A spirited study of how Black women musicians and writers have informed each other despite gatekeepers’ neglect and dismissals.
Brooks, a professor of African American Studies at Yale, ranges from early blues icons like Bessie Smith, who created “jams that revel in the complexities—the affective ambiguities—of a Black woman’s inner lifeworld,” through contemporary phenoms like Janelle Monáe and Beyoncé. But it’s not all about the musicians. Women writers on Black music—Zora Neale Hurston, Lorraine Hansberry, blues and jazz historian Rosetta Reitz—are crucial to Brooks, but this book is not strictly about music writing, either. By synthesizing both groups, the author develops an engrossing and provocative secret history of Black artists developing their own modes of history and celebration, exploring “the myriad ways that Black women have labored in and through sonic culture.” Hurston, an anthropologist before she was a celebrated novelist, made the case for blues music as central to American life; Hansberry’s defense of her own work and Black culture in general established a model for future writers; blues duo Geeshie Wiley and Elvie Thomas opened up questions of Black (and perhaps queer) defiance of expectations to this day and how history is often warped by self-declared White keepers of blues history. The supporters for Brooks' thesis aren’t exclusively Black; she writes rhapsodically about music critics Ellen Willis, Greil Marcus, and Reitz, who reissued the work of Black blueswomen. However, the author emphasizes a culture in which “Black women are rarely in control of their own archives, rarely seen as skilled critics or archivists, all too rarely beheld as makers of rare sounds deemed deserving of excavation and long study.” Brooks writes with a scholar’s comprehensiveness, only occasionally overly fussy and digressive; her record-geek’s enthusiasm is explicit, and her book is a powerful corrective.
A sui generis and essential work on Black music culture destined to launch future investigations.