DOCSLIB.ORG

Montana Kaimin, October 9, 1984 Associated Students of the University of Montana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Montana Kaimin, October 9, 1984 Associated Students of the University of Montana University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 10-9-1984 Montana Kaimin, October 9, 1984 Associated Students of the University of Montana Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of the University of Montana, "Montana Kaimin, October 9, 1984" (1984). Montana Kaimin, 1898-present. 7625. https://scholarworks.umt.edu/studentnewspaper/7625 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. c(0 (0 Tuesday c October 9, 1984 0 Missoula, Montana 1Kaimin Vol. 87, No. 9 Plagiarism's a ‘term-inal’ illness Papers are costly By Michael Kustudia cut it off." Solberg said that, Kaimin Reporter under a free enterprise sys­ Are you troubled by that tem, anyone has a right to term paper assigned in your sell a product, including term English class? Have you spent papers. too many hours in the bars Stekel said his 13-year-old and not enough in the li­ company's term papers are brary? original creations written by Now that the deadline for staff members and are there­ your paper is rapidly ap­ fore protected under the First proaching, what do you do? Amendment, which allows Well, one easy-but-question- freedom of speech. able answer may be to buy a Although most authorities research paper. agree that students may use the research papers as a ref­ Research Assistance of Los erence source, those who turn Angeles, which advertises in in purchased papers as their the Montana Kaimin, offers a own are committing plagia­ selection of more than 15,000 rism. The UM catalog con­ papers for sale, and it sells tains a clear warning about more than 2,000 of those a plagiarism: “Students who year, according to owner Art Staff photo by Ed Qyda* plagiarize may fail the course Stekel. Dave McKenzie and the UM defense kept Northern Arizona quarterDack Mike and may be remanded to the Stekel said the selection Mendoza on the retreat in the first half Saturday, but the Lumberjacks later came University Court for possible covers everything from “an­ to life to topple UM . More sports on page 6. suspension or expulsion.” thropology to zoology.” Stekel agrees that use of Stekel, in a phone interview the papers could be consider­ with the Kaimin, said most of ed plagiarism, but added that Smithsonian events end today his customers are foreign stu­ “a lot of that is happening, dents. He attributed that to even in the school library.” language barriers that make William Bevls, UM professor Portraits preserve presidents’ posterity research difficult for them. of English, said he has caught By Brian Justice bert Stuart borrowed other ture was one of 11 events Although it may be an easy students plagiarizing, but Kaimin Reporter models' arms, legs and feet that brought the world's larg­ way out for students, Univer­ “from a source obvious to Biographer Marc Pachter to finish the portrait. est museum complex to west­ sity of Montana administration me,” usually a journal in the used slides of famous presi­ Instead of painting Washing­ ern Montana. and faculty members predic­ library or another student's dential portraits Monday eve­ ton’s large feet, Stuart used The session, which ends tably aren’t thrilled by the paper. The plagiarists, he ning to convince his intrigued his own as a model for the today, is sponsored by the idea of mail-order term pap­ said, have been “admirably audience of 200 people that picture. The resulting portrait, Smithsonian National Associ­ ers. thrifty” in that they have not “it is the man rather than the minus Washington's rawboned ate Lecture and Seminar pro­ Richard Solberg, UM associ­ purchased the papers. Re­ issues that matter” in present­ stature, leaves viewers with an gram and co-sponsored by ate academic vice president, search Assistance charges $6 ing an accurate portrait for inaccurate Impression of the the UM School of Fine Arts, accuses students who use per page for Its papers. posterity. first president, Pachter said. ASUM, and seven other such papers of “selling them­ William Evans, UM profes­ He used George Washington Pachter, assistant director groups. selves short.” sor of history, said the papers as an example "Of Myths and for history and public pro­ Pachter also shared some However, Solberg said he “ought to be stamped out,” Men: Images of America's grams of the Smithsonian In­ of his insight and research thinks the use of