Podcast appearances and mentions of Daphne A Brooks

Beyoncé's Cowboy Carter-themed NFL halftime show performance showcased Black Americana, and drew in millions of viewers, but it left some viewers asking: Is she America's greatest propagandist? And which version of America is she promoting?Brittany Luse is joined by music and Black feminism scholar Daphne A. Brooks and mass communication historian Nick Cull, to unpack what is and isn't propaganda, and how we can sift through political messaging to be more savvy consumers of media.Support public media and receive ad-free listening & bonus. Join NPR+ today.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Rob reminisces over the first rock concert he attended, where Weird Al Yankovic opened for the Monkees before turning to the iconic force that is Prince and the hypersexual “Gett Off.” Later, Rob is joined by author Daphne A. Brooks to discuss Prince's 1991 VMAs performance, his relationship with hip-hop, the Jehovah's Witness era, and much more (1:00:00).Preorder Rob's new book, 'Songs That Explain the '90s,' here: https://www.hachettebookgroup.com/titles/rob-harvilla/songs-that-explain-the-90s/9781538759462/?lens=twelveHost: Rob Harvilla Guest: Daphne A. Brooks Producers: Jonathan Kermah and Justin Sayles Additional Production Support: Chloe Clark Learn more about your ad choices. Visit podcastchoices.com/adchoices

Part 3/4! Beyoncé's latest solo album, Renaissance, drops on July 29th so to get everyone prepared, Pop Pantheon will be releasing a series of four episodes on the work and legacy of Queen Bey, each with a different guest!In our third installment, DJ Louie is joined by author of Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound, Yale University's Dr. Daphne A. Brooks, to discuss the latest decade of Beyoncé's solo career. Louie and Dr. Brooks begin with the quagmire that pop stars- and particularly black female pop stars- face as they enter their mid 30s in the fickle, ageist pop cultural landscape and how various icons of the genre like Aretha Franklin, Diana Ross, Tina Turner and Janet Jackson have re-engaged audiences during this period of their lives and careers. They then discuss Beyoncé's culturally transformative 2013 self-titled 5th studio album, how the surprise release and inclusion of visual components for each song solved the problem of finding a hit single, created a singular shared cultural experience, and forever changed the way pop stars would release music, the rich musical textures which filtered black musical tradition through mordern electro-R&B, and the ways in which this record depended Beyoncé's artistry and self-revelation, as well as her feminism and activism. They then unpack her 2016 single “Formation”, its confrontational video and performance at the 2016 Super Bowl, and how the song functions as both a call to action and certified rump shaker for the ages, before diving into her masterwork of that same year, her sixth album, the audiovisual magnum opus Lemonade. Louie and Dr. Brooks break down how Lemonade reimagined the feminist ideal of the “personal as political”, using Beyoncé's own story of domestic disruption to narrate a broader story about American history, how it effectively reclaimed genres like rock ‘n roll and country for Black women, and the innovative ways Beyoncé mined her own pain to radically heal herself, her marriage, her people and the nation through this project. Finally, Louie and Dr. Brooks dive into Beyonce's latest three side projects, 2018's collaboration with Jay-Z Everything is Love, 2019's live concert film Homecoming and 2020's Lion King companion-piece Black is King, all of which have helped enrich and deepen her artistry and activism and served as a victory lap for her storied career and what, when we look back on it in 50 years or more, Beyoncé's enduring legacy will be as the greatest and most important pop figure of the 21st century thus far. Stay tuned for next week's installment, in which we'll be giving first reactions to Beyoncé's new record Renaissance, her seventh studio album and first in over six years! Tickets to DJ Louie's Pop Party, Gorgeous Gorgeous, on 8/12 in Downtown Los Angeles!Buy Dr. Daphne A. Brooks' book, Liner Notes for the Revolution: The Intellectual Life of Black Feminist SoundCheck out Louie's Beyoncé Essentials Playlist on SpotifyJoin the Pop Pantheon Discord!Follow DJ Louie XIV on InstagramFollow DJ Louie XIV on TwitterFollow Pop Pantheon on InstagramFollow Pop Pantheon on TwitterCheck out Main Pod Girl with AJ and Sola on Apple, Spotify or wherever you listen to podcasts

