Who Can Afford to Improvise?: James Baldwin and Black Music, the Lyric and the Listeners
More than a quarter-century after his death, James Baldwin remains an unparalleled figure in American literature and African American cultural politics. In Who Can Afford to Improvise? Ed Pavlić offers an unconventional, lyrical, and accessible meditation on the life, writings, and legacy of James B...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York, NY
Fordham University Press
[2015]
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| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UPA01 UBG01 FCO01 URL des Erstveröffentlichers |
| Zusammenfassung: | More than a quarter-century after his death, James Baldwin remains an unparalleled figure in American literature and African American cultural politics. In Who Can Afford to Improvise? Ed Pavlić offers an unconventional, lyrical, and accessible meditation on the life, writings, and legacy of James Baldwin and their relationship to the lyric tradition in black music, from gospel and blues to jazz and R&B. Based on unprecedented access to private correspondence, unpublished manuscripts and attuned to a musically inclined poet’s skill in close listening, Who Can Afford to Improvise? frames a new narrative of James Baldwin’s work and life. The route retraces the full arc of Baldwin’s passage across the pages and stages of his career according to his constant interactions with black musical styles, recordings, and musicians.Presented in three books — or movements — the first listens to Baldwin, in the initial months of his most intense visibility in May 1963 and the publication of The Fire Next Time. It introduces the key terms of his lyrical aesthetic and identifies the shifting contours of Baldwin’s career from his early work as a reviewer for left-leaning journals in the 1940s to his last published and unpublished works from the mid-1980s. Book II listens with Baldwin and ruminates on the recorded performances of Billie Holiday and Dinah Washington, singers whose message and methods were closely related to his developing world view. It concludes with the first detailed account of "The Hallelujah Chorus," a performance from July 1, 1973, in which Baldwin shared the stage at Carnegie Hall with Ray Charles. Finally, in Book III, Pavlić reverses our musically inflected reconsideration of Baldwin’s voice, projecting it into the contemporary moment and reading its impact on everything from the music of Amy Winehouse, to the street performances of Turf Feinz, and the fire of racial oppression and militarization against black Americans in the 21st century.Always with an ear close to the music, and avoiding the safe box of celebration, Who Can Afford to Improvise? enables a new kind of "lyrical travel" with the instructive clarity and the open-ended mystery Baldwin’s work invokes into the world |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jul 2020) |
| Beschreibung: | 1 online resource (352 pages) |
| ISBN: | 9780823268504 |
| DOI: | 10.1515/9780823268504 |
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| 520 | |a The route retraces the full arc of Baldwin’s passage across the pages and stages of his career according to his constant interactions with black musical styles, recordings, and musicians.Presented in three books — or movements — the first listens to Baldwin, in the initial months of his most intense visibility in May 1963 and the publication of The Fire Next Time. It introduces the key terms of his lyrical aesthetic and identifies the shifting contours of Baldwin’s career from his early work as a reviewer for left-leaning journals in the 1940s to his last published and unpublished works from the mid-1980s. Book II listens with Baldwin and ruminates on the recorded performances of Billie Holiday and Dinah Washington, singers whose message and methods were closely related to his developing world view. It concludes with the first detailed account of "The Hallelujah Chorus," a performance from July 1, 1973, in which Baldwin shared the stage at Carnegie Hall with Ray Charles. | ||
| 520 | |a Finally, in Book III, Pavlić reverses our musically inflected reconsideration of Baldwin’s voice, projecting it into the contemporary moment and reading its impact on everything from the music of Amy Winehouse, to the street performances of Turf Feinz, and the fire of racial oppression and militarization against black Americans in the 21st century.Always with an ear close to the music, and avoiding the safe box of celebration, Who Can Afford to Improvise? enables a new kind of "lyrical travel" with the instructive clarity and the open-ended mystery Baldwin’s work invokes into the world | ||
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| index_date | 2024-07-03T15:08:33Z |
| indexdate | 2024-07-10T08:55:25Z |
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| spelling | Pavlić, Ed Verfasser aut Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners Ed Pavlić New York, NY Fordham University Press [2015] © 2015 1 online resource (352 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 23. Jul 2020) More than a quarter-century after his death, James Baldwin remains an unparalleled figure in American literature and African American cultural politics. In Who Can Afford to Improvise? Ed Pavlić offers an unconventional, lyrical, and accessible meditation on the life, writings, and legacy of James Baldwin and their relationship to the lyric tradition in black music, from gospel and blues to jazz and R&B. Based on unprecedented access to private correspondence, unpublished manuscripts and attuned to a musically inclined poet’s skill in close listening, Who Can Afford to Improvise? frames a new narrative of James Baldwin’s work and life. The route retraces the full arc of Baldwin’s passage across the pages and stages of his career according to his constant interactions with black musical styles, recordings, and musicians.Presented in three books — or movements — the first listens to Baldwin, in the initial months of his most intense visibility in May 1963 and the publication of The Fire Next Time. It introduces the key terms of his lyrical aesthetic and identifies the shifting contours of Baldwin’s career from his early work as a reviewer for left-leaning journals in the 1940s to his last published and unpublished works from the mid-1980s. Book II listens with Baldwin and ruminates on the recorded performances of Billie Holiday and Dinah Washington, singers whose message and methods were closely related to his developing world view. It concludes with the first detailed account of "The Hallelujah Chorus," a performance from July 1, 1973, in which Baldwin shared the stage at Carnegie Hall with Ray Charles. Finally, in Book III, Pavlić reverses our musically inflected reconsideration of Baldwin’s voice, projecting it into the contemporary moment and reading its impact on everything from the music of Amy Winehouse, to the street performances of Turf Feinz, and the fire of racial oppression and militarization against black Americans in the 21st century.Always with an ear close to the music, and avoiding the safe box of celebration, Who Can Afford to Improvise? enables a new kind of "lyrical travel" with the instructive clarity and the open-ended mystery Baldwin’s work invokes into the world In English African American Billie Holiday Black Music James Baldwin Lyric Music Ray Charles listeners MUSIC / History & Criticism bisacsh African Americans Music History and criticism Music and literature United States https://doi.org/10.1515/9780823268504 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Pavlić, Ed Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners African American Billie Holiday Black Music James Baldwin Lyric Music Ray Charles listeners MUSIC / History & Criticism bisacsh African Americans Music History and criticism Music and literature United States |
| title | Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners |
| title_auth | Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners |
| title_exact_search | Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners |
| title_exact_search_txtP | Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners |
| title_full | Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners Ed Pavlić |
| title_fullStr | Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners Ed Pavlić |
| title_full_unstemmed | Who Can Afford to Improvise? James Baldwin and Black Music, the Lyric and the Listeners Ed Pavlić |
| title_short | Who Can Afford to Improvise? |
| title_sort | who can afford to improvise james baldwin and black music the lyric and the listeners |
| title_sub | James Baldwin and Black Music, the Lyric and the Listeners |
| topic | African American Billie Holiday Black Music James Baldwin Lyric Music Ray Charles listeners MUSIC / History & Criticism bisacsh African Americans Music History and criticism Music and literature United States |
| topic_facet | African American Billie Holiday Black Music James Baldwin Lyric Music Ray Charles listeners MUSIC / History & Criticism African Americans Music History and criticism Music and literature United States |
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