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In 1957, Duke Ellington released the influential album A Drum Is a Woman. This musical allegory revealed the implicit truth about the role of women in jazz discourse—jilted by the musician and replaced by the drum. Further, the album’s cover displays an image of a woman sitting atop a drum, depicting the way in which the drum literally obscures the female body, turning the subject into an object. This objectification of women leads to a critical reading of the role of women in jazz music: If the drum can take the place of a woman, then a woman can also take the place of a drum. The Drum Is a Wild Woman: Jazz and Gender in African Diaspora Literature challenges that image but also defines a counter-tradition within women’s writing that involves the reinvention and reclamation of a modern jazz discourse. Despite their alienation from bebop, women have found jazz music empowering and have demonstrated this power in various ways. The Drum Is a Wild Woman explores the complex relationship between women and jazz music in recent African diasporic literature. The book examines how women writers from the African diaspora have challenged and revised major tropes and concerns of jazz literature since the bebop era in the mid-1940s. Black women writers create dissonant sounds that broaden our understanding of jazz literature. By underscoring the extent to which gender is already embedded in jazz discourse, author Patricia G. Lespinasse responds to and corrects narratives that tell the story of jazz through a male-centered lens. She concentrates on how the Wild Woman, the female vocalist in classic blues, used blues and jazz to push the boundaries of Black womanhood outside of the confines of respectability. In texts that refer to jazz in form or content, the Wild Woman constitutes a figure of resistance who uses language, image, and improvisation to refashion herself from object to subject. This book breaks new ground by comparing the politics of resistance alongside moments of improvisation by examining recurring literary motifs—cry-and-response, the Wild Woman, and the jazz moment—in jazz novels, short stories, and poetry, comparing works by Ann Petry, Gayl Jones, Toni Morrison, Paule Marshall, Edwidge Danticat, and Maya Angelou with pieces by Albert Murray, Ralph Ellison, James Baldwin, and Ellington. Within an interdisciplinary and transnational context, Lespinasse foregrounds the vexed negotiations around gender and jazz discourse.
Initially published in 1982 in the Smithsonian Folklife Series, Thomas Vennum's The Ojibwa Dance Drum is widely recognized as a significant ethnography of woodland Indians.-From the afterword by Rick St. Germaine
Sympathy for the Drummer: Why Charlie Watts Matters is both a gonzo rush—capturing the bristling energy of the Rolling Stones and the times in which they lived—and a wide-eyed reflection on why the Greatest Rock 'n' Roll Band in the World needed the world's greatest rock 'n' roll drummer. Across five decades, Rolling Stones drummer Charlie Watts has had the best seat in the house. Charlie Watts, the anti-rock star—an urbane jazz fan with a dry wit and little taste for the limelight—was witness to the most savage years in rock history, and emerged a hero, a warrior poet. With his easy swing and often loping, uneven fills, he found nuance in a music that often had little room for it, and along with his greatest ally, Keith Richards, he gave the Stones their swaggering beat. While others battled their drums, Charlie played his modest kit with finesse and humility, and yet his relentless grooves on the nastiest hard-rock numbers of the era ("Gimme Shelter," "Street Fighting Man," "Brown Sugar," "Jumpin' Jack Flash," etc.) delivered a dangerous authenticity to a band that on their best nights should have been put in jail. Author Mike Edison, himself a notorious raconteur and accomplished drummer, tells a tale of respect and satisfaction that goes far beyond drums, drumming, and the Rolling Stones, ripping apart the history of rock'n'roll, and celebrating sixty years of cultural upheaval. He tears the sheets off of the myths of music making, shredding the phonies and the frauds, and unifies the frayed edges of disco, punk, blues, country, soul, jazz, and R&B—the soundtrack of our lives. Highly opinionated, fearless, and often hilarious, Sympathy is an unexpected treat for music fans and pop culture mavens, as edgy and ribald as the Rolling Stones at their finest, never losing sight of the sex and magic that puts the roll in the rock —the beat, that crazy beat!—and the man who drove the band, their true engine, the utterly irreplaceable Charlie Watts.
Miscellaneous Percussion Music - Mixed Levels
Making your own primitive instruments from simple materials such as coffee cans and flower pots. Includes 121 figures.
Four starred reviews! A Today Show Best Book of the Year An NPR Favorite Book of 2019 From E.B. White Read Aloud honor artist Matthew Forsythe comes an “extraordinary” (Publishers Weekly, starred review) picture book about a magical drum, an emerald forest, and the little frog who dares to make her own music. The biggest mistake Pokko’s parents ever made was giving her the drum. When Pokko takes the drum deep into the forest it is so quiet, so very quiet that Pokko decides to play. And before she knows it she is joined by a band of animals —first the raccoon, then the rabbit, then the wolf—and soon the entire forest is following her. Will Pokko hear her father’s voice when he calls her home? Pokko and the Drum is a story about art, persistence, and a family of frogs living in a mushroom.
The sequel to the bestseller “War Paint” Bear, Ty Fisher, and Jarel Wade team up in a new action-packed adventure. When the trio of mountain men catch wind of a Sioux plan to ambush the annual Fur Rendezvous supply wagon train, the spring into action. They know if the goods are lost, not only would it cost the lives of fifty men accompanying the wagons, but devastate the trappers counting on the much-needed supplies. Hoping to avoid the brewing conflict Bear arranges a meeting with the Sioux war chief, Hump. Bear learns the Sioux are being given guns by none other then “Red” McCarty's brother, Samuel. Seeking retribution for the death of his brother, Samuel has murder on his mind. As payback he kidnaps Bear's new wife, Brown Eyes Speaking, and his stepson, Toad. Samuel knows the mountain man will come looking for his family and he can force a showdown. Bear refuses to allow anyone to take his family away again; he's already lost his first wife and their unborn child. Now he's racing against time. Sharpening his knife and loading his guns, he'll head into the mountains on a rescue mission and to face off against another vicious McCarty. Keywords: mountain man,indian,Sioux,western,tribe,murder,ambush