purchased but added they could not be Presidents,” pointing out that stitution's National Portrait into presidents who were term papers is infrequent at because of the First Amend­ his official full-length portrait Gallery, spoke in the Univer­ castigated during their terms, UM. Even if it were more ment. He said he tries to spot is not the true Washington. sity of Montana underground but who he believes have common, he added, the uni­ such plagiarized papers, but After painting the head and Lecture Hall. been vindicated by time. versity has “no formal way to has yet to come across any. chest, Pachter said, artist Gil­ His hour and one half lec-, See ‘Pachter,’ page 8. By Pam Newbern cleanup program. Burford Smith said students have signed at the same time Bur­ Kaim in News Editor claimed she was following told her they feel It is wrong ford did. Despite some Anne McGill Burford, the President Ronald Reagan's or­ to use student money to bring Smith said it is not controversial former director ders. a lecturer to UM who is “in­ Programming’s responsibility of the Environmental Protec­ According to Melissa Smith, competent." Burford will re­ to decide whether someone is opposition, tion Agency who resigned In ASUM programming director, ceive $3,500 for her appear­ “incompetent," and added March 1983, will speak Oct. a question and answer period ance. that Burford's speech will give 25 at the University of Mon­ will follow Burford’s UM lec­ During her two-year tenure students an "opportunity to Anne Burford tana about her former job. ture. as director, Burford was ac­ express their feelings towards Burford, known as the “Ice “It's educational for students cused by environmentalists of her” during the question and Queen,’’ resigned as EPA to know what her agency did undermining environmental answer period. to speak at UM head after being held in con­ while she was head of the laws for the sake of business Burford, 42, has come tempt of Congress for her EPA,” Smith said. However, and of encouraging misman­ under fire not only for her ac­ part in withholding EPA docu­ she said, several students agement and incompetence tions as EPA head, but also ments during an investigation have complained about Bur- within the agency. More than for her appointment by Rea- of the agency’s toxic-waste ford’s scheduled appearance. 20 other top EPA officials re­ See ‘Burford,’ page 8. EEorum Venola’s Granolas thatl Libertarians have been getting BLOOM COUNTY by Berke Breathed backed by hick heat for years for standing for Nrmess, neftse.m inner HON PIP WU RATE T Laissez-Faire capitalism, soNcmoFim American E D ITO R : Dear Mr. Venola. against gun control and for impow tarty... im n te u e c - JUST .OUT It is not too often I find TUflL CUTE FROM THIS NATION'S non-interventlonism. EAEATESr TOUTKAL MAOCNB. aooue just ncneo myself compelled to respond They’ve been screamed at by N am e. b o m . prunes. fT s H a r JW to what Is printed In the Kal- the environmentalists for sunr ohm . f. min. But this time I feel a wanting to sell all the wilder­ strong sense of responsibility ness areas and by the indus­ to respond to your column trialists for wanting to abolish (Oct. 4, 1984) on Granolas (as all protective tariffs and you have so labelled them.) It quotas. is this sort of Ignorance and T o the environmental attack stupidity that only breeds ha* let It be said that some Liber­ tred and more Ignorance and tarians do wish to auction off stupidity. the wilderness. But there are W). I Know you think your idea those in the movement, and AS EVERYONE KNOWS, THIS 6omy v€ wve ■>, SECTION MU. OE A TRIUMPH was cute, but it isn't. It is they are gaining the majority, ) c/wptpffiis p r c p f e p Of SDU OVER ISSUES. PIP you HEAR THAT? harmfull You have only found that say the wilderness areas MfNCr, HOST EXTENTS TVS TRUE. YA KNOW. a new label to help alienate AGREE T M T If m m E S should be turned over to wil­ HOSE NAS SPMLtfR, HEV NHYPONCHVA CONE more people. Now isn't that m m A ANOTHER OUT ANP NEIL derness groups such as the OATH. (36 POINTS BE ANBAP NINE AXL9- ptscuss rr... stupid? I'm sure it was people Sierra Club and the Montana IN THE. TOLLS. / HELLO T like you who came up with la­ Wilderness Association. If you ACTION 0 NEEPEP bels such as: nigger, spic and think the Department of the redneck. Interior or the Forest Service Maybe next time you can Is protecting your wild areas write a column about black think again, babyl The State athletes and call It “Stalking is your enemy not your the chocolate lock." savior.
