DOCSLIB.ORG

CONGRESSIONAL RECORD— Extensions of Remarks E1551 HON

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CONGRESSIONAL RECORD— Extensions of Remarks E1551 HON September 7, 2011 CONGRESSIONAL RECORD — Extensions of Remarks E1551 advocate, a mentor for his fellow veterans, will take place during the 40th Annual Legisla- and arranged by Willard Jenkins, was pub- and a leader in our community. tive Conference. Mr. Weston will also perform lished in 2010. Tino Adame was born in French Camp, at the concert, which will take place on Thurs- Mr. Speaker, Randy Weston is a living jazz California, and graduated from Franklin High day, September 22, 2011, at the Walter E. treasure and I urge all members to join me in School in 1965. After two years of study at Washington Convention Center, in Wash- commending him for his magnificent contribu- San Joaquin Delta College, he joined the U.S. ington, DC. tion to jazz fans around the world. Marines at the age of 19 and has proudly Randy Weston is an internationally re- f worn the honorable title of Marine ever since nowned pianist, composer, bandleader and that day. Tino was stationed with the ‘‘2/9 Hell cultural ambassador, whose compositions en- RETIREMENT OF MICHAEL in a Helmet’’ unit in Vietnam, and as a result compass the vast rhythmic heritage of both SULLIVAN of his service, earned a Purple Heart, the Viet- America and Africa. After six decades of ac- nam Service Medal, the Vietnam Campaign tive work, he is widely recognized as a true in- HON. PETER J. VISCLOSKY Medal, the National Defense Service Medal, novator and visionary who continues to inform OF INDIANA the Rifle Marksman Badge, and the Good and inspire. Mr. Weston has had an out- IN THE HOUSE OF REPRESENTATIVES Conduct Medal. standing career that deserves the recognition Wednesday, September 7, 2011 Tino completed his service in Vietnam in of this body. Let me share some of the high- 1967 and came home to work at the Tracy lights from his biography. Mr. VISCLOSKY. Mr. Speaker, it is with Defense Depot. He married Mary Hope Lopez Randy Weston was born on April 6, 1926 great respect that I stand before you today to in 1970 and continued to work at the Depot and raised in Brooklyn, New York, son of par- congratulate Mr. Michael J. Sullivan on his re- until he retired after 33 years. ents from Jamaica and Virginia. New York City tirement from his position as General Presi- Tino Adame has dedicated himself to serv- has long been a Mecca for jazz giants and dent of the Sheet Metal Workers’ International ing his fellow veterans. In 1998, Tino became Weston cites Count Basie, Duke Ellington, and Association, SMWIA. For 46 years, Mike has the first Latino Commander of the American Art Tatum as his piano heroes. It was devoted his life to serving, protecting, and im- Legion Karl Ross Post 16. One of his first ini- Thelonius Monk, however, who made the proving the lives of all Americans who want to tiatives was a successful petition of the Stock- greatest impact. ‘‘He was the most original I earn a living wage for their labor. This is par- ton City Council to sponsor an Independence ever heard,’’ Mr. Weston remembers. ‘‘He ticularly true for the members of the Sheet Day parade honoring veterans—the first such played like they must have played in Egypt Metal Workers. Michael Sullivan will be hon- parade to take place in 10 years. Tino then 5000 years ago.’’ ored for his many years of dedicated service went on to chair both the Independence Day Much of Mr. Weston’s connection to African at a retirement celebration on September 20, and Veterans Day parades. music stems from his father, Frank Edward 2011, at the Gaylord National Resort and Con- Tino has also taken part in many community Weston, who told his son he was ‘‘an African vention Center in National Harbor, Maryland. initiatives involving our community’s young born in America. He told me I had to Michael Sullivan’s leadership over the years people. He has taught students correct flag et- learn about myself, about him and about my has been indispensable for the Sheet Metal iquette, including the proper way to retire old grandparents,’’ stated Weston, ‘‘and the only Workers’ International Association. During his flags and dedicate new ones. He has recog- way to do it was I’d have to go back to the tenure, Mike has held numerous positions. I’m nized JROTC cadets at his alma mater, Frank- motherland one day.’’ Inspired by Nigeria’s proud that his career began in my home state, lin High School, with plaques of achievement. newly won independence from the United in Indianapolis, Indiana, where he completed He has also worked with young students to Kingdom, Weston started to incorporate tribal his apprenticeship. In 1973, Mike was elected write Valentine’s Day cards to veterans at the music with a type of West African pop music business representative. He later became the VA facility in Livermore. known as High Life. This blend culminated in business manager and financial secretary of Following the attacks on 9/11, Tino re- Mr. Weston’s 1960 album Uhuru Afrika, which Sheet Metal Workers’ Local Union 20. While quested and obtained a piece of limestone featured traditional African percussion and residing in Indiana, he served as president of from the part of the Pentagon that was dam- rhythms in the form of a jazz suite. the American Federation of Labor and Con- aged during the attack. That limestone is now In the late 1960’s, Mr. Weston took his fa- gress of Industrial Organizations (AFL–CIO) enclosed in front of the Karl Ross Post and ther’s advice and left the United States for Mo- for the state of Indiana. Later, he was ap- serves as an important reminder to our com- rocco, travelling throughout Africa to experi- pointed by the Governor to serve as a mem- munity about the 9/11 attacks and the sacrifice ence each country’s musical diversity. One of ber for the Indiana Workers’ Compensation of our men and women in uniform. the highlights of his travels was the 1977 Ni- Commission and Hoosier Alliance Against Tino also played an important role in con- gerian Festival, which drew artists from 60 cul- Drugs. Mike was vice president of the SMWIA vincing the Department of Veterans Affairs to tures. ‘‘At the end,’’ Weston says, ‘‘we all real- General Executive Council for 10 years and select San Joaquin County as the home for a ized that our music was different but the then served as the General Secretary-Treas- new veterans’ medical facility and nursing same, because if you take out the African ele- urer of the SMWIA. In 1999, Michael became home. Thanks to his hard work and the efforts ments of bossa nova, samba, jazz, blues, you President of the SMWIA, a position that in- of many in the community, the Valley’s vet- have nothing. To me, it’s Mother Africa’s cludes supervising and directing 157 Sheet erans will be able to get medical care close to way of surviving in the New World.’’ He had Metal Workers’ Local Unions throughout the home. the honor of playing at the Kamigamo Shrine United States, Canada, and Puerto Rico. This Tino Adame’s steadfast commitment to his in Kyoto, Japan in 2008 and commemorated vital group provides skilled services to various country, community and fellow veterans is an the 50th Anniversary of his Uhuru Africa industries including sheet metal, air condi- example to us all. I know his work to improve album in 2010. With his strong connection to tioning, kitchen equipment, transportation and the lives of our heroes will make a lasting im- African music, Weston has enjoyed success other metal related manufacturing. Mike has pact for years to come. It is for these reasons with the dozens of albums he released over also served as the vice president of the AFL– that I ask my colleagues to join me in hon- the past 50 years. CIO Executive Council, while also participating oring Tino Adame for his exceptional service Randy Weston has received awards and ac- in several AFL–CIO executive committees. In to our country and our veterans. claim at home and abroad, including the pres- addition to the prestigious positions held by tigious Jazz Masters Award from the National f Mike, he has served as the labor co-chairman Endowment for the Arts, NEA, in 2001. He of the Democratic Governors’ Association and HONORING NEA JAZZ MASTER has also received an honorary Doctor of Music also currently serves as president of the Eu- RANDY WESTON degree from Brooklyn College, City University gene Debs Foundation. of New York, in June 2006. In 2009 he was Mr. Speaker, Mike Sullivan represents the HON. JOHN CONYERS, JR. added to the American Society of Composers, very best values of his home state of Indiana: OF MICHIGAN Authors and Publishers (ASCAP) Jazz Wall of hard work, perseverance in the face of set- IN THE HOUSE OF REPRESENTATIVES Fame. On May 11, 2011 Weston received the backs, and a selfless nature of wanting to award of Royal Wissam of National Merit of serve others before being served. He is a gen- Wednesday, September 7, 2011 the Order of Officer by command of His Maj- tleman in the truest sense of the word: strong, Mr. CONYERS. Mr. Speaker, legendary jazz esty the King Mohammed VI of Morocco, for decisive, but governed by compassion and artist Randy Weston will be honored this year his lifelong commitment to Morocco. His mem- kindness. by the Congressional Black Caucus Founda- oirs, African Rhythms: The Autobiography of Michael’s dedication to his fellow members tion at the Jazz Issue Forum and Concert that Randy Weston, composed by Randy Weston throughout his outstanding career is exceeded VerDate Mar 15 2010 04:04 Sep 08, 2011 Jkt 099060 PO 00000 Frm 00011 Fmt 0626 Sfmt 9920 E:\CR\FM\A07SE8.022 E07SEPT1 tjames on DSK6SPTVN1PROD with REMARKS.
