Chicago Soul chronicles the emergence of Chicago soul music out of the city's thriving rhythm-and-blues industry from the late 1950s through the late 1970s. The performers, A&R men, producers, distributors, deejays, studios, and labels that made it all happen take center stage in this first book to document the stunning rise and success of the Windy City as a soul music recording center.
A Chicago Tribune Book of 2019, Notable Chicago Reads A Booklist Top 10 Arts Book of 2019 A No Depression Top Music Book of 2019 Curtis Mayfield. The Chi-Lites. Chaka Khan. Chicago’s place in the history of soul music is rock solid. But for Chicagoans, soul music in its heyday from the 1960s to the 1980s was more than just a series of hits: it was a marker and a source of black empowerment. In Move On Up, Aaron Cohen tells the remarkable story of the explosion of soul music in Chicago. Together, soul music and black-owned businesses thrived. Record producers and song-writers broadcast optimism for black America’s future through their sophisticated, jazz-inspired productions for the Dells and many others. Curtis Mayfield boldly sang of uplift with unmistakable grooves like “We’re a Winner” and “I Plan to Stay a Believer.” Musicians like Phil Cohran and the Pharaohs used their music to voice Afrocentric philosophies that challenged racism and segregation, while Maurice White of Earth, Wind, and Fire and Chaka Khan created music that inspired black consciousness. Soul music also accompanied the rise of African American advertisers and the campaign of Chicago’s first black mayor, Harold Washington, in 1983. This empowerment was set in stark relief by the social unrest roiling in Chicago and across the nation: as Chicago’s homegrown record labels produced rising stars singing songs of progress and freedom, Chicago’s black middle class faced limited economic opportunities and deep-seated segregation, all against a backdrop of nationwide deindustrialization. Drawing on more than one hundred interviews and a music critic’s passion for the unmistakable Chicago soul sound, Cohen shows us how soul music became the voice of inspiration and change for a city in turmoil.
In this vivid musical ethnography, Timothy Rice documents and interprets the history of folk music, song, and dance in Bulgaria over a seventy-year period of dramatic change. From 1920 to 1989, Bulgaria changed from a nearly medieval village society to a Stalinist planned industrial economy to a chaotic mix of capitalist and socialist markets and cultures. In the context of this history, Rice brings Bulgarian folk music to life by focusing on the biography of the Varimezov family, including the musician Kostadin and his wife Todora, a singer. Combining interviews with his own experiences of learning how to play, sing and dance Bulgarian folk music, Rice presents one of the most detailed accounts of traditional, aural learning processes in the ethnomusicological literature. Using a combination of traditionally dichotomous musicological and ethnographic approaches, Rice tells the story of how individual musicians learned their tradition, how they lived it during the pre-Communist era of family farming, how the tradition changed with industrialization brought under Communism, and finally, how it flourished and evolved in the recent, unstable political climate. This work—complete with a compact disc and numerous illustrations and musical examples—contributes not only to ethnomusicological theory and method, but also to our understanding of Slavic folklore, Eastern European anthropology, and cultural processes in Socialist states.
Curtis Mayfield was one of the seminal vocalists and most talented guitarists of his era, and his music played a vital role in the civil rights movement: "People Get Ready" was the black anthem of the time. In Traveling Soul, Todd Mayfield tells his famously private father's story in riveting detail. Born into dire poverty, raised in the slums of Chicago, Curtis became a musical prodigy, not only singing like a dream but growing into a brilliant songwriter. In the 1960s he opened his own label and production company and worked with many other top artists, including the Staple Singers. Curtis's life was famously cut short by an accident that left him paralyzed, but in his declining health he received the long-awaited recognition of the music industry. Passionate, illuminating, vivid, and absorbing, Traveling Soul will doubtlessly take its place among the classics of music biography.
A century-and-a-half after his birth, Nietzsche's importance and relevance as a thinker is greater than ever before, and yet a major perspective on his life and work has been left untried: the psychological approach. Composing the Soul is the first study to pay sustained attention to Nietzsche as a psychologist and to examine the contours of his psychology in the context of his life and psychological makeup. Featuring all new translations of quotations from Nietzsche's writings, Composing the Soul reveals the profundity of Nietzsche's lifelong personal and intellectual struggles to come to grips with the soul. Extremely well-written, this landmark work makes Nietzsche's life and ideas accessible to any reader interested in this much misunderstood thinker.
How should we speak of bodies and souls? In Coming to Mind, Lenn E. Goodman and D. Gregory Caramenico pick their way through the minefields of materialist reductionism to present the soul not as the brain’s rival but as its partner. What acts, they argue, is what is real. The soul is not an ethereal wisp but a lively subject, emergent from the body but inadequately described in its terms. Rooted in some of the richest philosophical and intellectual traditions of Western and Eastern philosophy, psychology, literature, and the arts and the latest findings of cognitive psychology and brain science—Coming to Mind is a subtle manifesto of a new humanism and an outstanding contribution to our understanding of the human person. Drawing on new and classical understandings of perception, consciousness, memory, agency, and creativity, Goodman and Caramenico frame a convincing argument for a dynamic and integrated self capable of language, thought, discovery, caring, and love.
In Windows into the Soul, Gary T. Marx sums up a lifetime of work on issues of surveillance and social control by disentangling and parsing the empirical richness of watching and being watched. Ultimately, Marx argues, recognizing complexity and asking the right questions is essential to bringing light and accountability to the darker, more iniquitous corners of our emerging surveillance society.
"After spending the last few years travelling throughout Europe and The Mediterranean, working as an apprentice to some of the world's top chefs, 23-year-old Carter Greene was finally moving back home. While he had enjoyed his studies, he couldn't wait to reunite with his big, crazy, loving family; especially his twin brother, Carter. Most importantly, he hoped to finally begin his career working as the head chef for Chicago's most prestigious Italian restaurant, Romero's. After a night of celebration with Carter, Caleb finds himself in a rare position, going home with a tall, dark and sexy stranger. Caleb had never had a one night stand before, but there was something about the man that drew him in. Unfortunately, the man insisted they could only be together for one night. Unable to get the intriguing young man off his mind, but resolved to let him go, Giovanni is shocked to find that Caleb has been hired as his new head chef. Working in such close proximity to each other, could he keep his carefully erect walls in place and protect his heart or would Caleb have the strength to tear those walls down, setting Giovanni free?"--Publisher description.
From Queen Latifa to Count Basie, Madonna to Monk, Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music traces popular music back to its roots in jazz, blues, country, and gospel through the rise in rock 'n' roll and the emergence of heavy metal, punk, and rap. Yet despite the vigor and balance of these musical origins, Martha Bayles argues, something has gone seriously wrong, both with the sound of popular music and the sensibility it expresses. Bayles defends the tough, affirmative spirit of Afro-American music against the strain of artistic modernism she calls 'perverse.' She describes how perverse modernism was grafted onto popular music in the late 1960s, and argues that the result has been a cult of brutality and obscenity that is profoundly anti-musical. Unlike other recent critics of popular music, Bayles does not blame the problem on commerce. She argues that culture shapes the market and not the other way around. Finding censorship of popular music "both a practical and a constitutional impossibility," Bayles insists that "an informed shift in public tastes may be our only hope of reversing the current malignant mood."