On the 25th anniversary of Radiohead's breakthrough album, admirers from literature, music, science and politics examine the album's prophetic qualities. Did OK Computer actually shape and predict the future? In June 1997, an also-ran band in the Britpop wars put out a third LP. Moving clear of their musical peers, who were engaged in 60s nostalgia, this was a sonically and psychologically sophisticated record. Released in the first days of the New Labour government, it subverted the era's idealism and “things can only get better”, and lit a flare at the dawn of a new age of postmodern anxiety. Recently, OK Computer was voted the “ultimate 90s album” on BBC Radio 2. But this was more than just a 90s record. Much more. OK Computer is rock music as science fiction. A musical version of George Orwell or JG Ballard. Each song yields a vivid premonition of life as it is lived now, a quarter of a century on. It speaks directly to the major events of our time, from Trump to the climate emergency, big data and surveillance. Author, Booker-nominee, and Radiohead superfan Sarah Hall speaks to contributors including: Lauren Beukes, sci-fi author Daphne A Brooks, academic Andy Burnham, Mayor of Greater Manchester John Harris, journalist Steve Hyden, rock critic Conor O'Brien, Villagers musician Musa Okwonga, musician and broadcaster Dr Adam Rutherford, scientist Producer: Jack Howson Additional Production: Tess Davidson Executive Producer: Sarah Cuddon Sound Mix: Mike Woolley A Reduced Listening production for BBC Radio 4 With special thanks to Tom Gatti and Bloomsbury Publishing, whose book 'Long Players' inspired this programme.

Wesley has been obsessed with lists since he was a child — think Casey Kasem's American Top 40, the Academy Awards and Rolling Stone's Top 500 Albums of All Time. Now, he wants to think more seriously about expanding what we call the canon, making sure more people have a say in which works of art are considered great, enduring and important.For guidance, Wesley sits down with Daphne A. Brooks, an academic, critic and music lover, to ask whether expanding the canon is even the right way to think about this. Her thoughts surprise him: We can do better than lists!Check out Daphne A. Brooks's reading recommendations at this link or at nytimes.com/stillprocessing.

Unlocked - for a number of personal reasons, we've been unable to record the episode on Bob Marley and the Wailers. In its stead, we've taken this opportunity to unlocked both parts of our interview with Daphne A. Brooks, previously only available to patrons. Become a patron from £3pcm to access much more of this material at www.patreon.com/LoveMessagePod. We'll be back to pick up with Afro-Psychedelia very soon. In this episode Daphne talks with Tim and Jeremy about the writers, practitioners and 'organic intellectuals' who have created a new discourse around Black female sound, taking in figures such as the writer and collector of field recordings Zora Neale Hurston, the writer, journalist and singer Pauline Hopkins, and the writer and playwright Lorraine Hansberry. They dig into what it means to hold precious these forgotten figures, affectionate writing praxis, and the relationship between curatorial or archival work and contemporary music making. In part 2, coming in a fortnight, we will hear about some of the contemporary artists featured in the book, including Janelle Monáe and Beyonce. Daphne A. Brooks is William R. Kenan, Jr. professor of African American studies, American Studies, Women's, Gender and Sexuality Studies and Music at Yale University; she is also director of graduate studies.She specializes in African American literary cultural performance studies, especially 19th century and trans-Atlantic culture. She is a rock music lover and has attributed her research interests in black performance to being a fan of rock music since a very young age. Produced and edited by Matt Huxley. Tracklist: Zora Neale Hurston - Wake Up Jacob (trad. recorded 1928 in the field) Mamie Smith - Crazy Blues Elvie Thomas & Geeshie Wiley - Over To My House Elvie Thomas & Gershie Wiley - Last Kind Words Blues Books: Daphne A. Brooks - Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound Daphne A. Brooks - Jeff Buckley's Grace Zora Neale Hurston - Their Eyes Were Watching God Pauline Hopkins - Of One Blood

Unlocked - for a number of personal reasons, we've been unable to record the episode on Bob Marley and the Wailers. In its stead, we've taken this opportunity to unlocked both parts of our interview with Daphne A. Brooks, previously only available to patrons. Become a patron from £3pcm to access much more of this material. We'll be back to pick up with Afro-Psychedelia very soon. In this episode we conclude our two-part interview with Black Feminist scholar and music critic Daphne A. Brooks. Following from our previous show, Daphne disucsses some of the contemporary figures in her new book Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound, including Janelle Monáe, who along with the Wonderland Arts Collective engage in an act of intellectual worldbuilding around her music, and the deep archival searching of jazz singer Cécile McLorin Salvant. With reference to Beyoncé Tim, Jeremy and Daphne consider to what extent we are living through an ascendent period of Black feminist consciousness and discuss the way such Black female megastars are held in cultural production. We also took advantage of speaking with Daphne to ask her about the Harlem Cultural Festival, the so-called 'Black Woodstock' which the excellent new film and firm LITM favourite Summer of Soul documents, as well as to commemorate the recent passing of two titans of Black cultural writing, Greg Tate and bell hooks. We are so grateful to Daphne for being so generous with her time, insight and humour. Daphne A. Brooks is William R. Kenan, Jr. professor of African American studies, American Studies, Women's, Gender and Sexuality Studies and Music at Yale University; she is also director of graduate studies.She specializes in African American literary cultural performance studies, especially 19th century and trans-Atlantic culture. She is a rock music lover and has attributed her research interests in black performance to being a fan of rock music since a very young age. Produced and edited by Matt Huxley. Tracklist: Janelle Monáe - Make Me Feel Cécile McLorin Salvant - Ghost Song Beyoncé - ***Flawless Burnt Sugar - Conduction #5 Burnt Sugar - Rock'n'Roll Suicide

