DOCSLIB.ORG

Exhibition Keynote Speaker the Newark Public Library

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Exhibition Keynote Speaker the Newark Public Library THE PERFORMER The Newark Public Library Miche (pronounced “Mickey”) Braden is a singer, actor, musician, songwriter, arranger and musical Presents director. She is a product of the rich musical heritage of her hometown, Detroit, where she A Black History Celebration was an artist-in-residence with the Detroit Council of the Arts, the founder and former Opening Night lead singer of Straight Ahead (women’s jazz band), and was a protégé of Motown musi- cians Thomas “Beans” Bowles, Earl Van Dyke (leader of The Funk Brothers), and jazz master composer Harold McKinney. As a singer, Miche has performed with Re- gina Carter, Alexis P. Suter, Milt Hinton, Lionel Hampton and Frenchie Davis. She is featured on the James Carter re- lease Gardenia’s for Lady Day (Sony/Columbia), and ap- peared with him at Carnegie Hall. Miche performed “New York State of Mind” in Movin’ Out on Broadway, and was dubbed “Billy Joel’s Piano Woman” by Fox 5 News. Miche’s talented and versatile work can be heard on Diva Out of Bounds, Ms. Miche (available on iTunes and CD Baby). This Saturday JONATHAN CAPEHART ~ FEB 6th Centennial Hall ~ 2:00-4:00 PM Thursday, February 4, 2016 Pulitzer Prize-winning writer, Washington Post editorial board member, PostPartisan blogger Exhibition and MSNBC contributor, Jonathan Capehart, We Found Our Way: will be the keynote speaker on Saturday, Feb- Newark Portraits from the Great Migration ruary 6 at 2 PM, Centennial Hall. Born and raised in Newark, NJ and a gradu- ate of St. Benedict's Preparatory Keynote Speaker High School in Newark, Capehart will discuss "White Balance: Distortion of John Franklin Black Images on Television." Hosted by Emmy Senior Manager Office of External Affairs Award-winning anchor/reporter and FiOS 1 The National Museum of African American News Team anchor, Vanessa Tyler. History and Culture Celeste Bateman, Guest Producer Celeste Bateman & Associates, LLC CENTENNIAL HALL | NEWARK PUBLIC LIBRARY (973) 705-8253 | www.celestebateman.com | [email protected] 5 WASHINGTON STREET | NEWARK, NJ THE EXHIBITION We Found Our Way: Newark Portraits from the Great The Newark Public Library Migration This 2016 Black History exhibition centers on the remarka- Presents ble narratives of the Krueger-Scott African-American Oral History Collection. This collection, assembled in the late A Black History Celebration 1990s under the direction of Catherine J. Lenix-Hooker, Exhibition Opening captured the stories of Newark's African-American citizens We Found Our Way: who migrated to the city between 1910-1970. The result is Newark Portraits from the Great Migration over 100 interviews with brave men and women who left the segregated, Jim Crow South to make better lives for them- 5:30—6:30 pm selves and their families. Samantha J. Boardman, Ph.D., Meet & Greet Guest Curator Light Refreshments (Please visit the exhibition) THE SPEAKER John W. Franklin serves as Senior Welcome Manager, Office of External Affairs, The Trish Morris-Yamba, Board Member National Museum of African American The Newark Public Library History and Culture (NMAAHC), Wash- ington, DC. Franklin has worked on Af- Remarks rican American, African and African Linda Bowden, PNC Bank Diaspora programs for the past 25+ years at the Smithsonian. Initially, he Remarks served as researcher and French lan- Samantha Boardman, Ph.D., Guest Curator guage interpreter for the Smithsonian’s African Diaspora program of the 1976 Bicentennial Folklife Festival while liv- Remarks ing and teaching English in Dakar, Senegal. He was a pro- Catherine J, Lenix-Hooker gram manager and curator at the Smithsonian's Center for Folklife and Cultural Heritage where he developed presen- Introduction of Speaker tations on Senegal, the Bahamas, Cape Verde and Wash- John Johnson, Jr., Ph.D., Director ington, D.C., for the annual Smithsonian Folklife Festival. Newark Celebration 350 Franklin served on the Maryland Commission on African American History and Culture from 1998 to 2008 and the Keynote Speaker board of the Reginald Lewis Maryland Museum of African John W. Franklin American History and Culture from 2000 to 2009. With his Senior Manager Office of External Affairs, NMAAHC father, the late Dr. John Hope Franklin, he co-edited My Washington, DC Life and An Era: The Autobiography of Buck Colbert Frank- "Introducing the National Museum of African American lin. He also served as advisor on the documentary film, Tutu History and Culture" and Franklin: A Journey Towards Peace. PNC Foundation is proud to support The Newark Public Library's Black History Celebration .
