1 Copeland, Bound to Appear.
2 Roach, Cities of the Dead, p. 94.
3 Jameson, “Periodizing the 60s.”
4 Ball, “Obama: Reagan Changed Direction.”
5 McClure, “On the Subject of Rights,” p. 112.
6 Laclau and Mouffe, Hegemony and Socialist Strategy, p. 2.
7 Wilderson, “Gramsci’s Black Marx,” p. 225.
8 Laclau and Mouffe, Hegemony and Socialist Strategy, p. 3.
9 Ibid., p. 4.
10 Foucault, Discipline and Punish.
11 Spillers, Black, White, and in Color, p. 18.
12 Toni Morrison quoted in DeFrantz, Dancing Revelations, p. 22.
13 Debord, “Decline and Fall,” p. 154.
14 Ibid.
15 X and Haley, The Autobiography of Malcolm X, p. 178.
16 Ibid.
17 Said, Orientalism.
18 See Du Bois, The Souls of Black Folk.
19 Contee, “The Encyclopedia Africana Project of W.E.B. Du Bois,” p. 78.
20 “W. E. B. DuBois Dies in Ghana.”
21 Du Bois, “Application for Membership,” p. 633.
22 Pierre de Regnier quoted in Baker and Chase, Josephine, p. 5.
23 Ibid., photo, p. 10.
24 Jules-Rosette Josephine Baker in Art and Life, p. 66.
25 Cohodas, Princess Noire, p. 306.
26 Papich, Remembering Josephine, p. 210.
27 Ibid.
28 Baker and Chase, Josephine, p. 370.
29 Ibid., p. 6.
30 Beyoncé, I Am—Sasha Fierce.
31 Appadurai, Modernity at Large, p. 7.
32 Brown, A Taste of Power, p. 21.
33 Stallings, Funk the Erotic, p. 11.
1 Edwards, “W.E.B. Du Bois,” p. xv.
2 Moten, In the Break; and Vogel, The Scene of Harlem Cabaret.
3 Brooks, “Nina Simone’s Triple-Play,” p. 178.
4 Simone and Cleary, I Put a Spell on You, p. 87.
5 Cohodas, Princess Noire, p. 137.
6 Nina Simone Great Performances: College Concerts and Interviews. Directed by Andy Stroud. New York: Andy Stroud, Inc., 2007. DVD.
