Oklahoma HUMANITIES Winter 2014
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
"What Is an MC If He Can't Rap?"
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 5-2019 "What Is An MC If He Can't Rap?" Dominique Jimmerson California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Ethnomusicology Commons, Music Performance Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Jimmerson, Dominique, ""What Is An MC If He Can't Rap?"" (2019). Capstone Projects and Master's Theses. 569. https://digitalcommons.csumb.edu/caps_thes_all/569 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Dominique Jimmerson Capstone Sammons 5-18 -19 “What Is an MC if He Can’t Rap?” Hip hop is a genre that has seen much attention in mainstream media in recent years. It is becoming one of the most dominant genres in the world and influencing popular culture more and more as the years go on. One of the main things that makes hip hop unique from other genres is the emphasis on the lyricist. While many other genres will have a drummer, guitarist, bassist, or keyboardist, hip hop is different because most songs are not crafted in the traditional way of a band putting music together. Because of this, the genre tends to focus on the lyrics. -
Moms Mabley Further Research
MOMS MABLEY FURTHER RESEARCH Description: Performing in seven different decades of the 20th century, Moms Mabley’s life and career was more than could be presented in the class time allowed. A deeper look at Moms Mabley can be seen in her albums, movies, books and TV appearances, as well as Whoopi Goldberg’s excellent documentary on her. The following are some links and resources for further study. Note: The Amazon.com links listed here, in many cases, can also be obtained from your local library or other sources. Materials: Moms Mabley Albums If you only listen to one Moms Mabley album, make it either the “Live At Sing Sing” album or the “I Got Something To Tell You!” album. They all have value and enrich the Moms experience. Click on the blue links below to see the Amazon.com writeups of each album. Most of these albums are also available at your local library. [Note: A few are not available as CD’s, but as vinyl LP’s or even 8-track tapes.] • 1970 Moms Mabley - Live at Sing Sing • 1961 On Stage (Funniest Woman in the World) • 1961 Moms Mabley At The U.N. • 1961 Moms Mabley at The Playboy Club • 1962 Moms Mabley Breaks It Up • 1962 Moms Mabley at Geneva Conference • 1963 I Got Somethin' to Tell You! • 1963 Young Men, Sí – Old Men, No • 1964 Moms Mabley Moms The Word • 1964 Out on a Limb • 1964 The Funny Sides of Moms Mabley Chess • 1964 Moms Wows • 1964 Best of Moms and Pigmeat, Vol. 1 • 1965 Men in My Life • 1965 Now Hear This • 1966 Moms Mabley at the White House Conference • 1968 Best of Moms Mabley • 1968 Moms Mabley single Abraham, -
Jackie 'Moms' Mabley and Redefining Political Activism in the Modern
“The Funniest Woman in the World”: Jackie ‘Moms’ Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Grace Leeson Advisor: Brenna Greer Submitted in Partial Fulfillment of the Prerequisite for Honors in History 2014 Acknowledgements First and foremost, this project never would have come to fruition without the constant support and advice of my advisor, Dr. Brenna Greer. I would like to thank her for her intelligence, dedication, and sense of humor that rivals that of ‘Moms’ herself. It has been the best year and I have learned so much thanks to her invaluable mentorship. I must thank my honors seminar group, Laura Yan, Daisy Dowdall, Jiaqi Fan, and Dr. Lidwein Kapteijns for their suggestions during the formulation and editing of this thesis. Makenna Murray and Olivia Luz kindly took the time out of their lives to listen to my ideas and draw my attention to points where the thoughts got lost on the page. Finally, Grace Owens-Stively and Mikey Jackson-Smith helped immeasurably by organizing my thesis carol when I mixed up all of my sources. Thanks to the generosity of the Jerome A. Schiff Fellowship and the F.A.O. Schwarz Fellowship, I had the opportunity to visit the archives at the Amistad Research Center at Tulane University, the MARBL archives at Emory University, The Bancroft Library at University of California, Berkeley; and the Special Collections at University of California, Los Angeles. Additionally, I conducted research in the comfort of my home University thanks to the brilliant research skills of Laura Reiner and her team of Interlibrary Loan wizards. -
Nysba Spring 2019 | Vol
NYSBA SPRING 2019 | VOL. 30 | NO. 1 Entertainment, Arts and Sports Law Journal A publication of the Entertainment, Arts and Sports Law Section of the New York State Bar Association In This Issue n Playola—New Tech, Familiar Deception n Fixation on Flesh: Why Tattoos Should Not Garner Copyright Protection n Street Art: Is Copyright for “Losers©™“ n When Do Copyright Claims Accrue? n Contracts With Minors in New York and California n Pro Bono Update ....and more www.nysba.org/EASL NEW YORK STATE BAR ASSOCIATION In The Arena: A Sports Law Handbook Co-sponsored by the New York State Bar Association and the Entertainment, Arts and Sports Law Section As the world of professional athletics has become more competitive and the issues more complex, so has the need for more reliable representation in the field of sports law. Written by dozens of sports law attorneys and medical professionals, In the Arena: A Sports Law Handbook is a reflection of the multiple issues that face athletes and the attorneys who represent them. Included in this book are chapters on representing professional athletes, NCAA enforcement, advertising, sponsorship, intellectual property rights, doping, concussion-related issues, Title IX and dozens of useful appendices. Section Table of Contents Members get 20% Intellectual Property Rights and Endorsement Agreements discount* with coupon code How Trademark Protection Intersects with the Athlete’s EDITORS Right of Publicity PUB9167N Elissa D. Hecker, Esq. Collective Bargaining in the Big Three David Krell, Esq. Agency Law Sports, -
