Guide to the Gospel Sheet Music Collection

Total Page:16

File Type:pdf, Size:1020Kb

Guide to the Gospel Sheet Music Collection Columbia College Chicago Digital Commons @ Columbia College Chicago CBMR Collection Guides / Finding Aids Center for Black Music Research 2020 Guide to the Gospel Sheet Music Collection Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cmbr_guides Part of the History Commons, and the Music Commons Columbia COLLEGE CHICAGO CENTER FOR BLACK MUSIC RESEARCH COLLECTION The Gospel Sheet Music Collection, 1929- 1995 EXTENT 2 boxes, 3.1 linear feet COLLECTION SUMMARY The gospel sheet music contains published music given to the CBMR from individual donors that has been gathered into one collection for access and use. PROCESSING INFORMATION The collection was organized, and this finding aid created, by Laurie Lee Moses. SCOPE & CONTENT/COLLECTION DESCRIPTION The collection is an in-house collection brought together from gospel sheet music donations and is arranged by the composer’s last name. ARRANGEMENT The collection is arranged by composer last name. RELATED MATERIALS The Evelyn Davidson White Collection The Patsy Ford Simms Collection SUBJECT HEADINGS Gospel, Music, ACCESS STATEMENT The collection is open and available for research use. RIGHTS STATEMENT United States copyright laws apply to the materials in this collection. PREFERRED CITATION The Gospel Sheet Music Collection, Center for Black Music Research Collection, Columbia College Chicago, Chicago, Illinois. Author Title Date Publication Info Name Subjects Description Arranger Lyricist Dorsey, Thomas A. If you see my savior. 00/00/1929 Chicago, Ill.: Thomas A. Dorsey, 1929. Dorsey, Thomas A. gospel music 4 p.; front and inside back covers; Xerox; 2 copies. Martin and Morris standard gospel gems. Chicago: Martin and Morris Music, Inc., [195‐]. gospel music Piano/vocal score. 4 p. Dorsey, Thomas A. Standing Here Wondering Which Way To 00/00/1955 Chicago, Ill.: Thomas A. Dorsey, c1955. Dorsey, Thomas Andrew gospel music; SATB 11 p.; 26 cm. Thomas A. Dorsey Thomas A. Dorsey Andrews, Inez I'm willing to wait. 00/00/1958 Chicago, Ill.: Martin and Morris Music,Inc., 1958. Andrews, Inez gospel music; chorus; 4 p. ; 27 cm. Kenneth Morris Inez Andrews caravans Androzzo, Alma I'll make it somehow. 00/00/1950 Chicago, Ill.: Martin & Morris, 1950. Androzzo, Alma gospel music; chorus 2 p. ; 26 cm. Kenneth Morris Alma Androzzo Bartlett, E. M. Everybody will be happy over there. 00/00/1921 Chicago, Ill.: Bowles Music House, 1921. Bartlett, E. M. gospel music; chorus 4 p. ; 26 cm. E. M. Bartlett Bowles, L. M. Spiritual medley (I'm tramping/Lord, I wan00/00/1940 Chicago, Ill.: Bowles Music House & Book Store, Bowles, Lillian gospel music; chorus [3 p.] ; 26 cm. L. M. Bowles L. M. Bowles 1940. Bradford, Alex Humble me. 00/00/1957 Chicago, Ill.: Martin & Morris Music Studio, 1957. Bradford, Alex gospel music; chorus 3 p. ; 26 cm. Frances Kraft Reckling Alex Bradford Bradford, Alex I'm too close to heaven to turn around. 00/00/1953 Chicago, Ill. : The Martin Studio Of Music, 1953. Bradford, Alex gospel music; chorus; Martin, 4 p. ; 26 cm. Roberta Martin Alex Bradford Roberta Brown, Beatrice I'll search heaven for you. 00/00/1945 Indianapolis, Ind. : Brown's Music House, 1945. Brown, Beatrice gospel music; chorus 3 p. ; 26 cm. Kenneth Woods, Jr. Mae Glover Burrell, Curtis I don't feel no ways tired. 