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Sampler Tour Grades 3-12 Maximize your students’ visit to the Alabama Department of Archives and History with post‐visit activities. These activities will reinforce and enhance the ideas and concepts students encounter while at the museum. Copy the activity sheets for your students’ use • Alabama Trivia Crossword • Selma‐to‐Montgomery March Quiz • Pottery Designs Activity Alabama Trivia Crossword Test your Alabama knowledge! Complete the crossword using the clues below # 11 Across Down 5. Julia Tutwiler wrote Alabama's State ___________ 1. Cradle of Confederacy city 7. These Brothers made the first night flight in Alabama 2. Little River_________ 9. Started the Montgomery Bus Boycott 3. Indian word for Alabama which mean “Thicket Clearers” 11. Cherokee Indian who invented the Cherokee Alphabet 4. Alabamian vice president 13. First battle of Creek Indian War 1813‐1814 6. Olympic track star from Oakville 15. Author Fannie Flag wrote Fried Green___________ 8. Helen Keller's first word 16. NBA star Charles Barkley was from this Alabama town 10. Alabama's largest mining industry 18. Preached at Dexter Avenue Baptist Church 12. Alabama's official state rock 14. Wrote To Kill a Mockingbird #10 17. The first European country to settle in Alabama in 1702 Answers! Go to www.archives.alabama.gov for more information! SELMA TO MONTGOMERY QUIZ Artwork by Dalton Green, Bear Exploration Center 1. Who was the Federal Judge who issued an order permitting the march from Selma to Montgomery? 2. Through which three counties did the marchers walk to reach Montgomery? 3. How many miles did the Selma to Montgomery marchers walk to reach the Capitol steps in Montgomery? 4. What two national civil rights organizations played an important role in the march from Selma to Montgomery? 5. Who was the photographer whose pictures are seen in the exhibit? From what state did he come? 6. What was the final destination of the marchers when they reached Montgomery? 7. Name three celebrities who sang and entertained the crowd as they gathered on the athletic field of the Catholic complex called The City of St. Jude. 8. Who were three of the landowners who provided campsites along the route for the Selma to Montgomery marchers? 9. Name the bridge in Selma which became famous as a result of the Selma to Montgomery march. 10. What is the name of the church in Selma from which the march began on March 7, 1965? Visit our website: www.archives.alabama.gov Answers: 1. Judge Frank M. Johnson, Jr. 2. Dallas County, Lowndes County, and Montgomery County 3. 54 miles 4. The Student Non-Violent Coordinating Committee (SNCC), and the Southern Christian Leadership Conference (SCLC) 5. Spider Martin; Alabama 6. The Alabama Capitol 7. Harry Belafonte, Lena Horne, Sammy Davis Jr., Mahalia Jackson, Nina Simone, Dick Gregory, Joan Baez 8. Rosie Steele, David Hall, and Robert Gardner 9. The Edmund Pettus Bridge 10. The Brown Chapel AME Church Design your own American Indian pot below by using the designs shown on the front. .

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Mahalia Jackson (B
Mahalia Jackson (b. 10/26/11, d. 1/27/72) was born Mahala Jackson in the Uptown neighborhood of New Orleans, Louisiana, and began singing at the Mount Mariah Baptist Church there at the age of 4. She grew up in a very poor household, which contained thirteen people and a dog in a three-room dwelling. Her stage name “Mahalia” stems from her childhood nickname “Halie”. In 1927, at the age of 16 she moved to Chicago, Illinois in the midst of the Great Migration. She intended to study nursing, but after joining a local church she became a member of the Johnson Gospel Singers. She performed with the group for a number of years. She then started working with Thomas A. Dorsey, the gospel composer of “Precious Lord, Take My Hand”, and the two performed around the U.S., which helped tremendously in cultivating a future audience for her. While she made some recordings in the 1930’s, her first major success came with “Move On Up A Little Higher” in 1947, which sold millions of copies and became the highest selling gospel single in history. Her career blossomed, and on October 4, 1950 she became the first gospel singer to perform at Carnegie Hall, and she did so to a racially integrated audience. Also in the 1950’s she became an international star, being especially popular in France and Norway. Back at home, she made her debut on The Ed Sullivan Show in 1956, and appeared with Duke Ellington and his Orchestra at the Newport Jazz Festival in 1958.