Load more

Recommended publications
  • Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
    Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DELFEAYO MARSALIS NEA Jazz Master (2011) Interviewee: Delfeayo Marsalis (July 28, 1965 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 13, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 38 pp. Brown: Ferdinand Delfeayo Marsalis. Good to see you again. Marsalis: You too, brother. Brown: It’s been, when? – since you were working with Max and the So What brass quintet. So that was about 2000, 2001? Marsalis: That was. Brown: So that was the last time we spent some time together. Marsalis: Had a couple of chalupas since then. Brown: I knew you had to get that in there. First of all, we reconnected just the other night over – Tuesday night over at the Jazz Masters Award at Lincoln Center. So, what did you think? Did you have a good time? Marsalis: I did, to be around the true legends and masters of jazz. It was inspiring and humbling, and they’re cool too. Brown: What do you think about receiving the award? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Marsalis: I still feel I might be on the young side for that, but I think that my life has been, so far, dedicated to jazz and furthering the cause of jazz, and it’s something that I hope to keep doing to my last days. Brown: We’ll go ahead and start the formal interview.
    [Show full text]
  • Lamp Records Singles Discography
    Lamp Records by Frank Daniels On June 12, 1954, Aladdin Records announced that they were preparing to open a subsidiary label – appropriately named Lamp. Instead of being spread across the genres of R&B and Jazz, Lamp was going to focus exclusively on Rhythm & Blues. Lamp Records sent out its first promotional releases near the end of June, and at the beginning of July, four Lamp singles appeared on the commercial marketplace. Within a month, Aladdin opened an office in New York City, and Lamp Records took New York as its base of operations. Over the next six months, the new label released several batches of singles in two series. These were the 8000 series of R&B singles and two discs in the 9000 series, which was devoted to gospel music. Then, as suddenly as the label opened, Lamp closed its doors … temporarily. The matrix numbering at this time followed the system that Aladdin used more broadly, featuring a prefix indicating the recording place (e.g., TEX- for Texas or SF- for San Francisco) and a four-digit sequence number. Although the trade magazines did not always agree with their choice, Aladdin used the suffix “X” to mark the A-side of the single and a “Q” to indicate the B-side. Lamp Singles, 8000 & 9000 Series Lamp 8001 “When the Sun Goes Down”/ “Tryin’ to Fool Me” Leonard Lee First Mentioned in Trade Magazines: July 3, 1954 78 RPM single above; 45 RPM single below. Lamp 8001 “When the Sun Goes Down”/ “Tryin’ to Fool Me” Leonard Lee Leonard Lee was the “second half” of the Aladdin duo, Shirley & Lee.
    [Show full text]
  • Jazz at the Crossroads)
    MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs.
    [Show full text]
  • “What'd I Say” (Parts 1 and 2)--Ray Charles (1959) Added to the National Registry: 2002 Essay by Michael Lydon (Guest Post)*
    “What'd I Say” (Parts 1 and 2)--Ray Charles (1959) Added to the National Registry: 2002 Essay by Michael Lydon (guest post)* Original label Here’s a seldom noted but significant fact about the long and distinguished career of Ray Charles: unlike his contemporaries--Chuck Berry, Fats Domino, Little Richard, and Bo Diddley--who all became rock ‘n’ roll stars by making their first records smash hits, he, Brother Ray, the Genius, the High Priest, the biggest star of them all, took the whole decade of the 1950s to emerge, step by steady step, out from the shadows of obscurity into the bright lights of international fame. In early 1950, Ray touched the black “race records” charts with “Baby Let Me Hold Your Hand”; five years later, he crossed over into the white charts with “I Got a Woman” (also a hit for Elvis Presley!) and “Hallelujah I Love Her So.” Next came “Movin’ On,” Ray’s first foray into country music, then “Soul Brothers,” some jazz with vibraphonist Milt Jackson. Having systematically covered the major branches of contemporary popular music, Ray must have thought from time to time, “What more can I do, what do I have left to conquer?” Thoughts like that may well have been crossing Ray’s mind in January 1959 as his touring caravan rolled east from Pittsburgh. At a dance in Brownsville, an industrial town, Ray realized he had run out of things to play that fit the excited mood of the dancers leaping and spinning before the stage. “So I said to the guys,” Ray recalled years later, “’Look, I don’t know where I’m going, so y’all follow me.’ Then I turned to the Raelettes and said, ‘Whatever I say, just repeat after me.’” Ray started a low, bouncy riff on electric piano, the drummer clicked in on his big cymbal, the band fell into an up-tempo groove, and Ray started singing nonsense choruses: “See that gal with a diamond ring, she knows how to shake that thing.” The crowd loved it and, without knowing that a song was being made up on the spot, fell into the improvisatory feeling.
