Pride, Beats and Poetry: Η Μουσική Το Μέσο, Η Απελευθέρωση Ο Σκοπός
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Ronnie Scott's Jazz C
GIVE SOMEONE THE GIFT OF JAZZ THIS CHRISTMAS b u l C 6 z 1 0 z 2 a r J e MEMBERSHIP TO b s ’ m t t e c o e c D / S r e e i GO TO: WWW.RONNIESCOTTS.CO.UK b n m e OR CALL: 020 74390747 n v o Europe’s Premier Jazz Club in the heart of Soho, London ‘Hugh Masekela Returns...‘ o N R Cover artist: Hugh Masekela Page 36 Page 01 Artists at a Glance Tues 1st - Thurs 3rd: Steve Cropper Band N Fri 4th: Randy Brecker & Balaio play Randy In Brasil o v Sat 5th: Terence Blanchard E-Collective e Sun 6th Lunch Jazz: Atila - ‘King For A Day’ m b Sun 6th: Ronnie Scott’s Jazz Orchestra e Mon 7th - Sat 12th: Kurt Elling Quintet “The Beautiful Day” r Thurs 10th: Late Late Show Special: Brandee Younger: A Tribute To Alice Coltrane & Dorothy Ashby Sun 13th Lunch Jazz: Salena Jones & The Geoff Eales Quartet Sun 13th: Dean Brown - Rolajafufu The Home Secretary Amber Rudd came up with Mon 14th - Tues 15th : Bettye LaVette Wed 16th - Thurs 17th : Marcus Strickland Twi-Life a wheeze the other day that all companies should Fri 18th - Sat 19th : Charlie Hunter: An Evening With publish how many overseas workers they employ. Sun 20th Lunch Jazz: Charlie Parker On Dial: Presented By Alex Webb I, in my naivety, assumed this was to show how Sun 20th: Oz Noy Mon 21st: Ronnie Scott’s Blues Explosion much we relied upon them in the UK and that a UT Tues 22nd - Wed 23rd: Hugh Masekela SOLD O dumb-ass ban or regulated immigration system An additional side effect of Brexit is that we now Thurs 24th - Sat 26th: Alice Russell would be highly harmful to the economy as a have a low strength pound against the dollar, Sun 27th Lunch Jazz: Pete Horsfall Quartet whole. -
Objectivity, Interdisciplinary Methodology, and Shared Authority
ABSTRACT HISTORY TATE. RACHANICE CANDY PATRICE B.A. EMORY UNIVERSITY, 1987 M.P.A. GEORGIA STATE UNIVERSITY, 1990 M.A. UNIVERSITY OF WISCONSIN- MILWAUKEE, 1995 “OUR ART ITSELF WAS OUR ACTIVISM”: ATLANTA’S NEIGHBORHOOD ARTS CENTER, 1975-1990 Committee Chair: Richard Allen Morton. Ph.D. Dissertation dated May 2012 This cultural history study examined Atlanta’s Neighborhood Arts Center (NAC), which existed from 1975 to 1990, as an example of black cultural politics in the South. As a Black Arts Movement (BAM) institution, this regional expression has been missing from academic discussions of the period. The study investigated the multidisciplinary programming that was created to fulfill its motto of “Art for People’s Sake.” The five themes developed from the program research included: 1) the NAC represented the juxtaposition between the individual and the community, local and national; 2) the NAC reached out and extended the arts to the masses, rather than just focusing on the black middle class and white supporters; 3) the NAC was distinctive in space and location; 4) the NAC seemed to provide more opportunities for women artists than traditional BAM organizations; and 5) the NAC had a specific mission to elevate the social and political consciousness of black people. In addition to placing the Neighborhood Arts Center among the regional branches of the BAM family tree, using the programmatic findings, this research analyzed three themes found to be present in the black cultural politics of Atlanta which made for the center’s unique grassroots contributions to the movement. The themes centered on a history of politics, racial issues, and class dynamics. -
224187395.Pdf
