DOCSLIB.ORG

Volume 17.2 Nationalpoliticalsciencereview

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volume 17.2 Nationalpoliticalsciencereview THE NATIONAL POLITICAL SCIENCE REVIEW EDITORS Michael Mitchell Arizona State University David Covin California State University-Sacramento BOOK REVIEW EDITOR/ASSOCIATE EDITOR Tiffany Willoughby-Herard University of California, Irvine EDITORIAL BOARD Georgia Persons K.C. Morrison Todd Shaw Georgia Institute of Technology Mississippi State University University of South Carolina Duchess Harris Robert Smith Melissa Nobles Macalester University San Francisco State University Massachusetts Institute of Technology Lorenzo Morris Cheryl M. Miller Howard University University of Maryland- Lisa Aubrey Baltimore County Arizona State University Copyright © 2016 by Transaction Publishers, New Brunswick, New Jersey. All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to Transaction Publishers, 10 Corporate Place South, Suite 102, Piscataway, New Jersey 08854. www.transactionpub.com This book is printed on acid-free paper that meets the American National Standard for Permanence of Paper for Printed Library Materials. Library of Congress Catalog Number: 2015024653 ISBN: 978-1-4128-6241-7 eBook: 978-1-4128-6196-0 Printed in the United States of America Library of Congress Cataloging-in-Publication Data Names: Mitchell, Michael, 1944- | Covin, David, 1940- Title: Broadening the contours in the study of Black politics. Citizenship and popular culture / Michael Mitchell and David Covin, editors. Other titles: Citizenship and popular culture Description: New Brunswick, New Jersey : Transaction Publishers, 2015. | Volume 17:2 of National political science review. | Includes bibliographical references. Identifiers: LCCN 2015024653 | ISBN 9781412862417 (acid-free paper) Subjects: LCSH: African Americans--Politics and government. | African Americans-- Civil rights. | Citizenship--United States. | African Americans in popular culture. | Popular culture--United States. | United States--Race relations--Political aspects. | United States-- Politics and government--1989- | Books--Reviews. Classification: LCC E185.615.B724 2015 | DDC 323.1196/073--dc23 LC record available at http://lccn.loc.gov/2015024653 Contents Research Articles 1 “Who Will Survive in America?”: Gil Scott-Heron, 3 the Black Radical Tradition, and the Critique of Neoliberalism Daniel Robert McClure Are African Americans Really Americans?: 27 African American Ambivalence and the Plural Subject Theory of Political Obligation Camisha Russell Ratchet Politics: Moving Beyond Black Women’s 45 Bodies to Indict Institutions and Structures Nadia E. Brown and Lisa Young Holier than Thou: The Impact of Politico-Economic 57 Equality on Black Spirituality Major G. Coleman Symposium II 95 Black Women Political Scientists at WorkTM: A Conversation 97 with Nadia Brown and Wendy Smooth Nikol G. Alexander-Floyd Work in Progress 117 Assessing the Voting Rights Act: 119 Competing Analytical Paradigms David Blanding Trends 125 The Fiftieth Anniversary of the Voting Rights Act 127 and the “Quiet Revolution” B. D’Andra Orey, Gloria J. Billingsley, and Athena M. King Book Review Forum 139 Forum on Urban Black Women and the Politics of Resistance, by Zenzele Isoke Book Review Forum: Essay 1 141 Tiffany Willoughby-Herard Book Review Forum: Essay 2 144 Duchess Harris Book Review Forum: Essay 3 147 Andreana Clay Book Review Forum: Essay 4 149 Grace Kyungwon Hong Book Review Forum: Essay 5 152 Keisha-Khan Y. Perry Book Review Forum: Essay 6 155 Cheryl Flores Book Review Forum: Essay 7 158 Khaalidah Sidney “Making Knowledge without Master’s Tools” 161 Zenzele Isoke Responds Book Reviews 165 