James Braxton Peterson on Duke University's "Institutional Blackface"

Institutional Blackface

by James Braxton Peterson | HuffPost BlackVoices

For those that do not know, I am a proud graduate of Duke University (Class of '93). As a black alumnus of one of the greatest universities in the world with a troublesome history with race and racism, I am often treated to the highs and lows of the Duke experience. Last week was no different as members of the Duke University Black Alumni Committee reached out to me to begin the process of organizing an event featuring myself, the NBA's Grant Hill, the Washington Post's Nia-Malika Henderson and others to commemorate the 50-year celebration of the presence of black students at Duke – yes, it's only been 50 years. Duke beat Kentucky – i.e. Duke men's basketball beat the University of Kentucky – and this is always good. But in addition to these great moments – moments that make me proud to be a Duke grad, we were once again treated to the insensitive (and now common) practice of white undergraduates who "dress up" as black characters and blacken up their faces in order to do so. Sigh.

Halloween is a holiday that I generally dread anyway since wearing a (figurative) mask for me and for many of my ancestors was a necessary strategy deployed regularly and specifically for the sake of subverting white supremacy. But because I am a professor, former grad student, etc., the Halloween holiday also means that I have been perennially treated to seriously demeaning tricks. White students put on blackface at Halloween, take pictures and generally circulate and celebrate their "costumes." I think of this as the "southern strategy" of the Halloween holiday. Young white folks, usually male, are able to express their racial and racist angst (conscious and subconscious) in a space and at a time that for the most part sanctions backwards, demeaning behavior. This has happened at everyinstitution of higher learning at which I have ever worked or learned. It is strategic because the blackfacers almost never face the facts of our dark American history and almost always claim ignorance in the aftermath of outrage and the pain communicated (perennially) by the black university communities that must bare witness to these regular insults.

For the few of you out there who do not know the history of blackface minstrelsy please allow me to provide you with an ever-so-brief primer. In the 19th century, white performers blackened their faces and aped the most stereotypical, dehumanizing, and demeaning "characteristics" of black people. This practice became one of America's first popular forms of entertainment. Its pervasiveness contributed to the American narratives of race that considered black people to be less than human, "other" and utterly unworthy of citizenship, much less equality. Eventually black entertainers blackened their own faces and exploited America's appetite for the destruction of black humanity. This not-too-distant history is a painful reminder – I guess only to black people – of the awful history of racism in America. That it can be so cavalierly and regularly referenced with no sense of this history or with feigned ignorance of said history is even more troubling than the wearing of blackface in the first place.

But this incident stings a bit more, not just because it's my alma mater, but because of the fact that a head coach of a Division I sports team was not aware that a student athlete engaging in this kind of act might not be a good look for the team, the program, or the university; that a web administrator could/would post this on the Duke Athletics Department website without any thought or consideration of how it might offend Duke alum, current Duke students and faculty is also absolutely striking. I despise these kinds of analogies, but imagine the Duke Athletic Department posting a picture of a student athlete dressed as a Nazi soldier. Yes, the cavalier wearing of blackface offends me that much. It harkens back to a history in this country where everything from entertainment to labor, from religion, to education, everything, was systemically designed to destroy the humanity of people who look just like me – people from whom I am descended.

I could rail on, but instead I would like to make an announcement. I am hereby formally offering my services as an advisor, professor, and/or consultant [PRO BONO] to any institution with which I have ever been affiliated for me to come in during any first-year orientation, diversity "training" or other opportunity, to address this issue specifically and to place in its full context the wearing of blackface on college campuses. For some time now, I have been less and less offended by the students who actually do this, and more and more amazed that some of our greatest educational institutions are incapable of appreciating how painful and embarrassing this pervasive practice has become.

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James Braxton Peterson is the Director of Africana Studies and Associate Professor of English at Lehigh University. He is also the founder of Hip Hop Scholars, LLC, an association of Hip Hop generational scholars dedicated to researching and developing the cultural and educational potential of Hip Hop, urban, and youth cultures. Peterson has appeared on Fox News, CBS, MSNBC, ABC News, ESPN, and various local television networks as an expert on race, politics, and popular culture.Follow James Peterson on Twitter: www.twitter.com/DrJamesPeterson

Left of Black S3:E9 | Racial Passing and the Rise of Multiracialism

Left of Black S3:E9 | Racial Passing and the Rise of Multiracialism

November 12, 2012

For many African Americans, the practice of ‘Passing’—where light-skinned Blacks could pass for White—remains a thing connected to a difficult racial past. In her new book, Clearly Invisible: Racial Passing and the Color of Cultural Identity (Baylor University Press), Marcia Dawkins, a professor in the Annenberg School of Communications at the University of Southern California provides a fresh take on the practice arguing that passing in the contemporary moment transcends racial performance.

