Tools

LEADER 03322cam 22004094a 4500

001 ocm54365523;

003 OCoLC;

005 20141212175544.0;

008 040202s2004 ncua bk 001 0 eng ;

010 a| 2004002239;

020 a| 0822333058 (cloth : alk. paper);

020 a| 0822333171 (pbk. : alk. paper);

035 a| (Sirsi) o54365523;

035 a| (OCoLC)54365523;

042 a| pcc;

049 a| EREM;

050 00 a| ML3534b| .M31 2004;

082 00 a| 781.66/089/960732| 22;

100 1 a| Mahon, Maureen.=| ^A581922;

245 10 a| Right to rock :b| the Black Rock Coalition and the cultural politics of race /c| Maureen Mahon.;

260 a| Durham :b| Duke University Press,c| 2004.;

300 a| xi, 317 pages :b| illustrations ;c| 25 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 285-298), discography (pages 267-271) and index.;

505 0 a| Reclaiming the right to rock -- The "postliberated generation" -- Saturday go to meeting -- Black rock manifesting -- Black rock aesthetics -- Living colored in the music industry -- Media interventions -- Playing rock, playing roles -- Jimi Hendrix experiences -- Until the levee breaks.;

520 a| An account of the Black Rock Coalition, that began in New York in 1985, & its relation to the results of the civil rights era integration, to the larger questions of racialization in the music industry, & American society. The original architects of rock 'n' roll were black musicians including Little Richard, Etta James, and Chuck Berry. Jimi Hendrix electrified rock with his explosive guitar in the late 1960s. Yet by the 1980s, rock music produced by African Americans no longer seemed to be "authentically black." Particularly within the music industry, the prevailing view was that no one--not black audiences, not white audiences, and not black musicians--had an interest in black rock. In 1985 New York-based black musicians and writers formed the Black Rock Coalition (BRC) to challenge that notion and create outlets for black rock music. A second branch of the coalition started in Los Angeles in 1989. Under the auspices of the BRC, musicians organized performances and produced recordings and radio and television shows featuring black rock. The first book to focus on the BRC, this book, like the coalition itself, about the connections between race and music, identity and authenticity, art and politics, and power and change. The author observed and participated in BRC activities in New York and Los Angeles, and she conducted interviews with more than two dozen brc members. She offers an in-depth account of how, for nearly twenty years, members of the BRC have broadened understandings of black identity and black culture through rock music.;

610 20 a| Black Rock Coalition.=| ^A581923;

650 0 a| Rock musicx| Social aspectsz| United States.=| ^A1014190;

650 0 a| African American musicians.=| ^A17244;

650 0 a| Music and race.=| ^A239154;

994 a| X0b| ERE;

596 a| 3;

998 a| 969347;

999 a| ML3534 .M31 2004w| LCc| 1i| 30372012424823d| 3/1/2021e| 8/29/2020f| 4/11/2024g| 4l| MSTm| JMUSICn| 6p| $21.80r| Ys| Yt| MGESBKu| 8/31/2004x| BOOKz| MCIRCo| .STAFF. enhanced 10/3/23 -jjab;

Right to rock : the Black Rock Coalition and the cultural politics of race / Maureen Mahon.

Author/creator	Mahon, Maureen
Format	Book
Publication Info	Durham : Duke University Press, 2004.
Description	xi, 317 pages : illustrations ; 25 cm
Subjects	Black Rock Coalition. Rock music--Social aspects. --United States. African American musicians. Music and race.

Contents	Reclaiming the right to rock -- The "postliberated generation" -- Saturday go to meeting -- Black rock manifesting -- Black rock aesthetics -- Living colored in the music industry -- Media interventions -- Playing rock, playing roles -- Jimi Hendrix experiences -- Until the levee breaks.
Abstract	An account of the Black Rock Coalition, that began in New York in 1985, & its relation to the results of the civil rights era integration, to the larger questions of racialization in the music industry, & American society. The original architects of rock 'n' roll were black musicians including Little Richard, Etta James, and Chuck Berry. Jimi Hendrix electrified rock with his explosive guitar in the late 1960s. Yet by the 1980s, rock music produced by African Americans no longer seemed to be "authentically black." Particularly within the music industry, the prevailing view was that no one--not black audiences, not white audiences, and not black musicians--had an interest in black rock. In 1985 New York-based black musicians and writers formed the Black Rock Coalition (BRC) to challenge that notion and create outlets for black rock music. A second branch of the coalition started in Los Angeles in 1989. Under the auspices of the BRC, musicians organized performances and produced recordings and radio and television shows featuring black rock. The first book to focus on the BRC, this book, like the coalition itself, about the connections between race and music, identity and authenticity, art and politics, and power and change. The author observed and participated in BRC activities in New York and Los Angeles, and she conducted interviews with more than two dozen brc members. She offers an in-depth account of how, for nearly twenty years, members of the BRC have broadened understandings of black identity and black culture through rock music.
Bibliography note	Includes bibliographical references (pages 285-298), discography (pages 267-271) and index.
LCCN	2004002239
ISBN	0822333058 (cloth : alk. paper)
ISBN	0822333171 (pbk. : alk. paper)

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Music	Music Stacks	ML3534 .M31 2004	✔ Available	Place Hold

Right to rock : the Black Rock Coalition and the cultural politics of race / Maureen Mahon.

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