At its most intimate, music heals our emotional wounds and inspires us; at its most public, it unites people across cultural boundaries. But can it rebuild a city? Renowned music writer John Swenson asks that question with New Atlantis: Musicians Battle for the Survival of New Orleans, a story about America's most colorful and troubled city and its indominable will to survive. Under sea level, repeatedly harangued by fires, crime, and most devastatingly, by Hurricane Katrina, New Orleans has the potential to one day become a "New Atlantis," a lost metropolis under the waves. But this threat has failed to prevent its stalwart musicians and artists from living within its limits, singing its praises and attracting the economic growth needed for its recovery. New Atlantis records how the city's jazz, Cajun, R&B, Bourbon Street, second line, brass band, rock and hip hop musicians are reconfiguring the city's unique artistic culture, building on its historic content while reflecting contemporary life in New Orleans. New Atlantis is a city's tale made up of citizen's tales. It's the story of Davis Rogan, a songwriter, bandleader and schoolteacher who has become an integral part of David Simon's new HBO series Treme (as compelling a story about New Orleans as The Wire was about Baltimore). It's the story of trumpeter Irvin Mayfield, who lost his father in the storm and has since become an important political and musical force shaping the future of New Orleans. It's the story of Bo Dollis Jr., chief of the Wild Magnolias Mardi Gras Indians, as he tries to fill the shoes of his ailing father Bo Dollis, one of the most charismatic figures in Mardi Gras Indian history. It is also the author's own story; each musician profiled will be contextualized by Swenson's three-decades-long coverage of the New Orleans music scene.

Though you may not know the man, you probably know his music. Arkansas-born Louis Jordan's songs like "Baby, It's Cold Outside," "Caldonia" and "Ain't Nobody Here But Us Chickens" can still be heard today, decades since Jordan ruled the charts. In his five-decade career, Jordan influenced American popular music, film and more and inspired the likes of James Brown, B.B. King, Chuck Berry and Ray Charles. Known as the "King of the Jukeboxes," he and his combo played a hybrid of jazz, swing, blues and comedy music during the big band era that became the start of R&B.

In a stunning narrative portrait of Louis Jordan, author Stephen Koch contextualizes the great, forgotten musician among his musical peers, those he influenced and the musical present.

Explore the fascinating history of the Muscle Shoals Sound.

Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. In part one of this two-part book, Bolden undertakes a theoretical examination of the development of funk and the historical conditions in which black artists reimagined their music. In part two, he provides historical and biographical studies of key funk artists, all of whom transfigured elements of blues tradition into new styles and visions. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.

Miami, 1963. A young boy from Louisville, Kentucky, is on the path to becoming the greatest sportsman of all time. Cassius Clay is training in the 5th Street Gym for his heavyweight title clash against the formidable Sonny Liston. He is beginning to embrace the ideas and attitudes of Black Power, and firebrand preacher Malcolm X will soon become his spiritual adviser. Thus Cassius Clay will become 'Cassius X' as he awaits his induction into the Nation of Islam. Cassius also befriends the legendary soul singer Sam Cooke, falls in love with soul singer Dee Dee Sharp and becomes a remarkable witness to the first days of soul music. As with his award-winning soul trilogy, Stuart Cosgrove's intensive research and sweeping storytelling shines a new light on how black music lit up the sixties against a backdrop of social and political turmoil - and how Cassius Clay made his remarkable transformation into Muhammad Ali.

