Cover image for Civil rights music : the soundtracks of the civil rights movement
Civil rights music : the soundtracks of the civil rights movement
Rabaka, Reiland, 1972- , author.
Publication Information:
Lanham : Lexington Books, [2016]
Physical Description:
xiv, 257 pages ; 23 cm
The sociology of civil rights music -- The musicology of the civil rights movement -- Gospel and the civil rights movement -- Rhythm & blues and the civil rights movement -- Rock & roll and the civil rights movement.

Format :


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ML3917.U6 R33 2016 Adult Non-Fiction Open Shelf

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While there have been a number of studies that have explored African American movement culture and African American movement politics, rarely has the mixture of black music and black politics or, rather, black music an as expression of black movement politics, been explored across several genres of African American movement music, and certainly not with a central focus on the major soundtracks of the Civil Rights Movement: gospel, freedom songs, rhythm

Author Notes

Reiland Rabaka is professor of African, African American, and Caribbean studies in the Department of Ethnic Studies at the University of Colorado at Boulder and the author of The Hip Hop Movement: From R&B and the Civil Rights Movement to Rap and the Hip Hop Generation and Hip Hop's Amnesia: From Blues and the Black Women's Club Movement to Rap and the Hip Hop Movement.

Reviews 1

Choice Review

Drawing on a wide range of studies, Rabaka (African American studies, Univ. of Colorado) traces the history of African American music, focusing on how that music intersected with the Civil Rights Movement. The author interprets "civil rights music" broadly within a complex theoretical structure. In the first two chapters, Rabaka takes up, respectively, the sociology and the musicology of the Civil Rights Movement in the wake of WW II. In chapter 2, he writes that "Africana critical theory involves not only the critique of domination and discrimination, but also--à la the Civil Rights Movement--a deep commitment to human liberation and radical democratic social transformation." In the remaining three chapters, he looks at musical genres, examining the gospel, rhythm and blues, and rock 'n' roll music associated with the movement. Numerous scholars and songs are cited, but those looking for discussion of the familiar songs and performers associated with the movement at its height will be disappointed. Readers may wish to read Rabaka's book in conjunction with Charles Hughes's Country Soul: Making Music and Making Race in the American South (CH, Sep'15, 53-0147) and Judith Smith's Becoming Belafonte: Black Artist, Public Radical (2014), to name just two titles of many. Summing Up: Highly recommended. Upper-division undergraduates through faculty. --Ronald D. Cohen, Indiana University Northwest