LEADER 03863nam 2200577 450 001 9910810853503321 005 20230126223042.0 010 $a1-9788-0360-5 010 $a1-9788-0361-3 024 7 $a10.36019/9781978803619 035 $a(CKB)4970000000123609 035 $a(DE-B1597)527634 035 $a(OCoLC)1100892613 035 $a(DE-B1597)9781978803619 035 $a(Au-PeEL)EBL5880424 035 $a(MiAaPQ)EBC5880424 035 $a(DE-B1597)546411 035 $a(EXLCZ)994970000000123609 100 $a20190927d2019 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aDestructive desires $erhythm and blues culture and the politics of racial equality /$fRobert J. Patterson 210 1$aNew Brunswick, New Jersey :$cRutgers University Press,$d[2019] 210 4$dİ2019 215 $a1 online resource (xiii, 246 pages) $cillustrations 311 $a1-9788-0358-3 311 $a1-9788-0359-1 320 $aIncludes bibliographical references (pages 225-236) and index. 327 $tFront matter --$tContents --$tPreface: RJP and the Rhythm and Blues Imagination --$t1. Reading Race, Gender, and Sex: Black Intimate Relations, Black Inequality, and the Rhythm and Blues Imagination --$t2. "Whip Appeal": Reading Kenneth "Babyface" Edmonds --$t3. "Freak Like Me": Reading Adina Howard --$t4. "Didn't We Almost Have It All?": Reading Whitney Houston --$tEpilogue: "It's Just Another Sad Love Song": Reading Toni Braxton --$tAppendix A: Select List of Kenneth "Babyface" Edmonds's Songs --$tAppendix B: Select Awards and Honors --$tAppendix C: Robert J. Patterson Interviews Adina Howard --$tAcknowledgments --$tNotes --$tBibliography --$tIndex --$tAbout the author 330 $aDespite rhythm and blues culture's undeniable role in molding, reflecting, and reshaping black cultural production, consciousness, and politics, it has yet to receive the serious scholarly examination it deserves. Destructive Desires corrects this omission by analyzing how post-Civil Rights era rhythm and blues culture articulates competing and conflicting political, social, familial, and economic desires within and for African American communities. As an important form of black cultural production, rhythm and blues music helps us to understand black political and cultural desires and longings in light of neo-liberalism's increased codification in America's racial politics and policies since the 1970's. Robert J. Patterson provides a thorough analysis of four artists-Kenneth "Babyface" Edmonds, Adina Howard, Whitney Houston, and Toni Braxton-to examine black cultural longings by demonstrating how our reading of specific moments in their lives, careers, and performances serve as metacommentaries for broader issues in black culture and politics. 606 $aRhythm and blues music$xSocial aspects$zUnited States$xHistory 606 $aRhythm and blues music$xPolitical aspects$zUnited States$xHistory 606 $aRhythm and blues music$xHistory and criticism 606 $aAfrican Americans$xAttitudes 610 $ar&b, rhythm and blues, blues, black culture, african american, inequality, kenneth edmonds, babyface, adina howard, whitney houston, whitney, toni braxton, music, black music, black inequality. 615 0$aRhythm and blues music$xSocial aspects$xHistory. 615 0$aRhythm and blues music$xPolitical aspects$xHistory. 615 0$aRhythm and blues music$xHistory and criticism. 615 0$aAfrican Americans$xAttitudes. 676 $a306.484243 700 $aPatterson$b Robert J.$f1980-$01619456 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910810853503321 996 $aDestructive desires$93951696 997 $aUNINA