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American Revolutionary: the Evolution of Grace Lee Boggs a Film by Grace Lee Produced by Grace Lee, Caroline Libresco and Austin Wilkin
POV Community Engagement & Education DISCUSSION GUIDE American Revolutionary: The Evolution of Grace Lee Boggs A Film by Grace Lee Produced by Grace Lee, Caroline Libresco and Austin Wilkin www.pbs.org/pov LETTER FROM THE FILMMAKER I first met Grace Lee Boggs in 2000 while filming “The Grace Lee Project,” a documentary about the many women who share our common name and the model minority stereotype of Asian Americans. From the moment I met Boggs, I knew I would have to make a longer film just about her. Over the years, I would return to Detroit, hang out in her kitchen and living room and watch her hold in thrall everyone from journalists to renowned activists to high school students. I recognized the same thing in myself that I saw in all of them—eagerness to connect with someone who seemed to embody history itself. As someone who came of age in the era of identity politics, I would have found it hard to ignore the fascinating details of how this Chinese-American woman became a Black Power activist in Detroit. But Boggs would constantly use our interview sessions to turn the questions back on me. “What do you think about that? How do you feel about what's happening in Korea? Tell me more about your own story,” she would say as soon as the cameras turned off. My own identity is more wrapped up in Boggs’s story than she knows. And it’s not because we share the same name. Boggs’s presence—in Detroit, in the world and in my imagination—has helped transform my own thinking about how to tell a story about someone like her. -
Cornbread (Blue Note)
Lee Morgan Cornbread (Blue Note) Cornbread Lee Morgan, trumpet; Hank Mobley, tenor sax; Jackie McLean, alto sax; Herbie Hancock, piano; Larry Ridley, bass; Billy Higgins, drums. 1. Cornbread (Morgan) 9:00 Produced by ALFRED LION 2. Our Man Higgins (Morgan) 8:50 Cover Photo by FRANCIS WOLFF 3. Ceora (Morgan) 6:20 Cover Design by REID MILES 4. Ill Wind (Koehler-Arlen) 7:55 Recording by RUDY VAN GELDER 5. Most Like Lee (Morgan) 6:46 Recorded on September 8, 1965 TV viewers of the 1965 World Series, if they weren't in the kitchen grabbing a beer between innings, most likely heard a finger-popping blues behind the automobile commercial. It was "The Sidewinder" by Lee Morgan. The use of jazz in TV commercials has both good and bad aspects. Here the music was being played faithfully to its fashion and, as such, was representative of Lee Morgan's new success. If the music from Morgan's albums subsequent to "The Sidewinder" has not been utilized by Mad Ave., it has been heard on the radio -- AM and FM -- and on many a home music system. These albums have enabled him to form his own group which has played in nightclubs of some of the eastern seaboard's larger cities. Lee, who had been with Art Blakey's Jazz Messengers from 1958 into 1961, rejoined Blakey in 1964 but 1966 found him on his own. In a June engagement at Slugs', tenor saxophonist Hank Mobley and drummer Billy Higgins were members of Morgan's group. Here, they are part of his recording group along with three others who are no strangers to their session-mates or Blue Note listeners: Jackie McLean, Herbie Hancock and Larry Ridley. -
Seven Lee Morgan Lessons Seven Lee Morgan Lessons
SEVEN LEE MORGAN LESSONS One of Philadelphia’s most talented offerings would have been 75 years old come July 10 th , 2013. The lessons we can learn from his work and his life have been deemed immeasurable. As the Philadelphia Clef Club Of Jazz and Performing Arts prepares to celebrate his having been part of our family, we thought the following might give Lee some new talking points as a sage at this age. Lee Morgan Lesson 1 : WHY LIMIT YOURSELF ??? “Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. Morgan also knew how to play the alto saxophone ”. Lee Morgan Lesson 2 ::: DON’T JUST HANG AROUND OTHER MUSICIANS; MAKE IT YOUR BUSINESS TO TOURTOUR,, RECORD, INSPIRE & MATURE WITH THEM. “His primary stylistic influence was Clifford Brown , who gave the teenager a few lessons before he joined the Dizzy Gillespie Big Band at 18, He began recording for Blue Note Records in 1956, Lee also recorded for a variety of labels, including Blue Note, Vee-Jay, Roulette, Jazzland and Trip eventually recording 25 albums as a leader for the company with more than 250 musicians ”, A SERIOUSLY SMALL SAMPLING of this list includes: Hank Mobley John Coltrane Art Blakey Benny Golson Wayne Shorter Bobby Timmons Jymie Merritt Billy Hart Grachan Moncur III Freddie Hubbard Wynton Kelly Paul Chambers Grant Green Herbie Hancock Reggie Workman Billy Higgins John Gilmore Stanley Turrentine Jackie McLean Ron Carter Joe Henderson McCoy Tyner Lonnie Liston-Smith Elvin Jones Jack Wilson Reuben Wilson Larry Young Clifford Jordan Andrew Hill Billy Harper Bennie Maupin Marold Mabern Mickey Rokey Freddie Waits Oscar Peterson Lee Morgan Lesson 333: NO MATTMATTERER HOW GREAT THE INFLUENCEINFLUENCE,, DON’T LET THEM INFLUENCE YOU WITH DANGEROUS, SSTUPIDTUPID HABITS LIKE DRUGSDRUGS.DRUGS .. -