Load more

Recommended publications
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • I the Use of African Music in Jazz from 1926-1964: an Investigation of the Life
    The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston by Jason John Squinobal Batchelor of Music, Berklee College of Music, 2003 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Master in Ethnomusicology University of Pittsburgh 2007 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This thesis was presented by Jason John Squinobal It was defended on April 17, 2007 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Thesis Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2007 iii The Use of African Music in Jazz From 1926-1964: An Investigation of the Life, Influences, and Music of Randy Weston Jason John Squinobal, M.A. University of Pittsburgh, 2007 ABSTRACT There have been many jazz musicians who have utilized traditional African music in their music. Randy Weston was not the first musician to do so, however he was chosen for this thesis because his experiences, influences, and music clearly demonstrate the importance traditional African culture has played in his life. Randy Weston was born during the Harlem Renaissance. His parents, who lived in Brooklyn at that time, were influenced by the political views that predominated African American culture. Weston’s father, in particular, felt a strong connection to his African heritage and instilled the concept of pan-Africanism and the writings of Marcus Garvey firmly into Randy Weston’s consciousness.
    [Show full text]
  • An Investigation of the Life, Influences, and Music of Randy Weston
    An Investigation of the Life, Influences, and Music of Randy Weston by Jason Squinobal, Ph.D. [email protected] Assistant Professor of Music; Director of Instrumental Music, Virginia Wesleyan University, Virginia Beach, Virginia Introduction In an article written in 1973 for the journal, Black Perspectives in Music, J.H. Kwanbena Nketia highlights the important and continual relationship between African and African American music. Nketia states “The relationship between African and Afro-American music is dynamic and unbroken at the conceptual level in spite of the differences in materials to which these concepts are applied.”1 This statement articulates the importance of African music in the creation of African American music, at its inception, and continued development of African American music in modern times. This relationship has not always been recognized in past music scholarship. Nketia says, “The importance of the music of Africa in historical studies of Afro-American music has tended to be seen more as providing a point of departure than as something that continues to be relevant to the present.”2 There are studies that give African music credit for the continual influence it has had on African American music; however, Nketia’s words are as relevant today as they were in 1973. It is my intention to present a study that is sensitive to the claims made by Nketia. The work presented here identifies the continued application of traditional African musical and cultural traits in jazz composition and performance. Many jazz musicians utilized traditional African traits in their music. Randy Weston was not the first musician to do so, however jazz fans and scholars will remember him because his experiences, influences, and music clearly demonstrate the importance traditional African culture played in his life.
    [Show full text]
  • N E W S L E T T
    Harvard University Department of M usic MUSICnewsletter Vol. 17, No. 1 Winter 2016 The Last First Nights he crowd gathered in Sanders Theatre on the first of December to hear the world Harvard University premiere of Matthew Aucoin’s commis- Department of Music Tsioned work, “Its Own Accord.” Aucoin ’12, 3 Oxford Street piano, and Keir GoGwilt ’13, violin, took the Cambridge, MA 02138 stage. The audience hushed, as they had for the past 22 years, on this final day of class for Professor 617-495-2791 Thomas F. Kelly’s First Nights course. music.fas.harvard.edu The gorgeous interplay of violin and piano filled Sanders, and Kelly sat in the house, smiling. After the last chord on the piano, after the bows and the applause, Kelly took the stage. “I hate to break the spell. But consider this. INSIDE If you weren’t here, you didn’t hear it. For right now, we are the only people in the world who teaching fellows have supported First Nights. For 3 Faculty News have heard this piece.” many, it was their first teaching experience and for 4 Just Vibrations: Cheng Interview First Nights, one of Harvard’s most popular some, it was life-changing. and enduring courses, takes students through the “The most important thing you taught me experience of five premieres in the context of their is to be someone who manifests joy in what he own time and place: Monteverdi's opera L’Orfeo, does,” wrote Willam Bares (PhD 2010), in a note Handel’s Messiah, Beethoven’s Ninth Symphony, congratulating Kelly on his final class.