Dawkins talks about her new book with Left of Black host and Duke University Professor Mark Anthony Neal, via Skype.  Neal is also joined by University of Washington Professor Habiba Ibrahimfor part one of a two-part interview about her new book Troubling the Family: The Promise of Personhood and the Rise of Multiracialism(University of Minnesota Press) in which she links the rise of Multiracialism in the 1990s to the maintenance of traditional gender norms.

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Left of Black is a weekly Webcast hosted by Mark Anthony Neal and produced in collaboration with the John Hope Franklin Center at Duke University.

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Episodes of Left of Black are also available for free download in  @ iTunes U

Duke Department of African & African American Studies to Launch Summer Institute for High School Teachers

AAAS to launch institute to train teachers in new ways of teaching African-American history

New Depth for High School Study of African American Experience

by Deborah Hill | Duke News & Communication

Durham, NC - In the summer of 2013, Duke's Department of African and African American Studies (AAAS) will launch a new summer institute to help high school teachers use more historical literature and fiction to enrich English and social studies classes focused on African American history.

The goal of the project, led by Wahneema Lubiano, associate professor and associate chair of the department, is to expand the use of historical fiction, social research and literary criticism in teaching history. Participants will be exposed to books, short stories, films, music and documentaries that have not traditionally been standard high school fare. The project will develop original lessons plans that will be publicly available on the institute's website.

Institute fellows will read novels such as Toni Morrison's "The Bluest Eye," Gloria Naylor's "Linden Hills," Black Artemis' "Picture Me Rollin'" and Kyle Baker's graphic novel titled "Nat Turner," as alternatives to commonly used literature. They will also be exposed to social research and literary criticism by luminaries such as Africanist John Henrik Clarke's "William Styron's Nat Turner: Ten Black Writers Respond;" American Studies scholar George Lipsitz's "Midnight at the Barrelhouse;" and "Slave Narratives: A Folk History of Slavery in the United States from Interviews of Former Slaves," compiled by the Works Progress Administration, as well as work by literary critics Hortense Spillers and Val Smith.

Music by Otis Rush, Buddy Guy, Junior Wells will be part of the curriculum, as well as film and documentary excerpts from "Drop Squad," "The Doll," "CNN Black in America," and "The Brother From Another Planet."  

Story narrative is a powerful part of the human experience, and both novelists and historians engage in storytelling. Lubiano hopes the readings and film excerpts will help participants explore the often-blurred boundaries between fiction and fact. The institute will cultivate discussion on the origins and perpetuation of inequality and the social phenomenon of colorism – discrimination  within a race that is based on skin lightness – and  the similarities and differences in the vision of African American life across fiction and history.

"History, fiction, and social narratives are products of the way that humans both think and imagine the world," said Lubiano. "All narrative calls on us continually to interpret and reinterpret.  I'm interested in social facts and narrative representations.  I think that close reading all manner of texts opens up students' minds to the complexity of our world."

The summer institute, funded by the National Endowment for the Humanities through a $200,000 grant, will support 25 teachers from across the United States. The faculty team will provide the 25 institute fellows with exposure to historical fiction, economic history, ethnography, genetics and quantitative social science. The team offers cross-disciplinary expertise that will aid in guiding institute fellows' interpretation and appreciation of the historical fiction, non-fiction, film and analysis.

Duke faculty include Lubiano, a scholar of contemporary African American fiction, cultural studies and critical race theory; AAAS Chair and economist Sandy Darity, whose recent work emphasizes the relationship between literature and social science research; and AAAS/History Associate Professor Thavolia Glymph, whose work focuses on slavery and Reconstruction.

The institute team also includes Bowdoin College literature scholar Tess Chakkalakal (a former postdoctoral fellow on racial and ethnic inequality at Duke), and University of South Carolina School of Education Professor Daniella Ann Cook, who specializes in the pedagogical use of fiction and ethnography.