00/00/1978 Chicago, Ill. : Martin and Morris Music, 1978. Burrell, Curtis gospel music; chorus 4 p. ; 26 cm. Kenneth Morris Curtis Burrell Cleveland, James I get a blessing everyday. 00/00/1980 Chicago, Ill. : Martin Morris Music, Inc.,1980. Cleveland, James gospel music; chorus; Mighty 4 p. ; 26 cm. Kenneth Morris James Cleveland Clouds of Joy Cleveland, James Touch me. Elizabeth, N.J. : Savgos Music, Inc. Cleveland, James gospel music; chorus 4 p. ; 4 copies, two 26 cm., Kenneth Morris James Cleveland two 28 cm. Cleveland, James Hold to god's unchanging hand. 00/00/1952 Chicago, Ill. : Martin Morris Music, Inc., 1952. Cleveland, James gospel music; chorus 4 p. ; 26 cm. Kenneth Morris James Cleveland Cleveland, James I stood on the banks of Jordan. 00/00/1964 Los Angeles, Calif. : Frazier‐Cleveland Co., 1964. Cleveland, James gospel music; chorus 4 p. ; 26 cm. Kenneth Morris James Cleveland Crouch, Sandra He's worthy. 00/00/1983 Newbury Park, Calif. : Lexicon Music, Inc., 1983. Crouch, Sandra gospel music; chorus 4 p. ; 31 cm. Sandra Crouch De Witty, Virgie Carrington Magnify the lord. Austin, Tex. : Virgie Carrington De Witty De Witty, Virgie Carrington gospel music; chorus 4 p. ; 26 cm. Virgie Carrington De Witty Frazier, Thurston G. Everlasting life (is free). Los Angeles, Calif.: Albert A. Goodson. Frazier, Thurston G. gospel music; chorus 2 p. ; 25 cm. Thurston G. Frazier Thurston G. Frazier; Orange J. Dobson Goodpasteur, Ralph H. It's so wonderful (to know Jesus is mine). 00/00/1955 Chicago, Ill. : The First Church of Deliverance, 1955. Goodpasteur, Ralph H. gospel music; chorus 3 p. ; 26 cm. Ralph H. Goodpasteur Harris, J. W. A follower of Christ. 00/00/1980 Chicago, Ill. : Great Joy Music, 1980. Harris, J. W. gospel music; chorus 3 p. ; 26 cm. Kenneth Morris J. W. Harris Johnson, Harrison I've decided to make Jesus my choice. 00/00/1969 Chicago, Ill. : Sallie Martin's House Of Music, 1969. Johnson, Harrison gospel music; chorus 3 p. ; 22 cm. 2 copies. Kenneth Woods, Jr. Harrison Johnson Jordan, George I'm mighty grateful. 00/00/1970 Chicago, Ill. : Christian Tabernacle Music, Inc., 1970. Jordan, George gospel music; chorus 4 p. ; 2 copies ‐ one 25 Kenneth Morris George Jordan cm., one 26 cm. Jordan, George Dwell in me (Get in me). 00/00/1978 Chicago, Ill. : Chriatian Tabernacle Music, Inc., 1978. Jordan, George gospel music; chorus 4 p. ; 22 cm. Kenneth Morris George Jordan Jordan, George I'll make it home someday. 00/00/1970 Chicago, Ill. : Christian Tabernacle Music, Inc., 1970. Jordan, George gospel music; chorus 4 p. ; 25 cm. 2 copies. Kenneth Morris George Jordan Jordan, George Jesus can work it out. 00/00/1975 Chicago, Ill. : Christian Tabernacle Music, Inc., 1975. Jordan, George gospel music; chorus 3 p. ; 26 cm. 2 copies. Kenneth Morris George Jordan Jordan, George It's been a mighty good day. 00/00/1971 Chicago, Ill. : Christian Tabernacle Music, Inc., 1971. Jordan, George gospel music; chorus 4 p. ; 26 cm. Kenneth Morris George Jordan Jordan, George Step to Jesus. 