Duchess Harris, Black Feminist Politics 167 from Kennedy to Obama, reviewed by Ange-Marie Hancock Andra Gillespie, The New Black Politician: 170 Cory Booker, Newark, and Post-Racial America, reviewed by Aiisha Harden Russell Nikol G. Alexander-Floyd, Gender, Race, 174 and Nationalism in Contemporary Black Politics, reviewed by Kiana Cox C. Riley Snorton, Nobody Is Supposed to Know, 178 reviewed by Saidah K. Isoke Miriam Jiménez Román and Juan Flores, eds., 180 The Afro-Latin@ Reader: History and Culture in the United States, reviewed by Jennifer Gutierrez Julia Jordan-Zachery, Black Women, 183 Cultural Images and Social Policy, reviewed by Stephanie Hicks A Note on Passing: Michael B. Preston 187 A Note on Passing: Jewel Limar Prestage 189 Invitation to the Scholarly Community 191 Research Articles “Who Will Survive in America?”: Gil Scott-Heron, the Black Radical Tradition, and the Critique of Neoliberalism Daniel Robert McClure1 California State University, Fullerton Which brings me back to my convictions and being convicted for my beliefs ’cause I believe these smiles in three piece suits with gracious, liberal demeanor took our movement off the streets and took us to the cleaners. In other words, we let up the pressure and that was all part of their plan and every day we allow to slip through our fingers is playing right into their hands. —Gil Scott-Heron, “The New Deal” (1978) Introduction Over a year before his untimely death in May 2011, sixty-year-old musician/poet Gil Scott-Heron released his anticipated comeback album, I’m New Here: Gil Scott- Heron, after a decade of struggle with substance abuse and repeated incarceration.2 The first official video for his release featured the song “Me and the Devil Blues,” with “Your Soul and Mine” added as a spoken word epilogue. The lyrics for “Me and the Devil Blues” derive from pre–World War II country bluesman Robert Johnson’s 1937 saga portraying a “Faustian bargain” with the Devil.3 In Scott Heron’s video, the Faustian bargain unfolds as a set of images depicting a vibrant Manhattan night, with folks hurriedly walking past prosperous businesses. The pedestrians’ sense of purpose and apparent status contrasts sharply with shots of poverty and homelessness, making the latter appear as misplaced specters from a bygone era. Another set of ghostly characters traverse the streets as well, navigating their way through twenty- first century wealth: young skateboarders, painted up as skeletons—or figures of death—skating energetically through the concrete and steel paradox of wealth and homeless squalor. The juxtaposition of the footage and lyrics in the video for “Me and the Devil Blues”/“Your Soul and Mine” (aka “The Vulture”) characterizes the 3 4 Broadening the Contours in the Study of Black Politics systemic outcome of the economic shift to neoliberalism that unfolded in tandem with Scott-Heron’s recording career. The use of New York City in 2010 as the background for the video is fitting. The metropolis represents not just Scott-Heron’s origin as a performing artist but also a structural space where the rise of neoliberalism took root in the US in the late 1970s. Like other urban centers in the 1960s, New York City increasingly faced budget issues that arose from the effects of deindustrialization and White flight.4 Alongside Nixon’s federal aid cuts to cities, the 1973–1974 recession aggravated an increasingly desperate situation; the urban crisis of the 1960s became the “urban fiscal crisis” of the 1970s.5 From this predicament, solutions coalesced around austere bud- geting measures primarily affecting municipal workers, racial minorities, the poor, and the governing liberal politicians. Less was said