Load more

Recommended publications
  • Aaamc Issue 9 Chrono
    of renowned rhythm and blues artists from this same time period lip-synch- ing to their hit recordings. These three aaamc mission: collections provide primary source The AAAMC is devoted to the collection, materials for researchers and students preservation, and dissemination of materi- and, thus, are invaluable additions to als for the purpose of research and study of our growing body of materials on African American music and culture. African American music and popular www.indiana.edu/~aaamc culture. The Archives has begun analyzing data from the project Black Music in Dutch Culture by annotating video No. 9, Fall 2004 recordings made during field research conducted in the Netherlands from 1998–2003. This research documents IN THIS ISSUE: the performance of African American music by Dutch musicians and the Letter ways this music has been integrated into the fabric of Dutch culture. The • From the Desk of the Director ...........................1 “The legacy of Ray In the Vault Charles is a reminder • Donations .............................1 of the importance of documenting and • Featured Collections: preserving the Nelson George .................2 achievements of Phyl Garland ....................2 creative artists and making this Arizona Dranes.................5 information available to students, Events researchers, Tribute.................................3 performers, and the • Ray Charles general public.” 1930-2004 photo by Beverly Parker (Nelson George Collection) photo by Beverly Parker (Nelson George Visiting Scholars reminder of the importance of docu- annotation component of this project is • Scot Brown ......................4 From the Desk menting and preserving the achieve- part of a joint initiative of Indiana of the Director ments of creative artists and making University and the University of this information available to students, Michigan that is funded by the On June 10, 2004, the world lost a researchers, performers, and the gener- Andrew W.
    [Show full text]
  • The Social and Cultural Changes That Affected the Music of Motown Records from 1959-1972
    Columbus State University CSU ePress Theses and Dissertations Student Publications 2015 The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 Lindsey Baker Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Baker, Lindsey, "The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972" (2015). Theses and Dissertations. 195. https://csuepress.columbusstate.edu/theses_dissertations/195 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 by Lindsey Baker A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Bachelor of Music in Performance Schwob School of Music Columbus State University Thesis Advisor Date Dr. Kevin Whalen Honors Committee Member ^ VM-AQ^A-- l(?Yy\JcuLuJ< Date 2,jbl\5 —x'Dr. Susan Tomkiewicz Dean of the Honors College ((3?7?fy/L-Asy/C/7^ ' Date Dr. Cindy Ticknor Motown Records produced many of the greatest musicians from the 1960s and 1970s. During this time, songs like "Dancing in the Street" and "What's Going On?" targeted social issues in America and created a voice for African-American people through their messages. Events like the Mississippi Freedom Summer and Bloody Thursday inspired the artists at Motown to create these songs. Influenced by the cultural and social circumstances of the Civil Rights Movement, the musical output of Motown Records between 1959 and 1972 evolved from a sole focus on entertainment in popular culture to a focus on motivating social change through music.