THE TRAINING of an INTELLECTUAL, the MAKING of a MARXIST, by Richard Small
TABLE OF CONTENTS INTRODUCTION, by the editor. ........................................................2 Varieties of Influence THE AFRICAN REVOLUTION, by Walter Rodney. ......................................5 THE TRAINING OF AN INTELLECTUAL, THE MAKING OF A MARXIST, by Richard Small...............................................13 IN ENGLAND, 1932-1938, by Robert Hill ..............................................19 MARXISM IN THE U.S.A., by Paul Buhle................................................28 THE FALL OF KWAME NKRUMAH, by Manning Marable ............................39 THE CARIBBEAN REVOLUTION, by Basil Wilson.....................................47 IX QUEST OF MATTHEW BONDSMAN: SOME CULTURAL NOTES ON THE JAMESIAN JOURNEY, by Sylvia Wynter...........................54 INTERVIEW, Darcus Howe with Ken Lawrence. ........................................69 LETTERS, C. L. R. James and Martin Glaberman. .........................................76 INTERVIEW, C. L. R. James with Paul Buhle, Noel Ignatin, James Early. ...................81 WILLIAMS WAS NO GENIUS ... THE OIL SAVED HIM, C. L. R. James with Harry Partap. .83 Times and Places A CRITICAL REMINISCENCE, by James and Grace Lee Boggs. .........................86 REVOLUTIONARY ARTIST, by Stan Weir ............................................87 YOUNG DETROIT RADICALS, 1955-1965, by Dan Georgakas . .89 ONLY CONNECT, by Ferruccio Gambino................................................95 Books and Subjects MINTY ALLEY, by E. Elliot Parris ........................................................97 -
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 08/19/2010 11:24 Am
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 08/19/2010 11:24 am WNCU 90.7 FM Format: Jazz North Carolina Central University (Raleigh - Durham, NC) This Period (TP) = 08/12/2010 to 08/18/2010 Last Period (TP) = 08/05/2010 to 08/11/2010 TP LP Artist Album Label Album TP LP +/- Rank Rank Year Plays Plays 1 1 Kenny Burrell Be Yourself HighNote 2010 15 15 0 1 39 Tomas Janzon Experiences Changes 2010 15 2 13 3 2 Curtis Fuller I Will Tell Her Capri 2010 13 11 2 3 23 Chris Massey Vibrainium Self-Released 2010 13 3 10 5 3 Lois Deloatch Roots: Jazz, Blues, Spirituals Self-Released 2010 10 10 0 5 9 Buselli Wallarab Jazz Mezzanine Owl Studios 2010 10 5 5 Orchestra 7 16 Mark Weinstein Timbasa Jazzheads 2010 8 4 4 7 71 Amina Figarova Sketches Munich 2010 8 1 7 7 71 Steve Davis Images Posi-Tone 2010 8 1 7 10 5 Nnenna Freelon Homefree Concord 2010 7 8 -1 10 9 Fred Hersch Whirl Palmetto 2010 7 5 2 12 5 Tim Warfield A Sentimental Journey Criss Cross 2010 6 8 -2 12 8 Rita Edmond A Glance At Destiny T.O.T.I. 2010 6 6 0 12 16 Eric Reed & Cyrus Chestnut Plenty Swing, Plenty Soul Savant 2010 6 4 2 12 23 The Craig Russo Latin Jazz Mambo Influenciado Cagoots 2010 6 3 3 Project 12 39 Radam Schwartz Songs For The Soul Arabesque 2010 6 2 4 12 71 Tamir Hendelman Destinations Resonance 2010 6 1 5 12 267 Buckwheat Zydeco Lay Your Burden Down Alligator 2009 6 0 6 12 267 Charlie Musselwhite The Well Alligator 2010 6 0 6 20 4 Jason Moran Ten Blue Note 2010 5 9 -4 20 7 Stephen Anderson Nation Degeneration Summit 2010 5 7 -2 20 16 Keith Jarrett -
Bulletin of the College of William and Mary in Virginia
c ii.A^ .-\^ -¥- Vol. 34, No. 3 BULLETIN March, 1940 of The College of William and Mary IN Virginia CATALOGUE of W^t College of l^illiam anb iMarp in Virginia Two Hundred and Forty-Seventh Yeah 1959-mo Announcements , Session 1940-1941 WILLIAMSBURG, VIRGINIA 1940 Entered at the post office at Williamsburg, Virginia, July 3, 1926, under act of August 24, 1912, as second-class matter Issued January, February, March, April, June, August, November Entered at the post office at Williamsburg, Virginia, July 3, 1926, under act of August 24, 1912, as second-class matter Issued January, February, March, April, June, August, November Digitized by the Internet Archive in 2011 with funding from LYRASIS IVIembers