    [Show full text]
  • 諾箋護憲薫葦嵩叢 Br皿ant Years of Singing Pure Gospel with the Soul Stirrers, The
    OCk and ro11 has always been a hybrid music, and before 1950, the most important hybrids pop were interracial. Black music was in- 恥m `しfluenced by white sounds (the Ink Spots, Ravens and Orioles with their sentimental ballads) and white music was intertwined with black (Bob Wills, Hank Williams and two generations of the honky-tOnk blues). ,Rky血皿and gQ?pel, the first great hy垣i立垂a血QnPf †he囲fti鎧T臆ha陣erled within black Though this hybrid produced a dutch of hits in the R&B market in the early Fifties, Only the most adventurous white fans felt its impact at the time; the rest had to wait for the comlng Of soul music in the Sixties to feel the rush of rock and ro11 sung gospel-Style. くくRhythm and gospel’’was never so called in its day: the word "gospel,, was not something one talked about in the context of such salacious songs as ’くHoney Love’’or ”Work with Me Annie.’’Yet these records, and others by groups like theeBQ聖二_ inoes-and the Drif曲 閣閣閣議竪醒語間監護圏監 Brown, Otis Redding and Wilson Pickett. Clyde McPhatter, One Of the sweetest voices of the Fifties. Originally a member of Billy Ward’s The combination of gospel singing with the risqu6 1yrics Dominoes, he became the lead singer of the original Drifters, and then went on to pop success as a soIoist (‘くA I.over’s Question,’’ (、I.over Please”). 諾箋護憲薫葦嵩叢 br皿ant years of singing pure gospel with the Soul Stirrers, the resulting schism among Cooke’s fans was deeper and longer lasting than the divisions among Bob Dylan’s partisans after he went electric in 1965.
    [Show full text]
  • Happy Black History Month Noles! February
    FEBRUARY 2018. VOL 2. Issue 14 22 Happy Black History Month Noles! ☺ February 4th - Sunday 11th STAY IN THE KNOW NOLES BLACK STUDENT UNION AGAPE SOCIAL INJUSTICE SYMBOLISM 2018 The Black Student Union is inviting The Black Faculty and Staff members of the New Black Panther Party Network and the Latin@ Faculty chapter in Jacksonville, Florida to come Advocacy Resource Group present speak at their event, Agape. They plan on the FSU Social Justice Symposium 2018: discussing the importance of relationships Activism in the Academy. The two-day within the black community and how it event will recognize how ethnic and helps with trauma and healing. The New cultural studies are influenced and bring Black Panther party will talk about unity, students, teachers and activists together expression, and the importance of staying to build relationships and explore together. There will be a mixer at the end. opportunities and solutions. Keynote Come out to the new BSU house on Speaker W. Kamau Bell will present "The Tuesday, January 6th at 7pm! W. Kamau Bell Curve: Ending FSU Day at the Capitol Racism in About an Hour" at 7 RED ALERT p.m. Friday, February 9th, in the Florida State University celebrates its In honor of Black HIV/AIDS Awareness Oglesby Union Ballroom. A full day of preeminence during FSU Day at the Day, University Health Services will be panel discussions will take place from 9 Capitol. The event will take place from 10 hosting Red Alert! Red Alert is a fashion a.m. to 6 p.m. Saturday, February th A.M.
