African American Prison Autobiography: From Racial to Sexual Politics

Author(s):  
Auli Ek
Groove Theory ◽  
2020 ◽  
pp. 182-223
Author(s):  
Tony Bolden

This chapter showcases Betty Davis’s transposition of women’s blues into rock-inflected version of funk. Bolden advances two key arguments. First, Davis reprised the sexual politics and rebellious spirit exemplified by singers Bessie Smith and Ida Cox, for instance, and reinterpreted those principles in modern America. Second, Davis’s eroticism and sui generis style of funk, which she expressed in her recordings and onstage, reflected a sexual politics that served as a counterpart to those of black feminists writers such as Toni Morrison, Alice Walker, and many others who were publishing coextensively. But whereas black feminist writers often wrote about black women in previous generations, Davis not only addressed contradictions that black women encountered in contemporary street culture; she also represented such X-rated sexual desires as sadomasochism in her songwriting. In addition, the chapter provides biographical information that contextualizes Davis’s route to the music industry, and Bolden uses critical methods from scholarship on African American poetry to illuminate Davis’s vocal technique. 


Film Reboots ◽  
2020 ◽  
pp. 143-156
Author(s):  
Chuck Tryon

This chapter describes Creed as a sequel-reboot which functions as a politically ambivalent, but textually reverent, reboot of the Rocky franchise (1976–90). It asserts that Creed is a film that at one and the same time celebrates the franchise’s deployment of the tropes of the boxing picture and male melodrama, while also updating the racial and sexual politics of the series. Developing ideas on the way film reboots mediate the tension between familiarity and novelty, the chapter demonstrates how Creed rewrites aspects of the original Rocky films so as to create a new political narrative, one that explicitly challenges stereotypes of African-American athletes.


At a moment when “freedom of religion” rhetoric fuels public debate, it is easy to assume that sex and religion have faced each other in pitched battle throughout modern U.S. history. Yet, by tracking the nation’s changing religious and sexual landscapes over the twentieth century, this book challenges that zero-sum account of sexuality locked in a struggle with religion. It shows that religion played a central role in the history of sexuality in the United States, shaping sexual politics, communities, and identities. At the same time, sexuality has left lipstick traces on American religious history. From polyamory to pornography, from birth control to the AIDS epidemic, this book follows religious faiths and practices across a range of sacred spaces: rabbinical seminaries, African American missions, Catholic schools, pagan communes, the YWCA, and much more. What emerges is the shared story of religion and sexuality and how both became wedded to American culture and politics. The volume, framed by a provocative introduction by Gillian Frank, Bethany Moreton, and Heather R. White and a compelling afterword by John D’Emilio, features essays by Rebecca T. Alpert and Jacob J. Staub, Rebecca L. Davis, Lynne Gerber, Andrea R. Jain, Kathi Kern, Rachel Kranson, James P. McCartin, Samira K. Mehta, Daniel Rivers, Whitney Strub, Aiko Takeuchi-Demirci, Judith Weisenfeld, and Neil J. Young.


2012 ◽  
Vol 65 (1) ◽  
pp. 113-178 ◽  
Author(s):  
Mark Burford

Abstract Though African American singer, songwriter, and entrepreneur Sam Cooke (1931–1964) is commonly celebrated as a pioneering soul singer, the preponderance of Cooke recordings suggesting to many critics a “white” middle-of-the-road pop sound has troubled this reception. From June 1957 until the end of 1959, Cooke recorded for the independent label Keen Records, where he charted a course for realizing his professional and socioeconomic aspirations, including his determination to harness the prestige attached to the long-playing album and the “album artist.” This article explores relationships between the repertory, performances, and production on three Keen album tracks: “Danny Boy,” “My Foolish Heart,” and “I've Got a Right to Sing the Blues.” These recordings reveal Cooke's seldom-noted proximity to contemporaneous figures and concerns: “Irish tenor” Morton Downey, who built a career on the fluidity between ethnic identity and pop's transparent “whiteness”; Billy Eckstine, who struggled to navigate the racial and sexual politics of the pop balladeer; and the black studio musicians whose campaign for employment equity in 1950s Los Angeles found resonance with Cooke's vision. Taking Cooke's endeavor seriously positions us to assess freshly Cooke's skills as a vocalist, the processes through which “pop” becomes racialized as white, and intractable methodological challenges in black music studies.


2008 ◽  
Vol 36 (4) ◽  
pp. 505-521 ◽  
Author(s):  
David Feddes

African American prison inmates convert to Islam at a rate faster than any other demographic group in the United States. In this article, I focus on the Christian encounter with Islam among African Americans in prison. First, I examine the wider demographic and historical context influencing the rise of Islam among prisoners. I trace the tendency of African Americans initially to join heterodox Black Nationalist Islamic groups and then to move toward Sunni orthodoxy. I then explore why some African Americans, especially inmates, find Islam more attractive than other Americans do. I discuss prison policy changes that seek to accommodate Muslim practices within a society where the predominant faith is Christianity. Finally, I offer recommendations for Christians to meet challenges and seize opportunities in the encounter with Islam among African American prisoners.


Sign in / Sign up

Export Citation Format

Share Document