Wattstax Film Study Guide Director: Mel Stuart 1973 | Documentary | 103 Minutes | USA | English | Unrated

Total Page:16

File Type:pdf, Size:1020Kb

Wattstax Film Study Guide Director: Mel Stuart 1973 | Documentary | 103 Minutes | USA | English | Unrated Wattstax Film Study Guide Director: Mel Stuart 1973 | Documentary | 103 Minutes | USA | English | Unrated http://archive.pov.org/wattstax/film-description/ Synopsis: Experience the history and the soul of the African-American community in Watts, Los Angeles, ​ 1972. Wattstax documents the gathering of over 100,000 at the Los Angeles Coliseum, hosted by a very young Jesse Jackson, for the 7th anniversary of the Watts riots. The music of The Stylistics, The Staples Singers, Rufus and Carla Thomas, Bar-Kays, and the legendary Isaac Hayes held the forefront of the spirit so vigorously displayed here. Interviews with the residents of Watts combined with astounding, sublime monologues by comedian Richard Pryor create an invocation-we are delivered from place and time to become in tune with this politically loaded era and the flame of the soul performing and reflecting it. Post-Screening Discussion Questions 1. What do you know about the Watts riots of 1965? 2. What do you know about the “Black Pride” movement of the 60’s and 70’s? 3. Did the movement improve the quality of life for African Americans? If so, what go better? If not, why not? 4. How big a role does music play in your life? Do you feel that current recording artists speak to your generation? Which ones and why? 5. Judging by the reflections of the Watts residents interviewed in the film, what did the Watts riots accomplish? Was there a lasting impact? 6. In your opinion, how much has the attitude of the police toward African Americans changed in the past 30 years since the film was made? 7. Did the Watts residents interviewed say anything that you feel still applies today? If so, what was it and why? 8. What impact does humor have using serious issues such as social injustice and violence (like Richard Pryor’s in the film)? .
Recommended publications
  • "May Day to Present Percy Sledge and Carla Thomas"
    tte Hilltop Bctos "Representing Georgia's Oldest Independent Institution of Higher Learning." Vol. XI, No. 10 THE HILLTOP NEWS. LAGRANGE COLLEGE. LAGRANGE GEORGIA April 30. 1969 "May Day to Present Percy Sledge and Carla Thomas" Honors Day and May Day at LaGrange College -previous- ly a combined one-day event ~ are scheduled this year on Fri- day and Saturday, May 2 and 3, respectively. Dr. Judson C. Ward Jr. of Atlanta, vice president and dean of faculties at Emory University, wi 11 speak at the student honors and recognition program on Fri- day at 10 a.m. in the college gymnasium. Parents and alumni have been invited to arrive for Satur- day's May Day activities by lunchtime, Thomas Baynard of St. Petersburg, Fla., president of the Student Government Asso- ciation, said. Following the 12:30 lunch in the dining hall, there will be a meeting of the LC Parents As- PERCY SLEDGE ... an unu- SLEDGE found himself on a spi- sociation in the same place. sual name and an unusual voice! ral ing road to the top. A highlight of the tradi- The Soul of Sledge has had ane- Carla Thomas' early in- recording contract. Her first re- Many observers felt PERCY tional May Day festivities will ver growing legion of fans troduction to showbusiness was SLEDGE would be around as long be the presentation of Queen lease, "Gee Whiz, Look At His throughout the world since he no accident. Her father is Rufus as the popularity of WHEN A Nancy Beth James of Auburn- Eyes" became a smash hit and- burst on the Pop - R &B scene Thomas, who for over 20 years launched Carla on an exciting MAN LOVES A WOMAN but he dale, Fla., and her court, and with the now classic WHEN A was one of the top Disc Jockeys corrected the image by building step-singing competition.