    [Show full text]
  • The Hard Bop Trombone: an Exploration of the Improvisational Styles of the Four Trombonist Who Defined the Genre (1955-1964)
    The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964) Emmett C. Goods Dissertation submitted to the School of Music at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Trombone Performance H. Keith Jackson, DMA, Committee Chair Constinia Charbonnette, EDD David Taddie, Ph.D. Michael Vercelli, DMA Mitchell Arnold, DMA Music Morgantown, West Virginia 2019 Keywords: Hard Bop, Trombone, Jazz, Jazz Improvisation Copyright 2019 Emmett C. Goods The Hard Bop Trombone: An exploration of the improvisational styles of the four trombonist who defined the genre (1955-1964). Emmett C. Goods This dissertation examines the improvisational stylings of Curtis Fuller, Locksley “Slide” Hampton, Julian Priester and Grachan Moncur III from 1955 through 1964. In part one of this study, each musician is presented through their improvisational connections to J.J. Johnson, the leading trombonist of the Bebop era. His improvisational signatures are then traced through to the musical innovations of the Hard-Bop Trombone Era. Source material for this part of the study includes published books, dissertations, articles, online sources, discographies and personal interviews. Part two of this paper analyzes selected solos from each of the four subjects to identify the defining characteristics of the Hard-Bop Trombone Era. Evidence for these claims is bolstered by interviews conducted with the four men and their protégés. In a third and final part, a discography has been compiled for each artists during the defined era. Through historical analysis of these four artists’ music and recording of first-hand accounts from the artists themselves, this document attempts to properly contextualize the Hard-Bop Trombone Era as unique and important to the further development of the jazz trombone.
    [Show full text]
  • UNIVERSITY of CALIFORNIA SAN DIEGO Max Roach and M'boom
    UNIVERSITY OF CALIFORNIA SAN DIEGO Max Roach and M’Boom: Diasporic Soundings in American Percussion Music A dissertation submitted in partial satisfaction of the requirements of the degree Doctor of Musical Arts in Contemporary Music Performance by Sean Leah Bowden Committee in charge: Professor Steven Schick, Chair Professor Amy Cimini Professor Anthony Davis Professor Stephanie Richards Professor Emily Roxworthy 2018 The Dissertation of Sean Leah Bowden is approved, and it is acceptable in quality and form for publication on microfilm and electronically: __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ __________________________________________________________________________ Chair University of California San Diego 2018 iii TABLE OF CONTENTS Signature Page…………………………………………………………………………………… iii Table of Contents………………………………………………………………………………… iv Acknowledgements………………………………………………………………………………. v Vita…………………………………………………………………………………………………. vi Abstract of the Dissertation……………………………………………………………………… vii Introduction………………………………………………………………………………………... 1 Jazz Drumming: Possibilities, Limitations……………………………………………………… 7 Spatial Eruptions in the Space Age……………………………………………………. 9 Freedom From/ Freedom To: The Multiple Avant-Gardes of 1970s Jazz………………….. 20 Searching for the Sound of Diaspora…………………………………………………………..
    [Show full text]
  • South African Jazz and Exile in the 1960S: Theories, Discourses and Lived Experiences
    South African Jazz and Exile in the 1960s: Theories, Discourses and Lived Experiences Stephanie Vos In fulfilment of the requirements for the degree of Doctor of Philosophy in Music Royal Holloway, University of London September 2015 Declaration of Authorship I, Stephanie Vos, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 28 August 2016 2 Abstract This thesis presents an inquiry into the discursive construction of South African exile in jazz practices during the 1960s. Focusing on the decade in which exile coalesced for the first generation of musicians who escaped the strictures of South Africa’s apartheid regime, I argue that a lingering sense of connection (as opposed to rift) produces the contrapuntal awareness that Edward Said ascribes to exile. This thesis therefore advances a relational approach to the study of exile: drawing on archival research, music analysis, ethnography, critical theory and historiography, I suggest how musicians’ sense of exile continuously emerged through a range of discourses that contributed to its meanings and connotations at different points in time. The first two chapters situate South African exile within broader contexts of displacement. I consider how exile built on earlier forms of migration in South Africa through the analyses of three ‘train songs’, and developed in dialogue with the African diaspora through a close reading of Edward Said’s theorization of exile and Avtar Brah’s theorization of diaspora. A case study of the Transcription Centre in London, which hosted the South African exiles Dorothy Masuku, Abdullah Ibrahim, and the Blue Notes in 1965, revisits the connection between exile and politics, broadening it beyond the usual national paradigm of apartheid politics to the international arena of Cold War politics.
    [Show full text]
  • Imaginings of Africa in the Music of Miles Davis by Ryan
    IMAGININGS OF AFRICA IN THE MUSIC OF MILES DAVIS BY RYAN S MCNULTY THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Advisor: Associate Professor Gabriel Solis Abstract Throughout jazz’s history, many American jazz musicians have alluded to Africa using both musical and extramusical qualities. In musicological literature that has sought out ties between American jazz and Africa, such as Ingrid Monson’s Freedom Sounds (2007) and Robyn Kelly’s Africa Speaks, America Answers (2012), the primary interest has thus far been in such connections that occurred in the 1950s and early 1960s with the backdrop of the Civil Rights movement and the liberation of several African countries. Among the most frequently discussed musicians in this regard are Art Blakey, Max Roach, and Randy Weston. In this thesis, I investigate the African influence reflected in the music of Miles Davis, a musician scantly recognized in this area of jazz scholarship. Using Norman Weinstein’s concept of “imaginings,” I identify myriad ways in which Davis imagined Africa in terms of specific musical qualities as well as in his choice of musicians, instruments utilized, song and album titles, stage appearance, and album artwork. Additionally (and often alongside explicit references to Africa), Davis signified African-ness through musical qualities and instruments from throughout the African diaspora and Spain, a country whose historical ties to North Africa allowed Davis to imagine the European country as Africa.
