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Shine Bright: A Very Personal History of Black Women in Pop
Goodreads Choice Award
Nominee for Readers' Favorite History & Biography (2022)A weave of biography, criticism, and memoir, Shine Bright is Danyel Smith’s intimate history of Black women’s music as the foundational story of American pop. Smith has been writing this history for more than five years. But as a music fan, and then as an essayist, editor (Vibe, Billboard), and podcast host (Black Girl Songbook), she has been living this history since she was a latchkey kid listening to “Midnight Train to Georgia” on the family stereo.
Smith’s detailed narrative begins with Phillis Wheatley, an enslaved woman who sang her poems, and continues through the stories of Mahalia Jackson, Dionne Warwick, Aretha Franklin, Gladys Knight, and Mariah Carey, as well as the under-considered careers of Marilyn McCoo, Deniece Williams, and Jody Watley.
Shine Bright is an overdue paean to musical masters whose true stories and genius have been hidden in plain sight—and the book Danyel Smith was born to write.
14 pages, Audiobook
First published April 19, 2022
130 people are currently reading
13393 people want to read
About the author
Danyel Smith
8 books159 followersDANYEL SMITH is completing Shine Bright: How Black Women Took Over American Pop and Changed Culture Forever (One World / Random House, 2020). Until recently, Danyel was a senior editor and producer at ESPN, and before that, a 2013-14 John S. Knight Journalism Fellow at Stanford University. She has served as editor of Billboard, editor-at-large at Time Inc, and as editor-in-chief of VIBE in its classic era. Danyel is cofounder of HRDCVR, a design-centered hardcover media project created by diverse teams for a diverse world. She has written two novels—More Like Wrestling (Crown, 2003) and Bliss (Crown, 2005). Among other outlets, her profiles and other nonfiction has appeared in ESPN The Magazine, the Guardian, NPR, CNN, Rolling Stone, and The New York Times. Danyel lives in California.
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Displaying 1 - 30 of 188 reviews
December 28, 2022
Shine Bright: A Very Personal History of Black Women in Pop by Danyel Smith is a 2022 Roc Lit 101 publication.
This is a well-researched history of Black women in pop music, as well as a personal memoir by the author.
I enjoyed reading about many of the performers I listened to growing up and hearing details about their personal lives and careers I had not heard before. The songs we grew up listening to can conjure up various memories- sad, hard, poignant, and bittersweet times- but also fun and humorous thoughts we had as children. Danyel Smith shares moments in her childhood that coincide with the featured artist and songs, many of them difficult, as she recalls an abusive upbringing- but there were also some charming and nostalgic recollections in there as well.
All that said, I have struggled in the past with the duality of non-fiction and personal memoir. For some reason the combination just does not work for me. One area distracts from the other, leaving both areas weakened- but this book managed to meld the two with much more fluidity, so there is more balance and fewer distractions.
Still, it was the history and the featured artist that commanded my attention, as this was what drew me to the book in the first place. The personal recollections would have felt more impactful, perhaps, if I had been more familiar with the author’s work before reading this book- But that said-
I used two formats with this book- a digital copy and the audio version- switching back and forth between the two mediums. Smith narrates the book and her emotions at times were so raw, it made a deep impression on me, causing me to really think about how personal this journey was for her.
Overall, though the memoir/history mashup is not normally my favorite- Smith is very convincing and by the end of the book had earned my respect. I enjoyed the history, the nostalgia, and the appreciated the author’s research efforts and her heartfelt presentation.
4 stars
This is a well-researched history of Black women in pop music, as well as a personal memoir by the author.
I enjoyed reading about many of the performers I listened to growing up and hearing details about their personal lives and careers I had not heard before. The songs we grew up listening to can conjure up various memories- sad, hard, poignant, and bittersweet times- but also fun and humorous thoughts we had as children. Danyel Smith shares moments in her childhood that coincide with the featured artist and songs, many of them difficult, as she recalls an abusive upbringing- but there were also some charming and nostalgic recollections in there as well.
All that said, I have struggled in the past with the duality of non-fiction and personal memoir. For some reason the combination just does not work for me. One area distracts from the other, leaving both areas weakened- but this book managed to meld the two with much more fluidity, so there is more balance and fewer distractions.
Still, it was the history and the featured artist that commanded my attention, as this was what drew me to the book in the first place. The personal recollections would have felt more impactful, perhaps, if I had been more familiar with the author’s work before reading this book- But that said-
I used two formats with this book- a digital copy and the audio version- switching back and forth between the two mediums. Smith narrates the book and her emotions at times were so raw, it made a deep impression on me, causing me to really think about how personal this journey was for her.
Overall, though the memoir/history mashup is not normally my favorite- Smith is very convincing and by the end of the book had earned my respect. I enjoyed the history, the nostalgia, and the appreciated the author’s research efforts and her heartfelt presentation.
4 stars
May 11, 2022
Damn that erasure is so so real. Black women have been disrespected so badly in the US and in music specifically. Thanks Danyel Smith for telling these stories. I only wish she could do it for all the Black women in music. I also wish the books structure was more clear, like why were there 3 parts and how were they developed?
June 27, 2022
I'm a huge music fan so I was really looking forward to this read, but it wasn't as satisfying as I hoped. I do think it achieved it's overall goal of highlighting underappreciated Black women artists in pop, but it often did so in a much more surface or incomplete way than I thought it would. I do appreciate what a broad and difficult undertaking that is though. I was fascinated by the interrelationships between so many artists, producers, and writers through geography, marriage, friendships, and music catalogues. The branches of Black music are lush and interlocking. Of all the chapters, the Janet chapter was the strongest (likely because there were fewer flashbacks from the author's own life). Yet, even this chapter felt like I didn't learn a lot new about Janet Jackson and her true impact on pop music.
