000			04303cam a2200421 i 4500
001			zzv143 b1695315
003			OCoLC
005			20220218165251.0
008			200316t20202020ncu b 001 0 eng
010			_a2019057426
020			_a1478008695
020			_a1478009594
020			_a9781478008699
020			_a9781478009597
035			_a(OCoLC)1122910873 _z(OCoLC)1122915161 _z(OCoLC)1191819462
040			_aNcD/DLC _beng _erda _cDLC _dOCLCF _dGK8 _dYDX _dEHD _drs092320 _dMiTN
042			_apcc
043			_an-us---
050		4	_aML3537 _b.L673 2020
082	0	0	_a781.644 _223
100	1		_aLordi, Emily J., _d1979-
245	1	4	_aThe meaning of soul : _bBlack music and resilience since the 1960s / _cEmily J. Lordi.
264		1	_aDurham : _bDuke University Press, _c2020.
264		4	_c©2020.
300			_ax, 217 pages ; _c24 cm.
490	1		_aRefiguring American music.
504			_aIncludes bibliographical references and index.
505	0		_aFrom soul to post-soul : a literary and musical history -- We shall overcome, shelter, and veil : soul covers -- Rescripted relations : soul ad-libs -- Emergent interiors : soul falsettos -- Never catch me : false endings from soul to post-soul -- Conclusion. "I'm tired of Marvin asking me what's going on" : soul legacies and the work of Afropresentism.
520			_a"THE MEANING OF SOUL discusses Black resilience and innovation through soul music and soul logic. Emily Lordi analyzes soul music and musicians from the 1960s, the 1970s, and after, bridging the different valences of soul as a way of moving through the world. The book encompasses soul's racial-political meanings while being sensitive to the details of the music and small details that shaped artists' lives and their relationship to soul. Chapter 1 is about the relationship of soul and jazz music, tracing soul's emergence in the late 1960s as a mode that underscored the redemptive possibilities of Black suffering. Lordi describes how soul music channeled the styles and techniques of the church into secular lyrical content, while soul discourse simultaneously drafted religious logic into a secular faith in collective redemption. Chapter 2 is about how soul artists transformed expressive deprivation into musical abundance by crafting innovative covers of other artists' songs. Landmark covers of this type propelled many soul artists, including Nina Simone and Aretha Franklin, into the spotlight, their displacement turned into stylized survivorship. In chapter 3, Lordi unpacks jazz improvisation and soul adlibs as performing a hard-won achievement of self-trust, trusting oneself enough to break with destructive or stifling conventions. Chapter 4 extends inquiry into the performative relationships with self and others discussed in the previous chapter, by exploring a deeper sense of interiority and a broader scope of sociality as enacted through falsetto vocals. Lordi talks about soul falsettos as used by Ann Peebles, Al Green, Isaac Hayes, and Minnie Riperton, and the ways falsetto signifies different things contextually. Lordi ends the book with a chapter on false endings - bringing the song to a close before striking it up again - symbolizing soul's message of Black group resilience, not a matter of stasis, but of change. The false ending signals the endurance necessary to keep changing, not only oneself, but one's surroundings. Through the close attention to vocal and musical details, as well as to singers beyond the familiar and mostly male stars, Lordi retells the much-told story of soul in a new and rich way. This book will be of interest to general readers and scholars in African American studies, American studies, Black diaspora studies, popular music, and critical theory"-- _cProvided by publisher.
648		7	_a1900-1999 _2fast.
650		0	_aAfrican Americans _xMusic _xHistory and criticism.
650		0	_aMusic and race _zUnited States _xHistory _y20th century.
650		0	_aPopular music _zUnited States _xHistory and criticism.
650		0	_aSoul music _xHistory and criticism.
650		0	_aSoul musicians.
776	0	8	_iOnline version: _aLordi, Emily J., 1979- _tThe meaning of soul _dDurham : Duke University Press, 2020. _z9781478012245 _w(DLC) 2019057427.
830		0	_aRefiguring American music.
999			_c506494 _d506494