CONGRESSIONAL RECORD— Extensions of Remarks E564 HON

Total Page:16

File Type:pdf, Size:1020Kb

CONGRESSIONAL RECORD— Extensions of Remarks E564 HON E564 CONGRESSIONAL RECORD — Extensions of Remarks March 30, 2011 THE HAMP TERMINATION ACT OF On Sunday, March 27, 2011, Harlem’s be- America and influence the world through the 2011 loved National Black Theater hosted and spoken word of the ‘‘Legendary Last Poets.’’ joined the community of Black Diasporan Artist f SPEECH OF and Poets to celebrate and honor the legacy of Abiodun Oyewole and his most prized insti- HONORING VIETNAM VETERAN HON. ERIC CANTOR DOCKIE BRENDLE FOR HIS SERV- OF VIRGINIA tution, ‘‘Open House Sundays @ 110 ICE AND SACRIFICE IN THE IN THE HOUSE OF REPRESENTATIVES Morningside Drive,’’ a true rendition of free art, VIETNAM WAR Tuesday, March 29, 2011 expression, and family love. Abiodun Oyewole, a founding member of The House in Committee of the Whole the legendary and original spoken word group, HON. HEATH SHULER House on the State of the Union had under The Last Poets, has for over 30 years opened OF NORTH CAROLINA consideration the bill (H.R. 839) to amend the his apartment every Sunday, feeding his fellow Emergency Economic Stabilization Act of IN THE HOUSE OF REPRESENTATIVES artists food for thought, body and soul. Sun- 2008 to terminate the authority of the Sec- Wednesday, March 30, 2011 retary of the Treasury to provide new assist- day’s participants would gather at Poets ance under the Home Affordable Modifica- Haven to celebrate each other, eat delicious Mr. SHULER. Mr. Speaker, I rise today to tion Program, while preserving assistance to foods, and gravitate to the elders. For many honor Specialist Fourth Class Dockie Brendle homeowners who were already extended an aspiring and renowned artists and poets, this for his valiant service and sacrifice during the offer to participate in the Program, either on is home, a place where one can help oneself Vietnam War. a trial or permanent basis: to salmon croquettes, grits and home fries. In In 1967, Mr. Brendle started his tour of duty Mr. CANTOR. Mr. Chair, last November, his living room you can find griots, storytellers as an Armored Track Commander with the voters sent an unambiguous message in op- and poets sharing their work with people who 11th Armored Calvary Regiment in Swan Loc, position to the surge in government spending. have an appreciation for the arts and yearn to South Vietnam. In 1968, Mr. Brendle was Today, House Republicans are fighting to be around love and expression of Black Con- wounded four times. Due to his service and provide a surge protector. sciousness. sacrifice Mr. Brendle received various medals In three short months, we have changed the Shortly after the assassination and murder and accolades, including a Silver Star, a conversation in Washington from increasing of Reverend Dr. Martin Luther King, Jr., along Bronze Star with ‘‘V’’ Device for Valor, an spending to cutting spending and by how with the changing domestic landscape came Army Commendation Medal with ‘‘V’’ Device much. We have made significant strides to- the New York City-hip group called The Last for Valor, four Purple Hearts, a Combat Infan- ward returning spending to more reasonable Poets. They used obstreperous verse to chide try Badge, a President Unit Citation, a Viet- 2008 levels, and we are taking the scalpel to a Nation whose inclination was to maintain the nam Service Medal with three Bronze Stars, a excessive regulation that is smothering the colonial yoke around the neck of the Vietnam Gallantry Cross, and a Vietnam Cam- economy. disenfranchised. Their name, ‘‘The Last paign Medal. By lifting the ominous fiscal cloud that Poets,’’ is taken from a poem by the South Af- Although he is now a 100 percent disabled hangs over our businesses and job creators, rican revolutionary poet Keorapetse Kgositsile, veteran, Mr. Brendle is an active part of the we are laying the foundation for lasting who posited the necessity of putting aside po- Swain County community. He is a member of growth. etry in the face of looming revolution. ‘‘When the Vietnam Veterans of America, Smoky Today, through our YouCut program, the the moment hatches in time’s womb there will Mountain Chapter 994 as well as a member of American public has put another wasteful be no art talk,’’ he wrote. ‘‘The only poem you Veterans of Foreign Wars in Bryson City. He spending initiative on the chopping block. will hear will be the spearpoint pivoted in the regularly attends events throughout the com- In February 2009, the administration ear- punctured marrow of the villain.... There- munity. An avid football fan, he can be seen marked $30 billion in TARP money to imple- fore we are the last poets of the world.’’ watching many Swain High School football ment the Home Affordable Modification Pro- So Abiodun Oyewole and founding mem- games as a member of the ‘‘Fence Walkers.’’ gram. This effort was intended to fight fore- bers Umar Bin Hassan, Jalal Mansur Nuriddin, I am grateful I have selfless, brave, and closure and strengthen the housing market, Felipe Luciano, Gylan Kain, David Nelson and dedicated veterans like Mr. Brendle in our but to quote the non-partisan Inspector Gen- percussionist Nilaja Obabi formed The Last community. His service to our country is a eral, it ‘‘continues to fall dramatically short of Poets on May 19, 1968, Malcolm X’s birthday, great source of pride to me and to Western any meaningful standard of success.’’ at Marcus Garvey Park (formerly Mount Morris North Carolina. I ask my colleagues to join me HAMP was meant to help 4 million home- Park) in the East Harlem/El Barrio neighbor- today in recognizing Specialist Fourth Class owners; yet only 521,630 loans have been hood part of my Congressional District in New Dockie Brendle for his service and sacrifice to modified under the program. To add insult to York. our great nation. injury, HAMP suffers from high re-default rates These young radical poets and musicians f and has left many borrowers worse off. rose to become the rappers of the civil rights This legislation would save taxpayers up to era. During the late 60s and early 70s, CONGRATULATIONS TO THE NEW- $29 billion by preventing the government from Abiodun and members of The Last Poets con- MAN CHAPEL UNITED METH- providing any new assistance under HAMP. It nected with the violent factions of the SNCC ODIST CHURCH is a common sense way to put an end to the (Student Non-Violent Coordinating Com- culture of waste we have been working to mittee), the SDS (Students for a Democratic eradicate in Washington. I urge my colleagues HON. RON PAUL Society), and the Black Panther party. They to vote in favor. OF TEXAS went through confrontations with the FBI and IN THE HOUSE OF REPRESENTATIVES f police, arrests for robbing the Ku Klux Klan Wednesday, March 30, 2011 A DAY IN HONOR OF ABIODUN and various other ventures with Revolution in OYEWOLE, ‘‘FOUNDING MEMBER mind. Abiodun Oyewole received a 12- to 20- Mr. PAUL. Mr. Speaker, I am pleased to OF THE LEGENDARY LAST year jail sentence, but served less than four congratulate the parishioners of Newman POETS’’ AND ARCHITECT OF years. Chapel United Methodist Church of Kendleton, POETS HAVEN—OPEN HOUSE Post the revolutionary Civil Rights era, Texas, on the opening of their new multipur- SUNDAYS @ 110 MORNINGSIDE Abiodun went into teaching. He was a Colum- pose worship center. The Center opened this DRIVE bia University Fellow, where he taught biology, past Sunday, March 27th. and also spent 15 years with the New York Established in approximately 1872, Newman HON. CHARLES B. RANGEL City Board of Education teaching children. Chapel was the first Methodist Church orga- The Last Poets have been cited as one of nized in the Kendleton. Originally, parishioners OF NEW YORK the earliest influences of what would become meet by the San Bernard River under the old IN THE HOUSE OF REPRESENTATIVES hip-hop music and for paving the way for all oak trees. Services were held at the river until Wednesday, March 30, 2011 socially committed Black and diverse emcees. 1874 when the parishioners constructed a log Mr. RANGEL. Mr. Speaker, I rise today to So, Mr. Speaker, I ask that today we pay cabin that served as both a place for worship recognize a day in honor of Abiodun Oyewole, homage to Abiodun Oyewole, Umar Bin Has- and a school. founding member of the legendary Last Poets san, Felipe Luciano and percussionist Don Newman Chapel may have come a long and architect of Poets Haven—Open House Babatunde Eaton. Without fame or fortune, way from its roots in a gathering of believers Sundays @ 110 Morningside Drive. they continue to raise the consciousness of by the San Bernard River, but what has never VerDate Mar 15 2010 05:34 Mar 31, 2011 Jkt 099060 PO 00000 Frm 00008 Fmt 0626 Sfmt 9920 E:\CR\FM\A30MR8.016 E30MRPT1 jbell on DSKDVH8Z91PROD with REMARKS March 30, 2011 CONGRESSIONAL RECORD — Extensions of Remarks E565 changed is the parishioners’ and staff’s com- where he continues to serve. Under his lead- Among Mr. Russell’s numerous accolades mitment to the mission of building a spirit-filled ership, new programs have been implemented are an honorary doctorate from Suffolk Univer- community church of believers. The new wor- and membership has grown to 146. sity, an honorary degree from Harvard Univer- ship center will enhance the Church’s ability to The significance of Shiloh Baptist Church sity and the NBA’s first Civil Rights Award. carry out this mission by providing a more has been recognized with the placement of a Also, in 2009, the NBA Finals MVP trophy was spacious and comfortable location for worship historical marker presented by the Fairfax renamed: the Bill Russell NBA MVP Award.