00/00/1970 Chicago, Ill. : Christian Tabernacle Music, Inc., 1970. Jordan, George gospel music; chorus 4 p. ; 25 cm. Kenneth Morris George Jordan Morris, Kenneth We're marching to Zion. 00/00/1953 Chicago, Ill. : Martin and Morris Music Studio, 1953. Morris, Kenneth gospel music; chorus 3 p. ; 26 cm. Kenneth Morris Martin, Roberta God is still on the throne. 00/00/1959 Chicago, Ill. : The Roberta Martin Studio Of Music, Martin, Roberta, vocalist gospel music; chorus 2 p. ; 26 cm. Roberta Martin Roberta Martin 1959. Martin, Roberta Walk in the beautiful light of God. 00/00/1950 Chicago, Ill. : The Roberta Martin Studio Of Music, Martin, Roberta, vocalist gospel music; chorus 4 p. ; 26 cm. Roberta Martin Roberta Martin; Lucy 1950. Matthews Martin, Roberta If you pray. 00/00/1960 Chicago, Ill. : The Roberta Martin Studio Of Music, Martin, Roberta, vocalist gospel music; chorus 2 p. ; 26 cm. Roberta Martin Roberta Martin 1960. Mays, Oris He accepts me. 00/00/1973 Shreveport, La. : Su‐Ma Publishing Co.,Inc., 1973. Mays, Oris gospel music; chorus 2 p. ; 26 cm. Kenneth Morris Oris Mays Morganfield, Willie He works that way. 00/00/1962 Chicago, Ill. : Acquarian Music Co., 1962. Morganfield, Willie gospel music; chorus 2 p. ; 26 cm. Kenneth Morris Willie Morganfield Rasberry, Raymond Only what you do for Christ will last. 00/00/1963 Cleveland, Oh. : Rasberry Music, 1963. Rasberry, Raymond gospel music; chorus 4 p. ; 26 cm. Raymond Rasberry Roberson, M. I'm on the right road now. 00/00/1963 Houston, Tex. : Lion Publishing Co., 1963. Roberson, M. gospel music; chorus 4 p. ; 26 cm. Kenneth Morris M. Roberson Roberts, Steven Get ready (Callin' all His children home). 00/00/1986 Southfield, Mich. : Bloomfield Music Co., 1986. Roberts, Steven gospel music; chorus 4 p. ; 28 cm. Steven Roberts 1 Shepherd, Anna Only a look. 00/00/1948 Chicago, Ill. : The Martin Studio Of Gospel Music, Shepherd, Anna gospel music 3 p. ; 26 cm. Virginia Davis Anna Shepherd 1948. Summers, Myrna I found Jesus (and I'm glad). 00/00/1977 Elizabeth, N.J. : Savgos Music, Inc., 1977. Summers, Myrna gospel music; chorus 3 p. ; 26 cm. Kenneth Morris Myrna Summers Wallace, Rosie God cares. 00/00/1965 Newark, N.J. : Savoy Music Co., 1965. Wallace, Rosie gospel music; chorus 4 p. ; 26 cm. Kenneth Morris Rosie Wallace Yancy, Kevin Sign me up. 00/00/1979 Chicago, Ill. : Sherlyn Pub. Co. Inc., BMI., 1979. Yancy, Kevin J. gospel music; chorus 4 p. ; 22 cm. Kenneth Morris Kevin Yancy; Jerome Metcalfe Morris, Kenneth Sometimes. 00/00/1941 Chicago, Ill. : Martin & Morris Music Studio, 1941. Morris, Kenneth gospel music; chorus 2 p. ; 27 cm. Kenneth Morris Jackson, Mahalia Lord, don't move the mountain. 00/00/1958 Los Angeles, Calif. : Simmons and Akers, 1958. Jackson, Mahalia, 1912‐197gospel music; chorus 2 p. ; 26 cm. Doris Akers Dorsey, Thomas A. The lord will make a way some how. 00/00/1943 Chicago, Ill. : Thomas A. Dorsey, Music Publisher, Dorsey, Thomas Andrew gospel music; chorus 3 p. ; 26 cm. Thomas A. Dorsey 1943. Hawkins, Walter Love alive II (booklet). 00/00/1978 Waco, Tex. : Lexicon Music, Inc., 1978. Hawkins, Walter, fl. 1970 gospel music; chorus 68 p. ; 26 cm. Walter Hawkins Walter Hawkins Crouch, Andra^D'e The broken vessel. 00/00/1968 Burbank, Calif.: Manna Music, Inc., 1968.
