How Masekela's Journeys in Exile Shaped His Music and Politics

Total Page:16

File Type:pdf, Size:1020Kb

How Masekela's Journeys in Exile Shaped His Music and Politics 2/17/2019 How Masekela's journeys in exile shaped his music and politics Academic rigour, journalistic flair How Masekela’s journeys in exile shaped his music and politics February 11, 2018 7.17pm AEDT Hugh Masekela’s 30 years of exile began shortly after the Sharpeville Massacre. Lee Celano/Reuters How Masekela’s journeys in exile shaped his music and politics February 11, 2018 7.17pm AEDT The world continues to pay tribute to the legendary Hugh Ramapolo Masekela who Authors died on 23 January 2018. His journeys have reminded us that the itineraries of South African exiles — writers, journalists, performers, photographers, and political activists — have much to offer transnational histories of anti-apartheid resistance. Masekela knew some formative moments during his own long exile. Radical black Ron Levi Ph.D. fellow in European Research Council internationalism, pan-Africanism and anti-apartheid resistance were all woven into (ERC) project "Apartheid- The Global the texture of his sound. Masekela traversed these universes without ever Itinerary: South African Cultural Formations in Transnational Circulation 1948-1990", relinquishing his claims to musical autonomy and creative agency as a black artist led by Prof. Louise Bethlehem, Hebrew who made a living through his art. University of Jerusalem Louise Bethlehem Associate professor in Cultural Studies and English, Hebrew University of Jerusalem Read more: Remembering Hugh Masekela: the horn player with a shrewd ear for music of the day Masekela’s 30 years of exile began shortly after the Sharpeville Massacre in March 1960. That is when the apartheid regime’s police opened fire on a group of black protesters in the township of Sharpeville, south of Johannesburg, killing 69 people. https://theconversation.com/how-masekelas-journeys-in-exile-shaped-his-music-and-politics-91029 1/5 2/17/2019 How Masekela's journeys in exile shaped his music and politics The young Masekela was already a rising star in the Sophiatown jazz scene when he left his motherland. Once in New York, Masekela dreamed of blending into the golden era of black jazz as a virtuoso bebop trumpeter. Game­changer Although Masekela’s entry into the American music industry was relatively smooth thanks to the mediation of his future wife, the already exiled singer Miriam Makeba, his career veered away from bebop. After his separation from Makeba, Masekela moved to Los Angeles in the summer of 1966 in the slipstream of the relative success of his third album “The Americanization of Ooga Booga” (1966). This decision was a game-changer. Masekela was invited to participate in the prestigious Monterey International Pop Festival in California in 1967. He then released his first hit and chart-blazer “Grazing in the Grass” (1968). Hugh Masekela - Grazing In The Grass Hugh Masekela’s chart-topping ‘Grazing in the grass’. Around this time, the first signs of radical black internationalism came to the fore in Masekela’s music emerging on his 1969 album, “Masekela”, arguably the first politically direct album in his oeuvre. In his 2004 autobiography Masekela defined one of the songs in the album in question, “If There’s Anybody Out There Who Can Hear Me”, as, a lament about police brutality, racism, and unfair imprisonment of black males, the suffering of the Vietnamese, and the conscription of innocent young men into the army to fight and kill people who had done nothing to harm them. https://theconversation.com/how-masekelas-journeys-in-exile-shaped-his-music-and-politics-91029 2/5 2/17/2019 How Masekela's journeys in exile shaped his music and politics Stylistically an American blues-rock song, it is performed from the point of view of a black South African responding to the experiences that shaped America during the late 1960s. Masekela screams “from down here below” in the hope that he will be strong enough to finish his story. Hugh Masekela- If There's Anybody Out There Hugh Masekela’s ‘If There’s Anybody Out There Who Can Hear Me’ Pan­Africanist inspiration Dazzled by the fame of “Grazing in the Grass” topping the US charts, the young Masekela spent much of his new fortune on drugs and alcohol. Still, he recorded two notable albums during the early 1970s in collaboration with