    [Show full text]
  • Recreating the Ensemble Dynamic of Motown's Funk Brothers
    6 Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers Vincent Perry Introduction By the early 1960s, the genre known as soul had become the most commercially successful of all the crossover styles. Drawing on musical influences from the genres of gospel, jazz and blues, ‘soul’s success was as much due to a number of labels, so-called “house sounds”, and little- known bands, as it was to specific performers or songwriters’ (Borthwick and Moy, 2004, p. 5). Following on from the pioneer releases of Ray Charles and Sam Cooke, a Detroit-based independent label would soon become the ‘most successful and high profile of all the soul labels’ (Borthwick and Moy, 2004, p. 5). Throughout the early 1960s, Berry Gordy’s Tamla Motown dominated the domestic US pop and R&B charts with its assembly-line approach to music production (Moorefield, 2005, p. 21), which resulted in a distinctive sound that was shared by all the label’s artists. However, in 1963, the company ‘achieved its international breakthrough’ shortly after signing a landmark distribution deal with EMI in the UK (Borthwick and Moy, 2004, p. 5). Gordy’s headquarters—a seemingly humble, suburban 95 POPULAR MUSIC, STARS AND STARDOM residence—was ambitiously named Hitsville USA and, throughout the 1960s, it became a hub for pop record success. Emerson (2005, p. 194) acknowledged Motown’s industry presence when he noted: Motown was muscling in on the market for dance music. Streamlined, turbo-charged singles by the Marvelettes, Martha and the Vandellas, and the Supremes rolled off the Detroit assembly line … Berry Gordy’s ‘Sound of Young America’ challenged the Brill Building, 1650 Broadway, and 711 Fifth Avenue as severely as the British Invasion because it proved that black artists did not need white writers to reach a broad pop audience.
    [Show full text]
  • James Jamerson 2000.Pdf
    able to conjure up the one lick, fill or effect that perfected albums. Live at Fillmore West exhibits Curtis the bandleader the sound. Some of his best work is found on those records. at his absolute best on a night when his extraordinary players There’s little else to say about Hal Blaine that the music included Bernard Purdie, Jerry Jemmott and Cornell Dupree. itself doesn’t communicate. But I’ll tell you one experience I His 1962 “Soul Twist” single MfclNumber One on the R&B had that showed me just how widespread his influence has charts and the Top Twenty on the pop charts, and made such been. Hal was famous for rubber-stamping his name upon an impression on Sam Cooke that he referred to it in “Having all the charts to which he contributed. In 1981, after one of a Party:” But nothing King Curtis did on his own ever scaled our concerts at Wembley Arena, Bruce asked me into his the Promethean heights of his sax work as a sideman, where dressing room. He pointed to the wall and said, “Look at he mastered the ability to be an individual within a group, that.” I looked at the wall but didn’t see anything except peel­ standing out but never overshadowing the artists he was sup­ ing wallpaper. “Look closer,” he said. Finally, I kneeled down porting and mastering the little nuances that made winners to the spot he was pointing to, and - to my great surprise - of the records on which he played. His was a rare voice j a rare in a crack in the paper, rubber-stamped on the w a ll, there it sensibility, a rare soul; and that sound - whether it be caress­ was: HAL BLAINE STRIKES AGAIN.
    [Show full text]
  • Undisputed Truth Law of the Land Mp3, Flac, Wma
    Undisputed Truth Law Of The Land mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Law Of The Land Country: US Released: 1973 Style: Soul MP3 version RAR size: 1388 mb FLAC version RAR size: 1581 mb WMA version RAR size: 1267 mb Rating: 4.7 Votes: 696 Other Formats: AIFF AA AAC AC3 VQF MP4 MMF Tracklist Hide Credits Law Of The Land A1 4:24 Written-By – Norman Whitfield Papa Was A Rollin' Stone A2 3:25 Written-By – Barrett Strong, Norman Whitfield Girl You're Alright A3 2:54 Written-By – Clay McMurray, Pam Sawyer Killing Me Softly With His Song A4 4:49 Written-By – C. Fox*, N. Gimbel* Just My Imagination (Running Away With Me) A5 3:40 Arranged By, Conductor – David Van DePitteWritten-By – Barrett Strong, Norman Whitfield This Child Needs Its Father A6 3:24 Written-By – Dino Fekaris, Nick Zesses Mama I Gotta Brand New Thing (Don't Say No) B1 3:37 Written-By – Norman Whitfield Feelin' Alright B2 4:51 Written-By – Dave Mason Love And Happiness B3 3:13 Written-By – Al Green, Mabon Hodges* With A Little Help From My Friends B4 4:23 Written-By – J. Lennon, P. McCartney* If I Die B5 3:16 Written-By – Peter Rivera* Walk On By B6 3:46 Written-By – H. David, B. Bacharach* Companies, etc. Copyright (c) – Motown Record Corporation Phonographic Copyright (p) – Motown Record Corporation Published By – Stone Diamond Music Corp. Published By – Jobete Music Co., Inc. Published By – Fox-Gimbel Productions Published By – Stone Agate Music Division Published By – Irving Music, Inc.
