Daphne A Brooks
Biographic Data
| ID | 1116984 |
|---|---|
| NAME | Daphne A Brooks |
| GIVEN NAMES | Daphne A |
| FAMILY NAME | Brooks |
| SIGNATURE | BROOKS D A |
| AFFILIATIONS | Daphne A. Brooks is the William R. Kenan, Jr. Professor of African American Studies, American Studies, Women's, Gender, and Sexuality Studies, and Music at Yale University. She is the author of Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850–1910 (2006) and Jeff Buckley's Grace (2005). She is currently working on a three-volume study of Black women and popular music culture entitled Subterranean Blues: Black Women Sound Modernity. The first volume, Liner Notes for the Revolution: The I |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 16 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
A Woman Is a Sometime Thing”
This essay reexamines the legendary opera-musical Porgy and Bess by first tending to its origins in the dual phenomenon of early 1920s racialized sonic experimentation and the Southern literary conceits of DuBose Heyward, author of the 1925 novel Porgy on which the theater production was based. It traces the ways in which Heyward and George Gershwin's undertheorized fascination with “the vice of Black womanhood” effectively shaped the form and th…
All That You Can't Leave Behind
This essay explores the critical work of Beyoncé's second solo recording, and places it in conversation with yet another under-theorized yet equally dissonant R&B performance by her "hip-hop soul queen" contemporary Mary J. Blige. In relation to both Beyoncé's and Blige's work, I examine the politics of black women's pop music culture in relation to the Gulf Coast catastrophe and the extreme marginalization of black women in American sociopolitic…
A New Literary History of America
America is a nation making itself up as it goes along-a story of discovery and invention unfolding in speeches and images, letters and poetry, unprecedented feats of scholarship and imagination. In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history. In more than two hundred original essays, A New Literary History of America brings together the nati…
Nina Simone's Triple Play
Nina Simone's Triple Play Daphne A. Brooks (bio) Listen to the opening notes of Nina Simone's remarkable 1957 debut album Little Girl Blue and one hears a performer asserting her intentions, throwing down the glove: the exuberant "motor running-running" (Dobie 232) trademark vocals, the playfully virtuosic dance of a pianist's velocity that turns the tempo of a Duke Ellington classic inside out and breaks open the melody to mine the ironically pu…
“Once More with Feeling”
This voice which is not one
This manuscript explores the charged and complex cultural histories bound up in the music and performative repertoire of English retro soul artist Amy Winehouse. It considers the aesthetics of Winehouse's vocal gestures and racial mimicry, and it explores the politics of what we might call sonic blue(s)face culture, a vocal phenomenon pioneered by black and white female entertainers in early twentieth century popular culture. The essay re-situate…
All That You Can't Leave Behind
Daphne A. Brooks, "All That You Can't Leave behind": Black Female Soul Singing and the Politics of Surrogation in the Age of Catastrophe, Meridians, Vol. 8, No. 1, Representin': Women, Hip-Hop, and Popular Music (2008), pp. 180-204
Bodies in Dissent
I wonder if dis is me?By golly, I is free as a frog.But maybe I is mistaken; maybe dis ain't me.Cato, is dis you?Yes, seer.Well, now it is me, an' I em a free man.But, stop!I muss change my name, kase ole massa might foller me, and somebody might tell him dat dey see Cato; so I'll change my name, and den he won't know me ef he sees me.Now, what shall I call myself ?I'm now in a suspectable part of the country, an' I muss have a suspectable name.A…
Critical Karaoke
the critical karaoke project was a specific response to the endless parade of polls, lists and casual questions about 'the greatest songs of all time' - particularly to how that measure seems mismatched to pop, which bets everything on transitory pleasures, intensities, its own evanescence. a number of critics, scholars, poets and musicians were invited to the experience music project's annual pop conference in seattle, in the spring of 2004, to …
All That You Can't Leave Behind
This essay explores the critical work of Beyoncé's second solo recording, and places it in conversation with yet another under-theorized yet equally dissonant R&B performance by her "hip-hop soul queen" contemporary Mary J. Blige. In relation to both Beyoncé's and Blige's work, I examine the politics of black women's pop music culture in relation to the Gulf Coast catastrophe and the extreme marginalization of black women in American sociopolitic…
This voice which is not one