fellow exiles, Caiphus Semenya and Jonas Gwangwa. “Masekela and the Union of South Africa” (1971) and “Home Is Where the Music Is” (1972) both blended the sounds of South Africa with contemporary black musical production in the US. In 1972 Masekela decided to travel to Africa in search of musical inspiration. His friendship with the Nigerian political activist and pioneer of Afrobeat, Fela Anikulapo Kuti, would leave a deep imprint on him as he developed an awareness about the vibrancy of music-making on the continent. During his travels through Guinea, Nigeria, Liberia, Zaire and Ghana, Masekela was exposed to energetic political debate pivoting on competing pan-Africanist agendas, anti-imperialism and the consolidation of nation-building initiatives in decolonising Africa. Back in New York with the esteemed Ghanaian band, Hedzoleh Soundz, Masekela was able to restore his reputation. He fully committed himself to a new vision: raising awareness of contemporary African music on the other side of the Atlantic. Rumble in the Jungle With record producer Stewart Levine, Masekela quickly went on to produce the famous “Zaire ‘74” festival. This three-day black music event was intended to precede the famous boxing bout known as https://theconversation.com/how-masekelas-journeys-in-exile-shaped-his-music-and-politics-91029 3/5 2/17/2019 How Masekela's journeys in exile shaped his music and politics the “Rumble in the Jungle” between George Foreman and Muhammad Ali. “Zaire '74” juxtaposed Black Power and Soul Power with dictator Mobutu Sese Seko’s violent campaigns to consolidate Zairean nationalism. For their part, Masekela and Levine orchestrated the event to create a deliberately crafted transatlantic dialogue between Latino, African American and continental African musical traditions. The festival fell short of Masekela’s expectations of producing a “black Woodstock” in Africa, not least because boxing match was postponed due to Foreman’s injury which deprived “Zaire '74” of its function as curtain-raiser. Masekela did not himself appear at the festival. Yet “Zaire '74” would be crucial in consolidating his prominence as an icon of the anti-apartheid struggle. Anti­apartheid resistance Anthems showing acute political involvement began to emerge from Masekela’s oeuvre from this point onwards. One of his most famous anti-apartheid anthems, “Stimela”, was written one gloomy evening in a Woodstock club during a drinking session back in 1971. It was recorded in March 1974 as part of Masekela’s album “I Am Not Afraid”. Stimela - Jazz Day 2013 - Hugh Masekela Hugh Masekela’s ‘Stimela’ Masekela’s opening monologue lists all the places from which labour migrants travel to Johannesburg to work in the city’s mines. The song poignantly emphasises the pain of travelling to a place from which there is no easy return. The mechanical scream of the train functions as the moment when the body of the exiled Masekela becomes a weapon of protest: with exquisite drama the voice of the displaced musician serves to introduce the artistry of his trumpet solo. https://theconversation.com/how-masekelas-journeys-in-exile-shaped-his-music-and-politics-91029 4/5 2/17/2019 How Masekela's journeys in exile shaped his music and politics Over the years Masekela’s courageous voice against the injustices of apartheid was loud and clear. There are numerous examples, but we cite two. “Soweto Blues” was written in the aftermath of the 1976 Soweto Uprising. It was when young black people in the township rose up against the apartheid government’s directive to make Afrikaans compulsory as a language of instruction in schools. Then there was the 1985 hit “Bring Him Back Home” triggered by a birthday card smuggled out of Pollsmoor Prison from then incarcerated ANC leader Nelson Mandela to Masekela. In September 1990 Masekela returned from exile. This concluded his physical journeys. But as musicologist Lindelwa Dalamba has pointed out, addressing Masekela’s pan-Africanist musical indebtedness after his death: The journeys that Masekela mapped for us as a nomad in exile cannot be said to have ended. Apartheid Jazz Hugh Masekela Miriam Makeba Sharpeville massacre Trumpeter Sophiatown bebop We produce knowledge-based, ethical journalism. Please donate and help us thrive. Tax deductible. Make a donation https://theconversation.com/how-masekelas-journeys-in-exile-shaped-his-music-and-politics-91029 5/5.
