Strange Fruit Billie Holiday Cafe Society And An Early Cry For Civil Rights
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| Author | : David Margolick |
| Publisher | : |
| Total Pages | : 162 |
| Release | : 2001 |
| Genre | : History and criticism |
| ISBN | : 9781841951133 |
An exploration of the story of a song that foretold a movement, and the lady who dared to sing it. The powerful, evocative lyrics of Strange Fruit - written by a Jewish communist schoolteacher - portray the lynching of a black man in the South. In 1939, its performance sparked controversy (and sometimes violence) wherever Billie Holiday went. Not until 16 years later did Rosa Parks refuse to yield her seat on a Montgomery, Alabama bus. Yet Strange Fruit lived on, and in this work David Margolick chronicles its effect on those who experienced it first-hand: musicians, artists, journalists, intellectuals, students, budding activists, and even the waitresses and bartenders who worked the clubs.
| Author | : Gary Golio |
| Publisher | : Millbrook Press ™ |
| Total Pages | : 43 |
| Release | : 2017-02-01 |
| Genre | : Juvenile Nonfiction |
| ISBN | : 1512438634 |
The audience was completely silent the first time Billie Holiday performed a song called "Strange Fruit." In the 1930s, Billie was known as a performer of jazz and blues music, but this song wasn't either of those things. It was a song about injustice, and it would change her life forever. Discover how two outsiders—Billie Holiday, a young black woman raised in poverty, and Abel Meeropol, the son of Jewish immigrants—combined their talents to create a song that challenged racism and paved the way for the Civil Rights movement.
| Author | : David Margolick |
| Publisher | : Harper Collins |
| Total Pages | : 162 |
| Release | : 2001-01-23 |
| Genre | : Music |
| ISBN | : 0060959568 |
Recorded by jazz legend Billie Holiday in 1939, "Strange Fruit" is considered to be the first significant song of the civil rights movement and the first direct musical assault upon racial lynchings in the South. Originally sung in New York's Cafe Society, these revolutionary lyrics take on a life of their own in this revealing account of the song and the struggle it personified. Strange Fruit not only chronicles the civil rights movement from the '30s on, it examines the lives of the beleaguered Billie Holiday and Abel Meeropol, the white Jewish schoolteacher and communist sympathizer who wrote the song that would have an impact on generations of fans, black and white, unknown and famous, including performers Lena Horne, Eartha Kitt, and Sting.
| Author | : Dorian Lynskey |
| Publisher | : |
| Total Pages | : 843 |
| Release | : 2012 |
| Genre | : Music |
| ISBN | : 9780571241354 |
33 Revolutions Per Minute tracks the turbulent relationship between popular music and politics, through 33 pivotal songs that span seven decades and four continents, from Billie Holiday singing 'Strange Fruit' to Green Day raging against the Iraq war. Dorian Lynskey explores the individuals, ideas and events behind each song, showing how protest music has soundtracked and informed social change since the 1930s. Through the work of such artists as Woody Guthrie, Bob Dylan, Stevie Wonder, Fela Kuti, The Clash, Public Enemy and Gil Scott Heron, Lynskey examines how music has engaged with racial unrest, nuclear paranoia, apartheid, war, poverty and oppression, offering hope, stirring anger, inciting action and producing songs which continue to resonate years down the line.
| Author | : Lillian Eugenia Smith |
| Publisher | : |
| Total Pages | : 269 |
| Release | : 1959 |
| Genre | : African Americans |
| ISBN | : |
| Author | : Farah Jasmine Griffin |
| Publisher | : Simon and Schuster |
| Total Pages | : 262 |
| Release | : 2001 |
| Genre | : Blues musicians |
| ISBN | : 0684868083 |
The threads of Billie Holiday's mystique are unraveled in this study of a woman who needed to create art at any cost. Griffin liberates Holiday from stereotypes of black women and pries her away from the male tradition of jazz criticism while presenting Holiday's independent spirit. of photos.
| Author | : Julia Blackburn |
| Publisher | : Vintage |
| Total Pages | : 370 |
| Release | : 2012-10-10 |
| Genre | : Biography & Autobiography |
| ISBN | : 0307829219 |
From Julia Blackburn, an author whose ability to conjure lives from other times and places is so vivid that one suspects she sees ghosts, here is a portrait of a woman whose voice continues to haunt anyone who hears it. Billie Holiday’s life is inseparable from an account of her troubles, her addictions, her arrests, and the scandals that would repeatedly put her name in the tabloid headlines of the 1940s and 1950s. Those who knew her learned never to be surprised by what she might do. Her moods and faces were so various that she could seem to be a different woman from one moment to the next. Volatile, unpredictable, Billie Holiday remained, even to her friends, an elusive and perplexing figure. In With Billie, we hear the voices of those people–piano players and dancers, pimps and junkies, lovers and narcs, producers and critics, each recalling intimate stories of the Billie they knew. What emerges is a portrait of a complex, contradictory, enthralling woman, a woman who knew what really mattered to her. Reading With Billie, one is convinced that she has only just left the room but will return shortly.
| Author | : Graham Lock |
| Publisher | : Oxford University Press |
| Total Pages | : 386 |
| Release | : 2009-01-02 |
| Genre | : Music |
| ISBN | : 0199887675 |
The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists. There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Völz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom. With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected.
| Author | : Evelyn M. Simien |
| Publisher | : Springer |
| Total Pages | : 258 |
| Release | : 2016-04-30 |
| Genre | : History |
| ISBN | : 1137001224 |
The authors probe the reasons and circumstances surrounding the death and torture of African American female victims, relying on such methodological approaches as comparative historical work, content and media analysis, as well as literary criticism.
| Author | : Charles B Hersch |
| Publisher | : Taylor & Francis |
| Total Pages | : 210 |
| Release | : 2016-10-14 |
| Genre | : Music |
| ISBN | : 1317270398 |
Jews and Jazz: Improvising Ethnicity explores the meaning of Jewish involvement in the world of American jazz. It focuses on the ways prominent jazz musicians like Stan Getz, Benny Goodman, Artie Shaw, Lee Konitz, Dave Liebman, Michael Brecker, and Red Rodney have engaged with jazz in order to explore and construct ethnic identities. The author looks at Jewish identity through jazz in the context of the surrounding American culture, believing that American Jews have used jazz to construct three kinds of identities: to become more American, to emphasize their minority outsider status, and to become more Jewish. From the beginning, Jewish musicians have used jazz for all three of these purposes, but the emphasis has shifted over time. In the 1920s and 1930s, when Jews were seen as foreign, Jews used jazz to make a more inclusive America, for themselves and for blacks, establishing their American identity. Beginning in the 1940s, as Jews became more accepted into the mainstream, they used jazz to "re-minoritize" and avoid over-assimilation through identification with African Americans. Finally, starting in the 1960s as ethnic assertion became more predominant in America, Jews have used jazz to explore and advance their identities as Jews in a multicultural society.