Recommended publications
  • Sheets to Lull To
    Sheets to Lull To - Pratyaksh Gautam Lo-Fi? So, What’s Different? usic spawns countless genres, with new ones Most genres of music aim to grab your attention and Mpopping up by the dozens every few years. move you, or to make you move. Lo-fi established Among the genres to come to prominence in the last itself as a genre whose aim is to not draw too much few years, lo-fi stands out as one of the more “un- attention, as demonstrated by the title of the largest interesting” ones. It isn’t bizarre, avant-garde, nor is lo-fi live stream on the internet, ChilledCow’s 24x7 it dominating the top 40. It doesn’t have any artists “lo-fi hip hop radio - beats to relax/study to”. They’re who constantly make headlines for their fashion or repetitive, relaxed and laid-back beats, with rarely relationships. any comprehensible lyrics, to be played without It begs the much more “interesting” question, why needing to pay attention, as filler, think Phillip Glass is such a seemingly niche genre enjoying growing meets J Dilla. popularity? Simply put, lo-fi hip hop is this generation’s elevator Lo-fi, short for ‘low fidelity’ is a genre of music music, well suited for late-night study sesh’s, or drawing largely on hip-hop, with elements of other questionable activities best appreciated with sampling, classic old school drum machine sounds, a calm ambience. lo-fi has existed in some way or unquantised drums, slightly detuned synths, form for a long time, but has recently attracted a repetition, and repetition.
    [Show full text]
  • Alshire Records Discography
    Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M.
    [Show full text]
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • Oh Happy Day
    PART 4: Activities & Resources: Music in Honor of Dr. Martin Luther King, Jr. Meet the Sounds of Blackness, 2015 WITNESS Guest Artists One: Meet the Artists . 81 Two: Listen and Respond to Music by Sounds of Blackness . 82 Student Reading: Meet the Sounds of Blackness . 85 Graphic Organizer: A Bio Wheel for Sounds of Blackness . 87 Musical Roots of Spirituals, Gospel and Rhythm & Blues (R&B) One: Listen and “Respond to Ubuntu” . 89 Two: African Roots of American Music . 93 Student Reading: “The Roots of African American Music” . 96 Reading for Teachers and Older Students: “Characteristics of West African Music” . 98 Poem: “Origins” by Toyomi Igus from I See the Rhythm . 99 78 Three: Spirituals . 100 Reading for Teachers & Older Students: “About Spirituals” . 102 Listening Log for Oh, Freedom . 104 Sheet Music: Oh, Freedom . 105 Four: Becoming Aware of Gospel Music . 106 Student Reading: Gospel Music in the U .S .A . 108 Student Handout: Listening Map for March Song Medley . 109 Five: Gospel Music . 110 Student Handout: Lyrics for Oh Happy Day . 109 Six: Rhythm & Blues . 114 Student Reading: Rhythm & Blues . 117 WITNESS 79 Sound of Blackness: Guest Artists for the 2015 WITNESS Young People’s Concert Introduction The guest artists for the 2015 WITNESS the theme and focus of the 2015 WITNESS Young People’s Concert is the Minnesota- Young People’s Concert, and hearing the music based ensemble, Sounds of Blackness. The will ignite their interest in hearing the live activities in this lesson will introduce students performance. to the ensemble and their music. Students will If this is your first WITNESS lesson, provide read a biography, view a PowerPoint, and listen folders for each student to collect handouts, to a piece from the WITNESS Companion materials, and their own work related to the CD.
    [Show full text]
  • Lyrics 1St Verses
    Lyrics Flower of Scotland O flower of Scotland When will we see your like again That fought and died for Your wee bit hill and glen And stood against him Proud Edward's army And sent him homeward Tae think again I DREAMED A DREAM I dreamed a dream in Ame gone by When hope was high and life worth living I dreamed that love would never die I prayed that God would be forgiving Then I was young and unafraid And dreams were made and used and wasted There was no ransom to be paid No song unsung, no wine untasted But the Agers come at night With their voices soH as thunder As they tear your hopes apart And they turn your dreams to shame SAll I dream he'd come to me And we would live the years together But there are dreams that cannot be And there are storms we cannot weather I had a dream my life would be So different from this hell I'm living So different now from what it seemed Now life has killed the dream I dreamed CAN YOU FEEL THE LOVE TONIGHT There's a calm surrender to the rush of day When the heat of a rolling wind can be turned away An enchanted moment, and it sees me through It's enough for this restless warrior Just to be with you And can you feel the love tonight It is where we are It's enough for this wide-eyed wanderer That we got this far And can you feel the love tonight How it's laid to rest It's enough to make kings and vagabonds Believe the very best There's a Ame for everyone if they only learn That the twisAng kaleidoscope moves us all in turn There's a rhyme and reason to the wild outdoors When the heart of this star-crossed voyager beats in Ame with yours ONE LOVE One Love! One Heart! Let's get together and feel all right.
