DOCSLIB.ORG

Memory Dwayne Dawson, Sr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Memory Dwayne Dawson, Sr Flower Attendants Family Members and Friends Interment Private Acknowledgements The family wishes to express our sincere gratitude and thanks to those who have shown their support in our time of loss. We are grateful for your prayers, calls, flowers and every other act of kindness you have shown to our family. ~The Family~ ARRANGEMENTS IN CARE OF: 4315 N. Main Street Jacksonville, Florida 32206 In Loving (904)765-1234 Tyrone S. Warden, FDIC www.tswarden.com Memory Dwayne Dawson, Sr. September 26, 1975 - August 13, 2019 Memorial Service 11:00 AM, Saturday, August 24, 2019 Order of Service Celebrating the Life Samuel C. Rogers Jr. Memorial Chapel 4315 N. Main Street, Jacksonville, Florida 32206 of Overseer B. E. Williams, Sr., Presiding Dwayne Dawson, Sr. Dwayne was born on September 26, 1975 in Balboa, Panama Canal Processional Zone. He graduated in June 1993 from Hollywood High School in Musical Prelude ……………...…. “Bridge Over Troubled Water” Hollywood, Florida. Immediately following graduation, Dwayne By Simon & Garfunkel enlisted in the United States Navy, where he honorably served for 17.5 years as an Operations Specialist. Dwayne received his Bachelors of Scripture ……………..…...…………….. Overseer B. E. Williams Science Degree in Business Administration on May 2017 in Jacksonville, Florida. Opening Prayer ……………………...… Overseer B. E. Williams Dwayne gained his Angel wings on Tuesday, August 13, 2019. He was Hymn ………………………...…...………..…… “Amazing Grace” preceded in death by his grandparents, Catherine Spencer, Louis V. Reed, By Whitney Houston Benjamin Richards and Miriam Campbell Richards; uncles, Jeffrey Spencer and Eric Spencer; father-in-law, Julian Roy Duenas Cruz; brother-in-law, Roy Scripture Reading…………...……. Matilde Castro (Sister-in-law) Hernandez Cruz. Philippians 4:13 Reflections ………………………………….. (Two Minutes Please) Dwayne’s memories will live in the hearts of his loving wife, Aileen Hernandez Dawson; children, Ryan, Dwayne Jr., Sheyenne (Amari), Poem ………………………...………….. Keani Jeanine (Daughter) Keani, Leianna and Anthony; parents, Robert Sr. and Rosie Dawson Hymn ……………………………... “His Eye Is On The Sparrow” and Diana Felicia McKinney; brothers and sisters, Guillermo Rose By Lauryn Hill & Tanya Blount and Matilde Castro (Brennan, Kedelyn, Ethan, Evan), Robert Dawson Jr. (Chelsea, Desree, Robert III), Ladonna Dawson (Catherine, Xiomara, Brianna, Anthony), Patrick Stewart and Eric Stewart; parents-in-law, Words of Comfort ……………..……… Overseer B. E. Williams Todd and Vivian H. Cruz; brothers and sisters-in-law, Noreen Cruz, Military Honors Bo Castro, Joseph and Carmen H. Espinosa (Kaden, Tyler, Kai), Marcella Castro, Julian Sablan, JR Sablan, Tina Sablan and Jerrica Committal & Benediction ……...…..…. Overseer B. E. Williams Sablan; godchildren, Kedelyn, Devin, Nolan and Marlie; close friends, Recessional ……………………………………..... “Pass Me Over” Richard Alvarez, Robert Lucero, Michael Bradford, Leonard Brown, By Anthony Hamilton Zach Chanthavong, Justin Crisp, Lloyd McFarland, Melvin Kennard, Derrick Simmons and David Moore; and numerous uncles, aunts, cousins, nieces and nephews. Please Join the family for a Repast 4:00 PM 8395 Oak Crossing Drive West Jacksonville, Florida 32244 .
Load more

Recommended publications
  • Supplemental Music Resource
    SUPPLEMENTAL MUSIC RESOURCE Copyright 2014 by JustFaith Ministries • www.justfaith.org • 502-429-0865 YOUNG ADULT/COLLEGE Introduction “I think music in itself is healing. It's an explosive expression of humanity. It's something we are all touched by. No matter what culture we're from, everyone loves music.” Billy Joel Music is a powerful medium used to stir our senses and awaken us to deeper reality. The poetry of words coupled with the emotion of melody often proves to be a helpful resource for people of prayer. The Psalms of David, African-American spirituals, Taize music, all can reveal God’s movement in our lives and speak to our hearts. In the following pages, you will find five suggested songs for each J-Walking session that can be used alongside the resource CD Songs for JusticeWalkers by Bryan Sirchio. These songs may be used during the appointed time for music as transitional music, for welcoming people into the session, or to play while participants journal. Different Types of Music Sing aloud unto God our strength: make a joyful noise unto the God of Jacob. Psalm 81:1 The following music is diverse both in style and popularity. This sampling aims to mirror attitudes and outlooks from the Christian tradition. Some of the music is contemplative and meditative like the first chapter of Genesis; some is heavy and heartbroken like the 23rd Psalm. Some seethes with prophetic anger, demanding social change like Jeremiah’s volleys against Jehoakim. A few musical offerings sing a grateful and joyful melody like Mary’s Canticle.