Recommended publications
  • Ronnie Scott's Jazz C
    GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 6 z 1 0 z 2 a r J e MEMBERSHIP TO b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n m e OR CALL: 020 74390747 n v o Europe’s Premier Jazz Club in the heart of Soho, London ‘Hugh Masekela Returns...‘ o N R Cover artist: Hugh Masekela Page 36 Page 01 Artists at a Glance Tues 1st - Thurs 3rd: Steve Cropper Band N Fri 4th: Randy Brecker & Balaio play Randy In Brasil o v Sat 5th: Terence Blanchard E-Collective e Sun 6th Lunch Jazz: Atila - ‘King For A Day’ m b Sun 6th: Ronnie Scott’s Jazz Orchestra e Mon 7th - Sat 12th: Kurt Elling Quintet “The Beautiful Day” r Thurs 10th: Late Late Show Special: Brandee Younger: A Tribute To Alice Coltrane & Dorothy Ashby Sun 13th Lunch Jazz: Salena Jones & The Geoff Eales Quartet Sun 13th: Dean Brown - Rolajafufu The Home Secretary Amber Rudd came up with Mon 14th - Tues 15th : Bettye LaVette Wed 16th - Thurs 17th : Marcus Strickland Twi-Life a wheeze the other day that all companies should Fri 18th - Sat 19th : Charlie Hunter: An Evening With publish how many overseas workers they employ. Sun 20th Lunch Jazz: Charlie Parker On Dial: Presented By Alex Webb I, in my naivety, assumed this was to show how Sun 20th: Oz Noy Mon 21st: Ronnie Scott’s Blues Explosion much we relied upon them in the UK and that a UT Tues 22nd - Wed 23rd: Hugh Masekela SOLD O dumb-ass ban or regulated immigration system An additional side effect of Brexit is that we now Thurs 24th - Sat 26th: Alice Russell would be highly harmful to the economy as a have a low strength pound against the dollar, Sun 27th Lunch Jazz: Pete Horsfall Quartet whole.
    [Show full text]
  • Objectivity, Interdisciplinary Methodology, and Shared Authority
    ABSTRACT HISTORY TATE. RACHANICE CANDY PATRICE B.A. EMORY UNIVERSITY, 1987 M.P.A. GEORGIA STATE UNIVERSITY, 1990 M.A. UNIVERSITY OF WISCONSIN- MILWAUKEE, 1995 “OUR ART ITSELF WAS OUR ACTIVISM”: ATLANTA’S NEIGHBORHOOD ARTS CENTER, 1975-1990 Committee Chair: Richard Allen Morton. Ph.D. Dissertation dated May 2012 This cultural history study examined Atlanta’s Neighborhood Arts Center (NAC), which existed from 1975 to 1990, as an example of black cultural politics in the South. As a Black Arts Movement (BAM) institution, this regional expression has been missing from academic discussions of the period. The study investigated the multidisciplinary programming that was created to fulfill its motto of “Art for People’s Sake.” The five themes developed from the program research included: 1) the NAC represented the juxtaposition between the individual and the community, local and national; 2) the NAC reached out and extended the arts to the masses, rather than just focusing on the black middle class and white supporters; 3) the NAC was distinctive in space and location; 4) the NAC seemed to provide more opportunities for women artists than traditional BAM organizations; and 5) the NAC had a specific mission to elevate the social and political consciousness of black people. In addition to placing the Neighborhood Arts Center among the regional branches of the BAM family tree, using the programmatic findings, this research analyzed three themes found to be present in the black cultural politics of Atlanta which made for the center’s unique grassroots contributions to the movement. The themes centered on a history of politics, racial issues, and class dynamics.