Left of Black S3:E7 | Hip-Hop, Religion & The Black Church

Left of Black S3:E7 |  Hip-Hop, Religion & The Black Church

October 29, 2012

Left of Black host and Duke Professor Mark Anthony Neal is joined via Skype by Monica R. Miller, Visiting Assistant Professor of Religious Studies at Lewis & Clark College and author of  Religion and Hip-Hop (Routledge, 2012);  Ebony Utley, Associate Professor of Communication Studies at California State University, Long Beach and  author Rap and Religion: Understanding The Gangsta’s God (Praeger 2012); and Emmett G. Price III, Associate Professor of Music and African-American Studies at Northeastern University and editor  The Black Church and Hip Hop Culture: Toward Bridging the Generational Divide (Scarecrow Press, 2012).

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Left of Blackis a weekly Webcast hosted by Mark Anthony Neal and produced in collaboration with the John Hope Franklin Center at Duke University.

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Episodes of Left of Black are also available for free download in  @ iTunes U

From Lynch-Mobs to Dog-Whistles: Color-Blind Racism in the Obama Era; Sociologist Eduardo Bonilla-Silva on the October 22nd ‘Left of Black’

From Lynch-Mobs to Dog-Whistles: Color-Blind Racism in the Obama Era; Sociologist Eduardo Bonilla-Silva on the October 22^nd‘Left of Black’

In an era that some tried to define as “Post-Race,” many commentators have been quick to point out the “dog-whistle” racism that has become a feature of our national politics, particularly in relation to the re-election campaign of President Barack Obama.  It is a state of politics that Duke University Sociologist Eduardo Bonilla-Silva recognized nearly a decade ago in his ground breaking study (now in it’s third edition) Racism without Racists: Color-Blind Racism and the Persistence of Racial Inequality in the United States.  Bonilla-Silva cautions us though, that those dog-whistles—from Joe Wilson’s “You Lie” outburst to President Obama’s depiction as the “welfare President”—are  part of an “old racism,” that while important to address, often obscures the ways that the “new racism,” a color-blind racism is impacting the lives of people of color

With his signature humor, Professor Bonilla-Silva, currently the Chair of the Sociology Department at Duke University, joins host and fellow Duke University colleague Mark Anthony Neal in the Left of Black studio in a wide ranging conversation about the Obama Presidency, the importance of the Black Left and the insidiousness of “color-blind” racism.

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Left of Black airs at 1:30 p.m. (EST) on Mondays on the Ustream channel: http://tinyurl.com/LeftofBlackhttp://tinyurl.com/LeftofBlack

Viewers are invited to participate in a Twitter conversation with Neal and featured guests while the show airs using hash tags #LeftofBlack or #dukelive. 

Left of Black is recorded and produced at the John Hope Franklin Center of International and Interdisciplinary Studies at Duke University.

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Follow Left of Black on Twitter: @LeftofBlack

Follow Mark Anthony Neal on Twitter: @NewBlackMan

The John Hope Franklin Papers: A Historian Becomes History

The John Hope Franklin Papers: A Historian Becomes History

by Naomi L. Nelson | HuffPost BlackVoices

The only way we can know our past is through the records we keep and pass on. No one was more keenly aware of this than groundbreaking American historian John Hope Franklin, whose papers were recently acquired by Duke University and will soon be open to the public.

During his prolific career, Franklin spent hours in archives and libraries pouring over letters, diaries, obituaries, business records, photographs, and publications, seeking to tell a new more inclusive American history. His research itself was a form of activism. The staff in many southern libraries and archives in the 1940s and 1950s had never imagined that an African American scholar might wish to use their collections.

While they could not deny that Franklin had a right to use the materials, they refused to offer him the same levels of service offered to white researchers. At North Carolina's State Department of Archives and History, for example, the director made him wait for several days while they arranged for a separate research area for him.

The archive's white staff, unwilling to serve a black researcher, required him to retrieve and reshelve the materials he used. (This latter requirement was soon dropped when white researchers complained that Franklin could browse the closed stacks while they could not -- an exquisite example of the ironies of segregation.) From his intensive engagement with historic materials emerged a long list of books and articles that would expand and enrich our understanding of American history, including From Slavery to Freedom: A History of African-Americans, The Emancipation Proclamation, The Militant South, The Free Negro in North Carolina, George Washington Williams: A Biography, and A Southern Odyssey: Travelers in the Antebellum North.

