Robeson, Paul and Eslanda
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Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement
Bearing the Seeds of Struggle: Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement Ian Rocksborough-Smith BA, Simon Fraser University, 2003 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS In the Department of History O Ian Rocksborough-Smith 2005 SIMON FRASER UNIVERSITY Summer 2005 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Ian Rocksborough-Smith Degree: Masters of Arts Title of Thesis: Bearing the Seeds of Struggle: Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement Examining Committee: Chair: Dr. John Stubbs ProfessorIDepartment of History Dr. Karen Ferguson Senior Supervisor Associate ProfessorIDepartment of History Dr. Mark Leier Supervisor Associate ProfessorIDepartment of History Dr. David Chariandy External ExaminerISimon Fraser University Assistant ProfessorIDepartment of English Date DefendedlApproved: Z.7; E0oS SIMON FRASER UNIVERSITY PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. -
Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
Ruination Day”
Woody Guthrie Annual, 4 (2018): Fernandez, “Ruination Day” “Ruination Day”: Gillian Welch, Woody Guthrie, and Disaster Balladry1 Mark F. Fernandez Disasters make great art. In Gillian Welch’s brilliant song cycle, “April the 14th (Part 1)” and “Ruination Day,” the Americana songwriter weaves together three historical disasters with the “tragedy” of a poorly attended punk rock concert. The assassination of Abraham Lincoln in 1865, the sinking of the Titanic in 1912, and the epic dust storm that took place on what Americans call “Black Sunday” in 1935 all serve as a backdrop to Welch’s ballad, which also revolves around the real scene of a failed punk show that she and musical partner David Rawlings had encountered on one of their earlier tours. The historical disasters in question all coincidentally occurred on the fourteenth day of April. Perhaps even more important, the history of Welch’s “Ruination Day” reveals the important relationship between history and art as well as the enduring relevance of Woody Guthrie’s influence on American songwriting.2 Welch’s ouevre, like Guthrie’s, often nods to history. From the very instruments that she and Rawlings play to the themes in her original songs to the tunes she covers, she displays a keen awareness and reverence for the past. The sonic quality of her recordings, along with her singing and musical style, also echo the past. This historical quality is quite deliberate. Welch and Rawlings play vintage instruments to achieve much of that sound. Welch’s axes are all antiques—her main guitar is a 1956 Gibson J-50. -
A Concert Review by Christof Graf
Leonard Cohen`s Tower Of Song: A Grand Gala Of Excellence Without Compromise by Christof Graf A Memorial Tribute To Leonard Cohen Bell Centre, Montreal/ Canada, 6th November 2017 A concert review by Christof Graf Photos by: Christof Graf “The Leonard Cohen Memorial Tribute ‘began in a grand fashion,” wrote the MONTREAL GAZETTE. “One Year After His Death, the Legendary Singer-Songwriter is Remembered, Spectacularly, in Montral,” headlined the US-Edition of NEWSWEEK. The media spoke of a “Star-studded Montreal memorial concert which celebrated life and work of Leonard Cohen.” –“Cohen fans sing, shout Halleluja in tribute to poet, songwriter Leonard,” was the title chosen by THE STAR. The NATIONAL POST said: “Sting and other stars shine in fast-paced, touching Leonard Cohen tribute in Montreal.” Everyone present shared this opinion. It was a moving and fascinating event of the highest quality. The first visitors had already begun their pilgrimage to the Hockey Arena of the Bell Centre at noon. The organizers reported around 20.000 visitors in the evening. Some media outlets estimated 16.000, others 22.000. Many visitors came dressed in dark suits and fedora hats, an homage to Cohen’s “work attire.” Cohen last sported his signature wardrobe during his over three hour long concerts from 2008 to 2013. How many visitors were really there was irrelevant; the Bell Centre was filled to the rim. The “Tower Of Song- A Memorial Tribute To Leonard Cohen” was sold out. Expectations were high as fans of the Canadian Singer/Songwriter pilgrimmed from all over the world to Montreal to pay tribute to their deceased idol. -
Lf%J I Freedomways Reader
