musical criticism|2fast|0(OCoLC)fst01030706 
651  7 United States|2fast|0(OCoLC)fst01204155 
655  7 Criticism, interpretation, etc.|2fast|0(OCoLC)fst01411635 
655  7 History|2fast|0(OCoLC)fst01411628 
994    C0|bCKE