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propheticeve · 7 months

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Black American trance work : Shouting

The evolution of the ring shout serves as proof of resilience, creativity, and the enduring connection between faith and culture. The ring shout is not just a dance; it's a sacred form of expression that bridges the realms of the earthly and the divine. Unique to the Hoodoo and Christian faiths, the ring shout has a complex history that mirrors the multifaceted nature of Black spirituality in the United States.

The history of the ring shout is as diverse as the regions and church denominations in which it thrives. In a society where African Americans were subjected to the oppressive forces of slavery and its accompanying suppression of cultural practices, the ring shout emerged as a form of worship that allowed a connection with the divine, even when drumming and dancing were prohibited in many church settings.

One of the defining features of the ring shout is its minimalistic approach to musical accompaniment. Unlike many religious dances, the ring shout typically relies on clapping and stomping as opposed to musical instruments. This made it permissible within church contexts after the formal worship, opening the door for spiritual expression that was otherwise suppressed.

The earliest recorded encounters with the ring shout by outsiders occurred during the Civil War in 1861, particularly in the coastal regions of Georgia and South Carolina. It was during this tumultuous period that the world began to witness the profound spiritual and cultural significance of the ring shout.

In contemporary times, shouting, or "praise breaks," is far more than a testament to one's connection with Jesus or Christian faith. It is a profound method of connecting with the divine through worship, one that encompasses a range of powerful components. These can include speaking in tongues, bodily convulsions, prophecies, falling unconscious and being covered with a white cloth, crying, screaming, and experiencing what is often referred to as "catching the Holy Ghost."

The concept of the Holy Ghost, or Holy Spirit, in Christianity has been a source of deep reflection for many. For some, catching the Holy Ghost is an intensely personal and transformative experience. It's a moment when something stirs deep within, leading to powerful releases of emotion and spiritual energy.

The traditions of praise breaks and ring shouts are not confined to a single denomination or cultural group. They are woven into the fabric of various Black American cultures, including the Gullah Geechee community, the Church of God in Christ (COGIC), Holiness and Pentecostal traditions, and more.

The key here is understanding that Black Americans have a unique way of connecting with the divine, one that may differ from other cultures. This distinct form of trance work, often deemed "bad" by those who fail to recognize its roots, is deeply intertwined with African and Indigenous practices.

The practices seen in the Black church are not confined solely to Christianity. Rather, they encompass a tapestry of African and Indigenous traditions that have persevered through generations of slavery and dehumanization. From dance to drumming, these practices echo ancestral roots in Voodoo, Obeah, Santeria, and various African Traditional Religions (ATRs).

Praise breaks and ring shouts extend far beyond the act of talking to God; they are gateways to connecting with spirit. These traditions are a testament to the diverse ways in which Black Americans express their spirituality and connect with the divine.

The Black American church has always represented more than just faith in Jesus; it has stood as a beacon of justice, healing, home, and peace. While this isn't an attempt to convince anyone to join a church, it serves as a reminder that we can connect with our ancestors through praise breaks, shouting, and songs of praise.

The words themselves are not what matter most; it's the intention, the energy, and the connection with spirit that hold the true power. Whether you're engaging in dance, song, or a simple prayer, know that your intent and the energy you conjure are your magick—a direct gateway to your ancestors and a testament to the resilience and creativity of Black spirituality.

I often wondered who is the holy ghost exactly, have i caught him? I think so i remember a time where i felt something stir up within me so deep and i let out a belt, i had to be aorund 11 or 12, it was like a release and i began to cry out to God. Not to Jesus but to something deeper than what i was taught to belive god to be. Around 16 I felt this energy in the church setting again however this time it was different but much more potent, this was the enrgy that sent me on my Journey of Spiritualism. Back to shouting.

You see This show up in so many different black american cultures such as the Gullah geechees, Cogics and holiness and pentecostal. As black people we tend to connect to the divine differently then other, i mean every culture has their own way of connection right? Why is black american trance work deemed bad because one may not understan the difference between Christianity and Black spirituality.

Almost everything you see being done in the black church is not CHRISTIAN and has nothing to do with the bible, rather its full of african and indigenous practices that have been watered down thru generations of slavery and dehumanization.

I must say, as a Holiness Hoodoo myself not everyone can “shout” but hey different strokes for different folks.

But one must ask who is the Holy Ghost and why does this spirit show up so differently for black americans. This is something I deem to explore as whatever religion black people touch ALWAYS shifts culturally.

In the heart of the Black American church, there lies a profound reservoir of emotion, detail, and a connection that transcends the mere belief in Christ. It stands not only as a sanctuary of faith but as a beacon of justice, healing, home, and peace. The Black church has always been a cornerstone of the community, providing solace and strength in the face of adversity.

A Legacy Beyond Belief

The power of the Black church is not solely rooted in the teachings and sermons but also in the deep well of feelings and connections that are forged within its walls. From the resounding rhythm of drums to the uplifting harmony of songs and the transformative energy of dance, the Black church is a testament to the multifaceted nature of faith and spirituality.

It serves as a pillar of justice, where voices rise together to demand equality and fight against injustice. It is a place of healing, where the wounded find solace and rejuvenation in the embrace of their community. It is a home, a sanctuary where individuals come as they are, finding not just shelter but a sense of belonging. And, most importantly, it is a source of peace, offering respite from the trials of the world and a place to commune with the divine.

A Call to Connect

Now, this is not a plea to join a church; rather, it's an invitation to connect with the spiritual legacy that runs deep in the Black community. Consider making it a practice to "shout" for your ancestors, to engage in a "praise break" when the spirit moves you. The words you use matter less than your intention, your energy, and the connection you forge with the divine.

Your songs of praise become a vessel, carrying the feelings, memories, and ancestral energy that you conjure with every note and every step. This is your magick—a direct gateway to your ancestors, a bridge that spans generations, and a testament to the enduring strength of Black spirituality.

The Black American church has always been more than a place of worship; it is a testament to the resilience, creativity, and unity of a people who have found strength in their faith. In your own way, whether within the walls of a church or the quiet of your home, you can tap into this powerful legacy and connect with the divine.

Please remember to SHARE! SHARE! SHARE! My Mind and Me inc 501c3 nonprofit dedicated to promoting Mindfulness in urban communities is teaming with Temple of living word LLC to purchase our very own Praise house where you can come and practice your ATR judgment free ! Click the link below to read, share and support !

#hoodoo #medium #ancestor veneration #witch #rootwork #black women #conjure #prophet #tutnese #luxury #foundational black american

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beachgothgay · 25 days

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They need to teach gangster rap to primary school kids and I'm barely joking.

1. Gives kids a lesson in the evolution of music in the 20th century, specifically the history of African American music.

2. Teaches kids about different forms of poetry, from metered rhyme to free verse. Also a appreciation for poetic flow.

3. Instils positive life lessons like: support your local community, don't accept disrespect, and don't talk to cops.

4. Intersection between music history and social justice history.

Etc.

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ghostonly · 6 months

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So I was grabbed hold of by my music hyperfixation today and it turned out, today's the day I learn more about the history of American music as made by African Americans. Since, you know, they did most of it.

I've known for a long time that American music has deep roots in Black experiences and culture, but it was always such a behemoth of genres and artists that I didn't know what exactly I liked or where to start.

So, today, I figured I'd do what I do best and start with all of it at once.

Okay, not exactly. I'm doing it in chronological order. But in order to accurately order the shitload of playlists and folders I was making on Spotify, I needed to know what order those genres were discovered in.

I am not in school for this, I'm not educated on this and, as a white person, I don't feel like I have the nuance, experience, or understanding to properly write a massive post about this topic, but I did want to share a few articles I've read today, because they were extremely well-written (as far as I can tell), informative, and moving.

Reasons to Read These

African Americans have been the driving force in just about every music genre that's come out of America. If you don't already know that, or want to know more, you should read these.

Do you find music and musical evolution fascinating? You should read these.

Are you queer? Disco is part of queer culture as well and the overlap between Black and queer culture in that time period leans heavily on disco, which is fascinating and part of your own history. You should read these.

If you care about racial tensions in the US, the article that talks about Earth, Wind, & Fire goes into the ways disco impacted racial tensions in the US in the late 70s. It's good knowledge to have under your belt. You should read these.

Bonus shout out to The Get Down on Netflix. I watched this a year or two ago and was obsessed with it for a few days until the fixation passed. This is part of the driving inspiration for me looking into the history of disco and hip-hop so extensively today, because the vibes in the show were just... enrapturing. And, looking at the Wikipedia page for it to double check how it was received by people who know more than me, it does seem to have good reception. I especially like that they involved historical pioneers in its creation (DJ Grandmaster Flash, who invented modern use of turntables for hip-hop, DJ Kool Herc, and Kurtis Blow, all in their 60s and part of the original hip-hop scene in the Bronx). So if you want to watch something that will get you hyped about disco and hip-hop, I can just about promise you that'll do it. Needless to say, I will be rewatching it very soon.

Long but detailed and very well written. Has many artist suggestions:

A shorter summary for someone who wants a quick read:

I hope some of you will click through and learn something with me today c:

#music #history #music history #jazz #disco #hip hop #rap #queer #queer history #black history #blm #black music #black music history #earth wind and fire #african american music #racism mention

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whatevergreen · 4 months

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Evolution of Swing, 1939 (WPA), Raymond Steth. (The Met)

"Evolution of Swing illustrates the development of swing music from its origins in rural Africa, represented by the scene at lower right, through the enslavement of Africans by white Americans, to the urban centers of the twentieth century."