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition Revue de recherche en civilisation américaine 1 | 2009 Varia La musique rap comme forme de résistance ? David Diallo Édition électronique URL : http://journals.openedition.org/rrca/80 ISSN : 2101-048X Éditeur David Diallo Référence électronique David Diallo, « La musique rap comme forme de résistance ? », Revue de recherche en civilisation américaine [En ligne], 1 | 2009, mis en ligne le 12 mai 2009, consulté le 19 avril 2019. URL : http:// journals.openedition.org/rrca/80 Ce document a été généré automatiquement le 19 avril 2019. © Tous droits réservés La musique rap comme forme de résistance ? 1 La musique rap comme forme de résistance ? David Diallo 1 Dans Blues People, un ouvrage publié en 1963, l’écrivain et essayiste LeRoi Jones souligne les indéterminations que cette musique suscite régulièrement. Il écrit : “It is impossible to say simply, « Slavery created blues », and be done with it-or at least it seems almost impossible to make such a statement and sound intelligent saying it.” (Jones 1963, p.50). Ce commentaire, s’il fut formulé pour rétablir certaines interprétations réductrices concernant le blues, vaut également pour quelques-unes des descriptions exprimées de nos jours au sujet de la musique rap. Tout comme ceux qui ont réduit le blues à un simple produit de l’esclavage où qui en ont fait une « musique du diable » (Pearson and McCulloch 2003), nombreux sont les auteurs de travaux sur la musique rap qui ont fréquemment réduit cette musique à une simple expression de résistance engendrée par l’oppression structurelle subie par une partie la communauté noire. -
Matias Corbett Garcez Gil Scott-Heron: a Black Bullet
MATIAS CORBETT GARCEZ GIL SCOTT-HERON: A BLACK BULLET THROUGH THE HEART OF WHITE AMERICA Florianópolis, 2015 2 3 MATIAS CORBETT GARCEZ GIL SCOTT-HERON: A BLACK BULLET THROUGH THE HEART OF WHITE AMERICA Tese de doutorado apresentada à Banca Examinadora do Programa de Pós-Graduação em Inglês do Centro de Comunicação e Expressão da Universidade Federal de Santa Catarina, como requisito parcial para a obtenção do título de Doutor em Estudos Culturais, linha de pesquisa Poéticas de Resistência, sob a orientação da Professora Doutora Maria Lúcia Milléo Martins. Florianópolis, 2015 Ficha de identificação da obra elaborada pelo autor, através do Programa de Geração Automática da Biblioteca Universitária da UFSC. Garcez, Matias Corbett Gil Scott-Heron: A Black Bullet Through The Heart Of White America / Matias Corbett Garcez ; orientadora, Maria Lúcia Milléo Martins - Florianópolis, SC, 2015. 292 p. Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós Graduação em Literatura. Inclui referências 1. Literatura. 2. Gil Scott-Heron. 3. Poéticas de Resistência . 4. Contra-narrativas . 5. FonoFicção. I. Milléo Martins, Maria Lúcia. II. Universidade Federal de Santa Catarina. Programa de Pós-Graduação em Literatura. III. Título. 6 7 Dedicated to my wife and love, Cristiane, and my son, Ravi. 8 9 ACKNOWLEDGMENTS I would like to thank CNPQ and Projeto de Extensão: Cursos Extracurriculares for the financial support granted throughout my studies. I would also like to thank Professor Maria Lúcia Milléo Martins for accepting me as her advisee, and for all the guidance and support during my research. I would also like to express my gratitude to my family, who gave me a lot of support, love, and motivation. -
The Joyful Sounds of Being Your Own Black Self
THE JOYFUL SOUNDS OF BEING YOUR OWN BLACK SELF By AMIR ASIM GILMORE A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY Department of Teaching & Learning MAY 2019 © Copyright by AMIR ASIM GILMORE, 2019 All Rights Reserved © Copyright by AMIR ASIM GILMORE, 2019 All Rights Reserved To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of AMIR ASIM GILMORE find it satisfactory and recommend that it be accepted. Pamela Jean Bettis, Ph.D., Chair Paula Groves Price, Ph.D. John Joseph Lupinacci, Ph.D. Anthony Gordon Rud Jr., Ph.D. Francene T. Watson, Ph.D. ii ACKNOWLEDGMENT This project has truly been a labor of love, as it takes a village to write a dissertation. I would first like to thank my parents. Without them, none of this would be possible. I would like to thank my dad, Cleveland Gilmore for inviting me into the Black Study through jazz. It is through jazz, I developed the identity of being an Edtiste. I would like to thank my mom, Rosita Faulkner, for showing me how to refuse and what mundane refusal looks like as a daily practice. It was her refusal that helped guide me away from doing traditional social science research. How dope is it to say that your parents made the dissertation? Very dope! While the academy might recognize and acknowledge me as the first Ph.D. in my family, my mom and dad will always be the first doctors in my eyes. -
