Here are 77 books that The Meaning of Mariah Carey fans have personally recommended if you like
The Meaning of Mariah Carey.
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I have been drawn to stories where I see aspects of myself in the characters since I was an adolescent and found comfort in the pages of Judy Blume's Are You There God? It's Me, Margaret. As a Black woman, I find validation and encouragement in novels where other Black women navigate life's obstacles to reach the desires of their hearts. It makes my life feel more manageable, knowing that I am not alone in the face of fear, loneliness, and self-doubt or more challenging social issues like racism, sexism, and classism. These stories give me hope and insight as I journey toward living life to its fullest.
Set in Georgia in 1958, Tang Mae is the darkest of ten fatherless children and considered by her mother the ugliest. However, she is selected to attend a white school because she is gifted. This gives her an opportunity to change her life, but she must first break free from her mother's grasp.
There were many times I wanted to put this book down and not finish it. The brutality and abuse were hard to bear. And yet, I felt compelled to read the entire thing because I wanted to see Tang Mae succeed.
It inspired me that she never gave up on her dream of completing her education despite all the abuse and loss she experienced. I spent a lot of time thinking about this book long after I read it.
Pakersfield, Georgia, 1958: Thirteen-year-old Tangy Mae Quinn is the sixth of ten fatherless siblings. She is the darkest-skinned among them and therefore the ugliest in her mother, Rozelle’s, estimation, but she’s also the brightest. Rozelle—beautiful, charismatic, and light-skinned—exercises a violent hold over her children. Fearing abandonment, she pulls them from school at the age of twelve and sends them to earn their keep for the household, whether in domestic service, in the fields, or at “the farmhouse” on the edge of town, where Rozelle beds local men for money.
But Tangy Mae has been selected to be part of the…
I am African American, so colorism is part of living on this planet as a Black person because it’s a byproduct of racism. I am also the mother of a “mixed” child. Her father is White. I am brown-skinned and my daughter is light-skinned and looks racially ambiguous. Since she was a newborn, people have made colorist and racist remarks toward us. The Half Series – When Black People Look White was written based on real-life experiences.
In this memoir, Petula talks about the light-skin privilege and pain she suffered through growing up in the 70s and 80s in Paterson, New Jersey and Baltimore, Maryland with a dark-skinned mother and a light-skinned father. Her father, Walter, raised her to be as “White” as possible by neglecting her Black heritage which caused her to have a huge identity crisis.
"She's Such A Bright Girl: An American Story" is a story of respectability politics gone very wrong. Petula Caesar is raised in the 1970s and 1980s in Paterson, New Jersey and Baltimore, Maryland. Petula's Black parents, dark-brown skinned Christine and a very light-skinned Walter – migrate north from the south to find work. Once their light-skinned daughter is born, Walter realizes her complexion could give her a great advantage in her life if used correctly. Walter raised Petula to be as "White" as possible by straightening her hair, surrounding her with White dolls, only exposing her to culture created by…
I am African American, so colorism is part of living on this planet as a Black person because it’s a byproduct of racism. I am also the mother of a “mixed” child. Her father is White. I am brown-skinned and my daughter is light-skinned and looks racially ambiguous. Since she was a newborn, people have made colorist and racist remarks toward us. The Half Series – When Black People Look White was written based on real-life experiences.
Unfortunately, colorism/racism issues are not limited to the Black community. The #StopAsianHate hashtag started trending in 2021 due to Covid19 being linked to China along with disparaging comments from Trump. This resulted in hate crimes against Asian people increasing. The personal accounts of Asian American women in this book highlight their experiences with skin color bias, aspirational Whiteness, anti-Blackness, skin bleaching, and plastic surgery.
Heartfelt personal accounts from Asian American women on their experiences with skin color bias, from being labeled "too dark" to becoming empowered to challenge beauty standards
"I have a vivid memory of standing in my grandmother's kitchen, where, by the table, she closely watched me as I played. When I finally looked up to ask why she was staring, her expression changed from that of intent observer to one of guilt and shame. . . . 'My anak (dear child),' she began, 'you are so beautiful. It is a shame that you are so dark. No Filipino man will ever…
I am African American, so colorism is part of living on this planet as a Black person because it’s a byproduct of racism. I am also the mother of a “mixed” child. Her father is White. I am brown-skinned and my daughter is light-skinned and looks racially ambiguous. Since she was a newborn, people have made colorist and racist remarks toward us. The Half Series – When Black People Look White was written based on real-life experiences.
I have been and always will be a huge Michael Jackson fan. And because my book was inspired by conversations about his children, I feel it only right to list his autobiography on my list. Michael Jackson is often accused of wanting to be White because of his various plastic surgeries and the change in his skin tone but what many people don’t know, or believe, is that he suffered from vitiligo, a skin disorder that causes pigment-producing cells to die or stop functioning.