    [Show full text]
  • Song Artist Or Soundtrack Language Tightrope Janelle Monae English
    Song Artist or Soundtrack Language Tightrope Janelle Monae English Come Alive [War of the Roses] Janelle Monae English Why this kolaveri di Dhanush Urdu Ghoom tana Janoon Urdu Count your blessings Nas & Damian Jr English America K'naan Somali/ English Mahli Souad Massi Arabic (Tunisian) Helwa ya baladi Dalida Arabic (Egyptian) Stop for a Minute K'naan English Miracle Worker SuperHeavy English Crazy Gnarls Barkley English 1977 Ana Tijoux Spanish (Chilean) Nos Hala Asalah Arabic Don't Let Me Be Misunderstood Santa Esmeralda / Kill Bill Vol. 1 Original Soundtrack Never Can Say Goodbye Jackson Five English My Doorbell The White Stripes English Peepli Live Various Artists, Indian Ocean Hindi or Urdu Forget You Camilla and the Chickens, The Muppets Soundtrack Chicken?? Ring of Fire Johnny Cash English I Was Born on the Day Before Yesterday The Wiz English Y'All Got It The Wiz English Everything Michael Buble English I'm Yours Jason Mraz English Something's Gotta Hold on Me Etta James English Somebody to Love Queen English Al Bosta Fairouz Arabic (Lebanese) Kifak Inta Fairouz Arabic (Lebanese) Etfarag ala najsak Asala Nasri Arabic (Egyptian) Make it bun dem Skrillex, Damian English Statesboro Blues Taj Mahal English Albaniz: Zambra-Capricho, Cordoba, Zor David Russell Spanish classical Volver Estrella Morente from Volver: Musica de la Pelicula Spanish Solo le pido a Dios Leon Gieco Spanish Mambo Italiano Rosemary Clooney English / Italian Botch-A-Me (Baciani Piccina) Rosemary Clooney English / Italian Satyameva Jayathe SuperHeavy English / ?
    [Show full text]
  • 28 Inspirational Lauryn Hill
    28 Established 1961 Lifestyle Gossip Sunday, February 11, 2018 MGMT made new Inspirational album via email Lauryn Hill GMT made their new album via email. Ben Goldwasser and Andrew VanWyngarden have had a notoriously difficult relationship in the past Mand although they say that they are now in a better place, they prefer to work over email as Ben lives in Los Angeles and Andrew is based in New York. Speaking to The Guardian about their new record ‘Little Dark Age’, Patrick Wimberly, who co-produced the record, explained: “They’re not attached to each other because of contracts or obligations. They’ve tapped into a connection that encourages them both to dig deep into their own ideas. At times it seems like they have their own language.” However, both Ben and Andrew are happy with their relationship at the moment. Andrew said: “We’ve gone through different phases of hanging out and being, like, normal friends, and that’s not easy these days because Ben lives in LA. He’s got a dog with a backyard, and I’m in Rockaway and so we’re not like staying together and walking through parking lots like we were at college. We’ve gone through times where we had disagree- ments or it’s been tense. But we rode it out and it seems good now.” And the new record has been inspired by recent events in America. Andrew said: “There’s a lot of stuff on the record relating to the last year. What Trump has done is just expose a whole lot of things that were there already.
    [Show full text]
  • Finding Aid to the Historymakers ® Video Oral History with James Poyser
    Finding Aid to The HistoryMakers ® Video Oral History with James Poyser Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Poyser, James, 1967- Title: The HistoryMakers® Video Oral History Interview with James Poyser, Dates: May 6, 2014 Bulk Dates: 2014 Physical 7 uncompressed MOV digital video files (3:06:29). Description: Abstract: Songwriter, producer, and musician James Poyser (1967 - ) was co-founder of the Axis Music Group and founding member of the musical collective Soulquarians. He was a Grammy award- winning songwriter, musician and multi-platinum producer. Poyser was also a regular member of The Roots, and joined them as the houseband for NBC's The Tonight Show Starring Jimmy Fallon. Poyser was interviewed by The HistoryMakers® on May 6, 2014, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2014_143 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award-winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole.
    [Show full text]
  • Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
    Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice.
