How it feels to be free :: black women entertainers and the civil rights movement /
"In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam!" Simone, and her song, became ico...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Oxford ; New York :
Oxford University Press,
2013.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | "In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam!" Simone, and her song, became icons of the civil rights movement. But her confrontational style was not the only path taken by black women entertainers. In How It Feels to Be Free, Ruth Feldstein examines celebrated black women performers, illuminating the risks they took, their roles at home and abroad, and the ways that they raised the issue of gender amid their demands for black liberation. Feldstein focuses on six women who made names for themselves in the music, film, and television industries: Simone, Lena Horne, Miriam Makeba, Abbey Lincoln, Diahann Carroll, and Cicely Tyson. These women did not simply mirror black activism; their performances helped constitute the era's political history. Makeba connected America's struggle for civil rights to the fight against apartheid in South Africa, while Simone sparked high-profile controversy with her incendiary lyrics. Yet Feldstein finds nuance in their careers. In 1968, Hollywood cast the outspoken Lincoln as a maid to a white family in For Love of Ivy, adding a layer of complication to the film. That same year, Diahann Carroll took on the starring role in the television series Julia. Was Julia a landmark for casting a black woman or for treating her race as unimportant? The answer is not clear-cut. Yet audiences gave broader meaning to what sometimes seemed to be apolitical performances. How It Feels to Be Free demonstrates that entertainment was not always just entertainment and that "We Shall Overcome" was not the only soundtrack to the civil rights movement. By putting black women performances at center stage, Feldstein sheds light on the meanings of black womanhood in a revolutionary time."--Publisher's description |
| Beschreibung: | 1 online resource |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9780199718276 019971827X |
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| 100 | 1 | |a Feldstein, Ruth, |d 1965- |e author. |1 https://id.oclc.org/worldcat/entity/E39PBJjtf6K48bfWqjdTjHGCQq |0 http://id.loc.gov/authorities/names/n00092937 | |
| 245 | 1 | 0 | |a How it feels to be free : |b black women entertainers and the civil rights movement / |c Ruth Feldstein. |
| 264 | 1 | |a Oxford ; |a New York : |b Oxford University Press, |c 2013. | |
| 300 | |a 1 online resource | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
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| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Introduction: performing civil rights -- "The world was on fire": making New York City subcultures -- "Africa's musical ambassador": Miriam Makeba and the "voice of Africa" in the United States -- "More than just a jazz performer": Nina Simone's border crossings -- "No one asks me what I want": black women, Hollywood, and "integration narratives" in the late 1960s -- "So beautiful in those rags": Cicely Tyson and African American history in the 1970s -- Epilogue. | |
| 588 | 0 | |a Print version record. | |
| 520 | |a "In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam!" Simone, and her song, became icons of the civil rights movement. But her confrontational style was not the only path taken by black women entertainers. In How It Feels to Be Free, Ruth Feldstein examines celebrated black women performers, illuminating the risks they took, their roles at home and abroad, and the ways that they raised the issue of gender amid their demands for black liberation. Feldstein focuses on six women who made names for themselves in the music, film, and television industries: Simone, Lena Horne, Miriam Makeba, Abbey Lincoln, Diahann Carroll, and Cicely Tyson. These women did not simply mirror black activism; their performances helped constitute the era's political history. Makeba connected America's struggle for civil rights to the fight against apartheid in South Africa, while Simone sparked high-profile controversy with her incendiary lyrics. Yet Feldstein finds nuance in their careers. In 1968, Hollywood cast the outspoken Lincoln as a maid to a white family in For Love of Ivy, adding a layer of complication to the film. That same year, Diahann Carroll took on the starring role in the television series Julia. Was Julia a landmark for casting a black woman or for treating her race as unimportant? The answer is not clear-cut. Yet audiences gave broader meaning to what sometimes seemed to be apolitical performances. How It Feels to Be Free demonstrates that entertainment was not always just entertainment and that "We Shall Overcome" was not the only soundtrack to the civil rights movement. By putting black women performances at center stage, Feldstein sheds light on the meanings of black womanhood in a revolutionary time."--Publisher's description | ||