The only book Michael Jackson ever wrote about his life
It chronicles his humble beginnings in the Midwest, his early days with the Jackson 5, and his unprecedented solo success. Giving unrivalled insight into the King of Pop's life, it details his songwriting process for hits like Beat It, Rock With You, Billie Jean, and We Are the World; describes how he developed his signature dance style, including the Moon Walk; and opens the door to his very private personal relationships with his family, including sister Janet, and stars like Diana Ross, Berry Gordy, Marlon Brando, Quincy Jones, Paul McCartney,…
Nobody’s Magicbegan, not as the series of novellas it became, but as a collection of stories I couldn’t stop telling. And it wasn’t just my characters’ comings and goings that enthralled me. It was the way they demanded I let them tell their own stories. I enjoy reading and writing novellas because they allow space for action, voice, and reflection, and they can tackle manifold themes and conversations in a space that is both large and small. At the same time, they demand endings that are neither predictable nor neat, but rather force the reader to speculate on what becomes of these characters they’ve come to know and love.
I wasn’t far into Love before it became crystal clear why its author fled her native Haiti after publishing it, in spite of the fact that the novella is ostensibly historical fiction. The narrator Claire’s depiction of a Duvalier-esque commandant is a scathing one, and in truth, no one escapes Claire’s acerbic wit, keen eye for detail, and incisive observations about colorism, class, and the perpetual violence that is engendered by colonial rule and persists long after its end. Claire is both an unreliable narrator—she is jealous, petty, and bitterly indignant about her treatment by her family—and yet, a trustworthy one. Love taught me how to create a Black woman narrator who does not have to be trusted (or even liked) to be listened to, believed.
The only English translation of “a masterpiece” (The Nation)—a stunning trilogy of novellas about the soul-crushing cost of life under a violent Haitian dictatorship, featuring an introduction by Edwidge Danticat
Originally published in 1968, Love, Anger, Madness virtually disappeared from circulation until its republication in France in 2005. Set in the barely fictionalized Haiti of “Papa Doc” Duvalier’s repressive rule, Marie Vieux-Chauvet’s writing was so powerful and so incendiary that she was forced to flee to the United States. Yet Love, Anger, Madness endures.
Claire, the narrator of Love, is the eldest of three daughters who surrenders her dreams of…
I spent 34 years writing for daily papers, most of them at the News & Observer in Raleigh, North Carolina. I’ve also freelanced for numerous magazines, primarily about music, while hosting a podcast and writing the occasional book. Through it all I’ve had a particular fascination for the music business and its peculiar ways, especially record companies. The industry’s darker side was the subject of my first book way back in 2000, the novel Off The Record, which was a notebook dump of thinly fictionalized war stories I’d accumulated over the years. The record business is the subject of my latest book, too, although it’s a much more positive story.
Commander Cody made that album for Warner Brothers Records during the time when the U.S. record business was grossing over a billion dollars a year.
During those heady days, no label group better exemplified the positive side of the industry than Warner, which stood as proof that you really could have profits with honor. From Frank Sinatra to Madonna, Warner put out music that generated sales and critical acclaim in equal measure.
Stan Cornyn was an executive at Warner for 34 years, overseeing countless publicity campaigns, and this delicious memoir evokes the industry’s glory days in the prestige penthouse. If Rounder was the cream of the independent-label crop, Warner was top of the major-label heap.
That's how Vanity Fair described the record business turmoil of the 1990s, which moved the Warner Music Group -- the world's number one record company -- from the entertainment pages to the front pages. Suddenly, decades of riotous fun and booming business went splat. Top music executives got evicted from their offices, some escorted by company guards. Why? The answers are in Exploding -- the most insightful and delightful book about the record business ever written.
In the rock explosion of the Sixties and Seventies, Warner Bros., Atlantic, and Elektra Records dominated the business as the Warner Music Group. But…
My expertise as a scholar of the women’s music movement spans 40 years--ever since I attended my first concert and music festival in 1981. A lecturer at UC-Berkeley, I’m the author of 19 books on women’s history, and published the first book on women’s music festivals, Eden Built By Eves, in 1999 (now out of print.) More recently I’ve organized exhibits on the women’s music movement for the Library of Congress, co-authored The Feminist Revolution(which made Oprah’s list), and I’m now the archivist and historian for Olivia Records.
A wonderful overview of the early years of Olivia Records, this memoir from the social justice warrior of the original Olivia collective details how the first lesbian recording company was founded—and succeeded, despite all odds. Berson includes romantic insights on the artists’ passion for one another, as well as accounts of building a national audience. For two generations of women who came out with this music, the songs and albums remain critical anthems of female empowerment—and the only music that existed to affirm lesbians’ lives.