#raymond seth #artists #art #lithograph #music

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heyits-mars-x · 4 months

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From Scene Queens to E-Kids: How the Internet Shaped the Alternative Music Scene

The following essay is an edited version of a paper I wrote for a class in one of my college classes, which I think would really inform a lot of people about the history and evolution of the “emo” genre and style as a whole. It was written last year, so it isn’t TOTALLY up to date, so please don’t fuss over that. I mostly focused on how developing technology and shifting political climates influenced the genre. If you’ve been on the scene for a while, I’d love to hear your take, and if I’m missing anything! I’d also love to hear about your experiences on the scene, as a burgeoning emo young adult on the scene, I am fully aware I’ve missed out on a lot… Regardless, I hope you enjoy this, or take something from it! If you feel so inclined, I’d appreciate if you shared it!

Note: all my sources will be cited at the end!

Introduction

The musical genre dubbed as “alternative” is vastly broad, encompassing the near-thousands of subgenres (and consequently, those subgenres are broken into even smaller groups). This genre includes musical styles such as rock and roll, metal, punk, grunge, and emo, all styles of music that are identified through emotionally-charged lyrics paired with musical composition that is heavier and more aggressive than the typical mainstream, upbeat pop music heard on the radio. Alternative music has continuously provided a group for those who feel like outcasts from the mainstream population, and with it comes its own culture and sense of community. This community as a whole is typically referred to as the alternative scene, or simply “the scene” for short. While the music can be traced all the way back to the 1940s with bands that sound much softer in comparison to today’s musical groups on the scene, it has evolved throughout the decades to the many subgenres that exist today.

Even more fascinating is how alternative music has evolved with time and the rise of the technology and the internet age. The alternative scene has responded to global events of yesterday and today through their music. The scene has been a place of rebellion, fast-changes, and expressing frustrations with the world. Home for angsty teens, today the scene finds itself grappling with issues of diversity, gatekeeping, social media, blurring the lines of genre, and even its own past of sexual misconduct. Since the turn of the century, the internet has shaped the alternative scene, leaving almost no trace of the early days of rock and roll. The alternative music scene has been able to survive through the internet, which has also made the scene more accepting to people of color, women, queer folk, transgender folk, and even gender non-conforming individuals as facilitated by the advances of the internet, and has raised the standard in sound quality while blending genres to evolve their sound.

Pre-Internet History

Alternative music’s beginnings are all thanks to people of color, which is ironic considering later times in the alternative scene often excluded minorities. In the 1940s, many artists of color began blending the previously existing sounds of the blues with rhythm music, thus creating rock and roll (Goldmine Staff). Artists of that time included Dinah Washington and The Ravens (Goldmine Staff). Rock and roll continued to do its own thing for quite some time, but instead of remaining the affluent genre created by many African-American artists, white people took interest in the music, began producing their own rock and roll, and unsurprisingly, received almost all of the credit in creating rock and roll music. People of color would continuously be pushed out of the alternative scene as it continued through their early years, and this is an issue that would not begin to see improvements until decades later when a new generation finally pushes for social justice. Until then, the scene was largely white-washed and often dismissed the early rock n’ roll founders, who were African-American.

Dinah Washington performing at the Randall Island Jazz Festival, 1960. Taken by Henri Dauman.

It was in the 70s and 80s when rock and roll began spilling over and creating new subgenres. Nearly simultaneously in both the United States and the United Kingdom, young rock and rollers that made music in their garage began doling out gritty and unpolished tracks thick in political criticism. This new group of angry garage bands were the beginnings of punk music, and they came about in a time of an unstable and harsh political climate. In the US, President Ronald Reagan was elected into office at the beginning of the 80s, replacing a much more liberal president (McMahon). Reagan’s conservative ideologies were the opposite of those belonging to punks, and bands such as The Dead Kennedys were the loudest in their screams of disapproval (Moore 33-36). Along with the conservative leader came events such as the AIDS epidemic and racial injustices that made the world seem more unstable, and during this time of instability, punk music was the outlet. At the same time in the UK, punks like the Sex Pistols critiqued the English monarchy with songs like “God Save The Queen,” a song that mocked the British anthem:

The Sex Pistols playing live in Copenhagen, 1977. Getty Images 1977.

“God save the Queen

The fascist regime

They made you a moron

A potential H bomb.” (Sex Pistols).

As with the majority of punk music at the time, the lyrics of “God Save the Queen” was unflinching in its critique of the government. The heavy instrumental that lacked a clear melody was also a trademark of punk music. Punk artists also upset the style of rock and roll, adopting skinny leather pants and spiky hair with dark eye makeup as their go-to basics (“What is Punk Music?”). The scene was primarily underground, but still existed in most major metropolitan areas. However, while punk music and shows were originally a place for those in mutual hatred for government and contemporary society to get together, its more violent nature took over (McMahon). Neo Nazi punks, also called skinheads, took over concert venues and instigated violence, most commonly against women and minorities within the scene. Police raids of shows were also increasing. It was glaringly obvious that if the violence continued, the scene would soon die out (McMahon). Then, it was the same rebellious spirit that birthed punk also birthed its own band of misfits.

In Washington DC’s hardcore scene, the same violence ran rampant as it were with other cities. It was then that Amy Pickering, who worked at a small record label called Dischord, decided that she was going to instigate change (McMahon). In 1985, Pickering began spreading notes to raise support for “Revolution Summer,” a call against violence and discrimination in the DC scene (McMahon). Quickly after the “Revolution Summer” movement caught on in DC, the same record label that Pickering worked at, Dischord, recorded Rites Of Spring’s debut album (McMahon). Contrary to their predecessors, Rites Of Spring was self-loathing instead of being loathsome of the world (McMahon). Their emotional lyrics paired with their roots in aggressive instrumentals earned them the name “emocore,” or “emo” for short (McMahon). From there on out, other underground hardcore scenes followed suit. Emocore music continued to progress underground as the technically-grunge Nirvana topped charts, even beating out Michael Jackson, which left major record labels scrambling to find their own alternative superstars and thus senselessly signing amateur musicians lacking the authenticity alternative music was known for (Moore 114-155). Inevitably, the attempts of these record labels to find their own Nirvana were futile. The alternative scene fell into a lull from the public eye, while brewing in underground urban music were new bands who were simply waiting to be discovered. The key to the success of hardcore music was soon to arrive; in the form of economic unrest, terrorist attacks, social reckonings, and most importantly, the Internet.

The Peak of Emo

At the turn of the century, the internet truly started cropping up in many middle-class households. Teenagers grappling with coming of age in a new era of technology flocked to websites like MySpace, which connected users through status updates, friends lists, and music sharing. They used the forums to express their style and emotions. MySpace became home to the iconic “emo” and “scene” styles we know today. Large bloggers that showcased the fishnets, band tees, sneakers, and brightly-dyed hair covering the eyes were popular amongst “emos” and even hosted meetups in shopping malls and public spaces. Despite these kids wearing eyeliner and skinny jeans being prevalent on the Internet, they were much less popular in the world outside of the computer screen. Being “emo” was an insult, and the public opinion was that emo music was corrupting teens, making them suicidal and homosexual (Britton, NPR, Rawstorne). Emo and alternative teens were often subject to bullying and violence from peers, the outside world, and even the media. April 2007 in Lancashire, young couple Sophie Lancaster and Robert Maltby - who were known to dress in a gothic fashion - were jumped (McMahon, S.O.P.H.I.E.). The perpetrators attacked Maltby first, but continued kicking Lancaster after she intervened and cradled her boyfriend’s head in protection (McMahon, S.O.P.H.I.E.) Robert survived the attack, but Sophie died after being on medical support for thirteen days at the age of 20 (McMahon, S.O.P.H.I.E.). In Mexico on March 7th, 2008, an angry mob formed through online forums carried out a planned attack on people who dressed “emo,” intending to kill them for “‘being privileged, as well as being gay,’”(NPR). Those who protested those attacks were subjected to violence themselves (NPR). Then in May 2008, the Daily Mail published their infamous article “Why no child is safe from the sinister cult of emo,” which warned parents that listening to alternative music and wearing dark clothing caused depression and suicide amongst their teens (Rawstorne). While the internet and social media were responsible for spreading hatred for groups of teenagers who appeared “emo,” they also facilitated the necessary means for these bullied and targeted kids to meet each other. That is why the alternative music scene was always known to be a home to those without a home; when the world rejects you, you can always find acceptance within a community on the new and exciting World Wide Web. The scene became a safe haven, but unfortunately, there was still exclusion within the scene. The style of hair, makeup, and dress that is attached to alternative music places special emphasis on pale skin - something that racist individuals within the scene used to exclude people of color who had a darker skin tone.

