African American History of Los Angeles
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Art Tatum Art Tatum Mp3, Flac, Wma
Art Tatum Art Tatum mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Art Tatum Country: US Released: 1950 MP3 version RAR size: 1282 mb FLAC version RAR size: 1131 mb WMA version RAR size: 1773 mb Rating: 4.2 Votes: 491 Other Formats: DXD TTA MP2 RA ASF WMA MIDI Tracklist A1 I Cover The Waterfront A2 Dancing In The Dark A3 Aunt Hagar's Blues A4 Blue Skies B1 Nice Work If You Can Get It B2 Willow, Weep For Me B3 Dardanella B4 I Gotta Right To Sing The Blues Credits Illustration – WG* Piano – Art Tatum Other versions Category Artist Title (Format) Label Category Country Year H-216 Art Tatum Art Tatum (10") Capitol Records H-216 US 1950 LCA 216 Art Tatum Art Tatum (10") Telefunken Capitol LCA 216 Germany Unknown CCF 216 Art Tatum Art Tatum (3x7", Album) Capitol Records CCF 216 US 1950 T-216 Art Tatum Art Tatum (LP) Capitol Records T-216 Germany Unknown H-216 Art Tatum Art Tatum (10") Capitol Records H-216 Canada 1950 Related Music albums to Art Tatum by Art Tatum Art Tatum - This Is...Art Tatum The Art Tatum • Ben Webster Quartet Featuring Red Callender And Bill Douglass - The Art Tatum • Ben Webster Quartet Art Tatum - Art Tatum Discoveries Art Tatum - Capitol Jazz Classics Volume 3 - Art Tatum Solo Piano Art Tatum - The Complete Capitol Recordings Of Art Tatum Art Tatum - Tatum Is Art - Art Tatum Trio Art Tatum - All Star Tribute to Tatum Art Tatum - Gene Norman Presents Art Tatum at the Piano - Volume 1 Art Tatum - The Genius Of Art Tatum Vol. -
Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent. -
FREEDOM PRIMER No.L
FREEDOM PRIMER No.l The Convention Challenge and The Freedom Vote THE CHALLENGE AT THE DEMOCRATIC NATIONAL CONVENTION What Was The Democratic National Convention? The Democratic National Convention was a big meeting held by the National Democratic Party at Atlantic City in August. People who represent the Party came to the Convention from every state in the country. They came to decide who would be the candidates of the Democratic Party for President and Vice-President of the United States in the election this year on November 3rd. They also came to decide what the Platform of the National Democratic Party would be. The Platform is a paper that says what the Party thinks should be done about things like Housing, Education, Welfare, and Civil Rights. Why Did The Freedom Democratic Party Go To The Convention? The Freedom Democratic Party (FDP) sent a delegation of 68 people to the Convention. These people wanted to represent you at the Convention. They said that they should be seated at the Convention instead of the people sent by the Regular Democratic Party of Mississippi. The Regular Democratic Party of Mississippi only has white people in it. But the Freedom Democratic Party is open to all people -- black and white. So the delegates from the Freedom Democratic Party told the Convention ±t was the real representative of all the people of Mississippi. How Was The Regular Democratic Party Delegation Chosen? The Regular Democratic Party of Mississippi also sent 68 -^ people to the Convention in Atlantic City. But these people were not chosen by all the people of Mississippi. -
Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2016 2015 2014 2013 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
Black Anarchism, Pedro Riberio
TABLE OF CONTENTS 1. Introduction.....................................................................................................................2 2. The Principles of Anarchism, Lucy Parsons....................................................................3 3. Anarchism and the Black Revolution, Lorenzo Komboa’Ervin......................................10 4. Beyond Nationalism, But not Without it, Ashanti Alston...............................................72 5. Anarchy Can’t Fight Alone, Kuwasi Balagoon...............................................................76 6. Anarchism’s Future in Africa, Sam Mbah......................................................................80 7. Domingo Passos: The Brazilian Bakunin.......................................................................86 8. Where Do We Go From Here, Michael Kimble..............................................................89 9. Senzala or Quilombo: Reflections on APOC and the fate of Black Anarchism, Pedro Riberio...........................................................................................................................91 10. Interview: Afro-Colombian Anarchist David López Rodríguez, Lisa Manzanilla & Bran- don King........................................................................................................................96 11. 1996: Ballot or the Bullet: The Strengths and Weaknesses of the Electoral Process in the U.S. and its relation to Black political power today, Greg Jackson......................100 12. The Incomprehensible -
