James Baldwin
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2021 PBS TV Schedule Anchorage, AK Juneau, AK Huntington Beach
2021 PBS TV Schedule Anchorage, AK Friday, January 29, 2021 - 9:00 PM AKS An Evening with Denyce Graves - KAKMDT3.3 (Alaska Public Television 360 North) Saturday, January 30, 2021 - 5:00 PM AKS An Evening with Denyce Graves - KAKMDT3.3 (Alaska Public Television 360 North) Juneau, AK Friday, January 29, 2021 - 9:00 PM AKS An Evening with Denyce Graves - KTOODT3.3 (360 North) Saturday, January 30, 2021 - 5:00 PM AKS An Evening with Denyce Graves - KTOODT3.3 (360 North) Huntington Beach, CA Thursday, January 28, 2021 - 11:00 PM PT An Evening With Valerie Simpson in Memory of Nick Ashford - KOCEDT.1 (PBS SoCal 1) San Bernardino, CA Friday, January 29, 2021 - 10:00 PM PT An Evening With Smokey Robinson - KVCRDT3.3 (KVCRDT3 Desert Cities) Saturday, January 30, 2021 - 3:00 AM PT An Evening With Smokey Robinson - KVCRDT3.3 (KVCRDT3 Desert Cities) Wednesday, February 3, 2021 - 9:00 PM PT An Evening With Eartha Kitt - KVCRDT.1 (KVCR HDTV) An Evening With Quincy Jones - KVCRDT.1 (KVCR HDTV) Thursday, February 4, 2021 - 9:00 PM PT An Evening With Eartha Kitt - KVCRDT3.3 (KVCRDT3 Desert Cities) An Evening With Quincy Jones - KVCRDT3.3 (KVCRDT3 Desert Cities) An Evening With Smokey Robinson - KVCRDT3.3 (KVCRDT3 Desert Cities) Friday, February 5, 2021 - 2:00 AM PT An Evening With Eartha Kitt - KVCRDT3.3 (KVCRDT3 Desert Cities) An Evening with Ossie Davis and Ruby Dee - KVCRDT3.3 (KVCRDT3 Desert Cities) An Evening With Quincy Jones - KVCRDT3.3 (KVCRDT3 Desert Cities) 2021 PBS TV Schedule Saturday, February 6, 2021 - 3:00 AM PT An Evening with Ossie Davis and Ruby Dee - KVCRDT3.3 (KVCRDT3 Desert Cities) San Francisco, CA Monday, January 25, 2021 - 5:00 AM PT A Conversation With Henry Louis Gates Jr. -
Allen. Ray Allen, Ray
Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 6-29-2004 Allen. Ray Allen, Ray. Bronx African American History Project Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Allen, Ray. June 29th 2004. Interview with the Bronx African American History Project. BAAHP Digital Archives at Fordham. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. 1 Interviewee: Ray Allen Interviewer: Dr. Mark D. Naison Date: June 29, 2004 Mark Naison (MN): Hello. This is the 69th interview of the Bronx African American History Project. We’re here with Ray Allen who is an actor, singer, and organizer of theater and education programs in the Bronx and this is the first of what will probably be several interviews and what I want to do today is focus on Mr. Allen’s childhood and school experiences. Mr. Allen, when did your family move to the Bronx? Ray Allen (RA): I came to the Bronx in - - that was December 9, 1968. I came here to 1225 Boston Rd which is by 168th St. in the Bronx. It was my sister and I, my second sister and I; we came here after my fathers’ death. My father died that year in March. - - I was born on the island of Curacao, which is in the Netherlands Antillies, the ABC islands. -
Coming up Taller
President's Committee on the Arts and the Humanities -Tl f» -Tli' Coming Up Taller Arts and Humanities Programs for Children and Youth At Risk ADVISORS Jessica Davis Nancy Rogers Research Associate Acting Director Project Zero Division of Public Harvard University Programs Graduate School of National Endowment Education for the Humanities Cambridge, MA Washington, DC Diane Frankel William Strickland Director Executive Director Institute of Museum Manchester Craftsmen's Services Guild Washington, DC Pittsburgh, PA Marianne Klink Ruby Takanishi Federal Liaison Executive Director National Endowment for Carnegie Council on the Arts Adolescent Development Washington, DC Washington, DC Wayne Lawson Nancy Welch Executive Director Senior Research Analyst Ohio Arts Council Morrison Institute for Columbus, OH Public Policy Arizona State University Frances Lucerna Tempe, AZ Artistic Director El Puente Halima Williams Brooklyn, NY Co-Artistic Director Living Stage Theatre Ellen McCulloch-Lovell Company Executive Director Washington, DC President's Committee on the Arts and the Lynn Wright-Kernodle Humanities Coordinator Washington, DC MOTHEREAD Literacy Development Program Karen Pittman North Carolina Director of U.S. Programs Humanities Council International Youth Greensboro, NC Foundation Takoma Park, MD Coming Up Taller Arts and Humanities Programs for Children and Youth At Risk by Judith Humphreys Weitz President's Committee on the Arts and the Humanities With the National Assembly of Local Arts Agencies This project is funded by the Anncox Foundation, Botwinick-Wolfensohn Foundation, Emily Hall Tremaine Foundation, Nathan Cummings Foundation, GE Fund and Harris Foundation. April 1996 Photos on the cover are from the following organizations: First row, left to right: Lula Washington Contemporary Dance Foundation, Manchester Craftsmen's Guild, Bakehouse Art Complex. -