    [Show full text]
  • Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 110 CONGRESS, FIRST SESSION
    E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 110 CONGRESS, FIRST SESSION Vol. 153 WASHINGTON, MONDAY, JUNE 18, 2007 No. 98 House of Representatives The House met at 12:30 p.m. and was mismanagement, corruption, and a per- In this program, people receive an called to order by the Speaker pro tem- petual dependence upon foreign aid and overnight transfer from an American pore (Ms. HIRONO). remittances. Mexico must make tough bank account to a Mexican one. The f decisions and get its economy in shape. two central banks act as middlemen, Until then, Madam Speaker, we will taking a cut of about 67 cents no mat- DESIGNATION OF SPEAKER PRO continue to face massive immigration ter what the size of the transaction. TEMPORE from the south. According to Elizabeth McQuerry of The SPEAKER pro tempore laid be- While we are painfully aware of the the Federal Reserve, banks then typi- fore the House the following commu- problems illegal immigration is caus- cally charge $2.50 to $5 to transfer ing our society, consider what it is nication from the Speaker: about $350. In total, this new program doing to Mexico in the long run. The WASHINGTON, DC, cuts the costs of remittances by at June 18, 2007. massive immigration is draining many least half. In America, 200 banks are I hereby appoint the Honorable MAZIE K. villages across Mexico of their impor- now signed up for this service com- HIRONO to act as Speaker pro tempore on tant labor pool.
    [Show full text]
  • Ma Vis Sta P
    Biografia s es l vi p a t S Ma The Legendary Mavis Staples Mavis Staples, leggenda del Soul e del Gospel, è una delle più conosciute e preziose voci della musica contemporanea. Sia come solista che in collaborazione con i The Staple Singers, dimostra di essere una forza ispiratrice della moderna cultura po- polare e musicale. Slang Music Via S.Francesco, 3 - 25075 Nave (BS) Tel. 0302531536 - Fax 0302536348 - Cell. 3356715992 www.slangmusic.com - [email protected] Faith Comes Through Da oltre 40 anni sulle scene musicali, vincitrice di molti Grammy Awards, introdotta s nella “Rock and Roll Hall of Fame” come “100 Greatest Women of Rock and Roll”, Mavis è causa del divampare del Rhythm & Blues non abbandonando però mai le origini gospel. es l Influenzata da molti artisti da Bob Dylan a Prince, (che le danno il soprannome di vi “the epitome of soul”) vanta apparizioni con ognuno di loro a partire da Janis Joplin, Pink Floyd, Santana, Tom Petty & The Heartbreakers nonché collaborazioni con Dr John, Los Lobos, Aretha Franklin, Marty Stuart e molti altri. p Impegnata attivamente per ben 4 decadi nei movimenti dei diritti civili si esibisce alle inaugurazioni presidenziali di John Kennedy, Jimmy Carter e Bill Clinton. a Il suo CD Live: Hope at the Hideout, registrato al Hideout Club di Chicago e già nominato come Best Contemporary Blues Album, cattura l’energia di una sera, una t rara convergenza di tempo e spazio. Il piccolo club ricrea un ambiente famigliare dove Mavis riesce ad esprimere al mas- simo il suo stile e la band che la accompagna, formata da soli 3 membri e 3 vocalist S Ma permette di puntare l’attenzione interamente sulla sua voce.
    [Show full text]
  • Programme, Le Lieu Des Concerts N’Était Pas Encore Connu
    ATLANTIQUE JAZZ FESTIVAL #18 du 2 au 10 octobre / atlantique jazz tour À une époque où repli et crispation identitaire deviennent envahissants, où les Paul Jarret emma étranges étrangers sont parqués, maltraités et renvoyés aux frontières ; nous devons réaffirmer qui nous sommes, d’où nous venons. Marc Ducret ICI Nous ne pouvons laisser se tarir la création et la diversité musicale qui font la lun 11 oct / brest marque de Plages Magnétiques, car ces musiques sont des ponts entre l’histoire Heure Magnétique et le présent, l’ici et l’ailleurs, l’identité et l’altérité ; construites sur trois piliers : • l’hospitalité, le métissage et la différence. mardi 12 oct / brest Heure Magnétique Parce que vivre en relation est un besoin impérieux, KHAMSIN film l’Atlantique Jazz Festival dédie sa 18e édition aux migrations. H. Labarrière & S. Kassap + Julien Desprez Abacaxi De l’Est breton à la ville-phare de Brest, une myriade d’événements • sera proposée, placée sous le signe de la rencontre : mercredi 13 oct / brest Heure Magnétique … d’un temps à l’autre – à travers plus d’un siècle de jazz, entre oppression La litanie des cimes raciste et émancipation créatrice. La musique d’aujourd’hui continue de puiser Thing Big + The Bridge Crying out loud dans le combat permanent que des hommes, et encore plus des femmes, ont • mené pour vivre de leur musique et surtout la faire vivre. Jeudi 14 oct / brest Heure Magnétique … d’une rive à l’autre – nous vivons à un carrefour de routes maritimes et Quatuor Poisson Chat imaginaires reliant l’Amérique, l’Afrique et bien au-delà.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with Mark Stansbury