    [Show full text]
  • Transgender and Black, Looking for an Audience
    City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-19-2015 Transgender and Black, Looking for an Audience Brian C. Josephs CUNY Graduate School of Journalism How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/108 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Transgender and Black, Looking for an Audience Shagaysia Diamond at her apartment in the Bronx. Commodore Barry Park is an unappealing mid-sized space on most days. It sits next to Farragut Projects, tucked a few blocks away from Fort Greene Park and its neighboring brownstones. But today is Aug. 22, Day 1 of the Afropunk Music Festival. It’s 5 p.m— the hundreds of attendees gathered under the hot sun press against the barricade separating them from the empty main stage. No one wants to miss a moment of Ms. Lauryn Hill, who’s scheduled as the next performer. But Ms. Lauryn Hill isn’t the performer who gets on stage next. Transgender activist Cherno Biko leads a cavalcade of fellow protesters on stage to speak out against the violence wrought against black transgender bodies. Shagaysia Diamond, a redhead dressed in all black, is one of the protesters on a stage that promotes freedom; the banners that border it reads, “NO HOMOPHOBIA NO FATPHOBIA NO TRANSPHOBIA.” At 37 years old, Shagaysia Diamond isn’t used to large crowds.
    [Show full text]
  • Biographical Description for the Historymakers® Video Oral History with James Poyser
    Biographical Description for The HistoryMakers® Video Oral History with James Poyser PERSON Poyser, James, 1967- Alternative Names: James Poyser; Life Dates: January 30, 1967- Place of Birth: Sheffield, England Work: Philadelphia, PA Occupations: Producer; Musician; Songwriter Biographical Note Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award- winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. He was credited as writer/producer for multiple songs on Erykah Badu’s debut album, Baduizm; has writer, producer and musician credits on Lauryn Hill’s multiple Grammy-winning album, The Miseducation of Lauryn Hill; was a musician on Adele’s acclaimed album, 21; and served as executive co-producer and writer on Al Green’s Lay it Down. He was also the executive producer on Badu's highly celebrated albums, Mama's Gun and Worldwide Underground. He is an active session musician and has contributed to the works of other artists such as Norah Jones, Eric Clapton, Joss Stone, Ziggy Marley, Macy Gray and Femi Kuti.
    [Show full text]
  • Giuseppe Polise* BLACK WOMEN MATTER
    Iperstoria – Testi Letterature Linguaggi www.iperstoria.it Rivista semestrale ISSN 2281-4582 Giuseppe Polise* BLACK WOMEN MATTER: THE #BLACKLIVESMATTER MOVEMENT, BLACK FEMALE SINGERS, AND INTERSECTIONAL FEMINISM The comeback in 2015 and 2016 of some of the most successful names on the contemporary American and global music scene coincided with the flourishing of a new season of black protest that has made its way into the artistic productions of several African American stars. Through the contributions of black women singers, in particular, such music seems to have gained unprecedented attention for its articulation of black feminist discourses that are also a major issue in the latest campaigns against systemic racism and condoned police brutality in America. In view of that, the present article analyzes the intersections and cross-fertilizations between black protest culture and US black female music in the wake of the emergence of the #BlackLivesMatter.1 Debunking dangerous narratives about black womanhood and questioning standardized norms of beauty, femininity, and masculinity, both forms of black protest, in fact, contribute to dismantling hegemonic white hetero-patriarchal ideologies that oppress the lives of black women and queer subjects who are forced to the margins of American society. If active participation ̶ i.e. mass marches, sit-ins, and national strikes ̶ is fundamental in the #BlackLivesMatter agenda, protest music complements the movement by echoing its messages on an international scale. Contemporary black women icons such as Beyoncé are using their platform of visibility to share with the audience feminist statements that lay in the fabric of the movement itself. As it will be shown, such strong connection between black women's music and protest culture has a long history: it was already witnessed in the era of Civil Rights when Nina Simone insisted on black women's experience in segregated America through her immense body of work, and again, with Lauryn Hill's Hip-Hop nationally acclaimed masterpiece The Miseducation of Lauryn Hill (1998).
    [Show full text]
  • Black Women in the United States Lady Day to Lizzo: a Century Of
    AF21:014:305: Black Women in the United States ​ ​ Lady Day to Lizzo: A Century of Black Women Performers Professor Salamishah Tillet // [email protected] Tuesdays 2:30 - 5:30 pm Office Hours: Wednesdays 4 to 5 and by appt. Teaching Assistant: Esperanza Santos // [email protected] ​ Office Hours: Wednesdays 4 to 5 and by appt. Course Description African American women performers from the blueswoman Bessie Smith to gospel guitarist Rosetta Tharpe, from jazz darling Billie Holiday to megastar star Beyoncé, and from hip hop virtuoso Lauryn Hill to millennial polymath Lizzo, have constantly redefined and expanded American popular music. This course will explore the long century of African American history through Black women performers, who across genres and time, have consciously and sometimes contradictorily navigated the racial and sexual limits of American popular culture in order to assert artistic agency and political freedom. Class Expectations Attendance and active class participation are required. Late assignments will not be accepted except in cases of proven emergency. If you know that you will be absent on a on a particular day, plan ahead and give your feedback to the class accordingly. We are ALL required to follow the University’s Policy on Academic Integrity, which falls under the Code of Student Conduct. The policy and the consequences of violating it are 1 outlined here: http://www.ncas.rutgers.edu/office-dean-student-affairs/academic-integrity-policy. ​ Disabilities Rutgers University welcomes students with disabilities into all of the University's educational programs. In order to receive consideration for reasonable accommodations, a student with a disability must contact the appropriate disability services office at the campus where you are officially enrolled, participate in an intake interview, and provide documentation: https://ods.rutgers.edu/students/documentation-guidelines.