H.Doc. 108-224 Black Americans in Congress 1870-2007
FORMER MEMBERS H 1929–1970 ������������������������������������������������������������������������ Augustus Freeman (Gus) Hawkins 1907–2007 UNITED STATES REPRESENTATIVE H 1963–1991 DEMOCRAT FROM CALIFORNIA ugustus F. Hawkins’s political career spanned 56 opened a real estate company with his brother Edward A years of public service in the California assembly and took classes at the University of California’s Institute and the U.S. House of Representatives. As the first black of Government. Newly interested in politics, Hawkins politician west of the Mississippi River elected to the supported the 1932 presidential bid of Franklin D. House, Hawkins guided countless pieces of legislation Roosevelt and the 1934 gubernatorial campaign of Upton aimed at improving the lives of minorities and the urban Sinclair, a famous muckraker and author of The Jungle.5 poor. More reserved than many other African-American Hawkins quickly converted his political awareness into a Representatives of the period, Hawkins worked behind career by defeating 16-year veteran Republican Frederick the scenes to accomplish his legislative goals. Known by Roberts to earn a spot in the California assembly, the lower his colleagues on the Congressional Black Caucus (CBC) chamber of the state legislature. During the campaign, as the “Silent Warrior,” the longtime Representative Hawkins criticized Roberts for remaining in office too earned the respect of black leaders because of his long; ironically, the future Representative became known determination to tackle social issues like unemployment for the longevity of his public service. While serving in the and his commitment to securing equal educational state assembly, Hawkins married Pegga Adeline Smith on opportunities for impoverished Americans.1 “The August 28, 1945. -
Freedom As Marronage
Freedom as Marronage Freedom as Marronage NEIL ROBERTS The University of Chicago Press Chicago and London Neil Roberts is associate professor of Africana studies and a faculty affiliate in political science at Williams College. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2015 by The University of Chicago All rights reserved. Published 2015. Printed in the United States of America 24 23 22 21 20 19 18 17 16 15 1 2 3 4 5 ISBN- 13: 978- 0- 226- 12746- 0 (cloth) ISBN- 13: 978- 0- 226- 20104- 7 (paper) ISBN- 13: 978- 0- 226- 20118- 4 (e- book) DOI: 10.7208/chicago/9780226201184.001.0001 Jacket illustration: LeRoy Clarke, A Prophetic Flaming Forest, oil on canvas, 2003. Library of Congress Cataloging- in- Publication Data Roberts, Neil, 1976– author. Freedom as marronage / Neil Roberts. pages ; cm Includes bibliographical references and index. ISBN 978- 0- 226- 12746- 0 (cloth : alk. paper) — ISBN 978- 0- 226- 20104- 7 (pbk : alk. paper) — ISBN 978- 0- 226- 20118- 4 (e- book) 1. Maroons. 2. Fugitive slaves—Caribbean Area. 3. Liberty. I. Title. F2191.B55R62 2015 323.1196'0729—dc23 2014020609 o This paper meets the requirements of ANSI/NISO Z39.48– 1992 (Permanence of Paper). For Karima and Kofi Time would pass, old empires would fall and new ones take their place, the relations of countries and the relations of classes had to change, before I discovered that it is not quality of goods and utility which matter, but movement; not where you are or what you have, but where you have come from, where you are going and the rate at which you are getting there. -
Nigerian Nationalism: a Case Study in Southern Nigeria, 1885-1939
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1972 Nigerian nationalism: a case study in southern Nigeria, 1885-1939 Bassey Edet Ekong Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the African Studies Commons, and the International Relations Commons Let us know how access to this document benefits ou.y Recommended Citation Ekong, Bassey Edet, "Nigerian nationalism: a case study in southern Nigeria, 1885-1939" (1972). Dissertations and Theses. Paper 956. https://doi.org/10.15760/etd.956 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF' THE 'I'HESIS OF Bassey Edet Skc1::lg for the Master of Arts in History prt:;~'entE!o. 'May l8~ 1972. Title: Nigerian Nationalism: A Case Study In Southern Nigeria 1885-1939. APPROVED BY MEMBERS OF THE THESIS COMMITIIEE: ranklln G. West Modern Nigeria is a creation of the Britiahl who be cause of economio interest, ignored the existing political, racial, historical, religious and language differences. Tbe task of developing a concept of nationalism from among suoh diverse elements who inhabit Nigeria and speak about 280 tribal languages was immense if not impossible. The tra.ditionalists did their best in opposing the Brltlsh who took away their privileges and traditional rl;hts, but tbeir policy did not countenance nationalism. The rise and growth of nationalism wa3 only po~ sible tbrough educs,ted Africans. -