| 650 | 0 | |a African American women political activists |x History |y 20th century. | |
| 650 | 0 | |a African American women entertainers |x Political activity |x History |y 20th century. | |
| 650 | 0 | |a Performing arts |x Political aspects |z United States |y 20th century. | |
| 650 | 0 | |a African Americans |v Music |x Political aspects |x History |y 20th century. | |
| 650 | 0 | |a African Americans |x Civil rights |x History |y 20th century. | |
| 651 | 0 | |a United States |x Race relations |x History |y 20th century. | |
| 650 | 6 | |a Femmes activistes noires américaines |x Histoire |y 20e siècle. | |
| 650 | 6 | |a Femmes artistes du spectacle noires américaines |x Activité politique |x Histoire |y 20e siècle. | |
| 650 | 6 | |a Arts du spectacle |x Aspect politique |z États-Unis |y 20e siècle. | |
| 650 | 6 | |a Noirs américains |v Musique |x Aspect politique |x Histoire |y 20e siècle. | |
| 650 | 6 | |a Noirs américains |x Droits |x Histoire |y 20e siècle. | |
| 651 | 6 | |a États-Unis |x Relations raciales |x Histoire |y 20e siècle. | |
| 650 | 7 | |a POLITICAL SCIENCE |x Political Freedom & Security |x Civil Rights. |2 bisacsh | |
| 650 | 7 | |a POLITICAL SCIENCE |x Political Freedom & Security |x Human Rights. |2 bisacsh | |
| 650 | 7 | |a African American women entertainers |x Political activity |2 fast | |
| 650 | 7 | |a African American women political activists |2 fast | |
| 650 | 7 | |a African Americans |2 fast | |
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| 655 | 7 | |a Music. |2 lcgft |0 http://id.loc.gov/authorities/genreForms/gf2014026952 | |
| 655 | 7 | |a Musique. |2 rvmgf | |
| 758 | |i has work: |a How it feels to be free (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGFBrxVDcrkX77wQ9MvwP3 |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Feldstein, Ruth, 1965- |t How it feels to be free |z 9780195314038 |w (DLC) 2013019878 |w (OCoLC)856518353 |
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Datensatz im Suchindex
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| _version_ | 1816882251068080128 |
| adam_text | |
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| author | Feldstein, Ruth, 1965- |
| author_GND | http://id.loc.gov/authorities/names/n00092937 |
| author_facet | Feldstein, Ruth, 1965- |
| author_role | aut |
| author_sort | Feldstein, Ruth, 1965- |
| author_variant | r f rf |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | E - United States History |
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| callnumber-subject | E - United States History |
| collection | ZDB-4-EBA |
| contents | Introduction: performing civil rights -- "The world was on fire": making New York City subcultures -- "Africa's musical ambassador": Miriam Makeba and the "voice of Africa" in the United States -- "More than just a jazz performer": Nina Simone's border crossings -- "No one asks me what I want": black women, Hollywood, and "integration narratives" in the late 1960s -- "So beautiful in those rags": Cicely Tyson and African American history in the 1970s -- Epilogue. |
| ctrlnum | (OCoLC)863157279 |
| dewey-full | 323.1196/073 |
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| dewey-ones | 323 - Civil and political rights |
| dewey-raw | 323.1196/073 |
| dewey-search | 323.1196/073 |
| dewey-sort | 3323.1196 273 |
| dewey-tens | 320 - Political science (Politics and government) |
| discipline | Politologie |
| era | 1900-1999 fast |
| era_facet | 1900-1999 |
| format | Electronic eBook |
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| genre | History fast Music. lcgft http://id.loc.gov/authorities/genreForms/gf2014026952 Musique. rvmgf |
| genre_facet | History Music. Musique. |
| geographic | United States Race relations History 20th century. États-Unis Relations raciales Histoire 20e siècle. United States fast https://id.oclc.org/worldcat/entity/E39PBJtxgQXMWqmjMjjwXRHgrq |
| geographic_facet | United States Race relations History 20th century. États-Unis Relations raciales Histoire 20e siècle. United States |
| id | ZDB-4-EBA-ocn863157279 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:25:38Z |
| institution | BVB |