    [Show full text]
  • West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston
    West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston by Jason John Squinobal Batchelor of Music, Music Education, Berklee College of Music, 2003 Master of Arts, Ethnomusicology, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2009 ffh UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason John Squinobal It was defended on April 14, 2009 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Dr. Joseph K. Adjaye, Professor, Africana Studies Dissertation Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2009 iii West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston Jason John Squinobal, PhD University of Pittsburgh, 2009 Abstract This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that predominated African American culture at that time.
    [Show full text]
  • Randy Weston: Max Taught Me African American Classical Music. That's
    Randy Weston: Randy Weston: So this young drummer says, “Hey, man, he’s talking to you.” I said, “He doesn’t remember me.” He does this, and we go down to the bar and Tadd Dameron and the group is on this side, right? Parker says, “What y’all doin’?” I said, “We’re coming to hear Tadd Dameron.” Charlie Parker said, “Come with me.” He takes us upstairs, calls a taxi, put is in a taxi, takes us to 52nd Street, we go into a Club called Three Deuces, and there’s a band playing. White boys playing. He walks in the club in the middle of a song, told the piano player to get up, told the drummer to get up. Now you don’t do that to musicians. That’s a way to die. But Charlie Parker had that power. Charlie Parker told me to sit at the piano, my buddy on the drums, took out his horn and played forty-five minutes with us. Bagged his horn and left. He didn’t say another word. Ishmael Reed: Wow. Randy Weston: We were in Heaven. We played with Bird. Ishmael Reed: Who were the other people who were playing with you? Randy Weston: No, just me and the drummer. Ishmael Reed: Just you and the drummer. What do you know about Tadd Dameron? Randy Weston: Oh, he was wonderful. Great, great arranger. Beautiful human being. Yeah, I loved Tadd, Man. He was set. He was that class that came up with that generation. That class. Ishmael Reed: Extended harmonies.
    [Show full text]
  • A Look Inside the Political Hip Hop Music of Tupac Amaru Shakur
    ABSTRACT AFRICAN AMERICAN STUDIES, AFRICANA WOMEN’S STUDIES, AND HISTORY WATKINS, TRINAE M.A. CLARK ATLANTA UNIVERSITY, 2018 PANTHER POWER: A LOOK INSIDE THE POLITICAL HIP HOP MUSIC OF TUPAC AMARU SHAKUR Committee Chair: Charmayne Patterson, Ph.D. Thesis dated December 2018 In this study, seven rap songs by hip hop icon Tupac Shakur were examined to determine if the ideology of the Black Panther Party exists within the song lyrics of his politically oriented music. The study used content analysis as its methodology. Key among the Ten Point Program tenets reflected in Tupac’s song lyrics were for self- determination, full employment, ending exploitation of Blacks by Whites (or Capitalists), decent housing, police brutality, education, liberation of Black prisoners, and the demand for land, bread, housing, education, clothing, justice, peace, and a United Nations plebiscite. PANTHER POWER: A LOOK INSIDE THE POLITICAL HIP HOP MUSIC OF TUPAC AMARU SHAKUR A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS BY TRINAE WATKINS DEPARTMENT OF AFRICAN AMERICAN STUDIES, AFRICANA WOMEN’S STUDIES, AND HISTORY ATLANTA, GEORGIA DECEMBER 2018 © 2018 TRINAE WATKINS All Rights Reserved ACKNOWLEDGEMENTS I give all praises and honor to the Most High, the Eternal Elohim and Creator. I offer gratitude and sincere thanks to my grandparents and the wonderful ancestors that preceded them; my loving parents, Perry and Augustae Watkins; my forever supportive extended family from both the Watkins and Jones family lineages as well as childhood friends, Debbie Cooper and Dr. Sandra Cutts.
    [Show full text]
  • Downbeat.Com March 2021 U.K. £6.99
    MARCH 2021 U.K. £6.99 DOWNBEAT.COM MARCH 2021 DOWNBEAT 1 March 2021 VOLUME 88 / NUMBER 3 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]