Black singers of the 60s
"What's Going On": Motown and the Civil Rights Movement
https://dlib.bc.edu/islandora/object/bc-ir:102063/datastream/PDF/view
the early 1960s it was still considered controversial to listen to, let alone buy, black music if one was white. By visibly hiding the fact that the artists where black, the theory was that more white people would be more willing to purchase the records. Motown’s most successful “cross over” artists - The Supremes, The Temptations
[PDF File] Second Wave Black Feminism in the African Diaspora: News …
https://www.jstor.org/stable/pdf/4548095.pdf
In this article, I look at recent scholarship on US-based Black feminist activism in the '60s and '70s. Black women formed feminist groups despite a political climate that asked them to choose between fighting racism or sexism; Black women activists …
Hymnals of the Black Church - JSTOR
https://www.jstor.org/stable/1214748
other than its primacy among black-church hymnals, which in itself is enough to insure the hymnnbook a secure place in history. In the first place, it serves as a folk-selected anthology, indicating the hymns that were popular among black Christians at the beginning of the nineteenth century, for Allen selected hymns freely from the
Black Artists in American Popular Music, 1955-1985 - JSTOR
https://www.jstor.org/stable/274488
Black American females, unlike their white counterparts, often have matched the success of males. Their best years were 1962, 1965, 1970, 1979-80 and 1984-85. Black male and female groups have also added significantly to black music exposure, particularly throughout the 1970s. The total exposure of black artists is shown in Figure I. The black ...
Black Scholars on Black Music: The Past, the Present, and …
https://www.jstor.org/stable/779403
stage in 1871 by the Fisk Jubilee Singers. However, his interest and that of contemporary black writers was mainly in the concert spiritual ar-ranged as an art form. The publication of collections of African-Ameri-can spirituals arranged by black composers, often with lengthy com-mentaries, is a well-known aspect of the history of African-American
THE BLACK PERSPECTIVE IN MUSIC - JSTOR
https://www.jstor.org/stable/1214329
Black Music). The bibliographies, which purport to list "the key books of concern to students of black music" or "of jazz," include most of the standard books in the field, but there are surprising inclu-sions and omissions, particularly in Black Music. Its listing of 113 "key books" includes some containing little about black music, such as ...
[PDF File] How They Got Over: A Brief Overview of Black Gospel …
https://www.juniata.edu/offices/juniata-voices/media/volume-16/vol16-Zolten.pdf
The black gospel tradition is seeded in a century and a half of slavery and that is the time to begin: when the spirituals came into being. The spirituals evolved out of an oral tradition, sung solo or in ... White, had the idea to train a choir of student singers to perform the old spirituals, to offer public concerts to raise money for the ...
[PDF File] Black Women Civil Rights Movement - National Museum of …
https://nmaahc.si.edu/sites/default/files/images/black_women_civil_rights_movement_5.pdf
Davis would be bet t er-known f or her part icipat ion in t he Black Power Movement , Black Pant her Part y, and t he American Communist Part y in Calif ornia. McCree Harri s (1934 – 2000) McCree Harris was part of t he Civil Right s Movement in Albany, Georgia. ... F reedom Singers. T he F reedom Singers used music f undraise f or SNCC (St ...
[PDF File] “Oh Happy Day” – The Edwin Hawkins Singers (1968)
https://www.loc.gov/static/programs/national-recording-preservation-board/documents/EdwinHawkinsEssay.pdf
choir had been marketed and pushed further than any other black gospel ensemble had been up to that time. It spent two weeks at No. 2 on the Billboard R&B singles chart as well. Suddenly, the group was the toast of Hollywood. They performed on network television programs such as Dick Clark’s “American Bandstand,” “The Hollywood
[PDF File] Sex Symbols In The 60s(1) acy.net
https://legacy.opendemocracy.net/textbooks/files?FileName=sex_symbols_in_the_60s(1).pdf
Sex Symbols In The 60s(1) Adam Parfrey,B. Astrid Daley Movies of the 60s Jürgen Müller,2004 Jürgen Müller's overview of the films of the 1960s has over a hundred A to Z entries that include synopses, film stills, cast and crew listings, box office figures, trivia and …
CONCURRENT REVOLUTIONS: ROCK & ROLL AND THE …
https://scholarworks.calstate.edu/downloads/7s75df74s
Rights Movement gained strength as coalitions were formed between black churches and secular organizations like the NAACP and CORE. This paralleled the joining of Gospel ... Singers, traveled the world performing slave songs or Spirituals until disbanded in 1978. W.E.B. Du Bois wrote of the Jubilee Singers, “The Negro folk-song – the ...
Books and Articles on Black Music - JSTOR
https://www.jstor.org/stable/25433798
Books and Articles on Black Music Jennifer Ryan Articles on Black Music in North America and the Circum-Caribbean in Major Music Journals, 1990-2007 ... ings by the Fisk Jubilee Singers and the popularization of "Negro folk music." American Music 18, no. 3 (Fall): 278-316. Brothers, Thomas. 1994. Solo and cycle in African-American jazz. The Musical
Students and Civil Rights in the 1960s - JSTOR
https://www.jstor.org/stable/368657
The black civil rights movement of the early 1960s was a mass movement that used activist tactics, was committed to a philosophy of nonviolence, and sought racial integration and equality as its goal. By the middle of the decade, this movement had achieved a considerable measure of suc-cess. Race segregation in America, while not yet abolished ...