This manuscript explores the charged and complex cultural histories bound up in the music and performative repertoire of English retro soul artist Amy Winehouse. It considers the aesthetics of Winehouse's vocal gestures and racial mimicry, and it explores the politics of what we might call sonic blue(s)face culture, a vocal phenomenon pioneered by black and white female entertainers in early twentieth century popular culture. The essay re-situate…
Nina Simone's Triple Play
Nina Simone's Triple Play Daphne A. Brooks (bio) Listen to the opening notes of Nina Simone's remarkable 1957 debut album Little Girl Blue and one hears a performer asserting her intentions, throwing down the glove: the exuberant "motor running-running" (Dobie 232) trademark vocals, the playfully virtuosic dance of a pianist's velocity that turns the tempo of a Duke Ellington classic inside out and breaks open the melody to mine the ironically pu…
All That You Can't Leave Behind
Daphne A. Brooks, "All That You Can't Leave behind": Black Female Soul Singing and the Politics of Surrogation in the Age of Catastrophe, Meridians, Vol. 8, No. 1, Representin': Women, Hip-Hop, and Popular Music (2008), pp. 180-204
Critical Karaoke
the critical karaoke project was a specific response to the endless parade of polls, lists and casual questions about 'the greatest songs of all time' - particularly to how that measure seems mismatched to pop, which bets everything on transitory pleasures, intensities, its own evanescence. a number of critics, scholars, poets and musicians were invited to the experience music project's annual pop conference in seattle, in the spring of 2004, to …
Bodies in Dissent
I wonder if dis is me?By golly, I is free as a frog.But maybe I is mistaken; maybe dis ain't me.Cato, is dis you?Yes, seer.Well, now it is me, an' I em a free man.But, stop!I muss change my name, kase ole massa might foller me, and somebody might tell him dat dey see Cato; so I'll change my name, and den he won't know me ef he sees me.Now, what shall I call myself ?I'm now in a suspectable part of the country, an' I muss have a suspectable name.A…
All That You Can't Leave Behind
Daphne A. Brooks, "All That You Can't Leave behind": Black Female Soul Singing and the Politics of Surrogation in the Age of Catastrophe, Meridians, Vol. 8, No. 1, Representin': Women, Hip-Hop, and Popular Music (2008), pp. 180-204
“Once More with Feeling”
This voice which is not one
This manuscript explores the charged and complex cultural histories bound up in the music and performative repertoire of English retro soul artist Amy Winehouse. It considers the aesthetics of Winehouse's vocal gestures and racial mimicry, and it explores the politics of what we might call sonic blue(s)face culture, a vocal phenomenon pioneered by black and white female entertainers in early twentieth century popular culture. The essay re-situate…
Nina Simone's Triple Play
Nina Simone's Triple Play Daphne A. Brooks (bio) Listen to the opening notes of Nina Simone's remarkable 1957 debut album Little Girl Blue and one hears a performer asserting her intentions, throwing down the glove: the exuberant "motor running-running" (Dobie 232) trademark vocals, the playfully virtuosic dance of a pianist's velocity that turns the tempo of a Duke Ellington classic inside out and breaks open the melody to mine the ironically pu…
A New Literary History of America
America is a nation making itself up as it goes along-a story of discovery and invention unfolding in speeches and images, letters and poetry, unprecedented feats of scholarship and imagination. In these myriad, multiform, endlessly changing expressions of the American experience, the authors and editors of this volume find a new American history. In more than two hundred original essays, A New Literary History of America brings together the nati…
All That You Can't Leave Behind
This essay explores the critical work of Beyoncé's second solo recording, and places it in conversation with yet another under-theorized yet equally dissonant R&B performance by her "hip-hop soul queen" contemporary Mary J. Blige. In relation to both Beyoncé's and Blige's work, I examine the politics of black women's pop music culture in relation to the Gulf Coast catastrophe and the extreme marginalization of black women in American sociopolitic…
A Woman Is a Sometime Thing”
This essay reexamines the legendary opera-musical Porgy and Bess by first tending to its origins in the dual phenomenon of early 1920s racialized sonic experimentation and the Southern literary conceits of DuBose Heyward, author of the 1925 novel Porgy on which the theater production was based. It traces the ways in which Heyward and George Gershwin's undertheorized fascination with “the vice of Black womanhood” effectively shaped the form and th…
Art (7 works) · Music History and Culture (7 works) · History (4 works) · Law (4 works) · Literature (4 works) · Musicology and Musical Analysis (4 works) · Theater, Performance, and Music History (4 works) · Visual arts (4 works) · Aesthetics (3 works) · Art history (3 works)