The History and Memory of Quakertown, Denton, Texas
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Postwar Urban Redevelopment and North Dallas Freedman's Town
Roads to Destruction: Postwar Urban Redevelopment and North Dallas Freedman’s Town by Cynthia Lewis Like most American cities following World War II, Dallas entered a period of economic prosperity, and city leaders, like their counterparts throughout the nation, sought to maximize that prosperity through various urban renewal initiatives.1 Black urban communities across the country, branded as blighted areas, fell victim to the onslaught of postwar urban redevelopment as city leaders initiated massive renewal projects aimed at both bolstering the appeal and accessibility of the urban center and clearing out large sections of urban black neighborhoods. Between the years 1943 and 1983, Dallas city officials directed a series of massive redevelopment projects that decimated each of the city’s black communities, displacing thousands and leaving these communities in a state of disarray.2 This paper, which focuses on the historically black Dallas community of North Dallas, argues that residential segregation, which forced the growth and evolution of North Dallas, ultimately led to the development of slum conditions that made North Dallas a target for postwar slum clearance projects which only served to exacerbate blight within the community. Founded in 1869 by former slaves, North Dallas, formerly known as Freedman’s Town, is one of the oldest black neighborhoods in Dallas.3 Located just northeast of downtown and bounded by four cemeteries to the north and white-owned homes to the south, east, and west, the area became the largest and most densely populated black settlement in the city. Residential segregation played a pivotal role in the establishment and evolution of North Dallas, as it did with most black urban communities across the country.4 Racial segregation in Dallas, with its roots in antebellum, began to take 1 For an in-depth analysis of the United States’ postwar economy, see Postwar Urban America: Demography, Economics, and Social Policies by John F. -
Dallas Striptease 1946-1960 A
FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 A Thesis by KELLY CLAYTON Submitted to the Graduate School of Texas A&M University-Commerce in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2019 FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 A Thesis by KELLY CLAYTON Approved by: Advisor: Jessica Brannon-Wranosky Committee: Sharon Kowalsky Andrew Baker Head of Department: Sharon Kowalsky Dean of the College: William Kuracina Dean of the Graduate School: Matthew A. Wood iii Copyright © 2019 Kelly Clayton iv ABSTRACT FROM MIDWAY TO MAINSTAGE: DALLAS STRIPTEASE 1946-1960 Kelly Clayton, MA Texas A&M University-Commerce, 2019 Advisor: Jessica Brannon-Wranosky PhD The entertainment landscape of post-World War II Dallas, Texas included striptease in different types of venues. Travelling and local striptease acts performed at the city’s annual fair and in several nightclubs in the city. In the late 1940s, the fair featured striptease as the headlining act, and one of the city’s newspapers, the Dallas Morning News, described the dancers as the most popular attraction of the largest fair in the United States. Further, the newspaper reporting congratulated the men who ran the fair for providing Texans with these popular entertainment options. The dancers who performed at the fair also showcased their talents at area nightclubs to mixed gender audiences. Dallas welcomed striptease as an acceptable form of entertainment. However, in the early 1950s, the tone and tenor of the striptease coverage changed. The State Fair of Texas executives decried striptease as “soiled” and low-class. Dancers performed in nightclubs, but the newspaper began to report on one particular entertainer, Candy Barr, and her many tangles with law enforcement. -
Oral History of Bonton and Ideal Neighborhoods in Dallas, Texas
ORAL HISTORY OF BONTON AND IDEAL NEIGHBORHOODS IN DALLAS, TEXAS Briana Payne Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Andrew Nelson, Committee Chair Beverly Ann Davenport, Committee Member Matthew Durington, Committee Member Lisa Henry, Chair of the Department of Anthropology Costas Tsatsoulis, Dean of the Toulouse Graduate School Payne, Briana. Oral History of Bonton and Ideal Neighborhoods in Dallas, Texas. Master of Arts (Applied Anthropology), December 2015, 145 pp., 3 tables, 67 figures, references, 223 titles. The Bonton and Ideal neighborhoods in Dallas Texas, developed in the early 1900s, experienced physical and social decay throughout the 1980s. Neighborhood organizations and resident activism were vital to the rebirth of the community in the 1990s. Current revitalization efforts taking place there have been a source of contention as the neighborhood continues to overcome inequalities created by decades of racialized city planning initiatives. This thesis focuses on how the structuring structure of whiteness has historically affected, and continues to affect, the neighborhoods of Ideal and Bonton, as well as acts to identify how black residents have navigated their landscape and increased their collective capital through neighborhood activism. Copyright 2015 By Briana Payne ii ACKNOWLEDGEMENTS First, I would like to thank the Neighborhood Investment Program for providing me with the opportunity to work with them as they continue to improve the Bonton and Ideal neighborhoods in South Dallas. Without their acknowledgement of the importance of conserving the history of this community, I would not have been able to share the important life stories of the residents. -