7 Ibid.
8 Ibid.
9 Simone, Nina Simone Sings the Blues.
10 Nemiroff and Hansberry, To Be Young, Gifted, and Black, p. 256.
11 Simone and Cleary, I Put a Spell on You, p. 89.
12 Simone, Nina Simone in Concert, Phillips, 1964.
13 Ibid.
14 Cohodas, Princess Noire , p. 157.
15 Ibid.
16 Ibid.
17 Ibid., p. 106.
18 Ibid., p. 153.
19 Brecht, “On Gestic Music,” p. 105.
20 Ibid.
21 Brooks, “Nina Simone’s Triple Play,” p. 182.
22 Lotte Lenya in Hilliker, “Brecht’s Gestic Vision for Opera,” p. 226.
23 Ibid., p. 227.
24 Simone, Nina Simone Live.
25 Yan, “Spheres of Feelings,” p. 2.
26 Brecht, “Alienation Effects in Chinese Acting,” pp. 91–93.
27 Yan, “Spheres of Feelings,” p. 2.
28 Ibid., p. 7.
29 Ibid.
30 Benjamin, “The Author as Producer,” p. 236.
31 Brooks, Bodies in Dissent, p. 5.
32 Ibid., p. 4.
33 Simone, Live in Berkeley.
34 Simone and Cleary, I Put a Spell on You, p. 117.
35 Simone, Live in Berkeley.
36 Ibid.
37 Fanon, Black Skin, White Masks, p. 112.
38 Wilderson, “The Position of the Unthought.”
39 Robinson, “The Sense of Ritualizing,” p. 334.
40 Spillers, Black, White, and in Color, p. 5.
41 Ibid., p. 3.
42 Nina Simone Live in ’65 & ’68.
43 Ibid.
44 Ibid.
45 Wilson, “Nina Simone Sings at Carnegie Hall” (1963).
46 Ibid.
47 Wilson, “Cosby Simone Concert a Hit.”
48 Wilson, “Nina Simone Sings at Carnegie Hall” (1965).
49 Wilson, “Nina Simone Sings Stirring Program.”
50 Sherman, “Nina Simone Casts Her Moody Spells.”
51 Wilson, “Museums in Tune with Nina Simone.”
52 Jahn, “Throng Welcomes Nina Simone.”
53 Simone and Cleary, I Put a Spell on You, p. 92.
54 Ibid.
55 Wilson, “Nina Simone Sings at Carnegie Hall” (1963).
56 Wilson, “Singer Triumphs at Jazz Festival.”
57 Nina Simone Live.
58 Cohodas, Princess Noire, p. 156.
59 Moten, In the Break, p. 1.
60 Ibid., p. 20.
61 Simone, The Blues.
62 Nina Simone Live at Ronnie Scott’s.
63 Ibid.
64 Braunmuller, Introduction, p. 9.
65 Simone, Nina Simone Live.
66 Simone and Cleary, I Put a Spell on You, p. 138.
67 Ibid., p. ix.
1 Hartman, Lose Your Mother: A Journey along the Atlantic Slave Route, p. 19.
2 Cohodas, Princess Noire, p. 123.
3 Lewis, W.E.B. Du Bois, p. 7.
4 Nnamdi Azikiwe, Chicago Daily Defender, September 4, 1963.
5 Lewis, W.E.B. Du Bois: A Biography, p. 5.
6 Aborampah, “Women’s Roles,” p. 261.
7 Enwezor, The Short Century, pp. 10–11.
8 Mudimbe, The Invention of Africa, p. 93.
9 Edwards, The Practice of Diaspora.
10 Jahn, History of Neo-African Literature, pp. 265–66.
11 Botwe-Asamoah, Kwame Nkrumah’s Politico-Cultural Thought, p. 5.
12 Ibid., p. 190.
13 Ibid., p. 12.
14 Ibid.
15 Nketia, “Kwame Nkrumah and the Arts,” pp. 144–45.
16 Lemly, “Hesitant Homecomings,” p. 122.
17 Nketia, “Kwame Nkrumah and the Arts,” p. 144.
18 Ibid., p. 143.
19 Adams and Sutherland-Addy, Legacy of Efua Sutherland, p. 12.
20 Sutherland and Lautre, “A Recorded Interview,” p. 42.
21 July, “Here, Then, Is Efua,” p. 160.
22 Enwezor, The Short Century, p. 13.
23 Ibid., p. 14.
24 Botwe-Asamoah, Kwame Nkrumah’s Politico-Cultural Thought, p. 5.
25 July, “Here, Then, Is Efua,” p. 160.
26 Cole, Ghana’s Concert Party Theatre, p. 53.
27 Collins, “Comic Opera in Ghana,” p. 50.
28 Cole, Manuh, and Miescher, Africa after Gender, p. 1.
29 Sutherland, Edufa, p. 14.
30 Ibid., p. 16.
31 Ibid., p. 27.
32 Ibid., p. 28.
33 Yan, Chinese Women Writers, pp. 245–46.
34 July, “Here, Then, Is Efua,” p. 161.
35 X and Haley, The Autobiography of Malcolm X, p. 352.
36 Ibid., p. 356.
37 Hartman, Lose Your Mother, p. 35.
38 July, “Here, Then, Is Efua,” p. 160.
39 Adams and Sutherland-Addy, Legacy of Efua Sutherland, p. 9.
40 “Rockefeller Foundation Annual Reports” (1961).
41 “Rockefeller Foundation Annual Report 1962.”