regarding overdevelopment of capital enterprises, the relationships between municipal borrowing and financial institutions, or planners omitting industrial development.6 The crisis of New York City provided an entry point for the adoption of what Business Week had offered in 1974 as a way out of the debt crisis. “Cities and states, the home mort- gage market, small business, and the consumer, will all get less than they want because the basic health of the US is based on the basic health of its corporations and banks: the biggest borrowers and the biggest lenders.”7 This suggestion—prophesying the next forty years of supply-side economics and the logic of corporate bailouts—emanated from the ideas of a Milton Friedman-led group of neoclassicist economists, or “neoliberals.” New York City became a symbolically important test case for implementing neoliberal policies. The resulting bailout deal between the New York City government and the financial industry replaced the prerogatives of publically accountable political institutions with those of private capital. This process marked a significant shift in the common sense of the post- World War II relationship between government and the economy. Social services (public health, education, and transportation) were cut, wages frozen, and public employment downsized. This restructuring, writ large from the 1970s through today, brought about a “restoration of class power” by conservatives and the business community after World War II, while amplifying the racial inequality gap.8 This new system of neoliberalism (the dominant set of economic ideas since the decline of the Jim Crow Keynesian welfare state) took root amidst the culture wars that erupted in the wake of civil rights gains in the 1960s and the drawn-out economic crisis that came to largely define the 1970s. Modus Operandi This article examines the rise of neoliberalism through the recorded work of Gil Scott-Heron, particularly his spoken word pieces. Scott-Heron is an
Load more

Recommended publications
  • Wszystkie 2013
    29/12/2013 [ Radio RAM ] === THE CACTUS CHANNEL / Who Is Walt Druce? [HopeStreet (LP)] EX-FRIENDLY f/ Rich Medina / Journey Man (Jonno & Tommo remix) [People Are Looking At You (12")] ANTHONY JOSEPH & THE SPASM BAND / Griot (live) [Heavenly Sweetness (LP)] THE CACTUS CHANNEL / Laika [HopeStreet (LP)] J-BOOGIE'S DUBTRONIC SCIENCE f/ Rich Medina / Same Ol Thang [Om (LP)] DJ MITSU THE BEATS f/ Rich Medina / Do Right [Planetgroove (LP)] DA LATA f/ Rich Medina / Monkeys And Anvils [Agogo (LP)] NATH & MARTIN BROTHERS / Livingstone [Voodoo Funk/Honest Jon's (LP)] NATH & MARTIN BROTHERS / Livingstone (highlife) [Voodoo Funk/Honest Jon's (LP)] CHARLES MINGUS / II B.S. (RZA's Mingus Bounce remix) [Verve (LP)] GANG STARR / I'm The Man [Chrysalis (LP)] DONNY HATHAWAY / Sugar Lee [Atlantic (LP)] THE FUTURE SOUND / Star Struck (Caterpillar Style) [EastWest (LP)] KWEST THA MADD LAD / I Ain't The Herb [No Sleep (LP)] IKE & TINA TURNER / Cussin', Crying And Carryin' On [Unio Square (LP)] KWEST THA MADD LAD / Disk And Dat [American/BMG (LP)] DAS EFX / Here We Go [Eastwest (LP)] DENIECE WILLIAMS / How'd I Know That Love Would Slip Away [Sony BMG (LP)] BIZ MARKIE / Games [Groove Attack (12")] THE MIKE SAMMES SINGERS & THE TED TAYLOR ORGANSOUND / He Who Would Valient Be [Trunk (LP)] SOUNDSCI / Remedy [Crate Escape (EP)] YOUNG-HOLT UNLIMITED / Wah Wah Man [Rhino (LP)] SHOWBIZ & A.G. / Hard To Kill [London/Payday (LP)] LORD FINESSE & DJ MIKE SMOOTH / Baby, You Nasty [Wild Pitch (LP)] THE FUTURE SOUND / Jungle-O [EastWest (LP)] IDRIS MUHAMMAD / Crab Apple [Strictly Breaks (LP)] KWEST THA MADD LAD / Blasé Blah (Off That Head) [American/BMG (LP)] RUN-D.M.C.