The writing was very disjointed. The timelines and people she focused on jumped all over the place with little warning, rhyme or reason. At a few points in the book I forgot who the core artist(s) we were supposed to focusing on were. I left each chapter wishing the author would've gone deeper on the women she discussed. The closing lines of each chapter often felt like a thought unfinished. The flashbacks to the authors own life didn't connect as smoothly to what was being shared as I would've hoped and often felt tangential at best. Danyel Smith has had tremendous impact on Black music writing and her profiles often give a deeper insight into the artists she covers that aren't given elsewhere. I loved to hear about her own journey, but I think it would've worked better as a prologue and afterward. Overall, this book made me really want to read a good music tell all.
The writing was very disjointed. The timelines and people she focused on jumped all over the place with little warning, rhyme or reason. At a few points in the book I forgot who the core artist(s) we were supposed to focusing on were. I left each chapter wishing the author would've gone deeper on the women she discussed. The closing lines of each chapter often felt like a thought unfinished. The flashbacks to the authors own life didn't connect as smoothly to what was being shared as I would've hoped and often felt tangential at best. Danyel Smith has had tremendous impact on Black music writing and her profiles often give a deeper insight into the artists she covers that aren't given elsewhere. I loved to hear about her own journey, but I think it would've worked better as a prologue and afterward. Overall, this book made me really want to read a good music tell all.
May 5, 2022
This book is everything:
✨ A Celebration of Black women
✨ A History Lesson (with receipts)
✨ A Musical Journey
Danyel guides you on a path that educates and reminds the reader. She comes with facts on how Black women have laid the foundation and paved the way in the music industry. How Black women were not given their just due. It's a magical read. Danyel would mention a song or artist, I’d pause reading and play the song. Memories flooded over me, I was transported back in time and it just felt good (& sometimes not good)!
I’m a music lover to my core. From a very early age, music was infused into my soul by my father. Our house was full of music all the time. When he passed away several years ago, I found comfort in going through his extensive (and I mean extensive) vinyl collection. It was healing. To me that’s what music does, it heals, soothes, brings joy, and carries you through. I can’t imagine being a music lover and not reading Shine Bright.
✨ A Celebration of Black women
✨ A History Lesson (with receipts)
✨ A Musical Journey
Danyel guides you on a path that educates and reminds the reader. She comes with facts on how Black women have laid the foundation and paved the way in the music industry. How Black women were not given their just due. It's a magical read. Danyel would mention a song or artist, I’d pause reading and play the song. Memories flooded over me, I was transported back in time and it just felt good (& sometimes not good)!
I’m a music lover to my core. From a very early age, music was infused into my soul by my father. Our house was full of music all the time. When he passed away several years ago, I found comfort in going through his extensive (and I mean extensive) vinyl collection. It was healing. To me that’s what music does, it heals, soothes, brings joy, and carries you through. I can’t imagine being a music lover and not reading Shine Bright.
November 17, 2025
✒︎3.5 stars
Shine Bright, written by journalist Danyel Smith, is, as described, a very personal history of Black women in pop. Smith, on top of many other professional achievements, has written cover stories for the magazine "VIBE" wherein she interviewed many of the Black artists included in this book. To say she has a strong personal and professional connection to Black women in pop would be an understatement. Throughout the book, Smith covers the impact that huge artists like Whitney Houston, Donna Summer, Mariah Carey, and Janet Jackson have had, as well as some lesser-known artists who have had influences of their own, including Stephanie Mills, Jody Watley, and Deniece Williams.
I appreciated Smith's love for Black women pop artists; It was the basis for which this book was created, and you can feel it throughout the book. I also appreciate this book for giving a history of how Black women in pop have been undervalued and stolen from by their white counterparts. The impact of every women in this book is not to be understated, and I respect Smith for writing a story that is not often told.
All of that being said, I personally wasn't a big fan of the writing style. The book is half biography and half auto-biography, with Smith alternating between stories of her life and the history of the artists. I found this to be a little jarring since sometimes I didn't understand what Smith's personal story had to do with the artist she was discussing. At other points, Smith's inclusion of her own life felt like a natural switch, so I think the idea was interesting, but not always well-executed. On top of that, I wish that the book gave a more detailed history of the artists. I certainly learned more than I knew going into this, but I think that more could have been said about each artists' lives and careers.
Overall, I would recommend this book if you want to learn more about Black women pop artists and if you are interested in music or music history at all. While I personally didn't like some aspects of the book, I still think it's well-worth the read.
✂︎----------
My other platforms!
✒︎Instagram
✒︎YouTube
✒︎Patreon
Shine Bright, written by journalist Danyel Smith, is, as described, a very personal history of Black women in pop. Smith, on top of many other professional achievements, has written cover stories for the magazine "VIBE" wherein she interviewed many of the Black artists included in this book. To say she has a strong personal and professional connection to Black women in pop would be an understatement. Throughout the book, Smith covers the impact that huge artists like Whitney Houston, Donna Summer, Mariah Carey, and Janet Jackson have had, as well as some lesser-known artists who have had influences of their own, including Stephanie Mills, Jody Watley, and Deniece Williams.
I appreciated Smith's love for Black women pop artists; It was the basis for which this book was created, and you can feel it throughout the book. I also appreciate this book for giving a history of how Black women in pop have been undervalued and stolen from by their white counterparts. The impact of every women in this book is not to be understated, and I respect Smith for writing a story that is not often told.
All of that being said, I personally wasn't a big fan of the writing style. The book is half biography and half auto-biography, with Smith alternating between stories of her life and the history of the artists. I found this to be a little jarring since sometimes I didn't understand what Smith's personal story had to do with the artist she was discussing. At other points, Smith's inclusion of her own life felt like a natural switch, so I think the idea was interesting, but not always well-executed. On top of that, I wish that the book gave a more detailed history of the artists. I certainly learned more than I knew going into this, but I think that more could have been said about each artists' lives and careers.
Overall, I would recommend this book if you want to learn more about Black women pop artists and if you are interested in music or music history at all. While I personally didn't like some aspects of the book, I still think it's well-worth the read.
✂︎----------
My other platforms!
