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result(s) for
"Holiday, Billie, 1915-1959 Criticism and interpretation."
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Religion around Billie Holiday
\"Explores the multiple religious influences on Billie Holiday's life and sound, combining elements of biography with the history of race and American music\"--Provided by publisher.
Book
Modernism and Popular Music
Traditionally, ideas about twentieth-century 'modernism' - whether focused on literature, music or the visual arts - have made a distinction between 'high' art and the 'popular' arts of best-selling fiction, jazz and other forms of popular music, and commercial art of one form or another. In Modernism and Popular Music, Ronald Schleifer instead shows how the music of George and Ira Gershwin, Cole Porter, Thomas 'Fats' Waller and Billie Holiday can be considered as artistic expressions equal to those of the traditional high art practices in music and literature. Combining detailed attention to the language and aesthetics of popular music with an examination of its early twentieth-century performance and dissemination through the new technologies of the radio and phonograph, Schleifer explores the 'popularity' of popular music in order to reconsider received and seeming self-evident truths about the differences between high art and popular art and, indeed, about twentieth-century modernism altogether.
eBook
Modernism and popular music
Traditionally, ideas about twentieth-century \"modernism\"--Whether focused on literature, music, or the visual arts - have made a distinction between \"high\" art and the \"popular\" arts of best-selling fiction, jazz and other forms of popular music, and commercial art of one form or another. In Modernism and Popular Music, Ronald Schleifer instead shows how the music of George and Ira Gershwin, Cole Porter, Thomas \"Fats\" Waller, and Billie Holiday can be considered as artistic expressions equal to those of the traditional high modernist art practices in music and literature. Combining detailed attention to the language and aesthetics of popular music with an examination of its early twentieth-century performance and dissemination through the new technologies of the radio and phonograph, Schleifer explores the \"popularity\" of popular music in order to reconsider received and seemingly self-evident truths about the differences between high art and popular art and, indeed, about twentieth-century modernism altogether.
Book
'I Am Always Met at the River': Revisiting This Bridge Called My Back
[...]given the present tense in \"I am always met,\" Moraga is continually encircled by readers of This Bridge, who debate how to cross the river of difference with each rereading. If readers continue to think with Moraga about the nature of bridging, then they constantly restage the discussion about \"what 'feminist' means to us\"3 As a result, This Bridge looks less like a stable literary object and more like an event, always unfolding and fluctuating, indebted to the relationality between text, reader, and context. By describing the book's \"gathering-us-in-ness,\" Bambara predicts the ways in which disparate women will be drawn together by This Bridge: Blackfoot amiga Nisei hermana Down Home Up Souf Sistuh sister El Barrio suburbia Korean The Bronx Lakota Menominee Cubana Chinese Puertoriqueña [sic] reservation Chicana . . . putting in telecalls to each other. In her poem \"billie lives! billie lives,\" hattie gossett imagines Billie Holiday's continued existence: \"shes probably got a little house somewhere with yemanya jezabel the queen of sheba and maria stewart. plus sojourner truth ma rainey ida cox lil hardin and sapphire & her mama are there.
Journal Article
Religion Around Billie Holiday
Soulful jazz singer Billie Holiday is remembered today for her
unique sound, troubled personal history, and a catalogue that
includes such resonant songs as \"Strange Fruit\" and \"God Bless the
Child.\" Holiday and her music were also strongly shaped by
religion, often in surprising ways. Religion Around Billie
Holiday examines the spiritual and religious forces that left
their mark on the performer during her short but influential
life.
Mixing elements of biography with the history of race and
American music, Tracy Fessenden explores the multiple religious
influences on Holiday's life and sound, including her time spent as
a child in a Baltimore convent, the echoes of black Southern
churches in the blues she encountered in brothels, the secular
riffs on ancestral faith in the poetry of the Harlem Renaissance,
and the Jewish songwriting culture of Tin Pan Alley. Fessenden
looks at the vernacular devotions scholars call lived religion-the
Catholicism of the streets, the Jewishness of the stage, the
Pentecostalism of the roadhouse or the concert arena-alongside more
formal religious articulations in institutions, doctrine, and
ritual performance.
Insightful and compelling, Fessenden's study brings unexpected
materials and archival voices to bear on the shaping of Billie
Holiday's exquisite craft and indelible persona. Religion
Around Billie Holiday illuminates the power and durability of
religion in the making of an American musical icon.
eBook
Pimp My Memoir: Jazz Autobiographies' Tricked-Out Personae By David Yaffe
Several autobiographies of jazz artists are profiled. Billie Holiday's autobiography describes her prostitution, and the autobiographies of Miles Davis, Charles Mingus, Louis Armstrong, and Jelly Roll Morton all recount their lives as pimps.
Journal Article
Sanford Biggers
Review of two concurrent exhibitions in New York with work by Sanford Biggers (b. 1970) created from 2002 to the present, at Brooklyn Museum 'Sweet Funk: An Introspective', and at the Sculpturecenter 'Cosmic Voodoo Circus'. The exhibitions took place during 2011. Biggers is an interdisciplinary artist who works in film/video, installation, sculpture, music and performance.
Magazine Article