    [Show full text]
  • ENG 350 Summer12
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
    [Show full text]
  • W.E.B. Du Bois Department of Afro-American Studies Undergraduate & Graduate Course Descriptions
    W.E.B. DU BOIS DEPARTMENT OF AFRO-AMERICAN STUDIES UNDERGRADUATE & GRADUATE COURSE DESCRIPTIONS UNDERGRADUATE AFROAM 101. Introduction to Black Studies Interdisciplinary introduction to the basic concepts and literature in the disciplines covered by Black Studies. Includes history, the social sciences, and humanities as well as conceptual frameworks for investigation and analysis of Black history and culture. AFROAM 111. Survey African Art Major traditions in African art from prehistoric times to present. Allied disciplines of history and archaeology used to recover the early history of certain art cultures. The aesthetics in African art and the contributions they have made to the development of world art in modern times. (Gen.Ed. AT, G) AFROAM 113. African Diaspora Arts Visual expression in the Black Diaspora (United States, Caribbean, and Latin America) from the early slave era to the present. AFROAM 117. Survey of Afro-American Literature (4 credits) The major figures and themes in Afro-American literature, analyzing specific works in detail and surveying the early history of Afro-American literature. What the slave narratives, poetry, short stories, novels, drama, and folklore of the period reveal about the social, economic, psychological, and artistic lives of the writers and their characters, both male and female. Explores the conventions of each of these genres in the period under discussion to better understand the relation of the material to the dominant traditions of the time and the writers' particular contributions to their own art. (Gen.Ed. AL, U) (Planned for Fall) AFROAM 118. Survey of Afro-American Literature II (4 credits) Introductory level survey of Afro-American literature from the Harlem Renaissance to the present, including DuBois, Hughes, Hurston, Wright, Ellison, Baldwin, Walker, Morrison, Baraka and Lorde.
    [Show full text]
  • The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
    1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000.
    [Show full text]
  • ENG 350 Summer11
    ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Mondays and Wednesdays, 6:00-9:00, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our one required textbook, Bradley and DuBois’s Anthology of Rap (Yale University Press) is AVAILABLE AT THE OFF-CAMPUS BOOKSTORE ON SMITH ST. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will also be a Blog with a discussion board and a wide array of links to audio and text resources.
    [Show full text]
  • Abstract One Love: Collective Consciousness in Rap and Poetry
    Abstract One Love: Collective Consciousness in Rap and Poetry of the Hip-Hop Generation by Austin Harold Hart April, 2012 Thesis Director: John Hoppenthaler Major Department: English (Literature and Poetry) This study aims to offer an understanding of hip-hop culture through which three concepts are elucidated: (1) the existence and dimensions of a collective consciousness within rap and poetry of the hip-hop generation (Allison Joseph, A. Van Jordan, Terrance Hayes, Major Jackson, Taylor Mali, and Kevin Coval); (2) a poetics of rap—to parallel the influence seen/suggested among the selected poets; and (3) an analysis of the manner(s) in which the poetry of these more serious, academic artists reflects an influence of hip-hop culture. My thesis suggests that these poets are indeed influenced by the culture in which they grew up, and in their verse, this influence can be seen through linguistic playfulness, sonic density, layered meaning and usage through form and content, and the connection to a larger cultural, collective consciousness fed by specific social bodies. Poetic analysis, as well as studies of vernacular and oral traditions, has allowed me to explore these concepts and theories from a wider spectrum, and with regard to the work of the poets, an original perspective. Providing a deeper understanding of artists, their identities, places, and dreams within their work, this study begins to offer some insight into notions of the ways in which individuals might participate in cultural conservation. One Love: Collective Consciousness
    [Show full text]
  • A Voice from the South / by a Black Woman of the South
    The Project Gutenberg EBook of A Voice from the South., by Anna Julia Cooper This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: A Voice from the South. By a Black Woman of the South. Author: Anna Julia Cooper Release Date: April 2, 2020 [EBook #61741] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK A VOICE FROM THE SOUTH. *** Produced by Richard Tonsing, Mary Glenn Krause, amsibert and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) Transcriber’s Note: The cover image was created by the transcriber and is placed in the public domain. Yours sincerely A. J. Cooper. A VOICE FROM THE SOUTH. BY A BLACK WOMAN OF THE SOUTH. XENIA, OHIO: THE ALDINE PRINTING HOUSE. 1892. COPYRIGHT 1892 BY ANNA JULIA COOPER. A VOICE FROM THE SOUTH. “WITH REGRET I FORGET IF THE SONG BE LIVING YET, YET REMEMBER, VAGUELY NOW, IT WAS HONEST, ANYHOW.” TO BISHOP BENJAMIN WILLIAM ARNETT, WITH PROFOUND REGARD FOR HIS HEROIC DEVOTION TO GOD AND THE RACE, both in Church and in State,—and with sincere esteem for his unselfish espousal of the cause of the Black Woman and of every human interest that lacks a Voice and needs a Defender, this, the primary utterance of my heart and pen, IS AFFECTIONATELY INSCRIBED.