From the Jim Crow world of 1920s Greenville, South Carolina, to Greenwich Village's Café Society in the '40s, to their 1974 Grammy-winning collaboration on "Loves Me Like a Rock," the Dixie Hummingbirds have been one of gospel's most durable and inspiring groups. Now, Jerry Zolten tells the Hummingbirds' fascinating story and with it the story of a changing music industry and a changing nation. When James Davis and his high-school friends starting singing together in a rural South Carolina church they could not have foreseen the road that was about to unfold before them. They began a ten-year jaunt of "wildcatting," traveling from town to town, working local radio stations, schools, and churches, struggling to make a name for themselves. By 1939 the a cappella singers were recording their four-part harmony spirituals on the prestigious Decca label. By 1942 they had moved north to Philadelphia and then New York where, backed by Lester Young's band, they regularly brought the house down at the city's first integrated nightclub, Café Society. From there the group rode a wave of popularity that would propel them to nation-wide tours, major record contracts, collaborations with Stevie Wonder and Paul Simon, and a career still vibrant today as they approach their seventy-fifth anniversary. Drawing generously on interviews with Hank Ballard, Otis Williams, and other artists who worked with the Hummingbirds, as well as with members James Davis, Ira Tucker, Howard Carroll, and many others, The Dixie Hummingbirds brings vividly to life the growth of a gospel group and of gospel music itself.

Do you remember when certain songs connected you to that special someone and related to a certain time and location as if the recording artist knew what you were going through? Those were the days of doo-wop, better known as the good old days. The songs were magical, they touched you. Songs like: "Tears On My Pillow"-by Little Anthony & The Imperials, "Lovers Never Say Goodbye"-The Flamingoes, "Oh What a Night"-The Dells, "For Your Precious Love"-Jerry Butler & The Impressions. Even a song like "Soldier Boy"- by the Shirelles today relate to our troops, friends and love ones in combat. Fighting to preserve our freedom. The magical legacy carried over into the sixties and seventies. "Yes I'm Ready"-Barbara Mason, "Hey There Lonely Girl"- Eddie Holman, "Storm Warning"- The Volcanos, "Love Aint Been Easy"-The Trammps. These songs and the late Weldon McDougal III inspired me to write the true story of "The Volcanos" and "The Trammps." You will read about the beginning of my hunger to be in show business, the success and the unheard-of phenomenon that took place behind- the-curtains with "The Volcanos" and The Grammy Award Winning "Trammps." Jerry Blavat would say "You Only Rock Once" Read on and relive the days of doo-wop, disco, and memories. It's show time So Let the show begin..............

Music, magic and myth are elements essential to the identities of New Orleans musicians. The city's singular contributions to popular music around the world have been unrivaled; performing this music authentically requires collective improvisation, taking performers on sonorous sojourns in unanticipated, 'magical' moments; and membership in the city's musical community entails participation in the myth of New Orleans, breathing new life into its storied traditions. On the basis of 56 open-ended interviews with those in the city's musical community, Michael Urban discovers that, indeed, community is what it is all about. In their own words, informants explain that commercial concerns are eclipsed by the pleasure of playing in 'one big band' that disassembles daily into smaller performing units whose rosters are fluid, such that, over time, 'everybody plays with everybody'. Although Hurricane Katrina nearly terminated the city, New Orleans and its music-in no small part due to the sacrifices and labors of its musicians-have come back even stronger. Dancing to their own drum, New Orleanians again prove themselves to be admirably out of step with the rest of America.

We developed reputations real fast. We treated our entertainers right. We got them paid. Other agents and promoters and managers showed them the money. We got them the money. We brought respect to the African American artist in America. We brought them prestige. We really cared about our artists and those who worked for us, and it was obvious because we fought like hell for them. So when you listen to some of that music today an Otis Redding record or Percy Sledge or anyone from our shop you re not just hearing music but also the sound of iron being hammered and bricks being laid for those especially African Americans who are in the business today. Southern Man is the memoir of a life in music during one of the most racially turbulent times in American history. It presents the voice of Alan Walden a remarkable, sensitive, humble, and brilliant man; a boy from the country who, serendipitously, along with his brother Phil and best friend Otis Redding, helped to nurture a musical renaissance. It is the story of a son of Macon, Georgia, and his passion for R&B and rock n roll at a time when it took wits and a Southern persistence to overcome the obstacles on the hard scrabble road to success the tragedy of loss, disappointment, and betrayal, along with the joy of victory, optimism, and hope and taking a dream right over the mountain. That dream led him to work with and nurture the talents of a virtual who s who of Southern music, from Sam & Dave and Percy Sledge to Boz Scaggs and Lynyrd Skynyrd. Anyone who was alive during the golden age of R&B and Southern rock remembers the music, but Alan s narrative invites the reader to the centre of the story, into the studio and on the road, to backroom deals and backroom brawls. It wasn t always peaches and cream. The music business is tough, and Alan Walden was one of the toughest kids on the street. He had to be, in order to survive in a world of guitars, guts, and guns. This is rock n roll noir the story of a few pioneers who cut the rock and laid the pipe under the hard scrabble terrain so that the water of creativity can more freely flow today.

