Impressions Concert Set Popular Recording Group to Appear May 7
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Musical Imaginary, Identity and Representation: the Case of Gentleman the German Reggae Luminary
Ali 1 Musical Imaginary, Identity and Representation: The Case of Gentleman the German Reggae Luminary A Senior Honors Thesis Presented in partial fulfillment of the requirements for graduation with distinction in Comparative Studies in the undergraduate colleges of The Ohio State University By Raghe Ali April 2013 The Ohio State University Project Advisors Professor Barry Shank, Department of Comparative Studies Professor Theresa Delgadillo, Department of Comparative Studies Ali 2 In 2003 a German reggae artist named Gentleman was scheduled to perform at the Jamworld Entertainment Center in the south eastern parish of St Catherine, Jamaica. The performance was held at the Sting Festival an annual reggae event that dates back some twenty years. Considered the world’s largest one day reggae festival, the event annually boasts an electric atmosphere full of star studded lineups and throngs of hardcore fans. The concert is also notorious for the aggressive DJ clashes1 and violent incidents that occur. The event was Gentleman’s debut performance before a Jamaican audience. Considered a relatively new artist, Gentleman was not the headlining act and was slotted to perform after a number of familiar artists who had already “hyped” the audience with popular dancehall2 reggae hits. When his turn came he performed a classical roots 3reggae song “Dem Gone” from his 2002 Journey to Jah album. Unhappy with his performance the crowd booed and jeered at him. He did not respond to the heckling and continued performing despite the audience vocal objections. Empty beer bottles and trash were thrown onstage. Finally, unable to withstand the wrath and hostility of the audience he left the stage. -
People with Disabilities Get Ready: Curtis Mayfield in the 1990S Ray Pence, Ph.D
People with Disabilities Get Ready: Curtis Mayfield in the 1990s Ray Pence, Ph.D. University of Kansas Abstract: This article breaks with precedent by emphasizing disability’s role in the life and work of Curtis Mayfield (1942-1999) and by arguing that his experience of quadriplegia had both positive and difficult dimensions. Analysis focuses on Mayfield’s representation by journalists and other writers in the 1990s, and on how Mayfield answered their portrayals as an interview subject and as a musician with his final studio album New World Order (1996). Considered within the whole of Mayfield’s career, quadriplegia is revealed as one among many difficulties that he answered with critical positive thinking and powerful music. Key Words: quadriplegia, African-American music, civil rights “When a celebrity is ‘stricken’... editors and producers of national news organizations fall all over each other to run a mass-market variation on the theme, but in terms of narrative structure the celebrity story is simply the same notes scored for a symphony orchestra rather than a string quartet” (Riley, 2005, p. 13). Introduction Curtis Lee Mayfield (1942-1999) was a master of soul, rhythm, and blues with enormous and positive cultural influence in the last forty years of the twentieth century. Mayfield was also a person with disabilities—diabetes and, more significantly, quadriplegia—that he acquired late in life. Images are as important as sounds to understanding relationships between Mayfield’s quadriplegia and his music. Three contrasting views of Mayfield lying flat on his back during the 1990s provide a sort of visual synopsis of public perceptions of his final years. -
“People Get Ready”
