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Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
“Moms” Mabley B
JACKIE “MOMS” MABLEY b. March 19, 1894 d. May 23, 1975 COMEDIAN “The good old days. I was there. Where was they?” Born Loretta Mary Aiken, Jackie “Moms” Mabley was one of the first, most successful women to work in comedy. Mabley appeared on popular television variety shows like ‘The Ed Sullivan Show” and “The Smothers Brothers Comedy Hour.” A veteran of the African- She was the first American vaudeville tradition known as the Chitlin’ Circuit, the comedian overcame comedian to incorporate a tragic childhood (her parents were killed and she was raped) to become one of the lesbian stand-up raunchiest, most beloved comedians of her generation. routines into her act. Known for wearing androgynous clothing, and later her signature housedress and floppy hat, she was the first comedian to incorporate lesbian stand-up routines into her act. She recorded more than 20 comedy albums and appeared in several films, TV shows and in clubs around the country. At one point, Mabley was the highest-paid comedian of the time, earning more than $10,000 a week at the famed Apollo Theater in Harlem. She regularly tackled controversial material often deemed too edgy for many mainstream audiences. She helped break down color and gender barriers for the next generation of comedians. When Mabley was 75 years old, she became the oldest living person ever to have a Top 40 hit in the United States with her cover of “Abraham, Martin and John.” Mabley was the mother of six children, two of whom she gave up for adoption when she was still a teenager. -
"What Is an MC If He Can't Rap?"
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2019 "What Is An MC If He Can't Rap?" Dominique Jimmerson California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Ethnomusicology Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Jimmerson, Dominique, ""What Is An MC If He Can't Rap?"" (2019). Capstone Projects and Master's Theses. 569. https://digitalcommons.csumb.edu/caps_thes_all/569 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Dominique Jimmerson Capstone Sammons 5-18 -19 “What Is an MC if He Can’t Rap?” Hip hop is a genre that has seen much attention in mainstream media in recent years. It is becoming one of the most dominant genres in the world and influencing popular culture more and more as the years go on. One of the main things that makes hip hop unique from other genres is the emphasis on the lyricist. While many other genres will have a drummer, guitarist, bassist, or keyboardist, hip hop is different because most songs are not crafted in the traditional way of a band putting music together. Because of this, the genre tends to focus on the lyrics. -
Jackie 'Moms' Mabley and Redefining Political Activism in the Modern
“The Funniest Woman in the World”: Jackie ‘Moms’ Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Grace Leeson Advisor: Brenna Greer Submitted in Partial Fulfillment of the Prerequisite for Honors in History 2014 Acknowledgements First and foremost, this project never would have come to fruition without the constant support and advice of my advisor, Dr. Brenna Greer. I would like to thank her for her intelligence, dedication, and sense of humor that rivals that of ‘Moms’ herself. It has been the best year and I have learned so much thanks to her invaluable mentorship. I must thank my honors seminar group, Laura Yan, Daisy Dowdall, Jiaqi Fan, and Dr. Lidwein Kapteijns for their suggestions during the formulation and editing of this thesis. Makenna Murray and Olivia Luz kindly took the time out of their lives to listen to my ideas and draw my attention to points where the thoughts got lost on the page. Finally, Grace Owens-Stively and Mikey Jackson-Smith helped immeasurably by organizing my thesis carol when I mixed up all of my sources. Thanks to the generosity of the Jerome A. Schiff Fellowship and the F.A.O. Schwarz Fellowship, I had the opportunity to visit the archives at the Amistad Research Center at Tulane University, the MARBL archives at Emory University, The Bancroft Library at University of California, Berkeley; and the Special Collections at University of California, Los Angeles. Additionally, I conducted research in the comfort of my home University thanks to the brilliant research skills of Laura Reiner and her team of Interlibrary Loan wizards. -
Nysba Spring 2019 | Vol
NYSBA SPRING 2019 | VOL. 30 | NO. 1 Entertainment, Arts and Sports Law Journal A publication of the Entertainment, Arts and Sports Law Section of the New York State Bar Association In This Issue n Playola—New Tech, Familiar Deception n Fixation on Flesh: Why Tattoos Should Not Garner Copyright Protection n Street Art: Is Copyright for “Losers©™“ n When Do Copyright Claims Accrue? n Contracts With Minors in New York and California n Pro Bono Update ....and more www.nysba.org/EASL NEW YORK STATE BAR ASSOCIATION In The Arena: A Sports Law Handbook Co-sponsored by the New York State Bar Association and the Entertainment, Arts and Sports Law Section As the world of professional athletics has become more competitive and the issues more complex, so has the need for more reliable representation in the field of sports law. Written by dozens of sports law attorneys and medical professionals, In the Arena: A Sports Law Handbook is a reflection of the multiple issues that face athletes and the attorneys who represent them. Included in this book are chapters on representing professional athletes, NCAA enforcement, advertising, sponsorship, intellectual property rights, doping, concussion-related issues, Title IX and dozens of useful appendices. Section Table of Contents Members get 20% Intellectual Property Rights and Endorsement Agreements discount* with coupon code How Trademark Protection Intersects with the Athlete’s EDITORS Right of Publicity PUB9167N Elissa D. Hecker, Esq. Collective Bargaining in the Big Three David Krell, Esq. Agency Law Sports, -
