Toshi Reagon & Biglovely
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View the Program Book for How I Got Over
A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead. -
GA 2010 24.Indd
_____________________________________ ____________________ ____________________ __________________________ ___________ ____________________ ____________________ __________________________ ___________ _ _ __________________ _ _ __________________ _ _ _________________ _ _ __________________ _ _ __________________ _ _ __________________ _ _ __________________ _ Its Heritage and Its Promise ___________________ _ ____________________ ____________________ ___________________Georgia: _ ____________________ ___________________ _ _______________________________________600 _ ____________________ _ _ __________________ _ _ __________________ _ _ __________________ _ _ __________________ 601 _ _ __________________ _ _ __________________ _ _ __________________ rst century, rst _ _ __________________ _ _ __________________ _ _ __________________ _ _ __________________ is was a time of Th _ _ __________________ Modern Georgia nal transformation nal _ _ __________________ _ _ _________________ _ _ __________________ Unit VII: ____________________ ________ __________ of the twenty-fi rst nine years _ _ _ __________________ _ _ __________________ is period saw the fi ciency to education. Georgia was once _ _ __________________ _ _ __________________ _ _ __________________ was movement e nonviolent met with massive _ _ __________________ _ _ __________________ metropolitan Atlanta’s population increased by almost 30 percent. increased by population metropolitan Atlanta’s Since 1950, metropolitan Atlanta has grown from a population of just from a population Since 1950, metropolitan Atlanta has grown _ _ __________________ _ _ __________________ under 1 million to almost 6 million, making it one of the fastest-growing under 1 million to _ _ __________________ _ _ __________________ cities in the United States. In just the fi States. cities in the United _ _ __________________ _ _ __________________ _ _ __________________ _ _ __________________ elds were Georgia born and raised. Th __________________________ ects of growth brought challenges. -
Graduate Student Advocate, December 1993, Vol. 5, No. 6
City University of New York (CUNY) CUNY Academic Works The Advocate Archives and Special Collections 12-1993 Graduate Student Advocate, December 1993, Vol. 5, No. 6 How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_advocate/50 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] THE CITY UNIVERSITY OF NEW GRADUATE STUDENT Volume 5, No. 6 December 1993 Free ~~g~?!~~d Student Support for Yomi Falters and Christina Pretto his GRE score was substandard, and told him to get OF THE ADVOCATE STAFF a second master's degree in economics. After Yomi receiv~d a ma_ster's degree from City College, While several student groups have rallied behind Grossman adrmtted him to the program. Michael Yomi, a second level economics student Grossman h.as denied Yomi' s charges of racism in who has refused to take the department's first exam the department, and said that once Yomi was admit on grounds of_racial bias, their momentum appears ted to the program, he was "treated like any other to have lost steam as Yomi has yet to offer a solution student." to the administration. Many groups at the graduate center have rallied .Over the summer, Yorn) was notified that he was to Yomi's support. As early as September,the Doc bemg terminated from the program because he had toral Studen~ Counc~l, while citing no specific ex not t~ken the fir~t exam. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
Presentation with Pomegranate Arts, Is the Last Time Taylor Mac Will Perform the Full 24-Hour Work in the U.S