“People Get Ready” Excerpt from Lyrics By Curtis Mayfield People get ready, there's a train a comin' You don't need no baggage, you just get on board All you need is faith to hear the diesels hummin' Don't need no ticket, you just thank the Lord Excerpt from the Chapter Essay by Craig Werner No song captures the feel of the early Movement better than Curtis Mayfield’s gospel-inflected “People Get Ready,” which culminates in an invitation to “get on board.” The center of a vibrant Chicago soul scene, which in terms of pure talent rivaled Detroit and Memphis, Mayfield embodied the relationship between Civil Rights, gospel and soul. Known as "the gentle genius," Mayfield grew up attending the Traveling Souls Spiritualist Church, a storefront church pastured by his Grandmother on Chicago’s poverty-stricken West Side. The experienced shaped both his politics and his approach to music. “Gospel was your foundation,” Mayfield said when asked about the inspiration for his songwriting. “All you had to do was just change some few lyrics. ‘Keep on Pushing’ was intended, written as a gospel song. All I needed to do to lock it in with The Impressions was say ‘I’ve got my strength’ instead of “God gave me strength and it don’t make sense.’ Nothing else needed to be changed.” WWW.TEACHROCK.ORG That quiet determination was part of what made Mayfield’s music more than just background for the Movement. When Martin Luther King, Jr., launched an ultimately unsuccessful campaign targeting housing discrimination in Chicago, organizers tapped into The Impressions' local popularity even more directly. -
The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
The Impressions, circa 1960: Clockwise from top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden. Inset: Original lead singer Jerry Butler. PERFORMERS Curtis Mayfield and the Impressions BY J O E M cE W E N from the union of two friends, Jerry Butler and Curtis Mayfield of Chicago, Illinois. The two had sung together in church as adolescents, and had traveled with the Northern Jubilee Gospel Singers and the Traveling Souls Spiritual Church. It was Butler who con vinced his friend Mayfield to leave his own struggling group, the Alfatones, and join him, Sam Gooden, and brothers Richard and Arthur Brooks— the remnants of another strug gling vocal group called the Roosters. According to legend, an impressive performance at Major Lance, Walter Jackson, and Jan Bradley; he also a Chicago fashion show brought the quintet to the at wrote music that seemed to speak for the entire civil tention of Falcon Records, and their debut single was rights movement. A succession of singles that began in recorded shortly thereafter. “For Your 1964 with “Keep On Pushing” and Precious Love” by “The Impressions SELECTED the moody masterpiece “People Get featuring Jerry Butler” (as the label DISCOGRAPHY Ready” stretched through such exu read) was dominated by Butler’s reso berant wellsprings of inspiration as nant baritone lead, while Mayfield’s For Your Precious Love.......................... Impressions “We’re A Winner” and Mayfield solo (July 1958, Falcon-Abner) fragile tenor wailed innocently in the recordings like “(Don’t Worry) If background. Several follow-ups He Will Break Your Heart......................Jerry Butler There’s A Hell Below We’re All Going (October 1960, Veejay) failed, Butler left to pursue a solo ca To Go” and “Move On Up,” placing reer, and the Impressions floundered. -
The Funky Diaspora
The Funky Diaspora: The Diffusion of Soul and Funk Music across The Caribbean and Latin America Thomas Fawcett XXVII Annual ILLASA Student Conference Feb. 1-3, 2007 Introduction In 1972, a British band made up of nine West Indian immigrants recorded a funk song infused with Caribbean percussion called “The Message.” The band was Cymande, whose members were born in Jamaica, Guyana, and St. Vincent before moving to England between 1958 and 1970.1 In 1973, a year after Cymande recorded “The Message,” the song was reworked by a Panamanian funk band called Los Fabulosos Festivales. The Festivales titled their fuzzed-out, guitar-heavy version “El Mensaje.” A year later the song was covered again, this time slowed down to a crawl and set to a reggae beat and performed by Jamaican singer Tinga Stewart. This example places soul and funk music in a global context and shows that songs were remade, reworked and reinvented across the African diaspora. It also raises issues of migration, language and the power of music to connect distinct communities of the African diaspora. Soul and funk music of the 1960s and 1970s is widely seen as belonging strictly in a U.S. context. This paper will argue that soul and funk music was actually a transnational and multilingual phenomenon that disseminated across Latin America, the Caribbean and beyond. Soul and funk was copied and reinvented in a wide array of Latin American and Caribbean countries including Brazil, Panama, Jamaica, Belize, Peru and the Bahamas. This paper will focus on the music of the U.S., Brazil, Panama and Jamaica while highlighting the political consciousness of soul and funk music. -
