The Resource The meaning of soul : Black music and resilience since the 1960s, Emily J. Lordi
The meaning of soul : Black music and resilience since the 1960s, Emily J. Lordi
Resource Information
The item The meaning of soul : Black music and resilience since the 1960s, Emily J. Lordi represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Waubonsee Community College.This item is available to borrow from 1 library branch.
Resource Information
The item The meaning of soul : Black music and resilience since the 1960s, Emily J. Lordi represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Waubonsee Community College.
This item is available to borrow from 1 library branch.
- Summary
- "THE MEANING OF SOUL discusses Black resilience and innovation through soul music and soul logic. Emily Lordi analyzes soul music and musicians from the 1960s, the 1970s, and after, bridging the different valences of soul as a way of moving through the world. The book encompasses soul's racial-political meanings while being sensitive to the details of the music and small details that shaped artists' lives and their relationship to soul. Chapter 1 is about the relationship of soul and jazz music, tracing soul's emergence in the late 1960s as a mode that underscored the redemptive possibilities of Black suffering. Lordi describes how soul music channeled the styles and techniques of the church into secular lyrical content, while soul discourse simultaneously drafted religious logic into a secular faith in collective redemption. Chapter 2 is about how soul artists transformed expressive deprivation into musical abundance by crafting innovative covers of other artists' songs. Landmark covers of this type propelled many soul artists, including Nina Simone and Aretha Franklin, into the spotlight, their displacement turned into stylized survivorship. In chapter 3, Lordi unpacks jazz improvisation and soul adlibs as performing a hard-won achievement of self-trust, trusting oneself enough to break with destructive or stifling conventions. Chapter 4 extends inquiry into the performative relationships with self and others discussed in the previous chapter, by exploring a deeper sense of interiority and a broader scope of sociality as enacted through falsetto vocals. Lordi talks about soul falsettos as used by Ann Peebles, Al Green, Isaac Hayes, and Minnie Riperton, and the ways falsetto signifies different things contextually. Lordi ends the book with a chapter on false endings - bringing the song to a close before striking it up again - symbolizing soul's message of Black group resilience, not a matter of stasis, but of change. The false ending signals the endurance necessary to keep changing, not only oneself, but one's surroundings. Through the close attention to vocal and musical details, as well as to singers beyond the familiar and mostly male stars, Lordi retells the much-told story of soul in a new and rich way. This book will be of interest to general readers and scholars in African American studies, American studies, Black diaspora studies, popular music, and critical theory"--
- Language
- eng
- Extent
- x, 217 pages
- Note
- Source of cataloging data: WCP
- Contents
-
- From soul to post-soul : a literary and musical history
- We shall overcome, shelter, and veil : soul covers
- Rescripted relations : soul ad-libs
- Emergent interiors : soul falsettos
- Never catch me : false endings from soul to post-soul
- Conclusion. "I'm tired of Marvin asking me what's going on" : soul legacies and the work of Afropresentism
- Isbn
- 9781478009597
- Label
- The meaning of soul : Black music and resilience since the 1960s
- Title
- The meaning of soul
- Title remainder
- Black music and resilience since the 1960s
- Statement of responsibility
- Emily J. Lordi
- Language
- eng
- Summary
- "THE MEANING OF SOUL discusses Black resilience and innovation through soul music and soul logic. Emily Lordi analyzes soul music and musicians from the 1960s, the 1970s, and after, bridging the different valences of soul as a way of moving through the world. The book encompasses soul's racial-political meanings while being sensitive to the details of the music and small details that shaped artists' lives and their relationship to soul. Chapter 1 is about the relationship of soul and jazz music, tracing soul's emergence in the late 1960s as a mode that underscored the redemptive possibilities of Black suffering. Lordi describes how soul music channeled the styles and techniques of the church into secular lyrical content, while soul discourse simultaneously drafted religious logic into a secular faith in collective redemption. Chapter 2 is about how soul artists transformed expressive deprivation into musical abundance by crafting innovative covers of other artists' songs. Landmark covers of this type propelled many soul artists, including Nina Simone and Aretha Franklin, into the spotlight, their displacement turned into stylized survivorship. In chapter 3, Lordi unpacks jazz improvisation and soul adlibs as performing a hard-won achievement of self-trust, trusting oneself enough to break with destructive or stifling conventions. Chapter 4 extends inquiry into the performative relationships with self and others discussed in the previous chapter, by exploring a deeper sense of interiority and a broader scope of sociality as enacted through falsetto vocals. Lordi talks about soul falsettos as used by Ann Peebles, Al Green, Isaac Hayes, and Minnie Riperton, and the ways falsetto signifies different things contextually. Lordi ends the book with a chapter on false endings - bringing the song to a close before striking it up again - symbolizing soul's message of Black group resilience, not a matter of stasis, but of change. The false ending signals the endurance necessary to keep changing, not only oneself, but one's surroundings. Through the close attention to vocal and musical details, as well as to singers beyond the familiar and mostly male stars, Lordi retells the much-told story of soul in a new and rich way. This book will be of interest to general readers and scholars in African American studies, American studies, Black diaspora studies, popular music, and critical theory"--
- Assigning source
- Provided by publisher
- Cataloging source
- NcD/DLC
- http://library.link/vocab/creatorDate
- 1979-
- http://library.link/vocab/creatorName
- Lordi, Emily J.
