Joel Whitburn S Top R B Singles 1942 1995

The essays contained in this volume address some of the most visible, durable and influential of African American musical styles as they developed from the mid-1960s into the 21st-century. Soul, funk, pop, R&B and hip hop practices are explored both singly and in their many convergences, and in writings that have often become regarded as landmarks in black musical scholarship. These works employ a wide range of methodologies, and taken together they show the themes and concerns of academic black musical study developing over three decades. While much of the writing here is focused on music and musicians in the United States, the book also documents important and emergent trends in the study of these styles as they have spread across the world. The volume maintains the original publication format and pagination of each essay, making for easy and accurate cross-reference and citation. Tom Perchard?s introduction gives a detailed overview of the book?s contents, and of the field as a whole, situating the present essays in a longer and wider tradition of African American music studies. In bringing together and contextualising works that are always valuable but sometimes difficult to access, the volume forms an excellent introductory resource for university music students and researchers.

An appreciation of Rock-n-Roll, song by song, from its roots and its inspriations to its divergent recent trends. A work of rough genius; DeanOCOs attempt to make connections though time and across genres is laudable."

Born Eunice Waymon in Tryon, North Carolina, Nina Simone (1933-2003) began her musical life playing classical piano. A child prodigy, she wanted a career on the concert stage, but when the Curtis Institute of Music rejected her, the devastating disappointment compelled her to change direction. She turned to popular music and jazz but never abandoned her classical roots or her intense ambition. By the age of twenty six, Simone had sung at New York City's venerable Town Hall and was on her way. Tapping into newly unearthed material on Simone's family and career, Nadine Cohodas paints a luminous portrait of the singer, highlighting her tumultuous life, her innovative compositions, and the prodigious talent that matched her ambition. With precision and empathy, Cohodas weaves the story of Simone's contentious relationship with audiences and critics, her outspoken support for civil rights, her two marriages and her daughter, and, later, the sense of alienation that drove her to live abroad from 1993 until her death. Alongside these threads runs a more troubling one: Simone's increasing outbursts of rage and pain that signaled mental illness and a lifelong struggle to overcome a deep sense of personal injustice.

"There are no definitive histories," writes Elijah Wald, in this provocative reassessment of American popular music, "because the past keeps looking different as the present changes." Earlier musical styles sound different to us today because we hear them through the musical filter of other styles that came after them, all the way through funk and hip hop. As its blasphemous title suggests, How the Beatles Destroyed Rock 'n' Roll rejects the conventional pieties of mainstream jazz and rock history. Rather than concentrating on those traditionally favored styles, the book traces the evolution of popular music through developing tastes, trends and technologies--including the role of records, radio, jukeboxes and television --to give a fuller, more balanced account of the broad variety of music that captivated listeners over the course of the twentieth century. Wald revisits original sources--recordings, period articles, memoirs, and interviews--to highlight how music was actually heard and experienced over the years. And in a refreshing departure from more typical histories, he focuses on the world of working musicians and ordinary listeners rather than stars and specialists. He looks for example at the evolution of jazz as dance music, and rock 'n' roll through the eyes of the screaming, twisting teenage girls who made up the bulk of its early audience. Duke Ellington, Benny Goodman, Frank Sinatra, Elvis Presley, Chuck Berry, and the Beatles are all here, but Wald also discusses less familiar names like Paul Whiteman, Guy Lombardo, Mitch Miller, Jo Stafford, Frankie Avalon, and the Shirelles, who in some cases were far more popular than those bright stars we all know today, and who more accurately represent the mainstream of their times. Written with verve and style, How the Beatles Destroyed Rock 'n' Roll shakes up our staid notions of music history and helps us hear American popular music with new ears.

Available as a FREE .PDF at the Internetarchive.org: https://archive.org/details/WillieTorresDiscography One of the unsung trailblazers within the Latin music industry, Willie Torres (b. 1929) was the original lead singer for the 1950-60s Joe Cuba Sextet. He is credited as one of the 1st mainstream Latino singers to record English words to a Mambo rhythm - Nick Jiménez' 1955 historic song and arrangement of Mambo Of The Times. His career stretched as far back as the late 1940s through to the 2010s. He recorded with most of the biggest names in the Latin music field including: Machito, Graciela, Tito Puente, Tito Rodriguez, Ray Barretto, Charlie and Eddie Palmieri, Celia Cruz, La Lupe, Alegre All Stars, Louie Ramirez, Cal Tjader, Mongo Santamaria and many others. This .PDF book is a pictorial review of the albums he appeared on as a lead or background singer. Over 44 Latin music industry personnel contributed with their observations. Within its 186 pages, this reference work contains previously omitted data on recording session personnel, an array of anecdotes and album facts. As a result, the reader will get a quick overview of the Mambo, Pachanga and Boogaloo eras. This easy read contains over 200 photos of album covers, record session scenes and candid personal moments - some of which have never appeared in print before. Because of the high number of photos and the complex formatting, the .PDF format is the only viable option. Available as a FREE .PDF at the Internetarchive.org: https://archive.org/details/WillieTorresDiscography

Greil Marcus's study of American rock and roll is universally acclaimed as the benchmark work of modern rock criticism. Using a handful of artists - a brace of bluesmen, The Band, Sly Stone, Randy Newman and Elvis Presley - Marcus illuminates and interprets the American Dream in rigorous prose touching on the myth, landscape and oral tradition of the continent. This comprehensive, revised edition of a milestone achievement in the effort to establish rock and roll as a fit subject for serious cultural criticism, includes a new preface by the author.

While public debates over America's current foreign policy often treat American empire as a new phenomenon, this lively collection of essays offers a pointed reminder that visions of national and imperial greatness were a cornerstone of the new country when it was founded. In fact, notions of empire have long framed debates over western expansion, Indian removal, African slavery, Asian immigration, and global economic dominance, and they persist today despite the proliferation of anti-imperialist rhetoric. In fifteen essays, distinguished historians examine the central role of empire in American race relations, nationalism, and foreign policy from the founding of the United States to the twenty-first century. The essays trace the global expansion of American merchant capital, the rise of an evangelical Christian mission movement, the dispossession and historical erasure of indigenous peoples, the birth of new identities, and the continuous struggles over the place of darker-skinned peoples in a settler society that still fundamentally imagines itself as white. Full of transnational connections and cross-pollinations, of people appearing in unexpected places, the essays are also stories of people being put, quite literally, in their place by the bitter struggles over the boundaries of race and nation. Collectively, these essays demonstrate that the seemingly contradictory processes of boundary crossing and boundary making are and always have been intertwined. Contributors: James T. Campbell, Brown University Ruth Feldstein, Rutgers University-Newark Kevin K. Gaines, University of Michigan Matt Garcia, Brown University Matthew Pratt Guterl, Indiana University George Hutchinson, Indiana University Matthew Frye Jacobson, Yale University Prema Kurien, Syracuse University Robert G. Lee, Brown University Eric Love, University of Colorado, Boulder Melani McAlister, George Washington University Joanne Pope Melish, University of Kentucky Louise M. Newman, University of Florida Vernon J. Williams Jr., Indiana University Natasha Zaretsky, Southern Illinois University Carbondale

Do What You Gotta Do examines the role of black female entertainers in the Civil Rights movement.