✒︎Instagram
✒︎YouTube
✒︎Patreon
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February 8, 2023
I'm not a huge music person, but this book makes me want to be a huge music person!
The knowledge, the history, and the struggles and triumphs of the Black women who made pop what it was...and until recently did not get the fame and accolades and credits they deserved.
The knowledge, the history, and the struggles and triumphs of the Black women who made pop what it was...and until recently did not get the fame and accolades and credits they deserved.
March 24, 2022
SHINE BRIGHT
by Danyel Smith
Random House Publishing Group - Random House, Roc Lit 101
Pub Date: Apr 19
Danyel Smith's history of the role of Black women in American pop is such a fascinating read.
The author has the definitive background for writing this most intriguing book, drawing upon her experience as editor of Vibe and of Billboard, and as host of the popular podcast, Black Girl Songbook. It's a wonderful mixture of history, biography, criticism, and memoir, with Danyel's own love of music woven throughout.
I learned so much about unknown and famous Black women singers who infused pop with such a distinctive American sound.
Smith starts with Phillis Wheatley, a slave who sang her own poems. She also shares rich stories of such greats as Mahalia Jackson, Aretha Franklin, and Mariah Carey, as well as lesser-known Marilyn McCoo, Jody Watley and Deniece Williams. As I read, I "heard" their voices and songs that have long impacted my life and felt such joy!
This is a must-read for anyone who loves pop music, the Black women singers who made pop such a success, and beautifully written history-bios-memoirs. A triumph!
Thanks to the author, Random House Publishing Group - Random House, Roc Lit 101, and NetGalley for the digital ARC. Opinions are mine.
#ShineBright #DanyelSmith
#RandomHousePublishingGroup #NetGalley
#BlackWomenSingers #AmericanPopMusic #MusicMemoirs #MusicHistory #MusicBiographies #bookstagramcommunity
by Danyel Smith
Random House Publishing Group - Random House, Roc Lit 101
Pub Date: Apr 19
Danyel Smith's history of the role of Black women in American pop is such a fascinating read.
The author has the definitive background for writing this most intriguing book, drawing upon her experience as editor of Vibe and of Billboard, and as host of the popular podcast, Black Girl Songbook. It's a wonderful mixture of history, biography, criticism, and memoir, with Danyel's own love of music woven throughout.
I learned so much about unknown and famous Black women singers who infused pop with such a distinctive American sound.
Smith starts with Phillis Wheatley, a slave who sang her own poems. She also shares rich stories of such greats as Mahalia Jackson, Aretha Franklin, and Mariah Carey, as well as lesser-known Marilyn McCoo, Jody Watley and Deniece Williams. As I read, I "heard" their voices and songs that have long impacted my life and felt such joy!
This is a must-read for anyone who loves pop music, the Black women singers who made pop such a success, and beautifully written history-bios-memoirs. A triumph!
Thanks to the author, Random House Publishing Group - Random House, Roc Lit 101, and NetGalley for the digital ARC. Opinions are mine.
#ShineBright #DanyelSmith
#RandomHousePublishingGroup #NetGalley
#BlackWomenSingers #AmericanPopMusic #MusicMemoirs #MusicHistory #MusicBiographies #bookstagramcommunity
May 30, 2023
If I'm entirely honest I was lost as to what was happening to whom and when for like half of this book. I don't really listen to pop music, I don't even listen to the radio if I can avoid it, my musical tastes tend to be rather niche so a lot of the names and events in the book I was altogether unfamiliar with and when you pair that with jumps back and forth in time and my ADHD you can imagine the result. That being said I enjoyed Smith's style and delivery as well as her personality so I still had a great time.
July 12, 2024
2.5 stars, rounding up for some information that was new to me.
This is the most confusing nonfiction book I've read because the timeline is so incredibly nonsequential. Aside from random forays into the author's personal stories, there would be points where the book would start off on an icon's history, mention how their work inspired another, and go into that person's history before returning to the first icon. It made for a headache of a reading experience and it felt like a stream consciousness text in a bad way.
I'm extremely curious why the editor didn't elect to just have each section start with each icon's story and at the end go into how it related to the author's personal life? That would've been a lot easier to follow.
Quite a bit of this book is made up of quotes from other interviews. The amount from Smith's actual interviews feels quite small in comparison. Of course, for obvious reasons, she couldn't interview Billie Holiday or some of the others because they passed before the author was born.
I wished the Whitney section had been less heartbreaking. To this day, I think of her as the most iconic vocalist I've ever heard in my life. The power and soul in her voice, the way she could record fantastic songs in one take, it'll never not break my heart that we lost her talent way too early. Aretha's story was also quite sad.
The Mariah Carey section is minuscule in comparison to the others and that was odd. Truthfully, I feel the most detailed and enjoyable sections were Janet Jackson's and Stephanie Mills. Those I feel got a lot of history and went over their mistreatment from the industry and public alike pretty well. The Diana Ross section was interesting, but I feel like that was more about her image and less about her as a person.
I appreciate the intent of this book. Several Black women contributed amazing things to music and the arts and never received proper recognition for it. They've had to watch as their work is bastardized by white artists and overlooked by award shows that are notorious for their segregated practices. To this day, Beyoncé has never received proper recognition for producing some of the greatest albums of our time. I think about Whitney and the artist that has anything close to a similar amount of power and soul in vocals and performance is Beyoncé, in my opinion. I fear the same poor treatment will happen to Sza who's "SOS" album continues to chart and rightfully so. The disrespect paid to Victoria Monet was both a statement on antiblackness and lack of appreciation for songwriters.
In a world where the majority of the big awards are going to white artists, Black music fans have stopped putting stock in the Grammys or other award shows to be fair. With artists releasing remix after remix of the same song to top Billboard charts, we don't put much stock in those either. I wish I could say I think it'll get better but I really don't see that happening.
It's a shame the only measure of "success" these days is streaming numbers. The records that these great women achieved actually meant something. They reflect young Black kids saving up and going into record stores to buy music because they just had to have it. The records they broke were much more reflective of actual love for the music.
