Finding Aid to the Historymakers ® Video Oral History with Mercer Cook
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Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney 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 History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 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]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S 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 History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
Aida Overton Walker Performs a Black Feminist Resistance
Restructuring Respectability, Gender, and Power: Aida Overton Walker Performs a Black Feminist Resistance VERONICA JACKSON From the beginning of her onstage career in 1897—just thirty-two years after the end of slavery—to her premature death in 1914, Aida Overton Walker was a vaudeville performer engaged in a campaign to restructure and re-present how African Americans, particularly black women in popular theater, were perceived by both black and white society.1 A de facto third principal of the famous minstrel and vaudeville team known as Williams and Walker (the partnership of Bert Williams and George Walker), Overton Walker was vital to the theatrical performance company’s success. Not only was she married to George; she was the company’s leading lady, principal choreographer, and creative director. Moreover and most importantly, Overton Walker fervently articulated her brand of racial uplift while simultaneously executing the right to choose the theater as a profession at a time when black women were expected to embody “respectable” positions inside the home as housewives and mothers or, if outside the home, only as dressmakers, stenographers, or domestics (see Figure 1).2 Overton Walker answered a call from within to pursue a more lucrative and “broadminded” avocation—one completely outside the realms of servitude or domesticity. She urged other black women to follow their “artistic yearnings” and choose the stage as a profession.3 Her actions as quests for gender equality and racial respectability—or as they are referred to in this article, feminism and racial uplift—are understudied, and are presented here as forms of transnational black resistance to the status quo. -
The CAKE-WALK: Visibility, Staging a Presence
A B D The CAKE-WALK: Visibility, Staging a Presence The African American composer and violinist Will Marion Cook had already studied at the Berlin Hochschule für Musik with Joseph Joachim, the famous violinist and associate of Brahms, when following his introductory American concert, a critic labeled him “America’s finest Negro violinist.” Furious at the limits implied by the critic, Cook abandoned the violin and set his sights on pursuing musical composition. Partnering with the famed poet, Paul Laurence Dunbar he set out to write a Negro musical. The work, eventually titled “Clorindy-The Origins of the Cake Walk,” became the first all- black musical production on Broadway in 1898. However, Cook’s mother thought it a disgrace, that her son, with all his European training, was now composing a “nigger” musical. To disguise his family’s association with this early work, Cook composed under the name Will Marion, but like his mother, kept Negro respectability high on his agenda. Cook, along with other African American theater talents of the day, sought to present themselves in contemporary ways, bringing into prominence black women, and performing coupled with them in fashionable dress, with mainstream concerns and a self- possessed dignity. Together, in a concerted effort, they worked to move beyond the southern rooted and enslaved characterizations that had come to define and limit the black presence on the American stage. A. When You Ain’t Got No Money, Well You Needn’t Come ‘Round, 1899 Publisher: M. Witmark & Sons, 49-51 West 28th Street Art Supplement: Chicago INTER-OCEAN B. -
The Life and Solo Vocal Works of Margaret Allison Bonds (1913-1972) Alethea N