This is an excerpt of a full length episode currently only available to patrons. To become a patron and support what we're doing from £3 per month, head to www.patreon.com/LoveMessagePod. In this week's patrons-only episode we conclude our two-part interview with Black Feminist scholar and music critic Daphne A. Brooks. Following from our previous show, Daphne disucsses some of the contemporary figures in her new book Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound, including Janelle Monáe, who along with the Wonderland Arts Collective engage in an act of intellectual worldbuilding around her music, and the deep archival searching of jazz singer Cécile McLorin Salvant. With reference to Beyoncé Tim, Jeremy and Daphne consider to what extent we are living through an ascendent period of Black feminist consciousness and discuss the way such Black female megastars are held in cultural production. We also took advantage of speaking with Daphne to ask her about the Harlem Cultural Festival, the so-called 'Black Woodstock' which the excellent new film and firm LITM favourite Summer of Soul documents, as well as to commemorate the recent passing of two titans of Black cultural writing, Greg Tate and bell hooks. We are so grateful to Daphne for being so generous with her time, insight and humour. Daphne A. Brooks is William R. Kenan, Jr. professor of African American studies, American Studies, Women's, Gender and Sexuality Studies and Music at Yale University; she is also director of graduate studies.She specializes in African American literary cultural performance studies, especially 19th century and trans-Atlantic culture. She is a rock music lover and has attributed her research interests in black performance to being a fan of rock music since a very young age. Produced and edited by Matt Huxley. Tracklist: Janelle Monáe - Make Me Feel Cécile McLorin Salvant - Ghost Song Beyoncé - ***Flawless Burnt Sugar - Conduction #5 Burnt Sugar - Rock'n'Roll Suicide

This is an excerpt of a full length episode currently only available to patrons. To become a patron and support what we're doing from £3 per month, head to www.patreon.com/LoveMessagePod. In this week's patrons-only episode we are happy to present the part 1 of our very first interview on LITM. Jeremy and Tim were happy to welcome the Black Feminist scholar and music critic Daphne A. Brooks to the show to discuss her new book, Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of Black women on stage and in the recording studio. In this episode Daphne talks with Tim and Jeremy about the writers, practitioners and 'organic intellectuals' who have created a new discourse around Black female sound, taking in figures such as the writer and collector of field recordings Zora Neale Hurston, the writer, journalist and singer Pauline Hopkins, and the writer and playwright Lorraine Hansberry. They dig into what it means to hold precious these forgotten figures, affectionate writing praxis, and the relationship between curatorial or archival work and contemporary music making. In part 2, coming in a fortnight, we will hear about some of the contemporary artists featured in the book, including Janelle Monáe and Beyonce. Daphne A. Brooks is William R. Kenan, Jr. professor of African American studies, American Studies, Women's, Gender and Sexuality Studies and Music at Yale University; she is also director of graduate studies.She specializes in African American literary cultural performance studies, especially 19th century and trans-Atlantic culture. She is a rock music lover and has attributed her research interests in black performance to being a fan of rock music since a very young age. Produced and edited by Matt Huxley. Tracklist: Zora Neale Hurston - Wake Up Jacob (trad. recorded 1928 in the field) Mamie Smith - Crazy Blues Elvie Thomas & Geeshie Wiley - Over To My House Elvie Thomas & Gershie Wiley - Last Kind Words Blues Books: Daphne A. Brooks - Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound Daphne A. Brooks - Jeff Buckley's Grace Zora Neale Hurston - Their Eyes Were Watching God Pauline Hopkins - Of One Blood