lf%J i Freedomways Reader Prophets in Country i edited by Esther Cooper Jackson K1NSSO ConStanCe PM> I Assistant Editor f^S^l ^ v^r II ^-^S A Member of the Perseus Books Group -\ ' Contents List of Photos xv Foreword, Julian Bond xvii Introduction, Esther Cooper Jackson xix Part I Origins of Freedomways J. H. O'Dell, 1 1 Behold the Land, No. 1, 1964, W.E.B. Du Bois 6 2 The Battleground Is Here, No. 1, 1971, Paul Robeson 12 3 Southern Youth's Proud Heritage, No. 1, 1964, Augusta Strong 16 4 Memoirs of a Birmingham Coal Miner, No. 1, 1964, Henry O. May field 21 5 "Not New Ground, but Rights Once Dearly Won," No. 1, 1962, Louis E. Burnham 26 6 Honoring Dr. Du Bois, No. 2, 1968, Martin Luther King Jr. 31 7 Ode to Paul Robeson, No. 1, 1976, Pablo Neruda 40 CONTENTS Part 2, Reports from the Front Lines: Segregation in the South /. H. O'Dell, 47 8 The United States and the Negro, No. 1, 1961, W.E.B. Du Bois 50 9 A Freedom Rider Speaks His Mind, No. 2, 1961, Jimmy McDonald 59 10 What Price Prejudice? On the Economics of Discrimination, No. 3, 1962, Whitney M. Young Jr. 65 11 The Southern Youth Movement, No. 3, 1962, Julian Bond 69 12 Nonviolence: An Interpretation, No. 2, 1963, Julian Bond 71 13 Lorraine Hansberry at the Summit, No. 4, 1979, James Baldwin 77 14 "We're Moving!" No. 1, 1971, Paul Robeson 82 15 Birmingham Shall Be Free Some Day, No. -
Ry Cooder's 'One Meat Ball'
RY COODER AND ‘ONE MEAT BALL’ Ry Cooder is not just a superb musician and writer: he is also a superb archivist, and a master at finding and resuscitating old songs. He Carl Tighe has done this several times. One of the songs he rediscovered, reinvented and recorded is ‘One Meat Ball’. Ry (Ryland) Cooder was born on 15 March 1947 in Los Angeles, California. He lost an eye at the age of four and is said to have taken up guitar as a kind of compensatory activity. He first attracted attention with his guitar playing when he was working with The Seeds. He went on to play with Taj Mahal’s band The Rising Sons and later with Captain Beefheart and The Magic Band. He has played with The Rolling Stones, Little Feat, The Chieftains, John Lee Hooker, Ali Farka Touré and he has written several film scores including the music and soundtrack for Wim Wender’s film Paris Texas (1984). Cooder’s recording career began with the album Ry Cooder (1970), and now includes dust bowl folk music, Tex-Mex, soul, gospel, rock and roll, blues, rag-time, jazz, cross- over and just about everything in between. At a time when the US still has a total embargo on contact and trade with revolutionary communist Cuba, Cooder has been a major force behind the rediscovery of Cuban music and Cuban musicians. Cooder risked his citizenship to visit Cuba and to record the Buena Vista Social Club. He later worked on Wim Wender’s documentary The Buena Vista Social Club (1999), which was nominated for an Academy award. -
THE POLITICAL THOUGHT of the THIRD WORLD LEFT in POST-WAR AMERICA a Dissertation Submitted
LIBERATION FROM THE AFFLUENT SOCIETY: THE POLITICAL THOUGHT OF THE THIRD WORLD LEFT IN POST-WAR AMERICA A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History By Benjamin Feldman, M.A. Washington, DC August 6, 2020 Copyright 2020 by Benjamin Feldman All Rights Reserved ii LIBERATION FROM THE AFFLUENT SOCIETY: THE POLITICAL THOUGHT OF THE THIRD WORLD LEFT IN POST-WAR AMERICA Benjamin Feldman, M.A. Thesis Advisor: Michael Kazin, Ph.D. ABSTRACT This dissertation traces the full intellectual history of the Third World Turn: when theorists and activists in the United States began to look to liberation movements within the colonized and formerly colonized nations of the ‘Third World’ in search of models for political, social, and cultural transformation. I argue that, understood as a critique of the limits of New Deal liberalism rather than just as an offshoot of New Left radicalism, Third Worldism must be placed at the center of the history of the post-war American Left. Rooting the Third World Turn in the work of theorists active in the 1940s, including the economists Paul Sweezy and Paul Baran, the writer Harold Cruse, and the Detroit organizers James and Grace Lee Boggs, my work moves beyond simple binaries of violence vs. non-violence, revolution vs. reform, and utopianism vs. realism, while throwing the political development of groups like the Black Panthers, the Young Lords, the League of Revolutionary Black Workers, and the Third World Women’s Alliance into sharper relief. -
Bruce Walker Musical Theater Recording Collection
Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN -
9781134588374.Pdf