Recommended publications
  • Before March 21,1960 Sharpevilie Had
    An MK Combatant Speaks on Sharpe ville -Before March 21,1960 Sharpevilie had not much significance, except that it is a small ghetto where Africans daily struggle for survival a; few kilometres from Vereeniging. True, the sharp contrast between the squalor of Sharpevilie and the gli­ tter of Vereeniging expressive of the deejv-rooted inequality between oppressive and exploitative apartheid rulers on the one hand, and the millions of their victims on the other, between black and white " throughout the country, still exists undisturbed. But over the past 22 years Sharpevilie has acqui­ red great significance. ' - - To the Bothas and Treurnichts, the Qppenheimers and Louis Luyts the very mention of the word 'Sharpevilie1 strikes a note of uncertainty about the future of their decadent system of fascist colonial domination and exploitation - the false and sinister pride they once deprived from their massacre of our people at Sharpevilie and ^anga in defence of apartheid i s fast diminishing. To oppressed but fighting people Sharpevilie calls to mind all the grisly atrocities perpetrated by these racist colonialists since they set foot - on our land; and reminds us of all our martyrs and heroes who have laid down their lives in the name of our just cause of liberation. Shaav peville sharpens our hatred for apartheid, this system which has brought only hunger, disease, broken families, ignorance, insecurity and death to our peoples in South Africa and Namibia and a constant threat to the peace-loving peoples' of Angola, Mozambique, Lesotho, Botswana, Swaziland, Zambia, Zimbabwe and Seychelles. To the international democratic community Sharpen ville emphasises the importance of unity in isolating-the apart­ heid regime in the economic, political, military, cultural and all other spheres." Sharpevilie must draw our attention to the urgent need to destroy apartheid fascism" and build a new non- rafeiSl,: democratic and 'peaceful South Africa of the Preeaom Charter.
    [Show full text]
  • South Africa
    Safrica Page 1 of 42 Recent Reports Support HRW About HRW Site Map May 1995 Vol. 7, No.3 SOUTH AFRICA THREATS TO A NEW DEMOCRACY Continuing Violence in KwaZulu-Natal INTRODUCTION For the last decade South Africa's KwaZulu-Natal region has been troubled by political violence. This conflict escalated during the four years of negotiations for a transition to democratic rule, and reached the status of a virtual civil war in the last months before the national elections of April 1994, significantly disrupting the election process. Although the first year of democratic government in South Africa has led to a decrease in the monthly death toll, the figures remain high enough to threaten the process of national reconstruction. In particular, violence may prevent the establishment of democratic local government structures in KwaZulu-Natal following further elections scheduled to be held on November 1, 1995. The basis of this violence remains the conflict between the African National Congress (ANC), now the leading party in the Government of National Unity, and the Inkatha Freedom Party (IFP), the majority party within the new region of KwaZulu-Natal that replaced the former white province of Natal and the black homeland of KwaZulu. Although the IFP abandoned a boycott of the negotiations process and election campaign in order to participate in the April 1994 poll, following last minute concessions to its position, neither this decision nor the election itself finally resolved the points at issue. While the ANC has argued during the year since the election that the final constitutional arrangements for South Africa should include a relatively centralized government and the introduction of elected government structures at all levels, the IFP has maintained instead that South Africa's regions should form a federal system, and that the colonial tribal government structures should remain in place in the former homelands.
    [Show full text]
  • SHARPEVILLE and AFTER SUPPRESSION and LIBERATION
    SHARPEVILLE AND AFTER SUPPRESSION and LIBERATION in SOUTHERN AFRICA sharpeville march 21,1960 sixty nine Africans shot dead by policep hundreds injured and thousands arrested. SHARPEVILLE. Symbol of the violence and racism of white South Africa. Symbol of white destruction of non-violent African protest. Symbol of the violent truth. inside south africa In the Republic of South Africa the white 19 per cent of the population has total political and economic control over the 81 per cent African, Asian and "Colored" (people of mixed racial ancestry) majority. They also control 100 per cent of the land, 87 per cent of which is to be occupied by whites only. The remaining land (con taining virtually none of the country's natural resources) is "reserved* for the 13 million Africans who comprise a cheep labor pool for white-owned industry and agriculture. The average per capita income of Africans is only 10 per cent that of whites in South Africa. One main pillar of this system of apertheid (the forced in equality of racial groups) is the PASS LAWS. Every African is required to carry a pass (reference) book in order to work, move about, or live anywhere. Failure to produce a pass on demand is a criminal offence which results in imprisonment and fines for half a million Africans every year. It is the pass system which enables the white government to control the black majority with police state efficiency. To Africans the pass is a *badge of slavery." the sharpeville massacre The pass laws became the fo cus of protest in 1960 for a newly formed African nationalist party, the Pan Africanist Congress (PAC), an offshoot of the older African National Congress (ANC).