Tweet it! Experience history like never before in #TaylorMac “A 24-DECADE HISTORY OF POPULAR MUSIC” at #PIFA2018 June 2 (Part I) and June 9 (Part II) at the @KimmelCenter. Tickets on sale now! More info @ kimmelcenter.org/pifa Press Contacts: Monica Robinson Rachel Goldman 215-790-5847 267-765-3712 [email protected] [email protected] KIMMEL CENTER ANNOUNCES LOCAL ARTISTS WHO WILL PERFORM WITH MACARTHUR GENIUS TAYLOR MAC IN MAC’S GROUNDBREAKING POP ODYSSEY A 24-DECADE HISTORY OF POPULAR MUSIC DURING THE 2018 PHILADELPHIA INTERNATIONAL FESTIVAL OF THE ARTS Philadelphia Engagement, June 2 & 9 at the Kimmel Center, In A Co- Presentation with Pomegranate Arts, Is the Last Time Taylor Mac Will Perform the Full 24-Hour Work in the U.S. “ONE OF THE GREAT EXPERIENCES OF MY LIFE.” – THE NEW YORK TIMES “A MUST-SEE FOR ANYONE WHO WANTS TO SEE A KINDER, GENTLER SOCIETY.” – THE HUFFINGTON POST “THE COMMANDING MAC IS A GENUINE LEADER OF OUR TIMES.” – TIME OUT FOR IMMEDIATE RELEASE (Philadelphia, PA, May 14, 2018) –– The Kimmel Center for the Performing Arts, in a co-presentation with Pomegranate Arts, is thrilled to announce the special guest artists who will perform in Taylor Mac’s ambitious, internationally acclaimed work A 24-DECADE HISTORY OF POPULAR MUSIC. Local Philadelphia performance artists and musicians will join Mac in these final U.S. performances of the full, 24-hour-long pop odyssey, June 2 & 9 at the Kimmel Center’s Merriam Theater, as part of the 2018 Philadelphia International Festival of the Arts (PIFA). Mac will perform A 24- DECADE HISTORY OF POPULAR MUSIC as two distinct 12-hour concerts, Saturday, June 2 (1776-1896) and Saturday, June 9 (1896-present day) — Mac’s longest continuous performances since the work premiered at St. -
Parable of the Sower Created by Toshi Reagon and Bernice Johnson Reagon
Octavia E. Butler’s Parable Of The Sower Created By Toshi Reagon and Bernice Johnson Reagon WHAT TO KNOW BEFORE THE SHOW Design for Sharing Demonstration Performance UCLA Royce Hall March 6, 2020 ABOUT THE PERFORMANCE The company is a unique collective of artists whose Octavia E. Butler’s Parable of the Sower Created by Toshi Reagon and Bernice Johnson Reagon Based on the novels Parable of the Sower and Parable of the Talents by Octavia E. Butler, this genre-defying work of theater features a powerhouse ensemble of 20 singers, actors, and musicians. It harnesses 200 years of black musical tradition to bring Butler’s acclaimed science fiction books to life in song. Written by singer, composer and producer Toshi Reagon in collaboration with her mother, Bernice Johnson Rea- gon (song leader, composer, scholar, social activist, and founder of Sweet Honey in the Rock), Parable of the Sower is a mesmerizing theatrical work of rare power and beauty. At this special performance for youth audiences, Toshi and members of the cast will perform selected songs from the production, as well as other songs connected to the themes of community and social action. About the Creators Toshi Reagon is a versatile singer-songwriter and producer, drawing on the traditions of uniquely American mu- sic: rock, blues, R&B, country, folk, spirituals and funk. Toshi has been performing since she was 17 years old. Her career really launched when Lenny Kravitz chose her, straight out of college, to open for him on his first world tour. Some of Toshi’s proudest moments include playing for her godfather Pete Seeger’s 90th birthday cele- bration at Madison Square Garden, and performing with the Freedom Singers at the White House, in a tribute to the music of the civil rights movement. -
A Building for All Seasons
Fall/Winter 2019 Fall/WinterFall A Building for All Seasons ... From the WCAA Director Dear Westerners, e hope you are in the midst of a joyous and holiday season. We are wrapping up a busy and impactful year here at the WCAA. W I am pleased to report Alumnae Weekend was a huge success this year. We had a great time and it was great fun to hear all the memo- ries being shared and watch new friendships being made. I hope you plan to come back home next year. Please also be on the watch for alumnae events near you. We encourage you to contact the WCAA office to plan a get-together in your area. We will be happy to attend and to help with all the planning. Mackenzie The Board of Trustees met three times this year. Each was an incredibly productive meeting. At all of them — but especially the last meeting in October — the Board spent a lot of time preparing for the sunset of the WCAA Inc. in 2024. As most of you are probably attuned to by now, I love quotes. Shortly after the last meeting, I saw this from an unknown author: A bird sitting in a tree is never afraid of the branch breaking, because its trust is not in the branch, but in its wings. It struck me as a powerful metaphor for what the Board is so faithfully doing. Our branch, the WCAA Inc. itself, will be changing form in 2024. Rightfully so, the Board spends their time not worrying about the branch, as the decision to close down was made years ago. -