William Morris & Andy Warhol
MODERN ART EVENTS OXFORD THE YARD TOURS The Factory Floor Wednesday 7 January, 1pm Wednesday to Saturday, 12-5pm, weekly Sally Shaw, Head of Programme at Modern Art Oxford For the duration of Love is Enough, the Yard will discusses the development of the exhibition and be transformed into a ‘Factory Floor’ in homage to introduces key works. William Morris and Andy Warhol’s prolific production techniques. Each week a production method or craft Wednesday 21 January, 1pm skill will be demonstrated by a specialist. Ben Roberts, Curator of Education & Public Programmes at Modern Art Oxford discusses The Factory Floor is a rare opportunity to see creative education, collaboration and participation in relation to processes such as metal casting, dry stone walling, the work of Morris and Warhol. bookbinding, weaving and tapestry. LOVE IS Wednesday 4 February, 1pm These drop-in sessions provide a chance to meet Paul Teigh, Production Manager at Modern Art Oxford makers and craftspeople working with these processes discusses manufacturing and design processes today. Please see website for further details. inherent in the work of Morris and Warhol. TALKS Wednesday 18 February, 1pm Artist talk Ciara Moloney, Curator of Exhibitions & Projects Saturday 6 December, 6pm Free, booking essential at Modern Art Oxford discusses key works in the ENOUGH Jeremy Deller in conversation with Ralph Rugoff, exhibition and their influence on artistic practices Director, Hayward Gallery, London. today. Perspectives: Myth Thursday 15 January, 7pm BASEMENT: PERFORMANCE A series of short talks on myths and myth making from Live in the Studio the roots of medieval tales to our collective capacity December 2014 – February 2015 for fiction and how myths are made in contemporary A short series of performance projects working with culture. -
Cp Es Andy Warhol
COMUNICADO DE PRENSA TATE MODERN ANDY WARHOL 12 de marzo – 6 de septiembre de 2020 La exposición se presenta en las galerías Eyal Ofer, en asociación con el Bank of America y el apoyo del Andy Warhol Exhibition Supporters Circle, Tate Americas Foundation, el Consejo Internacional de la Tate y los patrocinadores y los socios de la Tate. Abierto todo los días de 10.00 a 18.00 horas, viernes y sábados hasta las 22.00 horas. Más información en el número de teléfono +44(0)20 7887 8888, en la página www.tate.org.uk o @Tate #AndyWarhol Andy Warhol (1928–87) es uno de los artistas más icónicos de finales del siglo XX, cuya vida y obra siguen fascinando y siendo objeto de nuevas interpretaciones a día de hoy. Un hombre tímido, homosexual, proveniente de una familia de inmigrantes con bajos ingresos, que consiguió crear su propio camino y emerger como el epítome del movimiento artístico pop. Abierta en primavera, esta gran retrospectiva supone la vuelta, tras casi 20 años, del artista a la Tate, ofreciendo al público una visión más personal sobre Andy Warhol y cómo su obra fue decisiva en un período de transforamcion cultural. Basado en recientes investigaciones adémicas, la exhibición arroja una nueva luz sobre el artista estadounidense. Con más de 100 obras de su notable carrera, la exposición muestra cómo las experiencias de Warhol moldearon su visión única de la cultura del siglo XX, le situaron en el cambiante paisaje creativo y político en el que desarrollo su trabajo. Si bien sus icónicas pinturas de botellas de Coca-Cola y los retratos de Marilyn Monroe que reflejaban la cultura estadounidense son conocidísimas, en esta exposición se enfatizan otros temas recurrentes de su obra, como el deseo, la identidad y la fe, tan importantes en su biografía. -
PRESS RELEASE Presents Top of The
