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The Life & Rhymes of Jay-Z, an Historical Biography
ABSTRACT Title of Dissertation: THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 Omékongo Dibinga, Doctor of Philosophy, 2015 Dissertation directed by: Dr. Barbara Finkelstein, Professor Emerita, University of Maryland College of Education. Department of Teaching and Learning, Policy and Leadership. The purpose of this dissertation is to explore the life and ideas of Jay-Z. It is an effort to illuminate the ways in which he managed the vicissitudes of life as they were inscribed in the political, economic cultural, social contexts and message systems of the worlds which he inhabited: the social ideas of class struggle, the fact of black youth disempowerment, educational disenfranchisement, entrepreneurial possibility, and the struggle of families to buffer their children from the horrors of life on the streets. Jay-Z was born into a society in flux in 1969. By the time Jay-Z reached his 20s, he saw the art form he came to love at the age of 9—hip hop— become a vehicle for upward mobility and the acquisition of great wealth through the sale of multiplatinum albums, massive record deal signings, and the omnipresence of hip-hop culture on radio and television. In short, Jay-Z lived at a time where, if he could survive his turbulent environment, he could take advantage of new terrains of possibility. This dissertation seeks to shed light on the life and development of Jay-Z during a time of great challenge and change in America and beyond. THE LIFE & RHYMES OF JAY-Z, AN HISTORICAL BIOGRAPHY: 1969-2004 An historical biography: 1969-2004 by Omékongo Dibinga Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2015 Advisory Committee: Professor Barbara Finkelstein, Chair Professor Steve Klees Professor Robert Croninger Professor Derrick Alridge Professor Hoda Mahmoudi © Copyright by Omékongo Dibinga 2015 Acknowledgments I would first like to thank God for making life possible and bringing me to this point in my life. -
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. -
People with Disabilities Get Ready: Curtis Mayfield in the 1990S Ray Pence, Ph.D
People with Disabilities Get Ready: Curtis Mayfield in the 1990s Ray Pence, Ph.D. University of Kansas Abstract: This article breaks with precedent by emphasizing disability’s role in the life and work of Curtis Mayfield (1942-1999) and by arguing that his experience of quadriplegia had both positive and difficult dimensions. Analysis focuses on Mayfield’s representation by journalists and other writers in the 1990s, and on how Mayfield answered their portrayals as an interview subject and as a musician with his final studio album New World Order (1996). Considered within the whole of Mayfield’s career, quadriplegia is revealed as one among many difficulties that he answered with critical positive thinking and powerful music. Key Words: quadriplegia, African-American music, civil rights “When a celebrity is ‘stricken’... editors and producers of national news organizations fall all over each other to run a mass-market variation on the theme, but in terms of narrative structure the celebrity story is simply the same notes scored for a symphony orchestra rather than a string quartet” (Riley, 2005, p. 13). Introduction Curtis Lee Mayfield (1942-1999) was a master of soul, rhythm, and blues with enormous and positive cultural influence in the last forty years of the twentieth century. Mayfield was also a person with disabilities—diabetes and, more significantly, quadriplegia—that he acquired late in life. Images are as important as sounds to understanding relationships between Mayfield’s quadriplegia and his music. Three contrasting views of Mayfield lying flat on his back during the 1990s provide a sort of visual synopsis of public perceptions of his final years. -
“People Get Ready”
“People Get Ready” Excerpt from Lyrics By Curtis Mayfield People get ready, there's a train a comin' You don't need no baggage, you just get on board All you need is faith to hear the diesels hummin' Don't need no ticket, you just thank the Lord Excerpt from the Chapter Essay by Craig Werner No song captures the feel of the early Movement better than Curtis Mayfield’s gospel-inflected “People Get Ready,” which culminates in an invitation to “get on board.” The center of a vibrant Chicago soul scene, which in terms of pure talent rivaled Detroit and Memphis, Mayfield embodied the relationship between Civil Rights, gospel and soul. Known as "the gentle genius," Mayfield grew up attending the Traveling Souls Spiritualist Church, a storefront church pastured by his Grandmother on Chicago’s poverty-stricken West Side. The experienced shaped both his politics and his approach to music. “Gospel was your foundation,” Mayfield said when asked about the inspiration for his songwriting. “All you had to do was just change some few lyrics. ‘Keep on Pushing’ was intended, written as a gospel song. All I needed to do to lock it in with The Impressions was say ‘I’ve got my strength’ instead of “God gave me strength and it don’t make sense.’ Nothing else needed to be changed.” WWW.TEACHROCK.ORG That quiet determination was part of what made Mayfield’s music more than just background for the Movement. When Martin Luther King, Jr., launched an ultimately unsuccessful campaign targeting housing discrimination in Chicago, organizers tapped into The Impressions' local popularity even more directly. -
