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I Been Down in the Circle Before Black Music, Topicality and Social History
I Been Down In The Circle Before Black music, topicality and social history John Cowley 6 March 2007 Mississippi River levee system (Mississippi State) Laconia Circle (shown in red) is a circular levee that encloses Snow Lake (at the end of Arkansas Highway 85) and Laconia. It is positioned on a bend of the Mississippi River between the river and White River Bottom, just above the confluence of the White and Mississippi Rivers Levee Maintenance (1) Hand propulsion of wheelbarrows (wheelers) / “wheeling”— wheel barrowing Levee Maintenance (2) Teamsters called “muleskinners” transported ballast to the levees, and handled mule driven carts and scoop scrapers The Lowrence Brothers operated along both sides of the Mississippi River, upstream and downstream from Memphis, Tennessee. One brother is associated with Henry Truvillion’s Shack Bully Holler Isum, Sampson Pittman, recalled seven brothers but mentions only six: Charley, Lawrence, Eddie, Clarence, Blair and Ike; presumably the seventh was Isum? Memphis Slim (Leroy) mentioned three brothers by name Isum, Bill and Charley Bill making the total we know about, eight. The Lowrence family A little extra information concerning three of the family can be gleaned from entries in the Memphis City Directory. Edward M. Lowrence resided in Memphis between 1928-1931, his occupation listed as either “levee contractor” or, simply, “contractor.” Lucy D. Lowrence, as his widow, has an entry in 1933. Blair Lowrence lived in Memphis between 1929 and 1935. Designated “levee contractor’ except in 1930 he is shown as a “planter’; in 1931 no occupation is stated. William Tate Lowrence, listed as a “levee contractor” in 1925, does not appear again until 1928 when he is also shown as a “ levee contractor.” He is designated as a “contractor” in l929 and 1930, the latter year, his final entry. -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Advocate, Fall 2016, Vol. 28, No. 1
City University of New York (CUNY) CUNY Academic Works The Advocate Archives and Special Collections Fall 2016 Advocate, Fall 2016, Vol. 28, No. 1 How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_advocate/22 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] VolumeVolume 28 27 Fall Spring no. 1n. 2016 2 2016 www.GCadvocate.comwww.GCadvocate.com [email protected]@cunydsc.org Donald Trump and the Death Rattle of Liberal Civility pg. 31 Stranger in my Skin: Racial (un)belonging in the US pg. 18 Gil Bruvel, Dichotomy, Stainless Steel sculpture editorial The Difficulty of www.GCadvocate.com Making a Voting Decision [email protected] Contents Who to vote for in the upcoming election? That is be able to keep calm as most of us have been doing? the question. In past elections, the most important Or will I punch back if I am hit—sweetly punch back things that influenced how I vetted presidential can- in the tradition of the ancestors who recognized the EDITORIAL FEATURES didates included their positions on wars, national need to deploy counter strategies that have given me security, economy, the LGBTQ community, and their the liberties I cherish today. Indeed, how powerfully The Difficulty of Stranger in my Skin: plans for developing regions like the Caribbean, where will I punch back with fists, body, talk, and silence until Making a Voting Racial (un)belonging I am from. -
25 YEARS of JHE LONDON CALYPSO TENT
25 YEARS OfJ HE LONDON CALYPSOTENT Calypso in London 25 YEARS OF THE LONDON CALYPSO TENT by STEPHEN SPARK With a historical introduction by John Cowley Trafton Publishing On behalf of the Association of Calypsonians UK Calypso in London 25 years of the London Calypso Tent ISBN 978 0 947890 09 4 © 2017 Trafton Publishing and the Association of Calypsonians UK The Association of Calypsonians UK (ACUK) The Yaa Centre, 1 Chippenham Mews, London W9 2AN Web: www.acukheritage.co.uk Email: [email protected] All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any mean, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Short passages only may be quoted for the purpose of review. For permission to quote or reproduce longer extracts, please apply in writing to the copyright-holders via the ACUK addresses above. The publication of this book was made possible by the generous support of the Heritage Lottery Fund, the Westway Trust and Carnival Village. ON OF TI C IA A C L Y O P S LONDON S S O A CALYPSO N • I TENT A K N U S C A U • K ACUK Logo.indd 1 11/10/2017 09:54:56 Designed by Phil McAllister Design Printed and bound in Great Britain by Berforts Contents Preface ............................................................................................................................ iv Acknowledgements ..................................................................................................... -
West Indian Intellectuals in Britain
INTRODUCTION Crossing the seas Bill Schwarz There exists a moving photographic record of West Indian emigrants arriving in British cities in the 1950s, first by steamship and steam train, then later, by the end of the decade and into the 1960s, by plane. We still see, in our own times, these images of men and women who, for all their apprehensions, were stepping across the threshold into new lives, bringing with them a certain presence. These are images which evoke a sense of hardships in the past overcome and hardships just around the corner yet to confront. They give form to the dreams which had compelled a generation of migrants to pack up and cross the seas. And they capture too a sensibility founded on the conviction that these dreams were rightfully theirs: a dream, in other words, of colonials who believed that the privileges of empire were their due.1 These photographic images, and those of the flickering, mono- chrome newsreels which accompany them, have now come to compose a social archive. They serve to fix the collective memory of the momen- tous transformation of postwar migration. At the same time, however, their very familiarity works to conceal other angles of vision. We become so habituated to the logic of the camera-eye that we are led to forget that the vision we are bequeathed is uncompromisingly one-way. The images which fix this history as social memory are images of the West Indians. The camera is drawn to them. The moment they enter the field of vision, the focal point adjusted, they become fixed as something new: as immigrants. -