    [Show full text]
  • Song & Music in the Movement
    Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing.
    [Show full text]
  • Annual American Composers Update
    SAI COMPOSERS BUREAU ANNUAL AMERICAN thCOMPOSERS 70 UPDATE by Steve Cohen SAI Philanthropies, Inc. Winter 2019 Digital Exclusive • SAI Alumna/Patroness ANNUAL AMERICAN • • Friend of the Arts th • • • National Arts Associate COMPOSERS UPDATE • • • • Honorary Member 70 • • • • • Member Laureate Dear Reader, to members of SAI, through their annual updates and sharing but also to libraries of information with other composers. Our igma Alpha Iota Philanthropies and schools. This reports link composers to one another, is pleased to bring you the magazine is listed in to performers eager to program and newest Composers Bureau the MUSIC INDEX, commission new music, to students who SUpdate, the 70th in a stream which includes a crave music that is fresh and new. of annual reports from the field. separate entry for The SAI Composers Bureau is a Composers are hard at work, having each composer in the project of SAI Philanthropies, Inc., the success in getting premieres, second “American Composer Update: Premieres, charitable arm of Sigma Alpha Iota. It is a and third performances, recordings, and Performances, Publications, Recordings, privilege to support American composers publications. News tells of commissions and News.” In addition, information in the by publicizing their work. So, to all who and opportunities. The IAMA premieres issue is used to update the information use the Composers Bureau Update, know at the 2018 SAI National Convention are on the SAI Composers Bureau website that this is a part of SAI’s core mission: to here—works by Steve Cohen, Richard with direct links to composers’ webpages, encourage, nurture, and support the art Crosby, and Bonnie Janofsky.
    [Show full text]
  • African American Sheet Music Collection, Circa 1880-1960
    African American sheet music collection, circa 1880-1960 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Title: African American sheet music collection, circa 1880-1960 Call Number: Manuscript Collection No. 1028 Extent: 6.5 linear feet (13 boxes) and 2 oversized papers boxes (OP) Abstract: Collection of sheet music related to African American history and culture. The majority of items in the collection were performed, composed, or published by African Americans. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction Printed or manuscript music in this collection that is still under copyright protection and is not in the Public Domain may not be photocopied or photographed. Researchers must provide written authorization from the copyright holder to request copies of these materials. The use of personal cameras is prohibited. Source Collected from various sources, 2005. Custodial History Some materials in this collection originally received as part of the Delilah Jackson papers. Citation [after identification of item(s)], African American sheet music collection, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Russey, October 13, 2006. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. African American sheet music collection, circa 1880-1960 Manuscript Collection No. 1028 This finding aid may include language that is offensive or harmful.
    [Show full text]
  • Rap in the Context of African-American Cultural Memory Levern G
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Empowerment and Enslavement: Rap in the Context of African-American Cultural Memory Levern G. Rollins-Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES EMPOWERMENT AND ENSLAVEMENT: RAP IN THE CONTEXT OF AFRICAN-AMERICAN CULTURAL MEMORY By LEVERN G. ROLLINS-HAYNES A Dissertation submitted to the Interdisciplinary Program in the Humanities (IPH) in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the Dissertation of Levern G. Rollins- Haynes defended on June 16, 2006 _____________________________________ Charles Brewer Professor Directing Dissertation _____________________________________ Xiuwen Liu Outside Committee Member _____________________________________ Maricarmen Martinez Committee Member _____________________________________ Frank Gunderson Committee Member Approved: __________________________________________ David Johnson, Chair, Humanities Department __________________________________________ Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my husband, Keith; my mother, Richardine; and my belated sister, Deloris. iii ACKNOWLEDGEMENTS Very special thanks and love to
    [Show full text]
  • Petrella Pollefeyt
    ARCHIVES OF AFRICAN AMERICAN MUSIC AND CULTURE liner notesNO. 19 / 2014-2015 Petrella Pollefeyt: First Lady of Country Soul aaamc mission From the Desk of the Director The AAAMC is devoted to the collection, preservation, and dissemination of materials for In drafting this column for the first sang with the aesthetic beauty and the purpose of research and time as Director of the AAAMC, I feel spiritual grace fitting for such an iconic study of African American compelled to acknowledge the legacy figure. From Grammy-award winning music and culture. of Portia Maultsby, whose vision in Dr. Bobby Jones of Sunday morning www.indiana.edu/~aaamc 1991 led to its founding. Initially BET Gospel fame to GospoCentric supported by a Ford Foundation grant, founder, Vicki Mack Lataillade, the the Archives represented Dr. Maultsby’s tributes extolled Hobbs’ commanding desire to identify and gather the many leadership in the world of gospel music. Table of Contents print, audio and visual resources The public face of the Archives which document the richness of this year was most strongly evident From the Desk of the Director .....................2 African American music in shaping in our Themester event, Hot Buttered and defining the American musical Soul: The Role of Foodways and Music In the Vault: landscape. It is a history most worthy Making in Building and Sustaining Recent Donations .................3 of preservation, and following the African American Communities, which path forged by Dr. Maultsby is both an attracted an extremely responsive One on One: Interview honor and a challenge. We welcome her audience of almost 150 students, faculty, with Petrella Pollefeyt ...........4 continued involvement in identifying staff, and community members.