At the same time Franklin was writing history, he was making history. "I think knowing one's history leads one to act in a more enlightened fashion," he reflected in 1994 in Emerge magazine. "I cannot imagine how knowing one's history would not urge one to be an activist."

Franklin worked with Thurgood Marshall on the Brown v. Board of Education case and joined protestors in the march led by Martin Luther King, Jr., from Selma to Montgomery, Alabama. After teaching at historically black St. Augustine's University, North Carolina Central University, and Howard University, he was recruited by Brooklyn College to chair the Department of History in 1956. He thus became the first African American to chair an academic department at a predominantly white university (news that made the front page of The New York Times). Franklin then moved to the University of Chicago, again as chair of the history department, before moving for a final time to Duke University, where he was appointed to an endowed professorship in the history department (another first). He remained engaged in the national conversation on race long after his retirement in 1992, most memorably co-chairing President Clinton's 1997 National Advisory Board on Race. After Franklin's death in 2009, his close friend Vernon Jordan lauded him as "a teacher who taught us to believe in the shield of justice and the sword of truth."

Franklin's papers have now become part of the historical record themselves. A few illustrative examples provide a personal view of this very public historian and activist. Nestled in a series of folders is the typescript of Franklin's father's autobiography. Buck Colbert Franklin was a lawyer in Oklahoma and lived through the 1921 Tulsa Race Riot and its aftermath. He started his autobiography in 1956 and worked with his son to edit the document until his death in 1960. In 2000, John Hope Franklin and his son John Whittington Franklin finished the editing and published My Life and an Era: The Autobiography of Buck Colbert Franklin. The fragile typescript bears handwritten notes and edits by all three generations and allows us to see a family's history taking shape. While the published version is very true to the typescript, a few sections were excised -- notably a reflection on the ways that segregation can lead to violence and another on human nature -- and some wording was changed to reflect more modern sensibilities.

In another box, a substantial stack of typed notecards bears testimony to the contributions of historians during the Brown v. Board of Education litigation in the early 1950s. The question at hand was whether the Congress that passed the Fourteenth Amendment and the state legislatures that ratified it believed that the amendment would abolish segregation in public schools. Franklin scoured the records of state governments and reports in contemporary newspapers looking for evidence. ("Historians to the rescue!" Franklin quipped in his autobiography.) Many notecards he generated during his research include his typed or handwritten comments alongside the excerpts. His initial research plan and a handwritten outline of his findings rest alongside the cards. This research, along with that provided by other notable historians, provided the foundation for the legal brief filed by the NAACP's Legal Defense Fund, and these cards allow us to sit alongside Franklin as he identified and weighed the evidence.

Wonderful things are often filed in unexpected places. A small portrait of Frederick Douglass is clipped to a letter at the front of a folder full of correspondence related to Franklin's article for LIFE magazine's 1968 series "A Search for the Black Past." Despite Franklin's broad interests in American history, in the eyes of the public he was most identified with African American history, and many people wrote to him about the series. The correspondent who sent him this small photograph noted that it had been given to him by his grandfather (who remembered the Civil War years and called Douglass as "the [most] powerful negro in America.") The letter was written on Martin Luther King, Jr.'s, birthday a mere six years after Dr. King's assassination. In his response, Franklin replied that he had not been able to find another copy of this particular photo and would try other sources. As we don't have any other notes about his findings, it is up to present researchers to continue the search.

John Hope Franklin is a towering figure in American historiography. His papers allow us to look over his shoulder as he developed his ideas and worked for a more inclusive and equitable society. We are fortunate indeed that he saw himself as both historian and history.

The John Hope Franklin Papers are currently being prepared for research use. The date when they will open to the public will be announced on the website of the David M. Rubenstein Rare Book & Manuscript Library at Duke: library.duke.edu/Rubenstein.

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Naomi L. Nelson is the Director of the David M. Rubenstein Rare Book & Manuscript Library at Duke University.

Duke University Celebrates Dr. Robert Lefkowitz's Nobel Prize for Chemistry

Duke

 

The Duke campus and beyond honored Dr. Robert Lefkowitz for sharing the 2012 Nobel Prize in Chemistry with Brian K. Kobilka of Stanford University School of Medicine, who was a post-doctoral fellow in Lefkowitz's lab.

