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My Beliefs are in My Song

Engaging Black Politics through Popular Music

Bibliographic Data

ID12129277
AuthorsChristopher Stone (0000-0002-9621-5334, corresponding author)
Year2006
Volume20
Issue5
Pages28-32
Publication date2006-10-01
Open AccessNo
TypeARTICLE
VenueOAH Magazine of History (JOURNAL)
Journal identifiersISSN: 0882-228X • E-ISSN: 1938-2340
PublisherOxford University Press (OUP) (PUBLISHER)
DOI10.1093/maghis/20.5.28
OpenAlexW2329759649
LanguageEN
References cited3

With the lyric, “Sometimes I'm right and I can be wrong/My own beliefs are in my song,” Sly and the Family Stone began “Everday People” (1969), the song that proved the most popular and acclaimed track by the innovative and self-destructive Sly Stone (born Sylvester Stewart) (1). His work encapsulates much of the spirit of the mythic Sixties. His interracial and intergender band's potent fusion of pop, rock ‘n’ roll, gospel, and soul tapped into the integrationist aspirations of many Americans (2). Stone's first hit, “Dance to the Music” (1968), which allowed band members to step forward, solo, and shine as the collective kept a tight groove, offered a working model for how to reconcile the counterculture's conflicting desires for individual autonomy and communal togetherness. The gospel-charged “I Want to Take You Higher” (1969) tapped into the yearning for spiritual transcendence that animated much of the era's cultural insurgency. “Stand!” (1969) offers perhaps the definitive statement of the central tenet of Sixties idealism: the belief that individuals can enact positive social and political change if they get informed, organized, and involved

Aesthetics · Art · Art history · Counterculture · Dance · Epistemology · Literature · Political science · Politics · Sociology · Soul · American Political and Social Dynamics · Music History and Culture · Race, History, and American Society · Law · Philosophy

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Highly citedNo

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