Explorations in Ethnic Studies
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Steve Cropper | Primary Wave Music
STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band. -
Celebrating Twenty-Five Years of Fine Writers H
Celebrating Twenty-Five Years of Fine Writers h Sherman Alexie 3/27 Jon Meacham 9/12 A. S. Byatt 11/12 Belle Boggs 1/16 James Dodson 10/14 Isabel Wilkerson 2/20 Martin Marty 9/13 Lou Berney 11/21 Junot Diaz 10/16 Joseph Bathanti 3/6 Mary Pope Osborne 4/5 VisitingWriters.LR.edu A Note from the Director s a visual artist, photographer, 2013–2014 VisitiNG and filmmaker, I have learned that WRITERS SERIES n our experience with the Visiting Writers Series, luck we foster communication when we STEERING COMMITTEE is not just random chance. It is an act of generosity from bring our stories together. When people who care about making a positive impact on the we take the time to read, to dare Chair SALLY FANJOY culture and emotional well-being of our community. The to be present with our neigh - Series Director RAND BRANDES gifts that we have received have made us feel very lucky bors, and to listen to differing Series Consultant LISA HART Iover the past twenty-five years. We were lucky that when we points of view, we are en - Student Asst. ABIGAIL MCREA presented the initial idea to start the Series to Dr. Robert riched and enlightened. Student Asst. MADISON TURNER Luckey Spuller, then Dean of Lenoir-Rhyne “College,” that We are transformed by fresh thoughts and new TONY ABBOTT he saw its potential and supported it the first year and for Aperspectives. ¶ The Lenoir-Rhyne Visiting Writers MARY HELEN CLINE years to come. We were lucky that subsequent university Series engages a wide spectrum of the community, LAURA COSTELLO Administrations continued to see the value of the Series, promotes civic discourse, creates opportunity for SANDRA DEAL which enabled us to enhance the Series and the cultural and people to come together and to hear new ideas and MIKE DUGAN educational experiences of our students. -
The Daily Egyptian, April 22, 1974
Southern Illinois University Carbondale OpenSIUC April 1974 4-22-1974 The aiD ly Egyptian, April 22, 1974 Daily Egyptian Staff Follow this and additional works at: http://opensiuc.lib.siu.edu/de_April1974 Volume 55, Issue 147 Recommended Citation , . "The aiD ly Egyptian, April 22, 1974." (Apr 1974). This Article is brought to you for free and open access by OpenSIUC. It has been accepted for inclusion in April 1974 by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. ~. .. 113gyptian The eclectic world of Darwin Payne 'Magazine Southern Illinois University Quiet ' Renaissance man' at work In SID theater By Julie TiloDe see is London , a place many find Staff Writer refreshingly " small-town." New York, despite Payne's a version to A university is often that proverbial it, still has Broadway to lure the young backyard where really important things stage designer. But Payne contends that are overlooked. Important things, and a newcomer's chances aren't very good important people. Tucked away into there, since the union is very exclusive each departmental nook of the campus and Broadway just doesn 't provide that are men and women whose outstanding much work .,. reputations aren't recognized by the The west coast. with its film and community outside, and sometimes television industries. offers more job inside, that department. opportunities for the designer. But Darwin Pa yne is a case in pOint. Payne is qwck to note the difference in Payne . an associate professor of the kind of work available in those theater. has an established national media. -
The Chicano Movement
The Chicano Movement By Fawn-Amber Montoya, Ph.D. The Chicano Movement represented Mexican Americans’ fight for equal rights after the Second World War. The rights that they desired included equality in education and housing, representation in voting, equal conditions in labor, and the recognition and celebration of their ethnic heritage. The Chicano Movement includes leaders such as Cesar Chavez, United Farm Workers (UFW) who worked to achieve better sanitation and wages for farm workers. Chavez advocated non violent action as the best method of achieving the goals of the UFW. He encouraged striking, boycotting, and marching as peaceful methods to achieve one’s goals. While the UFW was formed in California Chavez encouraged and participated in boycotts and strikes throughout the Southwestern United States. In New Mexico, Reyes Lopez Tijerina fought to regain lands that had been taken from Hispanics after the