In episode 2, Christina & Courtney of #blkgrlswurld Press speak with special guest, Daphne A. Brooks about her new book, 'Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound,' published by Harvard University Press. Daphne is an African American studies professor at Yale University with an interest in all types of music, from punk rock to folk and beyond. Many artists are mentioned worth researching further including: Maureen Man, Danielle Smith, Rhiannon Giddens, Mamie Smith, Geeshie Wiley, Valerie June, Von Truong, etc. Closed Captions are available in the youtube version of the episode. Podcast production and video editing by Christina Long. Special thanks to Jeanne Fury. #heavygirlsloveheavymusic #blackwomxn #blackgirlsrock #blackhistory

We continue our Music and Popcorn miniseries, where we chat about some of our favorite movie soundtracks. This week, we're talking to professor and writer Daphne Brooks about the soundtrack to Waiting to Exhale. We get into Babyface's prolific career, Whitney Houston's presence on both the soundtrack and the movie, and the mystery surrounding DJ Theo Mizuhara.More on Daphne A. BrooksCheck out her book Liner Notes for the RevolutionAnd check out the accompanying playlist!WebsiteMore on Waiting to ExhaleOfficial trailerShocking Omissions: 'Waiting To Exhale: Original Soundtrack Album' (NPR)100 Greatest Soundtracks of All Time: 'Waiting to Exhale' (Albumism)Show Tracklisting (all songs from the Waiting to Exhale OST unless otherwise indicated):Exhale (Shoop Shoop)My Funny ValentineMy Love, Sweet LoveCount On MeIt Hurts Like HellWhy Does It Hurt So BadLet It FlowNot Gon' CryMy Funny ValentineSittin' Up In My RoomWey UKissing YouLet It FlowPrince: HeadExhale (Shoop Shoop)Maxwell: Sumthin' Sumthin'A Tribe Called Quest: Hot SexDionne Farris: I KnowOleta Adams: Get HereEn Vogue: Don't Let Go (Love)Hey Heat Rockers, if you have an appreciation for the show, we'd love to play some of them during our Aug 11th appreciation episode. You can either send use a voice memo to heatrockspod@gmail.com OR you can phone in a voicemail to (310) 986-3340‬. We just need them all in by August 8th (Sunday), thanks!Here is the Spotify playlist of as many songs as we can find on thereIf you're not already subscribed to Heat Rocks in Apple Podcasts, do it here! 

Daphne A. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of Black women on stage and in the recording studio. How is it possible, she asks, that iconic artists such as Aretha Franklin and Beyonc exist simultaneously at the center and on the fringe of the culture industry? Liner Notes for the Revolution offers a startling new perspective on these acclaimed figures--a perspective informed by the overlooked contributions of other Black women concerned with the work of their musical peers. Zora Neale Hurston appears as a sound archivist and a performer, Lorraine Hansberry as a queer Black feminist critic of modern culture, and Pauline Hopkins as America's first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism. She makes lyrical forays into the blues pioneers Bessie Smith and Mamie Smith, as well as fans who became critics, like the record-label entrepreneur and writer Rosetta Reitz. In the twenty-first century, pop superstar Janelle Monae's liner notes are recognized for their innovations, while celebrated singers C cile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as cultural historians. Brooks is in conversation with Lynell George, and also curated a companion playlist to Liner Notes, which you can listen to here:   https://open.spotify.com/playlist/5pPpJViwMlAjvxsMymDDWv?si=mTt4sXj9QqK6qHQtTixH7Q _______________________________________________   Produced by Maddie Gobbo, Lance Morgan, & Michael Kowaleski Theme: "I Love All My Friends," an unreleased demo by Fragile Gang. Visit https://www.skylightbooks.com/event for future offerings from the Skylight Books Events team.

Tosh and Kimley are joined by author Daphne A. Brooks to discuss her new book LINER NOTES FOR THE REVOLUTION: THE INTELLECTUAL LIFE OF BLACK FEMINIST SOUND. Brooks asks: “Who gets to tell the story of Black women who were both performing and producing thought about popular music culture, and how will this story be told?” The vital and influential work of Black female performers, writers, critics, intellectuals and cultural historians has long been neglected, marginalized or lost altogether. Brooks has taken it upon herself to fill in the archives and gift us with this rich history long in the making that will undoubtedly send you down many a rabbit hole to discover even more. https://www.daphneabrooks.com Spotify playlist: https://open.spotify.com/playlist/5pPpJViwMlAjvxsMymDDWv?si=25fbcea96e2d4cbd Theme music: "Behind Our Efforts, Let There Be Found Our Efforts" by LG17