    [Show full text]
  • Weekend Detroit Free Press |
    6E FRIDAY, JULY 19, 2002 WEEKEND DETROIT FREE PRESS | WWW.FREEP.COM Mom and Pop Winans Delores Winans, 65 and David Winans Sr., 68 Family connection: David and Delores met in 1949 in Detroit while Gospel’s performing in the Lucille Lemons Choir. Lemons was a singer and choir director who was nationally known on the black gospel music circuit. The choir was directed by famed gospel music pioneer the Rev. James Cleveland. David and Delores had 10 children, all of first family whom perform. He’s known for: Minstering to everyone, everywhere he goes. veryone knows the Winans name. And most folks know that the original quartet, She’s known for: Being the stylish matriarch of the family, the one who the Winans, recorded groundbreaking gospel music in the ’80s, influencing many encouraged her children to sing. gospel and secular R&B artists who are topping the charts today. The two recorded again re- cently at the insistence of their BeBe and CeCe, the younger brother and sister duo and perhaps the more million-record-selling children. famous of the siblings, was the first gospel act to cross over into the R&B charts Number of Grammys: Pop got a with their 1998 release, “Heaven.” nomination for his first solo project E in 2000. In all, 16 Winans will perform at the Fox Theatre this weekend. Current CD: Pop’s “Uncensored”; Here’s the family breakdown, and perhaps some things you may not know, like family Mom’s “An Affair to Remember.” nicknames and personality traits — tidbits that Delores (Mom) Winans has noticed during 50 years of marriage to David (Pop) Winans Sr.
    [Show full text]
  • NEW TEMPLE MISSIONARY BAPTIST CHURCH 8730-8736 South Broadway; 247-259 West 87Th Place CHC-2019-4225-HCM ENV-2019-4226-CE
    NEW TEMPLE MISSIONARY BAPTIST CHURCH 8730-8736 South Broadway; 247-259 West 87th Place CHC-2019-4225-HCM ENV-2019-4226-CE Agenda packet includes: 1. Final Determination Staff Recommendation Report 2. City Council Motion 19-0310 3. Commission/ Staff Site Inspection Photos—June 27, 2019 4. Staff Site Inspection Photos—March 27, 2019 5. Categorical Exemption 6. Historic-Cultural Monument Application 7. Letter of Support from Owner Please click on each document to be directly taken to the corresponding page of the PDF. Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2019-4225-HCM ENV-2019-4226-CE HEARING DATE: August 1, 2019 Location: 8730-8736 South Broadway; TIME: 10:00 AM 247-259 West 87th Place PLACE: City Hall, Room 1010 Council District: 8 – Harris-Dawson 200 N. Spring Street Community Plan Area: Southeast Los Angeles Los Angeles, CA 90012 Area Planning Commission: South Los Angeles Neighborhood Council: Empowerment Congress EXPIRATION DATE: August 5, 2019 Southeast Area Legal Description: Tract 337, Lots FR 2, 4, and 6 PROJECT: Historic-Cultural Monument Application for the NEW TEMPLE MISSIONARY BAPTIST CHURCH REQUEST: Declare the property an Historic-Cultural Monument OWNER: New Temple Missionary Baptist Church 8734 South Broadway Los Angeles, CA 90003 APPLICANT: City of Los Angeles 221 North Figueroa Street, Suite 1350 Los Angeles, CA 90012 RECOMMENDATION That the Cultural Heritage Commission: 1. Declare the subject property an Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.7. 2. Adopt the staff report and findings.
    [Show full text]