In the Middle of 1970, Curtis Mayfield Quit the Impressions and Began One of the Most Groundbreaking and Successful Solo Careers in History
In the middle of 1970, Curtis Mayfield quit the Impressions and began one of the most groundbreaking and successful solo careers in history. Nothing happened to force his hand—no dramatic falling out or heated argument. In his customary seat-of-the-pants way, he simply picked up the phone one evening, called fellow Impression Fred Cash, and said, “Fred, I’m going to try to go on my own and see what I can do. You and Sam [Gooden] can do the same thing. Y’all go on your own and see what you can do.” Fred called Sam and told him the news, and that was it. My father left the group. Fred, Sam, and the Impressions, three of the most important forces in my father’s life for more than a decade, no longer occupied his mind. The boyhood dreams, the endless miles traveled on tour, the lonely nights trying to steal sleep in motel beds, the harmonizing and fraternizing all came to an end. Dad struggled with the decision. For years, the three Impressions were so close that if you saw one of them, you usually saw the other two. They spent more time with each other than they did with their own wives. Yet, my father had the ability to turn off his emotions and make cold, calculated business decisions when he felt it necessary. Recalling this side of him, my brother Tracy says, “You saw a good and evil. The evil part came out when it was about business. I always separated the parent from the businessperson. -
THL4< F7 REGISTER
North Carolina Agricultural and Technical State University Aggie Digital Collections and Scholarship NCAT Student Newspapers Digital Collections 10-2-1970 The Register, 1970-10-02 North Carolina Agricutural and Technical State University Follow this and additional works at: https://digital.library.ncat.edu/atregister Recommended Citation North Carolina Agricutural and Technical State University, "The Register, 1970-10-02" (1970). NCAT Student Newspapers. 390. https://digital.library.ncat.edu/atregister/390 This Book is brought to you for free and open access by the Digital Collections at Aggie Digital Collections and Scholarship. It has been accepted for inclusion in NCAT Student Newspapers by an authorized administrator of Aggie Digital Collections and Scholarship. For more information, please contact [email protected]. Archives F. D. Bluford librar? K. C. A & T State Universe Greensboro, N. C. 27411 THL4<f7 REGISTER "THE VOICE OF THE PEOPLE WILL BE HEARD" VOLUME XLII, NUMBER 3 NORTH CAROLINA AGRICULTURAL AND TECHNICAL STATE UNIVERSITY, GREENSBORO OCTOBER 2, 1970 Aggies Believe Confrontations Are Necessary By Linda Merritt Edward Treadwell, a junior is a senior majoring in business mented, "Student confrontations ions and views have to be heard. professional biology major from education. are necessary because we are the If we are denied this, we will be "Are student confrontations Elizabethtown,commented, "On William Smart, junior sociol students, the ones who are af handicapped in society, because necessary for voicing grievances a whole -
Soul: a Historical Reconstruction of Continuity and Change in Black Popular Music Author(S): Robert W