I Don't Trust You Anymore: Nina Simone, Culture, and Black
https://www.jstor.org/stable/3660176
Nina Simone, Culture, and Black Activism in the 1960s Ruth Feldstein On September 15, 1963, Nina Simone learned that four young African American girls had been killed in the bombing of the Sixteenth Street Baptist Church in Bir- ... "Singers Pledge Money for Civil-Rights Struggle," Down Beat, Aug. 15, 1963, p. 11.
Los Angeles Composers of African American Gospel Music:
https://www.jstor.org/stable/3052539
Hines Goodwill Singers, Dorothy Simmons and Doris Akers of the Simmons-Akers Singers, and Thurston G. Frazier and Gwendolyn Cooper Lightner of the Voices of Hope. During the forties and early fifties some churches emerged as centers for the performance of gospel music. In particular, St. Paul Baptist
Avant-Gardism, the 'Long 1960s' and Jazz Historiography
https://www.jstor.org/stable/30161403
Benjamin Looker, Point from which Creation Begins: The Black Artists Group of St Louis. St Louis: Missouri Historical Society Press, 2004. xxvii + 316 pp. ISBN I ... Abbey Lincoln and jazz singers in the 196os, 'creative musicians' of the 196os and 70s avant-garde, and finally Wynton Marsalis), Porter shows how in each instance musicians build ...
[PDF File] HISTORY OF POPULAR MUSIC
https://www.coloradomesa.edu/oer/history-of-popular-music-in-america-oer.pdf
clothes and money and pretentions to a higher social status. Character of the opposite kind. Some black performers worked in minstrel shows and used blackface make -up as a dramatic mask. Blackface comedy acceptable in US until the 1960’s and in the UK until 1978
[PDF File] Jackie Wilson: A Biography - Los Angeles
https://clkrep.lacity.org/onlinedocs/2019/19-0007-S20_misc_08-14-2019.pdf
a gospel quartet called the Ever Ready Gospel Singers and was a member ofthe Shakers Street Gang. In 1953 he joined Billy Ward and his Dominoes, eventually becoming lead singer of the ... “Did any of the countless great records ofthe sublime ’60s make people feel better than Jackie Wilson’s ‘(Your Love Keeps Lifting Me) Higher and ...
[PDF File] The Elvis Spectacle and the Cultural Industries
https://pages.gseis.ucla.edu/faculty/kellner/essays/elvisspectacle.pdf
attending black gospel services, listening to black musicians play right in his neighborhood, and listening to black music on the radio. As a rebellious teenager who modeled himself on the Hollywood rebel image of the 1950s, with his long hair and side burns -- and black clothes and style -- Elvis was often ostracized in high
There is a Message in the Music: An Examination of Soul …
https://scholarworks.calstate.edu/downloads/9w032369d
Black musicians and singers began to create protest music, which conveyed themes that fostered Black Nationalism. It was a departure from gospel based freedom songs from the 1950s through the early 1960s that reflected brotherhood, forgiveness, and better days ahead. Author and professor Tammy Kernolde observes that beginning in the mid-1960s
The Rise of Southern Gospel Music - JSTOR
https://www.jstor.org/stable/3169850
some separation between white and black gospel music. For most of the century, there was a clear dividing line between the music as performed by white and black groups in American churches and concert halls. The 1960s, however, brought the first widespread mixing of white and black gospel styles. While southern gospel has remained
Sara Gómez: Afrocubana (Afro-Cuban Women’s) Activism …
https://www.jstor.org/stable/26614620
This article examines the ways black and mulato Cubans in the late 1960s and early 1970s continued to fi ght against racial discrimination despite the offi cial end of the 1959 revolution’s antidiscrimination campaign and announcement that racism no lon-ger existed in Cuba. By focusing on the work of Sara Gómez (1943–1974), the fi rst
Race, History, and Black British Jazz - JSTOR Home
https://www.jstor.org/stable/10.5406/blacmusiresej.33.1.0001
Black Music Research Journal Vol. 11, No. 5, Spring 8651 8651 by the Board of Trustees of the University of Illinois Race, History, and Black British Jazz Jason Toynbee Since the arrival of jazz in Britain in 1919, black musicians have played a key role in the development of the genre. They have made significant
[PDF File] History of Jazz - The Institute for Arts Integration and STEAM
https://artsintegration.com/wp-content/uploads/2015/05/History-of-Jazz.pdf
show, it was difficult for a black dancer to gain stature as part of a dance troupe. Because of this, many black performers migrated to Europe, where they introduced the newly emerging forms of jazz music and jazz dance. In Europe, these talented and innovative performers were more well received than in America. The minstrel show evolved and was
Laurie Stras, ed. 2010. Fine: Reflections on Whiteness, …
https://academiccommons.columbia.edu/doi/10.7916/m0xf-xr87/download
passing critical attention to the '60s girl singers and groups are those articles that point out their influence on more prestigious male artists or repertories" (7). Scholars of girl pop are therefore caught in a double bind whereby their arguments for the inclusion of '60s girl singers within the popular music canon only confirms its legitimacy.
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