Tone Parallels in Music for Film: the Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra By
TONE PARALLELS IN MUSIC FOR FILM: THE COMPOSITIONAL WORKS OF TERENCE BLANCHARD IN THE DIEGETIC UNIVERSE AND A NEW WORK FOR STUDIO ORCHESTRA BY BRIAN HORTON Johnathan B. Horton B.A., B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Richard DeRosa, Major Professor Eugene Corporon, Committee Member John Murphy, Committee Member and Chair of the Division of Jazz Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Horton, Johnathan B. Tone Parallels in Music for Film: The Compositional Works of Terence Blanchard in the Diegetic Universe and a New Work for Studio Orchestra by Brian Horton. Doctor of Musical Arts (Performance), August 2017, 46 pp., 1 figure, 24 musical examples, bibliography, 49 titles. This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non- diegetic tone parallel that musically narrates several authentic characteristics of African- American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. -
CCR AR 2014.Pdf
The Center for Constitutional Rights is dedicated to advancing and protecting the rights guaranteed by the United States Constitution and the Universal Declaration of Human Rights. Founded in 1966 by attorneys who represented civil rights move- ments in the South, CCR is a non-profit legal and educational organization commit- ted to the creative use of law as a positive force for social change. Design: Nicholas Coster, [email protected]. Photo credits: p 2: Yanick Salazar • p 4: Pam Bradshaw • p 6: Pam Bradshaw • p 7: Juan Manuel, Herrera/OAS • p 11: Qa’id Jacobs • p 12: Qa’id Jacobs • p 14: Alexis Agathocleous • p.15: Snowden: Laura Poitras/Praxis Films. Assange: Cancillería del Ecuador. Manning: courtesy of www.bradleymanning.org • p16: © RON- ALD KABUUBI/epa/Corbis • p.19: Courtesy of Iraq Veterans Against the War/Civil Soldier Alliance • p.20-21: Picture 2: Laura Raymond. Picture 5: Organization of Women’s Freedom in Iraq. Pictures 6, 11, 15: Pam Bradshaw. Picture 10: Courtesy of Iraq Veterans Against the War/Civil Soldier Alliance. Picture 12: Aliya Hana Hussain • p 22-23: Pictures 2, 6: Pam Brad- shaw. Pictures 4, 5: Sameer A. Khan • p 23: Pictures 4, 5 by Sameer Khan • p 27: Pam Bradshaw • p 29: David Hicks: Adam Thomas (devdsp@flickr) • p 30: Top left: Shayana Kadidal • p.32: Chelsea Manning by Alicia Neal, in cooperation with Chelsea herself, commissioned by the Chelsea Manning Support Network • p 33: Top: Pam Bradshaw. Bottom: Kevin Gay • p 34: Bot- tom left: Alexis Agathocleous • p 36: Bram Cymet (bcymet@flickr) • p 41: Bottom: Courtesy of Iraq Veterans Against the War/Civil Soldier Alliance • p 46: Douglas Gorenstein • p 62: Ruby Dee: Courtesy of MDCarchives The Center for Constitutional Rights is a 501(c)3 nonprofit organization. -
The Benevolence Post
PENUMBRA THEATRE COMPANY PRODUCTION Est. 1976 February 12 to March 10 Price 15¢ THE BENEVOLENCE POST Skeptics By IFA BEYZA I was a child of the civil rights movement…integrated when I was nine years old, but I didn't encounter Emmett Till's story until I was a teenager. The Till Trilogy [The Ballad of Emmett Till, benevolence, That Summer in Sumner] is inspired by the story of a 14-year-old youth from Chicago who journeys to Mississippi in August of 1955. This trip to visit family in Mississippi certainly changes his fate. He's murdered in that week, and his life-death-journey changes the course of the nation ... I wanted to look at this story from an advantage point of view. The Till saga was a highly documented case. It was like a national soap opera on race. It was played out in the newspapers in the North, in the South, the black press and the white press. There was a tremendous amount of information available to the public. You would think that, because there was so much information, the truth or facts of the actual story would be readily available. What I found was, even as I researched the archive of primary documentation, was a host of confusing and inaccurate information. There were a lot of holes in the accounting of details, that didn't quite seem to make sense to me. So, that was the first lesson which I will share with you: “even if it's in print, even if it's documented, even if it's supposed to be from an expert, you must approach that information with skepticism.” Because the only truth that you have is that it's printed and that it's representing the tone as truth, but that's not necessarily the case. -