    [Show full text]
  • Tom Jennings
    12 | VARIANT 30 | WINTER 2007 Rebel Poets Reloaded Tom Jennings On April 4th this year, nationally-syndicated Notes US radio shock-jock Don Imus had a good laugh 1. Despite the plague of reactionary cockroaches crawling trading misogynist racial slurs about the Rutgers from the woodwork in his support – see the detailed University women’s basketball team – par for the account of the affair given by Ishmael Reed, ‘Imus Said Publicly What Many Media Elites Say Privately: How course, perhaps, for such malicious specimens paid Imus’ Media Collaborators Almost Rescued Their Chief’, to foster ratings through prejudicial hatred at the CounterPunch, 24 April, 2007. expense of the powerless and anyone to the left of 2. Not quite explicitly ‘by any means necessary’, though Genghis Khan. This time, though, a massive outcry censorship was obviously a subtext; whereas dealing spearheaded by the lofty liberal guardians of with the material conditions of dispossessed groups public taste left him fired a week later by CBS.1 So whose cultures include such forms of expression was not – as in the regular UK correlations between youth far, so Jade Goody – except that Imus’ whinge that music and crime in misguided but ominous anti-sociality he only parroted the language and attitudes of bandwagons. Adisa Banjoko succinctly highlights the commercial rap music was taken up and validated perspectival chasm between the US civil rights and by all sides of the argument. In a twinkle of the hip-hop generations, dismissing the focus on the use of language in ‘NAACP: Is That All You Got?’ (www.daveyd.
    [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]
  • James Brown Is Alive!
    James Brown Is Alive! Matt Stauffer [=\ [=\ [=\ WRITER’S COMMENT: On the first day of class Seth asked us what kind of music we like. I’ve always been a huge James Brown fan (anyone who can list what he had for dinner and call it a song is all right by me). That he had recently died helped me decide that I would find some way to write about him. But explaining his importance to poetry and orality was difficult. It was a case of knowing James Brown is an important figure, but not knowing how to explain it. The solution was simply to listen to music, and hear James Brown’s influence, and hear what his influences were. People like Cab Calloway, Ella Fitzgerald, Wilson Pickett, Heavy D and a bunch of others came up, and from there it was just a matter of searching out the right information to help connect those dots. Also, I’m a big fan of the word “eschew.” —Matt Stauffer INSTRUCTOR’S COMMENT: My most immediate reaction to Matt Stauffer’s work in this essay was admiration for his ability to bridge disciplines, bringing together African American history, musicology, literary history, and close reading. As his instructor for English 4, I can see the way he integrates his reading in sound poetry and the theories of Walter Ong and Roland Barthes with his long-standing interest in funk, soul and hip-hop, the truly popular poetries of our era since the 1960s. His willingness to take seriously the ‘get back’-s and ‘hit me’-s of James Brown—sounds we usually hear but do not listen to—indeed enlivens our experience of the Godfather of Soul.
    [Show full text]
  • Fear of a Muslim Planet
    SOUND UNBOUND edited by Paul D. Miller aka DJ Spooky that Subliminal Kid The MIT Press Cambridge, Massachusetts London, England 6 2008 Paul D. Miller All rights reserved. No part of this book may be reproduced in any form by any elec- tronic or mechanical means (including photocopying, recording, or information stor- age and retrieval) without permission in writing from the publisher. For information about special quantity discounts, please email special_sales@mitpress .mit.edu This book was set in Minion and Syntax on 3B2 by Asco Typesetters, Hong Kong, and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Sound unbound / edited by Paul D. Miller. p. cm. Includes bibliographical references and index. ISBN 978-0-262-63363-5 (pbk. : alk. paper) 1. Music—21st century—History and criticism. 2. Music and technology. 3. Popular culture—21st century. I. DJ Spooky That Subliminal Kid. ML197.S694 2008 780.9005—dc22 2007032443 10987654321 Contents Foreword by Cory Doctorow ix 1 An Introduction, or My (Ambiguous) Life with Technology 1 Steve Reich 2 In Through the Out Door: Sampling and the Creative Act 5 Paul D. Miller aka DJ Spooky that Subliminal Kid 3 The Future of Language 21 Saul Williams 4 The Ecstasy of Influence: A Plagiarism Mosaic 25 Jonathan Lethem 5 ‘‘Roots and Wires’’ Remix: Polyrhythmic Tricks and the Black Electronic 53 Erik Davis 6 The Life and Death of Media 73 Bruce Sterling 7 Un-imagining Utopia 83 Dick Hebdige 8 Freaking the Machine: A Discussion about Keith Obadike’s Sexmachines 91 Keith + Mendi Obadike 9 Freeze Frame: Audio, Aesthetics, Sampling, and Contemporary Multimedia 97 Ken Jordan and Paul D.