PRESS RELEASE For Immediate Release Presents Top of the Pop Live on artnet Auctions from February 18 through 27, 2014 Roy Lichtenstein Sweet Dreams Baby!, 1965 Screenprint 35.63 x 25.56 in. 90.5 x 64.9 cm. Signed and numbered Edition 49/200 Est. US$100,000-125,000 New York / Berlin, February 19, 2014—artnet Auctions is pleased to announce the highly anticipated Top of the Pop print sale, which features over 50 classic Pop prints by artists such as Andy Warhol, Roy Lichtenstein, Robert Indiana, Robert Rauschenberg, and Tom Wesselmann. This dazzling, curated selection of iconic Pop prints is perfect for both new and seasoned Pop Art collectors. Among the sale’s highlights is one of the most famous Pop prints of all time, Roy Lichtenstein’s 1965 Sweet Dreams Baby!, estimated at US$100,000 to 125,000. With its irreverent comic book character on the business end of a knock-out punch, Lichtenstein challenges the reigning Abstract Expressionist movement’s anti-figure aesthetic and emotional intensity, and instead finds inspiration in the popular press. Another Lichtenstein print in the sale, Foot and Hand (1964), estimated at US$15,000 to 20,000, also draws inspiration from a violent comic book image, this time of a boot stepping on a hand reaching for a pistol. The work shows the development of the artist’s visual shorthand, which would define his work for the next 33 years. The sale also features superb examples of Lichtenstein’s later work, including his portrait of Lady Liberty, I Love Liberty (1982), estimated at US$35,000 to 45,000, and The Oval Office (1992), estimated at US$40,000 to 45,000. -
“Writing About Music” Vol
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal “Writing About Music” Vol. 1, No. 1 “Dissonant Ones: The Harmony of Lou Reed and “Waitress! Equalitea and Pie, Please” John Cale” Irena Huang Gabriel Deibel “Boy Band: Intersecting Gender, Age, Sexuality, “A Possible Resolution for the Complicated and Capitalism” Feelings Revolving Around Tyler, the Creator” Grace Li Isabel Nakoud “Being the Cowboy: Mitski’s Rewriting of Gender Roles in Indie Rock” Jenna Ure Winter 2020 2 3 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 1 Winter 2020 Contents Introduction from the Editors 4 Being the Cowboy: Mitski’s Rewriting of Gender Roles in Indie 6 Rock Editor-in-Chief Jenna Ure Matthew Gilbert Waitress! Equalitea and Pie, Please 16 Managing Editor Irena Huang Alana Chester Dissonant Ones: The Harmony of Lou Reed and John Cale 26 Review Editor Gabriel Deibel Karen Thantrakul Boy Band: Intersecting Gender, Age, Sexuality, and Capitalism 36 Technical Editors Grace Li J.W. Clark Liv Slaby A Possible Resolution for the Complicated Feelings Revolving 46 Gabriel Deibel Around Tyler, the Creator Isabel Nakoud Faculty Advisor Dr. Elisabeth Le Guin Closing notes 62 4 Introduction Introduction 5 Introduction Li’s discussion of the exploitation of boy band One Direction, Gabriel Deibel’s essay on the influence of John Cale on the Velvet Underground’s experimental sound, a feminist exploration by Irena Huang of the musical Alana Chester, Matthew Gilbert, and Karen Waitress (composed by a UCLA alumnus, Sara Bareilles), and a critique Thantrakul of the music industry through indie singer Mitski’s music by Jenna Ure. -
'Race Riot' Within and Without 'The Grrrl One'; Ethnoracial Grrrl Zines
The ‘Race Riot’ Within and Without ‘The Grrrl One’; Ethnoracial Grrrl Zines’ Tactical Construction of Space by Addie Shrodes A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Winter 2012 © March 19, 2012 Addie Cherice Shrodes Acknowledgements I wrote this thesis because of the help of many insightful and inspiring people and professors I have had the pleasure of working with during the past three years. To begin, I am immensely indebted to my thesis adviser, Prof. Gillian White, firstly for her belief in my somewhat-strange project and her continuous encouragement throughout the process of research and writing. My thesis has benefitted enormously from her insightful ideas and analysis of language, poetry and gender, among countless other topics. I also thank Prof. White for her patient and persistent work in reading every page I produced. I am very grateful to Prof. Sara Blair for inspiring and encouraging my interest in literature from my first Introduction to Literature class through my exploration of countercultural productions and theories of space. As my first English professor at Michigan and continual consultant, Prof. Blair suggested that I apply to the Honors program three years ago, and I began English Honors and wrote this particular thesis in a large part because of her. I owe a great deal to Prof. Jennifer Wenzel’s careful and helpful critique of my thesis drafts. I also thank her for her encouragement and humor when the thesis cohort weathered its most chilling deadlines. I am thankful to Prof. Lucy Hartley, Prof. -
Chicago Black Renaissance Literary Movement
