Music is the great equalizer around the world. No matter where it
originates or what form it takes, it has had a profound role in
shaping the human experience and preserving the history of that
experience for centuries. African American music originated out of
a heritage shaped by the Transatlantic Slave Trade and forced
enslavement. The music born out of this shared identity was a means
of survival, a treatise on the struggle for freedom, and an agent
of social change, and generated a vast array of musical styles and
performance traditions that have defined American music. Musical
Crossroads explores how objects can expand our understanding of the
ways African American music-making continues to shape and influence
society. Five thematic chapters are introduced with an essay by
Dwandalyn R. Reece, and accompanied by shorter features written by
museum staff. Striking images include Johnny Mathis on stage; Bo
Diddley’s Gretsch Guitar; Nina Simone recording "Don't Let Me Be
Misunderstood" to name just a few. Featured objects include Radio
Raheem’s original boombox used in Spike Lee’s 1989 film, Do the
Right Thing; the original Public Enemy logo necklace alongside a
story from rapper Chuck D about where the group’s name comes
from; and photos of Queen Latifah taken by Hip-hop photographer Al
Pereira while she was filming the music video for “Fly Girl”.
Numerous illustrated profiles and stories relating to a host of
DJs, producers, Black-owned record labels, Black music press, and
artists, include magazines like Defender, Blacks Stars, and Vibe;
record labels like Vee-Jay, Stax, Motown and Sussex Records;
promoters and producers including Berry Gordy Jr, Isaac Hayes, and
Ernie Freeman; as well as artists Otis Redding, Nina Simone, Luther
Vandross, Little Richard, Bill Withers, Billie Holiday, Whitney
Houston, and Janet Jackson, to name a few – they’re all here.
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