    Finding Aid to The HistoryMakers ® Video Oral History with Mark Stansbury Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Stansbury, Mark L., Sr., 1942- Title: The HistoryMakers® Video Oral History Interview with Mark Stansbury, Dates: April 25, 2014 Bulk Dates: 2014 Physical 7 uncompressed MOV digital video files (3:04:38). Description: Abstract: Radio talk show host and academic administrator Mark Stansbury (1942 - ) was a host for over fifty years on WDIA Radio in Memphis, Tennessee, and served as the assistant to four University of Memphis presidents. Stansbury was interviewed by The HistoryMakers® on April 25, 2014, in Memphis, Tennessee. This collection is comprised of the original video footage of the interview. Identification: A2014_037 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Gospel radio show host and academic administrator Markhum “Mark” L. Stansbury, Sr. was born on April 5, 1942 in Memphis, Tennessee to Willie and Eliza Markham Stansbury. He graduated from Booker T. Washington High School, where he was editor of the yearbook. In 1960, at age eighteen, Stansbury was hired as a radio personality and gospel announcer at Memphis, Tennessee’s WDIA-AM, where he has worked for over fifty years. He went on to receive his B.A. degree in history from Lane College in Jackson, Tennessee in 1966. Upon graduation from Lane College, Stansbury was named the school’s public relations director. He then took a job with Holiday Inns, Inc. in 1969 as a community relations manager, where he worked until 1981.
    [Show full text]
  • A SIX -HOUR DOCUMENTARY- "WATTSTAX REVISITED" %S the WATTSTAX '72 CONCERT MADE MUSICAL HISTORY
    NOW AVAILABLE! A SIX -HOUR DOCUMENTARY- "WATTSTAX REVISITED" %s THE WATTSTAX '72 CONCERT MADE MUSICAL HISTORY LASTAUGUST IN THE LOS ANGELES MEMORIAL COLISEUM. OVER 100,000 PEOPLE TURNED OUT TO HEAR ONE OF THE MOST EXCITING LIVE CONCERTS EVER STAGED! Featuring THE BAR-KAYS EMOTIONS ISAAC HAYES DAVID PORTER ALBERT KING RANCE ALLEN GROUP SOUL CHILDREN STAPLE SINGERS TOMMY TATE JOHNNIE TAYLOR CARLA THOMAS RUFUS THOMAS EDDIE FLOYD BILLY ECKSTINE REV. JESSE JACKSON, JR. Special interviews and commentary with Stax artists including 30 full minutes with Black Moses himself. Now, a six -hour documentary, "Wattstax Revisited" is for radio ever produced. It's a powerful programming tool being made available to selected radio stations through- that will build audience and make you money at the same out the United States on an exclusive basis. It contains time. It will be available on a first come -first served basis all the excitement of the original concert mixed down into to only one station per market. a high quality recording plus interviews and commentary. If you are interested in acquiring the exclusive broad- This is the original Wattstax '72 concert in its entirety, and casting rights to "Wattstax Revisited" for your station, the total product in this documentary is not available any- contact us immediately and we will forward full informa- where else, in the film or on record. tion and a demonstration tape. "Wattstax Revisited" is one of the most exciting packages FOR ADDITIONAL INFORMATION Please contact: Produced by Ted Randal Enterprises Jim Dorse, Marketing Director Directed by Ted Randal & Tom Reed TED RANDAL ENTERPRISES Assistant Director Bill Graham 1606 N.
    [Show full text]
  • The Funky Diaspora
    The Funky Diaspora: The Diffusion of Soul and Funk Music across The Caribbean and Latin America Thomas Fawcett XXVII Annual ILLASA Student Conference Feb. 1-3, 2007 Introduction In 1972, a British band made up of nine West Indian immigrants recorded a funk song infused with Caribbean percussion called “The Message.” The band was Cymande, whose members were born in Jamaica, Guyana, and St. Vincent before moving to England between 1958 and 1970.1 In 1973, a year after Cymande recorded “The Message,” the song was reworked by a Panamanian funk band called Los Fabulosos Festivales. The Festivales titled their fuzzed-out, guitar-heavy version “El Mensaje.” A year later the song was covered again, this time slowed down to a crawl and set to a reggae beat and performed by Jamaican singer Tinga Stewart. This example places soul and funk music in a global context and shows that songs were remade, reworked and reinvented across the African diaspora. It also raises issues of migration, language and the power of music to connect distinct communities of the African diaspora. Soul and funk music of the 1960s and 1970s is widely seen as belonging strictly in a U.S. context. This paper will argue that soul and funk music was actually a transnational and multilingual phenomenon that disseminated across Latin America, the Caribbean and beyond. Soul and funk was copied and reinvented in a wide array of Latin American and Caribbean countries including Brazil, Panama, Jamaica, Belize, Peru and the Bahamas. This paper will focus on the music of the U.S., Brazil, Panama and Jamaica while highlighting the political consciousness of soul and funk music.