Black Laughter / Black Protest: Civil Rights, Respectability, and The
©2008 Justin T. Lorts ALL RIGHTS RESERVED !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Black Laughter / Black Protest: Civil Rights, Respectability, and the Cultural Politics of African American Comedy, 1934-1968 by Justin T. Lorts A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in History written under the direction of Ann Fabian and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey October 2008 ABSTRACT OF THE DISSERTATION ! Black Laughter / Black Protest: Civil Rights, Respectability, and the Cultural Politics of African American Comedy, 1934-1968 !by Justin T. Lorts !Dissertation Director: ! Ann Fabian ! Black Laughter / Black Protest explores the relationship between comedy and the modern civil rights movement. In the early years of the -
Raptivism: the Act of Hip Hop's Counterpublic Sphere Forming Into
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 Raptivism: the Act of Hip Hop’s Counterpublic Sphere Forming into a Social Movement to Seize its Political Opportunities Matthew .C Maddex Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Maddex, Matthew C., "Raptivism: the Act of Hip Hop’s Counterpublic Sphere Forming into a Social Movement to Seize its Political Opportunities" (2014). LSU Doctoral Dissertations. 727. https://digitalcommons.lsu.edu/gradschool_dissertations/727 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RAPTIVISM: THE ACT OF HIP HOP’S COUNTERPUBLIC SPHERE FORMING INTO A SOCIAL MOVEMENT TO SEIZE ITS POLITICAL OPPORTUNITIES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication by Matthew C. Maddex B.A., California State University, Long Beach, 2004 M.A., Miami University (Ohio), 2007 December 2014 TABLE OF CONTENTS Abstract ......................................................................................................................................... -
Jackie 'Moms' Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Frances Leeson [email protected]
Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2014 "The unniesF t Woman in the World": Jackie 'Moms' Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Frances Leeson [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Leeson, Frances, ""The unnieF st Woman in the World": Jackie 'Moms' Mabley and Redefining Political Activism in the Modern Black Freedom Struggle" (2014). Honors Thesis Collection. 187. https://repository.wellesley.edu/thesiscollection/187 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. “The Funniest Woman in the World”: Jackie ‘Moms’ Mabley and Redefining Political Activism in the Modern Black Freedom Struggle Grace Leeson Advisor: Brenna Greer Submitted in Partial Fulfillment of the Prerequisite for Honors in History 2014 Acknowledgements First and foremost, this project never would have come to fruition without the constant support and advice of my advisor, Dr. Brenna Greer. I would like to thank her for her intelligence, dedication, and sense of humor that rivals that of ‘Moms’ herself. It has been the best year and I have learned so much thanks to her invaluable mentorship. I must thank my honors seminar group, Laura Yan, Daisy Dowdall, Jiaqi Fan, and Dr. Lidwein Kapteijns for their suggestions during the formulation and editing of this thesis. Makenna Murray and Olivia Luz kindly took the time out of their lives to listen to my ideas and draw my attention to points where the thoughts got lost on the page. -
Just a Buncha Clowns: Comedic-Anarchy and Racialized Performance in Black Vaudeville, the Chop Suey Circuit, and Las Carpas
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2019 Just a Buncha Clowns: Comedic-Anarchy and Racialized Performance in Black Vaudeville, the Chop Suey Circuit, and las Carpas Michael Shane Breaux The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3099 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] JUST A BUNCHA CLOWNS: COMEDIC-ANARCHY AND RACIALIZED PERFORMANCE IN BLACK VAUDEVILLE, THE CHOP SUEY CIRCUIT, AND LAS CARPAS by MICHAEL SHANE BREAUX A dissertation submitted to the Graduate Faculty in Theatre and Performance in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 © 2019 MICHAEL SHANE BREAUX All Rights Reserved ii Just a Buncha Clowns: Comedic-Anarchy and RacialiZed Performance in Black Vaudeville, the Chop Suey Circuit, and las Carpas by Michael Shane Breaux This manuscript has been read and accepted for the Graduate Faculty in Theatre and Performance in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date James F. Wilson Chair of Examining Committee Date Peter Eckersall Executive Officer Supervisory Committee: Jean Graham-Jones David Savran THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT JUST A BUNCHA CLOWNS: COMEDIC-ANARCHY AND RACIALIZED PERFORMANCE IN BLACK VAUDEVILLE, THE CHOP SUEY CIRCUIT, AND LAS CARPAS by Michael Shane Breaux Advisor: James F. -
Gangsta Rap and the Trapped Mentality