JELLY ROLL MORTON's
1 The TENORSAX of WARDELL GRAY Solographers: Jan Evensmo & James Accardi Last update: June 8, 2014 2 Born: Oklahoma City, Oklahoma, Feb. 13, 1921 Died: Las Vegas, Nevada, May 25, 1955 Introduction: Wardell Gray was the natural candidate to transfer Lester Young’s tenorsax playing to the bebop era. His elegant artistry lasted only a few years, but he was one of the greatest! History: First musical studies on clarinet in Detroit where he attended Cass Tech. First engagements with Jimmy Raschel and Benny Carew. Joined Earl Hines in 1943 and stayed over two years with the band before settling on the West Coast. Came into prominence through his performances and recordings with the concert promoter Gene Norman and his playing in jam sessions with Dexter Gordon.; his famous recording with Gordon, “The Chase” (1947), resulted from these sessions as did an opportunity to record with Charlie Parker (1947). As a member of Benny Goodman’s small group WG was an important figure in Goodman’s first experiments with bop (1948). He moved to New York with Goodman and in 1948 worked at the Royal Roost, first with Count Basie, then with the resident band led by Tadd Dameron; he made recordings with both leaders. After playing with Goodman’s bigband (1948-49) and recording in Basie’s small group (1950-51), WG returned to freelance work on the West Coast and Las Vegas. He took part in many recorded jam sessions and also recorded with Louie Bellson in 1952-53). The circumstances around his untimely death (1955) is unclear (ref. -
Historic Preservation. Updated July 2014. MLA 6Th Edition. Paul Revere Williams Project
Historic Preservation. Updated July 2014. MLA 6th edition. Paul Revere Williams Project. Art Museum of the University of Memphis. "$1.1 Million Donated to Community Theater (Lear Theater)." Reno Gazette-Journal (1997): 1. "2004 Eleven most endangered (La Concha." Preserve Nevada. 2008. 5/6/2008 <http://preservenevada.unlv.edu>. Abercrombie, Brooke, and Irmina Kobylko. "Where Williams Walked: Pasadena Architect James V. Coane Leaves an Invisible Footprint on His Renovation of a 1928 Spanish Colonial Estate Designed by Los Angeles' Renowned Architect to the Stars." Pasadena Weekly April 1 2009: 5. 4/28/09 <http://pasadenaweekly.com/cms/story/detail/wh...>. "African-American Historical Site may Face the Wrecking Ball." The Journal of Blacks in Higher Education.46 (2004/2005): 52. "Ambassador Hotel Saga Ends: LA Conservancy Moves on." Forum News: National Trust for Historic Preservation XIV.5 (2008): 8. "Ambassador Hotel Updates." Los Angeles Conservancy: Preservation Issues.February (2004): 1/30/2008. google. 1/30/2008 <http://www.laconservancy.org/issues/ambassador-dec.php4>. Anderson, Lisa. "Historic Preservation--Las Vegas Style: A Masterpiece of Motel Architecture from the Era of the Rat Pack is being Preserved (La Concha)." Chicago Tribune December 21 2006. Gale: General OneFile Print. 4/24/2009 <http://find.galegroup.com>. "Los Angeles Airport Theme Building is Designated Landmark." Historic Preservation News 33.3 (1993): 4. "Los Angeles' Newest Historic-Cultural Monuments (Castera 2007)." City of Los Angles, Department of City Planning. Office of Historic Resources 2.1 (2008): 5-6. "Los Angeles' Newest Historic-Cultural Monuments (St. Philip HCM 988)." City of Los Angeles, Department of City Planning: Office of Historic Resources. -
Izabella Penier Culture-Bearing Women
Izabella Penier Culture-bearing Women: The Black Women Renaissance and Cultural Nationalism This monograph was written during Marie Curie-Sklodowska Fellowship 2016-2018 (European Union’s Horizon 2020 grant agreement No 706741) Izabella Penier Culture-bearing Women The Black Women Renaissance and Cultural Nationalism Managing Editor: Katarzyna Grzegorek Language Editor: Adam Leverton ISBN 978-83-956095-4-1 e-ISBN (PDF) 978-83-956095-5-8 e-ISBN (EPUB) 978-83-956095-6-5 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 License. For details go 4o http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. © 2019 Izabella Penier Published by De Gruyter Poland Ltd, Warsaw/Berlin Part of Walter de Gruyter GmbH, Berlin/Boston The book is published with open access at www.degruyter.com. Managing Editor: Katarzyna Grzegorek Language Editor: Adam Leverton www.degruyter.com Cover illustration: https://unsplash.com/@jeka_fe by Jessica Felicio Contents Preface 1 1 Introduction: The Black Women Renaissance, Matrilineal Romances and the “Volkish Tradition” 16 1.1 African Americans as an “Imagined” Community and the Roots of the “Volkish” Tradition 32 1.2 Two Versions of the National “Family Plot”: Black National Theatre and the Historical /Heritage Writing of the Black Women’s Renaissance 40 1.3 The Black Women’s Renaissance and Black Cultural Nationalism: Can Nationalism and Feminism Merge?