The global icon, award-winning singer, songwriter, producer, actress, mother, daughter, sister, storyteller and artist finally tells the unfiltered story of her life in The Meaning of Mariah Carey. It took me a lifetime to have the courage and the clarity to write my memoir. I want to tell the story of the moments - the ups and downs, the triumphs and traumas, the debacles and the dreams - that contributed to the person I am today. Though there have been countless stories about me throughout my career and very public personal life, it's been impossible to communicate the complexities and depths of my experience in any single magazine article or a ten-minute television interview. And even then, my words were filtered through someone else's lens, largely satisfying someone else's assignment to define me. This book is composed of my memories, my mishaps, my struggles, my survival and my songs. Unfiltered. I went deep into my childhood and gave the scared little girl inside of me a big voice. I let the abandoned and ambitious adolescent have her say, and the betrayed and triumphant woman I became tell her side. Writing this memoir was incredibly hard, humbling and healing. My sincere hope is that you are moved to a new understanding, not only about me, but also about the resilience of the human spirit. Love, Mariah

In Do You Remember? Celebrating Fifty Years of Earth, Wind & Fire, Trenton Bailey traces the humble beginning of Maurice White, his development as a musician, and his formation of Earth, Wind & Fire, a band that became a global phenomenon during the 1970s. By the early 1980s, the music industry was changing, and White had grown weary after working constantly for more than a decade. He decided to put the band on hiatus for more than three years. The band made a comeback in 1987, but White's health crisis soon forced them to tour without him. During the twenty-first century, the band has received numerous accolades and lifetime achievement and hall of fame awards. The band remains relevant today, collaborating with younger artists and maintaining their classic sound. Earth, Wind & Fire stood apart from other soul bands with their philosophical lyrics and extravagant visual art, much of which is studied in the book, including album covers, concerts, and music videos. The lyrics of hit songs are examined alongside an analysis of the band's chart success. Earth, Wind & Fire has produced twenty-one studio albums and several compilation albums. Each album is analyzed for content and quality. Earth, Wind & Fire is also known for using ancient Egyptian symbols, and Bailey thoroughly details those symbols and Maurice White's fascination with Egyptology. After enduring many personnel changes, Earth, Wind & Fire continues to perform around the world and captivate diverse audiences.

In Crossing Bar Lines: The Politics and Practices of Black Musical Space James Gordon Williams reframes the nature and purpose of jazz improvisation to illuminate the cultural work being done by five creative musicians between 2005 and 2019. The political thought of five African American improvisers-trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill-is documented through insightful, multilayered case studies that make explicit how these musicians articulate their positionality in broader society. Informed by Black feminist thought, these case studies unite around the theory of Black musical space that comes from the lived experiences of African Americans as they improvise through daily life. The central argument builds upon the idea of space-making and the geographic imagination in Black Geographies theory. Williams considers how these musicians interface with contemporary social movements like Black Lives Matter, build alternative institutional models that challenge gender imbalance in improvisation culture, and practice improvisation as joyful affirmation of Black value and mobility. Both Terence Blanchard and Ambrose Akinmusire innovate musical strategies to address systemic violence. Billy Higgins's performance is discussed through the framework of breath to understand his politics of inclusive space. Terri Lyne Carrington confronts patriarchy in jazz culture through her Social Science music project. The work of Andrew Hill is examined through the context of his street theory, revealing his political stance on performance and pedagogy. All readers will be elevated by this innovative and timely book that speaks to issues that continue to shape the lives of African Americans today.