    [Show full text]
  • 224187395.Pdf
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Revue de recherche en civilisation américaine 1 | 2009 Varia La musique rap comme forme de résistance ? David Diallo Édition électronique URL : http://journals.openedition.org/rrca/80 ISSN : 2101-048X Éditeur David Diallo Référence électronique David Diallo, « La musique rap comme forme de résistance ? », Revue de recherche en civilisation américaine [En ligne], 1 | 2009, mis en ligne le 12 mai 2009, consulté le 19 avril 2019. URL : http:// journals.openedition.org/rrca/80 Ce document a été généré automatiquement le 19 avril 2019. © Tous droits réservés La musique rap comme forme de résistance ? 1 La musique rap comme forme de résistance ? David Diallo 1 Dans Blues People, un ouvrage publié en 1963, l’écrivain et essayiste LeRoi Jones souligne les indéterminations que cette musique suscite régulièrement. Il écrit : “It is impossible to say simply, « Slavery created blues », and be done with it-or at least it seems almost impossible to make such a statement and sound intelligent saying it.” (Jones 1963, p.50). Ce commentaire, s’il fut formulé pour rétablir certaines interprétations réductrices concernant le blues, vaut également pour quelques-unes des descriptions exprimées de nos jours au sujet de la musique rap. Tout comme ceux qui ont réduit le blues à un simple produit de l’esclavage où qui en ont fait une « musique du diable » (Pearson and McCulloch 2003), nombreux sont les auteurs de travaux sur la musique rap qui ont fréquemment réduit cette musique à une simple expression de résistance engendrée par l’oppression structurelle subie par une partie la communauté noire.
    [Show full text]
  • 23 Teaching on the Level: the Poetics of Rap Kirsten Bartholomew
    Teaching American Literature: A Journal of Theory and Practice Winter 2008 (2:1) Teaching On the Level: The Poetics of Rap Kirsten Bartholomew Ortega, University of Colorado at Colorado Springs Academic attention to rap music and hip-hop culture has come a long way from Richard Shusterman's 1991 opening claim in a New Literary History article that, "in the view of both the culturally elite and the so-called general public, rap music lurks in the underworld of aesthetic respectability."1 Wonderful intellectual work has been published in the last two decades which defends the cultural value of hip-hop and rap music (e.g., work by Michael Eric Dyson), which provides a history of hip-hop as a movement and developments in rap music (e.g., Tricia Rose's book Black Noise ), and which increasingly interrogates the nuances, problems, and complexities of hip-hop and rap (e.g., Gwendolyn D. Pough's scholarship of and editing of work about women and hip-hop). These kinds of cultural studies projects have been essential to maintaining a productive intellectual discussion about rap, but I have yet to see specific discussions of how to bring rap lyrics into the classroom from a deeply literary perspective. In the last decade that I have been teaching poetry—first at the secondary level and now at the undergraduate level—I have heard repeated affirmation of the belief that rap lyrics are a respectable form of poetry that can be taught in the classroom. Teachers, especially at the secondary level, are paying more attention to the ways that rap lyrics offer a potential to reach students who would otherwise be turned off by poetry, to refute the kind of claim made famous in 1991 by Dana Gioia that poetry is dead, 2 to examine a distinctly African-American form of poetics, and to keep lessons tuned-in to students' popular culture knowledges.
    [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]
  • 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]
  • The Joyful Sounds of Being Your Own Black Self
    THE JOYFUL SOUNDS OF BEING YOUR OWN BLACK SELF By AMIR ASIM GILMORE A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Department of Teaching & Learning MAY 2019 © Copyright by AMIR ASIM GILMORE, 2019 All Rights Reserved © Copyright by AMIR ASIM GILMORE, 2019 All Rights Reserved To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of AMIR ASIM GILMORE find it satisfactory and recommend that it be accepted. Pamela Jean Bettis, Ph.D., Chair Paula Groves Price, Ph.D. John Joseph Lupinacci, Ph.D. Anthony Gordon Rud Jr., Ph.D. Francene T. Watson, Ph.D. ii ACKNOWLEDGMENT This project has truly been a labor of love, as it takes a village to write a dissertation. I would first like to thank my parents. Without them, none of this would be possible. I would like to thank my dad, Cleveland Gilmore for inviting me into the Black Study through jazz. It is through jazz, I developed the identity of being an Edtiste. I would like to thank my mom, Rosita Faulkner, for showing me how to refuse and what mundane refusal looks like as a daily practice. It was her refusal that helped guide me away from doing traditional social science research. How dope is it to say that your parents made the dissertation? Very dope! While the academy might recognize and acknowledge me as the first Ph.D. in my family, my mom and dad will always be the first doctors in my eyes.
    [Show full text]