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Decolonising Knowledge
DECOLONISING KNOWLEDGE Expand the Black Experience in Britain’s heritage “Drawing on his personal web site Chronicleworld.org and digital and print collection, the author challenges the nation’s information guardians to “detoxify” their knowledge portals” Thomas L Blair Commentaries on the Chronicleworld.org Users value the Thomas L Blair digital collection for its support of “below the radar” unreported communities. Here is what they have to say: Social scientists and researchers at professional associations, such as SOSIG and the UK Intute Science, Engineering and Technology, applaud the Chronicleworld.org web site’s “essays, articles and information about the black urban experience that invite interaction”. Black History Month archived Bernie Grant, Militant Parliamentarian (1944-2000) from the Chronicleworld.org Online journalists at the New York Times on the Web nominate THE CHRONICLE: www.chronicleworld.org as “A biting, well-written zine about black life in Britain” and a useful reference in the Arts, Music and Popular Culture, Technology and Knowledge Networks. Enquirers to UK Directory at ukdirectory.co.uk value the Chronicleworld.org under the headings Race Relations Organisations promoting racial equality, anti- racism and multiculturalism. Library”Govt & Society”Policies & Issues”Race Relations The 100 Great Black Britons www.100greatblackbritons.com cites “Chronicle World - Changing Black Britain as a major resource Magazine addressing the concerns of Black Britons includes a newsgroup and articles on topical events as well as careers, business and the arts. www.chronicleworld.org” Editors at the British TV Channel 4 - Black and Asian History Map call the www.chronicleworld.org “a comprehensive site full of information on the black British presence plus news, current affairs and a rich archive of material”. -
Issue 205 Autumn 2020
CAMBERWELLCAMBERWELL QUARTERLYQUARTERLY The magazine of the Camberwell Society The magazine of The Camberwell Society NoNo 202 205 Winter Autumn 2019 2020 £1.50 £1.50 (free (free to to members)members) www.camberwellsociety.org.ukwww.camberwellsociety.org.uk Green light for new station entrance – p4 Camberwell’s black music hall stars – p5 Is Covid making GPs remote and anonymous? – p7 Burgess Business Park Development stopped by resi- dents – p9 St Giles’ Churchyard and its haunted passage – p12 New walk: through Camberwell’s black history – p6 More a gent than an agent Colin Lowman obituary – p15 Remembering Conrad and Marilyn Dehn – p14 Camberwell’s food bank – p18 Gazette LOCAL SOCIETIES, VENUES AND EVENTS Contents We recommend checking details Report from the Chair ......................3 Open Gardens ...................................3 Denmark Hill Station – green Brunswick Park Neighbourhood Peckham Society light for second entrance ..................4 Tenants and Residents Association Peter Frost Steppin’ out with black music Patricia Ladly 020 8613 6757 hall stars ...........................................5 020 7703 7491 www.peckhamsociety.org.uk [email protected] Black history walk ...........................6 Ruskin Park, Friends of COVID is making GPs remote Brixton Society Doug Gillies and anonymous .................................. 7 www.brixtonsociety.org.uk 020 7703 5018 Victory for Burgess Park Burgess Park, Friends of SE5 Forum campaigners ......................................9 www.friendsofburgesspark.org.uk -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. MARIAN McPARTLAND NEA Jazz Master (2000) Interviewee: Marian McPartland (March 20, 1918 – August 20, 2013) Interviewer: James Williams (March 8, 1951- July 20, 2004) Date: January 3–4, 1997, and May 26, 1998 Repository: Archives Center, National Museum of American History Description: Transcript, 178 pp. WILLIAMS: Today is January 3rd, nineteen hundred and ninety-seven, and we’re in the home of Marian McPartland in Port Washington, New York. This is an interview for the Smithsonian Institute Jazz Oral History Program. My name is James Williams, and Matt Watson is our sound engineer. All right, Marian, thank you very much for participating in this project, and for the record . McPARTLAND: Delighted. WILLIAMS: Great. And, for the record, would you please state your given name, date of birth, and your place of birth. McPARTLAND: Oh, God!, you have to have that. That’s terrible. WILLIAMS: [laughs] McPARTLAND: Margaret Marian McPartland. March 20th, 1918. There. Just don’t spread it around. Oh, and place of birth. Slough, Buckinghamshire, England. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 WILLIAMS: OK, so I’d like to, as we get some of your information for early childhood and family history, I’d like to have for the record as well the name of your parents and siblings and name, the number of siblings for that matter, and your location within the family chronologically. Let’s start with the names of your parents. -