    [Show full text]
  • Seth's Music Packet-Tossups Answer
    Seth's Music Packet-Tossups 1. The critic Eduard Hanslick compared listening to a two-piano arrangement of this piece to "getting a beating from two incredibly intelligent people." Schoenberg admired the economy of the E minor first movement, pointing out that the first theme is constructed almost entirely from descending thirds. The second movement begins in the Phrygian mode, while the adagio final movement is a passacaglia with 30 variations that takes its bass line from the finale of a cantata of J.S. Bach. For 10 points, name this last symphony of Johannes Brahms. Answer: Brahms's Fourth Symphony in E minor ("fourth symphony" acceptable after Brahms is mentioned) 2. Although a popular interpretation holds that this song is a commentary on nuclear proliferation, guitarist Stefan Doroschuk explains that it is actually about "non-conforming." The singer spells the name of the song before the first verse, and later expresses the desire to "surprise 'em with a victory cry" and "act like an imbecile." In the chorus, he sings "everything is out of control" before the command, "everybody look at your hands." For 10 points, name this synth-pop classic by Men without Hats. Answer: ''The Safety Dance" 3. The 1960 album by this name was a single piece split between sides one and two, and it featured a double quartet that included the musicians Charlie Haden, Eric Dolphy, and Don Cherry. The style by this name had already been explored in the previous album Tomorrow is the Question, as well as in the work of pianist Cecil Taylor.
    [Show full text]
  • Jazz Cities in History Jazz from a to Z (2016-2017)
    Keeping Time and Place: Jazz Cities in History Jazz from A to Z (2016-2017) Season Theme: Keeping Time and Place: Jazz Cities in History “If ‘jazz’ means anything at all, which is “questionable, it means the same thing it meant to musicians fifty years ago – freedom of expression. I used to have a definition, but I don’t think I have one anymore, unless it is that it is a music with an African foundation which came out of an American environment.” Duke Ellington Jazz is America’s music. It has deep roots in ragtime, blues, and the music of the Black church. It was shaped in American cities such as: New Orleans, Chicago, New York, Kansas City, Pittsburgh, Detroit and Los Angeles after the mass migration of blacks and immigrants to cities in the first half of the 20th century. Musicians steeped in these American urban cultures exercised the freedom of expression and made jazz their own. Technological advancements of the twentieth century and the prominence of the United States on the world stage allowed jazz to cross political and cultural boundaries. By studying great jazz cities, participants will explore many facets of urban culture, but also discuss issues that have historically concerned urban populations. As artists, jazz musicians were deeply impacted by time and place and created a soundtrack that can help connect us to the people of a city and the challenges they faced. Educator Workshop Detroit: The Urban Crisis in the Motor City October 19, 2016 Mesa Arts Center Curriculum Outline based on: The Origins of the Urban Crisis: Race and Inequality in Postwar Detroit by Thomas J.
