P39 Layout 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Black Cowboys in the American West: on the Range, on the Stage, Behind the Badge
Civil War Book Review Spring 2017 Article 16 Black Cowboys In The American West: On The Range, On The Stage, Behind The Badge Jennifer Oast Follow this and additional works at: https://digitalcommons.lsu.edu/cwbr Recommended Citation Oast, Jennifer (2017) "Black Cowboys In The American West: On The Range, On The Stage, Behind The Badge," Civil War Book Review: Vol. 19 : Iss. 2 . DOI: 10.31390/cwbr.19.2.21 Available at: https://digitalcommons.lsu.edu/cwbr/vol19/iss2/16 Oast: Black Cowboys In The American West: On The Range, On The Stage, B Review Oast, Jennifer Spring 2017 Glasrud, Bruce A. and Searles, Michael N. Black Cowboys in the American West: On the Range, On the Stage, Behind the Badge. University of Oklahoma Press, $24.95 ISBN 9780806154060 “Wait a minute. Blacks Helped Pioneer the West.” – Herb Jeffries Herb Jeffries, a Detroit jazz singer, was dismayed the first time he saw black audiences in the South lining up outside segregated theaters to watch all white casts in the popular cowboy films of the 1930s. He was inspired to create films that showed that black cowboys helped win the West, too. His story is one of many found in Bruce A. Glasrud and Michael N. Searles’s broad and fascinating collection of essays on African Americans’ experiences in the American West titled Black Cowboys in the American West: On the Range, On the Stage, Behind the Badge. The editors organize thirteen brief scholarly articles into three categories: “Cowboys on the Range,” “Performing Cowboys,” and “Outriders of the Black Cowboys.” Glasrud introduces the essays; Searles provides a “concluding overview” of many of the issues raised in the essays at the end. -
The Journal of the Duke Ellington Society Uk Volume 23 Number 3 Autumn 2016
THE JOURNAL OF THE DUKE ELLINGTON SOCIETY UK VOLUME 23 NUMBER 3 AUTUMN 2016 nil significat nisi pulsatur DUKE ELLINGTON SOCIETY UK http://dukeellington.org.uk DESUK COMMITTEE HONORARY MEMBERS OF DESUK Art Baron CHAIRMAN: Geoff Smith John Lamb Vincent Prudente VICE CHAIRMAN: Mike Coates Monsignor John Sanders SECRETARY: Quentin Bryar Tel: 0208 998 2761 Email: [email protected] HONORARY MEMBERS SADLY NO LONGER WITH US TREASURER: Grant Elliot Tel: 01284 753825 Bill Berry (13 October 2002) Email: [email protected] Harold Ashby (13 June 2003) Jimmy Woode (23 April 2005) MEMBERSHIP SECRETARY: Mike Coates Tel: 0114 234 8927 Humphrey Lyttelton (25 April 2008) Email: [email protected] Louie Bellson (14 February 2009) Joya Sherrill (28 June 2010) PUBLICITY: Chris Addison Tel:01642-274740 Alice Babs (11 February, 2014) Email: [email protected] Herb Jeffries (25 May 2014) MEETINGS: Antony Pepper Tel: 01342-314053 Derek Else (16 July 2014) Email: [email protected] Clark Terry (21 February 2015) Joe Temperley (11 May, 2016) COMMITTEE MEMBERS: Roger Boyes, Ian Buster Cooper (13 May 2016) Bradley, George Duncan, Frank Griffith, Frank Harvey Membership of Duke Ellington Society UK costs £25 SOCIETY NOTICES per year. Members receive quarterly a copy of the Society’s journal Blue Light. DESUK London Social Meetings: Civil Service Club, 13-15 Great Scotland Yard, London nd Payment may be made by: SW1A 2HJ; off Whitehall, Trafalgar Square end. 2 Saturday of the month, 2pm. Cheque, payable to DESUK drawn on a Sterling bank Antony Pepper, contact details as above. account and sent to The Treasurer, 55 Home Farm Lane, Bury St. -
Soundies Research