| isbn | 9780199718276 019971827X |
| language | English |
| oclc_num | 863157279 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource |
| psigel | ZDB-4-EBA |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Oxford University Press, |
| record_format | marc |
| spelling | Feldstein, Ruth, 1965- author. https://id.oclc.org/worldcat/entity/E39PBJjtf6K48bfWqjdTjHGCQq http://id.loc.gov/authorities/names/n00092937 How it feels to be free : black women entertainers and the civil rights movement / Ruth Feldstein. Oxford ; New York : Oxford University Press, 2013. 1 online resource text txt rdacontent computer c rdamedia online resource cr rdacarrier Includes bibliographical references and index. Introduction: performing civil rights -- "The world was on fire": making New York City subcultures -- "Africa's musical ambassador": Miriam Makeba and the "voice of Africa" in the United States -- "More than just a jazz performer": Nina Simone's border crossings -- "No one asks me what I want": black women, Hollywood, and "integration narratives" in the late 1960s -- "So beautiful in those rags": Cicely Tyson and African American history in the 1970s -- Epilogue. Print version record. "In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam!" Simone, and her song, became icons of the civil rights movement. But her confrontational style was not the only path taken by black women entertainers. In How It Feels to Be Free, Ruth Feldstein examines celebrated black women performers, illuminating the risks they took, their roles at home and abroad, and the ways that they raised the issue of gender amid their demands for black liberation. Feldstein focuses on six women who made names for themselves in the music, film, and television industries: Simone, Lena Horne, Miriam Makeba, Abbey Lincoln, Diahann Carroll, and Cicely Tyson. These women did not simply mirror black activism; their performances helped constitute the era's political history. Makeba connected America's struggle for civil rights to the fight against apartheid in South Africa, while Simone sparked high-profile controversy with her incendiary lyrics. Yet Feldstein finds nuance in their careers. In 1968, Hollywood cast the outspoken Lincoln as a maid to a white family in For Love of Ivy, adding a layer of complication to the film. That same year, Diahann Carroll took on the starring role in the television series Julia. Was Julia a landmark for casting a black woman or for treating her race as unimportant? The answer is not clear-cut. Yet audiences gave broader meaning to what sometimes seemed to be apolitical performances. How It Feels to Be Free demonstrates that entertainment was not always just entertainment and that "We Shall Overcome" was not the only soundtrack to the civil rights movement. By putting black women performances at center stage, Feldstein sheds light on the meanings of black womanhood in a revolutionary time."--Publisher's description African American women political activists History 20th century. African American women entertainers Political activity History 20th century. Performing arts Political aspects United States 20th century. African Americans Music Political aspects History 20th century. African Americans Civil rights History 20th century. United States Race relations History 20th century. Femmes activistes noires américaines Histoire 20e siècle. Femmes artistes du spectacle noires américaines Activité politique Histoire 20e siècle. Arts du spectacle Aspect politique États-Unis 20e siècle. Noirs américains Musique Aspect politique Histoire 20e siècle. Noirs américains Droits Histoire 20e siècle. États-Unis Relations raciales Histoire 20e siècle. POLITICAL SCIENCE Political Freedom & Security Civil Rights. bisacsh POLITICAL SCIENCE Political Freedom & Security Human Rights. bisacsh African American women entertainers Political activity fast African American women political activists fast African Americans fast African Americans Civil rights fast Performing arts Political aspects fast Race relations fast United States fast https://id.oclc.org/worldcat/entity/E39PBJtxgQXMWqmjMjjwXRHgrq 1900-1999 fast History fast Music. lcgft http://id.loc.gov/authorities/genreForms/gf2014026952 Musique. rvmgf has work: How it feels to be free (Text) https://id.oclc.org/worldcat/entity/E39PCGFBrxVDcrkX77wQ9MvwP3 https://id.oclc.org/worldcat/ontology/hasWork Print version: Feldstein, Ruth, 1965- How it feels to be free 9780195314038 (DLC) 2013019878 (OCoLC)856518353 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=662617 Volltext |