CHICAGO BLACK RENAISSANCE LITERARY MOVEMENT LORRAINE HANSBERRY HOUSE 6140 S. RHODES AVENUE BUILT: 1909 ARCHITECT: ALBERT G. FERREE PERIOD OF SIGNIFICANCE: 1937-1940 For its associations with the “Chicago Black Renaissance” literary movement and iconic 20th century African-American playwright Lorraine Hansberry (1930-1965), the Lorraine Hansberry House at 6140 S. Rhodes Avenue possesses exceptional historic and cultural significance. Lorraine Hansberry’s groundbreaking play, A Raisin in the Sun, was the first drama by an African American woman to be produced on Broadway. It grappled with themes of the Chicago Black Renaissance literary movement and drew directly from Hansberry’s own childhood experiences in Chicago. A Raisin in the Sun closely echoes the trauma that Hansberry’s own family endured after her father, Carl Hansberry, purchased a brick apartment building at 6140 S. Rhodes Avenue that was subject to a racially- discriminatory housing covenant. A three-year-long-legal battle over the property, challenging the enforceability of restrictive covenants that effectively sanctioned discrimination in Chicago’s segregated neighborhoods, culminated in 1940 with a United States Supreme Court decision and was a locally important victory in the effort to outlaw racially-discriminatory covenants in housing. Hansberry’s pioneering dramas forced the American stage to a new level of excellence and honesty. Her strident commitment to gaining justice for people of African descent, shaped by her family’s direct efforts to combat institutional racism and segregation, marked the final phase of the vibrant literary movement known as the Chicago Black Renaissance. Born of diverse creative and intellectual forces in Chicago’s African- American community from the 1930s through the 1950s, the Chicago Black Renaissance also yielded such acclaimed writers as Richard Wright (1908-1960) and Gwendolyn Brooks (1917-2000), as well as pioneering cultural institutions like the George Cleveland Hall Branch Library. -
Universify Microfilms International 300 N
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Reconstruction Report
RECONSTRUCTION IN AMERICA RECONSTRUCTION 122 Commerce Street Montgomery, Alabama 36104 334.269.1803 eji.org RECONSTRUCTION IN AMERICA Racial Violence after the Civil War, 1865-1876 © 2020 by Equal Justice Initiative. All rights reserved. No part of this publication may be reproduced, modified, or distributed in any form or by any electronic or mechanical means without express prior written permission of Equal Justice Initiative. RECONSTRUCTION IN AMERICA Racial Violence after the Civil War, 1865-1876 The Memorial at the EJI Legacy Pavilion in Montgomery, Alabama. (Mickey Welsh/Montgomery Advertiser) 5 CONTENTS INTRODUCTION 6 THE DANGER OF FREEDOM 56 Political Violence 58 Economic Intimidation 63 JOURNEY TO FREEDOM 8 Enforcing the Racial Social Order 68 Emancipation and Citizenship Organized Terror and Community Massacres 73 Inequality After Enslavement 11 Accusations of Crime 76 Emancipation by Proclamation—Then by Law 14 Arbitrary and Random Violence 78 FREEDOM TO FEAR 22 RECONSTRUCTION’S END 82 A Terrifying and Deadly Backlash Reconstruction vs. Southern Redemption 84 Black Political Mobilization and White Backlash 28 Judicial and Political Abandonment 86 Fighting for Education 32 Redemption Wins 89 Resisting Economic Exploitation 34 A Vanishing Hope 93 DOCUMENTING RECONSTRUCTION 42 A TRUTH THAT NEEDS TELLING 96 VIOLENCE Known and Unknown Horrors Notes 106 Acknowledgments 119 34 Documented Mass Lynchings During the Reconstruction Era 48 Racial Terror and Reconstruction: A State Snapshot 52 7 INTRODUCTION Thousands more were assaulted, raped, or in- jured in racial terror attacks between 1865 and 1876. The rate of documented racial terror lynchings during Reconstruction is nearly three In 1865, after two and a half centuries of brutal white mobs and individuals who were shielded It was during Reconstruction that a times greater than during the era we reported enslavement, Black Americans had great hope from arrest and prosecution. -
[PDF] Andy Warhol
^$ ;::,-:>^^5 Andy .J35 1942 1949 1956 1963 1970 |S77 1111 ^ Artists in Their Time Andy Warhol Linda Bolton Franklin Watts A Division of Sclnolastic Inc. New York Toronto London Aucl<lancl Sydney IVIexico City New Delini Hong Kong Donbury, Connecticut First published in 2002 by Franklin Watts 96 Leonard Street London EC2A 4XD First American edition published in 2002 by Franklin Watts A Division of Scholastic Inc. 90 Sherman Turnpike Danbury.CT 06816 Series Editor: Adrian Cole Series Designer: Mo Choy Art Director: Jonathan Hair Picture Researcher: Julie McMahon A CIP catalog record for this title is available from the Library of Congress. ISBN 0-531-12225-5 (Lib. Bdg.) ISBN0-531-16618-X(Pbk.) Printed in Hong Kong, China © Franklin Watts 2002 Acknowledgements AKG London: 15 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002 & © 2002 Ronald Feldman Fine Arts, NY; 19 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DACS, London 2002; 29 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 42. Archives of The Andy Warhol Museum, Pittsburgh: 6; 7t; 9t; 22b; 32, 39 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 4Ib Paul Rocheleau. Artothek: 14 © The Estate of Roy Lichtenstein/DAGS 2002. BFl GoUections: 35 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002. Gourtesy of Gollection Stephanie Seymour Brant, The Brant Foundation, Greenwich, GT: 11 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002; 31 © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DAGS, London 2002.