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And I Heard 'Em Say: Listening to the Black Prophetic Cameron J
Claremont Colleges Scholarship @ Claremont Pomona Senior Theses Pomona Student Scholarship 2015 And I Heard 'Em Say: Listening to the Black Prophetic Cameron J. Cook Pomona College Recommended Citation Cook, Cameron J., "And I Heard 'Em Say: Listening to the Black Prophetic" (2015). Pomona Senior Theses. Paper 138. http://scholarship.claremont.edu/pomona_theses/138 This Open Access Senior Thesis is brought to you for free and open access by the Pomona Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 1 And I Heard ‘Em Say: Listening to the Black Prophetic Cameron Cook Senior Thesis Class of 2015 Bachelor of Arts A thesis submitted in partial fulfillment of the Bachelor of Arts degree in Religious Studies Pomona College Spring 2015 2 Table of Contents Acknowledgements Chapter One: Introduction, Can You Hear It? Chapter Two: Nina Simone and the Prophetic Blues Chapter Three: Post-Racial Prophet: Kanye West and the Signs of Liberation Chapter Four: Conclusion, Are You Listening? Bibliography 3 Acknowledgments “In those days it was either live with music or die with noise, and we chose rather desperately to live.” Ralph Ellison, Shadow and Act There are too many people I’d like to thank and acknowledge in this section. I suppose I’ll jump right in. Thank you, Professor Darryl Smith, for being my Religious Studies guide and mentor during my time at Pomona. Your influence in my life is failed by words. Thank you, Professor John Seery, for never rebuking my theories, weird as they may be.
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Download Our Electronic Press
“A great band. Terrific musicians. Very nice indeed” Paul Jones Rhythm & Blues, BBC radio 2, 2017 “Innovative spark, virtuoso playing & a dare-devil attitude” Pete Feenstra, Get Ready To Rock, 2017 The band’s exciting live set is based around rootsy originals; featuring strong catchy riffs, interesting arrangements & exciting grooves featuring Rob Koral's electrifying, & unmistakable touch & flow on guitar. Zoe’s dynamic & commanding vocal delivery is both eclectic & suave. The highly accomplished rhythm section of Pete Whittaker- Hammond organ (Wonderstuff) & Paul Robinson-drums (Nina Simone, Van Morrison, Paul McCartney to name a few) bring massive authority & the ability to push the music in unpredictable & exciting directions. Zoë Schwarz Blue Commotion have made a considerable impact these last five years, & is one of the bands that have added a fresh approach& vibrancy to the UK blues scene. • The band is planning an extensive 2018 tour to coincide with the release of the band's 7th album. • The band has played most of the flagship blues festivals & clubs in the UK this past 5 years. • Many magazine features, interviews & reviews. Regular plays on the BBC including the Paul Jones show. • International recognition on the blues circuit with numerous radio plays & interviews around the world. • Successful 13 day tour of Czech Republic, February 2017. • The band were runner-up best band in the British Blues Awards 2015, & Zoe was runner-up best female vocals in 2014 & 2015. Finalist in the 2017 UK Blues Challenge (close 2nd). • Best song Mary4Music (American Blues Federation) 2013. • (… other accolades include) Nomination for best electric blues album, Wasser-Prawda, Germany 2013 “A serious blues band with unique songs, tight instrumentation, & a powerful woman up front….
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The Caravan Playlist 181 Friday, December 2, 2016 Hour 1 Artist
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Full Results of Survey of Songs
Existential Songs Full results Supplementary material for Mick Cooper’s Existential psychotherapy and counselling: Contributions to a pluralistic practice (Sage, 2015), Appendix. One of the great strengths of existential philosophy is that it stretches far beyond psychotherapy and counselling; into art, literature and many other forms of popular culture. This means that there are many – including films, novels and songs that convey the key messages of existentialism. These may be useful for trainees of existential therapy, and also as recommendations for clients to deepen an understanding of this way of seeing the world. In order to identify the most helpful resources, an online survey was conducted in the summer of 2014 to identify the key existential films, books and novels. Invites were sent out via email to existential training institutes and societies, and through social media. Participants were invited to nominate up to three of each art media that ‘most strongly communicate the core messages of existentialism’. In total, 119 people took part in the survey (i.e., gave one or more response). Approximately half were female (n = 57) and half were male (n = 56), with one of other gender. The average age was 47 years old (range 26–89). The participants were primarily distributed across the UK (n = 37), continental Europe (n = 34), North America (n = 24), Australia (n = 15) and Asia (n = 6). Around 90% of the respondents were either qualified therapists (n = 78) or in training (n = 26). Of these, around two-thirds (n = 69) considered themselves existential therapists, and one third (n = 32) did not. There were 235 nominations for the key existential song, with enormous variation across the different respondents.
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The "Stars for Freedom" Rally
National Park Service U.S. Department of the Interior Selma-to-Montgomery National Historic Trail The "Stars for Freedom" Rally March 24,1965 The "March to Montgomery" held the promise of fulfilling the hopes of many Americans who desired to witness the reality of freedom and liberty for all citizens. It was a movement which drew many luminaries of American society, including internationally-known performers and artists. In a drenching rain, on the fourth day, March 24th, carloads and busloads of participants joined the march as U.S. Highway 80 widened to four lanes, thus allowing a greater volume of participants than the court- imposed 300-person limitation when the roadway was narrower. There were many well-known celebrities among the more than 25,000 persons camped on the 36-acre grounds of the City of St. Jude, a Catholic social services complex which included a school, hospital, and other service facilities, located within the Washington Park neighborhood. This fourth campsite, situated on a rain-soaked playing field, held a flatbed trailer that served as a stage and a host of famous participants that provided the scene for an inspirational performance enjoyed by thousands on the dampened grounds. The event was organized and coordinated by the internationally acclaimed activist and screen star Harry Belafonte, on the evening of March 24, 1965. The night "the Stars" came out in Alabama Mr. Belafonte had been an acquaintance of Dr. Martin Luther King, Jr. since 1956. He later raised thousands of dollars in funding support for the Freedom Riders and to bailout many protesters incarcerated during the era, including Dr.
