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Ishmael Reed Interviewed
Boxing on Paper: Ishmael Reed Interviewed by Don Starnes [email protected] http://www.donstarnes.com/dp/ Don Starnes is an award winning Director and Director of Photography with thirty years of experience shooting in amazing places with fascinating people. He has photographed a dozen features, innumerable documentaries, commercials, web series, TV shows, music and corporate videos. His work has been featured on National Geographic, Discovery Channel, Comedy Central, HBO, MTV, VH1, Speed Channel, Nerdist, and many theatrical and festival screens. Ishmael Reed [in the white shirt] in New Orleans, Louisiana, September 2016 (photo by Tennessee Reed). 284 Africology: The Journal of Pan African Studies, vol.10. no.1, March 2017 Editor’s note: Here author (novelist, essayist, poet, songwriter, editor), social activist, publisher and professor emeritus Ishmael Reed were interviewed by filmmaker Don Starnes during the 2014 University of California at Merced Black Arts Movement conference as part of an ongoing film project documenting powerful leaders of the Black Arts and Black Power Movements. Since 2014, Reed’s interview was expanded to take into account the presidency of Donald Trump. The title of this interview was supplied by this publication. Ishmael Reed (b. 1938) is the winner of the prestigious MacArthur Fellowship (genius award), the renowned L.A. Times Robert Kirsch Lifetime Achievement Award, the Lila Wallace-Reader's Digest Award, a Guggenheim Fellowship, and a Rosenthal Family Foundation Award from the National Institute for Arts and Letters. He has been nominated for a Pulitzer and finalist for two National Book Awards and is Professor Emeritus at the University of California at Berkeley (a thirty-five year presence); he has also taught at Harvard, Yale and Dartmouth. -
Extensions of Remarks 10509
May 9, 1979 EXTENSIONS OF REMARKS 10509 MENT REPORT.-The Secretary shall set forth available to the United States Geological -Page 274, line 1, strike "(b) (1)" and in in each report to the Congress under the Survey, the Bureau of Mines, or any other lieu thereof insert "(c) (2)". Mining and Minerals Policy Act of 1970 a agency or instrumentality of the United Page 333, lines 14 and 15, strike "after the summary of the pertinent information States. date of enactment of this Act". (other than proprietary or other confidential (Additional technical amendments to -Page 275, line 8, change "28" to "27" and information) relating to minerals which is Udall-Anderson substitute (H.R. 3651) .) change "33" to "34". EXTENSIONS OF REMARKS A NONFUEL MINERAL POLICY: WE Of course, the usual antagonists are lined These Americans descend from .Japa CAN NO LONGER WAIT up on each side of this policy debate. But, nese, Chinese, Korean, and Filipino an as Nevada Congressman J. D. Santini points cestors, as well as from Hawaii and t'iher out in our p . 57 feature, their arguments Pacific Islands such as Samoa, Fiji, and HON. JIM SANTINI go by one another like ships in the night with nothing happening-until the lid blows Tahiti. In southern California, where OF NEVADA off. we have the greatest concentration of IN THE HOUSE OF REPRESENTATIVES But, how do you get the public excited Asian and Pacific Americans anywhere Wednesday, May 9, 1979 about metal shortages? in the Nation, their valuable involvemept Even Congressman Santini's well-meant in the growth and prosperity of our local • Mr. -
The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
The Rhetoric of Education in African American Autobiography and Fiction
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2006 Dismantling the Master’s Schoolhouse: The Rhetoric of Education in African American Autobiography and Fiction Miya G. Abbot University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the English Language and Literature Commons Recommended Citation Abbot, Miya G., "Dismantling the Master’s Schoolhouse: The Rhetoric of Education in African American Autobiography and Fiction. " Master's Thesis, University of Tennessee, 2006. https://trace.tennessee.edu/utk_gradthes/1487 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Miya G. Abbot entitled "Dismantling the Master’s Schoolhouse: The Rhetoric of Education in African American Autobiography and Fiction." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of , with a major in English. Miriam Thaggert, Major Professor We have read this thesis and recommend its acceptance: Mary Jo Reiff, Janet Atwill Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Miya G. -