I'm extremely grateful to these women for what they've given us. Their art truly transformed the music world in various ways and contributed to the music of today that we love so much. As Smith described with Beyoncé's music, we can see hear their voices in the music Black women are producing today and they would not be the powerhouses they are today if those iconic women hadn't laid out the red carpet for them.
This is the most confusing nonfiction book I've read because the timeline is so incredibly nonsequential. Aside from random forays into the author's personal stories, there would be points where the book would start off on an icon's history, mention how their work inspired another, and go into that person's history before returning to the first icon. It made for a headache of a reading experience and it felt like a stream consciousness text in a bad way.
I'm extremely curious why the editor didn't elect to just have each section start with each icon's story and at the end go into how it related to the author's personal life? That would've been a lot easier to follow.
Quite a bit of this book is made up of quotes from other interviews. The amount from Smith's actual interviews feels quite small in comparison. Of course, for obvious reasons, she couldn't interview Billie Holiday or some of the others because they passed before the author was born.
I wished the Whitney section had been less heartbreaking. To this day, I think of her as the most iconic vocalist I've ever heard in my life. The power and soul in her voice, the way she could record fantastic songs in one take, it'll never not break my heart that we lost her talent way too early. Aretha's story was also quite sad.
The Mariah Carey section is minuscule in comparison to the others and that was odd. Truthfully, I feel the most detailed and enjoyable sections were Janet Jackson's and Stephanie Mills. Those I feel got a lot of history and went over their mistreatment from the industry and public alike pretty well. The Diana Ross section was interesting, but I feel like that was more about her image and less about her as a person.
I appreciate the intent of this book. Several Black women contributed amazing things to music and the arts and never received proper recognition for it. They've had to watch as their work is bastardized by white artists and overlooked by award shows that are notorious for their segregated practices. To this day, Beyoncé has never received proper recognition for producing some of the greatest albums of our time. I think about Whitney and the artist that has anything close to a similar amount of power and soul in vocals and performance is Beyoncé, in my opinion. I fear the same poor treatment will happen to Sza who's "SOS" album continues to chart and rightfully so. The disrespect paid to Victoria Monet was both a statement on antiblackness and lack of appreciation for songwriters.
In a world where the majority of the big awards are going to white artists, Black music fans have stopped putting stock in the Grammys or other award shows to be fair. With artists releasing remix after remix of the same song to top Billboard charts, we don't put much stock in those either. I wish I could say I think it'll get better but I really don't see that happening.
It's a shame the only measure of "success" these days is streaming numbers. The records that these great women achieved actually meant something. They reflect young Black kids saving up and going into record stores to buy music because they just had to have it. The records they broke were much more reflective of actual love for the music.
I'm extremely grateful to these women for what they've given us. Their art truly transformed the music world in various ways and contributed to the music of today that we love so much. As Smith described with Beyoncé's music, we can see hear their voices in the music Black women are producing today and they would not be the powerhouses they are today if those iconic women hadn't laid out the red carpet for them.
May 3, 2025
This book was a combination of history and personal memoir from the author but I enjoyed it. Black women in music really paved the way in so many ways and this is only just a tiny piece of history told in this book. I also like how the author intertwined these stories with her own personal anecdotes and connections to her personal life. It reminded me of They Can’t Kill Us Until They Kill Us by Hanif Abduraquib.
I will say, I did the audiobook for this book and I didn’t necessarily care for the narration.
I will say, I did the audiobook for this book and I didn’t necessarily care for the narration.
July 19, 2022
The audio here is SO good. Danyel's voice cracks as she shares her memories and it's powerful and personal.
February 10, 2024
What an incredible, important book. I learned so much, and now have an entire playlist of songs, old favourites and ones new-to-me, to listen to with fresh perspective. Best of all was listening to Danyel Smith read this herself on audio - the raw emotion and passion in her voice throughout was beautiful, and cut straight to the heart.
February 2, 2023
⭐️⭐️⭐️ | “My love of music is intense. My commitment to it is steadfast. This project is an attempt to figure out why.”
Content warnings: When Danyel Smith discusses her own experiences, there are some depictions of physical and emotional abuse by a parent-type figure. In the biographical elements of the book, as the discussion is around the music industry/Hollywood, there were various references to addiction, suicide, sexual assault, emotional abuse, financial abuse, and racism. Know your triggers before you proceed.
...
As a veteran music journalist, Danyel Smith has had (and still does have) an undeniable impact on the culture and music journalism as a whole. Her entire career has set a journalistic precedent that I’m not sure anyone else could meet. She has interviewed and written articles about some of the foremost artists across musical genres, mainly black and brown artists, of the last 60 years over her 30+ year career.
Can she write? Duh.
Does she have great taste in music? Duh.
Did this book require countless hours of writing, organizing, and fact-checking? Without a doubt.
Does she excel in providing several examples and giving context to the repeated erasure of Black musical artistry over the history of popular music? Yes.
When the synopsis says, “A weave of biography, criticism, and memoir,” did this necessarily work in practice? No.
This book, no lie, was almost a DNF. And I do not DNF. And I can’t be sadder that I didn’t enjoy most of this book AND that it took me so long to read. But after I finished reading, as I was reading other people’s reviews, I felt vindicated.
Simply put, Shine Bright has a continuity problem. This has less to do with the fact that it is not in a clear-to-understand order, like chronological order, but that it doesn’t appear to be organized in any way. The switch between memoir and biography, in its frequency and execution, felt extremely arbitrary. And the transitions between the two were non-existent.
It does not appear that she attempts to draw some connection between the two outside of music - not thematically, sociologically, or narratively. And I absolutely hate how the book was chaptered. I felt so many times while reading that I had to TRY to stay engaged because the lack of organization made Smith’s prose so trying. The biographical aspects were infinitely superior. I enjoyed the countless references to records/albums and artists that I had never even heard of, as well as stories that I didn’t know about my favorite artists, not to mention the historical analysis and witty criticism that is a staple of Smith’s writing.