"A Strange Kind of Justice" -- The Wednesday Sermon: Rev. Dr. Maurice Wallace

Sermon by Duke Professor, the Rev. Dr. Maurice Wallace on September 21, 2008 at Duke University Chapel.

The Syllabus: Michael Jackson & The Black Performance Tradition

Photo by Todd Gray

Michael Jackson & The Black Performance Tradition

Department of African & African American Studies

Duke University

AAAS 334-01

Fall 2012

Wednesday 6:15 pm – 8:45 pm

White Lecture Hall, 107

Mark Anthony Neal, Ph.D.

Course Description

The central premise of ‘Michael Jackson and Black Performance Tradition’ is the question, “Where did Michael Jackson come from?”  While there are facts—he was born on August 29, 1958 in a Rust Belt city named Gary, Indiana—what the course aims to answer are the broader questions of Jackson’s cultural, social, political and even philosophical origins. The course will specifically examine the Black Performance context(s) that produced Jackson’s singular creative genius within the realms of music, movement and politics, including the influence of Black vernacular practices like signifying and sampling, the network of Black social spaces known as the Chitlin’ Circuit, the impact of Black migration patterns to urban spaces in the Midwest (like Gary, Chicago and Detroit—all critical to Jackson’s artistic development) and Black performance traditions including Blackface minstrelsy.  In addition the course will examine the social constructions of Blackness and gender (Black masculinity) through the prism of Michael Jackson’s performance, highlighting his role as a trickster figure with the context of African-American vernacular practices.

Books

The Last 'Darky': Bert Williams, Black-on-Black Minstrelsy &  the African Diaspora |  Louis Chude-Sokei

The One: The Life and Music of James Brown | RJ Smith

Moonwalk | Michael Jackson

Man in the Music: The Creative Life and Work of Michael Jackson  | Joseph Vogel

On Michael Jackson | Margo Jefferson

Race Music: Black Cultures from Bebop to Hip-Hop | Guthrie P. Ramsey

*Michael Jackson: The Magic, The Madness, The Whole Story, 1958-2009 | J. Randy Taraborrelli

Week 1— Why Michael Jackson?

August 29, 2011

Week 2—“We Wear the Mask”—Black Face Minstrelsy and the Roots of Black Celebrity

September 5, 2012

Readings:

Chude-Sokei—The Last “Darky” | “Black Minstrel, Black Modernism” (17-45); “Migrations of a Mask” (46-81); “Theorizing Black-on-Black Cross-Culturality” (82-113); “The Global Economy of Minstrelsy” (114-160)

Chin—“Michael Jackson’s Panther Dance: Double Consciousness and the Uncanny Business of Performing While Black” (Journal of Popular Music Studies)  PDF

Martin—“The Roots and Routes of Michael Jackson’s Global Identity” (Social Science and Modern Society) PDF

Discussion Question: (Beta)

Week 3—“(What Did I Do to be So) Black and Blue?”—The Rhythms and Melodies of Race

September 12, 2012

Readings:

Ramsey—Race Music |  “Daddy’s Second Line: Toward a Cultural Poetics of Race Music” (1-16); “It’s Just the Blues: Race, Entertainment, and the Blues Muse” (44-75); “It Just Stays with Me All of the Time: Collective Memory, Community Theater, and the Ethnographic Truth” (76-95); “We Called Ourselves Modern: Race Music and the Politics and Practice of Afro-Modernism at Midcentury” (96-130); “Goin’ to Chicago: Memories, Histories and a Little Bit of Soul” (131-162)

Roberts—“Michael Jackson’s Kingdom: Music, Race, and the Sound of the Mainstream” (Journal of Popular Music Studies)  PDF

Discussion Question (# 1)

Week 5—“All Aboard the Night Train”—Black Masculinity and the Chitlin Circuit

September 26, 2012

Readings:

Smith—The One: The Life and Music of James Brown

Clay—“Working Day and Night: Black Masculinity and the King of Pop” (Journal of Popular Music Studies) PDF

Discussion Question (# 2)

Week 6— “Big Boy”—from Gary, to Chicago, to Motown

October 3, 2012

Readings:

Jackson—Moon Walk |  “Just Kids with Dreams” (3-64); “The Promised Land” (65-100); “Dancing Machine” (101-142)