“New York Is a State of Mind”: Race, Marginalization, and Cultural Expression In
“New York is a State of Mind”: Race, Marginalization, and Cultural Expression in Postwar New York City by Jordan Brenner A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Arts in History Waterloo, Ontario, Canada, 2011 Jordan Brenner 2011 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii ABSTRACT While the urban crisis debate has expanded to examine a variety of American cities, the general exploration of how African Americans have responded to, and challenged, racial and urban inequality remains focused on grassroots political and community activism. This account of postwar New York City seeks to examine how structural discrimination created racial inequality, how African Americans suffered from a complex system of social consequences that further marginalized them, and how a politically conscious art form emerged from the destitution of the urban crisis. As illustrated through Robert Merton’s theory of Anomie, restricted opportunity for social and economic advancement created an environment vulnerable to crime. Not only were African American neighbourhoods susceptible to crime, but the conservative agenda tended to demonize African Americans as dangerous criminals, targeting them in the rise of mass incarceration. Resources were funneled into imprisoning more people, and African Americans were disproportionately represented in the American corrections system. As a result of this, African Americans were consistently excluded from certain jobs and denied basic civil rights. -
CONGRESSIONAL RECORD— Extensions of Remarks E564 HON
E564 CONGRESSIONAL RECORD — Extensions of Remarks March 30, 2011 THE HAMP TERMINATION ACT OF On Sunday, March 27, 2011, Harlem’s be- America and influence the world through the 2011 loved National Black Theater hosted and spoken word of the ‘‘Legendary Last Poets.’’ joined the community of Black Diasporan Artist f SPEECH OF and Poets to celebrate and honor the legacy of Abiodun Oyewole and his most prized insti- HONORING VIETNAM VETERAN HON. ERIC CANTOR DOCKIE BRENDLE FOR HIS SERV- OF VIRGINIA tution, ‘‘Open House Sundays @ 110 ICE AND SACRIFICE IN THE IN THE HOUSE OF REPRESENTATIVES Morningside Drive,’’ a true rendition of free art, VIETNAM WAR Tuesday, March 29, 2011 expression, and family love. Abiodun Oyewole, a founding member of The House in Committee of the Whole the legendary and original spoken word group, HON. HEATH SHULER House on the State of the Union had under The Last Poets, has for over 30 years opened OF NORTH CAROLINA consideration the bill (H.R. 839) to amend the his apartment every Sunday, feeding his fellow Emergency Economic Stabilization Act of IN THE HOUSE OF REPRESENTATIVES artists food for thought, body and soul. Sun- 2008 to terminate the authority of the Sec- Wednesday, March 30, 2011 retary of the Treasury to provide new assist- day’s participants would gather at Poets ance under the Home Affordable Modifica- Haven to celebrate each other, eat delicious Mr. SHULER. Mr. Speaker, I rise today to tion Program, while preserving assistance to foods, and gravitate to the elders. For many honor Specialist Fourth Class Dockie Brendle homeowners who were already extended an aspiring and renowned artists and poets, this for his valiant service and sacrifice during the offer to participate in the Program, either on is home, a place where one can help oneself Vietnam War. -
Rapping Islam: a Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States
