We Were Here
A History of Black People and Alternative Music A reclamation of rock'n'roll for the Black artists who tore up and re-wrote its rules, by musician, arts and culture journalist and die-hard alternative music superfan, Stephanie Phillips.
A reclamation of rock'n'roll for the Black artists who tore up and re-wrote its rules, by musician, arts and culture journalist and die-hard alternative music superfan, Stephanie Phillips.
We Were Here promises to rip up our received history of rock 'n' roll and alternative music and repopulate it with the extraordinary Black artists and influential figures who truly steered its course from the 1930s to the present day, including vital figures Sister Rosetta Tharp, Little Richard, Jimi Hendrix, Tina Turner, Betty Davis, Poly Styrene, Bad Brains and beyond. As well as reflecting on why Black people have continued to be drawn to alternative music despite their ongoing ostracization from it by the white mainstream industry, Phillips argues that there would be no alternative music without Black artists, and that its future lies in the hands of Gen Z Black musicians experimenting with the boundaries of what punk, metal, hardcore and indie could be.
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A History of Black People and Alternative Music A reclamation of rock'n'roll for the Black artists who tore up and re-wrote its rules, by musician, arts and culture journalist and die-hard alternative music superfan, Stephanie Phillips.
A reclamation of rock'n'roll for the Black artists who tore up and re-wrote its rules, by musician, arts and culture journalist and die-hard alternative music superfan, Stephanie Phillips.
We Were Here promises to rip up our received history of rock 'n' roll and alternative music and repopulate it with the extraordinary Black artists and influential figures who truly steered its course from the 1930s to the present day, including vital figures Sister Rosetta Tharp, Little Richard, Jimi Hendrix, Tina Turner, Betty Davis, Poly Styrene, Bad Brains and beyond. As well as reflecting on why Black people have continued to be drawn to alternative music despite their ongoing ostracization from it by the white mainstream industry, Phillips argues that there would be no alternative music without Black artists, and that its future lies in the hands of Gen Z Black musicians experimenting with the boundaries of what punk, metal, hardcore and indie could be.