| spellingShingle | Feldstein, Ruth, 1965- How it feels to be free : black women entertainers and the civil rights movement / Introduction: performing civil rights -- "The world was on fire": making New York City subcultures -- "Africa's musical ambassador": Miriam Makeba and the "voice of Africa" in the United States -- "More than just a jazz performer": Nina Simone's border crossings -- "No one asks me what I want": black women, Hollywood, and "integration narratives" in the late 1960s -- "So beautiful in those rags": Cicely Tyson and African American history in the 1970s -- Epilogue. African American women political activists History 20th century. African American women entertainers Political activity History 20th century. Performing arts Political aspects United States 20th century. African Americans Music Political aspects History 20th century. African Americans Civil rights History 20th century. Femmes activistes noires américaines Histoire 20e siècle. Femmes artistes du spectacle noires américaines Activité politique Histoire 20e siècle. Arts du spectacle Aspect politique États-Unis 20e siècle. Noirs américains Musique Aspect politique Histoire 20e siècle. Noirs américains Droits Histoire 20e siècle. POLITICAL SCIENCE Political Freedom & Security Civil Rights. bisacsh POLITICAL SCIENCE Political Freedom & Security Human Rights. bisacsh African American women entertainers Political activity fast African American women political activists fast African Americans fast African Americans Civil rights fast Performing arts Political aspects fast Race relations fast |
| subject_GND | http://id.loc.gov/authorities/genreForms/gf2014026952 |
| title | How it feels to be free : black women entertainers and the civil rights movement / |
| title_auth | How it feels to be free : black women entertainers and the civil rights movement / |
| title_exact_search | How it feels to be free : black women entertainers and the civil rights movement / |
| title_full | How it feels to be free : black women entertainers and the civil rights movement / Ruth Feldstein. |
| title_fullStr | How it feels to be free : black women entertainers and the civil rights movement / Ruth Feldstein. |
| title_full_unstemmed | How it feels to be free : black women entertainers and the civil rights movement / Ruth Feldstein. |
| title_short | How it feels to be free : |
| title_sort | how it feels to be free black women entertainers and the civil rights movement |
| title_sub | black women entertainers and the civil rights movement / |
| topic | African American women political activists History 20th century. African American women entertainers Political activity History 20th century. Performing arts Political aspects United States 20th century. African Americans Music Political aspects History 20th century. African Americans Civil rights History 20th century. Femmes activistes noires américaines Histoire 20e siècle. Femmes artistes du spectacle noires américaines Activité politique Histoire 20e siècle. Arts du spectacle Aspect politique États-Unis 20e siècle. Noirs américains Musique Aspect politique Histoire 20e siècle. Noirs américains Droits Histoire 20e siècle. POLITICAL SCIENCE Political Freedom & Security Civil Rights. bisacsh POLITICAL SCIENCE Political Freedom & Security Human Rights. bisacsh African American women entertainers Political activity fast African American women political activists fast African Americans fast African Americans Civil rights fast Performing arts Political aspects fast Race relations fast |
| topic_facet | African American women political activists History 20th century. African American women entertainers Political activity History 20th century. Performing arts Political aspects United States 20th century. African Americans Music Political aspects History 20th century. African Americans Civil rights History 20th century. United States Race relations History 20th century. Femmes activistes noires américaines Histoire 20e siècle. Femmes artistes du spectacle noires américaines Activité politique Histoire 20e siècle. Arts du spectacle Aspect politique États-Unis 20e siècle. Noirs américains Musique Aspect politique Histoire 20e siècle. Noirs américains Droits Histoire 20e siècle. États-Unis Relations raciales Histoire 20e siècle. POLITICAL SCIENCE Political Freedom & Security Civil Rights. POLITICAL SCIENCE Political Freedom & Security Human Rights. African American women entertainers Political activity African American women political activists African Americans African Americans Civil rights Performing arts Political aspects Race relations United States History Music. Musique. |
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