Soundies Disc 1 Golden Oldies Opening & © notice Listed in the order they appear on the disc: Del Casino Surrender 1946 Three Suns with Artie Dunn Beyond the Blue Horizon 1944 Emil Coleman with June Barton Gotta Be This or That 1945 Six Hits and a Miss Sweet Sue, Just You 1941 Harry Cool Stardust 1945 Yvonne De Carlo with Spike Jones band Lamp of Memory 1942 Ray Bloch with Carolyn Marsh I Can’t Give You Anything But Love Baby 1941 Seven Sarongs Heaven Help a Sailor 1941 Zarek and Zarina Male Order 1941 3 Car Hops At Your Service 1941 Juvenile Jubilee with Merle Pitt I Don’t Want to Walk W/out You 1942 Thelma White Hollywood Boogie 1946 Andy Iona Orchestra Tropical Swingaroo 1941 Johnny Long and Orchestra Maria Elena 1943 Varios and Vida (dancers) Begin the Beguine 1943 Larry Clinton Semper Fidelis 1943 Johnny Long In a Shanty In Old Shanty Town 1943 Billy MacDonald & His Highlanders Playmates 1944 Jimmy Dorsey Bar Babble 1943 Jimmy Dorsey with Helen O’Connell Man That’s Groovy 1943 Jimmy Dorsey La Rosita 1943 Gene Krupa with Anita O’Day Let Me Off Uptown 1942 Gene Krupa with Anita O’Day Thanks for the Boogie Ride 1942 Al Donahue with Ellen Connor Java Jive 1943 Al Donahue with Phil Brito Lonesome Road 1943 Victor Young Hold That Tiger 1940 Al Donahue Anvil Chorus 1943 Al Donahue with Ellen Connor Jumpin’ at the Juke Box 1943 Will Bradley Boardwalk Boogie 1941 Will Bradley Barnyard Bounce 1941 Johnny Long Boogie Man 1943 Charlie Spivak Hop, Skip and Jump 1942 Johnny Long It Must Be Jelly 1946 Nat King Cole Frim Fram Sauce 1945 Nat King Cole Calypso Girl (?) Mills Brothers Cielito Lindo 1944 Cab Calloway Minnie the Moocher 1942 Soundies Disc 2 All of these are Soundies except the Artie Shaw number from Second Chorus. -
Plants for a Busy Gardener
FOR IMMEDIATE RELEASE Updated Oct. 21, 2009 CONTACT: Thea Page, 626-405-2260 or @huntington.org Lisa Blackburn, 626-405-2140 or @huntington.org EXHIBITION EXPLORES AFRICAN AMERICAN RENAISSANCE IN LOS ANGELES “Central Avenue and Beyond: The Harlem Renaissance in Los Angeles” displays materials from the Mayme A. Clayton collection for the first time On view in the Library West Hall Oct. 24, 2009–Feb. 8, 2010 Press Preview: Friday, Oct. 23, 2009, 10 a.m.–noon Promotional print for the film Harlem on the Prairie (1937), directed by Sam Newfield and Jed Buell, and starring Herb Jeffries. Mayme A. Clayton Library. SAN MARINO, Calif.—African American arts and culture exploded in early 20th century America, and the Harlem neighborhood of New York City was Ground Zero. Not as well known is what played out in Los Angeles at the same time—a flowering of African American arts, literature, and culture along Central Avenue. A new exhibition at The Huntington Library, Art Collections, and Botanical Gardens explores the Harlem Renaissance in Los Angeles, drawing on materials from The Huntington as well as items from the Mayme A. Clayton Library, which never before have been on public display. The exhibition, “Central Avenue and Beyond: The Central Avenue Page 2 Harlem Renaissance in Los Angeles,” is on view Oct. 29, 2009–Jan. 4, 2010, in the Library West Hall at The Huntington Library, Art Collections, and Botanical Gardens. “People tend to think the Harlem Renaissance took place in one spot,” says Sara “Sue” Hodson, curator of literary manuscripts at The Huntington and co-curator of the exhibition. -
Temecula Theater Your Experiences, Your Memories
TEMECULA THEATER YOUR EXPERIENCES, YOUR MEMORIES 2019 - 2020 SEASON #ExperienceTemeculaTheater Reasons we all #LOVETemecula! The City of Temecula celebrates 30 years of incorporation on Sunday, SUBSCRIBE & SAVE December 1, 2019. Temecula’s commitment to providing world-class, affordable, and accessible cultural experiences is evidenced by 2019-2020 Season Package Pricing offers music, dance, and Temecula Theater’s 15th Season offering music, dance, and theater theater lovers the opportunity to experience extraordinary lovers extraordinary experiences at memorable live performances, so evenings at your favorite series performances at a significant close to home. savings. Buy