Overall, not my favorite. Caveat: I do feel like there is value in the non-memoir sections. If you love music AND enjoy reading about music, I feel like you may still enjoy this book.
Content warnings: When Danyel Smith discusses her own experiences, there are some depictions of physical and emotional abuse by a parent-type figure. In the biographical elements of the book, as the discussion is around the music industry/Hollywood, there were various references to addiction, suicide, sexual assault, emotional abuse, financial abuse, and racism. Know your triggers before you proceed.
...
As a veteran music journalist, Danyel Smith has had (and still does have) an undeniable impact on the culture and music journalism as a whole. Her entire career has set a journalistic precedent that I’m not sure anyone else could meet. She has interviewed and written articles about some of the foremost artists across musical genres, mainly black and brown artists, of the last 60 years over her 30+ year career.
Can she write? Duh.
Does she have great taste in music? Duh.
Did this book require countless hours of writing, organizing, and fact-checking? Without a doubt.
Does she excel in providing several examples and giving context to the repeated erasure of Black musical artistry over the history of popular music? Yes.
When the synopsis says, “A weave of biography, criticism, and memoir,” did this necessarily work in practice? No.
This book, no lie, was almost a DNF. And I do not DNF. And I can’t be sadder that I didn’t enjoy most of this book AND that it took me so long to read. But after I finished reading, as I was reading other people’s reviews, I felt vindicated.
Simply put, Shine Bright has a continuity problem. This has less to do with the fact that it is not in a clear-to-understand order, like chronological order, but that it doesn’t appear to be organized in any way. The switch between memoir and biography, in its frequency and execution, felt extremely arbitrary. And the transitions between the two were non-existent.
It does not appear that she attempts to draw some connection between the two outside of music - not thematically, sociologically, or narratively. And I absolutely hate how the book was chaptered. I felt so many times while reading that I had to TRY to stay engaged because the lack of organization made Smith’s prose so trying. The biographical aspects were infinitely superior. I enjoyed the countless references to records/albums and artists that I had never even heard of, as well as stories that I didn’t know about my favorite artists, not to mention the historical analysis and witty criticism that is a staple of Smith’s writing.
Overall, not my favorite. Caveat: I do feel like there is value in the non-memoir sections. If you love music AND enjoy reading about music, I feel like you may still enjoy this book.
January 31, 2022
There's a type of history/biography book that incorporates the author's personal journey/experiences with the subject; I wish I knew a word for it! Sometimes it doesn't work, and you wish the author had focused more on the person/historical event than their own thoughts/feelings/experiences. Other authors--like Danyel Smith--effectively weave their personal storyline within the narrative, which enriches it further.
If you want a standard group of biography of influential Black American recording artists, this might not be for you. However, you would miss out on a deeply personal, moving, and enriching journey through the complex and powerful history of Black American women in popular music.
Librarians/booksellers: Readers who enjoy memoirs--even though this is not strictly a memoir--and entertainment history will love this. Would be a great book club pick!
Many thanks to PRH and NetGalley for a digital review copy in exchange for an honest review.
If you want a standard group of biography of influential Black American recording artists, this might not be for you. However, you would miss out on a deeply personal, moving, and enriching journey through the complex and powerful history of Black American women in popular music.
Librarians/booksellers: Readers who enjoy memoirs--even though this is not strictly a memoir--and entertainment history will love this. Would be a great book club pick!
Many thanks to PRH and NetGalley for a digital review copy in exchange for an honest review.
January 13, 2023
When I first heard of this book, I was really eager to read it. I love learning about topics like this, and I was eager to delve into it.
Unfortunately, it didn't live up to any expectation that I had.
While I have found a recent enjoyment in memoirs, this book was inconsistent with its combination of pop history and memoir of the author. There were a few sections that worked really well, but for the most part, it wasn't balanced as well I would have wanted it to.
The lack of linear chronological order also didn't work for me. While her main chapter titles followed the years, within each section, there was an interweaving of the timeline.
This was worsened by me listening to the audiobook. While this may have been a 3 star book, the audiobook's lack of clarity caused even more confusion.
Unfortunately, it didn't live up to any expectation that I had.
While I have found a recent enjoyment in memoirs, this book was inconsistent with its combination of pop history and memoir of the author. There were a few sections that worked really well, but for the most part, it wasn't balanced as well I would have wanted it to.
The lack of linear chronological order also didn't work for me. While her main chapter titles followed the years, within each section, there was an interweaving of the timeline.
This was worsened by me listening to the audiobook. While this may have been a 3 star book, the audiobook's lack of clarity caused even more confusion.
July 4, 2022
While sharing her own memoir growing up in Oakland and LA with an abusive stepfather, Smith learned to be independent. Music heavily influenced her early life and became her passion which led to a very successful career in reviewing music. She dedicates the book the the Black women who were the foundation of today's music industry but were so often ignored, erased or put aside by white, male system of music, often taking the credit of the women. The essays move chronologically and match her own history as she remembers where in life she was as she was introduced to each artist and their music. I loved remembering old songs that I knew and those that I grew up with especially Janet, Whitney and Mariah. They are all amazing women.
I learned so much about women I knew and women I didn't know and their impressive contributions to music. I'm not surprised by the challenges they faced especially as Black women who were supposed to fit in a small niche created for them but it makes me appreciate the book even more for highlighting their contributions and correcting the sidelined credit. It is amazing that those in charge are still acting as gatekeepers to the awards, air and video play as well as the hallowed halls of fame that disregard due to bias.
The narration was a bit robotic but I'm glad I read and learned.
I learned so much about women I knew and women I didn't know and their impressive contributions to music. I'm not surprised by the challenges they faced especially as Black women who were supposed to fit in a small niche created for them but it makes me appreciate the book even more for highlighting their contributions and correcting the sidelined credit. It is amazing that those in charge are still acting as gatekeepers to the awards, air and video play as well as the hallowed halls of fame that disregard due to bias.