    [Show full text]
  • Motown Unreleased: 1969 [Various Artists]
    Carleton College Carleton Digital Commons Motown Annotated Track Lists Motown Research Commons 2019-09-24 Motown Unreleased: 1969 [Various Artists] Andrew Flory Carleton College, [email protected] Follow this and additional works at: https://digitalcommons.carleton.edu/motown_annotated_track_lists Part of the Musicology Commons Recommended Citation Flory, Andrew. Liner notes for Motown Unreleased: 1969, Various Artists. Recorded 1966-1970. Motown Records, 2019. https://digitalcommons.carleton.edu/motown_annotated_track_lists/1, Carleton Digital Commons. This Annotated Track List is brought to you for free and open access by the Motown Research Commons at Carleton Digital Commons. It has been accepted for inclusion in Motown Annotated Track Lists by an authorized administrator of Carleton Digital Commons. For more information, please contact [email protected]. Various Artists, Motown Unreleased: 1969 Motown/Universal Music (2019) 1. Diana Ross & the Supremes / For Once In My Life (Ronald Miller-Orlando Murden) Produced by Henry Cosby Track recorded January 21, 1969; strings recorded at Studio B January 24, 1969; horns (and probably winds) recorded at Studio B January 25, 1969; lead vocal date and location unknown 2. Stevie Wonder / Can’t Do Without Your Love* (Seajoseffer Spencer-William Weatherspoon-James Dean) Produced by William Weatherspoon and James Dean Track recorded August 14, 1968; vocals recorded at Studio B September 19, 1968 and on October 6, 1968; backing vocals recorded at Studio B September 30, 1968, and at Studio A January 20, 1969 3. Ivy Jo / It’s Love I Need (Ivy Jo Hunter-Stephen Bowden) Produced by Ivy Jo Hunter Track recorded October 8, 1968, assigned to Blinky Williams; Ivy Jo’s vocals recorded at Studio B January 22, 1969 4.
    [Show full text]
  • Benny Benjamin.” P
    BennyS I D E M E N Benjamin Áíían “Dr. Licks” Siutsky a y 27, 1964: i t ’ s a W e d n e s d a y a f t e r - into the storage room in the back and come out with noon at Motowris converted garage an old snare with a busted head, some drumsticks studio on 2648 W est Grand B oule­ with no tips, and a high hat with some cracked cym­ vard in Detroit. Cutting tracks for the bals. He’d just turn the snare over to the other side, MTemptations is producer Norman Whitfield - turn the sticks around to the fat end and he’d count it young, ambitious, confident - a protégé o f company off - ‘One, two, three, lets go/’ And he’d play the hell head Berry Gordy. But Whitfield is nothing without out of that half-assed setup and make a hit.” a hit, and he badly needs one. Looking for an unde­ Supporting Askey’s claim is Benny’s legacy of niable intro, he focuses his attention on the far cor­ recorded masterpieces: the youthful innocence ner of the room, where master drummer William and spirit of “Shop Around” and “Too Many Fish in “Benny” Benjamin is poised behind an acoustic baf­ the Sea.” The simplicity and elegance of “My Girl” fle waiting for the count-off. and “Ooo Baby Baby.” His trademark power and Whitfield ends up with much more than he bar­ insistent drive on “Going to a Go-Go,” “You Can’t gained for. Benny kicks off “G irl (W hy You W anna Hurry Love,” “Bernadette,” “I Can’t Help M yself” Make Me Blue)” with a fill that’s nothing short of and “Get Ready.” Benjamin’s combination of musical arson.
    [Show full text]
  • List by Song Title
    Song Title Artists 4 AM Goapele 73 Jennifer Hanson 1969 Keith Stegall 1985 Bowling For Soup 1999 Prince 3121 Prince 6-8-12 Brian McKnight #1 *** Nelly #1 Dee Jay Goody Goody #1 Fun Frankie J (Anesthesia) - Pulling Teeth Metallica (Another Song) All Over Again Justin Timberlake (At) The End (Of The Rainbow) Earl Grant (Baby) Hully Gully Olympics (The) (Da Le) Taleo Santana (Da Le) Yaleo Santana (Do The) Push And Pull, Part 1 Rufus Thomas (Don't Fear) The Reaper Blue Oyster Cult (Every Time I Turn Around) Back In Love Again L.T.D. (Everything I Do) I Do It For You Brandy (Get Your Kicks On) Route 66 Nat King Cole (Ghost) Riders In The Sky Johnny Cash (Goin') Wild For You Baby Bonnie Raitt (Hey Won't You Play) Another Somebody Done Somebody WrongB.J. Thomas Song (I Can't Get No) Satisfaction Otis Redding (I Don't Know Why) But I Do Clarence "Frogman" Henry (I Got) A Good 'Un John Lee Hooker (I Hate) Everything About You Three Days Grace (I Just Want It) To Be Over Keyshia Cole (I Just) Died In Your Arms Cutting Crew (The) (I Just) Died In Your Arms Cutting Crew (The) (I Know) I'm Losing You Temptations (The) (I Love You) For Sentimental Reasons Nat King Cole (I Love You) For Sentimental Reasons Nat King Cole (I Love You) For Sentimental Reasons ** Sam Cooke (If Only Life Could Be Like) Hollywood Killian Wells (If You're Not In It For Love) I'm Outta Here Shania Twain (If You're Not In It For Love) I'm Outta Here! ** Shania Twain (I'm A) Stand By My Woman Man Ronnie Milsap (I'm Not Your) Steppin' Stone Monkeys (The) (I'm Settin') Fancy Free Oak Ridge Boys (The) (It Must Have Been Ol') Santa Claus Harry Connick, Jr.