A Collection Analysis of the African-American Poetry Holdings in the De Grummond Collection Sarah J
SLIS Connecting Volume 2 | Issue 1 Article 9 2013 A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection Sarah J. Heidelberg Follow this and additional works at: http://aquila.usm.edu/slisconnecting Part of the Library and Information Science Commons Recommended Citation Heidelberg, Sarah J. (2013) "A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection," SLIS Connecting: Vol. 2: Iss. 1, Article 9. DOI: 10.18785/slis.0201.09 Available at: http://aquila.usm.edu/slisconnecting/vol2/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A Collection Analysis of the African‐American Poetry Holdings in the de Grummond Collection By Sarah J. Heidelberg Master’s Research Project, November 2010 Performance poetry is part of the new black poetry. Readers: Dr. M.J. Norton This includes spoken word and slam. It has been said Dr. Teresa S. Welsh that the introduction of slam poetry to children can “salvage” an almost broken “relationship with poetry” (Boudreau, 2009, 1). This is because slam Introduction poetry makes a poets’ art more palatable for the Poetry is beneficial for both children and adults; senses and draws people to poetry (Jones, 2003, 17). however, many believe it offers more benefit to Even if the poetry that is spoken at these slams is children (Vardell, 2006, 36). The reading of poetry sometimes not as developed or polished as it would correlates with literacy attainment (Maynard, 2005; be hoped (Jones, 2003, 23). -
Libido Song List 2000
LIBIDO SONG LIST 2000 - Now Ain’t It Fun (Paramore) All Of Me (John Legend) American Boy (Estelle & Kanye West) Bartender (T-Pain & Akon) Because Of You (Ne-Yo) Birthday (Katy Perry) Blame It (Jamie Foxx & T-Pain) Blurred Lines (Robin Thicke) Break Your Heart (Taio Cruz) Burn (Ellie Goulding) Can’t Hold Us (Macklemore) California Gurls (Katy Perry) Champagne Life (Ne-Yo) Closer (Ne-Yo) Counting Stars (OneRepublic) Crazy In Love (Beyonce) DJ Got Us Falling In Love (Usher) Diamonds (Rihanna) Die Young (Ke$ha) Don’t Worry Child (Swedish House Mafia) Dynamite (Taio Cruz) Fancy (Iggy Azalea) Feel Again (OneRepublic) Feel So Close (Calvin Harris) Fine China (Chris Brown) Forget You (Cee-Lo) Get Lucky (Daft Punk & Pharrell) Give Me Everything (Tonight) (Ne-Yo & Pitbull) Gold Digger (Kanye West) Good Feeling (Flo Rida) Good Life (OneRepublic) Happy (Pharrell Williams) Hey Brother (Avicii) Hey Ya (Outkast) Hold On, We’re Going Home (Drake) I Gotta Feeling (Black Eyed Peas) I Just Wanna Love U (Give It To Me) (Jay-Z) I Need Your Love (Calvin Harris) Ignition Remix (R. Kelly) I’m In Miami Trick (LMFAO) In The Club (50 Cent) Just Dance (Lady Gaga) Just The Way You Are (Bruno Mars) Let Me Love You (Ne-Yo) Let’s Get It Started (Black Eyed Peas) Locked Out Of Heaven (Bruno Mars) Love At First Sight (Kylie Minogue) Low (Flo-Rida & T-Pain) Meet Me Halfway (Black Eyed Peas) Moves Like Jagger (Maroon 5 feat. Christina Aguilera) More (Usher) Nothin’ On You (B.o.B. feat Bruno Mars) OMG (Usher feat Will.i.am) Party Rock Anthem (LMFAO) Please Don’t Stop the Music (Rihanna) Pumped Up Kicks (Foster The People) Raise Your Glass (Pink) Rolling In The Deep (Adele) Royals (Lorde) Rude Boy (Rihanna) Safe & Sound (Capital Cities) Say it Right (Nelly Furtado) Scream & Shout (Will.i.am & Britney Spears) Sexy & I Know It (LMFAO) Sexy Chick (Akon & David Guetta) Sexy Love (Ne-Yo) SexyBack (Justin Timberlake) Set Fire To The Rain (Adele) Starships (Nicki Minaj) Stay The Night (Zedd ft. -
NTOZAKE SHANGE, JAMILA WOODS, and NITTY SCOTT by Rachel O