Mexican-American War. Tijerina believed that if the government and Anglo land owners failed to return lands unlawfully or unethically taken from Mexican Americans after the war in 1848, then Chicanos should use force. In Texas, Jose Angel Gutierrez assisted in the formation of La Raza Unida party which encouraged Mexican Americans to participate in voting, and to run for local, state, and national positions of leadership. La Raza Unida brought together Chicanos throughout the Southwest, but was most successful in Crystal City Texas, where the party was successful in electing local Chicanos to the school board. Rudulfo “Corky “ Gonzalez assisted in establishing the Crusade for Justice in Colorado. The Crusade aided high school and university students in gaining more representation at Colorado universities and establishing Chicano Studies courses and programs in high schools and universities. -
Representations: Doing Asian American Rhetoric
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@USU Utah State University DigitalCommons@USU All USU Press Publications USU Press 2008 Representations: Doing Asian American Rhetoric LuMing Mao Morris Young Follow this and additional works at: https://digitalcommons.usu.edu/usupress_pubs Part of the Rhetoric and Composition Commons Recommended Citation Mao, LuMing and Young, Morris, "Representations: Doing Asian American Rhetoric" (2008). All USU Press Publications. 164. https://digitalcommons.usu.edu/usupress_pubs/164 This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in All USU Press Publications by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. REPRESENTATIONS REPRESENTATIONS Doing Asian American Rhetoric edited by LUMING MAO AND MORRIS YOUNG UTAH STATE UNIVERSITY PRESS Logan, Utah 2008 Utah State University Press Logan, Utah 84322–7800 © 2008 Utah State University Press All rights reserved Manufactured in the United States of America Cover design by Barbara Yale-Read Cover art, “All American Girl I” by Susan Sponsler. Used by permission. ISBN: 978-0-87421-724-7 (paper) ISBN: 978-0-87421-725-4 (e-book) Library of Congress Cataloging-in-Publication Data Representations : doing Asian American rhetoric / edited by LuMing Mao and Morris Young. p. cm. ISBN 978-0-87421-724-7 (pbk. : alk. paper) -- ISBN 978-0-87421-725-4 (e-book) 1. English language--Rhetoric--Study and teaching--Foreign speakers. 2. Asian Americans--Education--Language arts. 3. Asian Americans--Cultural assimilation. -
WHAT IS Mecha
The official national symbol of MEChA is an eagle holding a machete-like weapon and a stick of dynamite. WHAT IS MEChA The acronym MEChA stands for "Movimiento Estudiantil Chicano de Aztlan." or "Chicano Student Movement of Aztlan." MEChA is an Hispanic separatist organization that encourages anti-American activities and civil disobedience. The radical members of MEChA who refer to themselves as "Mechistas," romanticize Mexican claims to the "lost Territories" of the Southwestern United States -- a Chicano country called Aztlan. In its national constitution, MEChA calls for self-determination by its members to liberate Aztlan. MEChA's national constitution starts out: "Chicano and Chicana students of Aztlán must take upon themselves the responsibilities to promote Chicanismo within the community, politicizing our Raza with an emphasis on indigenous consciousness to continue the struggle for the self-determination of the Chicano people for the purpose of liberating Aztlán." These anti-American "Mechistas" live with the false illusion that they are being racially discriminated against because they are Latinos while totally dismissing the idea that maybe it is their ideology that is being discriminated against. At the MEChA National Conference on March 15 - 18, 2001, the official "MEChA Philosophy" was ratified. An excerpt from the document states: "as Mechistas, we vow to work for the liberation of Aztlan." The MEChA Clubs on each of the Santa Barbara high school campuses are not the only ones. MEChA groups exist on 90 percent of the public high school, college and university campuses in the Southwestern United States. WHAT IS AZTLAN? The myth of Aztlan can best be explained by California's Santa Barbara School District's Chicano Studies textbook, "The Mexican American Heritage" by East Los Angeles high school teacher Carlos Jimenez. -
RACE and the NEWS Coverage of Martin Luther King Day and Dia De Los Muertos in Two California Dailies