Traumatic events that shook the modern 21st century continued to create an unstable political, economic, and societal climate, and when people needed somewhere to turn for comfort, they looked to music that they could relate to and was unflinching in emotional outpour. The music itself came into the spotlight shortly after the September 11th terrorist attacks when Jimmy Eat World released their fourth album weeks after its initial and unsuccessful release date (McMahon). Their album dominated the charts and went platinum, and other boy bands claiming the emo style became popular, particularly with teenage girls (McMahon). Bands like Dashboard Confessional, Jimmy Eat World, and Taking Back Sunday were featured in teen magazines and their emotional music telling stories about struggling with heartbreak and depression (McMahon, Britton). When looking at the events, it seems almost obvious that this confessional style of music became popular. The world had just reeled from a major terrorist attack and suddenly the future was uncertain. People were left to grapple with life and death, political upheaval, and the possibility of war was looming over the shoulders of many Americans - specifically young men who feared being drafted. In a time of panic, people turned to the music as an outlet. My Chemical Romance’s Gerard Way even admitted that witnessing the September 11th terrorist attacks led him to found one of the most renowned bands in the emocore genre (McMahon). It was in 2006 when My Chemical Romance began breaking into the emocore scene with bands Fall Out Boy and Panic! At the Disco, at first greeted with hatred, but soon praised by thousands and selling out concert venues regularly (McMahon). The genre was popular amongst teenagers on MySpace, looking for an outlet for their emotions, who were coming of age in a time of unrest between the United States and the Middle East. Add onto that the 2008 Stock Market crash leading into a crippled economy, and you get the secret to how emocore music and style skyrocketed in popularity. The singers were pouring their hearts out for a world who related to their lyrics of sadness, heartbreak, and anger about the world around them. While still not accepted by the mainstream, people everywhere found comfort in hearing music that spoke to their struggles.

“Death” of Emo

Emocore music began to fall as the decade came to a turn. In 2009, Facebook surpassed MySpace in popularity, to which MySpace never recovered and was soon forgotten. The emo scene was pronounced dead by many on March 22nd, 2013 when My Chemical Romance updated their website with the announcement of their disbandment. March 22nd would continue to be a day of mourning for all who identified as “emo” through internet memes for years to come. After that, most say that emo was done and over with, primarily because My Chemical Romance was the poster-child for emo. However, the other popular bands continued to make music and tour throughout the following years. New bands continued to gain traction within the scene as well, such as Pierce the Veil, Black Veil Brides, Falling In Reverse, and Asking Alexandria to name a few. The style still was not popular amongst the general public, especially in the Middle East, where, while experiencing unwanted Westernization, also witnessed their own teens subscribing to “emo” styles of dress and music (Fathalla, Rasheed). The people of Iraq who felt threatened by this darker style of fashion and music began forming militias which actually took action by stoning “emo” appearing teenagers to death in 2012 (Fathalla, Rasheed). According to Reuters, as many as 14 teenagers were killed within three weeks, with some estimates going as high as 80, and leaders only denounced the murdering of these teens, still stating “‘they are a plague on Muslim society, and those responsible should eliminate them through legal means,’” (Rasheed). Meanwhile, a new blogging site called Tumblr slowly began attracting troves of fanbases to its pages. As the last of the Millennials and the first Generation Z’ers began entering their teenage years, those invested in niche interests began connecting with other misfits on Tumblr, and once again, the internet connected fans of alternative music. The genre lived underground, often a key piece in the idealized “grunge aesthetic” that was popular on Tumblr (K. et. al). Grunge aesthetic was a more modern iteration of the previous internet style of emo, which kept the brightly colored hair, dark clothing, and fishnets, but added technological advancements like smartphones (K. et. al). Artists popular amongst followers of the grunge aesthetic included older alternative influences like Nirvana and Fall Out Boy, along with newer groups on the scene such as Twenty One Pilots, Melanie Martinez, The 1975, Arctic Monkeys, and many more (K. et. al). Further, content creators who fell under the “alternative” category and made content about “alternative” subjects garnered audiences who related to the creators (K. et. al). Though largely out of the public eye, the community of those who listened to alternative music congregated and mingled online.

Joining Tumblr as a social media site fostering the underground alternative community is SoundCloud. SoundCloud is a social media platform designed for small, independent artists and podcasts to upload and share their work, and was launched in 2015 (Holcombe et al.). While SoundCloud was a platform for all genres and projects, it soon became a place for young independent rappers to get their start (Holcombe et al.). Gone were the days of mixtapes, now the young rappers of the world share their music with others through the internet, and they are able to garner a following much easier than ever before (Shah). SoundCloud was at its peak in 2017, with many users and even artists who began on the platform reaching success and going on global tours (Holcombe et al.). These bigger SoundCloud artists included the likes of Lil’ Peep and his group of collaborators in GothBoiClique, Ghostmane, Suicideboys, Juice WRLD, and XXXTENTACION (Britton, Holcombe et al., McMahon, Shah). These artists began a crossover genre called “emo rap” or “sad boy rap,” that mixed influences of lyricism and emotional outpour of emocore music with the musical style of synth tones, lo-fi, and rhythmic lyrical delivery to create their own music (Holcombe et al., McMahon, Shah). The artists, like Lil’ Peep and his peers, were all born in the late 90s and even into the 2000s, meaning they grew up in the same turbulent times that many who loved emo music also came of age. They blended the influences from their favorite artists, mixing from both Kanye West and My Chemical Romance. In fact, many artists would pull sound clips from their favorite emo songs, such as Lil’ Peep, who sampled Pierce the Veil’s “Today I Saw The Whole World” at the end of his song “I Crash You Crash” (Holcombe et al.). Lil’ Peep’s song “The Brightside” tells the story of heartbreak, similarly to the popular subject of many angsty emo bands;

“I guess she wasn't the one, right?

This isn't what love's like, that's for sure

Help me find a way to pass the time (pass the time)

Everybody tellin' me life's short, but I wanna die (I wanna die)

Help me find a way to make you mine (make you mine)

Everybody tellin' me not to, but I'm gonna try

Now I'm gettin' high again tonight” (Lil’ Peep).

This song is a perfect example of the sort of subject matter that emo rap is known to cover. Firstly, the song is obviously about a woman who is no longer in Lil’ Peep’s life, and he’s feeling heartbroken. Not only that, it also discusses suicidal ideation, another topic that emo rap does not shy away from. Finally, the last line, “[n]ow I’m getting high again tonight” adds a quick blip about drug usage, a part of the culture that emo rap had created that often romanticizes heavy drug usage. Many criticized the genre for such glamorization; however, heavy drug usage was also a key part of the rock n’ roll and hair metal scene of the 80s (Holcombe et al.). Emo rap was the subject of blame for a rise in opioid usage and drug abuse, but it is impossible to not look at this scapegoating and compare it to the previous subgenres of alternative music; emocore blamed for suicide and self harm, school shootings blamed on nu metal, and rock n’ roll taking the brunt of accusations of satan-worshipping (Holcombe et al.). Emo rap showed great potential to take the world by storm, and they were on the road to doing so when the genre met its unfortunate end. In a sad turn of events, the drug usage flaunted in the emo rap music ended up being the artists’ downfall as well. Shortly after Pitchfork named Lil’ Peep “the future of emo” in 2017, he was found dead on his tour bus of a fentanyl-overdose at the age of 21 (McMahon, Holcombe et al.). Shortly after came the deaths of Juice WRLD and XXXTENTACION, and the genre fell largely out of the public eye as fans mourned (Holcombe et al.). The other artists within the genre continue to make music, but without the trailblazers, emo rap lacks a lot of the driving force it once had. Unfortunately, the world will never be able to see where the young rappers would have taken the genre, but their influence was major. Emo rap serves as the missing link between 2000s MySpace emocore music and what is currently happening - an emo revival that has much more freedom than the emo music the world knew before.

2018 and Beyond

The alternative music scene continued on thanks to the incoming generation, Generation Z, who were the key piece in the perfect storm that kept the genre alive. Following the Millennials, Generation Z grew up in an age of rapid technological advancements and drastic change in modern society (Pandit). Generation Z’ers were born between the turn of the century and the mid 2000s, and entered a world experiencing the aftermath of the September 11th terrorist attacks - their lives were uncertain the moment they began (Pandit). Soon after the generation could walk and talk, they watched their families struggle through economic ruin after the Stock Market crash in 2008 (Pandit). Gen Z weren’t even out of elementary school when their parents showed them how to use the computer (Pandit). They watched the first African-American President of the United States enter office, a sign that equality may be possible, and they watched it on their own smartphones, too (Pandit). Then in 2016, they discussed a polarizing election-year in their social studies classes and then the events that followed when Donald Trump, a president much more conservative than the previous, entered office. To sum up Generation Z, they have seen progress in social change and technology their whole lives, so they simply do not harbor animosity towards another person’s identity. In fact, many of them spearhead their own internal bigotry and hold their peers accountable. On the flip side, Generation Z has seen many social injustices; police brutality, climate change crisis, politically polarizing events, and most recently, a global pandemic in a crippled economy. They cannot hide from any of these events; Generation Z sees the state of the world around them, and they use their technological assets to advocate for change. It is no surprise that this Generation who is entering adulthood has made such a massive impact on the alternative music scene, which has a history of bigotry despite its roots in being a community for those who have nowhere else to go.