Una Marson: Feminism, Anti-Colonialism and a Forgotten fight for Freedom Alison Donnell
CHAPTER FIVE Una Marson: feminism, anti-colonialism and a forgotten fight for freedom Alison Donnell When we think about the factors that have contributed to the begin- nings of a West Indian British intellectual tradition, we would com- monly bring to mind the towering figure of C. L. R. James and his comrades of the pre-Windrush generation, such as George Padmore. It would also be important to acknowledge the generation of nationalist writers and thinkers based in the Caribbean itself, such as Roger Mais and Victor Stafford Reid. We might also think of the BBC’s Caribbean Voices which provided a much needed outlet, as well as a valuable source of income, for new writers and writings, and also, of course, of the talented community of male writers and intellectuals, such as George Lamming, Sam Selvon and V. S. Naipaul, who had come to London in the 1950s. Yet what is so commonly neglected in accounts of West Indian and black British literary and intellectual histories of the first half of the twentieth century is mention of Una Marson, a black Jamaican woman whose experiences and achievements provided a link to all these major movements and figures. It is perhaps not surprising that Marson’s identity as an intellectual is not straightforward. As an educated, middle-class daughter of a Baptist minister, Marson’s intellectual development took place within the context of a religious home where the activities of playing music and reading poetry were prized, and the conservative and colonial Hampton High School where she received an ‘English public-school education’.1 However, as one of a small number of black scholarship girls, Marson was apprenticed in the operations of racism by the time she left school. -
Pan-African History: Political Figures from Africa and The
Pan-African History Pan-Africanism, the perception by people of African origins and descent that they have interests in common, has been an important by-product of colonialism and the enslavement of African peoples by Europeans. Though it has taken a variety of forms over the two centuries of its fight for equality and against economic exploitation, commonality has been a unifying theme for many Black people, resulting for example in the Back-to-Africa movement in the United States but also in nationalist beliefs such as an African ‘supra-nation’. Pan-African History brings together Pan-Africanist thinkers and activists from the Anglophone and Francophone worlds of the past two hundred years. Included are well-known figures such as Malcolm X, W.E.B. Du Bois, Frantz Fanon, Kwame Nkrumah, and Martin Delany, and the authors’ original research on lesser-known figures such as Constance Cummings-John and Dusé Mohamed Ali reveals exciting new aspects of Pan-Africanism. Hakim Adi is Senior Lecturer in African and Black British History at Middlesex University, London. He is a founder member and currently Chair of the Black and Asian Studies Association and is the author of West Africans in Britain 1900–1960: Nationalism, Pan-Africanism and Communism (1998) and (with M. Sherwood) The 1945 Manchester Pan-African Congress Revisited (1995). Marika Sherwood is a Senior Research Fellow at the Institute of Commonwealth Studies, University of London. She is a founder member and Secretary of the Black and Asian Studies Association; her most recent books are Claudia Jones: A Life in Exile (2000) and Kwame Nkrumah: The Years Abroad 1935–1947 (1996). -
Walter Bennett
THE RECORDINGS OF WALTER BENNETT An Annotated Tentative Personnello-Discography WCAllen WALTER A. „Jock“ BENNETT (trumpet) Reportedly from Pittsfield, Mass., or Chicago. An older man, knew FH from New York days. Reportedly recorded with J.C. Johnson (Feb/29), Bennett´s Swamplanders (Sep/30), Wilmoth Houdini (1931). Played with Fats Pichon (1931); Allie Ross (1931); Savoy Bearcats (1932-33); Eli Rice (1934-37). Joined FH c Sep/42 to c June/43; played lead horn, high notes, was “tremendous” according to fellow musicians; doubled on piano. Believed to be deceased; not listed in 1961 Local 802 Directory. When in 1969 STORYVILLE issued a most interesting piece called "The Other Take" by John R.T. Davies and Laurie Wright, I first became aware of a trumpet player called Walter Bennett. Only very few of the cited recordings were in my collection then, although I had been keen in purchasing every long-playing record in the field of Classic Jazz. (Wisely I decided then not to start collecting 78 records!) Through the great services of Dick M. Bakker of Deventer / The Netherlands I got hold of RISTIC 26 "J.C.Johnson" and from then on Walter Bennett was one of the musicians on top of my list of interest. Getting in contact with John R.T. I received a list of his collection which really left me breathless in those days. Following his advice: "How to make the best out of John R. T.", I had him transcribe the "Bennett´s Swamplanders" titles for me. These titles, together with the J.C.Johnson Five Hot Sparks sides, left a lasting mark in my audio-memory, which in turn made me compiling anything I could find regarding Walter Bennett. -
Calypso Buys a Bungalow Author(S): Michael Eldridge Source: Callaloo, Vol