K-pop (Korean popular music) reigns as one of the most popular music genres in the world today, a phenomenon that appeals to listeners of all ages and nationalities. In Soul in Seoul: African American Popular Music and K-pop, Crystal S. Anderson examines the most important and often overlooked aspect of K-pop: the music itself. She demonstrates how contemporary K-pop references and incorporates musical and performative elements of African American popular music culture as well as the ways that fans outside of Korea understand these references. K-pop emerged in the 1990s with immediate global aspirations, combining musical elements from Korean and foreign cultures, particularly rhythm and blues genres of black American popular music. Korean solo artists and groups borrow from and cite instrumentation and vocals of R&B genres, especially hip hop. They also enhance the R&B tradition by utilizing Korean musical strategies. These musical citational practices are deemed authentic by global fans who function as part of K-pop's music press and promotional apparatus. K-pop artists also cite elements of African American performance in Korean music videos. These disrupt stereotyped representations of Asian and African American performers. Through this process K-pop has arguably become a branch of a global R&B tradition. Anderson argues that Korean pop groups participate in that tradition through cultural work that enacts a global form of crossover and by maintaining forms of authenticity that cannot be faked, and furthermore propel the R&B tradition beyond the black-white binary.

Soul music and country music propel American popular culture. Using ethnomusicological tools, Shonekan examines their socio-cultural influences and consequences: the perception of and resistance to hegemonic structures from within their respective constituencies, the definition of national identity, and the understanding of the 'American Dream.'

Known for the classics "Knock on Wood," "634-5789," "Raise Your Hand," "Big Bird," and "I've Never Found a Girl (To Love Me Like You Do)," among others, Eddie Floyd's career as a soul legend spans over sixty years. His professional singing career began in Detroit in the 1950s as a founding member of the Falcons, considered "The First Soul Group." A solo artist and songwriter for Memphis's famed Stax Records from 1966 until 1975, Floyd has subsequently been the singer for the Blues Brothers Band and for Bill Wyman's Rhythm Kings, while continuing to perform and record solo. In Knock! Knock! Knock! On Wood , Floyd recounts how a three-year stint in an Alabama reform school shaped his young life; recalls the early years of R&B in Detroit alongside future Motown and Stax legends; discusses the songwriting sessions with Steve Cropper and Booker T. Jones that produced his biggest hits; addresses his complicated life-long relationship with the often-unpredictable Wilson Pickett; shares his memories of friend Otis Redding; reveals his unlikely involvement in the rise of southern rock darlings Lynyrd Skynyrd; and offers an insider perspective on the tragic downfall of Stax Records. With input from Bruce Springsteen, Bill Wyman, Paul Young, William Bell, Steve Cropper, and others, Knock! Knock! Knock! On Wood captures Eddie's tireless work ethic and warm personality for an engrossing first-hand account of one of the last true soul survivors.

To tell the story of Morris Day is to tell the story of Prince. Not because they were inseparable or because their paths never diverged, but because, even when their paths did diverge, they always intersected again. Each artist lifted the other up, pushing one another to be something bigger and better than they thought themselves capable of. There was plenty of one-upmanship and some (un)healthy competition, but the respect Day and Prince had for one another never wavered, from the time they met in junior high until His Royal Badness's untimely death in 2016. In telling his own story and writing about Prince, Day turns Prince into the narrative's Greek chorus. Prince is there to protect his legacy, argue with Morris's interpretation of events, and continue the dialogue that started when both musicians were in their early teens. Because of their lifelong friendship emotional intimacy, the founder and still current leader of The Time is the one man who can pull this off, and in so doing shed a new light on Prince and the culture from which the Minneapolis funk scene was born. On Time recounts Day's fight to overcome cocaine addiction, his search for meaning in both music and romance, and his subsequent second-act success by once again leading The Time, whose music is his lifeblood and soul. Day's book is a comprehensive, free-wheeling extension of his music--the ride is wild and the funk unfiltered.