The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
The Impressions, circa 1960: Clockwise from top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden. Inset: Original lead singer Jerry Butler. PERFORMERS Curtis Mayfield and the Impressions BY J O E M cE W E N from the union of two friends, Jerry Butler and Curtis Mayfield of Chicago, Illinois. The two had sung together in church as adolescents, and had traveled with the Northern Jubilee Gospel Singers and the Traveling Souls Spiritual Church. It was Butler who con vinced his friend Mayfield to leave his own struggling group, the Alfatones, and join him, Sam Gooden, and brothers Richard and Arthur Brooks— the remnants of another strug gling vocal group called the Roosters. According to legend, an impressive performance at Major Lance, Walter Jackson, and Jan Bradley; he also a Chicago fashion show brought the quintet to the at wrote music that seemed to speak for the entire civil tention of Falcon Records, and their debut single was rights movement. A succession of singles that began in recorded shortly thereafter. “For Your 1964 with “Keep On Pushing” and Precious Love” by “The Impressions SELECTED the moody masterpiece “People Get featuring Jerry Butler” (as the label DISCOGRAPHY Ready” stretched through such exu read) was dominated by Butler’s reso berant wellsprings of inspiration as nant baritone lead, while Mayfield’s For Your Precious Love.......................... Impressions “We’re A Winner” and Mayfield solo (July 1958, Falcon-Abner) fragile tenor wailed innocently in the recordings like “(Don’t Worry) If background. Several follow-ups He Will Break Your Heart......................Jerry Butler There’s A Hell Below We’re All Going (October 1960, Veejay) failed, Butler left to pursue a solo ca To Go” and “Move On Up,” placing reer, and the Impressions floundered. -
Biographical Description for the Historymakers® Video Oral History with Samuel Gooden
Biographical Description for The HistoryMakers® Video Oral History with Samuel Gooden PERSON Gooden, Samuel, 1934- Alternative Names: Samuel Gooden; Sam Gooden Life Dates: September 2, 1934- Place of Birth: Chattanooga, Tennessee, USA Residence: Chattanooga, TN Work: Chattanooga, TN Occupations: Singer Biographical Note Samuel Gooden was born on September 2, 1934 in Chattanooga, Tennessee, the youngest of eight children. At age sixteen, Gooden began to perform at Chattanooga’s Triumph Church of God in Christ, where his father George was assistant pastor. Gooden and his twelve-year-old neighbor Fred Cash called themselves the Southland Jubilee Singers. In the evenings, they joined other teenagers on their block in singing rhythm and blues. In late 1950, Gooden joined singing rhythm and blues. In late 1950, Gooden joined the U.S. Army, where he served in Germany until 1953. After returning from military service, Gooden joined Cash and their friends Arthur Brooks and Emanuel and Catherine Thomas to form an R&B group, Four Roosters and a Chick. They soon began to perform at Chattanooga nightclubs. In 1957, Gooden and Brooks decided to move the Roosters to Chicago, but Cash and the Thomas siblilngs remained in Chattanooga. Brooks’ brother, Richard, met a tenor at the YMCA in Chicago by the name of Jerry Butler. Butler was working a day job as a short-order cook. Butler’s partner in the Northern Jubilee Gospel Singers was Curtis Mayfield. When Gooden and Brooks move to Chicago, the group gained Mayfield and Butler and called themselves the Impressions. They released their first hit, “For Your Precious Love,” on Vee-Jay Records in 1958. -
The Sounds of Liberation: Resistance, Cultural Retention, and Progressive Traditions for Social Justice in African American Music