Full List of Publications for Sale
Publications for Sale At Southwark Local History Library and Archive The Neighbourhood Histories series: Illustrated A5-size histories of the communities within the London Borough of Southwark: The Story of the Borough by Mary Boast £1.95 Covers Borough High Street, and the parishes of St George the Martyr and Holy Trinity The Story of Walworth by Mary Boast £4.00 Covers the parish of St Mary Newington, the Elephant and Castle and the Old Kent Road The Story of Rotherhithe by Stephen Humphrey £3.50 Covers the parish of St Mary Rotherhithe, Surrey Docks, Southwark Park The Story of Camberwell by Mary Boast £3.50 Covers the Parish of St Giles Camberwell, Burgess Park, Denmark Hill The Story of Dulwich by Mary Boast £2.00 Covers the old village and Dulwich Picture Gallery The Story of Peckham and Nunhead by John Beasley £4.00 Covers Rye Lane, houses, Peckham Health Centre, World War I and II and people @swkheritage Southwark Local History Library and Archive 211 Borough High Street, London SE1 1JA southwark.gov.uk/heritage Tel: 020 7525 0232 [email protected] Southwark: an Illustrated History by Leonard Reilly £6.95 An overview of Southwark’s History, lavishly illustrated with over 100 views, many in colour Southwark at War, ed. By Rib Davis and Pam Schweitzer £2.50 A collection of reminiscences from the Second World War which tells the Story of ordinary lives during this traumatic period. Below Southwark by Carrie Cowan £4.95 A 46-page booklet showing the story of Southwark, revealed by excavations over the last thirty years. -
Journal of British Studies
Journal of British Studies 'The show is not about race': Custom, Screen Culture, and The Black and White Minstrel Show --Manuscript Draft-- Manuscript Number: 4811R2 Full Title: 'The show is not about race': Custom, Screen Culture, and The Black and White Minstrel Show Article Type: Original Manuscript Corresponding Author: Christine Grandy, Ph.D. University of Lincoln Lincoln, Lincolnshire UNITED KINGDOM Corresponding Author Secondary Information: Corresponding Author's Institution: University of Lincoln Corresponding Author's Secondary Institution: First Author: Christine Grandy, Ph.D. First Author Secondary Information: Order of Authors: Christine Grandy, Ph.D. Order of Authors Secondary Information: Abstract: In 1967, when the BBC was faced with a petition by the Campaign Against Racial Discrimination (CARD) requesting an end to the televised variety programme, The Black and White Minstrel Show (1958-1978), producers at the BBC, the press, and audience members collectively argued that the historic presence of minstrelsy in Britain rendered the practice of blacking up harmless. This article uses Critical Race Theory as a useful framework for unpacking defences that hinged both on the colour-blindness of white British audiences, and the simultaneous existence of wider customs of blacking up within British television and film. I examine a range of 'screen culture' from the 1920s to the 1970s, including feature films, home movies, newsreels, and television, that provide evidence of the existence of blackface as a type of racialised custom in British entertainment throughout this period. Efforts by organisations such as CARD, black-press publications like Flamingo, and audiences of colour, to name blacking up and minstrelsy as racist in the late 1960s were met by fierce resistance from majority white audiences and producers, who denied their authority to do so. -
Aunt Esther's Story
Since 1618 HAMMERSMITH UNITED CHARITIES Aunt Esther’s Story with Stephen Bourne Ethnic Communities Oral History Project Supporting the community since 1618 Aunt Esther’s Story Compiled by Stephen Bourne & Sav Kyriacou © Ethnic Communities Oral History Project 1991 1 INTRODUCTION by Stephen Bourne Black women have been living and working in Britain since at least the early 16th century. The court of King James IV of Scotland included two African maidservants to the Queen. From the seventeenth century black women found employment as domestic servants, seamstresses, laundry maids, children’s nurses, cooks and street and fairground performers. However, many were forced to become prostitutes. It is a little known fact that four hundred years ago, in 1595, a tall, statuesque African called Luce Morgan, also known as Lucy Negro, ran a brothel in Clerkenwell. A beautiful and famous courtesan, some historians believe that Shakespeare fell in love with her, and they have identified her as his Dark Lady of the Sonnets. Luce Morgan may have inspired Shakespeare, but in those days women had very little access to education, and left no written records. Poet Phillis Wheatley became the first black woman to have her writing published in Britain. Bought in a slave-market in 1761 when she was just seven- years-old, Wheatley grew up in America and came to London in 1773. Under the patronage of the Countess of Huntingdon, Wheatley’s poems were published here to great acclaim, and subsequently she was befriended and entertained by members of the English aristocracy. She died in 1784. Another slave, Mary Prince, was born in Bermuda in 1788 but, unlike Wheatley, she suffered barbaric treatment from her owners. -