    [Show full text]
  • Mass Manslaughter: but Less Than a Felony
    Mass Manslaughter: But Less Than a Felony As February rolls in, I don’t think it is possible to discuss rock ‘n’ roll without pausing to remember the victims of The Station fire, which happened 17 years ago. I remember the morning after, getting up to go to work with our LAN line ringing off the hook from my roommate’s mother calling to make sure he was alive. He was, but 100 music lovers were not. I went to work up in Mansfield, still not realizing the scope of the catastrophe, only to see my boss leave because two of his cousins were at the show. I can’t count over the years how many people have told me they were supposed to go or knew someone who went. It is chilling. In the end they found a patsy, a 26-year-old kid, doing what he was hired to do on every stop on the tour and never blowing up the room — till that night. The Derderians were taken care of because they were rich and well connected. Great White was banned forever from Rhode Island, but the real culprits of this mass manslaughter got off light. February 20 will always be a solemn day in here for our lost sons, daughters and everyone else harmed. We will never forget. Less Than A Felony – 27 Years After speaking of mass murder, it is refreshing to move on to a band called Less Than a Felony. 27 Years was birthed in a safe zone where Less Than a Felony conjure voodoo in a shed in Smithfield.
    [Show full text]
  • A Concept Album
    Merrimack College Merrimack ScholarWorks Honors Program Contracts Honors Program Spring 2020 The Power of Protest Music: A Concept Album Matthew Patterson Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/honors_component Part of the Music Commons, and the Political Science Commons Recommended Citation Patterson, Matthew, "The Power of Protest Music: A Concept Album" (2020). Honors Program Contracts. 20. https://scholarworks.merrimack.edu/honors_component/20 This Project - Open Access is brought to you for free and open access by the Honors Program at Merrimack ScholarWorks. It has been accepted for inclusion in Honors Program Contracts by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. 1 Matthew Patterson Dr. Anne Flaherty and Dr. Laura Pruett Music and Politics FAA/POL3171 6 May 2020 The Power of Protest Music: A Concept Album Introduction: This semester, I decided to create an honors contract for one of my favorite classes offered at Merrimack, Music and Politics. Both music and politics are two of my biggest interests, so I felt that this class would allow me to create a very unique final project. For my project, I decided to create my own political concept album that would analyze the role of music in certain social and political movements. Inspired by old vinyl records, this curation will contain 12 songs that are divided evenly on each side of the record. Side A will contain six songs that are considered anthems of the Civil Rights Movement, while Side B will contain six songs that are considered anthems for the Black Lives Matter Movement.
    [Show full text]
  • Open THESIS.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS AND SCIENCES IDENTITY AND HIP-HOP: AN ANALYSIS OF EGO-FUNCTION IN THE COLLEGE DROPOUT AND THE MISEDUCATION OF LAURYN HILL LAURA KASTNER SPRING 2017 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts & Sciences and Statistics with honors in Communication Arts & Sciences Reviewed and approved* by the following: Anne Demo Assistant Professor of Communication Arts & Sciences Thesis Supervisor Lori Bedell Senior Lecturer of Communication Arts & Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT In this thesis, I will be analyzing how Kanye West and Lauryn Hill create identity for themselves and their listeners in the albums The College Dropout and The Miseducation of Lauryn Hill, respectively. Identity creation will be analyzed using Richard Gregg’s concept of ego-function. By applying the three stages of the theory – victimization of the ego, demonization of the enemy, and reaffirmation of the ego – to both albums, I hope to uncover the ways that both West and Hill contribute to identity creation. I also discuss the ways in which they create identity that cannot be explained by ego-function theory. I also briefly address the following questions: (1) How does the language of ego-function differ between the artists? (2) How does their music speak to listeners of different ethnicities? (3) What role does gender play in ego-function? Does the language of ego-function differ between genders? ii TABLE OF CONTENTS Acknowledgements ………………………………………………………………......iii Chapter 1 Introduction ................................................................................................. 1 Kanye West: The Jerk and the Genius ............................................................................
    [Show full text]