THE SOUNDS OF LIBERATION: RESISTANCE, CULTURAL RETENTION, AND PROGRESSIVE TRADITIONS FOR SOCIAL JUSTICE IN AFRICAN AMERICAN MUSIC A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Luqman Muhammad Abdullah May 2009 © 2009 Luqman Muhammad Abdullah ABSTRACT The cultural production of music in the Black community has traditionally operated as much more than a source of entertainment. In fact, my thesis illustrates how progressive traditions for social justice in Black music have acted as a source of agency and a tool for resistance against oppression. This study also explains how the music of African Americans has served as a primary mechanism for disseminating their cultural legacy. I have selected four Black artists who exhibit the aforementioned principles in their musical production. Bernice Johnson Reagon, John Coltrane, Curtis Mayfield and Gil Scott-Heron comprise the talented cadre of musicians that exemplify the progressive Black musical tradition for social justice in their respective genres of gospel, jazz, soul and spoken word. The methods utilized for my study include a socio-historical account of the origins of Black music, an overview of the artists’ careers, and a lyrical analysis of selected songs created by each of the artists. This study will contribute to the body of literature surrounding the progressive roles, functions and utilities of African American music. BIOGRAPHICAL SKETCH My mother garners the nickname “gypsy” from her siblings due to the fact that she is always moving and relocating to new and different places. -
KEEP on PUSHING the Fight for Civil Rights and Black Empowerment in the Context of Rock ‘N’ Roll in Philadelphia
KEEP ON PUSHING The Fight for Civil Rights and Black Empowerment in the Context of Rock ‘n’ Roll in Philadelphia Lee Junkin Senior History Essay Spring 2016 African Americans in the southern United States, experiencing increased racial oppression through segregation and lynching, as well as seeking better economic opportunities, began moving north at an exponential rate starting after the Great Depression. Philadelphia was one of the northern cities that took in many of the migrants. The growth of the black population in Philadelphia increased the strain of racial tensions in the city. As historian Matthew Delmont points out in his book The Nicest Kids In Town, “from 1930-1960, the city’s black population grew by three hundred thousand, increasing from 11.4 percent of the city’s total population to 26.4 percent.”1 The growing racial diversity and developing culture of the city, along with the progression of the American Civil Rights Movement in the 1950’s and 60’s, established Philadelphia as a battleground for racial relations and social change. The movement of African Americans into northern cities began to change many aspects of American life, including popular music. This migration into urban areas, as well as increased access to electric instruments, caused a shift in black rhythm and blues musicians’ approaches to music. Music was played faster and with more energy. White musicians picked up on these musical changes and took black rock and crossed it with certain aspects of popular white music such as country-style lyrics and a cleaner sound. Music historians began to call this “rockabilly music”, a cross between rock ‘n’ roll and “hillbilly” country sounds. -
Stevie Wonder's Musical Politics During the 1970S and 1980S a Thesis
UNIVERSITY OF CALIFORNIA Los Angeles Wonderful Words: Stevie Wonder’s Musical Politics During the 1970s and 1980s A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in African American Studies by Sandra Marie Kilman 2017 © Copyright by Sandra Marie Kilman 2017 ABSTRACT OF THE THESIS Wonderful Words: Stevie Wonder’s Musical Politics During the 1970s and 1980s by Sandra Marie Kilman Master of Arts in African American Studies University of California, Los Angeles, 2017 Professor Robin Davis Gibran Kelley, Chair The problem of racial injustice in the United States continued to plague the nation during the 1970s despite the gains made by the Civil Rights Movement during the preceding decades. Under Republican administrations during the 1970s and 1980s, working Americans encountered new financial challenges as the lion’s share of economic growth benefitted the wealthiest citizens. As socially and politically conscious popular music faded in popularity, Stevie Wonder continued to express his concerns about the obstacles to the promise of freedom and equality that many Americans continued to face. This paper examines four songs, written and performed by Wonder - “Living for the City,” “You Haven’t Done Nothing,” “Happy Birthday,” and “It’s Wrong,” - to track the trajectory of his commentary from local, community-based issues to national, political topics and, finally, to international causes. ii The thesis of Sandra Marie Kilman is approved. Richard Yarborough Shana Redmond Robin Davis Gibran Kelley, Committee Chair University of California, Los Angeles 2017 iii Acknowledgments This paper is dedicated to my family, whose love has sustained me throughout my life. -
Curtis Mayfield 2
