Selfdefensemusic

Selfdefensemusic


Rogie, who lurches from the pinnacle of stardom in West Africa to delivering pizzas in California, to Olatunji, who finds new life with the Grateful Dead, these are the stories of Africans straddling traditional life and an encroaching modernity—and also the stories of third world musicians surmounting political and economic chaos at home and carrying their music to a world dominated by Western cultural and economic power. In contrast, Third Wave Agenda seeks to complicate our understanding of feminism by not only embracing the second wave critique of beauty culture, sexual abuse, and power structures, but also emphasizing ways that desires and pleasures such as beauty and power can be used to enliven activist work, even while recognizing the importance of maintaining a critique of them. Amid Africa's deepening economic and political crises of the last two decades, African musicians who developed these genres faced the need to cross cultural boundaries, or "break out," and achieve a hit in the international marketplace. The first book on African pop music to look closely at the lives of the musicians themselves, Breakout deals with four African musical genres: The women and men writing here are activists, teachers, cultural critics, artists, and journalists. They distinguish themselves from a group of young, conservative feminists, including Naomi Wolf and Katie Roiphe, who criticize second wave feminists and are regularly called on to speak for the "next generation" of feminism. Some topics explored in Third Wave Agenda include feminism in popular music, interracial coalitions, and tensions between individual ambitions and collective action.

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Selfdefensemusic


Rogie, who lurches from the pinnacle of stardom in West Africa to delivering pizzas in California, to Olatunji, who finds new life with the Grateful Dead, these are the stories of Africans straddling traditional life and an encroaching modernity—and also the stories of third world musicians surmounting political and economic chaos at home and carrying their music to a world dominated by Western cultural and economic power. In contrast, Third Wave Agenda seeks to complicate our understanding of feminism by not only embracing the second wave critique of beauty culture, sexual abuse, and power structures, but also emphasizing ways that desires and pleasures such as beauty and power can be used to enliven activist work, even while recognizing the importance of maintaining a critique of them. Amid Africa's deepening economic and political crises of the last two decades, African musicians who developed these genres faced the need to cross cultural boundaries, or "break out," and achieve a hit in the international marketplace. The first book on African pop music to look closely at the lives of the musicians themselves, Breakout deals with four African musical genres: The women and men writing here are activists, teachers, cultural critics, artists, and journalists. They distinguish themselves from a group of young, conservative feminists, including Naomi Wolf and Katie Roiphe, who criticize second wave feminists and are regularly called on to speak for the "next generation" of feminism. Some topics explored in Third Wave Agenda include feminism in popular music, interracial coalitions, and tensions between individual ambitions and collective action.

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