000			04247cam a22004691i 4500
001			0000030614
005			20230921135256.0
008			161018s2017 nyum b a001 0 eng d
020			_a9780190610722 : _cUS$30.00
020			_a0190610727
035			_a(OCoLC)960835269
035			_a(OCoLC)960835269
040			_aYDX _beng _erda _cYDX _dBDX _dOCLCQ _dCLE _dHCD
043			_an-us---
050		4	_aE185.86 _b.F4342 2017
082	0	4	_a323.1196/073 _223
092			_a323.1196073 _bF3129h 2017
100	1		_aFeldstein, Ruth, _d1965-, _eauthor.
245	1	0	_aHow it feels to be free : _bblack women entertainers and the Civil Rights Movement / _cRuth Feldstein.
246	3		_aBlack women entertainers and the Civil Rights Movement.
250			_aFirst issued as an Oxford University Press paperback [edition]
260			_aOpen Shelf : _bOxford Univesity, _cNewYork, _c2013.
264		1	_aNew York : _bOxford University Press, _c2017.
264		4	_cc2013.
300			_a296 pages : _billustrations ; _c25 cm.
336			_atext _btxt _2rdacontent.
337			_aunmediated _bn _2rdamedia.
338			_avolume _bnc _2rdacarrier.
504			_aIncludes bibliographical references and index.
505	0		_aPerforming civil rights -- "The world was on fire": making New York City subcultures -- "Africa's musical ambassador": Miriam Makeba and the "voice of Africa" in the United States -- "More than just a jazz performer": Nina Simone's border crossings -- "No one asks me what I want": Abbey Lincoln, Diahann Carroll, and the promise of integration in popular culture -- "So beautiful in those rags": Cicely Tyson, popular culture, and African American history in the 1970s.
520			_a"In 1964, Nina Simone sat at a piano in New York's Carnegie Hall to play what she called a "show tune." Then she began to sing: "Alabama's got me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam!" Simone, and her song, became icons of the civil rights movement. But her confrontational style was not the only path taken by black women entertainers. In How It Feels to Be Free, Ruth Feldstein examines celebrated black women performers, illuminating the risks they took, their roles at home and abroad, and the ways that they raised the issue of gender amid their demands for black liberation. Feldstein focuses on six women who made names for themselves in the music, film, and television industries: Simone, Lena Horne, Miriam Makeba, Abbey Lincoln, Diahann Carroll, and Cicely Tyson. These women did not simply mirror black activism; their performances helped constitute the era's political history. Makeba connected America's struggle for civil rights to the fight against apartheid in South Africa, while Simone sparked high-profile controversy with her incendiary lyrics. Yet Feldstein finds nuance in their careers. In 1968, Hollywood cast the outspoken Lincoln as a maid to a white family in For Love of Ivy, adding a layer of complication to the film. That same year, Diahann Carroll took on the starring role in the television series Julia. Was Julia a landmark for casting a black woman or for treating her race as unimportant? The answer is not clear-cut. Yet audiences gave broader meaning to what sometimes seemed to be apolitical performances. How It Feels to Be Free demonstrates that entertainment was not always just entertainment and that "We Shall Overcome" was not the only soundtrack to the civil rights movement. By putting black women performances at center stage, Feldstein sheds light on the meanings of black womanhood in a revolutionary time."--Publisher's description.
650		0	_aAfrican American women political activists _xHistory _y20th century.
650		0	_aAfrican American women entertainers _xPolitical activity _xHistory _y20th century.
650		0	_aPerforming arts _xPolitical aspects _zUnited States _y20th century.
650		0	_aAfrican Americans _vMusic _xPolitical aspects _xHistory _y20th century.
650		0	_aAfrican Americans _xCivil rights _xHistory _y20th century.
651		0	_aUnited States _xRace relations _xHistory _y20th century.
908			_a180314
913			_aN
989		7	_a20230822095114.0
999			_c7556 _d7556