42 Ibid.
43 Rockefeller Foundation, Annual Reports” (1964).
44 Sutherland, Edufa, p. 61.
45 Sutherland, Foriwa, p. ii.
46 Ibid.
47 Ibid.
48 Ibid.
49 Ibid.
50 Manuh, “Wives, Children,” pp. 77–78.
51 Sutherland, Foriwa, p. 38.
52 Ibid., p. 51.
53 Hountondji, African Philosophy, p. 161.
54 Ibid., p. 154.
55 Ibid., p. 151.
56 Appiah, In My Father’s House, p. 158.
57 Sutherland, Foriwa, p. 67.
58 Aidoo, “An Interrogation,” p. 230.
59 Richards, “Dramatizing the Diaspora’s Return,” p. 113.
60 Aidoo, The Dilemma of a Ghost, p. 7.
61 Michael Walling, “Interview with Ama Ata Aidoo,” Border Crossing video, 8:02. Posted on YouTube, www.youtube.com.
62 Aidoo, The Dilemma of a Ghost, p. 17.
63 Ibid.
64 Ibid.
65 Ibid., p. 18.
66 Ibid., p. 7.
67 Richards, “Dramatizing the Diaspora’s Return,” p. 120.
68 Aidoo, The Dilemma of a Ghost, p. 22.
69 Ibid., p. 28.
70 Richards, “What Is to Be Remembered?,” p. 94.
71 Aidoo, The Dilemma of a Ghost, p. 25.
72 Ibid., p. 24.
73 Ibid., p. 47.
74 Ibid., p. 52.
75 Willey, “National Identities,” p. 18.
1 Silverman, Male Subjectivity, p. 126.
2 Thomsen, “Five Interviews with Fassbinder,” p. 93.
3 Dyer, “Reading Fassbinder’s Sexual Politics,” p. 55.
4 Iden, “Making an Impact,” p. 18.
5 Barnett, Fassbinder and the German Theatre, p. 48.
6 Ibid., p. 51.
7 Ibid.
8 Ibid., p. 55.
9 Ibid., p. 31.
10 Ibid., p. 29.
11 Ibid.
12 Ibid., p. 27.
13 Malina, Beck, and The Living Theatre, Paradise Now, p. 6.
14 Fassbinder and Calandra, Fassbinder: Plays, p. 10.
15 Barnett, Fassbinder and the German Theatre, p. 46.
16 Fassbinder and Calandra, Fassbinder: Plays, p. 9.
17 Thomsen, “Five Interviews with Fassbinder,” p. 92.
18 Case, Performing Science, p. 49.
19 Hoffmeister, The Theater of Confinement, p. 22.
20 Thomsen, “Five Interviews with Fassbinder,” p. 83.
21 Ibid., p. 42.
22 Rainer Werner Fassbinder Foundation, Rainer Werner Fassbinder: Werkschau (Berlin: Argon, 1992), p. 82.
23 Ibid.
24 Ingrid Caven in Lorenz, Chaos as Usual, p. 45.
25 Stritzke, Marieluise Fleißer, p. 19.
26 Ibid., p. 141.
27 Finnan, “Versions of the Literary Self,” p. 280.
28 Barnett, Fassbinder and the German Theatre, p. 45.
29 Case, The Divided Home/Land, p. 21.
30 Ibid., p. 25.
31 Finnan, “Versions of the Literary Self,” p. 281.
32 Herzfeld-Sander, Early 20th-Century German Plays, p. xx.
33 Limmer, Fassbinder, Filmmacher, p. 17.
34 Campt, Other Germans.
35 “Our Father Was Cameroonian, Our Mother, East Prussian, We Are Mulattoes: Sisters Doris Reiprich and Erika Ngambi ul Kuo (Ages 67 and 70) Speak about Their Lives,” in Showing Our Colors: Afro-German Women Speak Out, ed. May Opitz, Katharina Oguntoye, and Dagmar Schultz (Amherst: University of Massachusetts Press, 1992), p. 70.
