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By:AADuncan S.C.R.ANo.A12 CONCURRENT RESOLUTION 1 WHEREAS, Texas is well known for its pioneering musical 2 talent, and The Crickets are among those Texas legends who grew to 3 symbolize this brilliant creative spirit; and 4 WHEREAS, Originally formed in Lubbock by Buddy Holly, J.AI. 5 Allison, and Joe B. Mauldin, the group went on to include Sonny 6 Curtis, Niki Sullivan, Tommy Allsup, and Earl Sinks; and 7 WHEREAS, The Crickets were one of the first rock and roll 8 bands to be self-contained, writing, playing, producing, and 9 recording their own material; and 10 WHEREAS, Beginning in 1957, hits such as "That 'll Be the 11 Day," "Peggy Sue," "Oh Boy," "Not Fade Away," "Maybe Baby," "It 's So 12 Easy," "I Fought the Law," and "More Than I Can Say" established The 13 Crickets as a leading rock and roll band that would become known the 14 world over; and 15 WHEREAS, By solidifying the rock and roll instrumental format 16 of bass, guitars, drums, and vocals, and writing their own 17 material, The Crickets provided a blueprint and inspiration for the 18 Beatles, the Rolling Stones, and virtually every major rock band 19 that came after them; and 20 WHEREAS, Nearly 50 years later, The Crickets continue to 21 record and perform, and their songs are considered rock and roll 22 standards as evidenced by their release last year of "The Crickets 23 and Their Buddies," an all-star collection of The Crickets playing 24 their songs with such talented musicians and friends as Rodney 79R9007 MW-D 1 S.C.R.ANo.A12 1 Crowell, Waylon Jennings, John Prine, Phil and Jason Everly, Eric 2 Clapton, and Nanci Griffith; now, therefore, be it 3 RESOLVED, That the 79th Legislature of the State of Texas 4 hereby pay tribute to The Crickets for their many contributions to 5 Texas music and recognize March 16, 2005, as The Crickets Day in 6 Texas in their honor; and, be it further 7 RESOLVED, That an official copy of this resolution be 8 prepared for the members of The Crickets as an expression of high 9 regard by the Texas Senate and House of Representatives. 2.

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A Qualitative Exploration
“I CAN FEEL IT MORE THAN I CAN SAY IT”: A QUALITATIVE EXPLORATION OF BLACK WOMANHOOD A Dissertation Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Myriam Tamouhan Kadeba December, 2017 “I CAN FEEL IT MORE THAN I CAN SAY IT”: A QUALITATIVE EXPLORATION OF BLACK WOMANHOOD Myriam Tamouhan Kadeba Dissertation Approved: Accepted: ______________________________ ______________________________ Advisor Department Chair Suzette L. Speight, Ph.D. Paul Levy, Ph.D. ______________________________ ______________________________ Committee Member Dean of the College Amber Hewitt, Ph.D. John Green, Ph.D. ______________________________ ______________________________ Committee Member Dean of the Graduate School Dawn Johnson, Ph.D. Chand Midha, Ph.D. ______________________________ ______________________________ Committee Member Date Delila Owens, Ph.D. ______________________________ Committee Member Nicole Rousseau, Ph.D. ______________________________ Committee Member John Queener, Ph.D. ii ABSTRACT Black Womanhood has been historically defined as antithetical to the normative feminine ideals in the United States. This hegemonic femininity prescribes standards that are considered ideals in describing the archetypical feminine woman. Black women have been stereotyped as unfeminine and unattractive, and this negative and pervasive social rhetoric continue to have a long lasting adverse impact on this population. Black feminist scholars have long articulated the importance of defining Black womanhood not in relation to hegemonic femininity, but by incorporating the actual experiences of Black women. Using an interpretative phenomenological methodology and based on interviews with Black women in the United States, the current study investigated Black women’s notion of womanhood. This study uncovered ways participants self-defined, resisted negative and oppressive societal messages, and celebrated their own Black Womanhood.
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3FBM"VTUJO3FBM/FXT 5VFTEBZ 'FCSVBSZ 8IBUTOFXJO "MPPLBUGPPE WJEFPHBNFT SFMBUFEQBOFMT 'JOEPVUPO BU4948 % -JGF"SUT 1BHF% 8FEOFTEBZJO /FXTGFBUVSFT!TUBUFTNBODPNPS $MBTTJlFET 4VCTDSJCFTUBUFTNBODPNTVCTDSJCF 'PPE-JGF 130'*-& .64*$ (JGUPG TFSWJDF ."+03-&"(6&5"-&/5 #Z.JDIBFM$PSDPSBO BUSVF 4POOZ$VSUJT 3POOJF%VOOBOE3PHFS.JMMFS 4QFDJBMUPUIF"NFSJDBO 4UBUFTNBO CMFTTJOH BEEFEUP5FYBT)FSJUBHF4POHXSJUFST)BMMPG'BNF West Texan Sonny Curtis very well could be the Bo "UXPSLBOEUISPVHI Jackson of songwriting. Instead of excelling in two IFSNBOZDIBSJUJFT sports, the 75-year-old Curtis &MJ[BCFUI(PO[BMFTJT penned two classics that are as NBLJOHBEJƅFSFODF divergent as football and base- ball. As a Lubbock sandstorm #Z.JDIBFM#BSOFT howled outside his window in NCBSOFT!TUBUFTNBODPN the summer of 1958, he wrote “I Fought the Law,” one of The daughter of a single the !rst rock rebellion songs, working mom, diligent stu- which was !rst recorded by dent Elizabeth S. Gonzales the Crickets three months dropped out of a Corpus after Buddy Holly died, made Christi high school when she famous by the Bobby Fuller became pregnant. Four in 1965, then "agged as “A lot of my passion about a nascent punk song by the education comes from that Clash. experience,” says Gonzales, The other landmark compo- now 63, who put a young sition was the theme song on a husband through pharmacy TV show that debuted in 1970 school, then raised three and ran seven groundbreaking children on her own while seasons. Curtis received a working full time. four-page synopsis of a show She earned her GED about a 30-year-old woman diploma and attended com- out on her own in Minneapolis munity college, then tri- after an engagement breakup, umphed in business while and two hours later came up becoming two-time chair- with “Love Is All Around,” aka woman of the Greater Austin the theme to “The Mary Tyler Hispanic Chamber of Com- Moore Show.” merce and volunteering for The garage rock holy grail area charitable groups.
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