    [Show full text]
  • The Journal of the Core Curriculum Volume XII Spring 2003 the Journal of the Core Curriculum
    The Journal of the Core Curriculum Volume XII Spring 2003 The Journal of the Core Curriculum Volume XII Julia Bainbridge, EDITOR Zachary Bos, ART DIRECTOR Agnes Gyorfi, LAYOUT EDITORIAL BOARD Brittany Aboutaleb Kristen Cabildo Kimberly Christensen Jehae Kim Heather Levitt Nicole Loughlin Cassandra Nelson Emily Patulski Christina Wu James Johnson, DIRECTOR of the CORE CURRICULUM and FACULTY ADVISOR PUBLISHED by BOSTON UNIVERSITY at BOSTON, MASSACHUSETTS, in the month of MAY, 2003 My mother groan'd! my father wept. Into the dangerous world I leapt: Hapless, naked, piping loud: Like a fiend hid in a cloud. ~William Blake Copyright © MMIII by the Trustees of Boston University. Reproduction of any material contained herein without the expressed consent of the authors is strictly forbidden. Printed 2003 by Offset Prep. Inc., North Quincy, Massachusetts. Table of Contents In the Beginning 7 Stephanie Pickman Love 10 Jonathon Wooding Sans Artifice 11 Ryan Barrett A Splintering 18 Jaimee Garbacik Ripeness and Rot in Shakespeare 22 Stephen Miran Interview with the Lunatic: A Psychiatric 28 Counseling Session with Don Quixote Emily Patulski In My Mind 35 Julia Schumacher On Hope and Feathers 37 Matt Merendo Exploration of Exaltation: A Study of the 38 Methods of James and Durkheim Julia Bainbridge Today I Saw Tombstones 43 Emilie Heilig A Dangerous Journey through the Aisles of Shaw’s 44 Brianna Ficcadenti Searching for Reality: Western and East Asian 48 Conceptions of the True Nature of the Universe Jessica Elliot Journey to the Festival 56 Emilie
    [Show full text]
  • Nr. 97 2017 Nr. 97 2017
    Nr. 97 Juni/Juli 2017 20.Jahrgang Gratis im Fachhandel WWW.INMUSIC2000.DE inHard_inMusic_S1_S16 18.06.2017 16:23 Uhr Seite 16 Seite Uhr 16:23 18.06.2017 inHard_inMusic_S1_S16 MONATS DES CD ANNA COOGAN FREDDA MARY'S LITTLE LAMB EBBA FORSBERG MORITZ ECKER The Lonely Cry Of Space... Land Elixir For The Drifter Take My Waltz Yes Anna Coogan/Soulfood Le Pop Musik/Groove Attack Rootz Rumble/in-akustik Gamlestans G./Broken Silence Waterfall Rec./Broken Silence ###### ##### ##### ##### ##### Ein echter Geheimtipp ist die Ich mag die Alben der fran- Aus Belgien kommt die fünf- Die Alben der schwedischen Aus Berlin kommt der Sin- aus Boston/USA stammen- zösischen Sängerin und köpfige Tex-Mex, Country Sängerin und Songwriterin ger/Songwriter und Multiin- de Sängerin, Gitarristin und Songwriterin Fredda sehr. und Americana-Truppe Ebba Forsberg waren in der strumentalist (u.a. Gitarre, Meeresbiologin Anna Coo- Das trifft auch auf ihre neu- Mary's Little Lamb, die Vergangenheit allesamt Wurlitzer-Orgel, Drums) Mo- gan, die in ihrer musikali- este Scheibe "Land" zu, zu einem wahre Gänsehaut- empfehlenswert. Besonde- ritz Ecker, der sich auf sei- schen Entwicklung maß- deren Texte sie sich teilwei- schauer über den Rücken re Erwähnung verdienen nem neuen Album von der geblich von Künstlern wie se durch japanische Gedich- jagt. Zu verdanken sind dies hierbei auch ihre beiden skandinavischen Songwriter- Kate Bush, Jane Siberry und te inspirieren ließ. Dazu gibt insbesondere den zwei Coveralben von Bob Dylan Szene, aber auch von Folk- Lene Lovich beeinflusst es atmosphärisches "Wüs- Trompeten im Bandsound (2007) und Tom Waits künstlern der 60iger und wurde.