    [Show full text]
  • Radio 3 Listings for 19 – 25 May 2018 Page 1 Of
    Radio 3 Listings for 19 – 25 May 2018 Page 1 of 10 SATURDAY 19 MAY 2018 Andsnes (piano) Ave maris stella OWAIN PARK: SAT 01:00 Through the Night (b0b31mxx) 5:34 AM Ave Maris Stella 2017 BBC Proms: Haydn and Mahler Maurice Ravel (1875-1937) ROBERT WYLKYNSON: Catriona Young presents The Royal Concertgebouw Orchestra Rapsodie espagnole Salve Regina at the 2017 BBC Proms in Haydn and Mahler. Aglika Genova, Liuben Dimitrov (piano duo) HERBERT HOWELLS: Salve Regina 1:01 AM 5:47 AM JONATHAN LANE: Joseph Haydn (1732-1809) Wolfgang Amadeus Mozart (1756-1791) There is No Rose Symphony No. 82 in C major, Hob.1.82, (The Bear) Exsultate, jubilate - motet K.165 for soprano and orchestra MATTHEW MARTIN: Royal Concertgebouw Orchestra, Daniele Gatti (conductor) Julia Lezhneva (soprano), Wroclaw Baroque Orchestra, A Rose Magnificat Giovanni Antonini (conductor) Gabrieli Consort, Paul McCreesh 1:28 AM Signum SIGCD536 (CD) Gustav Mahler (1860-1911) 6:03 AM Symphony No 4 in G major for soprano and orchestra ; Sehr Claude Debussy (1862-1918) PÄRT: THE SYMPHONIES behaglich 'Wir geniessen die himmlischen Freuden' Cello Sonata in D minor ARVO PÄRT: Chen Reiss (soprano), Royal Concertgebouw Orchestra, Henrik Brendstrup (cello), Tor Espen Aspaas (piano) Symphony No. 1 Daniele Gatti (conductor) Symphony No. 2 6:17 AM Symphony No. 3 2:26 AM Alphons Diepenbrock (1862-1921) Symphony No. 4 'Los Angeles' Richard Wagner (1813-1883) Im grossen Schweigen ("Hier liegt das Meer, hier können wir NFM Wroclaw Philharmonic, Tonu Kaljuste Rienzi Overture die Stadt vergessen") for baritone and orchestra (after ECM 4816802 (CD) Royal Concertgebouw Orchestra, Mariss Jansons (conductor) Nietzsche, 1905-6, rev.
    [Show full text]
  • And What Is Soul Music?)
    Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown Joel Rudinow http://press.umich.edu/titleDetailDesc.do?id=173611 The University of Michigan Press, 2010 I chapter 1 What Is Soul? (And What Is Soul Music?) A person’s soul is a person’s essence, that part of our being which can soar to heaven. Gospel is the music of that essence, and the church is its home. —stax museum of american soul music The basic thing is soul feeling. The same in blues as in spirituals. And also with gospel music. It is soul music. —mahalia jackson This sound was just pulled from the gospel roots and the blues roots . and they tagged it “soul music” because people just stood and sang from their guts, you know, whatever they felt, they just let it come out. —carla thomas What is “Soul”? What a question! —dick hebdige I’ve been a musician longer than I’ve been a philosopher. I started piano lessons at the age of seven. My teachers were all very serious and accom- plished classical musicians, and I’m afraid I was something of a disap- pointment to them. I think the discipline required to perform the classi- cal piano repertoire well was just too demanding and exacting for my youthful attention span and mischievous spirit. I stuck with it for about ten years, though I was clearly not going to make it as a classical pianist. But I had a good ear—good enough to get by without really developing much sight-reading ability—and anyway I was more interested in rock & roll and boogie-woogie, styles of piano playing that were developed and transmitted primarily as oral musical traditions (not essentially reliant on notation).