The narration was a bit robotic but I'm glad I read and learned.
July 10, 2024
This was a great read (my favorite was her chapter on interviewing Whitney Houston), but Smith shined the brightest when the book focused on her own upbringing, and her rise and success in music journalism. I would jump at the chance for a memoir solely about her life. She's met any and everybody, and I'm sure the stories she has to tell are mind blowing and entertaining.
June 26, 2022
Read this book immediately. This memoir/history of black women in American music is so beautiful and hopeful and sad and edifying that you will cry a thousand times and make playlists and dance a thousand more.
December 18, 2022
This was really great. I loved the weaving of personal narrative with music. All my favorite music can be tied to moments in my life, and Smith writes the way I talk/think about music. This is a good one for people who like music, regardless of whether you like the musicians she mentions.
June 19, 2022
love!
I knew I would love this book because Danyel is one of my role models for sure BUT this book definitely exceeded my expectations. The storytelling was great and I really loved the ways she mixed the stories of the legendary women, with her own life. It made the time stamps more relevant to me as a reader! Love, love, love.
I knew I would love this book because Danyel is one of my role models for sure BUT this book definitely exceeded my expectations. The storytelling was great and I really loved the ways she mixed the stories of the legendary women, with her own life. It made the time stamps more relevant to me as a reader! Love, love, love.
October 14, 2022
In her interview with The Atlantic, veteran music journalist, Danyel Smith, said: "To just shine bright on behalf of myself is new." A number of our musical greats never experienced that lasting impression in the end on a timeless centerstage or their light was dimmed in exchange for their obstacles being elevated instead. This book presents them their vibrant bouquet as a start.
Shine Bright: A Very Personal History of Black Women In Pop is the music biography I’ve always longed to see as a book pay homage to our stapled Black American female powerhouses — from girl groups to solo acts — who head their own chapters in this book, with many of the other iconic songbirds weaved throughout to create a beautiful tapestry that holds each other’s imprints at some point in their own musical journey.
Danyel manages to tie in her own story as well, shaping this into an unconventional, fitting read. We see the pivotal stages of her blossoming into a young music enthusiast leading to her coming-of-age and veteran career in music journalism. Peeling back the layers of our highlighted vocalists that experienced pivotal highs and dipped lows, Danyel never shies away from their lasting impact and the beauty of their humanity and incomparable craft. She also unveils many intimate moments of her own journey where our legends are taken along for the ride, playing a part in her life that's highly relatable in so many ways because haven't we all done it? The song that got us through dark times? Takes us back to a nostalgic moment?
In the concluding chapter, she affirms a stance that is undeniable:
We must take the lead in upholding our stories, especially those that are the history of our lineage, to sustain our presence for future generations even after we've passed on. A firm platform with an endless spotlight. Shine Bright is a celebratory playlist that I will cherish in my collection. Thank you, Danyel. Now if only this can be turned into a documentary as well. *cough cough* 👀
Shine Bright: A Very Personal History of Black Women In Pop is the music biography I’ve always longed to see as a book pay homage to our stapled Black American female powerhouses — from girl groups to solo acts — who head their own chapters in this book, with many of the other iconic songbirds weaved throughout to create a beautiful tapestry that holds each other’s imprints at some point in their own musical journey.
Danyel manages to tie in her own story as well, shaping this into an unconventional, fitting read. We see the pivotal stages of her blossoming into a young music enthusiast leading to her coming-of-age and veteran career in music journalism. Peeling back the layers of our highlighted vocalists that experienced pivotal highs and dipped lows, Danyel never shies away from their lasting impact and the beauty of their humanity and incomparable craft. She also unveils many intimate moments of her own journey where our legends are taken along for the ride, playing a part in her life that's highly relatable in so many ways because haven't we all done it? The song that got us through dark times? Takes us back to a nostalgic moment?
In the concluding chapter, she affirms a stance that is undeniable:
“There is this deep fear of stopping. Of resting in the rests. [...] Because if we stop, we will be forgotten. That is the fear. And it’s not an irrational fear, because so many Black women and so much of Black women’s work is undervalued and strategically un-remembered. We cannot sit quietly while everyone dresses like us and sings like us and writes like us and just kind of steals us from ourselves. That’s the part that makes us tired. But what’s even more heartbreaking than that is the thought that people may not truly know us, or the details of our lives. What if no one ever gets us right? What if our spirits and stories are never truly known? It could so easily be that we—except for our songs, our art, our children—were never here at all.”
We must take the lead in upholding our stories, especially those that are the history of our lineage, to sustain our presence for future generations even after we've passed on. A firm platform with an endless spotlight. Shine Bright is a celebratory playlist that I will cherish in my collection. Thank you, Danyel. Now if only this can be turned into a documentary as well. *cough cough* 👀
October 19, 2022
Danyel Smith is a journalist who hears music everywhere. In fact, her brain is so wired and inspired by the art of listening/absorbing/dissecting amazing music that her writer’s voice is itself a musical one. I’ll admit, reading this book was a challenge. I couldn’t often follow the music in her head and so as names, dates, personal anecdotes, song lyrics flashed through the paragraphs at a rapid clip, I had trouble keeping up. Got confused.
The book hits its stride (for me) in later chapters as she incorporates milestones of her journalism career: landing Whitney Houston for the “Vibe” cover, dishing on the behind-the-scenes drama of an awards-night dinner, name-checking folks who stood by Smith’s talent and not-naming the music-industry and media-industry folks who tried to stand in her way.
Harder to follow are passages about Smith’s childhood abuse at the hands of a cruel stepfather type. This book has many villains— white pop artists who profited from Black talent, men who propped up women artists and profited from their talent and exploited them endlessly, industry insiders who produced and played the music but did nothing to compensate or curate these often very young, very vulnerable women with talents that transcend time and class and culture. Whoever the villains are, they’re often men who can do nothing but get in the way and get nasty when a woman shines.