Freedom Songs
OurStory: Students ‘Sit’ for Civil Rights Freedom Songs Parent Guide, page 1 of 2 Read the “Directions” sheets for step-by-step instructions. SUMMARY During this activity, you and your child will listen to some freedom songs on the Internet, and then make your own version of one of the songs. WHY During this activity, you and your child will use compassion and art awareness skills to listen thoughtfully to music and think about how it might have been used in some historic situations. These skills are useful for historical research and thinking about the personal and community meanings of songs today. TIME ■ 10 minutes to listen to songs ■ 10 minutes to sing along ■ 5 minutes for discussion ■ 5 minutes to make new lyrics for “This Little Light of Mine” ■ 10 minutes to record new lyrics RECOMMENDED AGE GROUP This activity will work best with children in kindergarten through fourth grade. CHALLENGE WORDS ■ boycott: to refuse to conduct business with a person, store, or organization, usually to express disapproval or to peacefully force changes ■ emotion: a state of feeling ■ nonviolent: a philosophy or strategy for change that opposes using violence ■ picket: to walk or stand in front of like a fence-post, often in protest ■ primary source: a historical document, photograph, or artifact written, created, or used by someone who experienced events at the time they took place ■ protest: public demonstration of disapproval ■ segregation: the practice of keeping people in separate groups based on their race or culture ■ sit-in: an act of sitting in the seats or on the floor of an establishment as a means of organized protest (see the images of boys sitting at lunch counter) OurStory: Students ‘Sit’ for Civil Rights Freedom Songs Parent Guide, page 2 of 2 GET READY ■ Read Freedom on the Menu together. -
Lizz Wright TOTAL DEVOTION the ACCLAIMED SINGER-SONGWRITER DISCUSSES HER ROOTS in GOSPEL MUSIC, HER LOVE of JAZZ and HER TRANSCENDENT NEW ALBUM
Lizz Wright TOTAL DEVOTION THE ACCLAIMED SINGER-SONGWRITER DISCUSSES HER ROOTS IN GOSPEL MUSIC, HER LOVE OF JAZZ AND HER TRANSCENDENT NEW ALBUM BY ALLEN MORRISON • PHOTOS BY JIMMY & DENA KATZ Lizz Wright at The Jazz Gallery in New York City, Oct. 8 singer,’” Wright explained. “I’ve always got n late February 2015, about a week before that Southern gospel-blues root thing on singer-songwriter Lizz Wright went into the it—I can’t get that off! It’s like a good kind of dirt, you know? Not a nasty dirt—a good studio to record her fifth album,Freedom kind in which you can grow stuff. I “I think, musically and personally, I & Surrender (Concord), her Volvo station stand right in the middle of America,” she reflected. “I know there are pieces of coun- wagon skidded across 300 yards of black ice on a try, folk, jazz, gospel, soul music and blues mountain curve near her North Carolina home, in what I do, but these styles don’t feel sepa- rate to me. They look like the collage of peo- and headed toward a 75-foot ravine. ple in my life who have taught me, loved, protected and influenced me.” On the Wright described this harrowing, “near- songs that demonstrate a new maturity and a downside, she added, “If you’re this eclec- death experience” in a recently published essay: hard-won sense of balance between the secular tic, you can be made to feel a bit homeless.” I softened my body and rested my hands in and the sacred. -
Introduction to Music of the Civil Rights
www.learningtogive.org Introduction to Music of the Civil Rights Era Go online to get the associated handouts, standards, and latest version of the lesson plan: https://www.learningtogive.org/units/music-civil- rights-era-1954-1968/introduction-music-civil-rights-era Students will understand why "freedom songs" became such an important motivating force during the Civil Rights Movement, 1954-1968. They will also see how important figures in the Civil Rights Movement contributed to the common good. Duration: Three Forty-Minute Class Periods Objectives: The learners will: summarize important ideas and events of the Civil Rights Movement and describe how men such as Malcolm X, Medgar Evers, Rosa Parks, and Martin Luther King, Jr. sacrificed for the benefit of the common good. recognize famous “freedom songs” representative of the Civil Rights Movement, 1954-68. describe