    [Show full text]
  • The Sounds of Liberation: Resistance, Cultural Retention, and Progressive Traditions for Social Justice in African American Music
    THE SOUNDS OF LIBERATION: RESISTANCE, CULTURAL RETENTION, AND PROGRESSIVE TRADITIONS FOR SOCIAL JUSTICE IN AFRICAN AMERICAN MUSIC A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Luqman Muhammad Abdullah May 2009 © 2009 Luqman Muhammad Abdullah ABSTRACT The cultural production of music in the Black community has traditionally operated as much more than a source of entertainment. In fact, my thesis illustrates how progressive traditions for social justice in Black music have acted as a source of agency and a tool for resistance against oppression. This study also explains how the music of African Americans has served as a primary mechanism for disseminating their cultural legacy. I have selected four Black artists who exhibit the aforementioned principles in their musical production. Bernice Johnson Reagon, John Coltrane, Curtis Mayfield and Gil Scott-Heron comprise the talented cadre of musicians that exemplify the progressive Black musical tradition for social justice in their respective genres of gospel, jazz, soul and spoken word. The methods utilized for my study include a socio-historical account of the origins of Black music, an overview of the artists’ careers, and a lyrical analysis of selected songs created by each of the artists. This study will contribute to the body of literature surrounding the progressive roles, functions and utilities of African American music. BIOGRAPHICAL SKETCH My mother garners the nickname “gypsy” from her siblings due to the fact that she is always moving and relocating to new and different places.
    [Show full text]
  • The African Roots of Cuban Music,The Music of the Nyayo Era,Kenyans' Elusive Search for a Cultural Identity,How Afrobeat(S)
    The African Roots of Cuban Music By Boima Tucker British sociologist Paul Gilroy suggested the history of culture in the Atlantic world is characterized by constant exchange. One of the most traceable elements of that exchange, is the musical connections between communities of African descent on either side of the ocean. These musical practices operate as sites of resistance, cultural retention, and social cohesion that allow us to understand some of the ways we all are formed by trans-continental processes. During the dawn of recorded music in the early part of the 20th century, Cuba—one of many New World sites of African and indigenous resistance to European colonisation and enslavement—would become a hotbed for musical export in the emerging industrialized system of music distribution. Folk musical traditions from across the island would come together in Havana’s studios, and then get dispersed around the entire Atlantic world. In the early part of the 20th Century, Cuban musical styles like son, mambo and guaguanco followed migrants and sailors out across the Atlantic, hitting radio waves in the ports of landing, and spreading throughout the interior of the countries they landed in. With its strong traces of West and Central African rhythms, this music would find legions of devoted followers on the African continent. Local artists would try their hand at recreating the sound, and start to mix elements of their own local traditions creating what we now know as Congolese rumba, soukous, mbalax, semba, kizomba, and highlife, etc. These styles, amongst many others on the continent, would go on to form the backbone of national identity in the post-independence period, their propagation supported with enthusiasm by the leaders of the new nations.
    [Show full text]
  • Syllabus for RESPECT: Minority Voices in Early Soul, Reggae, Rock, and Folk
    Syllabus for RESPECT: Minority Voices in Early Soul, Reggae, Rock, and Folk OLLI UC Berkeley Fall 2021 Mondays, 9:30am-11am Instructor: Richie Unterberger Week One: Social Commentary and Protest in Soul Music, Pt. 1 In Soul of the 1960s While occasional soul songs of the first half of the 1960s had observations about the world at large, for the most part they dealt with romantic love, as well as a good share of tunes about partying and dancing. Many of these songs were great and classic. But wasn’t until the late 1960s that compositions commenting about the American (and sometimes specifically African-American) experience became a significant part of soul music. Curtis Mayfield, principal singer-songwriter of the Impressions, was perhaps the first to regularly express such sentiments. By the late 1960s, other stars like Aretha Franklin, James Brown, Nina Simone, and Sly & the Family Stone were also doing so occasionally. After some initial resistance on the part of its ownership and producers, Motown Records also made significant forays into this territory, most often with the Temptations, but also with the Supremes and other artists. Week Two: Social Commentary and Protest in Soul Music, Pt. 2 In Soul of the 1970s In the first half of the 1970s, socially conscious soul music sometimes gets tougher and more militant. At Motown, Marvin Gaye and Stevie Wonder not only successfully fight for more artistic freedom to record more lyrically aware material, but also focus on long- playing albums as a medium of expression that are at least as important as hit singles.