The back-and-forth between the history of Black women in pop and Smith’s childhood in LA smooths out as she grows older, finds her voice and plans her escape from childhood abuse through education, culture, w-o-r-k and PLAY. The book’s sense of place is powerful. What a joy to see eighties and nineties LA through the eyes of a brave, bold child. And the curtain call of her high-school production of “The Wiz”! Wha?
What a transparent tragedy — that must be redressed — to know the music we’ve loved and lived our entire lives to, Whitney, Donna, Gladys, Aretha, Mariah and more, is built on exploitation of Black joy, pain, talent, disenfranchisement. Buying this book is one step. Reading it is another another. Doesn’t have to be easy but it’s gotta be done. And thanks for reminding us all what S-T-A-Rz Jody Watley and Janet Jackson were in their time. Raise your hand if you grew up in the nineties and knew all the words to “Real Love” and “Everything” but you had no idea Watley topped the charts and won the awards and toured the world with a ten-year-old daughter? Just, damn. Summerfest: Book Jody Watley immediately.
The book hits its stride (for me) in later chapters as she incorporates milestones of her journalism career: landing Whitney Houston for the “Vibe” cover, dishing on the behind-the-scenes drama of an awards-night dinner, name-checking folks who stood by Smith’s talent and not-naming the music-industry and media-industry folks who tried to stand in her way.
Harder to follow are passages about Smith’s childhood abuse at the hands of a cruel stepfather type. This book has many villains— white pop artists who profited from Black talent, men who propped up women artists and profited from their talent and exploited them endlessly, industry insiders who produced and played the music but did nothing to compensate or curate these often very young, very vulnerable women with talents that transcend time and class and culture. Whoever the villains are, they’re often men who can do nothing but get in the way and get nasty when a woman shines.
The back-and-forth between the history of Black women in pop and Smith’s childhood in LA smooths out as she grows older, finds her voice and plans her escape from childhood abuse through education, culture, w-o-r-k and PLAY. The book’s sense of place is powerful. What a joy to see eighties and nineties LA through the eyes of a brave, bold child. And the curtain call of her high-school production of “The Wiz”! Wha?
What a transparent tragedy — that must be redressed — to know the music we’ve loved and lived our entire lives to, Whitney, Donna, Gladys, Aretha, Mariah and more, is built on exploitation of Black joy, pain, talent, disenfranchisement. Buying this book is one step. Reading it is another another. Doesn’t have to be easy but it’s gotta be done. And thanks for reminding us all what S-T-A-Rz Jody Watley and Janet Jackson were in their time. Raise your hand if you grew up in the nineties and knew all the words to “Real Love” and “Everything” but you had no idea Watley topped the charts and won the awards and toured the world with a ten-year-old daughter? Just, damn. Summerfest: Book Jody Watley immediately.
April 28, 2022
This was a really cool read. Part music criticism, part memoir, Shine Bright shares the stories of the foundational work Black women in pop music, and American culture more broadly. Amongst the insightful connections between different artists, influences, and eras, the author weaves in personal vignettes in her deep relationship with music. In the earlier chapters, she shares the memories she associates with these artists. In the music of her adolescence and young adulthood, she recounts life experiences which these songs soundtracked. Most interestingly, in her coverage of more contemporary Black female pop icons, she gives distinct insight into legendary performers through her work as a music journalist and critic. I learned a lot, both about artists I love and those I'm less familiar with. The chapter on Aretha Franklin and Whitney Houston is especially fantastic.
I received a copy of this book from Netgalley in exchange for an honest review.
I received a copy of this book from Netgalley in exchange for an honest review.
April 17, 2024
As a music lover, I loved the history in this book! And we definitely do not give Black women enough credit for their influence on modern pop music. I also loved that this was part Danyel Smith memoir. Her life sounds fascinating, and she is *vulnerable* with the reader. I found it so compelling how her experiences paralleled with some of the artists she interviewed. However, I wanted the book to have a stronger overall structure or framework. I couldn’t tell what the organization was—kind of chronological, but not exactly? And I wanted a bit more detail on why she chose the artists she did. Without that structure, I felt like the book didn’t quite reach either of its goals: to be a memoir or to be a history.
February 8, 2023
Sooo good really picked up speed for me in the more modern chapters since I can remember those times but the way she blends her own history throughout the whole book keeps it interesting even in the way backs. The last 25% flew by and I didn’t want it to end.
April 4, 2023
Part graceful contextualization of giants in pop music, and part memoir, this book depicts the ways in which the works of these iconic Black musicians were inextricably linked to Smith's life (from challenging childhood to ambitious adulthood). I think of this as akin to Hanif Abdurraqib's A Little Devil in America. As with Abdurraqib, I heard Smith on a podcast, and mention of her book intrigued me. Smith acknowledges and dispels various myths about the women who created the soundtrack to her life, painting a picture of commonalities between their lives in the way they were often uncredited, overlooked, and under-recognized for their contributions to pop music through the decades. Though not intended as a comprehensive list of Black women in pop, it nevertheless manages to feel connected to them all. Smith's personal connection to all of this music makes it impossible not to think of one's own life and the music that permeates it.
December 4, 2022
(4.5)
May 14, 2022
Ok so number one, you really need to pay attention to the subtitle when it says "a very personal history of Black women in pop." If you read the blurb on the flap, you are not going to realize that while this is 1/2 the history of Black women in pop, it is also 1/2 the story of the author. Each chapter basically digs deep in on a Black female popstar, but it also circles back and forth through the author's life; it's really her biography with a history of Black female musicians on the side.
I LOVED: the people the author included, the details and stories she gave, the ways she interpreted events of their lives, the commonalities she really brought to the forefront (it's really wild how high most of these women would scores on the ACEs test). I have tried to think about which was my favorite chapter, but I'm really not sure. The Janet Jackson chapter probably has the most insider info, so to speak. The Whitney Houston chapter might actually be the most upsetting (despite MANY of these women having very abusive, traumatic histories). There are many more women discussed here than name the chapters--as I mention below, often in a chapter on a certain artist, there will be a little popup history of another who doesn't get their own chapter (somewhere I remember a few paragraphs on Etta James, for example).