the functions of “freedom songs” and the conditions under which these songs were performed. Materials: Freedom songs: Keep Your Eyes on the Prize, This Little Light of Mine, and We Shall Overcome Pencil and paper for taking notes Home Connection: Ask the students to talk to their parents and grandparents or other adult about the Civil Rights Era. How old were they at the time? Were they actively involved in any part of the movement? What were their thoughts, concerns, fears, etc.? What do they remember about the slave, folk, gospel and “freedom songs” such as We Shall Overcome and Blowin’ in the Wind? Do they remember any songs from this era that they can share? If they were activists during this era, would they be willing to share their experiences with the class? (As a teacher, make sure you speak and/or meet with the presenter before he/she speaks to the class. -
Freedom Songs Reading from AMERICAN EXPERIENCE
http://www.pbs.org/wgbh/amex/eyesontheprize/reflect/r03_music.html STORIES AND INTERVIEW OF BERNICE JOHNSON REAGAN What is interesting about the songs that end up as freedom songs is the fact that they function in the Movement as 'congregational' songs. Congregational songs are started by a songleader -- a songleader is different from a soloist. A soloist is someone who can execute the entire song. A songleader is someone who starts the song, and if that performance is successful, it is successful not only because of the prowess of the leader but because people who are located within the sound of that voice join in to raise the song into life. Masses of People Speaking Through Song Some of the songs are a structure into which there are lyric changes that document where that singing took place. It's very easy, if you're not aware, to miss the value of that documentation. Freedom songs are documents created by a collective voice (MEANING: MANY PEOPLE CREATED THE LYRICS NOT JUST ONE PERSON). Often when we think of masses of people we actually think of inarticulate people and we look for a speaker to let us know what is going on. During this Movement, the masses came singing and the songs they sang are essential documents. If you don't pay attention to the specificity of the songs they chose at a particular time, around a specific situation, you miss an opportunity to hear masses of people speak (MEANING: SONG LYRICS CAME FROM HOW PEOPLE WERE REACTING TO THINGS HAPPENING AROUND THEM AT THAT INSTANT). -
Building Multi-Racial Coalitions Through Women’S Culture the Roadwork Oral History and Documentary Project
ORAL HISTORY AND DOCUMENTARY PROJECT BUILDING MULTI-RACIAL COALITIONS THROUGH WOMEN’S CULTURE THE ROADWORK ORAL HISTORY AND DOCUMENTARY PROJECT IF YOU FEEL SOMETHING MISSING, IT IS PROBABLY THE SOUND OF YOUR OWN VOICE. The roots of contemporary social justice movements in the United States are deeply intertwined. THE ROADWORK ORAL HISTORY AND DOCUMENTARY PROJECT illuminates and documents these roots by telling the story of a multi- racial, cultural-political collaboration among musicians, artists, poets and organizers that existed from the late 1970s to the 1990s. Roadwork was a unique cultural organization founded by women with extensive leadership experience in black civil rights, progressive, women’s, global justice, anti-war, and lesbian-feminist movements. It was led by women of color, and aimed at nothing less than the transformation of consciousness and the creation of a global social justice movement. Founded in 1978 by Bernice Johnson Reagon and Amy Musical Retreat, and Roadwork’s own Sisterfire festival). Horowitz, Roadwork was created to “put women’s culture Independent producers and distributors built alternative on the road” through tours, festivals, concerts and leader- economic models that challenged the mainstream music ship. ROADWORK was born in a context of profound business. sexism. Misogyny in music and entertainment industries ROADWORK emerged at a time when the US was severely limited women promoters, recording engineers engaged in widespread covert intelligence operations and independent artists. Despite these obstacles, an both domestically (against civil rights and anti-war move- underground women’s culture (poets, visual artists, film- ments) and globally (in places like El Salvador, Nicara- makers and musicians) flourishedin the 1970s- 90s, finding gua, Honduras, Chile and the middle east).