36 Fassbinder, Gods of the Plague.
37 Ibid.
38 Katz, Love Is Colder than Death, p. 45.
39 Ibid., p. 44.
40 Fehrenbach, “Black Occupation Children,” p. 37.
41 Ibid., p. 39.
42 Ibid., p. 33.
43 Tina Campt, Other Germans, p. 145.
44 Silverman, Male Subjectivity, pp. 134–35.
45 Ibid., p. 155.
46 Case, “Tracking the Vampire,” p. 13.
47 Ibid., p. 11.
48 Silverman, “Fassbinder and Lacan,” p. 67.
49 Lacan, The Seminar, p. 98.
50 Ibid., p. 99.
51 Ibid.
52 Ibid., p. 149.
53 Katz, Love Is Colder than Death, p. xxiii.
54 Fassbinder in Thomsen, “Five Interviews with Fassbinder,” p. 89.
55 Ibid., p. 90.
56 Ibid., p. 96.
57 Mulvey, Visual and Other Pleasures, p. 47.
58 Freidrich Engels, “Why There Is No Large Socialist Party in America,” in Basic Writings on Politics and Philosophy, ed. Lewis S. Feuer (London: Fontana, 1969), p. 458.
59 Fassbinder, Whity.
60 Ibid.
61 Fassbinder in Thomsen, “Five Interviews with Fassbinder,” p. 82.
62 Raoul Walsh, dir. Band of Angels. Performed by Clark Gable, Yvonne De Carlo, Sidney Poitier. Warner Home Video, 2007 [1957]. DVD.
63 Dyer, “Reading Fassbinder’s Sexual Politics,” p. 63.
64 Case, “Tracking the Vampire,” p. 12.
65 Dyer, “Reading Fassbinder’s Sexual Politics,” p. 62.
66 Ibid., p. 60.
67 Ibid., p. 63.
68 Ibid., p. 61.
69 Lorenz, Chaos as Usual, p. 38.
70 Kardish and Lorenz, Rainer Werner Fassbinder, p. 47.
71 Barnett, Fassbinder and the German Theatre, p. 139.
72 Harry Baer, Schlafen kann ich, wenn ich tot bin (Köln: Kiepenheuer & Witsch, 1982), p. 57.
1 TV Legends, “Barbara Walters on Covering Tricia Nixon’s Wedding.” Posted on YouTube, www.youtube.com.
2 Cimons, “Edward Cox Weds Tricia,” p. 1.
3 “Nixon Gives Wife,” p. 12.