- Dewey number
- 781.644
- Index
- index present
- LC call number
- ML3537
- LC item number
- .L67 2020
- Literary form
- non fiction
- Nature of contents
- bibliography
- Series statement
- Refiguring American music
- http://library.link/vocab/subjectName
-
- Soul music
- Soul musicians
- African Americans
- Music and race
- Popular music
- Label
- The meaning of soul : Black music and resilience since the 1960s, Emily J. Lordi
- Note
- Source of cataloging data: WCP
- Bibliography note
- Includes bibliographical references and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- From soul to post-soul : a literary and musical history -- We shall overcome, shelter, and veil : soul covers -- Rescripted relations : soul ad-libs -- Emergent interiors : soul falsettos -- Never catch me : false endings from soul to post-soul -- Conclusion. "I'm tired of Marvin asking me what's going on" : soul legacies and the work of Afropresentism
- Control code
- on1122910873
- Dimensions
- 24 cm.
- Extent
- x, 217 pages
- Isbn
- 9781478009597
- Lccn
- 2019057426
- Media category
- unmediated
- Media MARC source
- rdamedia
- Media type code
-
- n
- System control number
- (OCoLC)1122910873
- Label
- The meaning of soul : Black music and resilience since the 1960s, Emily J. Lordi
- Note
- Source of cataloging data: WCP
- Bibliography note
- Includes bibliographical references and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- From soul to post-soul : a literary and musical history -- We shall overcome, shelter, and veil : soul covers -- Rescripted relations : soul ad-libs -- Emergent interiors : soul falsettos -- Never catch me : false endings from soul to post-soul -- Conclusion. "I'm tired of Marvin asking me what's going on" : soul legacies and the work of Afropresentism
- Control code
- on1122910873
- Dimensions
- 24 cm.
- Extent
- x, 217 pages
- Isbn
- 9781478009597
- Lccn
- 2019057426
- Media category
- unmediated
- Media MARC source
- rdamedia
- Media type code
-
- n
- System control number
- (OCoLC)1122910873
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<div class="citation" vocab="http://schema.org/"><i class="fa fa-external-link-square fa-fw"></i> Data from <span resource="http://link.library.waubonsee.edu/portal/The-meaning-of-soul--Black-music-and-resilience/0fipWlOKznI/" typeof="Book http://bibfra.me/vocab/lite/Item"><span property="name http://bibfra.me/vocab/lite/label"><a href="http://link.library.waubonsee.edu/portal/The-meaning-of-soul--Black-music-and-resilience/0fipWlOKznI/">The meaning of soul : Black music and resilience since the 1960s, Emily J. Lordi</a></span> - <span property="potentialAction" typeOf="OrganizeAction"><span property="agent" typeof="LibrarySystem http://library.link/vocab/LibrarySystem" resource="http://link.library.waubonsee.edu/"><span property="name http://bibfra.me/vocab/lite/label"><a property="url" href="https://link.library.waubonsee.edu/">Waubonsee Community College</a></span></span></span></span></div>