    [Show full text]
  • Lesson Plan #8 Tonight's Top Story
    Lesson Plan #8 Tonight’s Top Story Celebrating Black History Month Audience: Junior or senior high aged students or individuals Achievements: Exploring educational standards for English, Creative Writing, History, Civics, Public Speaking skills; Researching significant people and events in American and world history; Compiling details of a historical figure or event into a written paper or oral presentation. Activity: Lights, camera, action! Turn your classroom into the set of a network news station, and turn students into news reporters. Spend part of a class period discussing the developments of American music history and the significance of African Americans in the origins of rock ‘n’ roll and soul music. This activity would be best executed following a field trip to the Memphis Rock ‘n’ Soul Museum, which offers an extensive and comprehensive historical outline of the development of America’s musical genres from early rural music and field hollers through the creation of rock ‘n’ roll and soul music and to the present. Assign this activity before your museum visit, but executing it afterwards. Have students select an African American musician, producer or disc jockey who has made significant contributions to their field. Some possibilities would include Otis Redding, W.C. Handy, B.B. King, Al Green, Isaac Hayes, Barry Gordy, Russell Simmons, Robert Johnson, Leontyne Price, Thelonious Monk, Miles Davis, Tina Turner, Rufus Thomas, Quincy Jones, Mahalia Jackson. An extensive list and accompanying biographies are available at www.infoplease.com/spot/bhmpeople6.html. Students may also choose to research an event or entity like Wattstax, WDIA Radio, STAX Records, Hi Records, Soul Train or Motown Records.
    [Show full text]
  • Various Music from the Wattstax Festival & Film
    Various Music From The Wattstax Festival & Film mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul / Blues Album: Music From The Wattstax Festival & Film Country: Europe Released: 2007 Style: Gospel, Rhythm & Blues, Soul, Funk MP3 version RAR size: 1998 mb FLAC version RAR size: 1723 mb WMA version RAR size: 1712 mb Rating: 4.3 Votes: 970 Other Formats: AC3 DXD VQF AU XM FLAC ADX Tracklist Hide Credits –Dale Warren & The Wattstax Salvation Symphony 1-1 7:56 '72 Orchestra Written-By – Dale O. Warren* 1-2 –Rev. Jesse Jackson Introduction 5:50 Lift Every Voice And Sing 1-3 –Kim Weston 3:39 Written-By – Johnson* Heavy Makes You Happy (Sha-Na-Boom-Boom) 1-4 –The Staple Singers 3:39 Written-By – Barry-Bloom* Are You Sure 1-5 –The Staple Singers 4:03 Written-By – Banks*, Jackson* I Like The Things About Me 1-6 –The Staple Singers 5:55 Written-By – Stubbs*, Staples* Respect Yourself 1-7 –The Staple Singers 4:37 Written-By – Ingram*, Rice* I'll Take You There 1-8 –The Staple Singers 5:16 Written-By – Alvertis* Precious Lord, Take My Hand 1-9 –Deborah Manning 4:25 Written-By – Thomas A. Dorsey Better Get A Move On 1-10 –Louise McCord 4:01 Written-By – Bettye Crutcher Them Hot Pants 1-11 –Lee Sain 4:11 Written-By – Leon Moore Wade In The Water 1-12 –Little Sonny 4:21 Written-By – Traditional I Forgot To Be Your Lover 1-13 –William Bell 2:35 Written-By – Jones*, Bell* Explain It To Her Mama 1-14 –The Temprees 2:50 Written-By – Fultz*, Moore* I've Been Lonely (For So Long) 1-15 –Frederick Knight 3:54 Written-By – Weaver*, Knight* Pin The
    [Show full text]
  • Wattstax: “Black Woodstock” and the Legendary Film It