THEORIZING BLACK WOMANHOOD IN ART: NTOZAKE SHANGE, JAMILA WOODS, AND NITTY SCOTT by Rachel O. Smith A Thesis Submitted to the Faculty of Purdue University In Partial Fulfillment of the Requirements for the degree of Master of Arts Department of English West Lafayette, Indiana May 2020 THE PURDUE UNIVERSITY GRADUATE SCHOOL STATEMENT OF COMMITTEE APPROVAL Dr. Marlo David, Chair Department of English Dr. Aparajita Sagar Department of English Dr. Paul Ryan Schneider Department of English Approved by: Dr. Dorsey Armstrong 2 This thesis is dedicated to my mother, Carol Jirik, who may not always understand why I do this work, but who supports me and loves me unconditionally anyway. 3 ACKNOWLEDGMENTS I would like to first thank Dr. Marlo David for her guidance and validation throughout this process. Her feedback has pushed me to investigate these ideas with more clarity and direction than I initially thought possible, and her mentorship throughout this first step in my graduate career has been invaluable. I would also like to thank the other members of my committee, Dr. Aparajita Sagar and Dr. Ryan Schneider, for helping me polish this piece of writing and for supporting me throughout this two-year program as I prepared to write this by participating in their seminars and working with them to prepare conference materials. Without these three individuals I would not have the confidence that I now have to continue on in my academic career. Additionally, I would like to thank my friends in the English Department at Purdue University and my friends back home in Minnesota who listened to my jumbled thoughts about popular culture and Black womanhood and asked me challenging questions that helped me to shape the argument that appears in this document. -
Inc. in the US Only. © 2011 Twentieth Century
ALVINCW 360 MANUAL-EN_. 12/13/12 9:04 PM Page 2 © 2011 Twentieth Century Fox Film Corporation and Regency Entertainment (USA), Inc. in the U.S. only. © 2011 Twentieth Century Fox Film Corporation and Monarchy Enterprises S.a.r.l. in all other territories.Alvin and the Chipmunks: Chipwrecked. Alvin and the Chipmunks, the Chipettes and Characters TM & © 2011 Bagdasarian Productions, LLC. All rights reserved. Published by Majesco Entertainment Company. Developed by Behaviour Interactive, Inc. KINECT, Xbox, Xbox 360, Xbox LIVE, and the Xbox logos are trademarks of the Microsoft group of companies and are used under license from Microsoft. ALVINCW 360 MANUAL-EN_. 12/13/12 9:04 PM Page 4 WARNING Before playing this game, read the Xbox 360® console instructions, KINECT sensor manual, and any other peripheral manuals for Table of Contents importanttant safety and health information. Keep all manuals for future reference. For replacement hardware manuals, go to wwww.xbox.com/support or call Xbox Customer Support. Controls ............................................2 ForFor additional safety information, see the inside back coveroverr.. On Screen Display ...........................2 Importanttant Health Warning About Playing Video Games PPhotosensitivehotosensitive seizurseizureses Questionnaire ..................................3 A very small percentage of people may experience a seizure when exposed to FHUWDLQYLVXDO LPDJHV LQFOXGLQJ ÁDVKLQJ OLJKWV RU SDWWHUQV WKDW PD\ DSSHDU LQ videovideo games. Even people who have no history of seizures or epilepsy may have anan undiagnosed condition that can cause these “photosensitive epileptic seizures” Main Menu ......................................3 while watching video games. These seizureess may have a variety of symptoms, including lightheadedness, altered vvision,ision, eye or face twitching, jerking or shaking of arms or legs, disorientation, Co-Op ...............................................4 confusion, or momentary loss of awareness. -
Ernie Mcclintock's 127Th Street Repertory Ensemble
The Journal of American Drama and Theatre (JADT) https://jadtjournal.org Subversive Inclusion: Ernie McClintock’s 127th Street Repertory Ensemble by Elizabeth M. Cizmar The Journal of American Drama and Theatre Volume 33, Number 2 (Spring 2021) ISNN 2376-4236 ©2021 by Martin E. Segal Theatre Center Ernie McClintock (1937–2003), director, acting teacher, and producer, grounded his work in the Black Power concepts of self-determination and community, but in pursuing a more inclusive theatre company, he departed from common practices of the Black Arts Movement. This departure can be attributed to his queer positionality, which has left him on the fringes of Black Arts Movement scholarship. McClintock founded four institutions: in Harlem, the Afro-American Studio for Acting & Speech (est. 1966), the 127th Street Repertory Ensemble (est. 1973), and the Jazz Theatre of Harlem (est. 1986); and in Richmond, Virginia, the Jazz Actors Theatre (est. 1991). A landmark Black theatre institution, the 127th Street Repertory Ensemble ran from 1973 to 1986, demonstrating that the spirit and work