From the author of the bestselling Dorothy Dandridge comes a dazzling look at one of America's brightest and most troubled theatrical stars. Almost no other star of the twentieth century reimagined herself with such audacity and durable talent as did Ethel Waters. In this enlightening and engaging biography, Donald Bogle resurrects this astonishing woman from the annals of history, shedding new light on the tumultuous twists and turns of her seven-decade career, which began in Black vaudeville and reached new heights in the steamy nightclubs of 1920s Harlem. Bogle traces Waters' life from her poverty-stricken childhood to her rise in show business; her career as one of the early blues and pop singers, with such hits as "Am I Blue?," "Stormy Weather," and "Heat Wave"; her success as an actress, appearing in such films and plays as The Member of the Wedding and Mamba's Daughters; and through her lonely, painful final years. He illuminates Waters' turbulent private life, including her complicated feelings toward her mother and various lovers; her heated and sometimes well-known feuds with such entertainers as Josephine Baker, Billie Holiday, and Lena Horne; and her tangled relationships with such legends as Irving Berlin, Duke Ellington, Harold Clurman, Elia Kazan, Count Basie, Darryl F. Zanuck, Vincente Minnelli, Fred Zinnemann, Moss Hart, and John Ford. In addition, Bogle explores the ongoing racial battles, growing paranoia, and midlife religious conversion of this bold, brash, wildly talented woman while examining the significance of her highly publicized life to audiences unaccustomed to the travails of a larger-than-life African American woman. Wonderfully atmospheric, richly detailed, and drawn from an array of candid interviews, Heat Wave vividly brings to life a major cultural figure of the twentieth century—a charismatic, complex, and compelling woman, both tragic and triumphant.

"Waters transformed such songs as "Dinah," "Am I Blue?," "Stormy Weather," and Irving Berlin's "Heat Wave" into classics and inspired the next generation of black female vocalists. She gave sophistication and class to the blues and American popular song, influencing countless singers, including Judy Garland and Frank Sinatra. Tough, uncompromising, courageous, and ambitious, Waters became one of the first African American women to be given equal billing with white stars on Broadway. In 1943, the film version of her Broadway success Cabin in the Sky established her as Hollywood's first black leading lady. In such plays as Mamba's Daughters and films as The Member of the Wedding, she shattered the myth that black women could perform only as singers. For her work in Pinky, she received an Academy Award nomination for Best Supporting Actress, the second African American to be so honored.".

Ethel Waters: I touched a sparrow is the story of the "Golden Ethel, " the Ethel who turned, in her senior years and after a remarkable stage and screen career, to singing and inspiring people about the Lord. Her unique style of singing still held her audiences spellbound-while she praised the Lord and made them feel loved.

In The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way.

An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyoncé. 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 Beyoncé 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 Cécile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as cultural historians. With an innovative perspective on the story of Black women in popular music—and who should rightly tell it—Liner Notes for the Revolution pioneers a long overdue recognition and celebration of Black women musicians as radical intellectuals.