The revival of alternative music had its soft beginning in 2016 to 2017 when Donald Trump, a notoriously conservative candidate, entered office of the United States. Previously, Barack Obama, the first African American president of the United States, had made large strides in America, and many thought the country was nearing a more liberal world. That was until the controversial 2016 election, the results of which made many people of minority groups feel threatened by a conservative president. Artists such as Green Day and Rage Against the Machine, who are big names in alternative music, did not support Donald Trump’s presidency and expressed that dislike in their music. Green Day is notorious for their hatred for Trump’s presidency after their performance at the American Music Awards when frontman Billie Joe Armstrong chanted “no Trump, no KKK, no fascist USA,” a spin on Million of Dead Cops’ lyric “no war, no KKK, no fascist USA,” from “Born to Die,” a song the band wrote after being confronted with racists at punk shows (Grow). Many artists aligned themselves on either side of the political spectrum, leading to a harsh divide in the alternative community, with the conservative side slowly beginning to dwindle and fall out of style and popularity. In 2019, soon after, the #MeToo movement truly began picking up traction, and it had the alternative music scene in a chokehold. As it turned out, the mass groups of teenage girls that flocked to alternative music were often taken advantage of by their favorite band members, and this abuse was brought to light when the #MeToo movement encouraged victims of sexual violence to come forward about their experiences (Badia-Aylin, Holcombe et al., McMahon). Some of the largest groups in alternative music came under fire; members of Simple Plan, Cage the Elephant, and quite a few former members of Panic! At the Disco (u/[deleted]). This was not just the artists coming under fire, creators of other content pertaining to alternative music such as fashion, hair, and lifestyle blogging were also exposed for sketchy behavior; such as Bryan Stars, a formerly popular interviewer who faced accusations for abusing members of his vlogging (video blog) group, My Digital Escape (Holcombe et al., u/[deleted]). Austin Jones, a Youtube creator who made covers of alternative songs not only faced accusations of soliciting nudes from minors and even statutory rape and pedophilia, but was sentenced and is now serving time in prison (Holcombe et al, u/[deleted]). The accusations were flying, and while some were debunked, many bands thus fell out of popularity. Even the iconic Vans Warped Tour, an alternative music festival that toured the United States every summer, was indefinitely canceled due to the allegations of artists who toured with Warped Tour (Holcombe et al., McMahon). It became glaringly obvious that fans of alternative music were not going to support artists who are known to have committed acts of sexual violence, nor were they going to accept a president who they saw as an oppressive danger to their rights. While it tainted many musical groups that were largely influential in the alternative music scene, the allegations cleansed the scene of those who were dangerous and took away their platform, while also making room for new artists.

At the end of the 2010s, the alternative music scene was left in shambles after the accusations tore apart many bands and fans alike. However, the fans were hopeful. A social media platform called Musically, where users would share videos synced to music, underwent a rebranding and was renamed TikTok. Slowly, the new and improved site began picking up users, and at the turn of the decade, almost all of Generation Z and a portion of older generations flocked to the platform. TikTok is known to have different “sides,” meaning there are different communities of people on TikTok that have similar interests due to the hyper-specific algorithm that continuously feeds users content similar to the content that they have positively interacted with. A sense of nostalgia for their childhood spread through the app like wildfire, and this nostalgia was especially popular amongst those who enjoyed alternative music, whether it was them who listened to the music or even their parents (Holcombe et al.). All of the buildup of nostalgia was fully released when, against all odds, My Chemical Romance announced a reunion show on October 31st, 2019 (McMahon, Riot Fest). Self-proclaimed emos everywhere rejoiced, and the show sold out almost instantaneously, with a tour announced shortly after for 2020. Fans all around the world celebrated and spread the word of what they called “the rawr-ing 20s,” a play on words of a popular slang of emocore fans in the MySpace era. On TikTok, alternative music and style was booming, with the tag “emo” hitting 4.8 billion views, and continuing to rise (Holcombe et al.). Emo music was already trending on the internet when suddenly, the COVID-19 pandemic forced everyone indoors and onto the internet during a global quarantine. The pandemic effectively put a halt to large events, killing the live shows where members of the alternative music community would gather. One would think that a lack of gatherings would break up the alternative community, but there was already an online, plugged-in community. In an article entitled “Cycles of revival: the return of pop-punk,” Genevieve Badia-Aylin quite brilliantly writes “ But it is lockdown that has been propelling the pop-punk scene forward . . . a whole new generation of bored kids is exploding into the limelight, spurred on by economic uncertainty, chronic doomscrolling, and the mind-numbing boredom of having to spend the ‘best years of your life’ inside your bedroom. What better time to hate your hometown, when you literally cannot leave it behind?” (Badia-Aylin). Millions of young teenagers immersed themselves in alternative music during the COVID-19 lockdown, bringing it back to popularity. Generation Z, who expects their media to be genuine and values advocacy for minority groups, held the artists of the alternative community accountable for their actions, continuing the work from the #MeToo movement to debunk misogyny in the alternative scene. It was the Black Lives Matter movement, which came to a climax in 2020 after George Floyd was killed by a cop who kneeled on his neck. The world itself was awash in protests against police brutality, with authorities and governments responding harshly. The social reckoning of Black Lives Matter set another standard of what behaviors were acceptable and what behaviors were not, which led to more creators being “canceled,” meaning after allegations of improper behavior, the person loses their fanbase and is expected to take responsibility for their actions. More artists and creators lost their platforms, and to replace them, the new wave of alternative music fans uplifted and supported more diverse groups. Bands such as Meet Me @ the Altar, Nova Twins, Wargasm (UK), Pinkshift, Holding Absence, and many more prominently featured people of color, women, gender non-binary individuals, and people who identify as part of the LGBTQ+ community (Holcombe et al., Raza-Sheikh). This representation of many different kinds of people has made many finally feel welcome within the community, which has a history of racism, misogyny, and many other kinds of bigotry.

The new standards for alternative music have not been accepted by everyone. There are still the usual neo-Nazi skinhead punks who spread racist rhetoric, and the alternative scene is still struggling with allegations of sexual violence and bigotry. While sites like Tumblr and TikTok have facilitated the growth and spread of a new alternative, users on sites such as 4chan and Reddit are not as welcoming, deeming that anything dubbed “emo” after the turn of the century is not what users who take pride in being music snobs consider “real emo” (Fathalla). New artists who began experimenting with the alternative style of music faced hot and cold reactions, such as Olivia Rodrigo, who is hailed by some to be a young woman breaking into pop punk, and vehemently rejected by others (Badia-Aylin, Zoladz). It is important to note that those who do not agree are slowly going out of style. Literally. They are aging and are losing control of their influence on the music industry. While the gatekeepers and music elitists in underground forums strictly enforce genre lines with a sort of insufferable pretentiousness, it is increasingly obvious that the current audience cares less about differentiating emo from punk from pop punk from punk rock from hardcore from - I’d continue but there truly is no need. Generation Z has also demanded equal representation across the board for their music, and they have much more sway than the older generations. Record labels are testing the waters with Generation Z listeners, seeing if they will bite the bait they are waving in front of their faces. Ensnaring the appreciation of Generation Z is necessary because they consume content and promote the content they enjoy - it is free advertising. It is not as easy to attain Generation Z fans than it is to attain fans of older generations. Mainstream record labels are having difficulty spoon-feeding Generation Z because they are much more adept at calling out “industry plants” (Badia-Aylin, Holcombe et al.). Industry plants are artists who a record label takes on and then gives them a makeover to fit a certain genre’s look and sound, then heavily promotes the group. Generation Z can usually see right past the makeup and fishnets, one example of such being Tramp Stamps, an industry plant that was called out for the lack of authenticity to the alternative music scene (not to mention the song they were promoting, “I’d Rather Die” was facing backlash) (Badia-Aylin, Holcombe et al.). Gatekeepers within the alternative scene may be adamantly against the new sound and look of alternative music, but the voices of support are much louder. Generation Z has revived the alternative music scene and truly made it the space that it has always described itself to be: a home for the rejected.

What’s Next?

The alternative music scene has experienced waves of popularity, which is influenced by similar circumstances each round. In the early 80s it was the Reagan Presidency which outraged left-leaning punks, followed by Revolution Summer to cleanse the punk scene of Nazis and racists which made room for the “classic” 2000s MySpace era emocore. Emocore was spread through the internet and thrived through moments of uncertainty, such as the September 11th terrorist attacks and 2008 Stock Market Crash. This is similar to the modern iteration of emo music, which flared up during the Trump Presidency and soon faced a reckoning via the #MeToo movement, which cleansed the genre of artists using their platform to take advantage of young women who appreciated their work. Alternative music was spread much faster through the internet than before, and social media sites such as Tumblr, Soundcloud, and TikTok were the facilitators of this sharing of alternative music. Now, the alternative music scene is experiencing another revolution, and this time the alternative community is demanding equal representation of all races, ethnicities, nationalities, genders, and sexualities. This revolution is playing out in real time, and the world watches as modern, more diverse bands begin to taste success. Heck, even My Chemical Romance is back with plans to go on tour! The scene is alive and well, but the mystery is where it will go next. The world should expect diversity to be the norm, along with experimentation of sounds and lyrics. Since alternative music has been known to tackle taboo subjects such as mental health, sexual assault, and bullying, it is likely that the current iteration continues this theme. One thing is for certain, the future of alternative music is just as bright as a jar of Manic Panic hair dye.

Works Cited

Badia-Aylin, Genevieve. “Cycles of Revival: The Return of Pop-Punk.” Varsity Online, Varsity, 14 Sept. 2021, 1:00am, www.varsity.co.uk/music/21958.

Bannister, Matthew. White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock : Masculinities and 1980s Indie Guitar Rock, Taylor & Francis Group, 2006. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/rochester/detail.action?docID=438538.

Britton, Luke Morgan. “Emo Never Dies: How the Genre Influenced an Entire New Generation.” BBC, BBC, 30 May 2018, www.bbc.co.uk/programmes/articles/1tM7yZdRsNn2qZth0WMCRBs/emo-never-dies-how-the-genre-influenced-an-entire-new-generation.

“Emo.” Edited by Michael Ray, Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/art/emo.

Fathallah, Judith May. Emo : How Fans Defined a Subculture, University of Iowa Press, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/rochester/detail.action?docID=6361088.

Grow, Kory. “'No Trump! No KKK! No Fascist USA!': The Punk History.” Rolling Stone, Rolling Stone, 21 Nov. 2016, www.rollingstone.com/music/music-features/no-trump-no-kkk-no-fascist-usa-the-punk-history-123861/.