    [Show full text]
  • Trc-Media-Sapa-2000.Pdf
    GRAHAMSTOWN Jan 5 Sapa THREE OF DE KOCK'S CO-ACCUSED TO CHALLENGE TRC DECISION Three former security branch policemen plan to challenge the Truth and Reconciliation Commission's decision to refuse them and seven of their former colleagues, including Eugene de Kock, amnesty for the 1989 murder of four policemen. De Kock, Daniel Snyman, Nicholaas Janse Van Rensburg, Gerhardus Lotz, Jacobus Kok, Wybrand Du Toit, Nicolaas Vermeulen, Marthinus Ras and Gideon Nieuwoudt admitted responsibility for the massive car bomb which claimed the lives of Warrant Officer Mbalala Mgoduka, Sergeant Amos Faku, Sergeant Desmond Mpipa and an Askari named Xolile Shepherd Sekati. The four men died when a bomb hidden in the police car they were travelling in was detonated in a deserted area in Motherwell, Port Elizabeth, late at night in December 1989. Lawyer for Nieuwoudt, Lotz and Van Rensburg, Francois van der Merwe said he would shortly give notice to the TRC of their intention to take on review the decision to refuse the nine men amnesty. He said the judgment would be taken on review in its entirety, and if it was overturned by the court, the TRC would once again have to apply its mind to the matter in respect of all nine applicants. The applicants had been "unfairly treated", he said and the judges had failed to properly apply their mind to the matter. The amnesty decision was split, with Acting Judge Denzil Potgieter and Judge Bernard Ngoepe finding in the majority decision that the nine men did not qualify for amnesty as the act was not associated with a political objective and was not directed against members of the ANC or other liberation movements.
    [Show full text]
  • The New Fillmore
    RETAIL REPORT FOOD & DRINK REAL ESTATE New shops, A new bar, and Home sells for medspa open it’s a long one under a million PAGES 5 - 7 PAGE 10 PAGE 14 New FILLMORE SAN FRANCISCO ■ AUGUST 2008 A Good Egg For 40 years, Phil Dean and drives along Golden Gate Park as he makes his way back to Fillmore Street. was Fillmore Hardware. He retired two and a half years ago, He’s retired now, but he but he’s never really gotten away from the neighborhood where he worked for most still delivers fresh eggs of his adult life. As he looks for a parking on Friday afternoon. space near Fillmore and Pine, he can glance out the window and see his fi ngerprints B B K R on nearly every Victorian on the block T R — lumber he sold, paint he mixed, repairs made according to advice he dispensed. ’ on a Friday afternoon, For an hour on Friday afternoon, just and Phil Dean, longtime manager before closing time, he’s back behind the of Fillmore Hardware, gets into counter of the hardware store, still greeting his truck in Pacifi ca and makes the customers and occasionally giving advice or drive he’s made so many times: up cutting keys — and delivering eggs, some ISkyline Drive, onto the Great Highway, of them gathered from his henhouse earlier S B past Ocean Beach. He turns right on Fulton that day. TO PAGE 8 4 LOCALS NEIGHBORHOOD NEWS Good Riddance, Say Locals, as Redevelopment Ends B D G “In the early days,” said executive di- But by this time, the African American destroyed a community, a way of life.” rector Fred Blackwell, “there is much that community had had enough.