RACE AND THE NEWS Coverage of Martin Luther King Day and Dia de los Muertos in two California dailies Regina M. Marchi News coverage of multicultural celebrations has been categorized as stereotypical and apolitical*portraying racial minorities in festive, non-threatening ways that appeal to Anglo audiences without challenging the political system that oppresses people of color. Analyzing 10 years of Martin Luther King Day and Day of the Dead celebration coverage in the Los Angeles Times and the San Francisco Chronicle, this paper concludes that a significant number of celebration stories discuss serious political issues affecting people of color in ways that contradict the assumptions of racial equality and peaceful coexistence generally associated with multi- cultural projects. Because of the ‘‘sphere of consensus’’ status of these ‘‘soft’’ news stories, non-elite sources and oppositional perspectives are prominent in ways that are not typical of ‘‘hard’’ political news. KEYWORDS multiculturalism; non-elite sources; public rituals; race in the news; racial stereotypes; soft news; sphere of consensus Introduction News coverage of multicultural celebrations is widely considered to be apolitical because of its focus on children, family entertainment, and ‘‘exotic’’ cultural performances that stand out from the everyday conventions of mainstream Anglo Americans. Such news falls within the journalistic realm of the ‘‘sphere of consensus,’’ which Dan Hallin defines as ‘‘the region of motherhood and apple pie: in its bounds lie those social objects not regarded by journalists and by most of the society as controversial’’ (1994, p. 53). Typically accompanied by photos, news on ethnic festivals such as Chinese New Year, Native American pow-wows, or Cinco de Mayo has evolved from relatively rare (pre-1980s)1 to routine fare at newspapers across the United States. -
Table of Contents
Number 9 Summer, 1989 Table of Contents Davi d Abalos. Latinos in the United States, reviewed by Luis L. �n� .............. ............................................... 1 Kofi Awoonor. Until the Mo rning After: Collected Poems, 1963-1985, reviewed by Charlotte Bruner ................. .......... ...... ... 3 Peter Balakian. Reply from Wilderness Is land, reviewed by Margaret Bedrosian ........................ ....... .................... ... ... 5 Bernard W. Bell. The Afro-A merican No vel and Its Tradition, reviewed by Doris J. Davenport ........... ........ ..... ... ....... ...... .. 6 Irene I. Blea, To ward a Chicano Social Science, reviewed by Glen M. Kraig ..... .......................... ... ........ ...... .... ..... ... 8 Beth Brant. Mo hawk Trail, reviewed by Helen J askoski ......... ... 9 Jennifer S.H. Brown and Robert Brightman. "The Orders of the Dreamed": George Nelson on Cree and Northern Ojibwa Religion and My th, 1823, reviewed by Kenneth M. Morrison . .... ....... .... ..... ... ... 10 Joseph Bruchac, ed. Survival This Way: Interviews with American Indian Poets, reviewed by Kristin Herzog ...... ........ ..... .... 11 Marilyn Chin. Dwarf Bamboo, reviewed by C.L. Chua ....... .. 13 Lucha Corpi. Delia's Song, reviewed by La Verne Gonz�lez ... ... 14 D. L. Crockett-Smith. Cowboy Amok, reviewed by Alan Spector .... 17 W. Grant Dalstrom, David Lachar, and Leona E. Dahlstrom. MMPI Patterns of American Minorities, reviewed by David McBride . .... 18 James P. Danky and Maureen E. Hady, eds. Native American Periodicals and Newspapers, 1828·1982, reviewed by Donald L. Guimary 20 Ella Cara Deloria. Waterlily, reviewed by Franchot Ballinger ... 22 Ronald D. Dennis. The Call of Zion: The Story of the First Welsh Mo rmon Emigration, reviewed by Phillips G. Davies . ........... 23 Leoncio P. Deriada. The Dog Eaters and Other Plays, reviewed by Glen M. Kraig ...................... .......... ................ .... ... 24 Marina E. -
Muscle Shoals Sound Records
WHO'S WHO AT MUSCLE SHOALS SOUND RECORDS 1000 Alabama Avenue, P.O. Box 915, Sheffield, Ala. 35660 (205) 381-9200 Muscle Shoals Sound Records was more or less the natural extension of what had become one of the most successful production organizations in the business. The four principals of the production company, Jimmy Johnson, Barry Beckett, David Hood and Roger Hawkins made up what became the legendary "Muscle Shoals Rhythm Section". Jimmy and Roger met while playing in local bands at school dances and clubs along the state line. They were later members of an early 60's group called the Delrays. At the same time David Hood was playing in a group called the Mystics. Johnson was the first to move into studio work when he began working with producer Rick Hall as an engineer and their session guitarist. By 1964 Jimmy and Roger were working regularly at Fame Studios with the occasional assistance of David Hood, when Hood could get away from his father's tire store a block and a half away from the studio. In 1966 Hawkins and Johnson played on their first million seller, "When A Man Loves A Woman" by Percy Sledge. In 1967 Barry Beckett came to Muscle Shoals to cut "I'm Your Puppet" by James and Bobby Purify. It was about that time that Spooner Oldham, the Muscle Shoals keyboard player, decided to move to Mem- phis. Shortly thereafter, Barry Becket and his family came to Muscle Shoals and the Rhythm Section was formed. By the late 1960's there were 3 studios in Muscle Shoals and the Rhythm Section was working at all of them. -