Professor J. Southern (Managing Editor-Publisher) Soul: A Historical Reconstruction of Continuity and Change in Black Popular Music Author(s): Robert W. Stephens Source: The Black Perspective in Music, Vol. 12, No. 1 (Spring, 1984), pp. 21-43 Published by: Professor J. Southern (Managing Editor-Publisher) Stable URL: http://www.jstor.org/stable/1214967 Accessed: 02-01-2018 00:35 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Professor J. Southern (Managing Editor-Publisher) is collaborating with JSTOR to digitize, preserve and extend access to The Black Perspective in Music This content downloaded from 199.79.168.81 on Tue, 02 Jan 2018 00:35:51 UTC All use subject to http://about.jstor.org/terms Soul: A Historical Reconstruction of Continuity and Change in Black Popular Music BY ROBERT W. STEPHENS rT r aHE SOUL TRADITION is a prime cultural force in American popular music; of that, there can be little doubt, although this musical phenomenon is sometimes vaguely defined. Born of the Civil Rights and Black Power movements of the 1960s, soul has provided a musical and cultural foundation for virtually every facet of contemporary popular music. More important than its commercial successes, however, are the messages and philosophies it has communicated and the musical influences which underlie its development. -
The Impressions We're a Winner Mp3, Flac, Wma
The Impressions We're A Winner mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: We're A Winner Country: US Style: Soul, Funk MP3 version RAR size: 1789 mb FLAC version RAR size: 1860 mb WMA version RAR size: 1141 mb Rating: 4.9 Votes: 759 Other Formats: DMF MPC AAC ASF FLAC MP4 VOX Tracklist A1 We're A Winner 2:22 A2 Moonlight Shadows 3:08 A3 Let Me Tell The World 3:10 A4 I'm Getting Ready 2:30 A5 Nothing Can Stop Me 2:40 B1 No One To Love Me 2:30 B2 Little Brown Boy 2:35 B3 I Loved And I Lost 3:10 B4 Romancing To The Folk Song 2:35 B5 Up Up And Away 2:55 Companies, etc. Record Company – ABC Records, Inc. Credits Producer – Johnny Pate Notes Second US pressing, or Stereo repress of : The Impressions - We're A Winner by same cat. #, but without any " A product of..." in the rim text, on labels. Note: Label variations: 1st pressings have "A Product Of ABC Records, Inc." plus address printed in rim text on labels 2nd pressing has "ABC Records, Inc." + address only in rim text. 3rd pressing has "ABC Records, Inc. + year (Roman numerals) in rim text. Other versions Category Artist Title (Format) Label Category Country Year We're A Winner (LP, ABCS-635 The Impressions ABC Records ABCS-635 US 1968 Album, Mon) We're A Winner (LP, ABCS-635 The Impressions ABC Records ABCS-635 US 1968 Album) We're A Winner (CD, Geffen UICY-93198 The Impressions Album, RE, RM, UICY-93198 Japan 2007 Records S/Edition, Pap) We're A Winner (LP, SSL 10239 The Impressions Stateside SSL 10239 UK 1968 Album) We're A Winner (CD, MVCM-22035 The Impressions MCA Records MVCM-22035 Japan 1994 Album, RE, RM) Related Music albums to We're A Winner by The Impressions Noisettes - Winner Suzanne & Kingsley Swan - Be A Winner Century - Gone With The Winner The Impressions - Impressions Coolio - The Winner Tompall And The Glaser Brothers - Winner Take All Curtis Mayfield Featuring The Impressions - Curtis Mayfield Featuring The Impressions Status Quo - The Winner (Podium Mix) The Impressions Featuring Jerry Butler And Curtis Mayfield - The Vintage Years BioBoy - Winner. -
The Sociology of American Popular Music (Soap) Unit 5
September 12, 2013 THE SOCIOLOGY OF AMERICAN POPULAR MUSIC (SOAP) UNIT 5 NOTES Soul, Motown, & Funk September 12, 2013 SOUL, MOTOWN, AND FUNK Soul Music was created by and for African Americans through the merging of black Gospel with rhythm 'n' blues that began in the late 1950s - most of the artists that performed soul music were Gospel singers and instrumentalists who combined some of the traditions of the black church (emotional singing, call-and-response, the stress on the backbeat, and rhythmic complexity) with the secular traditions of popular music (primarily the subject matter of the lyrics and the performance venues) - soul music represented an authentic "blackness" that supported and reinforced the Black Power and Civil Rights movement - soul singers sang for social justice, black militancy, and racial pride - the music also preached a message of nonviolence and love - it celebrated the growing Black Consciousness Movement, a time of struggle as well as unprecedented gains - soul music was tangible evidence that the psyche and attitudes in the black community were changing - the civil rights movement was empowering black people, and the new soul music celebrated rights finally won and expressed hope for the future Early Soul Music - Ray Charles - pianist/singer who was blinded by glaucoma when he was six years old - learned to read and write music notation in Braille - became an orphan at 15 and began to make his living by playing music - fused elements of Gospel and R&B - 1st recording identified as "soul" was his 1959 hit -