and Sloan Foundation http://www.archive.org/details/bulletinofcolleg343coll Wren Building—East Front Showing Lord Botetourt's Statue Vol. 34, No. 3 BULLETIN March, 1940 of The College of William and Mary IN Virginia CATALOGUE W^t College of William anb iHarp in Two Hundred and Forty-Seventh Year 1939-1940 Announcements i Session 1940-1941 WILLIAMSBURG, VIRGINIA 1940 Entered at the post office at Williamsburg, Virginia, July 3, 1926, under act of August 24, 1912, as second-class matter Issued January, February, March, April, June, August, November CONTENTS Page Calendar 4 College Calendar 5 Board of Visitors 6 Standing Committees of the Board of Visitors 7 OflScers of Administration 8 Officers of Instruction 9 Standing Committees of the Faculty 18 Special Lecturers 21 Alumni Association 22 Societies and Publications 24 Athletics for Men 26 -
Restructuring the Socialist Economy
CAPITAL AND CLASS IN CUBAN DEVELOPMENT: Restructuring the Socialist Economy Brian Green B.A. Simon Fraser University, 1994 THESISSUBMllTED IN PARTIAL FULFULLMENT OF THE REQUIREMEW FOR THE DEGREE OF MASER OF ARTS Department of Spanish and Latin American Studies O Brian Green 1996 All rights resewed. This work my not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Siblioth&ye nationale du Canada Azcjuis;lrons and Direction des acquisitions et Bitjibgraphic Sewices Branch des services biblicxpphiques Youi hie Vofrergfereoce Our hie Ncfre rb1Prence The author has granted an L'auteur a accorde une licence irrevocable non-exclusive ficence irrevocable et non exclusive allowing the National Library of permettant & la Bibliotheque Canada to reproduce, loan, nationafe du Canada de distribute or sell copies of reproduire, preter, distribuer ou his/her thesis by any means and vendre des copies de sa these in any form or format, making de quelque maniere et sous this thesis available to interested quelque forme que ce soit pour persons. mettre des exemplaires de cette these a la disposition des personnes int6ress6es. The author retains ownership of L'auteur consenre la propriete du the copyright in his/her thesis. droit d'auteur qui protege sa Neither the thesis nor substantial th&se. Ni la thbe ni des extraits extracts from it may be printed or substantiefs de celle-ci ne otherwise reproduced without doivent 6tre imprimes ou his/her permission. autrement reproduits sans son autorisatiow. PARTIAL COPYRIGHT LICENSE I hereby grant to Sion Fraser Universi the sight to Iend my thesis, prosect or ex?ended essay (the title o7 which is shown below) to users o2 the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the Zibrary of any other university, or other educational institution, on its own behalf or for one of its users. -
Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC). -
THE POLITICAL THOUGHT of the THIRD WORLD LEFT in POST-WAR AMERICA a Dissertation Submitted
LIBERATION FROM THE AFFLUENT SOCIETY: THE POLITICAL THOUGHT OF THE THIRD WORLD LEFT IN POST-WAR AMERICA A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History By Benjamin Feldman, M.A. Washington, DC August 6, 2020 Copyright 2020 by Benjamin Feldman All Rights Reserved ii LIBERATION FROM THE AFFLUENT SOCIETY: THE POLITICAL THOUGHT OF THE THIRD WORLD LEFT IN POST-WAR AMERICA Benjamin Feldman, M.A. Thesis Advisor: Michael Kazin, Ph.D. ABSTRACT This dissertation traces the full intellectual history of the Third World Turn: when theorists and activists in the United States began to look to liberation movements within the colonized and formerly colonized nations of the ‘Third World’ in search of models for political, social, and cultural transformation. I argue that, understood as a critique of the limits of New Deal liberalism rather than just as an offshoot of New Left radicalism, Third Worldism must be placed at the center of the history of the post-war American Left. Rooting the Third World Turn in the work of theorists active in the 1940s, including the economists Paul Sweezy and Paul Baran, the writer Harold Cruse, and the Detroit organizers James and Grace Lee Boggs, my work moves beyond simple binaries of violence vs. non-violence, revolution vs. reform, and utopianism vs. realism, while throwing the political development of groups like the Black Panthers, the Young Lords, the League of Revolutionary Black Workers, and the Third World Women’s Alliance into sharper relief. -
Lee Morgan Éÿ³æ¨‚Űˆè¼¯ ĸ²È¡Œ (ĸ“Ⱦ‘ & Æ—¶É—´È¡¨)
