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By George E. Lewis

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Founded in 1965 and nonetheless lively this day, the organization for the development of inventive Musicians (AACM) is an American establishment with a world popularity. George E. Lewis, who joined the collective as in 1971, establishes the complete significance and energy of the AACM with this communal background, written with a symphonic sweep that attracts on a cross-generational refrain of voices and a wealthy number of infrequent images.

Moving from Chicago to long island to Paris, and from founding member Steve McCall’s kitchen desk to Carnegie corridor, A strength better Than Itself uncovers a colourful, multicultural universe and brings to mild a big piece of the historical past of avant-garde track and art.

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Extra info for A Power Stronger Than Itself: The AACM and American Experimental Music

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8 Cordoned off from “white” areas of the city by restrictive covenants, political machinations, and violence, large numbers of black newcomers from the South, almost regardless of income level, competed with earlier waves of migrants for a limited supply of available and affordable space. As a result, this area, which an enterprising editor of a local black newspaper dubbed “Bronzeville,”9 was far more diverse than most other Chicago communities in terms of demographic parameters other than race, such as social class, economic status, and occupation.

I then use this model to examine the particular case of the AACM. Chapter 11: Into the Third Decade The central thesis of chapter 11 concerns the role played by a group of enterprising, talented, and visionary women in transforming the AACM, challenging its view of itself at its very core. This group of mostly younger women grew up with the strictures and barriers to which black women who aspired to become artists and musicians were subject. This chapter, more than any other in the book, allows me to explore the intersection of gender, class, and race in depth, including the constructions of masculinity that some AACM musicians apparently took to be essentially constitutive of the collective’s identity in the wake of the dynamics of black cultural nationalism in the United States.

Louis. Jerol Donavon’s family knew that the South could be a very dangerous place for black people who dared to display evidence of successful, independent entrepreneurship. The second of eleven children, Donavon was born in 1927 in a small Arkansas town founded by his grandfather, who had come from Memphis to buy land and farming equipment in an area close by Little Rock. The family built a general store, a sawmill, and a small farm with crops that included cotton, rice, and sorghum. One very late evening, whites with shotguns ambushed his father, grandfather, and uncles.

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