Literary Nonfiction. Women's Studies. LGBTQIA Studies. Music. The burgeoning lesbian and feminist movements of the '70s and '80s created an impetus to form more independent and equitable social and cultural institutions--bookstores, publishers, health clinics, and more--to support the unprecedented surge in women's arts of all kinds. Olivia Records was at the forefront of these models, not only recording and distributing women's music but also creating important new social spaces for previously isolated women and lesbians through concerts and festivals. Ginny Z Berson, one of Olivia's founding members and visionaries, kept copious records during those heady days--days also fraught with contradictions,…
I spent 34 years writing for daily papers, most of them at the News & Observer in Raleigh, North Carolina. I’ve also freelanced for numerous magazines, primarily about music, while hosting a podcast and writing the occasional book. Through it all I’ve had a particular fascination for the music business and its peculiar ways, especially record companies. The industry’s darker side was the subject of my first book way back in 2000, the novel Off The Record, which was a notebook dump of thinly fictionalized war stories I’d accumulated over the years. The record business is the subject of my latest book, too, although it’s a much more positive story.
The record industry was at its compact-disc-era peak in the late 1990s, when a tech firm called Napster went into business. A file-sharing service, Napster allowed listeners to trade digital versions of songs online for free.
The record industry ignored it at first and then tried to fight it before giving in and offering its music for purchase as online downloads, but it was too late. The genie was out of the bottle, and label revenue plunged by more than half. There were some grim years before online streaming took hold, which boosted the record industry to its highest peak ever in the 2020s.
By then, Rounder was no longer an independent label – sold to the Concord Music Group. It exists to this day, but on a more modest scale than before.
For the first time, Appetite for Self-Destruction recounts the epic story of the precipitous rise and fall of the recording industry over the past three decades, when the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world—and the advent of file sharing brought it to its knees.
In a comprehensive, fast-paced account full of larger-than-life personalities, Rolling Stone contributing editor Steve Knopper shows that, after the incredible wealth and excess of the '80s and '90s, Sony, Warner, and the other big players brought about their own downfall through years…
My father, a huge Ella Fitzgerald fan, had a bunch of her records, and took us to hear her live once. So I knew mid-century jazz, but I had yet to discover its early origins. From the first, I knew my trilogy was set in the 1920s and one of the main characters had to be a jazz musician. I began collecting dozens of recordings by early jazz and blues artists, reading books about them, and I developed an enthusiasm for these early musicians. I found that the original “jazz maniacs” had the same passion for their music that I felt about rock and roll in the early 1960s.
Rereading this book, with its rhapsodic descriptions of some of the first jazz recordings, rekindles the excitement I was feeling about the early 1920s when I began writing my trilogy and researching the era. Kennedy chronicles the early Black and White jazz artists from New Orleans, who transplanted to Chicago, and the young Midwesterners who took up the mania for jazz. His enthusiasm for, and his devotion to the early development of jazz is infectious.
Some of the earliest performances by the likes of Jelly Roll Morton, the New Orleans Rhythm Kings, King Oliver, Louis Armstrong, and Bix Beiderbecke were preserved on recordings produced at Gennett Studios, an independent company operating in Richmond, Indiana, from 1917 to 1932. Hoagy Carmichael's "Stardust" debuted on Gennett as a dance stomp. The Gennetts made music history by recording young jazz pioneers in the Midwest and folk musicians from the Appalachian hills at a time when major record labels in the East couldn't be bothered.Gennett featured such country music stars as Gene Autry, Chubby Parker, and Bradley Kincaid and…
Music is a major passion of mine. I’m highly involved in making and promoting independent music both locally and internationally via social media. The primary focus of all my endeavors is promoting a do-it-yourself ethos. Whenever I work with musicians, I’m always fascinated by how their creativity allows them to do a lot with a little. Hence, I suppose, the story of Frankie Lumlit. It’s a story about falling in love with music and finding a way to make it even when the world says no.
Phil Ramone has been involved in producing records for some of the biggest acts in music, including Bob Dylan, Frank Sinatra, Ray Charles, and Paul Simon. Ostensibly, his book is about record production, but really it’s about people. Yes, Ramone worked with some big names over the course of his long career, but at the end of the day (as he emphasizes throughout the book), they’re all human beings, and while some degree of technical expertise is necessary when it comes to making music, what really matters is knowing how to talk to people. At the end of the day, making music is all about making human connections.
Sinatra. Streisand. Dylan. Pavarotti. McCartney. Sting. Madonna. What do these musicians have in common besides their super-stardom? They have all worked with legendary music producer Phil Ramone.
For almost five decades, Phil Ramone has been a force in the music industry. He has produced records and collaborated with almost every major talent in the business. There is a craft to making records, and Phil has spent his life mastering it. For the first time ever, he shares the secrets of his trade.
Making Records is a fascinating look "behind the glass" of a recording studio. From Phil's exhilarating early days…
