"Lyons delivers the history of a song that has inspired generations of African-Americans to persist and resist in the face of racism and systemic oppression. . . . A heartfelt history of a historic anthem."--Publishers Weekly Sing a song full of the faith that the dark past has taught us. Sing a song full of the hope that the present has brought us. In Jacksonville, Florida, two brothers, one of them the principal of a segregated, all-black school, wrote the song "Lift Every Voice and Sing" so his students could sing it for a tribute to Abraham Lincoln's birthday in 1900. From that moment on, the song has provided inspiration and solace for generations of Black families. Mothers and fathers passed it on to their children who sang it to their children and grandchildren. Known as the Black National Anthem, it has been sung during major moments of the Civil Rights Movement and at family gatherings and college graduations. Inspired by this song's enduring significance, Kelly Starling Lyons and Keith Mallett tell a story about the generations of families who gained hope and strength from the song's inspiring words. --A CCBC Choice --A Notable Social Studies Trade Book for Young People --An ALSC Notable Children's Book

"A group of young men in Jacksonville, Florida, arranged to celebrate Lincoln's birthday in 1900. My brother, J. Rosamond Johnson, and I decided to write a song to be sung at the exercise. I wrote the words and he wrote the music. Our New York publisher, Edward B. Marks, made mimeographed copies for us and the song was taught to and sung by a chorus of five hundred colored school children. "Shortly afterwards my brother and I moved from Jacksonville to New York, and the song passed out of our minds. But the school children of Jacksonville kept singing it, they went off to other schools and sang it, they became teachers and taught it to other children. Within twenty years it was being sung over the South and in some other parts of the country. Today, the song, popularly known as the Negro National Hymn, is quite generally used. "The lines of this song repay me in elation, almost of exquisite anguish, whenever I hear them sung by Negro children." —James Weldon Johnson, 1935 Pasted into Bibles, schoolbooks, and hearts, "Lift Every Voice and Sing," written by J. Rosamond Johnson and James Weldon Johnson in 1900, has become one of the most beloved songs in the African American community—taught for years in schools, churches, and civic organizations. Adopted by the NAACP as its official song in the 1920s and sung throughout the civil rights movement, it is still heard today at gatherings across America. James Weldon Johnson's lyrics pay homage to a history of struggle but never waver from a sense of optimism for the future—"facing the rising sun of our new day begun, let us march on till victory is won." Its message of hope and strength has made "Lift Every Voice and Sing" a source of inspiration for generations. In celebration of the song's centennial, Julian Bond and Sondra Kathryn Wilson have collected one hundred essays by artists, educators, politicians, and activists reflecting on their personal experiences with the song. Also featuring photos from historical archives, Lift Every Voice and Sing is a moving illustration of the African American experience in the past century. With contributors including John Hope Franklin, Jesse Jackson, Maya Angelou, Norman Lear, Maxine Waters, and Percy Sutton, this volume is a personal tribute to the enduring power of an anthem. "Lift Every Voice and Sing" has touched the hearts of many who have heard it because its true aim, as Harry Belafonte explains, "isn't just to show life as it is but to show life as it should be."

The twin acts of singing and fighting for freedom have been inseparable in African American history. May We Forever Stand tells an essential part of that story. With lyrics penned by James Weldon Johnson and music composed by his brother Rosamond, "Lift Every Voice and Sing" was embraced almost immediately as an anthem that captured the story and the aspirations of black Americans. Since the song's creation, it has been adopted by the NAACP and performed by countless artists in times of both crisis and celebration, cementing its place in African American life up through the present day. In this rich, poignant, and readable work, Imani Perry tells the story of the Black National Anthem as it traveled from South to North, from civil rights to black power, and from countless family reunions to Carnegie Hall and the Oval Office. Drawing on a wide array of sources, Perry uses "Lift Every Voice and Sing" as a window on the powerful ways African Americans have used music and culture to organize, mourn, challenge, and celebrate for more than a century.

This popular collection of 280 musical pieces from both the African American and Gospel traditions has been compiled under the supervision of the Office of Black Ministries of the Episcopal Church. It includes service music and several psalm settings in addition to the Negro spirituals, Gospel songs, and hymns.

Profiles of 100 prominent African Americans of St. Louis reveal challenges faced by Blacks throughout the 20th century. Men and women from fields including medicine, education, music, journalism, and business relate their experiences of racism, obstacles they overcame in their professions, and lessons that life has taught them. An introduction paints a picture of 100 years of the city's history. The book includes portraits of each person profiled by Wiley Price, a prizewinning photojournalist for the St. Louis American. Wesley and Morris are affiliated with the Western Historical Manuscript Collection at the University of Missouri-St. Louis. Annotation copyrighted by Book News, Inc., Portland, OR

Beyond Lift Every Voice and Sing explores African American life and history as refracted through the musical theater productions of one of the most prolific black song-writing teams of the early twentieth century. This study's overarching question is how representations in black musical theater reflected and challenged the dominant social order.

Winner of the 2022 Gustave O. Arlt Award in the Humanities, award by by the Council of Graduate Schools Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth century Beginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals—such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams—inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.