Harry Belafonte G a Committed Life
Harry Belafonte g A Committed Life Charles Cobb Jr. For many in the African American community, support for African libera- or Harry Belafonte, artistic achievement does not and should not tion has been closely linked to the civil mean political disengagement. “My social and cultural interests are rights struggle in the United States. part of my career. I can’t separate them,” says Belafonte. Paul Robeson One of the clearest examples of this was a major influence on Belafonte and other African American connection is the life of singer-activist Fartists in the late 1940s and 1950s. Many of these artists, like Ossie Davis, Harry Belafonte, whose advocacy Ruby Dee, and Sidney Poitier, were involved with the American Negro for Africa spans decades. This profile Theater in New York. So was Belafonte. “When I first met [Robeson], I was draws on published and broadcast quite young. And he embraced those of us in our little group of cultural interviews with Belafonte in 2002 and 2004 and on speeches he delivered in activists in New York. And he came to see a play that we were in, and at the 2000 and 2004. end of the play, he stayed behind to talk to these young people, of which I was one. And he said to us, ‘You know, the purpose of art is not just to show life as it is, but to show life as it should be’” (2004a). Belafonte’s political commitment started even earlier, during his years growing up in Harlem and Jamaica. His Jamaican-born mother, says Bela- fonte, “embraced Marcus Garvey and the struggles against oppression of Africans” (2002). -
Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document
DOCUMENT RESUME ED 477 780 HE 035 977 TITLE Report of the Partnership Opportunities Subcommittee. The University System of Georgia's Task Force on Enhancing Access for African-American Males. INSTITUTIONGeorgia Univ. System, Atlanta. Board of Regents. PUB DATE 2003-00-00 NOTE 17p.; For related reports, see HE 035 974-978. AVAILABLE For full text: FROM http://www.usg.edu/aami/Partnership_Opportunities_Subcornmittee.pdf. PUB TYPE Reports Descriptive (141) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS*Blacks; *College Preparation; *Cooperative Programs; *Males; *Partnerships in Education; *State Programs IDENTIFIERS*African Americans; *University System of Georgia ABSTRACT This report presents, in outline form, an overview of the purpose and activities of the Partnership Opportunities Subcommittee of the Task Force for Enhancing Access for African American Males of the University System of Georgia. The Subcommittee is charged with identifying a wide array of educational, civic, and business organizations to serve as partners in this initiative and developing formal partnerships and linkages with these organizations. To identify potential partner organizations, the Subcommittee looked at national programs, including "Gear-UP" of the U.S. Department of Education, the TRIP program, and National Science Foundation programs. State programs were also studied, as were nonprofit-based initiatives and programs of private corporations and foundations. Four programs that were identified as providing "best practices" in African American male initiatives were: (1) the African American Male Leadership Academy at Kansas University;(2) the College Success Prep Program of the University of Maryland;(3) "Call Me MISTER" at Clemson University and three historically black colleges; and the COACH College Program at Harvard University. -
Finding Aid to the Historymakers ® Video Oral History with Walter J