In the 1970s, Northern Soul held a pivotal position in British youth culture. Originating in the English North and Midlands in the late-1960s, by the mid-1970s it was attracting thousands of enthusiasts across the country. This book is a social history of Northern Soul, examining the origins and development of this music scene, its clubs, publications and practices. Northern Soul emerged in a period when working class communities were beginning to be transformed by deindustrialisation and the rise of new political movements around the politics of race, gender and locality. Locating Northern Soul in these shifting economic and social contexts of the English North and Midlands in the 1970s, the authors argue that people kept the faith not just with music, but with a culture that was connected to wider aspects of work, home, relationships and social identities. Drawing on an expansive range of sources, including oral histories, magazines and fanzines, diaries and letters, this book offers a detailed and empathetic reading of a working class culture that was created and consumed by thousands of young people in the 1970s. The authors highlight the complex ways in which class, race and gender identities acted as forces for both unity and fragmentation on the dancefloors of iconic clubs such as the Twisted Wheel in Manchester, Blackpool Mecca, the Torch in Stoke-on-Trent, the Catacombs in Wolverhampton and the Casino in Wigan. Marking a significant contribution to the historiography of youth culture, this book is essential reading for those interested in popular music and everyday life in postwar Britain. -- .

Northern Soul is a cultural phenomenon twice removed from its original source in Britain in the late 1960s. Rooted in gospel and rhythm and blues music, with pounding "four-to-the floor" beats, it is often accompanied by swirling strings, vibraphone flourishes, and infectious clapping. Since the 1960s Northern Soul has spread globally, via the Internet and migration, to such unlikely places as Medellin in Colombia. By giving voice to the members of this scene, this book explores theories about how identity and cultural literacy evolve through engagement with popular culture. It seeks to contribute to understandings about patterns of economic and media consumption, informal learning, intercultural communication, and about how migrants perceive themselves and form connections with others.

Raised by his grandmother in Tennessee, Gil Scott-Heron's journey from humble beginnings to becoming one of the most uncompromising and influential songwriters of his generation is a remarkable one. In this, his heartfelt, beautifully written and posthumously published memoir, we are given bright insights into the music industry, New York, the civil-rights movement, modern America, governmental hypocrisy, Stevie Wonder and our wider place in the world. It is also a fitting testament to the generous brilliance of Gil Scott-Heron and to the Spirits that guided him.

"If You Don't Know Me By Now," "The Love I Lost," "The Soul Train Theme," "Then Came You," "Ain't No Stoppin' Us Now"--the distinctive music that became known as Philly Soul dominated the pop music charts in the 1970s. In A House on Fire, John A. Jackson takes us inside the musical empire created by Kenny Gamble, Leon Huff, and Thom Bell, the three men who put Philadelphia Soul on the map.
Here is the eye-opening story of three of the most influential and successful music producers of the seventies. Jackson shows how Gamble, Huff, and Bell developed a black recording empire second only to Berry Gordy's Motown, pumping out a string of chart-toppers from Harold Melvin & the Blue Notes, the Spinners, the O'Jays, the Stylistics, and many others. The author underscores the endemic racism of the music business at that time, revealing how the three men were blocked from the major record companies and outlets in Philadelphia because they were black, forcing them to create their own label, sign their own artists, and create their own sound. The sound they created--a sophisticated and glossy form of rhythm and blues, characterized by crisp, melodious harmonies backed by lush, string-laden orchestration and a hard-driving rhythm section--was a glorious success, producing at least twenty-eight gold or platinum albums and thirty-one gold or platinum singles. But after their meteoric rise and years of unstoppable success, their production company finally failed, brought down by payola, competition, a tough economy, and changing popular tastes.
Funky, groovy, soulful--Philly Soul was the classic seventies sound. A House on Fire tells the inside story of this remarkable musical phenomenon.