Irène Schweizer: jazz pianist, activist, icon. Left-winged, lesbian, autonomous. The path of a young woman from the northern Swiss province leads further and further into experimental music: from London's jazz club Ronnie Scott's and the Zurich Africana Club to the avantgarde-stages in Wuppertal, Berlin, Willisau, Chicago and New York, and from concerts with Don Cherry, Louis Moholo and George Lewis to solo appearances as the leading pianist of European jazz in the Swiss temples of high culture, the Lucerne Culture and Congress Center and the Tonhalle Zurich. Again and again she fights for artistic freedom and autonomy.

This book is dedicated to women. It is divided into two sections. The WHY is the first, and the HOW is the second. I want to explain where I came from, who I've become, and how I got there. I am not omniscient, but some say I am close... This book is dedicated to you, whoever you are: Because the ability to love yourself is your true power, these are the essential femininity tools for elevating yourself, strengthening your soul, and connecting with your natural beauty. I want to guide you on how to be the best version of yourself—for you!

This volume brings together scholars and artist-researchers to explore the nature and function of musical instruments in creative practices, and their role in musical culture. Through historical, theoretical, critical, practical-artistic perspectives and case studies, the contributors here examine identities and affordances of acoustical, electronic and digital musical instruments, the kinds of relationships that composers and performers establish with them, and the crucial role they play in the emergence of musical experiences and meanings.

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Honorable Mention Recipient of the 2021 Marie Hochmuth Nichols Award for Outstanding Scholarship in Public Address by the National Communication Association In the 1969 issue of Negro Digest, a young Black Arts Movement poet then-named Ameer (Amiri) Baraka published “We Are Our Feeling: The Black Aesthetic.” Baraka’s emphasis on the importance of feelings in Black selfhood expressed a touchstone for how the Black liberation movement grappled with emotions in response to the politics and racial violence of the era. In her latest book, award-winning author Lisa M. Corrigan suggests that Black Power provided a significant repository for negative feelings, largely Black pessimism, to resist the constant physical violence against Black activists and the psychological strain of political disappointment. Corrigan asserts the emergence of Black Power as a discourse of Black emotional invention in opposition to Kennedy-era white hope. As integration became the prevailing discourse of racial liberalism shaping midcentury discursive structures, so too, did racial feelings mold the biopolitical order of postmodern life in America. By examining the discourses produced by Martin Luther King, Malcolm X, Stokely Carmichael, Huey Newton, Eldridge Cleaver, and other Black Power icons who were marshaling Black feelings in the service of Black political action, Corrigan traces how Black liberation activists mobilized new emotional repertoires

Introduction: I wish I knew how it would feel to be free -- Nina Simone and the work of minoritarian performance -- Searching for Danh V's mother -- The Marxism of Felix Gonzalez-Torres -- Entanglements: Eiko's a body in a station -- Tseng Kwong Chi and the party's end -- Epilogue: 6E