Holcombe, Alyx, Sophie K, and Yasmine Summan. “EMO IS BACK.” On Wednesdays We Wear Black, 16 June 2021. Spotify app. https://open.spotify.com/episode/0MtOseFohN8rn8iqRbPbmA?si=559bb12cbb57442e

Keenan, Elizabeth K. "Asking for It: Rape, Postfeminism, and Alternative Music in the 1990s." Women and Music: A Journal of Gender and Culture, vol. 19, 2015, p. 108-115. Project MUSE, doi:10.1353/wam.2015.0007.

Lil Peep. “The Brightside.” Spotify. https://open.spotify.com/track/4DbnKBddcHUHbYpidc36AT?si=0eb7a32b127b433c.

McMahon, James. “Miserable at Best: How Emo Bounced Back from the Brink.” The Independent, Independent Digital News and Media, 20 Mar. 2020, 8:11, www.independent.co.uk/arts-entertainment/music/features/emo-music-my-chemical-romance-paramore-hayley-williams-green-day-a9412056.html.

“Mobs in Mexico Attack Fans of Emo Music.” NPR, NPR, 1 Apr. 2008, www.npr.org/templates/story/story.php?storyId=89265941.

Moore, Ryan. Sells Like Teen Spirit : Music, Youth Culture, and Social Crisis, New York University Press, 2009. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/rochester/detail.action?docID=865694.

Nova Twins. “Devil’s Face.” Spotify. https://open.spotify.com/track/3DAmEvrVMtu73MjmKErOrt?si=d8fc8f78b00d4b37.

Pandit, Vivek. We Are Generation Z: How Identity, Attitudes, and Perspectives Are Shaping Our Future, Brown Books Publishing Group, 2015, pp. 1–4.

Rasheed, Ahmed, and Mohammed Ameer. “Iraq Militia Stone Youths to Death for ‘Emo’ Style.” Reuters, Thomson Reuters, 10 Mar. 2012, www.reuters.com/article/us-iraq-emo-killings/iraq-militia-stone-youths-to-death-for-emo-style-idUSBRE8290CY20120310.

Rawstorne, Tom. “Why No Child Is Safe from the Sinister Cult of Emo.” Daily Mail Online, Associated Newspapers, 16 May 2008, www.dailymail.co.uk/femail/article-566481/Why-child-safe-sinister-cult-emo.html.

Raza-Sheikh, Zoya. “‘It’s the Beginning of a New Era’: the POC Punk Bands Reclaiming Pop-Punk.” The Independent, Independent Digital News and Media, 20 Apr. 2021, www.independent.co.uk/arts-entertainment/music/features/pop-punk-bands-2021-the-tuts-proper-b1832620.html.

Riot Fest. “My Chemical Romance Is Back Together.” Riot Fest, Riot Fest, 31 Oct. 2019, riotfest.org/2019/10/mcr-reunites/.

Savage, Jon. “Punk.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., www.britannica.com/art/punk.

Shah, Neil. “Hip-Hop's Generation Gap: 'Emo' vs. 'Dad' Rap.” The Wall Street Journal, Dow Jones & Company, 16 Jan. 2018, 3:45pm, www.wsj.com/articles/hip-hops-generation-gap-emo-vs-dad-rap-1516118193.

The Sophie Lancaster Foundation, 3 June 2021, www.sophielancasterfoundation.com/.

Trapp, Philip. “Paramore + Olivia Rodrigo Were in Talks before 'Good 4 u' Emerged.” Loudwire, Loudwire, 2 Sept. 2021, loudwire.com/paramore-olivia-rodrigo-good-4-u-writing-credits-hayley-williams-before-release/.

u/[deleted]. “Google Doc Summarizing Sexual Assault Allegations Against Bands in the Scene.” Reddit. 25 July 2020, https://www.reddit.com/r/poppunkers/comments/hxi69g/google_doc_summarizing_sexual_assault_allegations/.

“What Is Punk Music? Meaning, Artists, Culture & History.” Pro Musician Hub, 22 July 2021, promusicianhub.com/what-is-punk-music/. Accessed 2 Sept 2021.

Zoladz, Lindsay. “On 'Sour,' Olivia Rodrigo Is A Lowercase Girl With Caps-Lock Feelings.” NPR, NPR, 21 May 2021, www.npr.org/2021/05/21/998842657/olivia-rodrigo-sour-drivers-license-debut-album-review.

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blackhistorychatgpt · 4 months

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Afrofuturism

Today just felt like afrofuturism. Here's some content from ai on afrofuturism and some prompt turning my plans for the next week into afrofuturism journey. Enjoy!

From Perplexity:

Afrofuturism is a cultural aesthetic and philosophy that combines elements of science fiction, technology, and futuristic concepts with Black history and culture. It encompasses literature, music, art, and activism, envisioning liberated futures for Black communities and inspiring pride. The movement dares to imagine a world where African-descended peoples and their cultures play a central role, challenging traditional narratives and stereotypes. Afrofuturism has a rich history and has had a broad influence on American culture, with its impact extending to music, film, literature, and visual arts. It is a multidisciplinary movement that addresses the experience of race, displacement, and difference using recognizable visual symbols[1][2][3]. The concept has also been the subject of a documentary exploring its definition and activism and the ways it informs dynamic discussions about social practice, politics, and the arts[5].

Citations: [1] https://www.metmuseum.org/perspectives/articles/2022/6/library-afrofuturism [2] https://nmaahc.si.edu/explore/exhibitions/afrofuturism [3] https://newsroom.ucla.edu/magazine/afrofuturism [4] https://www.reddit.com/r/worldbuilding/comments/8hkiqm/why_i_think_afrofuturism_is_a_silly_worldbuilding/ [5] https://www.pbs.org/video/afrofantastic-n5yggg/

Afrofuturism has made significant contributions to art and music, with various artists incorporating its themes and aesthetics into their work. In music, Afrofuturism is characterized by the fusion of different genres, innovative concepts, and influences from Black folk traditions and spirituality. Notable artists within Afrofuturism include Erykah Badu, Sun Ra, Janelle Monáe, Beyoncé, Solange Knowles, Thundercat, Shabazz Palaces, Little Simz, and Noname[1]. These artists have crafted a unique sonic landscape that resonates with diverse audiences worldwide. In art, Afrofuturism combines elements of science fiction, technology, and futuristic concepts with Black history and culture. It often uses current social movements or popular culture as a backdrop and focuses on works that examine the past, question the present, or imagine an optimistic future to inspire pride in their audience[3]. The movement has also been the subject of a documentary exploring its definition and activism and the ways it informs dynamic discussions about social practice, politics, and the arts[2]. The influence of Afrofuturism can be seen in various art forms, including literature, music, visual arts, and fashion, where it challenges traditional narratives and stereotypes while envisioning liberated futures for Black communities[5].

Citations: [1] https://culturebay.co/blogs/afrofuturism/evolution-of-afrofuturism-in-music [2] https://www.pbs.org/video/afrofantastic-n5yggg/ [3] https://www.metmuseum.org/perspectives/articles/2022/6/library-afrofuturism [4] https://www.carnegiehall.org/Explore/Articles/2022/03/03/Pop-Music-and-Afrofuturism [5] https://newsroom.ucla.edu/magazine/afrofuturism

Some common themes in Afrofuturist art and music include:

Reclamation and Black Liberation: Afrofuturism often involves the reclamation of Black identity, history, and culture, as well as the envisioning of liberated futures for Black communities[1].

Revisioning of the Past and Predictions of the Future: Afrofuturism incorporates a revisioning of history and the past, while also offering predictions and alternative visions of the future through a Black cultural lens[2].

Alien or "Otherness": The movement explores themes of alien or "otherness," reflecting on the experiences of Black individuals as outsiders and their place in the world[1].

Utopian Ideologies: Afrofuturist art and music often engage with utopian ideals, imagining idealized and improved futures for Black people and society[1].

Feminism: Some Afrofuturist works address feminist themes, exploring gender, power, and liberation within the context of Black culture and future societies[1].

The Digital Divide: This theme reflects on the disparities in access to technology and digital resources, particularly as they affect Black communities[1].

The Grotesque: Afrofuturism may incorporate elements of the grotesque, challenging traditional aesthetic norms and exploring unconventional or distorted representations[1].

These themes are recurrent in Afrofuturist art and music, reflecting a complex interplay between history, culture, and speculative visions of the future.

Citations: [1] https://libguides.colum.edu/afrofuturism [2] https://haenfler.sites.grinnell.edu/afrofuturism/ [3] https://www.metmuseum.org/perspectives/articles/2022/6/library-afrofuturism [4] https://culturebay.co/blogs/afrofuturism/evolution-of-afrofuturism-in-music [5] https://en.wikipedia.org/wiki/Afrofuturism

From Gemini (used a middle school level prompt first to show my daughter)

Blast Off with Afrofuturism!

Imagine soaring through a vibrant city in the clouds, powered by solar energy harnessed from ancient African griots' songs. Or picture robots adorned with intricate beadwork, programmed with wisdom passed down through generations. That's the world of Afrofuturism, and it's as exciting as it sounds!

Think science fiction, but cooler and with melanin. ✨ Instead of just spaceships and aliens, Afrofuturism throws in African culture, history, and traditions. It's like looking at the future through a lens designed by artists, musicians, and storytellers from the African diaspora.

Why is it important?

Afrofuturism is more than just cool spaceships. It's about:

Reclaiming the narrative: For centuries, Black people were left out of stories about the future. Afrofuturism says, "Hold on, we have a vision too!"