    [Show full text]
  • NEA-Annual-Report-1992.Pdf
    N A N A L E ENT S NATIONAL ENDOWMENT FOR~THE ARTS 1992, ANNUAL REPORT NATIONAL ENDOWMENT FOR!y’THE ARTS The Federal agency that supports the Dear Mr. President: visual, literary and pe~orming arts to I have the honor to submit to you the Annual Report benefit all A mericans of the National Endowment for the Arts for the fiscal year ended September 30, 1992. Respectfully, Arts in Education Challenge &Advancement Dance Aria M. Steele Design Arts Acting Senior Deputy Chairman Expansion Arts Folk Arts International Literature The President Local Arts Agencies The White House Media Arts Washington, D.C. Museum Music April 1993 Opera-Musical Theater Presenting & Commissioning State & Regional Theater Visual Arts The Nancy Hanks Center 1100 Pennsylvania Ave. NW Washington. DC 20506 202/682-5400 6 The Arts Endowment in Brief The National Council on the Arts PROGRAMS 14 Dance 32 Design Arts 44 Expansion Arts 68 Folk Arts 82 Literature 96 Media Arts II2. Museum I46 Music I94 Opera-Musical Theater ZlO Presenting & Commissioning Theater zSZ Visual Arts ~en~ PUBLIC PARTNERSHIP z96 Arts in Education 308 Local Arts Agencies State & Regional 3z4 Underserved Communities Set-Aside POLICY, PLANNING, RESEARCH & BUDGET 338 International 346 Arts Administration Fallows 348 Research 35o Special Constituencies OVERVIEW PANELS AND FINANCIAL SUMMARIES 354 1992 Overview Panels 360 Financial Summary 36I Histos~f Authorizations and 366~redi~ At the "Parabolic Bench" outside a South Bronx school, a child discovers aspects of sound -- for instance, that it can be stopped with the wave of a hand. Sonic architects Bill & Mary Buchen designed this "Sound Playground" with help from the Design Arts Program in the form of one of the 4,141 grants that the Arts Endowment awarded in FY 1992.
    [Show full text]
  • Struggle for Liberation in South Africa and International Solidarity A
    STRUGGLE FOR LIBERATION IN SOUTH AFRICA AND INTERNATIONAL SOLIDARITY A Selection of Papers Published by the United Nations Centre against Apartheid Edited by E. S. Reddy Senior Fellow, United Nations Institute for Training and Research STERLING PUBLISHERS PRIVATE LIMITED NEW DELHI 1992 INTRODUCTION One of the essential contributions of the United Nations in the international campaign against apartheid in South Africa has been the preparation and dissemination of objective information on the inhumanity of apartheid, the long struggle of the oppressed people for their legitimate rights and the development of the international campaign against apartheid. For this purpose, the United Nations established a Unit on Apartheid in 1967, renamed Centre against Apartheid in 1976. I have had the privilege of directing the Unit and the Centre until my retirement from the United Nations Secretariat at the beginning of 1985. The Unit on Apartheid and the Centre against Apartheid obtained papers from leaders of the liberation movement and scholars, as well as eminent public figures associated with the international anti-apartheid movements. A selection of these papers are reproduced in this volume, especially those dealing with episodes in the struggle for liberation; the role of women, students, churches and the anti-apartheid movements in the resistance to racism; and the wider significance of the struggle in South Africa. I hope that these papers will be of value to scholars interested in the history of the liberation movement in South Africa and the evolution of United Nations as a force against racism. The papers were prepared at various times, mostly by leaders and active participants in the struggle, and should be seen in their context.