There Goes the Transnational Neighborhood: Calypso Buys a Bungalow Author(s): Michael Eldridge Source: Callaloo, Vol. 25, No. 2 (Spring, 2002), pp. 620-638 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/3300591 Accessed: 25/01/2009 18:50 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=jhup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Callaloo. http://www.jstor.org THERE GOES THE TRANSNATIONAL NEIGHBORHOOD Calypso Buys a Bungalow by Michael Eldridge Sly Mongoose .. -
Pan-Africanism and Feminism in the Early 20Th Century British Colonial Caribbean Rhoda Reddock
58 | Feminist Africa 19 The first Mrs Garvey: Pan-Africanism and feminism in the early 20th century British colonial Caribbean Rhoda Reddock It is puzzling to most feminist historians of the British colonial Caribbean that histories of pan-Africanism could be written without examining the extensive contribution of women.1 This concern is echoed by pan-Africanist scholar Horace Campbell when he notes that its ideological history has tended to focus on the contribution of great heroes, mostly males, an approach which denies the link to a broader social movement and the role of women (Campbell, 1994:286). This article examines the complementary and contradictory relationship between pan-Africanism and early feminism in the British Caribbean colonies. In highlighting the work and life of one pan-Africanist, feminist Caribbean woman, this article does not seek to propose a counter-history of great women. It seeks rather to distinguish the specific contributions made by one woman feminist – among a host of many others – to these social movements in local and international contexts and to explore the reasons why these movements provided such possibilities and the contradictions involved. The focus on Amy Ashwood Garvey highlights not just her individual significance but also allows us to acknowledge the work of countless other women (and men), some mentioned in this text, who have been excluded from the meta- narratives of these early movements. So pervasive is this narrative that Michelle Stephens in a recent review noted: The discovery of a persistent, structural, never ending, never deviating, masculinist gender politics in the discourse of black internationalism reveals a pattern that one can only explain through a deeper structural analysis of the very gendering of constructions of global blackness. -
London's Sonic Space
Introduction: London’s sonic space London provides a vast space – bigger in some senses than the nation – in which cultures can be differently imagined and conceived. (Kevin Robins) This book is about three black music multicultures in London in the 1980s and 1990s: rare groove, acid house and jungle. It is a critical explora tion of the role they have played in the production of what Stuart Hall once identified as London’s ‘workable, lived multiculture’ (Hall 2004). These are not the only important black music scenes in London: that list would include soca, jazz and Afrojazz, Afrobeat, dancehall, hip hop, UK garage, R&B and grime, and to include them all would have called for a much bigger book. So, this is not a comprehensive study of all black music produced and consumed in the city. I focus on rare groove, acid house and jungle because they are three moments that involved inter-racial collaboration, in terms of both production and consumption, around black music. They were music scenes which put the racial divisions of the city into question and worked against the logic of spatial separation. They explored new ways in which culture could be inhabited collectively. In ways both deliberate and contingent, these musical scenes involved collaboration between young people from different sides of what the great black American sociologist W. E. B. Du Bois (1903) identified as ‘the color line’, and hosted lived multi culture on the dancefloor. Around each scene, discourses developed to address this cultural intermixture, and within them were forged new ways of dancing, listening and making 1 It’s a London thing culture together. -
Amy Jacques Garvey's Feminist Prowess Liberates Women in Restructuring the UNIA
Of Life and History Volume 2 Of Life and History Article 7 7-21-2019 From "Companionate Wife" to Feminist Pioneer: Amy Jacques Garvey's Feminist Prowess Liberates Women in Restructuring the UNIA Kiana Cardenas College of the Holy Cross Follow this and additional works at: https://crossworks.holycross.edu/oflifeandhistory Part of the History Commons Recommended Citation Cardenas, Kiana (2019) "From "Companionate Wife" to Feminist Pioneer: Amy Jacques Garvey's Feminist Prowess Liberates Women in Restructuring the UNIA," Of Life and History: Vol. 2 , Article 7. Available at: https://crossworks.holycross.edu/oflifeandhistory/vol2/iss1/7 This Article is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in Of Life and History by an authorized editor of CrossWorks. From “Companionate Wife” to Feminist Pioneer Amy Jacques Garvey’s Feminist Prowess Liberates Women in Restructuring the UNIA Kiana Cárdenas ‘19 The Universal Negro Improvement Association (UNIA), established by Marcus Garvey and Amy Ashwood Garvey in 1914, sought to remedy the desperate institutional situation of African descendants from all over the world. Although the political organization guaranteed support for all African descendants, men and women, rooted at the heart of the organization was a masculine ideology that generated constricting gender roles, to the disadvantage of a large number of women. The structure of the UNIA solidified black men as the essential instruments for the uplifting of the race while establishing the role of women as supporters of the race, particularly through motherhood.1 Amy Jacques Garvey, the second wife of Marcus Garvey and the second-most important person of the UNIA, would become a leading feminist figure within the male-dominated organization, promoting women to the forefront of the black nationalist struggle.