Celebrating Black brilliance: This movement showcases the creativity, innovation, and problem-solving skills of Black people.

Inspiring young minds: By seeing themselves as inventors, astronauts, and leaders in futuristic worlds, young Black people are empowered to reach for their dreams.

Ready to join the adventure?

Here are some ways to explore Afrofuturism:

** Read:**

"Black Panther" comic book series: Witness Wakanda, a technologically advanced African nation led by a superhero king.

"Tristan Strong Punches a Hole in the Sky" by Kwame Mbalia: A young boy travels to mythical Midgard, inspired by Norse mythology and African folklore.

"Akata Witch" by Nnedi Okorafor: Follow a Nigerian girl who discovers she has magical powers in a society where magic is forbidden.

** Listen:**

Sun Ra Arkestra: This jazz group created music that blended futuristic sounds with Egyptian mythology and Afrocentrism.

Janelle Monáe: This singer combines soulful vocals with futuristic visuals and empowering lyrics.

Thundercat: This musician's funky bass lines and futuristic beats will get your head bopping.

** Watch:**

"Black Panther" movie: See Wakanda brought to life on the big screen!

"Queen Sono" Netflix series: A South African superhero fights crime and corruption in a stylish and action-packed show.

"Lovecraft Country" HBO series: This horror series reimagines H.P. Lovecraft's stories through the lens of Black history.

Remember, Afrofuturism is an ever-growing movement, so keep exploring and creating your own visions of the future!

Bonus!

Check out the National Museum of African American History and Culture's online exhibition "Afrofuturism: A History of Black Futures."

Visit "TheOctaviaButler.org" for resources about the pioneering Afrofuturist author.

I hope this sparks your curiosity about Afrofuturism! Remember, the future is what we make it, and in the Afrofuturist world, anything is possible. ✨

Now at a high school level:

Embark on the Intergalactic Griot's Journey: Understanding Afrofuturism at a High School Level

Greetings, future visionaries! Prepare to delve into the captivating realm of Afrofuturism, a movement that transcends mere science fiction, offering a powerful critique of the present while reimagining the possibilities of tomorrow through a distinctly Black lens.

Beyond Spaceships and Aliens:

Unlike traditional sci-fi narratives often devoid of diverse voices, Afrofuturism weaves elements of African culture, history, and mythology into its futuristic tapestry. It's not just about exploring distant galaxies; it's about reclaiming the narrative, challenging historical erasure, and asserting the agency and ingenuity of Black individuals and communities in shaping the future.

Why Does It Matter?:

More than just escapist entertainment, Afrofuturism serves as a critical lens:

Deconstructing Domination: It interrogates systemic power structures, challenging oppressive narratives and envisioning alternative futures free from discrimination and marginalization.

Celebrating Black Brilliance: It showcases the vast intellectual and creative potential of Black communities, amplifying the voices of inventors, innovators, and storytellers often overlooked in mainstream narratives.

Empowering the Next Generation: By depicting Black protagonists as astronauts, scientists, and leaders in technologically advanced societies, Afrofuturism provides powerful role models, fostering self-belief and aspirations for young people of color.

Ready to Dive Deeper?

Engage with Literary Masterpieces:

N.K. Jemisin's "Broken Earth" trilogy: Journey through a shattered planet where tectonic magic and societal upheaval intertwine.

**Octavia Butler's "Parable of the Sower":**Witness Lauren Olamina's struggle for survival and community amidst climate change and societal collapse.

Nnedi Okorafor's "Binti" trilogy: Experience a young woman's interstellar adventures fraught with cultural clashes and philosophical quandaries.

Explore the Soundscape:

Sun Ra Arkestra's Afro-futurist jazz: Immerse yourself in their cosmic soundscapes infused with Egyptian mythology and Pan-Africanism.

Erykah Badu's "Mama's Gun": Unveil the social commentary and futuristic imagery woven into her soulful sounds.

Thundercat's "Drunk": Embrace the genre-bending grooves and futuristic bass lines that defy categorization.

Immerse Yourself in Visual Spectacles:

"Black Panther" and "Black Panther: Wakanda Forever": Witness Wakanda's technological marvels and grapple with questions of leadership and cultural authenticity.

"Lovecraft Country": Prepare for a thrilling horror series that reimagines H.P. Lovecraft's stories through the lens of Black history and Afrofuturism.

"Annihilation": Decipher the mind-bending visuals and explore themes of identity and environmentalism in this sci-fi film.

Remember, Afrofuturism is an ever-evolving movement. Engage with new artists, authors, and creators, and don't hesitate to contribute your own unique vision to this ongoing conversation!

Pro Tip:

Check out academic journals like "Journal of African American History" and "MELUS" for in-depth discussions and analyses of Afrofuturism.

Attend Afrofuturism-themed conferences and workshops to connect with a vibrant community of scholars, artists, and enthusiasts.

Join the conversation, question the present, and dream the future into existence! The vast canvas of Afrofuturism awaits your exploration.

#afrofuturism #black history month #black history month 2024 #perplexity #Gemini #blackhistorymonth #africanamericanhistory #dalle3

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crowderrosario01 · 4 months

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Breaking Down Barriers: The Power of Urban Poetry in Social Justice Movements