Art for La Causa
Art for La Causa The civil rights era of the 1960s, in which marginalized groups demanded equal rights, dramatically altered American society. Galvanized by the times in which they lived, Latino artists became masters of socially engaged art, challenging prevailing notions of American identity and affirming the mixed indigenous, African, and European heritage of Latino communities. Many artists reinvigorated mural and graphic traditions in an effort to reach ordinary people where they lived and worked. Whether energizing genres like history painting, or creating activist posters or works that penetrated bicultural experiences, Latino artists shaped and chronicled a turning point in American history. The Latino Civil Rights movement began around the same time as the African American Civil Rights movement during the 1960s. The Latino community founds its voice in civil rights activist Cesar Chavez in their quest for equality. Chavez, inspired by Gandhi and Martin Luther King Jr., implemented peaceful protest strategies in the effort to expand civil and labor rights for Latinos. The marches, strikes, and fasts that Chavez and others employed aided in raising awareness of unfair labor practices, such as low wages and poor working conditions facing the Latino community. These issues became compelling motivation for Latino artists to use their talents to raise awareness and engage others for La Causa. Their artwork, which began as an expression of public art forms, fueled ongoing political activism and a greater sense of cultural pride. Political banners and posters carried during marches and protests were some of the first art forms of the movement. While Emanuel Martinez’s Farm Workers Altar is an excellent example of early public art of the movement, Carmen Lomas Garza’s Camas para Sueños exudes cultural pride in depicting a scene of everyday life in a Mexican American family. -
Reconsidering the Relationship Between New Mestizaje and New Multiraciality As Mixed-Race Identity Models1
Reconsidering the Relationship Between New Mestizaje and New Multiraciality as Mixed-Race Identity Models1 Jessie D. Turner Introduction Approximately one quarter of Mexican Americans marry someone of a different race or ethnicity— which was true even in 1963 in Los Angeles County—with one study finding that 38 percent of fourth- generation and higher respondents were intermarried.1 It becomes crucial, therefore, to consider where the children of these unions, a significant portion of the United States Mexican-descent population,2 fit within current ethnoracial paradigms. As such, both Chicana/o studies and multiracial studies theorize mixed identities, yet the literatures as a whole remain, for the most part, non-conversant with each other. Chicana/o studies addresses racial and cultural mixture through discourses of (new) mestizaje, while multiracial studies employs the language of (new) multiraciality.3 Research on the multiracially identified population focuses primarily on people of African American and Asian American, rather than Mexican American, backgrounds, whereas theories of mestizaje do not specifically address (first- and second- generation) multiracial experiences. In fact, when I discuss having parents and grandparents of different races, I am often asked by Chicana/o studies scholars, “Why are you talking about being multiracial as if it were different from being mestiza/o? Both are mixed-race experiences.” With the limitations of both fields in mind, I argue that entering these new mixed-identity discourses into conversation through an examination of both their significant parallels and divergences accomplishes two goals. First, it allows for a more complete acknowledgement and understanding of the unique nature of multiracial Mexican-descent experiences. -
American Book Awards 2004
BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre.