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  • 1
    ISBN: 9781978803596 , 9781978803589
    Language: English
    Pages: xiii, 246 Seiten , Illustrationen , 23 cm
    DDC: 306.484243
    RVK:
    Keywords: Geschichte 1970- ; Schwarze ; Rhythm and Blues ; Identität ; Sexualität ; Neoliberalismus ; USA
    Abstract: Despite rhythm and blues culture’s undeniable role in molding, reflecting, and reshaping black cultural production, consciousness, and politics, it has yet to receive the serious scholarly examination it deserves. Destructive Desires corrects this omission by analyzing how post-Civil Rights era rhythm and blues culture articulates competing and conflicting political, social, familial, and economic desires within and for African American communities. As an important form of black cultural production, rhythm and blues music helps us to understand black political and cultural desires and longings in light of neo-liberalism’s increased codification in America’s racial politics and policies since the 1970s. Robert J. Patterson provides a thorough analysis of four artists—Kenneth “Babyface” Edmonds, Adina Howard, Whitney Houston, and Toni Braxton—to examine black cultural longings by demonstrating how our reading of specific moments in their lives, careers, and performances serve as metacommentaries for broader issues in black culture and politics.
    Note: Literaturverzeichnis: Seite 225-236
    Library Location Call Number Volume/Issue/Year Availability
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  • 2
    ISBN: 9781978803619
    Language: English
    Pages: 1 Online-Ressource (1 online resource)
    Parallel Title: Erscheint auch als Patterson, Robert J., 1980- Destructive desires
    DDC: 306.4/84243
    Keywords: Rhythm and blues music Social aspects ; History ; Rhythm and blues music Political aspects ; History ; African Americans Attitudes ; Rhythm and blues music History and criticism ; MUSIC ; General ; African Americans ; Attitudes ; United States ; History ; Criticism, interpretation, etc ; Rhythm and blues music
    Abstract: Despite rhythm and blues culture's undeniable role in molding, reflecting, and reshaping black cultural production, consciousness, and politics, it has yet to receive the serious scholarly examination it deserves. Destructive Desires corrects this omission by analyzing how post-Civil Rights era rhythm and blues culture articulates competing and conflicting political, social, familial, and economic desires within and for African American communities. As an important form of black cultural production, rhythm and blues music helps us to understand black political and cultural desires and longings in light of neo-liberalism's increased codification in America's racial politics and policies since the 1970s. Robert J. Patterson provides a thorough analysis of four artists--Kenneth "Babyface" Edmonds, Adina Howard, Whitney Houston, and Toni Braxton--to examine black cultural longings by demonstrating how our reading of specific moments in their lives, careers, and performances serve as metacommentaries for broader issues in black culture and politics
    Abstract: Frontmatter --Contents --Preface: RJP and the Rhythm and Blues Imagination --1. Reading Race, Gender, and Sex: Black Intimate Relations, Black Inequality, and the Rhythm and Blues Imagination --2. "Whip Appeal": Reading Kenneth "Babyface" Edmonds --3. "Freak Like Me": Reading Adina Howard --4. "Didn't We Almost Have It All?": Reading Whitney Houston --Epilogue: "It's Just Another Sad Love Song": Reading Toni Braxton --Appendix A: Select List of Kenneth "Babyface" Edmonds's Songs --Appendix B: Select Awards and Honors --Appendix C: Robert J. Patterson Interviews Adina Howard --Acknowledgments --Notes --Bibliography --Index --About the author
    Note: Includes bibliographical references (pages 225-236) and index
    URL: Cover
    URL: Volltext  (URL des Erstveröffentlichers)
    URL: Volltext  (URL des Erstveröffentlichers)
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