Finding Aid to The HistoryMakers ® Video Oral History with Walter J. Turnbull Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Turnbull, Walter J. Title: The HistoryMakers® Video Oral History Interview with Walter J. Turnbull, Dates: July 31, 2005 Bulk Dates: 2005 Physical 5 Betacame SP videocasettes (2:08:42). Description: Abstract: Choral director Walter J. Turnbull (1944 - 2007 ) is the founder and director of the Boys Choir of Harlem. Turnbull was interviewed by The HistoryMakers® on July 31, 2005, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2005_175 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Founder and director of the Boys Choir of Harlem, Walter J. Turnbull was born in Greenville, Mississippi on July 19, 1944. He has traveled a long road from the fields of the South where he chopped cotton as a child to attend Coleman High School where he joined the choir directed by Herticene Jones. Jones, a demanding teacher, encouraged Turnbull to attend Tougaloo College where he graduated with honors in classical music and vocal performance. Turnbull eventually settled in New York City where he aspired to have a career as an operatic tenor. He continued his musical training at Manhattan School of Music and began performing with the New York Philharmonic. His professional career and began performing with the New York Philharmonic. His professional career was sidetracked after taking a job teaching music in the basement of the Ephesus Church in Harlem. -
Committee for Arts and Lectures Records AR-042
http://oac.cdlib.org/findaid/ark:/13030/c8pg1qpk No online items Inventory of the Committee for Arts and Lectures Records AR-042 Sara Gunasekara University of California, Davis General Library, University Archives © 2012 1st Floor, Shields Library, University of California 100 North West Quad Davis, CA [email protected] URL: http://www.lib.ucdavis.edu/dept/specol/ Inventory of the Committee for AR-042 1 Arts and Lectures Records AR-042 Language of Material: English Contributing Institution: University of California, Davis General Library, University Archives Title: Committee for Arts and Lectures Records Creator: University of California, Davis. Committee for Arts and Lectures Identifier/Call Number: AR-042 Physical Description: 5.7 linear feet Date (inclusive): 1964-2002 Abstract: The Committee for Arts and Lectures (CAL) was responsible for organizing arts events and lectures on the University of California, Davis campus. In 2002, the Mondavi Center for Performing Arts opened and the function of this group was transferred to the Mondavi Center. The collection contains season files including brochures, flyers, and playbills, as well as snapshot photographs, and some posters. Researchers should contact Special Collections to request collections, as many are stored offsite. Administrative History In 1955 the Committee for Drama, Lectures, and Music was organized. The group was responsible for organizing arts events and lectures on campus. Its name was changed to the Committee for Arts and Lectures (CAL) in 1960 and again in 1990 to UC Davis Presents. In 2002, the Mondavi Center for Performing Arts opened and the function of this group was transferred to the Center. Scope and Content The collection contains season files including brochures, flyers, and playbills, as well as snapshot photographs, and some posters. -
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD. -
Emmy Award Winners
CATEGORY 2035 2034 2033 2032 Outstanding Drama Title Title Title Title Lead Actor Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actress—Comedy Name, Title Name, Title Name, Title Name, Title Outstanding Limited Series Title Title Title Title Outstanding TV Movie Name, Title Name, Title Name, Title Name, Title Lead Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Lead Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actor—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title Supp. Actress—L.Ser./Movie Name, Title Name, Title Name, Title Name, Title CATEGORY 2031 2030 2029 2028 Outstanding Drama Title Title Title Title Lead Actor—Drama Name, Title Name, Title Name, Title Name, Title Lead Actress—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actor—Drama Name, Title Name, Title Name, Title Name, Title Supp. Actress—Drama Name, Title Name, Title Name, Title Name, Title Outstanding Comedy Title Title Title Title Lead Actor—Comedy Name, Title Name, Title Name, Title Name, Title Lead Actress—Comedy Name, Title Name, Title Name, Title Name, Title Supp. Actor—Comedy Name, Title Name, Title Name, Title Name, Title Supp.