Series Packages and receive the deepest discount or Create Your Own Series by selecting five or more shows to Love builds communities and we are grateful for all the love and get the Pick 5 rates. As a Season Subscriber, you will be set for support from our talented artists, generous volunteers, dedicated the Season without worrying about sold-out performances or staff, and loyal patrons. Temecula’s Theater is dedicated to waiting in line to purchase tickets. encouraging, inspiring, and developing the next generation of performers, producers, presenters, and patrons. BENEFITS The Old Town Temecula Community Theater has entertained • Best Value over 700,000 visitors since opening in 2005. Temecula Presents • Preferred Seating continues the tradition by curating various genres for all ages on • Advance Purchase multiple stages, reflecting the diversity of our growing community by • Prior Notices showcasing legendary heroes and rising stars. • Free Ticket Delivery Temecula’s Theater Foundation, Resident Companies, and community performance partners show love by providing traditional and GROUP SALES contemporary experiences through musical theater, chorus, dance, speakers, and all our @ The Merc Series’. -
Brown Cowboys on Film: Race, Heteronormativity and Settler Colonialism
BROWN COWBOYS ON FILM: RACE, HETERONORMATIVITY AND SETTLER COLONIALISM BEENASH JAFRI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN GENDER, FEMINIST & WOMEN’S STUDIES YORK UNIVERSITY TORONTO, ONTARIO JULY 2014 © Beenash Jafri, 2014 ii ABSTRACT This dissertation analyzes minority-produced westerns as examples of settler cinemas. Though they are produced by subjects at the margins of settler society, I argue that settler colonialism is, nonetheless, a significant cultural context shaping these films. The dissertation intervenes into existing film studies scholarship, which has tended to frame settler colonialism as the historical context structuring the racial oppression of Native Americans, rather than as a constitutive feature of all forms of racial subjugation. As a result, the connections and investments of other racialized subjects within the dynamics of settler colonialism have received limited attention. Drawing on queer, race and Native American/Indigenous studies, the dissertation develops and deploys an intersectional framework for examining film that illuminates the fraught relationship between racialized minorities, Indigenous peoples and settler colonialism. To make its argument, the dissertation examines three sets of films: black westerns, South Asian diaspora films, and Jackie Chan’s martial arts westerns. In each chapter, I consider how existing film scholarship has read these respective films before offering an alternative interpretation that draws attention to their settler colonial contexts. For example, black westerns have been interpreted in terms of anti-racist historical revisionism; South Asian diasporic films have been analyzed in terms of their liminal position between Hollywood and Bollywood film industries; and Jackie Chan’s western parodies have been interpreted in terms of postmodern mimicry. -
DUKE ELLINGTON Vol.7
120738bk Duke7 17/8/04 5:20 PM Page 2 1. Jack The Bear 3:18 9. Bojangles 2:56 17. Across The Track Blues 3:03 Transfers & Production: David Lennick (Duke Ellington) (Duke Ellington) (Duke Ellington) Digital Noise Reduction: K&A Productions Ltd. Victor 26536, mx BS 044888-1 Victor 26644, mx BS 050321-1 Victor 27235, mx BS 053579-1 Original monochrome photo of Duke Ellington Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 October 1940, Chicago from Michael Ochs Archives / Redferns 2. Morning Glory 3:20 10. A Portrait Of Bert Williams 3:12 18. The Sidewalks Of New York 3:17 (Duke Ellington–Rex Stewart) (Duke Ellington) (Chas. B. Lawlor-James