Poetry has long played a considerable function in social justice motions throughout history. From the civil liberties motion to the defend gender equality, poets have actually utilized their words to motivate, educate, and mobilize neighborhoods. The power of poetry lies in its ability to communicate intricate feelings and concepts in a concise and impactful way. It has the capability to touch hearts, obstacle minds, and fire up a passion for change. Throughout history, poets have actually been at the forefront of social justice motions, utilizing their words to clarify injustices and advocate for equality. In modern love poems , poets like Walt Whitman and Emily Dickinson utilized their poetry to challenge social norms and advocate for specific liberty. During the civil liberties motion in the 1960s, poets like Langston Hughes and Maya Angelou provided voice to the battles of African Americans and inspired a generation to eliminate for equality. The value of poetry in advocacy can not be overstated. It has the power to humanize complex issues, evoke empathy, and create a sense of shared experience. Poetry can reach people on an emotional level, making them more responsive to new ideas and viewpoints. It can also work as a call to action, motivating individuals to get involved and make a distinction. The Evolution of Urban Poetry: From the Streets to the Phase Urban poetry, likewise known as spoken word or slam poetry, has its roots in the streets of marginalized neighborhoods. It became a type of expression for those who felt unheard and marginalized by society. In the 1960s and 1970s, urban poetry began to gain appeal as poets took their words from the streets to the phase. Gradually, urban poetry has actually evolved into an effective art form that integrates elements of storytelling, efficiency, and activism. Poets utilize rhythm, rhyme, and wordplay to engage audiences and communicate their messages. They typically include components of music, theater, and dance into their efficiencies, creating a multi-sensory experience for the audience. Significant city poets like Gil Scott-Heron, Nikki Giovanni, and Saul Williams have had a considerable effect on the art type. They have actually pushed the limits of what is possible with poetry, utilizing their words to challenge societal norms and motivate modification. Their performances have mesmerized audiences and accentuated crucial social concerns. The Power of Spoken Word: How Urban Poets Mesmerize Audiences Spoken word poetry has a distinct power to captivate audiences and produce a sense of intimacy and connection. Unlike written poetry, which is frequently checked out calmly, spoken word poetry is meant to be performed and heard. The poet's voice, tone, and body movement all add to the overall effect of the efficiency. Urban poets utilize a range of techniques to engage and mesmerize audiences. They frequently use brilliant images, metaphor, and storytelling to bring their words to life. They utilize rhythm and repetition to produce a musicality that draws listeners in. They likewise use their bodies and gestures to enhance the performance, making it a really immersive experience. Examples of effective spoken word efficiencies can be found in the work of poets like Sarah Kay, Andrea Gibson, and Rudy Francisco. Their performances are raw, emotional, and deeply personal. They deal with a large range of subjects, from love and heartbreak to social justice and identity. Their words resonate with audiences, leaving a lasting effect long after the performance is over. Breaking Down Barriers: How Urban Poetry Transcends Race and Class One of the most exceptional aspects of metropolitan poetry is its ability to transcend race and class. It has the power to bring people from various backgrounds together, creating a sense of unity and shared experience. In a world that typically feels divided, urban poetry has the prospective to bridge gaps and foster understanding. Urban poets often address concerns of race and class in their work, clarifying the experiences of marginalized communities. They utilize their words to challenge stereotypes, confront systemic oppressions, and advocate for equality. By sharing their stories and perspectives, they develop a space for discussion and compassion. Poets like Claudia Rankine, Danez Smith, and Patricia Smith have utilized their poetry to deal with problems of race and class in powerful and thought-provoking methods. Their words challenge listeners to challenge their own biases and analyze the methods which they add to systemic inequalities. Through their poetry, they influence individuals to act and work towards a more just and equitable society. The Crossway of Poetry and Activism: How Urban Poets Drive Modification Urban poets are not only artists however likewise activists. They utilize their poetry as a tool for driving social and political modification. Through their words, they raise awareness about important issues, challenge the status quo, and inspire individuals to do something about it. Urban poets frequently work together with grassroots companies, community groups, and social justice motions to enhance their message. They carry out at rallies, demonstrations, and community occasions, using their poetry to activate and stimulate audiences. They also use social media platforms to reach a wider audience and participate in online activism. Examples of metropolitan poets who have actually been associated with activism and advocacy work can be discovered in the work of poets like Aja Monet, Mahogany L. Browne, and Clint Smith. They have used their poetry to promote for racial justice, gender equality, and immigrant rights. Their words have motivated people to get associated with activism and make a difference in their communities. Poetry as a Tool for Empowerment: How Urban Poets Provide Voice to the Marginalized Urban poetry has the power to empower marginalized communities by giving them a voice and a platform to share their stories. It supplies a chance for individuals who have actually been silenced or disregarded by society to be heard and seen. Urban poets frequently give voice to underrepresented groups, clarifying their experiences and struggles. They challenge stereotypes, face systemic injustices, and advocate for equality. By sharing their stories and point of views, they empower others to do the same. Poets like Denice Frohman, Fatimah Asghar, and Angel Nafis have utilized their poetry to provide voice to the marginalized. They have actually taken on concerns such as migration, mental health, and LGBTQ+ rights in their work. Their words have actually resonated with people who have felt undetectable or unheard, inspiring them to speak up and share their own stories. The Healing Power of Poetry: How Urban Poets Attend To Injury and Injustice Urban poetry can be an effective tool for healing, both for people and neighborhoods. It provides an area for individuals to process their feelings, face trauma, and discover solace in shared experiences. It likewise serves as a way of attending to social and political injustices, offering voice to those who have actually been silenced or disregarded. Urban poets typically resolve issues of trauma and injustice in their work, using their words to bring attention to the discomfort and suffering experienced by marginalized neighborhoods. They offer a platform for individuals to share their stories and find healing through the power of words. Poets like Eve Ewing, Hanif Abdurraqib, and Safia Elhillo have used their poetry to deal with problems of trauma and injustice in effective and transformative ways. Their words provide comfort, recognition, and want to those who have experienced pain or oppression. Through their poetry, they produce a space for healing and resilience. From Demonstration to Progress: How Urban Poets Inspire Action Urban poets have a distinct ability to inspire action and change through their work. Their words can ignite an enthusiasm for justice, challenge social norms, and mobilize neighborhoods. By sharing their stories and perspectives, they inspire individuals to get involved and make a difference. Urban poets typically use their poetry to call attention to important social and political issues. They challenge the status quo, challenge systemic injustices, and supporter for equality. Through their words, they motivate people to take action and work towards a more simply and fair society. Examples of city poets who have actually been involved in effective projects for social and political modification can be discovered in the work of poets like Elizabeth Acevedo, Clint Smith, and Danez Smith. They have actually used their poetry to promote for issues such as weapon violence prevention, racial justice, and LGBTQ+ rights. Their words have actually motivated people to get involved in advocacy and make a tangible impact in their neighborhoods. The Worldwide Effect of Urban Poetry: How Poets Connect Throughout Borders Urban poetry has a global effect, transcending borders and cultures. Poets from various countries and backgrounds connect with each other through their shared love of words and their commitment to social justice. They team up, share ideas, and motivate each other to press the limits of the art type. Through social media platforms and online communities, metropolitan poets connect with each other throughout borders. They share their work, engage in discussion, and support each other's creative ventures. This international network of poets develops a sense of solidarity and unity, regardless of the geographical distances that separate them. The worldwide effect of urban poetry can be seen in the work of poets like Warsan Shire, Rupi Kaur, and Koleka Putuma. famous modern poets with people from various cultures and backgrounds, motivating them to use poetry as a tool for modification. Through their poetry, they produce a sense of connection and understanding that transcends borders. The Future of Urban Poetry: How the Art Form Continues to Evolve and Inspire Urban poetry continues to progress and influence, pressing the borders of what is possible with words. As brand-new voices emerge and brand-new point of views are shared, the art form continues to grow and adjust to the changing times. New and emerging urban poets are making their mark on the art type, bringing fresh point of views and innovative strategies. They are using their poetry to deal with pushing social issues, challenge societal norms, and influence modification. Their words have the power to form the future of metropolitan poetry and drive social justice movements forward. Examples of new and emerging urban poets can be found in the work of poets like Amanda Gorman, Danez Smith, and Morgan Parker. They are utilizing their poetry to resolve issues such as racial justice, climate change, and psychological health. Their words motivate people to think seriously, challenge the status quo, and work towards a more simply and equitable society. The Enduring Tradition of Urban Poetry in Social Justice Movements The long-lasting legacy of urban poetry in social justice movements can not be overstated. Throughout history, poets have used their words to inspire, inform, and mobilize neighborhoods. They have actually provided voice to the marginalized, challenged societal standards, and promoted for equality. Urban poetry has the power to go beyond race and class, bringing individuals from different backgrounds together. It has the ability to recover, resolve trauma, and provide solace in shared experiences. It influences action and drives social and political modification. As we seek to the future, metropolitan poetry will continue to progress and motivate. New voices will emerge, new perspectives will be shared, and brand-new methods will be checked out. The power of poetry in social justice motions will withstand, reminding us of the significance of words in producing a more just and fair world.

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rap-bull · 5 months

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WHAT IS RAP?

Introduction

Rap, a musical genre deeply embedded in the roots of urban culture, has evolved into a global phenomenon that transcends boundaries and speaks to diverse audiences. In this article, we delve into the origins, characteristics, and impact of rap, exploring its journey from the streets to the mainstream.

Evolution of Rap

Early Origins

Rap's origins can be traced back to the Bronx in the 1970s, where block parties became the breeding ground for this expressive form of music. Influenced by African and Caribbean rhythmic traditions, rap quickly became a powerful medium for storytelling.

Influential Figures

Pioneers like Grandmaster Flash and Afrika Bambaataa laid the foundation for rap's growth. Over the decades, iconic figures such as Tupac Shakur and Notorious B.I.G. shaped the landscape, while diverse subgenres emerged, from gangsta rap to conscious hip-hop.

Characteristics of Rap

Lyricism

At the core of rap lies the art of lyricism, where artists weave intricate verses laden with meaning. From social commentary to personal narratives, rap lyrics are a reflection of the artist's experiences and observations.

Beats and Instrumentals

The marriage of powerful beats and creative instrumentals is another hallmark of rap. Producers play a pivotal role in shaping the sonic landscape, providing a canvas for artists to paint their lyrical portraits.

Flow and Delivery

A rapper's flow, the rhythmic pattern of their delivery, is a distinctive aspect of the genre. Whether it's a rapid-fire delivery or a laid-back cadence, a rapper's unique flow contributes to their individual style.

Impact of Rap on Culture

Social Commentary

Rap has often served as a voice for the voiceless, addressing societal issues and advocating for change. From N.W.A.'s critique of police brutality to Kendrick Lamar's introspective narratives, rap has been a powerful tool for social commentary.

Fashion and Lifestyle

The influence of rap extends beyond music to fashion and lifestyle. From baggy pants and gold chains to high-end designer labels, rap artists set trends that permeate mainstream culture.

Global Influence

What started in the Bronx now resonates globally. Rap has become a cultural bridge, transcending language barriers and connecting people from diverse backgrounds.

Common Misconceptions

Stereotypes

Rap often grapples with stereotypes that portray it as a glorification of violence or materialism. In reality, rap is a diverse genre that explores a wide range of themes, including resilience, love, and social justice.

Cultural Appropriation

Critics argue that rap has faced issues of cultural appropriation, particularly when artists from outside the African-American community adopt the style. However, many artists see this as a form of cultural exchange that enriches the genre.

Positive Aspects

Amidst controversies, it's essential to recognize rap's positive contributions, such as providing a platform for marginalized voices and fostering cultural understanding.

Key Elements of a Successful Rap Song

Storytelling

A compelling narrative lies at the heart of many successful rap songs. Whether it's recounting personal struggles or painting vivid pictures of urban life, storytelling is a skill revered in the rap community.

Rhyme Schemes

The intricate web of rhyme schemes distinguishes rap from other genres. The ability to weave words seamlessly, creating patterns that captivate listeners, is a hallmark of a skilled rapper.

Authenticity

Authenticity is prized in the rap world. Audiences connect with artists who stay true to themselves, and the most impactful rap often emerges from genuine experiences.

Influential Rap Artists

Pioneers

Grandmaster Flash, Run-D.M.C., and LL Cool J laid the groundwork, shaping rap's early landscape. These pioneers set the stage for the genre's exponential growth.

Contemporary Icons

In the contemporary scene, artists like Jay-Z, Eminem, and Kendrick Lamar have become household names, each contributing to rap's evolution in unique ways.

Diversity in the Industry

Rap is a melting pot of voices, with artists representing various backgrounds, genders, and cultures. Diversity continues to be a driving force in pushing the genre's boundaries.

Rap as an Art Form

Poetry Connection

Rap is often likened to poetry, with its rhythmic and rhyming elements. This connection highlights the artistic depth of rap, positioning it as a form of modern-day poetry.

Visual Representation

The visual aspect of rap, showcased through music videos and performances, adds another layer to the art form. The visual representation often complements and enhances the message conveyed in the lyrics.

Freestyle and Improvisation

The ability to freestyle, creating spontaneous verses on the spot, is a celebrated skill in the rap community. It showcases a rapper's quick thinking and creativity.

Controversies Surrounding Rap

Explicit Content

Rap has faced criticism for explicit content, including explicit language and themes. While some argue for artistic freedom, others question the impact on younger audiences.

Censorship

The debate over censorship in rap brings to light questions about freedom of expression versus the responsibility to protect audiences, particularly minors, from potentially offensive content.

#rap #rapper #underground #how to rap #hip hop #artist #poetry #lyricism

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jasonweinberger · 1 year

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As promised a few glimpses of last month’s @wcfsymphony performance, capping off our year-long Evolution of African American Music residency. Pictured with the orchestra are jazz vocalist and historian Bruce Henry – who led the residency – and Waterloo’s own Felicia Smith-Nalls; we also had the opportunity to celebrate the life of one our long-time violinists. Such a moving and meaningful way to wrap up the concert season!