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Thinking on 4:44 [DWR, 7.7.17]
Thinking on 4:44 [DWR, 7.7.17] There is little room for debate in pointing to JAY Z ’s new album as important. The tight, ten-track release – with a bonus three cuts on CD and vinyl – presents as watershed because of popular attending to the vulnerability put center, and because of JAY Z’s deep Black identities that anchor the long play. Bluntly, mainstream isn’t used to the complexity of adult men of color outlining mistakes, assuming responsibility, and maintaining fidelity to their Culture in ways that remain unapologetic while also apologizing to those they’ve hurt. This humanness is publicly relegated to a special-whiteness. So then, when a Black man occupies this human touch he becomes a novelty, ironically objectified with his break from typical objectification and reduction to stereotype. No doubt, JAY is a special one. He is a master artist, a clever businessman and has effectively worked the angles to become iconic without being a clown. The strength of 4:44 is not in the trappings, rather it’s in the letting go. The sub-sixty- minute narrative wins as a statement of psychological balance. It is a release of the shame assumed in trying to fit to that special-whiteness, in performance to the respectability gaze that has us tapping to a rhythm that is not our own. Producer No I.D. pivots from Nina Simone to Donny Hathaway to Stevie Wonder and other thick soul samples as a blueprint for freedom fighting, allowing JAY Z the space to take deep breaths and to be.
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Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote.
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View the Program Book for How I Got Over
A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead.
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A Change Is Gonna Come
A CHANGE IS GONNA COME: A CRITICAL ANALYSIS OF THE BENEFITS OF MUSICAL ACTIVISM IN THE CIVIL RIGHTS MOVEMENT By ERIN NICOLE NEAL A Capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Liberal Studies Written under the direction of Dr. Stuart Z. Charmé And approved by ____________________________________ Dr. Stuart Z. Charmé Camden, New Jersey January 2021 CAPSTONE ABSTRACT A Change Is Gonna Come: A Critical Analysis Of The Benefits Of Musical Activism In The Civil Rights Movement by ERIN NICOLE NEAL Capstone Director: Dr. Stuart Z. Charmé The goal of this Capstone project is to understand what made protest music useful for political activists of the Civil Rights Movement. I will answer this question by analyzing music’s effect on activists through an examination of the songs associated with the movement, regarding lyrical content as well as its musical components. By examining the lyrical content, I will be evaluating how the lyrics of protest songs were useful for the activists, as well as address criticisms of the concrete impact of song lyrics of popular songs. Furthermore, examining musical components such as genre will assist in determining if familiarity in regards to the genre were significant. Ultimately, I found that music was psychologically valuable to political activists because music became an outlet for emotions they held within, instilled within listeners new emotions, became a beacon for psychological restoration and encouragement, and motivated listeners to carry out their activism. Furthermore, from a political perspective, the lyrics brought attention to the current socio-political problems and challenged social standards, furthered activists’ political agendas, persuaded the audience to take action, and emphasized blame on political figures by demonstrating that socio-political problems citizens grappled with were due to governmental actions as well as their inactions.
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AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s.
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The Music of the Civil Rights Movement
THE MUSIC OF THE CIVIL RIGHTS MOVEMENT OVERVIEW ESSENTIAL QUESTION How did popular music reflect the values of the Civil Rights movement of the 1960s and help the movement convey its message? OVERVIEW There is no American social movement of the 20th or 21st century more closely connected to music than the Civil Rights movement of the 1960s. Protesters, some in prison, sang freedom songs to keep their spirits up. Folksingers, black and white alike, wrote songs about the paradoxes and pains not just of the Jim Crow South, but of the racism that had long troubled American life. Perhaps no song was more closely associated with the Civil Rights movement than “We Shall Overcome.” Based on a 19th-century African-American Gospel song, “We Shall Overcome” was picked up by the labor movement in the 1940s, during which time the folksinger/activist Pete Seeger first came across it. Seeger then helped popularize the song in the early phase of the Civil Rights movement, when it quickly became a ubiquitous sing-along anthem that crowds of activists embraced, often swaying side to side, arm in arm. Joan Baez performed it at the 1963 March on Washington; President Lyndon Johnson quoted it in his speech to Congress proposing the Voting Rights Act of 1965. Songs reflecting the themes of the Civil Rights movement were not limited to Folk – the genre commonly associated with American protest songs – but could be found in all types of popular music. The Jazz revolution of the 1960s was affected by the Civil Rights movement. A number of Blues songs compared the oppression of southern blacks in the early 1960s to the racial injustices earlier in the century and before.
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