Lee Morgan 音樂專輯 串行 (专辑 & 时间表) The Sidewinder https://zh.listvote.com/lists/music/albums/the-sidewinder-1514457/songs The Cooker https://zh.listvote.com/lists/music/albums/the-cooker-7727543/songs The Last Session https://zh.listvote.com/lists/music/albums/the-last-session-7746010/songs City Lights https://zh.listvote.com/lists/music/albums/city-lights-15732458/songs The Complete Blue Note Lee Morgan https://zh.listvote.com/lists/music/albums/the-complete-blue-note-lee-morgan-fifties- Fifties Sessions sessions-16613709/songs Taru https://zh.listvote.com/lists/music/albums/taru-7686881/songs The Rajah https://zh.listvote.com/lists/music/albums/the-rajah-7759360/songs Standards https://zh.listvote.com/lists/music/albums/standards-7598412/songs Lee Morgan Vol. 3 https://zh.listvote.com/lists/music/albums/lee-morgan-vol.-3-6514598/songs The Procrastinator https://zh.listvote.com/lists/music/albums/the-procrastinator-7758452/songs Lee Morgan Sextet https://zh.listvote.com/lists/music/albums/lee-morgan-sextet-6514597/songs Live at the Lighthouse https://zh.listvote.com/lists/music/albums/live-at-the-lighthouse-6656836/songs The Gigolo https://zh.listvote.com/lists/music/albums/the-gigolo-7736433/songs Sonic Boom https://zh.listvote.com/lists/music/albums/sonic-boom-7561792/songs The Rumproller https://zh.listvote.com/lists/music/albums/the-rumproller-7761832/songs Lee-Way https://zh.listvote.com/lists/music/albums/lee-way-15735200/songs Infinity https://zh.listvote.com/lists/music/albums/infinity-11838771/songs Tom Cat (album) -
Breaking the Spell
Praise for Breaking the Spell “Christopher Robé’s meticulously researched Breaking the Spell traces the roots of contemporary, anarchist-inflected video and Internet activism and clearly demonstrates the affinities between the anti-authoritarian ethos and aesthetic of collectives from the ’60s and ’70s—such as Newsreel and the Videofreex—and their contemporary descendants. Robé’s nuanced perspective enables him to both celebrate and critique anarchist forays into guerrilla media. Breaking the Spell is an invaluable guide to the contempo- rary anarchist media landscape that will prove useful for activists as well as scholars.” —Richard Porton, author of Film and the Anarchist Imagination “Breaking the Spell is a highly readable history of U.S. activism against neo- liberal capitalism from the perspective of ‘Anarchist Filmmakers, Videotape Guerrillas, and Digital Ninjas,’ the subtitle of the book. Based on ninety interviews, careful readings of hundreds of videos, and his own participant observation, Robé links the development of better-known video makers such as Videofreex, Paper Tiger Television, ACT UP and Indymedia with activist media makers among key protest movements, such as the League of Revolutionary Black Workers in Detroit, Oregon’s Cascadia Forest Defenders, the day workers of Voces Mobiles/Mobile Voices in Los Angeles, and the indigenous youth in Outta Your Backpack Media. Underscored by significant tensions of class, race/ethnicity, and gender among the groups and the videos discussed, Robé traces the continuing concerns -
Automation and the Meaning of Work in the Postwar United States
The Misanthropic Sublime: Automation and the Meaning of Work in the Postwar United States Jason Resnikoff Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Jason Zachary Resnikoff All rights reserved Abstract “The Misanthropic Sublime: Automation and the Meaning of Work in the Postwar United States” Jason Resnikoff In the United States of America after World War II, Americans from across the political spectrum adopted the technological optimism of the postwar period to resolve one of the central contradictions of industrial society—the opposition between work and freedom. Although classical American liberalism held that freedom for citizens meant owning property they worked for themselves, many Americans in the postwar period believed that work had come to mean the act of maintaining mere survival. The broad acceptance of this degraded meaning of work found expression in a word coined by managers in the immediate postwar period: “automation.” Between the late 1940s and the early 1970s, the word “automation” stood for a revolutionary development, even though few could agree as to precisely what kind of technology it described. Rather than a specific technology, however, this dissertation argues that “automation” was a discourse that defined work as mere biological survival and saw the end of human labor as the the inevitable result of technological progress. In premising liberation on the end of work, those who subscribed to the automation discourse made political freedom contingent not on the distribution of power, but on escape from the limits of the human body itself.