W. Blake) Personnel Victor 26536, mx BS 044890-1 Victor 26644, mx BS 050322-1 Victor 27380, mx BS 053780-1 Recorded 6 March 1940, Chicago Recorded 28 May 1940, Chicago Recorded 28 December 1940, Chicago DUKE ELLINGTON & HIS FAMOUS ORCHESTRA 3. Ko-Ko 2:46 11. Harlem Air-Shaft 3:02 19. Flamingo 3:27 Cootie Williams, Wallace Jones, trumpets; Rex (Duke Ellington) (Duke Ellington) (Ted Grouya–Edward Anderson) Stewart, cornet; Tricky Sam Nanton, Lawrence Victor 26577, mx BS 044889-2 Victor 26731, mx BS 054606-1 Herb Jeffries, vocal Brown, trombones; Juan Tizol, valve trombone; Recorded 6 March 1940, Chicago Recorded 22 July 1940, New York Victor 27326, mx BS 053781-1 Johnny Hodges, alto & soprano sax; Otto 4. Concerto For Cootie (Do Nothing Till 12. Sepia Panorama 3:27 Recorded 28 December 1940, Chicago Hardwick, alto & bass sax; Ben Webster, tenor You Hear From Me) 3:23 (Duke Ellington) 20. -
Go West, Brother: the Politics of Landscape in the Blaxploitation Western
10 Go West, Brother: The Politics of Landscape in the Blaxploitation Western Austin Fisher When The Legend of Nigger Charley (Martin Goldman, 1972) opened in downtown theaters across the United States in May 1972, its marketing campaign provided a clear indication of who its target audience was. The film’s tagline— “Somebody warn the West. Nigger Charley ain’t running no more”—locates it within the cultural moment of the “blaxploitation” cycle, appealing to inner-city black markets through an antagonistic opposition to white America’s most hallowed foundation myth. Yet this belligerent tone belies the hesitance and uncertainty toward the Wild West, its landscape, and the attendant tropes that are to be found in the film itself. After the eponymous hero and his two fellow escapees kill their brutal white slave-master and flee into the desert from an antebellum plantation, the first encounter they actually have with “the West” is rather less assured than the tagline suggests. Charley (Fred Williamson) belatedly notices an impending ambush by a group of Native Americans and nervously says “let’s keep moving,” but the trio are rapidly surrounded and brought to a halt. As the outlaws look around anxiously, one young tribesman reaches out, wipes his fingers down Charley’s cheek and checks to see if the color has rubbed off, before confirming to his companions that it has not. A visibly relieved Charley responds by returning the gesture, and our heroes are allowed to go on their way. On a diegetic level, this scene gives a brief but clear indication that the black outlaws and the Native Americans are in sympathy with each other in their mutual opposition to white oppression. -
Smithsonian Jazz Oral History Interview with Chico Hamilton in His Home on 45Th Street in New York City
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. FORESTSTORN “CHICO” HAMILTON NEA Jazz Master (2004) Interviewee: Foreststorn “Chico” Hamilton (September 21, 1921 – November 25, 2013) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Date: January 9-10, 2006 Repository: Archives Center, National Museum of American History Description: Transcript 150 pp. Brown: Today is January 9, 2006. This is the official Smithsonian Jazz Oral History interview with Chico Hamilton in his home on 45th Street in New York City. This is a partnership with the National Endowment for the Arts Jazz Masters program. Good afternoon, Chico Hamilton. If we could begin by you stating your full name and your date and place of birth, please. Hamilton: Oh, I’m not going to tell you that, man. Okay, my name is Foreststorn Chico Hamilton, aka Chico Hamilton. I was born in LA in 1921, September the 21st or 23rd, 1921. Brown: 21st through the 23rd? Hamilton: Well it was either the 21st or 23rd, but I go for the 21. It’s easier to remember, 21. Brown: Why is there a discrepancy of the date? Hamilton: Well there was a discrepancy at that time in LA. You know, I don’t know whether you can remember that far back but because I guess my ethnic background in For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 regards to that being from sort of a multi race family, you know, mixed, so, you know, but anyway – Brown: Were you born in a hospital? Hamilton: I was born upstairs by the kitchen sink and you’re supposed to ask me how do I know, I heard the water running. -