Soulution Repertoire Gemapflichtige Titel
Soulution Repertoire Gemapflichtige Titel Stand 01/2017 Titel Spieldauer Interpret Komponist 1 Hold On, I'm Coming 00:03:38 Sam & Dave Hayes/Porter 2 I Feel Good 00:04:38 James Brown Brown 3 I Wish 00:05:39 Stevie Wonder Wonder 4 In The Midnight Hour 00:03:29 Wilson Picket Cropper/Pickett 5 Knock On Wood 00:04:57 Eddy Floyd Cropper/Floyd 6 Mustang Sally 00:03:57 Wilson Picket Rice 7 She Caught The Katy 00:04:23 Blues Brothers Mahal/Rachel 8 Soul Man 00:03:13 The Blues Brothers Hayes/Porter 9 Sweet Home Chicago 00:05:02 The Blues Brothers Payne 10 Sweet Soul Music 00:03:30 Sam & Dave Conley/Cooke/Redding 11 You Can Leave Your Hat On 00:04:44 Joe Cocker Newman 12 Son of a Preacher Man 00:02:26 Dusty Springfield Hurley/Wilkins 13 Baby Love 00:02:36 The Surpremes Holland/Dozier/Holland 17 You Can´t hurry Love 00:02:41 The Surpremes Holland/Dozier/Holland 18 Sitting on the Dock of the Bay 00:02:42 Otis Redding Redding/Cropper 19 Where did our Love Go 00:02:31 The Surpremes Holland/Dozier/Holland 20 Horse to the Water 00:05:01 George Harrison Harrison 21 Baby I Love You 00:02:43 Aretha Franklin Ronnie Shannon 22 People get ready 00:02:38 The Impressions Curtis Mayfield 23 Treat her right 00:02:04 The Commitments Roy Head/Gene Kurtz 24 Dancing in the Street 00:02:24 Martha & the Vandellas Gaye/Stevenson/Hunter 25 I Try 00:03:59 Macy Gray Gray/Ruzumna/Lim/Wilder 26 Back Door Santa 00:02:09 Clarence Carter Carter/Daniel 27 Natural Woman 00:02:45 Aretha Franklin King/Goffin 28 Rescue me 00:02:52 Fontella Bass Miner/Smith 29 Diggin´ on James Brown 00:04:38 Tower of Power Castillo/Kupka/Kessie 30 Respect 00:02:27 Aretha Franklin Otis Redding 31 Signed, Sealed, Delivered (I´m Yours) 00:02:40 Stevie Wonder Wonder/Hardaway/Wright/ 32 Get here 00:04:32 Oleta Adams Brenda Russell 33 Green Onions 00:02:56 Bocker T & The MG´s James/Cropper/Jackson 34 So I got to Groove 00:05:39 Tower of Power Castillo/Kupka/Matthews. -
The Sounds of Liberation: Resistance, Cultural Retention, and Progressive Traditions for Social Justice in African American Music
THE SOUNDS OF LIBERATION: RESISTANCE, CULTURAL RETENTION, AND PROGRESSIVE TRADITIONS FOR SOCIAL JUSTICE IN AFRICAN AMERICAN MUSIC A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Luqman Muhammad Abdullah May 2009 © 2009 Luqman Muhammad Abdullah ABSTRACT The cultural production of music in the Black community has traditionally operated as much more than a source of entertainment. In fact, my thesis illustrates how progressive traditions for social justice in Black music have acted as a source of agency and a tool for resistance against oppression. This study also explains how the music of African Americans has served as a primary mechanism for disseminating their cultural legacy. I have selected four Black artists who exhibit the aforementioned principles in their musical production. Bernice Johnson Reagon, John Coltrane, Curtis Mayfield and Gil Scott-Heron comprise the talented cadre of musicians that exemplify the progressive Black musical tradition for social justice in their respective genres of gospel, jazz, soul and spoken word. The methods utilized for my study include a socio-historical account of the origins of Black music, an overview of the artists’ careers, and a lyrical analysis of selected songs created by each of the artists. This study will contribute to the body of literature surrounding the progressive roles, functions and utilities of African American music. BIOGRAPHICAL SKETCH My mother garners the nickname “gypsy” from her siblings due to the fact that she is always moving and relocating to new and different places.