Rights Catalogue Spring 2016 Jacaranda Books Art Music Ltd Is a Fresh and Exciting New Independent Publishing House Based in London
Rights catalogue Spring 2016 Jacaranda Books Art Music Ltd is a fresh and exciting new independent publishing house based in London. We publish adult fiction and non- fiction, including illustrated books, across linguistic, racial, gender and cultural boundaries – books in many ways as cosmopolitan as our city. Through our publishing, we directly address the ongoing lack of diversity in the industry today, and seek to enrich the landscape from boardroom to bookshelf. We aim to bring authors and books that represent the cultural, heritage and ethnic variety that can be found in London, with a particular interest in works related to Africa, the Caribbean, and African America. At the heart of our publishing strategy is one core element: a love of outstanding, thought-provoking work. We believe that a wealth of unheard, under-represented voices exist globally and are ready to be discovered. It is our mission to create the space for those voices to be seen and heard by new readers. Valerie Brandes Founder and Publisher Jacaranda 2 RADIO SUNRISE ANIETIE ISONG JANUARY 2017 Literary fiction, Satire Binding: B-format paperback Extent: 160 pp Price: £7.99 Rights: World ‘Never cover an assignment without collecting a brown ANIETIE ISONG started his career as a journalist envelope,’ Boniface had said. ‘It is a real life saver for all with Radio Nigeria, in Lagos. His short stories have journalists in this country.’ been published in journals and broadcast on the BBC and Radio Nigeria. He won several awards, Ifiok, a young journalist working for the government including the Commonwealth Short Story Award in radio station in Lagos, aspires to always do the right 2000 and the Remember Oluwale Writing Prize in thing but the odds seem to be stacked against him. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Extreme Matt-Itude Holidaygift Guide Ikue • Ivo • Joel • Rarenoise • Event Mori Perelman Press Records Calendar December 2013
DECEMBER 2013 - ISSUE 140 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM MATT WILSON EXTREME MATT-ITUDE HOLIDAYGIFT GUIDE IKUE • IVO • JOEL • RARENOISE • EVENT MORI PERELMAN PRESS RECORDS CALENDAR DECEMBER 2013 DAVID SANBORN FOURPLAY CLAUDIO RODITI QUARTET SUNDAY BRUNCH RESIDENCY DEC 3 - 8 DEC 10 - 15 TRIBUTE TO DIZZY GILLESPIE DEC 1, 8, 15, 22, & 29 CHRIS BOTTI ANNUAL HOLIDAY RESIDENCY INCLUDING NEW YEAR’S EVE! DEC 16 - JAN 5 JERMAINE PAUL KENDRA ROSS WINNER OF “THE VOICE” CD RELEASE DEC 2 DEC 9 LATE NIGHT GROOVE SERIES RITMOSIS DEC 6 • CAMILLE GANIER JONES DEC 7 • SIMONA MOLINARI DEC 13 • GIULIA VALLE DEC 14 VICKIE NATALE DEC 20 • RACHEL BROTMAN DEC 21 • BABA ISRAEL & DUV DEC 28 TELECHARGE.COM TERMS, CONDITIONS AND RESTRICTIONS APPLY “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm HOLIDAY EVENTS / 7:00, 9:00 & 10:30pm Fri & Sat, Dec 6 & 7 Sun, Dec 15 SMOKE JAVON JACKSON BAND GEORGE BURTON’S CHRISTMAS YULELOG Winter / Spring 2014 Javon Jackson (tenor saxophone) • Orrin Evans (piano) Thu, Dec 19 Santi DeBriano (bass) • Jason Tiemann (drums) “A NAT ‘KING’ COLE CHRISTMAS” SESSIONS Fri & Sat, Dec 13 & 14 ALAN HARRIS QUARTET BILL CHARLAP TRIO COMPACT DISC AND DOWNLOAD TITLES Bill Charlap (piano) • Peter Washington (bass) COLTRANE FESTIVAL / 7:00, 9:00 & 10:30pm Kenny Washington (drums) Mon, Dec 23 - Wed, Dec 25 Fri, Sat & Sun, Dec 20, 21 & 22 ERIC ALEXANDER QUARTET RENEE ROSNES QUARTET FEATURING LOUIS HAYES Steve Nelson (vibraphone) • Renee Rosnes (piano) Eric Alexander (tenor saxophone) • Harold Mabern (piano) Peter Washington (bass) • Lewis Nash (drums) John Webber (bass) • Louis Hayes (drums) Thu, Dec 26 - Wed, Jan 1 ERIC ALEXANDER SEXTET ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm FEAT. -
The Jamaican High Commission London - Newsletter Year in Review MESSAGE from the HIGH COMMISSIONER, H.E