Important Dates in Apollo Theatre History
They All Played the Apollo Amateur Night Contestants Miri Ben Ari * James Brown * Maxine Brown *Ruth Brown * The Chantels * Dave Chappelle * The Coasters * D’Angelo * Billy Eckstine * Fat Joe * Ella Fitzgerald * Dru Hill * Lauryn Hill * H.E.R. * Billie Holiday * The Ink Spots * The Isley Brothers * The Jackson 5* Jaheim * Ben E. King * Machine Gun Kelly * Gladys Knight & the Pips * Wé McDonald * Stephanie Mills * Alexis Morrast * The Shirelles * Joe Tex * Leslie Uggams * Unlocking the Truth * Luther Vandross * Sarah Vaughan * Matthew Whitkaer * Jackie Wilson Blues Bobby “Blue” Bland * Gary Clark, Jr. * “Fats” Domino * John Lee Hooker * Etta James * B.B. King * Huddie “Lead Belly” Ledbetter * Taj Mahal * Brownie McGhee * Keb’ Mo’ * Johnny Otis * Bessie Smith * Allen Toussaint * Billy Ward & the Dominoes * Dinah Washington * Ethel Waters * Muddy Waters * Jimmy Witherspoon Jazz Nat “Cannonball” Adderley * Geri Allen * Louis Armstrong * Margot B * Josephine Baker * Pearl Bailey * Count Basie * Priscilla Baskervillie * Jonathan Batiste * Tony Bennett * Dee Dee Bridgewater * Dave Brubeck * Cab Calloway * Benny Carter * Nat King Cole * Ray Charles * John Coltrane * Miles Davis * Duke Ellington * Dizzy Gillespie * Benny Goodman * Wycliffe Gordon * Lionel Hampton * Herbie Hancock * Stefon Harris * Screamin’ Jay Hawkins * Earl “Fatha” Hines * Lena Horne * Hugh Masekela * Johnny Mathis * Kevin Mahogany * Irvin Mayfield, Jr. * Thelonious Monk * Jason Moran * Charlie Parker * Dianne Reeves * Buddy Rich * Max Roach * Cecile McLorin Salvant * Nina Simone -
Black Laughter / Black Protest: Civil Rights, Respectability, and The
©2008 Justin T. Lorts ALL RIGHTS RESERVED !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Black Laughter / Black Protest: Civil Rights, Respectability, and the Cultural Politics of African American Comedy, 1934-1968 by Justin T. Lorts A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of Ann Fabian and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey October 2008 ABSTRACT OF THE DISSERTATION ! Black Laughter / Black Protest: Civil Rights, Respectability, and the Cultural Politics of African American Comedy, 1934-1968 !by Justin T. Lorts !Dissertation Director: ! Ann Fabian ! Black Laughter / Black Protest explores the relationship between comedy and the modern civil rights movement. In the early years of the -
Oklahoma HUMANITIES Winter 2014
WINTER 2014 WeAmerican Love Humor Lucy! OHC BOARD OF TRUSTEES Dr. William Bryans, Chair Oklahoma State University Dr. Susan McCarthy, Vice Chair/Sec. VOLUME 7, ISSUE NO. 1 WINTER 2014 Oklahoma City Mary Blankenship Pointer, Treasurer Oklahoma City EXECUTIVE DIRECTOR Ann Thompson J. Edward Barth EDITOR, DIRECTOR OF PUBLICATIONS Carla Walker Oklahoma City MARKETING & DEVELOPMENT DIRECTOR Traci Jinkens PROGRAM OFFICER Kelly Elsey Dr. Mary Brodnax PROGRAM OFFICER Caroline Lowery University of Central Oklahoma FISCAL OFFICER Charles White Judy Cawthon ADMINISTRATIVE COORDINATOR Brandi Davis Edmond Oklahoma HUMANITIES is published three times per year: January, May, and September by Beverly Davis the Oklahoma Humanities Council (OHC), 428 W. California Ave., Ste. 270, Oklahoma City, Oklahoma City OK 73102, (405) 235-0280, www.okhumanities.org. Ken Fergeson OHC is an independent, nonprofit organization whose mission is to provide meaningful Altus public engagement with the humanities—disciplines such as history, literature, film studies, Dr. Britton Gildersleeve ethics, and philosophy. The humanities offer a deeper understanding of ourselves and others Tulsa by confronting us with the questions, values, and meanings of the human experience. As the state partner for the National Endowment for the Humanities, OHC brings people Hannibal Johnson together to explore these ideas through programming and community grants that support Tulsa book groups, exhibits, film festivals, teacher institutes, and more. OHC engages people in Dr. Scott LaMascus their own communities, providing forums for education, critical thinking, and productive Oklahoma Christian University civil discourse. The opinions expressed in Oklahoma HUMANITIES are those of the authors. Any views, John Martin findings, conclusions, or recommendations expressed in the magazine do not necessarily Enid represent those of the National Endowment for the Humanities, the Oklahoma Humanities Lynn McIntosh Council, its Board of Trustees, staff, or donors. -
WOOD-DISSERTATION-2014.Pdf
Copyright by Katelyn Hale Wood 2014 The Dissertation Committee for Katelyn Hale Wood Certifies that this is the approved version of the following dissertation: Modalities of Freedom: Toward a Politic of Joy in Black Feminist Comedic Performance in 20th and 21st Century U.S.A. Committee: Omi Osun Joni L. Jones, Supervisor Charlotte Canning, Co-Supervisor Joshua Gunn Deborah Paredez Matt Richardson Modalities of Freedom: Toward a Politic of Joy in Black Feminist Comedic Performance in 20th and 21st Century U.S.A. by Katelyn Hale Wood, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2014 Dedication In memory of Sidney Hale Wood: proof that our voices have the power to linger with love. Acknowledgements I have been writing this section of the dissertation for longer than I would like to admit. I return to it, again and again, because I am overwhelmed and humbled by the many people who have helped me along in this journey. Foremost, my deepest gratitude goes to my advisor, Dr. Omi Osun Joni L. Jones. Dr. Jones taught me that joy does not negate the seriousness of one’s work. That, in fact, joy must be at the core of our scholarship, art and life. She is the most compassionate, challenging and careful teacher—a true gift. The members of my dissertation committee have also given me more than a short acknowledgements section could articulate. -
Raptivism: the Act of Hip Hop's Counterpublic Sphere Forming Into
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 Raptivism: the Act of Hip Hop’s Counterpublic Sphere Forming into a Social Movement to Seize its Political Opportunities Matthew .C Maddex Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Maddex, Matthew C., "Raptivism: the Act of Hip Hop’s Counterpublic Sphere Forming into a Social Movement to Seize its Political Opportunities" (2014). LSU Doctoral Dissertations. 727. https://digitalcommons.lsu.edu/gradschool_dissertations/727 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RAPTIVISM: THE ACT OF HIP HOP’S COUNTERPUBLIC SPHERE FORMING INTO A SOCIAL MOVEMENT TO SEIZE ITS POLITICAL OPPORTUNITIES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication by Matthew C. Maddex B.A., California State University, Long Beach, 2004 M.A., Miami University (Ohio), 2007 December 2014 TABLE OF CONTENTS Abstract ......................................................................................................................................... -
Robinson Issue Version 1.Indd
SOCIETY OF AMERICANISTS REVIEW Stand-Up Comedy, Social Critique and a Few Notes on Retelling the Origins of American Studies Michelle Robinson, University of North Carolina Chapel Hill, NC, USA Abstract: This essay considers a range of ways scholars refl ect on the origins and institutionalization of the fi eld of American studies in the post-World War II era. Drawing on examples from the comedy of Mort Sahl, Jackie “Moms” Mabley, and Richard Pryor, this essay argues that post-war stand-up comedy sup- plies an aesthetics and an ethics that can open up new and pro- ductive ways of engaging critically with the origins of the fi eld 52 STAND UP COMEDY, SOCIAL CRITIQUES Well before I was born, my great grandmother threw herself in front of a bus. The police tried to say she was committing suicide. But the family knew she was just trying to stop civil rights. - Anthony Jeselnik, Caligula (2013) On his 2013 album Caligula, Anthony Jeselnik con- fesses that a dreadful death in the family was no pedestrian suicide but an act of white supremacist terror. The comedian summons a relative only to throw her in the path of a moving vehicle--and into a bit of rhetorical slapstick. In fact, he invents an enemy of civil rights whose desperate need to seize control of the front of a bus leads to a death so bizarre the police can’t fathom it as political protest. What sort of joke is this? An instance of affectionate familial misogyny and one that offers us, also, the delight of imagining justice-dealt-by-public transit for an ancestor’s idiotic, self-sabotaging crusade against integration. -
Jackie 'Moms' Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Frances Leeson [email protected]
Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2014 "The unniesF t Woman in the World": Jackie 'Moms' Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Frances Leeson [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Leeson, Frances, ""The unnieF st Woman in the World": Jackie 'Moms' Mabley and Redefining Political Activism in the Modern Black Freedom Struggle" (2014). Honors Thesis Collection. 187. https://repository.wellesley.edu/thesiscollection/187 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. “The Funniest Woman in the World”: Jackie ‘Moms’ Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Grace Leeson Advisor: Brenna Greer Submitted in Partial Fulfillment of the Prerequisite for Honors in History 2014 Acknowledgements First and foremost, this project never would have come to fruition without the constant support and advice of my advisor, Dr. Brenna Greer. I would like to thank her for her intelligence, dedication, and sense of humor that rivals that of ‘Moms’ herself. It has been the best year and I have learned so much thanks to her invaluable mentorship. I must thank my honors seminar group, Laura Yan, Daisy Dowdall, Jiaqi Fan, and Dr. Lidwein Kapteijns for their suggestions during the formulation and editing of this thesis. Makenna Murray and Olivia Luz kindly took the time out of their lives to listen to my ideas and draw my attention to points where the thoughts got lost on the page.