4 Bakhtin, Rabelais and His World, p. 307.
5 Ibid., p. 272.
6 Ibid., p. 296.
7 Stallybrass and White, Politics and Poetics.
8 Weissman and Weber, The Cockettes.
9 Douglas Crimp, Before Pictures, manuscript. Dancing Foxes Press.
10 Katz, Love Is Colder than Death, p. 92.
11 Gamson, The Fabulous Sylvester, p. 37.
12 Ibid.
13 Echols, Shaky Ground, p. 34.
14 Gamson, The Fabulous Sylvester, pp. 58–59.
15 Ibid., p. 58.
16 Ibid., p. 46.
17 Tent, Midnight at the Palace, p. 41.
18 Briggs and Bauman, p. 149.
19 Ibid., p. 158.
20 Brecht, Brecht on Theatre, pp. 86–87.
21 Ibid., pp. 147–48.
22 Gamson, The Fabulous Sylvester, p. 55.
23 Tent, p. 37.
24 Ibid.
25 Hardt and Negri, Multitude, p. 203.
26 Berlant and Warner, “Sex in Public,” p. 559.
27 Ibid., p. 554.
28 Ibid., p. 558.
29 Gamson, The Fabulous Sylvester, p. 49.
30 Tent, Midnight at the Palace, p. 36.
31 Gamson, The Fabulous Sylvester, p. 50.
32 Lake and Orloff, The Unsinkable Bambi Lake, p. 26.
33 Scrumbly Koldewyn and Maude Mormon, “People’s Theater,” KPFA, Pacifica Radio Archives, 1977.
34 Debord, “On the Construction of Situations,” p. 44.
35 Kalman, Elevator Girls in Bondage.
36 Weissman and Weber, The Cockettes.
37 Brown, A Taste of Power, p. 205.
38 Newton, “The Black Panthers,” p. 126.
39 Davis, An Autobiography, p. 150.
40 Hardt and Negri, Multitude, p. 77.
41 Brown, A Taste of Power.
42 Angela Davis, Angela Davis Speaks, Folkways Records (1971).
43 Brown, A Taste of Power, p. 4.
44 Brown and Black Panther Party, Seize the Time.
45 Ibid.
46 Jennings, “Poetry of the Black Panther Party,” p. 123.
47 Genet, Here and Now for Bobby Seale, p. 8.
48 Jones and Jeffries, “‘Don’t Believe the Hype,’” p. 35.
49 E. Patrick Johnson, Appropriating Blackness, (Durham and London: Duke University Press, 2003), pp. 55–57.
50 Gamson, The Fabulous Sylvester, p. 38.
51 Butler, “Performative Acts,” p. 279.
52 Ibid.
53 Ibid.
54 Kelly, Imaging Desire, p. 231.
55 Muñoz, Disidentifications, p. 99.
56 Ibid.
57 Case, “Classic Drag,” p. 318.
58 Ibid., p. 319.
59 Plautus and Richlin, Rome and the Mysterious Orient, p. 21.
60 Ibid., pp. 21–30.
61 Ibid., p. 20.
62 Ibid., p. 19.
63 Lake and Orloff, The Unsinkable Bambi Lake, p. 47.
64 Gamson, The Fabulous Sylvester, p. 41.
65 Ibid., p. 42.
66 Sylvester quoted in ibid., p. 58.
67 Ibid., p. 90.
68 Ibid, p. 43.
69 Quoted in Brian Chin, “Vissi D’Arte: Sylvester’s Music on Blue Thumb,” liner notes to the album Slyvester and His Hot Band: The Blue Thumb Collection, Geffen Records, 2009, p. 5.
70 Gamson, The Fabulous Sylvester, p. 45.
71 Weissman and Weber, The Cockettes.
72 Sylvester, Sylvester: The Original Hits, Fantasy Records, 1989.
1 See Mirzoeff, The Right to Look.
2 Harney and Moten, The Undercommons.
3 Nyong’o, “Afro-philo-sonic Fictions,” 174.
4 Redmond, Anthem, p. 1.
5 August Heinrich Hoffman von Fallersleben, “Das Lied der Deutschen,” 1841.
6 Ibid.
7 Ibid.
8 Ibid.
9 Butler and Spivak, Who Sings the Nation-State?, pp. 61–62.
10 Ibid., p. 73.
11 Redmond, Anthem, pp. 12–13.
12 Nkrumah, “Inauguration Speech of the First OAU Conference.”
13 Spillers, “‘All the Things You Could Be,” p. 380.
14 Ibid., p. 383.
15 Arendt, The Promise of Politics, p. 93.
16 Agamben, The Coming Community, p. 27.
17 Okwui Enwezor, ”Exploding Gardens,” in Enwezor, All the World’s Futures, p. 93.
18 “Art, Politics, and ‘All the World’s Futures.’”
19 Muñoz, Cruising Utopia, p. 22.
20 “Art, Politics, and ‘All the World’s Futures.’”
21 Marx, Capital, Volume I, p. 154.
22 Isaac Julien, Kapital, 2013, two-channel video, 31 minutes.
23 Ibid.
24 Hall, “The Problem of Ideology,” p. 45.
25 Julien and Nash, “Dialogues with Stuart Hall,” p. 481.
26 Higgins, “Das Kapital at the Arsenale.”
27 Gennocchio, “Enwezor’s 56th Venice Biennial.”
28 Julius Eastman, “Julius Eastman’s Spoken Introduction to the Northwestern University Concert,” on Eastman, Unjust Malaise.
29 Borden, “Evil Nigger,” pp. 136–37.
30 R. Nemo Hill quoted in Packer, “Julius Eastman: A Biography,” p. 55.
31 Packer, “Julius Eastman,” p. 45.
32 Uroskie, Between the Black Box, p. 208.
33 Ibid., p. 209.
34 Richard Serra quoted in Ratner, “The Come Out Notebook,” p. 15.
35 Malik Gaines, email to Alicia Hall Moran and Jason Moran, May 11, 2015.
36 Alicia Hall Moran, email to author, May 11, 2015.