Rapping Islam: A Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States Author Golpushnezhad, Elham Published 2017 Thesis Type Thesis (PhD Doctorate) School School of Humanities, Languages and Social Science DOI https://doi.org/10.25904/1912/2876 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366343 Griffith Research Online https://research-repository.griffith.edu.au Rapping Islam: A Comparative Study of Hip Hop Culture in Indonesia, Tunisia and the United States Elham Golpushnezhad BA, MA School of Humanities, Languages and Social Science Griffith Centre for Social and Cultural Research Arts, Education & Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of philosophy 30 January 2017 1 Abstract The thesis analyses Muslim youth hip hop cultures in three countries of Indonesia, Tunisia and the United States. Hip hop and its Islamic roots have often been mentioned by African-American hip hop pioneers and the Muslim hip hoppers in Muslim countries. Hip hop often represents marginal youths’ symbolic resistance against racism, police brutality and poverty in an American context. Its marriage to Islamic ideology creates a space for further research and investigation. The hip hop prophecies of liberty, hope and success together with Islamic standards and moral values of redemption, equality and promoting virtue and preventing vice1, have shaped vibrant youth scenes in post-Suharto Indonesia (1998 onwards), post- Ben Ali’s Tunisia (2011 onwards) and the United states in the time of Obama (2009-2017). The thesis is built on data from ethnographic fieldwork that was carried out for 13 months (July 2014-august 2015) in Indonesia, Tunisia and the United States. -
Dc5m United States Music in English Created at 2016-11-21 16:14
Announcement DC5m United States music in english 31 articles, created at 2016-11-21 16:14 articles set mostly positive rate 3.3 1 9.1 American Music Awards: Selena Gomez creates romantic speech (15.99/16) Image copyright Reuters Image caption 2016-11-21 00:00 3KB headlinenewstoday.net 2 2.6 'No Trump, no KKK, no fascist USA!' Green Day launched into political chant against president-elect during (6.74/16) AMAs gig 'No Trump, no KKK, no fascist USA,' Green Day's lead singer Billie Joe Armstrong chanted during a performance of their new single 'Bang Bang.' 2016-11-21 02:36 3KB www.dailymail.co.uk 3 1.7 AMAs red carpet sees Hailee Steinfeld dare to bare in plunging bedazzled playsuit (4.18/16) The Oscar-nominated actress, 19, wowed the crowd at the American Music Awards in Los Angeles' Microsoft Theater on Sunday night. 2016-11-21 07:19 2KB www.dailymail.co.uk 4 1.0 Kanye West cancels Sunday night's gig in Los Angeles (1.06/16) Kanye West delivered another public screed before abruptly ending his concert in Sacramento on Saturday. The rapper then canceled his Sunday night performance at the Forum in LA. 2016-11-21 00:42 3KB www.dailymail.co.uk 5 2.1 Kanye West rants about Beyoncé, Hillary Clinton and Mark Zuckerberg – video (1.03/16) Kanye West rants about Beyoncé, Jay Z, Hillary Clinton, ‘the press’ and Mark Zuckerberg before cutting his concert short in Sacramento 2016-11-21 05:34 1KB www.theguardian.com 6 0.6 Gigi Hadid brings supermodel style to AMAs with FIVE glamorous looks (1.03/16) The 21-year-old swapped out her looks five times during her hosting duties for this year's American Music Awards. -
Revue De Recherche En Civilisation Américaine, 1 | 2009 La Musique Rap Comme Forme De Résistance ? 2
Revue de recherche en civilisation américaine 1 | 2009 Varia La musique rap comme forme de résistance ? David Diallo Édition électronique URL : http://journals.openedition.org/rrca/80 ISSN : 2101-048X Éditeur David Diallo Référence électronique David Diallo, « La musique rap comme forme de résistance ? », Revue de recherche en civilisation américaine [En ligne], 1 | 2009, mis en ligne le 12 mai 2009, consulté le 19 avril 2019. URL : http:// journals.openedition.org/rrca/80 Ce document a été généré automatiquement le 19 avril 2019. © Tous droits réservés La musique rap comme forme de résistance ? 