From Jubilee to Hip Hop

Kip Lornell, Editor, The George Washington University

• Preface Introduction Black American Music Since Reconstruction: An Overview 1 Adrift on Stormy Seas 2 Richards and Pringle’s Original Georgia Minstrels and Billy Kersands, 1889–1895 3 The Virginia Jubilee Singers in Bourke, Australia 4 African Banjo Echoes in Appalachia: A Conclusion 5 War on Ragtime and Suppression of “Ragtime” 6 Of the Sorrow Songs 7 The Nineteenth-Century Origins of Jazz 8 Marshall Lullaby 9 The Scene and the Players in New York 10 Jelly Roll Blues 11 William Marion Cook 12 Ma Rainey and the Traveling Minstrels 13 Black Sacred Harp Singing from Southeast Alabama 14 A Negro Explains “Jazz” 15 Paul Robeson, Musician 16 Conflict and Resolution in the Life of Thomas Andrew Dorsey 17 Fats Waller (Comedy Tonight) 18 “Dean of Afro-American Composers” or “Harlem Renaissance Man”: The New Negro and the Musical Poetics of William Grant Still 19 Easter Sunday 20 Caldonia 21 Elder Beck’s Temple 22 T-Bone Blues: T-Bone Walker’s Story in His Own Words 23 The Impact of Gospel Music on the Secular Music Industry 24 Singing in the Streets of Raleigh, 1963: Some Recollections 25 Motown Calls “The Rock & Roll Kid” 26 Respect: 1964–1965 27 Clifton Chenier: “They Call Me the King” 28 The Art of the Muscle: Miles Davis as American Knight and American Knave 29 Evaluating Ellington 30 The P-Funk Empire: Tear the Roof Off the Sucker 31 Hip-Hop, Puerto Ricans, and Ethnoracial Identities in New York32 Daughters of the Blues: Women, Race, and Class Representation in Rap Music Performance 33 Media Interventions 34 Black Artistic Invisibility: A Black Composer Talking ’bout Taking Care of the Souls of Black Folks While Losing Much Ground Fast 35 Stepping Out an African Heritage 36 Rhythm and Bullshit? The Slow Decline of R&B