Sarah Webster Fabio - Boss Soul - Signed w/Booklet

$

126

Sarah Webster Fabio Boss Soul
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Label:Folkways Records
Catalogue #:FL 9710
Original Pressing From1972
Signed by the poet on the cover - "For Mary Helen Washington, For The Heavy Mojo of The Black Woman, Sarah Webster Fabio, University of Detroit, 2/15/73". See pic.
Six page booklet with biographical info, credits, lyrics and notes by the author included.

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Biography by Nagueyalti Warren
Fabio, Sarah Webster (1928–1979), poet, educator, and leading figure and pioneer in the Black Studies and Black Arts movements. Born in Nashville, Tennessee, on 20 January 1928, Sarah Webster Fabio was the precocious daughter of Thomas Webster and Mayme Louise Storey Webster. Fabio graduated from Nashville's Pearl High School in 1943. At age fifteen, she entered Spelman College in Atlanta, Georgia; however, she did not graduate. Returning instead to Nashville, she graduated from Fisk University in 1946, and married Cyril Fabio, a young dental student at Meharry Medical College.

After her husband completed his degree, he joined the military and they were sent to Florida, where her first son was born in 1947. Another son was born in 1948, and a daughter in 1949. Despite the strictures of being a military wife frequently forced to move and mothering small children, Fabio, on one of their moves back to Nashville, enrolled in graduate school. Before she could complete her degree, the family was stationed in Germany. Two other children were born in 1955 and 1956. In 1957, the family settled in Palo Alto, California, where her husband opened a dental practice.

The mothering of five children delayed Fabio's education until 1963, when she enrolled in San Francisco State College. She earned her degree in 1965, on the day that her oldest son graduated from high school, and she landed a job teaching at Merritt College in Oakland, a seed-bed for the Black Power movement in the West. Bobby Seale and Huey Newton of the Black Panther Party, as well as Malauna Ron Karenga of the U.S. Organization, were students at Merritt. These were exciting times for Fabio, who had been writing since high school and had studied poetry under Arna Bontemps at Fisk. Fabio defined black poetry as works containing themes drawn from and saturated with language, images, and rhythms of the African American experience.

Fabio's training (a master's degree in language arts, creative writing with an emphasis on poetry) enabled her to combine Western metaphor with black realism. Grounding her work in the oral tradition and performing her poetry to jazz accompaniments, Fabio reached a wide and diverse audience. In 1966, she performed at the First World Festival of Negro Art in Dakar, Senegal. Returning home, she lectured at the California College of Arts and Crafts and the University of California at Berkeley, where she worked to create their Black Studies department.

Fabio's first collection of poetry, Saga of a Black Man (1968), was followed by A Mirror, a Soul (1969). In 1972, she recorded two albums on Folkways Records. Doubleday published Black Talk: Shield and Sword (1973). Other books include Dark Debut: Three Black Women Coming (1966), Return of Margaret Walker (1966), Double Dozens: An Anthology of Poets from Sterling Brown to Kali (1966), and No Crystal Stair: A Socio-Drama of the History of Black Women in the U.S.A. (1967).

Fabio's poetry reflects the Black Arts movement with its trendy emphasis on the Black Aesthetic, yet is classic in its subtle blending of non-Western and Western literary metaphors. Fabio skillfully handles both traditions.

In 1972, Fabio divorced her husband and accepted a faculty position at Oberlin College in Ohio, where she remained until 1974. In 1976, while teaching and pursuing graduate work at the University of Wisconsin, she was diagnosed with colon cancer. Fabio spent her last two years in California with her oldest daughter. She died 7 November 1979.

Fabio's most impressive collection of poetry is the seven-volume series Rainbow Signs (1973). The rainbow symbolized for her a sign of hope following the storms of protest during the turbulent 1960s. “The Hurt of It All” voices the poet's farewell, saying “that's all she wrote.”

Bibliography

* Stephen Henderson, ed., Understanding the New Black Poetry, 1973.
* James A. Page, comp., Selected Black American Authors: An Illustrated Bio-Bibliography, 1977, pp. 81–82.
* Nagueyalti Warren, Notable Black American Women, vol. 1, ed. Jessie Smith, 1992, pp. 332–333

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CONDITION

Vinyl:Strictly graded Excellent as defined by the Goldmine Grading standards below. There is a short, light scratch that is lightly and intermittently audible for about 30 seconds on the ending of track 2, side 1.
Jacket:Strictly graded Near Mint as defined by the Goldmine Grading standards below. A few very slight frays along the opening. Solid and sturdy.
Booklet:Near Mint.
Labels:Clean.

Email hyjinx99@gmail.com if you want a bigger and better picture.

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SHIPPING & INSURANCE RATES

To US
USPS Media Mail - $4.00, .50 each additional LP. USPS Priority Mail $6.00, .50 each additional LP up to four LPs. Insurance is optional for an additional $2.00, FREE if order totals more than $100.00 (minus shipping charges, four LP limit). Double LPs count as 2 LPs, triple as 3, etc.

To Canada and Mexico
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To All Other Countries
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PAYMENT

PayPal only. Items will ship after receiving payment. Please wait for an invoice before paying!

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RETURNS & REFUNDS

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GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

EXCELLENT or VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.
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