I used to be your sweet mama : ideology, sexuality, and domesticity ; Mama's got the blues : rivals, girlfriends, and advisors ; Here come my train : traveling themes and women's blues ; Blame it on the blues : Bessie Smith, Gertrude "Ma" Rainey, and the politics of blues protest ; Preaching the blues : spirituality and self-consciousness ; Up in Harlem every Saturday night : blues and the Black aesthetic ; When a woman loves a man : social implications of Billie Holiday's love songs ; "Strange fruit" : music and social consciousness ; Lyrics to songs recorded by Gertrude "Ma" Rainey ; Lyrics to songs recorded by Bessie Smith.
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Includes bibliographical references and index.
. - Jazz, it is widely accepted, is the signal original American contribution to world culture. Angela Davis shows us how the roots of that form in the blues must be viewed not only as a musical tradition but as a life-sustaining vehicle for an alternative black working-class collective memory and social consciousness profoundly at odds with mainstream American middle-class values. And she explains how the tradition of black women blues singers - represented by Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday - embodies not only an artistic triumph and aesthetic dominance over a hostile popular music industry but an unacknowledged proto-feminist consciousness within working-class black communities. Through a close and riveting analysis of these artists' performances, words, and lives, Davis uncovers the unmistakable assertion and uncompromising celebration of non-middle-class, non-heterosexual social, moral, and sexual values.
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117 kr.