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks' liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks’ liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks’ liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks’ liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks’ liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks’ liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks' liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks’ liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound (Harvard University Press, 2021) by Dr. Daphne Brooks is a lyrical masterpiece that takes readers on an exhilarating journey through a century of Black sound from Bessie Smith to Beyoncé. In writing alongside the sistas who cared for Black women's musicianship like Pauline Hopkins and Janelle Monaé, Brooks casts contemporary performers as archivists, acclaimed writers as sound theorists, record label originators as music critics, and fans as the vital keepers of Black sound. Brooks’ liner notes are a “requiem” for the oversight of Black women musicians and their intellectual resonance, powerfully uncovering their sonic, visual, and kinesthetic innovations through a Black feminist conceptual lens. On each step of the journey, Brooks presents Black sound women as radical intellectuals, as the creators of modernity, and as the fierce leaders of revolutionary world-making. Amanda Joyce Hall is a Ph.D. Candidate in History and African American Studies at Yale University. She is writing an international history on the global movement against South African apartheid during the 1970s and 1980s. She tweets from @amandajoycehall. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

With news of The Revolution's breakup still fresh, Prince returned to Sunset Sound to finish his magnum opus: a sprawling three-disc set called Crystal Ball. Rather than release it, Warner Bros. Records offered a rare critique of his work, requesting that he edit it down. Hear from Warner executive Lenny Waronker, engineers Coke Johnson and Susan Rogers, and professor Daphne A. Brooks.

With news of The Revolution's breakup still fresh, Prince returned to Sunset Sound to finish his magnum opus: a sprawling three-disc set called Crystal Ball. Rather than release it, Warner Bros. Records offered a rare critique of his work, requesting that he edit it down. Hear from Warner executive Lenny Waronker, engineers Coke Johnson and Susan Rogers, and professor Daphne A. Brooks.

An earthquake hits the California coastline while Prince is in L.A. recording at Sunset Sound, and has an unexpected influence on his classic song “Sign O' The Times.” With insights from Warner Bros. Records president Lenny Waronker, engineer Susan Rogers, collaborators Susannah Melvoin, Wendy Melvoin, and Lisa Coleman, and scholars Duane Tudahl and Daphne A. Brooks.

An earthquake hits the California coastline while Prince is in L.A. recording at Sunset Sound, and has an unexpected influence on his classic song “Sign O’ The Times.” With insights from Warner Bros. Records president Lenny Waronker, engineer Susan Rogers, collaborators Susannah Melvoin, Wendy Melvoin, and Lisa Coleman, and scholars Duane Tudahl and Daphne A. Brooks.

The Opus continues its season surrounding the late Jeff Buckley. Posthumous fame and legacy have been contentious subjects for decades. An early or sudden death, as in Buckley's case, can sometimes create a mythology around the artist that leaves audiences with difficult questions to ask: How do we listen to Grace — Buckley’s only finished studio album — differently with the knowledge of his death? How do we ethically proceed with lingering unfinished material in the aftermath of such a tragedy? And do posthumous releases help us understand an artist more, or do they lend to the mythology? While Buckley the person is no longer alive, through his art, his voice continues to flourish and inspire. Host Carrie Courogen is joined by critics Daphne A. Brooks, David Browne, Annie Zaleski, and musician Warren Zanes to talk about how Buckley’s tragic death, and everything that came after, casts a long shadow over the way we listen to Grace today. To celebrate the 25th anniversary of Grace, Jeff Buckley’s proper studio catalogue will be re-released and packaged with rare recordings and bonus international material. The sets drop on August 23rd via Columbia and Sony Legacy.

The Opus returns to dig into the mythos of the late Jeff Buckley. In his time, Buckley rose to fame amidst the prime of '90s masculine alt-rock. And yet, his first and only studio album, 1994's Grace, defies all the trappings of its era. His embracement of femininity and vulnerability made him post-genre before it was the norm. While that inability to be pigeonholed set him apart from his rock peers, it also begged the question: "What do we do with this?" Host Carrie Courogen is joined by musicians Lzzy Hale and Myles Kennedy, along with critics Daphne A. Brooks and Annie Zaleski to unpack how Buckley's defiance of genre and gender norms alike led his music to endure 25 years later. To celebrate the 25th anniversary of Grace, Jeff Buckley’s proper studio catalogue will be re-released and packaged with rare recordings and bonus international material.

This week, we’re excited to welcome a panel of guests including musician Jack White and cofounder of Revenant Records, Dean Blackwood. Along with author Daphne A. Brooks, these lovers of music examine the rise and fall of Paramount Records, a label that existed from 1917 to 1931, and compiled a dizzying array of performers still unrivaled to this day — from Louis Armstrong to Ma Rainey and Ethel Waters. In this captivating panel discussion, our guests talk about the music business, the Great Migration, and how the legacy of Paramount Records lives on today.