The Jamaican High Commission London - Newsletter Year in Review MESSAGE FROM THE HIGH COMMISSIONER, H.E. MRS. ALOUN NDOMBET-ASSAMBA ingly popular Citizenship Ceremo- ment of the Jamaica Education nies and other outreach activities Taskforce UK (JET UK) and the were successfully undertaken International Health Group UK, and we expect to build on what both of which have been doing was achieved over the past year. extensive work. We had our usual events to mark significant milestones both here As a Mission, we are proud that and in Jamaica, and introduced we were able to have done so new initiatives like our inaugural much, notwithstanding our limited Literary Evening, which was held resources. We could not have in September. done so without your continued support and cooperation – thank The High Commission also con- you. e have come to the end tinued to participate extensively in of another hectic year at discussions with bilateral, multilat- I close by reassuring you of the the High Commission. eral and business partners both High Commission’s continued W here and in the UK, as well as in commitment to working with you We had a number of Ministerial visits over the period, witnessed the countries to which I am con- all in 2015. the launch of the Diaspora Map- currently accredited as Ambas- ping Project and supported as sador (Finland, Ireland, Norway, We expect that it will be an even well as participated in countless Denmark, Sweden and Cyprus). more exciting but challenging events put on by the Diaspora year but with your support and across the length and breadth of 2014 was also a year of important partnership, we will be able to the United Kingdom. -
West Indian Immigration: to What Extent Was West Indian National Identity Shaped by Their Experiences in Britain During the Windrush Era (1948-1963)? History
West Indian immigration: To what extent was West Indian national identity shaped by their experiences in Britain during the Windrush era (1948-1963)? History Abstract Page | 1 The arrival of the ship MV Empire Windrush on 22 June 1948 is largely considered the land mark of post-war mass migration to Britain. With approximately 492 Caribbean men and women aboard the ship, their lives in Britain following their arrival has been a key area of examination. Throughout this study, I use the Empire Windrush as an overarching case study that forms the central basis of my research. My dissertation explores how ‘Britishness’ influenced the national identity of West Indian citizens, from both within the colonies and during their time in Britain. It analyses the impact of the cultural and economic hardships experienced by Caribbean immigrants, while also highlighting the formation of newfound resistance to these adversities. Therefore, it becomes clear that the role of the ‘Mother country’ within the narrative of West Indian immigration has played a major role in defining West Indian national identity. Contents Page | 2 Abstract 2 Introduction 4 Literature review 7 Chapter 1- ‘Britishness’ in the colonies 11 Chapter 2- Social experiences 21 Chapter 3- Economic experiences 32 Conclusion 42 Bibliography 44 Introduction Page | 3 In 1948 the Windrush ship made its first voyage to Britain, bringing almost 500 West Indian immigrants to their new home. This notable journey marked the beginning of the Windrush influx which saw thousands of Caribbean citizens endure the same journey to a post-war Britain. Promises of employment opportunities, financial stability and a more prosperous future were key driving factors of this movement. -
V. Swing-Good Bad and Commercial 1935-1944
V: Swing: The Good, the Bad, and the Commercial (1935-1944) Most of the innovations in jazz have shadowy histories; you can’t pin them down to a specific time or place. But the Swing Era decidedly began on August 21, 1935, when Benny Goodman’s orchestra played the last stop on a mostly failed transcontinental tour at the Palo- mar Ballroom in Los Angeles. The story is too familiar to bear repeating, but the shock waves created that night lasted a good eight years. Was it only eight years? And why only eight years? Many theories have been given for swing’s demise: World War II, the damaging re- cording ban placed on musicians by union president James Petrillo, changing tastes towards smoother and more soothing music, the collapse of the theater and club circuits. All of these things certainly had something to do with it. Yet what is almost never mentioned, except by musicians, is that swing was just another phase jazz was going through, a period of develop- ment. It had to change and move on to the next phase, and when it did, its carefully-built-up audience was either not there to move along with it or rejected the changes as anti-populist. Of course, the seeds of swing had already been sown in the early 1930s. The Casa Loma band, Duke Ellington, Fletcher Henderson, Chick Webb, and even the more obscure bands of Bennie Moten and Earl Hines, the vocal stylings of the Boswell Sisters, and other hot combinations had already been around for a while, but for the most part it was not a na- tional music, not a craze, not what “everyone” suddenly wanted to hear.