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 The Life and Solo Vocal Works of Margaret Allison Bonds (1913-1972) Alethea N. Kilgore Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE LIFE AND SOLO VOCAL WORKS OF MARGARET ALLISON BONDS (1913-1972) By ALETHEA N. KILGORE A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2013 Copyright © 2013 Alethea N. Kilgore All Rights Reserved Alethea N. Kilgore defended this treatise on September 20, 2013. The members of the supervisory committee were: Wanda Brister Rachwal Professor Directing Treatise Matthew Shaftel University Representative Timothy Hoekman Committee Member Marcía Porter Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to the music and memory of Margaret Allison Bonds. iii ACKNOWLEDGEMENTS I would first like to acknowledge the faculty of the Florida State University College of Music, including the committee members who presided over this treatise: Dr. Wanda Brister Rachwal, Dr. Timothy Hoekman, Dr. Marcía Porter, and Dr. Matthew Shaftel. I would also like to thank Dr. Louise Toppin, Director of the Vocal Department of University of North Carolina at Chapel Hill for assisting me in this research by providing manuscripts of Bonds’s solo vocal works. She graciously invited me to serve as a lecturer and performer at A Symposium of Celebration: Margaret Allison Bonds (1913-1972) and the Women of Chicago on March 2-3, 2013. -
WEB Amherst Sp18.Pdf
ALSO INSIDE Winter–Spring How Catherine 2018 Newman ’90 wrote her way out of a certain kind of stuckness in her novel, and Amherst in her life. HIS BLACK HISTORY The unfinished story of Harold Wade Jr. ’68 XXIN THIS ISSUE: WINTER–SPRING 2018XX 20 30 36 His Black History Start Them Up In Them, We See Our Heartbeat THE STORY OF HAROLD YOUNG, AMHERST- WADE JR. ’68, AUTHOR OF EDUCATED FOR JULI BERWALD ’89, BLACK MEN OF AMHERST ENTREPRENEURS ARE JELLYFISH ARE A SOURCE OF AND NAMESAKE OF FINDING AND CREATING WONDER—AND A REMINDER AN ENDURING OPPORTUNITIES IN THE OF OUR ECOLOGICAL FELLOWSHIP PROGRAM RAPIDLY CHANGING RESPONSIBILITIES. BY KATHARINE CHINESE ECONOMY. INTERVIEW BY WHITTEMORE BY ANJIE ZHENG ’10 MARGARET STOHL ’89 42 Art For Everyone HOW 10 STUDENTS AND DOZENS OF VOTERS CHOSE THREE NEW WORKS FOR THE MEAD ART MUSEUM’S PERMANENT COLLECTION BY MARY ELIZABETH STRUNK Attorney, activist and author Junius Williams ’65 was the second Amherst alum to hold the fellowship named for Harold Wade Jr. ’68. Photograph by BETH PERKINS 2 “We aim to change the First Words reigning paradigm from Catherine Newman ’90 writes what she knows—and what she doesn’t. one of exploiting the 4 Amazon for its resources Voices to taking care of it.” Winning Olympic bronze, leaving Amherst to serve in Vietnam, using an X-ray generator and other Foster “Butch” Brown ’73, about his collaborative reminiscences from readers environmental work in the rainforest. PAGE 18 6 College Row XX ONLINE: AMHERST.EDU/MAGAZINE XX Support for fi rst-generation students, the physics of a Slinky, migration to News Video & Audio Montana and more Poet and activist Sonia Sanchez, In its interdisciplinary exploration 14 the fi rst African-American of the Trump Administration, an The Big Picture woman to serve on the Amherst Amherst course taught by Ilan A contest-winning photo faculty, returned to campus to Stavans held a Trump Point/ from snow-covered Kyoto give the keynote address at the Counterpoint Series featuring Dr. -
Liner Notes, Visit Our Web Site
BLACK MANHATTAN, VOLUME 2 THE PARAGON RAGTIME ORCHESTRA RICK BENJAMIN, DIRECTOR 80731-2 1. Shuffle Along Overture (1921) (Eubie Blake–Will H. Vodery) 6:30 Introducing “Opening Chorus,” “Love Will Find a Way,” “Honeysuckle Time,” “If You’ve Never Been Vamped by a Brown-Skin,” “Gypsy Blues,” “I’m Just Wild About Harry,” “I’m Craving for That Kind of Love,” and “Bandanna Days” 2. Nobody (1905) (Bert A. Williams) 4:54 Edward Pleasant, baritone 3. That’s Got ’Em—Rag (1919) (Wilbur C. Sweatman) 2:26 4. Honey Lamb (ballad, 1914) (Al. Johns) 3:26 Anita Johnson, soprano 5. Brazilian Dreams (tango-intermezzo, 1914) (Will H. Dixon) 3:59 6. Down in Honky Tonky Town (one-step, 1916) (Chris Smith) 2:04 7. Returned: A Negro Ballad (1902) (Will Marion Cook) 6:23 Anita Johnson, soprano; Rick Benjamin, piano 8. The Bell Hop Rag (1914) (Frederick M. Bryan) 3:28 9. Black Patti Waltzes (1896) (Will Accooe) 6:16 10. Goodnight Angeline (1919) (James Reese Europe) 3:08 Robert Mack, tenor 11. The Castle Walk (one-step, 1914) (James Reese Europe–Ford T. Dabney) 2:46 12. Aunt Hagar’s Children Blues (1921) (W.C. Handy) 2:39 Linda Thompson Williams, blues singer 13. Valse Angelique (1913) (J. Tim Brymn) 3:56 14. At the Ball, That’s All (1913) (J. Leubrie Hill) 2:37 Edward Pleasant, baritone 15. When the Moon Shines (from the 1904 revival of In Dahomey) (James J. Vaughan) 3:53 Anita Johnson, soprano 16. Oh! You Devil (rag, 1909) (Ford T. Dabney) 3:35 17. -
Hon. Edwin E. Willis Hon. William B. Widnall Hon. Louis