    [Show full text]
  • Plank Road Publishing / Music K-8 Marketplace 2021-2022 School
    SY21CatPages.qxp_Layout 1 7/30/21 3:20 PM Page 1 A Christmas K-4 Musical Perfectly Designed For Your Young Performers! ANTLERS A Fashionable Musical For Young Voices by Teresa Jennings & Karl Hitzemann Everyone knows that all magic reindeer just want to fly, right? Or do they? This imaginative little musical dares to consider that maybe, just maybe, a reindeer’s career outcome doesn’t have to be quite so predictable. In fact, it could be very different. Such is the case in our story, where a few recent graduates of the School of Reindeer have realized that their true passions call less for flying, and more for drawing, sewing, and crafting. In other words, they want to be fashion designers. And not just any fashion designers – ANTLER fashion designers! With a little help from their North Pole friends, notably some elves and other reindeer, they decide to showcase some of their fabulous couture on the runway. Unbeknownst to them, Santa and Mrs. Claus just happen to catch some of the show and are very impressed. So much so that they invite the designers to create new antler fashions for the “famous eight” – and just in time to wear for their big night out! Designed for ease of production and flexibility, this delightful musical offers opportunities for creativity, imagination, and artistic expression. With five simple and memorable songs (and some action music), young performers will delight in the chance to not only create their own stylish antler designs, but to showcase them as they walk, strut, sway, and sashay across your performance area this holiday season.
    [Show full text]
  • Matias Corbett Garcez Gil Scott-Heron: a Black Bullet
    MATIAS CORBETT GARCEZ GIL SCOTT-HERON: A BLACK BULLET THROUGH THE HEART OF WHITE AMERICA Florianópolis, 2015 2 3 MATIAS CORBETT GARCEZ GIL SCOTT-HERON: A BLACK BULLET THROUGH THE HEART OF WHITE AMERICA Tese de doutorado apresentada à Banca Examinadora do Programa de Pós-Graduação em Inglês do Centro de Comunicação e Expressão da Universidade Federal de Santa Catarina, como requisito parcial para a obtenção do título de Doutor em Estudos Culturais, linha de pesquisa Poéticas de Resistência, sob a orientação da Professora Doutora Maria Lúcia Milléo Martins. Florianópolis, 2015 Ficha de identificação da obra elaborada pelo autor, através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Garcez, Matias Corbett Gil Scott-Heron: A Black Bullet Through The Heart Of White America / Matias Corbett Garcez ; orientadora, Maria Lúcia Milléo Martins - Florianópolis, SC, 2015. 292 p. Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós Graduação em Literatura. Inclui referências 1. Literatura. 2. Gil Scott-Heron. 3. Poéticas de Resistência . 4. Contra-narrativas . 5. FonoFicção. I. Milléo Martins, Maria Lúcia. II. Universidade Federal de Santa Catarina. Programa de Pós-Graduação em Literatura. III. Título. 6 7 Dedicated to my wife and love, Cristiane, and my son, Ravi. 8 9 ACKNOWLEDGMENTS I would like to thank CNPQ and Projeto de Extensão: Cursos Extracurriculares for the financial support granted throughout my studies. I would also like to thank Professor Maria Lúcia Milléo Martins for accepting me as her advisee, and for all the guidance and support during my research. I would also like to express my gratitude to my family, who gave me a lot of support, love, and motivation.
    [Show full text]