    [Show full text]
  • The Devil's Music
    Historic Arcade Theatre • Fort Myers River District Robert Cacioppo, Producing Artistic Director PRESENTS THE DEVIL’S MUSIC THE LIFE & BLUES OF BESSIE SMITH BY ANGELO PARRA SPONSORED BY THE FRED & JEAN ALLEGRETTI FOUNDATION STARRING MICHE BRADEN* with AARON GRAVES • JIM HANKINS • KEITH LOFTIS CONCEPT, MUSICAL STAGING & DIRECTION BY JOE BRANCATO** MUSICAL DIRECTION & ARRANGEMENTS BY MICHE BRADEN* SET DESIGNER LIGHTING DESIGNER BRUCE R. BAILEY STAGE MANAGER TODD O. WREN*** COSTUME DESIGNER AMY L. MASSARI* SOUND DESIGNER PATRICIA E. DOHERTY*** KATE SMITH THE DEVIL’S MUSIC: THE LIFE AND BLUES OF BESSIE SMITH had its world premiere at Penguin Rep Theatre (Joe Brancato, Artistic Director, and Andrew Horn, Executive Director) in Stony Point, New York. 2010-11 GRAND SEASON SPONSORS Arthur Zupko • John & Marjorie Madden • Cheryl & David Copham Gholi & Georgia Darehshori • City of Fort Myers Public Art Committee This entire season sponsored in part by in part by the State of Florida, Department of State, Division of Cultural Affairs, the Florida Council on Arts and Culture. Florida Repertory Theatre is a fully professional non-profit LOA/LORT Theatre company on contract with the Actors’ Equity Association that proudly employs members of the national theatrical labor unions. *Member of Actors’ Equity Association. **Member of the Stage Directors and Choreographers Society. ***Member of United Scenic Artists. THETHE CASTCAST Bessie Smith ............................................................................................... Miche Braden* Pickle/Bass
    [Show full text]
  • Manufacturing Motown
    Manufacturing Motown < Features | PopMatters Work sample #2 Manufacturing Motown [27 January 2009] For kids like me growing up in the 1960s in a working-class suburb of Detroit, the music of Motown was more than just something you tuned into while flipping through the radio dial. It was a source of major civic pride—“The Sound of Young of America” emanating from the Motor City to rule the national airwaves like the muscle cars that reigned on streets like Woodward Avenue, the main drag that bisects the metropolitan area from the foot of the Detroit River downtown up to the city of Pontiac 20 miles to the north. Running through the various hit songs were the distinctive basslines, precise guitar chords, and solid percussion, instrumental and vocal fills that helped to define the Motown sound. Motown Records was literally a hit factory and it operated on the same assembly-line principles that guided the automotive plants where hundreds of thousands Detroiters, black and white, first staked their claim to a piece of the American Dream. Like the nameplates on the auto industry’s productive output, Motown’s headline acts were brand identities under which cultural commodities were sold. Underneath it all from the very beginning was the powerful drive train of a group of studio musicians known as the Funk Brothers, led by pianist Earl Van Dyke and anchored by master bassist James Jamerson. During Motown’s 1960s heyday, they played on more #1 hit singles than Elvis, the Beach Boys, the Rolling Stones, and the Beatles combined. Italian social theorist and legendary jailbird Antonio Gramsci dubbed the regime of modern industrial capitalism “Fordism”, after the systems and policies implemented early in the 20th century by Henry Ford at the company that at least for now still bears his name.
    [Show full text]