Georgia Southern University Digital Commons@Georgia Southern Honors College Theses 2017 Gangsta Rap and the Trapped Mentality Mikalah M. Guyton Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/honors-theses Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Mass Communication Commons Recommended Citation Guyton, Mikalah M., "Gangsta Rap and the Trapped Mentality" (2017). Honors College Theses. 572. https://digitalcommons.georgiasouthern.edu/honors-theses/572 This thesis (open access) is brought to you for free and open access by Digital Commons@Georgia Southern. It has been accepted for inclusion in Honors College Theses by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. Gangsta Rap and the Trapped Mentality An Honors Thesis submitted in partial fulfillment of the requirements for Honors in Communication Arts. By Mikalah Guyton Under the mentorship of Shana Bridges ABSTRACT This research paper provides historical background into the evolution of Hip Hop culture and further investigation into the evolution and foundation of Gangsta Rap music. Throughout this investigation, five recurring fundamental themes are recognized through patterns presented by its pioneers. The five themes that are addressed within this subgenre include: (1) masculinity, (2) respect, (3) violence and retaliation, (4) misogyny, and (5) wealth. As Gangsta Rap emerged into popular culture, it became socially acceptable to exploit issues and limitations experienced within African American communities. In turn, Gangsta rappers overcame limitations typically experienced by black males. In what follows I will provide origins and characteristics of Gangsta Rap. I will discuss the emergence of Trap music from Gangsta Rap. -
No Country for End Men: a Re-Evaluation of Small Ensemble Blackface Minstrelsy, 1843 to 1883
NO COUNTRY FOR END MEN: A RE-EVALUATION OF SMALL ENSEMBLE BLACKFACE MINSTRELSY, 1843 TO 1883 by Dorothea J. Nelson Bachelor of Fine Arts, Jacksonville University, 1977 Master of Librarianship, Emory University, 1980 A Thesis Submitted to the Graduate Faculty of the University of North Dakota In partial fulfillment of the requirements for the degree of Master of Arts Grand Forks, North Dakota May 2011 Copyright 2011 Dorothea J. Nelson This thesis, submitted by Dorothea J. Nelson in partial fulfillment of the requirements for the Degree of Master of Arts from the University of North Dakota, has been read by the Faculty Advisory Committee under whom the work has been done and is hereby approved. _______________________________ Chairperson _______________________________ _______________________________ This thesis meets the standards for appearance, conforms to the style and format requirements of the Graduate School of the University of North Dakota, and is hereby approved. ____________________________ Dean of the Graduate School ____________________________ Date PERMISSION Title No Country For End Men: A Re-Evaluation of Small Ensemble Blackface Minstrelsy, 1843 to 1883 Department History Degree Master of Arts In presenting this thesis in partial fulfillment of the requirements for a graduate degree from the University of North Dakota, I agree that the library of this University shall make it freely available for inspection. I further agree that permission for extensive copying for scholarly purposes may be granted by the professor who supervised my thesis work or, in his absence, by the chairperson of the department or the dean of the Graduate School. It is understood that any copying or publication or other use of this thesis or part thereof for financial gain shall not be allowed without my written permission. -
Moms Mabley and the Civil Rights Movement
Moms Mabley and the Civil Rights Movement Sarah Michelle Wolk California State University, San Marcos Department of History © 2012 CALIFORNIA STATE UNIVERSITY SAN MARCOS THESIS SIGNATURE PAGE THESIS SUBMITTED IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FORTHE DEGREE MASTEROF ARTS IN HISTORY rHESrs rrrlE: Moms Mabley and the Civil Rights Movement AUTHoR: Sarah Michelle Wolk DATE OF SUCCESSFUL DEFENSE: }lay 17,2012 THE THESIS HAS BEEN ACCEPTED BY THE THESIS COMMITTEE IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTEROF ARTS Jill Watts ;/rt /zotL THESIS COMMITTEE CHAIR Jeff Charles THESIS COMMITTEE MEMBER Alyssa Sepinwall THESIS COMMITTEE MEMBER Abstract Moms Mabley’s comedic performances during the mid-twentieth century Civil Rights movement are historically significant because she publicly highlighted the struggles of African Americans and women while simultaneously criticizing the marginalization and inequality these groups faced. Her commentary on gender, race, and politics demands scholarly attention because her comedy was shaped by her personal experiences as a black woman and because she provides important insight into the attitudes and experiences of African Americans, particularly black women, during the twentieth century. Mabley’s comedy operated as a form of social protest because of her commentary on social issues like racism, her political criticisms, and her commentary on gender and female sexuality. Her work was unique and set her apart from her contemporaries, like male comedians Dick Gregory, Godfrey Cambridge, and later Richard Pryor, because she was dealing with gender as well as race. This intersection of gender and race paralleled the struggle of African-American women. Jackie “Moms” Mabley used her comedic performances to covertly protest racial and gender inequality in the United States during the mid-twentieth century Civil Rights movement.