1 La musique rap comme forme de résistance ? David Diallo 1 Dans Blues People, un ouvrage publié en 1963, l’écrivain et essayiste LeRoi Jones souligne les indéterminations que cette musique suscite régulièrement. Il écrit : “It is impossible to say simply, « Slavery created blues », and be done with it-or at least it seems almost impossible to make such a statement and sound intelligent saying it.” (Jones 1963, p.50). Ce commentaire, s’il fut formulé pour rétablir certaines interprétations réductrices concernant le blues, vaut également pour quelques-unes des descriptions exprimées de nos jours au sujet de la musique rap. Tout comme ceux qui ont réduit le blues à un simple produit de l’esclavage où qui en ont fait une « musique du diable » (Pearson and McCulloch 2003), nombreux sont les auteurs de travaux sur la musique rap qui ont fréquemment réduit cette musique à une simple expression de résistance engendrée par l’oppression structurelle subie par une partie la communauté noire. Dans The Rise of Rap par exemple, James Bernard limite cette musique à sa dimension contestataire par un simple raisonnement analogique : The revolutionary ethos and rapsodic expressionism found in the poetry of today’s hard-core rappers shows the same attitude as the black-power black nationalism of Marcus Garvey, Elijah Muhammad, Malcolm X, Muhammad Ali, Stokeley Carmichael, H.Rap Brown, Angela Davis, Louis Farrakhan, and many other apostles of black liberation. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music: 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Hip-hop Music (These are excerpts from my book "A History of Rock and Dance Music") Generally speaking, the rule for hip-hop music of the 1990s was that behind every successful rap act there was a producer. Rap music was born as a "do it yourself" art in which the "message" was more important than the music. During the 1990s, interest in the lyrics declined rapidly, while interest in the soundscape that those lyrics roamed increased exponentially. The rapping itself became less clownish, less stereotyped, less macho, and much more psychological and subtle. In fact, rappers often crossed over into singing. Hip-hop music became sophisticated, and wed jazz, soul and pop. Instrumental hip-hop became a genre of its own, and one of the most experimental outside of classical music. East-Coast rap TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The most significant event of the early 1990s was probably the advent of Wu-Tang Clan (1), a loose affiliation of rappers, including Gary "Genius/GZA" Grice, Russell "Ol' Dirty Bastard" Jones, Clifford "Method Man" Smith and Dennis "Ghostface Killah" Coles, "conducted" (if the rap equivalent of a classical conductor exists) by Robert "RZA" Diggs, the musical genius behind Enter the Wu-Tang (1993), a diligent tribute to old-school rap. -
Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry
Claremont Colleges Scholarship @ Claremont CGU Theses & Dissertations CGU Student Scholarship Fall 2019 A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry Anthony Blacksher Follow this and additional works at: https://scholarship.claremont.edu/cgu_etd Part of the African American Studies Commons, Africana Studies Commons, American Literature Commons, American Popular Culture Commons, Critical and Cultural Studies Commons, Ethnic Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Inequality and Stratification Commons, Poetry Commons, Race and Ethnicity Commons, Social History Commons, Sociology of Culture Commons, Television Commons, and the United States History Commons Recommended Citation Blacksher, Anthony. (2019). A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry. CGU Theses & Dissertations, 148. https://scholarship.claremont.edu/cgu_etd/148. doi: 10.5642/cguetd/148 This Open Access Dissertation is brought to you for free and open access by the CGU Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in CGU Theses & Dissertations by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. A Matter of Life and Def: Poetic Knowledge and the Organic Intellectuals in Russell Simmons Presents Def Poetry By Anthony Blacksher Claremont Graduate University 2019 i Copyright Anthony Blacksher, 2019 All rights reserved ii Approval of the Dissertation Committee This dissertation has been duly read, reviewed, and critiqued by the Committee listed below, which hereby approves the manuscript of Anthony Blacksher as fulfilling the scope and quality requirements for meriting the degree of doctorate of philosophy in Cultural Studies with a certificate in Africana Studies.