1961 CONGRESSIONAL RECORD - SENATE 10587 On Tuesday, so I was given to under ate adjourned until tomorrow, Friday, potentiary of the United States of America stand, it is hoped to have -the Senate June 16, 1961, at 12 o'clock meridian. to the Republic of Niger. Philip M. Kaiser, of New York, to be Am take up the water-pollution-control bill bassador Extraordinary and Plenipotentiary and the agricultural appropriation bill. NOMINATIONS of the United States of America to the Re Executive nominations received by public of Senegal, and to serve concurrently the Senate June 15, 1961: and without additional compensation as ADJOURNMENT Ambassador Extraordinary and Plenipoten WORLD HEALTH ORGANIZATION tiary of the United States of America to the Mr. HUMPHREY. Mr. President, if Dr. H. van Zile Hyde, of Maryland, to be Islamic Republic of Mauritania, vice Henry there be no further business to come be the representative of the United States of S. Villard. fore the Senate, I move that the Senate America on the Executive Board of the IN THE NAVY World Health Organization. stand in adjournment until 12 o'clock Rear Adm. Floyd B. Schultz and Rear noon tomorrow. DIPLOMATIC AND FOREIGN SERVICE Adm. Emerson E. Fawkes, U.S. Navy, for The motion was agreed to; and (at Mercer Cook, of the District of Columbia, permanent appointment to the grade of 8 o'clock and 11 minutes p.m.) the Sen- to be Ambassador Extraordinary and Pleni- rear admiral. EXTENSIONS OF REMARKS Future Business Leaders Meet in Members of the school groups and abducted Lithuanians, except that those those making the trip to Washington still alive are suffering in prison camps. -
•Œresearch Report╊. Review of the Music and Scripts of "In
Georgia State University ScholarWorks @ Georgia State University Music Faculty Publications School of Music 1997 “Research Report”. Review of The Music and Scripts of "in Dahomey," Music of the United States of America, Vol. 5. Marva Carter Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/music_facpub Part of the Music Commons Recommended Citation Carter, Marva Griffin. 1997. “Research Report”. Review of The Music and Scripts of "in Dahomey," Music of the United States of America, Vol. 5. The Choral Journal 38 (1). American Choral Directors Association: 41–41. This Review is brought to you for free and open access by the School of Music at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Research report Christine D. de Catanzaro, editor The Prowse of a Editor's Note: This month's guest writer, any other of its kind. Keith, challenge presenting palatable to white audiences while Marva Griffin Carter, is Assistant and Company piano-vocal score (pub- image of the work's London an to black Professor of Music History and Literature lished as a result making explicit appeal serves as the to which xxxiv). at Georgia State University, Atlanta, tour) centerpiece pride (p. numbers are added. This edi Georgia. She is currently writing a interpolated tion the music and used This is Cook's most and musical biography of Will Marion Cook presents scripts song performed from which a recorded for Oxford University Press. -
American National Biography Online
American National Biography Online https://www-anb-org.libproxy.temple.edu/articles/18/18-01253-... Click Print on your browser to print the article. Close this window to return to the ANB Online. Williams, Bert (12 Nov. 1874-4 Mar. 1922), and George Walker (1873-6 Jan. 1911), stage entertainers, were born, respectively, Egbert Austin Williams in Nassau, the Bahamas, and George Williams Walker in Lawrence, Kansas. Williams was the son of Frederick Williams, Jr., a waiter, and Julia Monceur. Walker was the son of "Nash" Walker, a policeman; his mother's name is unknown. Williams moved with his family to Riverside, California, in 1885 and attended Riverside High School. Walker began performing "darkey" material for traveling medicine shows during his boyhood and left Kansas with Dr. Waite's medicine show. In 1893 the two met in San Francisco, where they first worked together in Martin and Selig's Minstrels. To compete in the crowded field of mostly white blackface performers, "Walker and Williams," as they were originally known, subtitled their act "The Two Real Coons." Walker developed a fast-talking, city hustler persona, straight man to Williams's slow-witted, woeful bumbler. Williams, who was light-skinned, used blackface makeup on stage, noting that "it was not until I was able to see myself as another person that my sense of humor developed." An unlikely engagement in the unsuccessful Victor Herbert operetta The Gold Bug brought Williams and Walker to New York in 1896, but the duo won critical acclaim and rose quickly through the ranks of vaudeville, eventually playing Koster and Bial's famed New York theater. -
The Music of James Reese Europe for Vernon and Irene Castle