Downloadgreen Book Online Resources and Bibliography
Online Resources and Bibliography This exhibition is based on the content from Overground Railroad: The Root of Black Trave in America by Candacy Taylor - New York: Abrams Books, 2020 http://www.taylormadeculture.com/the-green-book/ AUTOMOBILE Brown, Warren. “Cadillac’s Cultural Turn.” Washington Post (Dec. 24, 1995). Davis, Ed. One Man’s Way. Detroit, MI: Edward Davis Associates, 1979. Driskell, Jay. An atlas of self-reliance: The Negro Motorist's Green Book (1937-1964) July 30, 2015 Sugrue, Thomas J. “Driving While Black: The Car and Race Relations in Modern America.” Automobile in American Life and Society (Jan. 6, 2009). BLACK BUSINESSES Ebony Magazine, Black Travel and Green Book site ads, June 1960. Feldman, Brian S. “The Decline of Black Business .” Washington Monthly, May 1, 2017. Jackson, James A. “Big Business Wants Negro Dollars.” The Crisis (Feb. 1935): 45. Walker, Juliet E. K. Encyclopedia of African American Business History. Westport, CT: Greenwood Press, 1999. Walker, Juliet E. K. The History of Black Business in America: Capitalism, Race, and Entrepreneurship. Chapel Hill: University of North Carolina Press, 2009. MULTIMEDIA The Dew Drop Inn, in New Orleans, was immortalized in a song by Little Richard. Marquette Folley Content Director [email protected] | 202.633.3111 Listen to it here: Dew Drop Inn Murray’s Dude Ranch in Victorville, CA, was the site where many Herb Jeffries movies were filmed. View footage from The Bronze Buckaroo and Harlem Rides the Range. The films can also be purchased at the following links: The Bronze Buckaroo and Harlem Rides the Range. BLACK TRAVEL & LEISURE Ortlepp, Anke. -
Guide to the Duncan P. Schiedt Photograph Collection
Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012, -
'I Get a Kick out of You': Cinematic Revisions of the History of the African American Cowboy in the American West
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 'I Get a Kick Out of You': Cinematic Revisions of the History of the African American Cowboy in the American West Stephanie Anne Maguire College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, African History Commons, American Studies Commons, and the Film and Media Studies Commons Recommended Citation Maguire, Stephanie Anne, "'I Get a Kick Out of You': Cinematic Revisions of the History of the African American Cowboy in the American West" (2014). Dissertations, Theses, and Masters Projects. Paper 1539626745. https://dx.doi.org/doi:10.21220/s2-t1ay-6869 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 'I Get a Kick Out of You': Cinematic Revisions of the History of the African American Cowboy in the American West Stephanie Anne Maguire Alexandria, Virginia Bachelor of Arts, James Madison University, 2012 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts American Studies The College of William and Mary August, 2044 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Stephanie Anfie Maguire Approve t^e7T/lay’ZuT4 jittee Chair A ssociate Professor Art^ur1<night, American Studies and English The College of William and Mary Associate Professor Alan Braddock, Art History and American Studies The College of William and Mary TABLE OF CONTENTS Acknowledgements ii C h a p te r! Introduction 1 Chapter 2.