Warwick—“You Can’t Win, Child, but You Can’t Get Out of the Game: Michael Jackson’s Transition from Child Star to Superstar” (Popular Music and Society) PDF

Nyong’o—“Have You Seen His Childhood? Song, Screen, and the Queer Culture of the Child in Michael Jackson’s Music” (Journal of Popular Music Studies) PDF

Discussion Question (# 3)

Week 7—“Ease On Down the Road”—Getting Grown and Taking Control

October 10, 2012

Readings:

Jackson—Moon Walk | “Me and Q” (143-176); “The Moonwalk” (177-232); “All You Need is Love” (233-283)

Izod—“Androgyny and Stardom: Cultural Meanings of Michael Jackson” (The San Francisco Jung Institute Library Journal) PDF

Hollander—“Michael Jackson, the Celebrity Cult and Popular Culture” (Social Science and Modern Society) PDF

Discussion Question (# 4)

Midterm Examination Distributed

Week 8—“Wanna be Startin’ Something”—Birth of the “King of Pop”

October 17, 2012

Readings:

Vogel—Man in the Music | “Introduction” (1-29); Off the Wall (30-53); Thriller (54-91)

Danielson—“The Sound of Crossover: Micro-rhythm and Sonic Pleasure in Michael Jackson’s ‘Don’t Stop ‘Til You Get Enough’” (Popular Music and Society) PDF

Discussion Question (#5)

Midterm Examination Due

Week 9— “Smooth Criminal”—Breaking Boundaries; Transcending Race?

October 24, 2012

Readings:

Vogel—Man in the Music | “Bad” (91-129); “Dangerous” (130-169)

Neal—“Still the ‘Best Intentions'?: Edmund Perry Case Resonates Years Later”

Campbell—“Saying the Unsayable: The Non-verbal Vocalisations  of Michael Jackson” (Context) PDF

Discussion Question (# 6)

Week 10—“Remember the Time”—Movement, Memory and Masculinity

October 31, 2012

Readings:

Khan—“Michael Jackson’s Ressentiment: Billie Jean and Smooth Criminal in Conversation with Fred Astaire (Popular Music and Society) PDF

Brackett—“Black or White? Michael Jackson and the Idea of Crossover” (Popular Music and Society) PDF

Martinec—“Construction of Identity in Michael Jackson’s Jam” (Social Semiotics) PDF

Guest Lecturer:

Thomas Defrantz (Professor of Dance and African & African American Studies)

Discussion Question (# 7)

Week 11—“They Don’t Care About Us”—Michael Jackson and Black Power

November 7, 2012

Readings:

Vogel—Man in the Music | “History: Past, Present, and Future, Book 1” (170-205); “Blood on the Dancefloor” (206-217)

Fischer—“Wannabe Startin’ Somethin’: Michael Jackson’s Critical Race Representation” (Journal of Popular Music Studies) PDF

Rossiter—“They Don’t Care About Us”: Michael Jackson’s Black Nationalism” (Popular Music and Society) PDF

Discussion Question (# 8)

Week 12—“Unbreakable”—The Man in a Cracked Mirror

November 14, 2012

Readings:

Vogel—Man in the Music |  “Invincible” (218-249); “The Final Years” (250-263)

Erni—“Queer Figurations in the Media: Critical Reflections on the Michael Jackson Sex Scandal” (Critical Studies in Mass Communication) PDF

Gomez-Barris & Gray—“Michael Jackson, Television, and Post-Op Disasters” (Television & New Media) PDF

Whannel—“News, Celebrity and  Vortextuality: A Study of the Media Coverage of the Michael Jackson Verdict” (Cultural Politics) PDF

Discussion Question (# 9)

Week 13—“Ghosts”—On Michael Jackson

November 28, 2012

Jefferson—On Michael Jackson

Discussion Question (# 10)

Week 14—“Man in the Mirror”—Michael Jackson Queered

December 5, 2012

Readings: 

James Baldwin—“Here Be Dragons” PDF

Silberman—“Presenting Michael Jackson” (Social Semiotics) PDF

Gates—“Reclaiming the Freak: Michael Jackson and the Spectacle of Identity” (Velvet Light Trap)  PDF

Fast—“Michael Jackson’s Queer Musical Belongings” (Popular Music and Society) PDF

Final Examination Distributed