    [Show full text]
  • APPEAL to the CHRISTIAN WOMEN of the SOUTH, by A. E. GRIMKÉ. "Then Mordecai Commanded to Answer Esther, Think Not Within
    APPEAL TO THE CHRISTIAN WOMEN OF THE SOUTH, BY A. E. GRIMKÉ. "Then Mordecai commanded to answer Esther, Think not within thyself that thou shalt escape in the king's house more than all the Jews. For if thou altogether holdest thy peace at this time, then shall there enlargement and deliverance arise to the Jews from another place: but thou and thy father's house shall be destroyed: and who knoweth whether thou art come to the kingdom for such a time as this. And Esther bade them return Mordecai this answer: and so will I go in unto the king, which is not according to law, and if I perish, I perish." Esther IV. 13-16. RESPECTED FRIENDS, It is because I feel a deep and tender interest in your present and eternal welfare that I am willing thus publicly to address you. Some of you have loved me as a relative, and some have felt bound to me in Christian sympathy, and Gospel fellowship; and even when compelled by a strong sense of duty, to break those outward bonds of union which bound us together as members of the same community, and members of the same religious denomination, you were generous enough to give me credit, for sincerity as a Christian, though you believed I had been most strangely deceived. I thanked you then for your kindness, and I ask you now, for the sake of former confidence and former friendship, to read the following pages in the spirit of calm investigation and fervent prayer. It is because you have known me, that I write thus unto you.
    [Show full text]
  • 2021 Regular Session ENROLLED SENATE RESOLUTION NO. 75 by SENATORS PRICE and SMITH a RESOLUTION to Express the Sincere Condolenc
    2021 Regular Session ENROLLED SENATE RESOLUTION NO. 75 BY SENATORS PRICE AND SMITH A RESOLUTION To express the sincere condolences of the Senate of the Legislature of Louisiana upon the death of Lloyd Price, American Rhythm and Blues artist. WHEREAS, it is with deep regret and profound sorrow that the members of the Senate of the Legislature of Louisiana have learned of the passing of Lloyd Price on May 3, 2021, at the age of eighty-eight; and WHEREAS, Lloyd Price, while a resident of Westchester County, New York, was born on March 9, 1933, and raised in Kenner, Louisiana; his mother, Beatrice Price, owned the Fish 'n' Fry Restaurant where he picked up lifelong interests in business and food from her; and WHEREAS, he received formal training on the trumpet and piano, sang in his church's gospel choir, and was a member of a combo in high school; and WHEREAS, Lloyd Price helped draw national attention to New Orleans' unique and burgeoning Rhythm and Blues (R&B) sound when he recorded his first No. 1 R&B 1952 hit "Lawdy Miss Clawdy"; and WHEREAS, he followed up with singles such as "Oooh-Oooh-Oooh", "Ain't It a Shame", and "Tell Me Pretty Baby", which reached Top 10 R&B between 1952-53; and WHEREAS, due to a stint in the United States Army in Korea, Lloyd Price didn't return to the charts until 1957 with the release of "Just Because" which reached Number three in R&B and became his first pop crossover at no. 29; this was the first release through Price's own KRC Records; and WHEREAS, with distribution through ABC Records, KRC issued several more Price classics: 1958's million-selling no.
    [Show full text]
  • Alice Walker Papers, Circa 1930-2014
    WALKER, ALICE, 1944- Alice Walker papers, circa 1930-2014 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Digital Material Available in this Collection Descriptive Summary Creator: Walker, Alice, 1944- Title: Alice Walker papers, circa 1930-2014 Call Number: Manuscript Collection No. 1061 Extent: 138 linear feet (253 boxes), 9 oversized papers boxes and 1 oversized papers folder (OP), 10 bound volumes (BV), 5 oversized bound volumes (OBV), 2 extraoversized papers folders (XOP) 2 framed items (FR), AV Masters: 5.5 linear feet (6 boxes and CLP), and 7.2 GB of born digital materials (3,054 files) Abstract: Papers of Alice Walker, an African American poet, novelist, and activist, including correspondence, manuscript and typescript writings, writings by other authors, subject files, printed material, publishing files and appearance files, audiovisual materials, photographs, scrapbooks, personal files journals, and born digital materials. Language: Materials mostly in English. Administrative Information Restrictions on Access Special restrictions apply: Selected correspondence in Series 1; business files (Subseries 4.2); journals (Series 10); legal files (Subseries 12.2), property files (Subseries 12.3), and financial records (Subseries 12.4) are closed during Alice Walker's lifetime or October 1, 2027, whichever is later. Series 13: Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. The same restrictions listed above apply to born digital materials. Emory Libraries provides copies of its finding aids for use only in research and private study.
    [Show full text]