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free read [pdf] A Little Devil in America: Notes in Praise of Black Performance
COPY LINK TO DOWNLOAD *********************************** https://assethappybook-ahay.blogspot.de/?next=1984801198 *********************************** A Little Devil in America: Notes in Praise of Black Performance b b NATIONAL BOOK AWARD FINALIST • “A masterpiece” (Minneapolis i Star Tribune i ), a “devastating” ( i The New York Times i ) meditation on Black performance in America from b b the MacArthur “Genius Grant” Fellow b b and b bestselling author of i Go Ahead in the Rain i “Gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance.”—Brit Bennett, author of i The Vanishing Half i b At the March on Washington in 1963, Josephine Baker was fifty-seven years old, well beyond her most prolific days. But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of s
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https://assethappybook-ahay.blogspot.de/?next=1984801198
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A Little Devil in America: Notes in Praise of Black Performance
b b NATIONAL BOOK AWARD FINALIST • “A masterpiece” (Minneapolis i Star Tribune i ), a “devastating” ( i The New York Times i ) meditation on Black performance in America from b b the MacArthur “Genius Grant” Fellow b b and b bestselling author of i Go Ahead in the Rain i “Gorgeous essays that reveal the resilience, heartbreak, and joy within Black performance.”—Brit Bennett, author of i The Vanishing Half i b At the March on Washington in 1963, Josephine Baker was fifty-seven years old, well beyond her most prolific days. But in her speech she was in a mood to consider her life, her legacy, her departure from the country she was now triumphantly returning to. “I was a devil in other countries, and I was a little devil in America, too,” she told the crowd. Inspired by these few words, Hanif Abdurraqib has written a profound and lasting reflection on how Black performance is inextricably woven into the fabric of American culture. Each moment in every performance he examines—whether it’s the twenty-seven seconds in “Gimme Shelter” in which Merry Clayton wails the words “rape, murder,” a schoolyard fistfight, a dance marathon, or the instant in a game of s
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