I loved that the author has taken it on as a personal mission to never back down, never be limited by anyone else's perceptions and biases. Just as happened with so many of these singers/performers, she herself was often discounted for X supposed reason (when in reality the reason is clearly "you're a Black woman so I don't think you can do X and I won't even let you try because hello I'm a racist misogynist"). I loved that until the epilogue (or "Outro") you really do not get a sense of this being a constant name-dropping situation, despite the fact that the author clearly could have done that. I loved that (what certainly seems to be) one of the author's personality traits is that she is not going to let herself be treated the way she's seen so many other women in history be treated. I mean, at certain points in the past she did. But it really feels like she has arrived at a true moment of badassery now--that she knows she is ALL THAT and she's never going to even equivocate at pronouncing it.
So.... I think you may be getting a sense from this review how much this book is about the author, in addition to being about these amazing women who were the soundtrack of her life.
Something that required work (on the reader's part): There is a constant spiral of time--with each artist, she starts at the beginning of their life and moves forward, so her stories of her own life spiral back in time and forward as well. So it felt a little whirlwind-esque in that you are always being thrown back to the author's childhood, when say in the last chapter, she had gotten to college. So I felt like, for myself as the reader, the timeline was a bit of shifting sand--perhaps an actual time line printed on the page might have been nice, to have a place to ground between chapters.
What didn't completely work for me: I didn't always find the transitions completely polished--sometimes the transition in a chapter between that particular artist and the author's personal memories seemed rough or forced; sometimes the transition to another artist and back in a chapter seemed to throw things out of whack. There was definitely a point at which I thought "why does this one moment in her life keep coming up?" and thankfully there was a pay off when that incident is finally fully explicated in a chapter toward the end...but it felt like maybe it hadn't needed to be mentioned so many times before. Basically there were times when I felt the book wasn't moving forward super smoothly. (But that's a reader expectation, it's not necessarily that it was meant to but didn't [I don't know if that was the intention or not].) So I did feel like the editing of this book was maybe done with too light a hand--but there are also times in this book where I could definitely imagine the author saying "how DARE you edit ME!" Heh.
PLAYLIST: I'm assuming that someone has created a Spotify playlist of all the songs mentioned in this book. If not, you are definitely going to want to have your iTunes or however you get music nearby when you are reading it. This book brings up so many songs (OBVIOUSLY), some of which I hadn't thought of in years. It was so fun to remember some of these hits and you're going to want to be able to pause and listen to them. (Or pause, press play, and then list in the background while you read!)
I LOVED: the people the author included, the details and stories she gave, the ways she interpreted events of their lives, the commonalities she really brought to the forefront (it's really wild how high most of these women would scores on the ACEs test). I have tried to think about which was my favorite chapter, but I'm really not sure. The Janet Jackson chapter probably has the most insider info, so to speak. The Whitney Houston chapter might actually be the most upsetting (despite MANY of these women having very abusive, traumatic histories). There are many more women discussed here than name the chapters--as I mention below, often in a chapter on a certain artist, there will be a little popup history of another who doesn't get their own chapter (somewhere I remember a few paragraphs on Etta James, for example).
I loved that the author has taken it on as a personal mission to never back down, never be limited by anyone else's perceptions and biases. Just as happened with so many of these singers/performers, she herself was often discounted for X supposed reason (when in reality the reason is clearly "you're a Black woman so I don't think you can do X and I won't even let you try because hello I'm a racist misogynist"). I loved that until the epilogue (or "Outro") you really do not get a sense of this being a constant name-dropping situation, despite the fact that the author clearly could have done that. I loved that (what certainly seems to be) one of the author's personality traits is that she is not going to let herself be treated the way she's seen so many other women in history be treated. I mean, at certain points in the past she did. But it really feels like she has arrived at a true moment of badassery now--that she knows she is ALL THAT and she's never going to even equivocate at pronouncing it.
So.... I think you may be getting a sense from this review how much this book is about the author, in addition to being about these amazing women who were the soundtrack of her life.
Something that required work (on the reader's part): There is a constant spiral of time--with each artist, she starts at the beginning of their life and moves forward, so her stories of her own life spiral back in time and forward as well. So it felt a little whirlwind-esque in that you are always being thrown back to the author's childhood, when say in the last chapter, she had gotten to college. So I felt like, for myself as the reader, the timeline was a bit of shifting sand--perhaps an actual time line printed on the page might have been nice, to have a place to ground between chapters.
What didn't completely work for me: I didn't always find the transitions completely polished--sometimes the transition in a chapter between that particular artist and the author's personal memories seemed rough or forced; sometimes the transition to another artist and back in a chapter seemed to throw things out of whack. There was definitely a point at which I thought "why does this one moment in her life keep coming up?" and thankfully there was a pay off when that incident is finally fully explicated in a chapter toward the end...but it felt like maybe it hadn't needed to be mentioned so many times before. Basically there were times when I felt the book wasn't moving forward super smoothly. (But that's a reader expectation, it's not necessarily that it was meant to but didn't [I don't know if that was the intention or not].) So I did feel like the editing of this book was maybe done with too light a hand--but there are also times in this book where I could definitely imagine the author saying "how DARE you edit ME!" Heh.
PLAYLIST: I'm assuming that someone has created a Spotify playlist of all the songs mentioned in this book. If not, you are definitely going to want to have your iTunes or however you get music nearby when you are reading it. This book brings up so many songs (OBVIOUSLY), some of which I hadn't thought of in years. It was so fun to remember some of these hits and you're going to want to be able to pause and listen to them. (Or pause, press play, and then list in the background while you read!)
July 23, 2023
Great read. Racism in the music industry was blatant. Took me awhile to finish because I listened to all the music she referenced and created a nearly 20 hour playlist while reading.
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