    [Show full text]
  • Guide to the Joe Adams Papers
    Guide to the Joe Adams Papers NMAH.AC.0908 Leah Blue 2008 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 4 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Photographs, 1947 - 1980........................................................................ 5 Series 2: Scrapbooks, circa 1947-1954................................................................... 7 Joe Adams Papers NMAH.AC.0908 Collection Overview Repository: Archives Center, National Museum of American History Title: Joe Adams Papers Identifier: NMAH.AC.0908 Date: 1948-1980 Creator: Adams, Joe, 1922-
    [Show full text]
  • Extensions of Remarks E1107 HON. DANNY K. DAVIS HON. JIM KOLBE
    June 14, 2004 CONGRESSIONAL RECORD — Extensions of Remarks E1107 for the eradication of curable diseases among ber, music has always been something ex- standing firm against it hastened the end of African children. This work was continued in a traordinary in my life. It’s always been some- the Cold War and the return of Russia to the convention called ‘‘Children of the Front Line’’ thing that completely captured my attention— family of nations. in Harare, Zimbabwe. As part of this effort, from the time I was three, when Mr. Pitman Influenced by his humble beginnings, Rea- with the largest concentration of African artists was showing me these little melodies. My first gan’s patriotism and optimistic spirit exempli- ever assembled, Mr. Belafonte performed a love was the music I heard in the community: fied the American dream. He restored Amer- concert benefiting UNICEF. blues, church gospel music, and country and ica’s ‘‘can do’’ creed. We will always remem- Mr. Speaker, there is much more that I western. My mom would let me stay up to lis- ber the words of his farewell address, when would like to share about this living legend ten to the Grand Old Opry on Saturday night. he said those of his generation ‘‘were taught, who has left a mark on our world. Clearly, Mr. That’s the only time I got to stay up late. I very directly, what it means to be an Amer- Belafonte is laudable recipient of this award, heard the blues played by Muddy Waters and ican. And we absorbed, almost in air, a love which highlights his contributions toward se- Blind Boy Philips and Tampa Red and Big Boy of country and an appreciation of its institu- curing human rights and freedoms locally and Crudup.
    [Show full text]
  • Ray Charles (Ray Charles Peterson) Liver Disease
    ray Charles (ray charles peterson) liver disease Born: September 23, 1930 Died: June 10, 2004 Ray Charles’s achievements are astonishing enough in their own Unsurprisingly, many were shocked: “He’s mixing the blues right; but then factor in the start he had in life… with the spirituals,” Big Bill Broonzy carped. “I know that’s wrong… Born into a poor family in Albany, Georgia, Charles became he should be singing in a church.” He dropped another stone- blind by the age of seven, due to glaucoma; if that weren’t bad cold classic with 1959’s “What’d I Say,” an electric piano-driven enough, as a child he saw his younger brother drown, and both stomper that nodded to rock ’n’ roll, featuring call-and-response his parents died while he was in his teens. Undeterred—driven all backing vocals (from The Raelettes) that derived from church the more, if anything—he enrolled at Florida’s St. Augustine School meetings. (Rocker Eddie Cochran was another fan, and turned for the Deaf and the Blind, where he studied music and Braille countless white audiences on to Charles by covering his “What’d (which, in turn, helped him learn composition and arrangement). I Say” and “Hallelujah I Love Her So”). Combining R&B rhythms “I met Ray when I was about fifteen and he was about with gospel passion, Ray Charles was laying the building blocks eighteen,” recalled legendary producer Quincy Jones, “and of soul music, though jazz was never far away (note the ballads even then he was always so damn positive, like he could listen to and jazz-band arrangements of 1959 breakthrough The Genius Of a record of Billy Eckstine’s ‘Blowin’ The Blues Away,’ and he could Ray Charles).
    [Show full text]
  • Soul Music in American Culture
    UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Hynek Hanzlík Soul music in American culture Bakalářská práce Vedoucí práce: Mgr. Jiří Flajšar, Ph.D. Olomouc 2014 Prohlašuji, že jsem tuto bakalářskou práci vypracoval samostatně a uvedl jsem všechny použité podklady a literaturu. V Přerově dne 5. 5. 2014 …............................... Hynek Hanzlík Rád bych poděkoval Mgr. Jiřímu Flajšarovi, Ph.D. za vedení mé bakalářské práce a za poskytnutí informací a rad souvisejících s její tvorbou. Content 1 Introduction ................................................................................................................. 1 2 What is soul ................................................................................................................. 2 3 Development of soul music ......................................................................................... 5 3.1 Early developments ....................................................................................... 6 3.2 Sam Cooke's crossover .................................................................................. 8 3.3 From soul to funk .......................................................................................... 9 4 Black American society at the birth of soul ................................................................ 11 4.1 The Civil Rights Movement ........................................................................ 11 4.2 Soul music and the civil rights movement .................................................
    [Show full text]