of the Black Arts Movement extended well beyond 1975, the generally accepted end date of the movement. Over more than four decades in socially and politically charged environments, McClintock established actor training rooted in Afrocentricity,[1] teaching Jazz Acting in the classroom and the rehearsal hall, which he considered an important training ground for actors. In this article, I argue that McClintock’s theatre subverted two established norms: the English repertory model and the male-dominated, heteronormative representations of the Black Arts Movement. McClintock’s legacy challenges assumptions that the Black Arts Movement was broadly misogynist and homophobic. -
The Lady Onstage by Erin Bregman
The Lady Onstage by Erin Bregman Resource Guide for Teachers Created by: Lauren Bloom Hanover, Director of Education Jeff Denight, Dramaturgy Intern 1 Table of Contents About Profile Theatre 3 How to Use This Resource Guide 4 The Artists 5 Lesson 1: Historical Context 6 Classroom Activities: 1) Biography and Context 6 2) Knipper and Chekov in Their Own Words 6 3) The Development of The Lady Onstage 8 4) Considering Contemporary Cultural Shifts (Homework) 9 Supplemental Materials 10 Lesson 2: The Process of Play Development 21 Classroom Activities 1) Where Do New Plays Come From? 21 2) Exploring a Play We Know 23 3) How to Start - the Development Process in Action 24 4) Starting Your Own Play (Homework) 24 Supplemental Materials 26 Lesson 3: One Person Plays - A Unique Challenge 34 Classroom Activities 1) Exploring Single-Character Monologues 34 2) Exploring Multi-character Solo Performances 35 3) Writing Your Own Monologue (Homework) 36 Supplemental Materials 38 Lesson 4: Chekhov Today: Translations and Adaptations 41 Classroom Activities 1) Exploring Translations 42 2) Exploring Work Inspired by Chekhov 42 3) Creating Your Own Adaptation 43 Supplemental Materials 44 Lesson 5: Reflecting on the Performance Classroom Activities 1) Classroom Discussion and Reflection 52 2) What We’ve Learned 52 3) Creative Writing (Homework) 53 2 About Profile Theatre Profile Theatre was founded in 1997 with the mission of celebrating the playwright’s contribution to live theater. Each year Profile produces a season of plays devoted to a single playwright, engaging with our community to explore that writer’s vision and influence on theatre and the world at large. -
Through the Iris TH Wasteland SC Because the Night MM PS SC
10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G. -
Here I Come with All My Black Girl Magic”: Black Women and Girls’ Experiences in Predominantly White Independent Private Schools
“HERE I COME WITH ALL MY BLACK GIRL MAGIC”: BLACK WOMEN AND GIRLS’ EXPERIENCES IN PREDOMINANTLY WHITE INDEPENDENT PRIVATE SCHOOLS BY DEVEAN R. OWENS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Education Policy, Organization and Leadership with a concentration in Diversity and Equity in Education in the Graduate College of the University of Illinois at Urbana-Champaign, 2020 Urbana, Illinois Doctoral Committee: Associate Professor Anjalé Welton, Chair Professor Ruth Nicole Brown Professor Adrienne Dixson Professor Helen Neville Abstract Within independent private schools specifically, Black women and girls endure feelings of rejection, isolation, and inadequacy all whilst trying to maintain their academic or career success and a positive self-perception. Through the lenses of Black Feminist Thought and Critical Race Theory, this dissertation presents Black women and girls’ true experiences in PWIS which defy dominant deficit beliefs. Participants detailed the racism, erasure, and trauma they endured and the detrimental effects these experiences caused in their lives. They also expressed the importance and value of their relationships with one another. These relationships provided them with the affirmation and confidence they needed to believe in and stand up for themselves. Black women and girls engage in various resistance strategies through living authentically, challenging dominant norms, and advocating for themselves and others in the school community. ii Acknowledgements Students & participants… Thank you for inspiring me! Thank you for taking the time to participate in this study. Drs. Welton, Brown, Dixson, Neville, and Zamani-Gallaher… Thank you for challenging me to think more critically and seeing me through this journey.