University of South Carolina Scholar Commons Theses and Dissertations 1-1-2013 The uM sic of James Reese Europe For Vernon and Irene Castle Ralph G. Barrett University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Barrett, R. G.(2013). The Music of James Reese Europe For Vernon and Irene Castle. (Master's thesis). Retrieved from https://scholarcommons.sc.edu/etd/2308 This Open Access Thesis is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE MUSIC OF JAMES REESE EUROPE FOR VERNON AND IRENE CASTLE by Ralph G. Barrett Bachelor of Science in Education Millersville University, 1978 Master of Music Northwestern University, 1996 Submitted in Partial Fulfillment of the Requirement For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2013 Accepted by: Scott Weiss, Major Professor Chairman, Examining Committee Reginald Bain, Committee Member Andrew Gowan, Committee Member Rebecca Phillips, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies ABSTRACT James Reese Europe (1881-1919) was one of the leading African American musicians of the first two decades of the twentieth century. He was renowned as a conductor of theater and dance orchestras, a composer of syncopated dance music and popular song, and an advocate for improved opportunities and remuneration for African American professional musicians in New York. From late 1913 until mid- 1915, Europe was musical director for the popular exhibition dance team of Vernon (1887-1918) and Irene (1893-1969) Castle. -
EGBERT AUSTIN WILLIAMS the Complicated History of the Minstrel Show WHO IS “BERT” WILLIAMS? • Born November 12, 1874 in Nassau, Bahama to a Mixed Race Family
EGBERT AUSTIN WILLIAMS The Complicated History of the Minstrel Show WHO IS “BERT” WILLIAMS? • Born November 12, 1874 in Nassau, Bahama to a mixed race family • Father > Frederick Williams, Jr. > Sailor / Waiter • Mother > Julia Monceur > Daughter of a Clergyman from island of Antigua • 1st 11 years he lived in great poverty but little discrimination • 1885 family emigrated to Florida then Southern California in the fast growing town of Riverside, where he first faced widespread discrimination • “I have never been able to discover that there was anything disgraceful in being a colored man. But, I have found it inconvenient – in America” • An excellent student with a passion for books, in 1892, Egbert gained entrance to the University of San Francisco • He 1st joined a minstrel show that traveled among the lumber camps to earn $$ for college • Decades after the Civil War minstrel shows represented the only performing opportunities of any kind open to blacks. ALWAYS IN SEARCH OF WORK • A talent for writing songs & doing impressions, he worked on local stages • Met George Walker, another young talented performer and created an act • Over next 2 years, refined act and performed in San Francisco, Chicago, NY • Continued work in the minstrel tradition, created by Whites wearing blackface as a vehicle for demeaning humor aimed at African Americans • Calling themselves “The Two Real Coons,” Bert’s role was the not-too-bright black man continually getting himself into trouble • BUT, their stories came from the heart & their humor consisted of actions -
Interview with Ambassador Mercer Cook
Library of Congress Interview with Ambassador Mercer Cook The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project Ralph J. Bunch Legacy: Minority Officers AMBASSADOR MERCER COOK Interviewed by: Ruth Stutts Njiiri Initial interview date: June 24, 1981 Copyright 2008 ADST Q: This is an interview with Ambassador Mercer Cook as part of the Phelps-Stokes Fund's oral history project on former Black Chiefs of Mission, funded by the Ford Foundation. Ambassador Cook served in Niger from 1961 to 1964, in Senegal from 1964 to 1966, and in The Gambia from 1965 to 1966. Ambassador Cook, what were the events which led to your entry into the diplomatic service? COOK: That's a long story, Ms. Njiiri, and you'll have to give me a little latitude, first of all, because at my age, memories are not always as bright, so crystal clear. When one reaches the age of seventy-eight, I think he has, well, he expects, to, to be forgetful. I will try to freshen them up as best I can. But as I say, this goes back a long way, this business of the Foreign Service. I finished college in 1925, and I believe that Foreign Service was a field that I would have chosen had it been open to us at that time. But there was then only one post available; that was Liberia. One of my classmates in high school had joined the Foreign Service Interview with Ambassador Mercer Cook http://www.loc.gov/item/mfdipbib001533 Library of Congress — his name was Bill George — and they kept him in Liberia until, for so long, that it shortened his career and it shortened his life.