    Angeles headed by Forest Hamilton, the son of jazz drum- mer Chico Hamilton. Stax West was conceived with a man- WATTSTAX: date that included the promotion and marketing of existing Stax products, the ferreting out of untapped regional talent, and the establishment of Stax within Hollywood’s motion “BLACK picture and television industries. According to John KaSandra, one of Stax’s West Coast– based artists, Wattstax began in March of 1972 WOODSTOCK” when “I came down [to the L.A. office] with an idea that we’d have a black Woodstock.” Seven years earlier, to the chanting of “burn, baby, burn,” a sizable section of the pre- dominantly black Watts neighborhood of Los Angeles had AND THE been destroyed by fire during the first of the 1960s race riots (referred to as “rebellions” within the community). The Watts Summer Festival had been established to commem- LEGENDARY orate the rebellions and raise money for the ailing commu- nity. It was Hamilton’s idea that Stax should be involved in the 1972 festival for promotional purposes, and he had not FILM IT forgotten KaSandra’s “black Woodstock” idea. On August 20, 1972, that notion blossomed into an epic one- day festival at the Los Angeles Coliseum. The day INSPIRED opened with Reverend Jesse Jackson leading the audience in a proclamation of the black litany, “I Am Somebody,” followed by Kim Weston singing the black national anthem, by Rob Bowman “Lift Every Voice and Sing.” It closed with Isaac Hayes as Black Moses embodying the strength, beauty, and spiritu- ality of contemporary black culture.
    [Show full text]
  • BABY DRIVER Written by Edgar Wright 1St Draft Revisions
    BABY DRIVER Written by Edgar Wright 1st Draft Revisions - August 15th 2014 ii. "You are the music while the music lasts." T. S. Eliot "I was born one dark gray morn, with music coming in my ears..." Paul Simon Every scene in this film is driven by music. 1 EXT. PARKING LOT - EARLY MORNING 1 A strip mall in the San Fernando Valley. A front wheel of a car pulls slowly into view. A curb reads ‘Short Stay. 5 Mins Only.’ 2 INT. CAR - CONTINUOUS 2 Play is pressed on an iPod Classic. A rock track starts up. It’s very loud. It’s awesome. ‘Bellbottoms’ by the Jon Spencer Blues Explosion. On high strings and a guitar stab we see the driver. Young, baby faced. Short cropped hair. He wears mostly black. Sports cheap gas station shades. This is BABY. We can’t see his eyes, but his blank expression seems pretty stoic. He listens to the track, stares out the windshield. On a 2nd guitar stab we see a beefy (30s) tough guy in shotgun. This is GRIFF. He too wears shades, black business clothes. On a 3rd stab we see another black clad gentleman. (40s) He’s handsome, but looks like he parties too hard. This is BUDDY. On a final stab we see the last shades wearing black clad passenger, a younger lady (20s) with her hair up. This is DARLING. There’s a hint of trash beneath her business clothes. The high strings crescendo. Griff flings his door wide open. 3 INT./EXT. CAR/PARKING LOT - CONTINUOUS 3 The track kicks in.
    [Show full text]
  • Transforming Southern Soul: an Examination of Stax Fax and Stax
    Transforming Southern Soul: An Examination of Stax Fax and Stax Records During the Late 1960s Chandler Vaught Rhodes Institute for Regional Studies 2017 Vaught 2 Special Thanks to Al Bell Deanie Parker Jeff Kollath Jennifer Campbell And Dr. Charles Hughes Vaught 3 In the early 1960s Deanie Parker moved from Ironton, Ohio to Memphis, Tennessee in order to finish high school and be with her mother, who was living in the city at the time. She attended Hamilton High School, where future star Carla Thomas would also graduate from, and became the lead female vocalist for a student band.1 Encouraged by the school’s glee club instructor, the group took part in a Beale Street music competition for which the first place prize was an opportunity to audition for Stax Records. “And we won that prize,” Parker recalls, “So that was how I managed to get into Stax Records and to learn what it was they did in that old Capitol Theater that had been converted into a recording company. Which was behind Satellite Record Shop on McLemore at College.”2 Though Deanie would not go on to become a hit musician, she would become an integral part of Stax Records. In 1965 Jim Stewart, the president of Stax, hired Deanie as the company’s first publicist. The ultimate goal of her job was to package and advertise the product (the songs and artists of Stax) to both the DJs who played their music and the general public as a whole.3 In the fall of 1968 a new marketing tool was developed that would aid her in this endeavor, Stax’s very own magazine called Stax Fax.
    [Show full text]