Curtis Mayfield By Dave Hoekstra March 14, 1993--- DUNWOODY, Ga. It is important to remember that Curtis Mayfield has not been forgotten. Such a sentiment is certain to bring a smile to his face. The funky girl group En Vogue recently sent Mayfield a gold compact disc for the band's hit "Giving Him Something He Can Feel," which he wrote in 1976 for the film "Sparkle." (Aretha Franklin sung the soundtrack version.) Mayfield asks a visitor to find the framed gold CD, which is propped up against a wall near his bed. The visitor reads the commemoration and then glances over at Mayfield, whose smile is measured by pride. Mayfield defined such feelings in Chicago. He was born June 3, 1942, in Cook County Hospital. Mayfield spent his early years living with his mother and grandmother, first at 18th and Cottage Grove. Mayfield attended at least nine grammar schools in Chicago. When he was 12, the Mayfield family moved into the tiny row houses of the Cabrini Homes, where he lived until his mid-20s. Mayfield said, "We were on some kind of welfare during those early years, but you really don't know you're poor as youngsters." His grandmother, the Rev. A.B. Mayfield, left a sincere impression. It was on an old Victrola at her house that Mayfield first heard Sam Cooke and the Soul Stirrers, Clyde McPhatter and various gospel groups. In the early 1950s, she was preparing to become a minister, and Mayfield and his cousins would travel with her to religious conventions. "She finally started the Traveling Soul Spiritualist Church," Mayfield recalled. -
“Superfly”—Curtis Mayfield (1972) Added to the National Registry: 2018 Essay by Josiah Howard (Guest Post)*
“Superfly”—Curtis Mayfield (1972) Added to the National Registry: 2018 Essay by Josiah Howard (guest post)* Album cover Label Mayfield What is there left to say about Curtis Mayfield’s seminal work “Superfly,” his soundtrack album for the 1972 Warner Bros. Pictures film? One might start by stating the facts. “Superfly,” a collection of nine songs written, produced and performed by Mayfield, is one of the most critically praised, politically aware, and financially successful blaxploitation cinema soundtrack albums ever made. And it’s no wonder: the album spawned two million-selling Top Ten pop and R&B hits-- “Superfly” and “Freddie’s Dead”--continued the tradition of social commentary in popular black music and served as a subversive dissonant--a counter story to the story being played out on the screen. “I was very influenced by Marvin [Gaye’s] ‘What’s Going On’ album,” Mayfield remembered years later (Gaye’s album was released the year before). “When they asked me to do ‘Superfly,’ I was worried because I thought Marvin had already covered all the social commentary and soul music bases.” He needn’t have worried. It was true that Gaye’s album was a touchstone--even broaching the topic of the environment; “Mercy, Mercy Me (The Ecology).” But it was also true that Mayfield, not Gaye, first introduced and was first credited with afro-centric, black power, “brother” songs that, as it turned out, served as the soundtrack for the Civil Rights movement. Curtis Lee Mayfield was born in Chicago, Illinois, on June 3, 1942. He grew up in the hard knocks Cabrini-Green housing projects--the incendiary backdrop for the blaxploitation favorite “Cooley High” and the African-American TV series “Good Times.” One of five children, his mother encouraged his innate musicality. -
Download Without the Beatles Here
A possible history of pop ... DAVID JOHNSTON To musicians and music-lovers, everywhere, and forever. A possible history of pop… DAVID JOHNSTON Copyright © 2020 David Johnston. All rights reserved. First published in 2020. ISBN 978-1-64999-623-7 This format is available for free, single-use digital transmission. Multiple copy prints, or publication for profit not authorised. Interested publishers can contact the author: [email protected] Book and cover design, layout, typesetting and editing by the author. Body type set in Adobe Garamond 11/15; headers Futura Extra Bold, Bold and Book Cover inspired by the covers of the Beatles’ first and last recorded LPs, Please Please Me and Abbey Road. CONTENTS PROLOGUE 1 I BEFORE THE BEATLES 1 GALAXIES OF STARS 5 2 POP BEGINNINGS 7 3 THE BIRTH OF ROCK’N’ROLL 9 4 NOT ONLY ROCK’N’ROLL 13 5 THE DEATH OF ROCK’N’ROLL AND THE RISE OF THE TEENAGE IDOLS 18 6 SKIFFLE – AND THE BRITISH TEENAGE IDOLS 20 7 SOME MARK TIME, OTHERS MAKE THEIR MARK 26 II WITHOUT THE BEATLES A hypothetical 8 SCOUSER STARTERS 37 9 SCOUSER STAYERS 48 10 MANCUNIANS AND BRUMMIES 64 11 THAMESBEAT 76 12 BACK IN THE USA 86 13 BLACK IN THE USA 103 14 FOLK ON THE MOVE 113 15 BLUES FROM THE DEEP SOUTH OF ENGLAND (& OTHER PARTS) 130 III AFTER THE BEATLES 16 FROM POP STARS TO ROCK GODS: A NEW REALITY 159 17 DERIVATIVES AND ALTERNATIVES 163 18 EX-BEATLES 190 19 NEXT BEATLES 195 20 THE NEVER-ENDING END 201 APPENDIX 210 SOURCES 212 SONGS AND OTHER MUSIC 216 INDEX 221 “We were just a band who made it very, very big.