An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.

An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.

Release the sound of freedom over your life! No problem you face is too big or too small for Jesus to step in and solve! The Good News of the Gospel is that the power to set captives free is available to you, right now. Jenny Weaver struggled with many deep issues such as cutting, witchcraft, rebellion, self-hatred, rejection, sexual brokenness, drug addiction, violence, and even homelessness, but Jesus stepped in and set her freefrom every single stronghold and bondage! Now Jenny wants to show you how simple it is to walk in the freedom that your heart longs for. In The Sound of Freedom, you will receive the keys to: Receive and maintain your breakthrough miracle Break the cycle of up and down living Access a deeper, more satisfying relationship with God Saturate your atmosphere in the breaker anointing Sing prophetically to the Lord and release sounds from Heaven Discover and activate the different sounds of deliverance Identify and break the roots of strongholds Access the breakthrough power that Jesus purchased at the cross, and release its supernatural sound over every bondage, stronghold and impossibility you are facing today!

BOOKS IN SERIES: 7 BOOKS IN READING F REEDOM 2000 PROGRAM: 24 ISBN: 978174020 0721 AUTHOR: Hunter Calder RRP: $44.95 PAGES: 294 pp. The Reading Freedom series is written specifically for students with reading proble ms (suggested age 8 - Adult). The series is carefully structured t o enable students to become independent readers. The Reading Free dom Teacher Resource Book provides a comprehensive collection of materia ls vital for the successful use of the Reading Freedom series. The first section of the Reading Freedom Teacher Resource Book provides detailed information on the theories and skills the series is based upon, as well as guides on successful teaching practices and lesson management for ef fective reading instruction. Useful resources are provided in Blackline Master form for use in the classroom. The second part of the Reading Fre edom Teacher Resource Book contains all answers for the series, with les son notes, in an easy-to-access page miniature format. The Readin g Freedom 2000 Diagnostic Handbook should be used to place students at t he correct level in the program. In order to work successfully with the Reading Freedom Activity Books, teachers should refer to the Reading Fre edom Teacher Resource Book. Student progress can be monitored using the Reading Freedom Achievement Tests Book.

In his seminal article "Freedom Then, Freedom Now," renowned civil rights historian Steven F. Lawson described his vision for the future study of the civil rights movement. Lawson called for a deeper examination of the social, economic, and political factors that influenced the movement's development and growth. He urged his fellow scholars to connect the "local with the national, the political with the social," and to investigate the ideological origins of the civil rights movement, its internal dynamics, the role of women, and the significance of gender and sexuality. In Freedom Rights: New Perspectives on the Civil Rights Movement, editors Danielle L. McGuire and John Dittmer follow Lawson's example, bringing together the best new scholarship on the modern civil rights movement. The work expands our understanding of the movement by engaging issues of local and national politics, gender and race relations, family, community, and sexuality. The volume addresses cultural, legal, and social developments and also investigates the roots of the movement. Each essay highlights important moments in the history of the struggle, from the impact of the Young Women's Christian Association on integration to the use of the arts as a form of activism. Freedom Rights not only answers Lawson's call for a more dynamic, interactive history of the civil rights movement, but it also helps redefine the field.

The African American struggle for civil rights in the twentieth century is one of the most important stories in American history. With all the information available, however, it is easy for even the most enthusiastic reader to be overwhelmed. In Rethinking the Black Freedom Movement, Yohuru Williams has synthesized the complex history of this period into a clear and compelling narrative. Considering both the Civil Rights and Black Power movements as distinct but overlapping elements of the Black Freedom struggle, Williams looks at the impact of the struggle for Black civil rights on housing, transportation, education, labor, voting rights, culture, and more, and places the activism of the 1950s and 60s within the context of a much longer tradition reaching from Reconstruction to the present day. Exploring the different strands within the movement, key figures and leaders, and its ongoing legacy, Rethinking the Black Freedom Movement is the perfect introduction for anyone seeking to understand the struggle for Black civil rights in America.

Classical composers seeking to create an American sound enjoyed unprecedented success during the 1930s and 1940s. Aaron Copland, Roy Harris, Howard Hanson and others brought national and international attention to American composers for the first time in history. In the years after World War II, however, something changed. The prestige of musical Americanism waned rapidly as anti-Communists made accusations against leading Americanist composers. Meanwhile a method of harmonic organization that some considered more Cold War-appropriate--serialism--began to rise in status. For many composers and historians, the Cold War had effectively "killed off" musical Americanism. In The Sound of a Superpower: Musical Americanism and the Cold War, Emily Abrams Ansari offers a fuller, more nuanced picture of the effect of the Cold War on Americanist composers. The ideological conflict brought both challenges and opportunities. Some Americanist composers struggled greatly in this new artistic and political environment. Those with leftist politics sensed a growing gap between the United States that their music imagined and the aggressive global superpower that their nation seemed to be becoming. But these same composers would find unique opportunities to ensure the survival of musical Americanism thanks to the federal government, which wanted to use American music as a Cold War propaganda tool. By serving as advisors to cultural diplomacy programs and touring as artistic ambassadors, the Americanists could bring their now government-backed music to new global audiences. Some with more right-wing politics, meanwhile, would actually flourish in the new ideological environment, by aligning their music with Cold War conceptions of American identity. The Americanists' efforts to safeguard the reputation of their style would have significant consequences. Ultimately, Ansari shows, they effected a rebranding of musical Americanism, with consequences that remain with us today.