#wcfsymphony #performance #photos

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chloes-history-corner · 1 year

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US Minority Rights in the "Interwar Years"

After the ironically named "Great War," much of the modern world had changed. In many ways, the first World War was a conflict not just of military might, but also of culture.

Almost every country's leadership, during the opening actions of the war, assumed that strategy and resolution would be pretty much unchanged from the end of the previous century -- cavalry charges, bright uniforms, the occasional suit of armor. What they got instead was a manmade hell of high velocity gunfire, deadly artillery, and organizational ineptitude.

Clearly, such a disparity between expectation and reality caused upheaval throughout the world, not simply on the battlefield. By the end of the war, society was nearly unrecognizable from it's pre-war state. New social classes were fighting for recognition and equality on a scale never before seen. New countries were formed, upending long standing ethnic understanding, if not stability. And, most destructively, the people and systems that once held power firmly in the province of the privileged were forever changed.

There is very much to discuss concerning this tumultuous time period - Nov 1918 to around August 1939. However, I want to focus primarily on the social impact this had on class strife, and then relate that impact to a modern context. Let's start by discussing the evolution and, arguably, subsequent de-evolution of gender roles in Western society during this span of years: The Great War drained the countries involved of over 60% of their male population, meaning there were not nearly enough men left to fill the jobs and leadership roles. Women rose up in their place, entering the job market and leadership positions like never before in history. Women started making real money, allowing them more vertical freedom in society. After the war, this translated into the suffrage movement, and a shift in power away from the traditional masculine elite.

We can also consider the Harlem Renaissance, and it's impact on post war society. Although there are many elements together that birthed the Harlem Renaissance, one of these key factors was a dramatic burst in BIPOC immigration to the traditionally white Harlem neighborhood in the early 20th century. The Great War, of course, affected the African American community in Harlem. Just before the war began, the surge in BIPOC immigration blossomed into an incredible wave of black culture, art, music, and poetry. Community leaders were able to organize, and POC became even more aware of their ability to shift the power dynamics of a racist system. Once the war began, the rates of recruitment for white vs POC Americans were skewed -- although these imbalances were somewhat managed after the passing of the Selective Service Act in 1917.

The Renaissance and the lack of POC engagement in the war - and the disparity in treatment that black Americans felt during the Depression compared to white laborers - left BIPOC communities across America energized, passionate, and ready to fight throughout the Interwar Years.

The NAACP was founded in 1909, and throughout the war and after produced an atlas of documentation entitled "The Soldier Tributes" aimed at curtailing the mistreatment of BIPOC service members. During the Interwar Years, the group became one of the most reliable legal resources for the civil rights of POC Americans, and continues it's fight today. The Renaissance continued into the years of the depression, producing a flood of art and cultural movements from the black and queer communities of Harlem and the surrounding areas. At a time when American society was crumbling at the root, the beacon of diversity celebration provided a rallying point for the POC and queer communities and allowed them to continue and transmit their ideas and hopes for a more equal world. I think it fair to say that the Civil Rights movement of the 50s and 60s could not have happened without this base of cultural identity produced in Interwar America.

Queer people faced a fluctuating level of acceptance and interest throughout the late 19th century up until around the second World War. In the late 19th century, a thriving queer scene was born from the buzz around the Masquerade Balls taking place in Harlem's "Hamilton Lounge." These balls were the immediate precursor to modern Ballroom, and were surprisingly quite popular in the northeastern US for a time. A clipping from a popular Harlem newspaper of the day of a ball on March 6, 1887 reads "The Huge crowd with it's gay colored gowns was a beautiful spectacle to behold..." and such a sentiment appeared surprisingly often even among white, cishet members of the New York population.

In the 1930s. these balls eventually grew into what was known as the "Pansy Craze," a rise in popularity and interest for queer performance and culture - featuring trans people and drag performers taking center stages in both traditionally Queer venues as well as traditionally cishet Prohibition bars and lounges. The Pansy Craze and the Masquerade Balls before it changed what it meant to be "masculine" or "feminine" during a time when these gender roles were already shaken by the demographic shift in the labor market post-war.

And so, eventually, we arrive at The Point of this discussion. The Interwar Years throughout the West (although in this post I was mostly concerned with America) witnessed a distinct shift in the traditional structure of society. What was once unquestionably the domain of white men, particularly landowners and the wealthy, now faced challenges from diverse contenders. Women began a serious fight for the vote and labor rights. BIPOC pushed the boundaries of American imagery, art, and culture. Queer people brought new dimension into previously entrenched discussions of gender roles and presentation. This onslaught of passion and power from minority groups should have dismantled conservative white society - and to some degree, it did. But, unfortunately, my point in mentioning all this is not to celebrate a great success or fundamental shift in society, bringing us into a new world of acceptance and love. I mean now to discuss the ways in which the system fought back against acceptance and love, and by so doing to contextualize the ways in which the current system fights back; I believe the similarities are dire, that the system has pulled the wool over our eyes, and that the context is needed so that we might all understand how to win this time.

The late Interwar Years, starting around the mid-1930s, brought a brutal counterattack from the conservative societal structures. Many of these movements mentioned above, though crucially important to the later success of later civil rights movements in the mid century, were harshly curtailed by the conservative white system. Despite the flood of women into the job market, the successes of the suffrage movement, and new financial independence, women were one of the groups most painfully affected by the Great Depression. BIPOC and women during this period lost almost any opportunity at work (and thus financial and societal independence) during the depression. White men were offered these jobs as the economy recovered, taking the roles that women and POC had begun filling after the male labor deficits post-WWI.

Queer people had shaken what it meant to be a man or a woman. By the mid '30s, men began presenting slightly more "feminine," whatever their caste. Women wore shorter hair, began smoking, spending their own money, and taking a more dominant role in relationships and courting. This, too, suffered from the depression. Speakeasies, a popular venue for queer culture and a way for straight people to experience queerness, began closing across the country. Cishet men began returning to work at the expense of minority laborers, and thus returned to prominence in society. White men began an attempt to return gender relations to a "simpler" pre-war ideal. These men began dressing in clean pressed suits, waistlines on pants changed, women began tending the house again, and queer people were pressed back into the shadows as society tried to escape the shame of it's queer dalliances of the 1920s.

The remaining white men in power presented a coordinated effort to disenfranchise minority groups that they felt were beginning to become too threatening - and it happened so fast that, despite the sharp increase in minority organization and identity achieved in the earlier Interwar years, nobody had a chance to present the resistance needed to prevent these changes. The white men who had been changed and affected by post-war unemployment and uncertainty were brought back into the fold with new jobs - advertising everywhere promoting the good ol' American life (featuring wealthy looking white men and their charmingly submissive wife and children). So pervasive was the narrative that by the time WWII began, despite some changes and memories of the Interwar minority explosion, largely cishet white men had a firm grip on the direction of society until the unrest of the Civil Rights movement. A major aspect of this regression was the lessons white men learned about the power of propaganda during the first World War. There is much to cover on this topic that I will save for a later post. Let it do to say here that propaganda as an organized component of war was largely invented in WWI. It's effectiveness was such that Germany exited the war believing they'd lost because their top generals had betrayed them, purposefully losing them the war. It was this belief that would inspire one Adolf Hitler a decade hence. The white men that returned from the war carried these lessons home with them and utilized those ideas to affect and organize the way advertising, media, and culture discussed society to their advantage. Minority groups, being engrossed in a vital fight for their rights and identity, had not the chance to learn what faced them. They simply knew that suddenly, the aggression towards them was cohesive, organized, and deadly.

I think we are seeing a similar trend currently. In 2010, the Supreme Court ruled on 'Citizens United vs FEC,' allowing corporations to contribute money to political officials and offices. This removed what remaining need there was for political officials to vote in line with their constituents, who until now were the only source of funding for their campaigns. Additionally, the 2000s saw the creation of the first 24-hr news cycle at CNN. This system was so profitable, and so ripe for manipulation, that major conglomerates began buying up nearly every newsroom, paper, editorial and radio station. The leadership of these conglomerates, who were donating to politicians post-Citizens United, were now able to work directly with (and in many ways control) the political system and coordinate messaging with policy. The results have been devastating. Political officials now need only consider the opinion of the highest corporate bidder and vote accordingly. Media conglomerates, now maintaining a controlling interest in the country's policy, can force nearly every media outlet to push the same message all at once - eliminating any opportunity for communities like the ones responsible for the suffrage movement, or Harlem's Renaissance community, to offer coherent resistance. It is this we must understand, and the history of our forbears can show us how to fight - what they did that worked, what they did that didn't. We must carry these lessons with us if we're to have any hope for tomorrow.

A collection of some of my sources (need to do a better job at saving these, some are not listed due to author negligence):

From Front Page to Back Seat by Beth Bailey

A People's History of Europe by Raquel Varela

Controversy: War-Related Changes in Gender Relations by Birgitta Bader-Zaar

Female Identities of the Interwar Period: A Feminist Narratological Analysis of British Literature by Jessica McCombs

Queer History by Christina B. Hanhardt

Citizen, Introvert, Queer by Deborah Cohler

A beautiful pageant : African American theatre, drama, and performance in the Harlem Renaissance by David Krasner

Gender and Power: Society, the Person, and Sexual Politics by RW Connell

#history #us history #queer history #bipoc stories #politics #race and politics #lgbtqia+#pride

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