Black Celebrity, Racial Politics, and the Press Shifting understandings and ongoing conversations about race, celebrity, and protest in the twenty-fi rst century call for a closer examination of the evolution of dissent by black celebrities and their reception in the public sphere. This book focuses on the way the mainstream and black press have covered cases of controversial political dissent by African American celeb- rities from Paul Robeson to Kanye West. Jackson considers the following questions: (1) What unique agency is available to celebrities with racialized identities to present critiques of American culture? (2) How have journalists in both the mainstream and black press limited or facilitated this agency through framing? What does this say about the varying role of journalism in American racial politics? (3) How have framing trends regarding these fi gures shifted from the mid-twentieth century to the twenty-fi rst century? Through a series of case studies that also includes Eartha Kitt, Tommie Smith and John Carlos, Sister Souljah, and Mahmoud Abdul-Rauf, Jackson illustrates the shifting public narratives and historical moments that both limit and enable African American celebrities in the wake of making public politicized statements that critique the accepted racial, economic, and mili- tary systems in the United States. Sarah J. Jackson is an Assistant Professor of Communication Studies at Northeastern University. Her research examines the construction of social identities in national debates about citizenship, inequality, and social change. Jackson’s research has appeared in The International Journal of Press Poli- tics and Feminist Media Studies. Routledge Transformations in Race and Media Series Editors: Robin R. -
Rochdale Village and the Rise and Fall of Integrated Housing in New York City by Peter Eisenstadt
Rochdale Village and the rise and fall of integrated housing in New York City by Peter Eisenstadt When Rochdale Village opened in southeastern Queens in late 1963, it was the largest housing cooperative in the world. When fully occupied its 5,860 apartments contained about 25,000 residents. Rochdale Village was a limited-equity, middle-income cooperative. Its apartments could not be resold for a profit, and with the average per room charges when opened of $21 a month, it was on the low end of the middle-income spectrum. (3) It was laid out as a massive 170 acre superblock development, with no through streets, and only winding pedestrian paths, lined with newly planted trees, crossing a greensward connecting the twenty massive cruciform apartment buildings. Rochdale was a typical urban post-war housing development, in outward appearance differing from most others simply in its size. It was, in a word, wrote historian Joshua Freeman, "nondescript." (4) Appearances deceive. Rochdale Village was unique; the largest experiment in integrated housing in New York City in the 1960s, and very likely the largest such experiment anywhere in the United States (5). It was located in South Jamaica, which by the early 1960s was the third largest black neighborhood in the city. Blacks started to move to South Jamaica in large numbers after World War I, and by 1960 its population was almost entirely African American. It was a neighborhood of considerable income diversity, with the largest tracts of black owned private housing in the city adjacent to some desperate pockets of poverty. -
Equity Tmplate
OCTOBER/ NOVEMBER “Amateurs hope, 2011 professionals work.” Volume 96 Number 8 EQUITYNEWS — Garson Kanin A Publication of Actors’ Equity Association • NEWS FOR THE THEATRE PROFESSIONAL • www.actorsequity.org • Periodicals Postage Paid at New York, NY and Additional Mailing Offices New York Audition Center Equity-League Reach to be Relocated, Renovated Tentative Agreement lans are underway to current location. give the Audition Center, The announcement comes Increments Raised for FirstTime in 28Years; Plocated in Equity’s New as a new agreement is inked York home in the heart of Times between Equity and Newmark & Compensation Up; Extraordinary Risk Addressed Square, a new look and more Company, the property landlord n early October, Equity and a strong contract that gained im - salary increase over the life of the modern space. The Audition of the 165 West 46th Street the Broadway League provements in areas that hadn’t contract. Center will be moved to another building (known universally as Ireached a tentative agree - been changed in decades,” said In addition, Per Diem will in - floor in 165 West 46th Street, the “Equity Building”), for ment for a new, four-year Produc - Mary McColl, Equity’s Executive crease on full production and the current home of the Audition renovations and relocation of tion Contract running through Director and the Chief Negotiator Tiered tours. Based on member Center and the National and the Audition Center and some of September, 2015. Achieved in for the contract. “We also input and careful consideration, Eastern Region Equity offices. Equity’s National and Eastern just 20 sessions, the new agree - achieved a very good compensa - the Team determined the money The relocation will provide Region offices.