The Great Migration and the Harlem Renaissance
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Garland's Million: the Radical Experiment To
October 14, 2019 To: ABF Legal History Seminar From: John Fabian Witt Re: October 23 seminar Thanks so much for looking at my drafts and coming to my session! I’m thrilled to have been invited to Chicago. I am attaching chapters 5 and 8 from my book-in-progress, tentatively titled Garland’s Million: The Radical Experiment to Save American Democracy. The book is the story of an organization known informally as the Garland Fund or formally as the American Fund for Public Service: a philanthropic foundation established in 1922 to give money to liberal and left causes. The Fund figures prominently in the history of civil rights lawyering because of its role setting in motion the early stages of the NAACP’s litigation campaign that led a quarter-century later to Brown v. Board of Education. I hope you will be able to get some sense of the project from the crucial chapters I’ve attached here. These chapters come from Part 2 of the book. Part 1 focuses on Roger Baldwin, the founder of the ACLU and the principal energy behind the Fund. Part 2 (including the chapters here) focuses on James Weldon Johnson, who ran the NAACP during the 1920s and was a board member of the Fund. Parts 3 and 4 turn respectively to Elizabeth Gurley Flynn (a labor radical on the board) and Felix Frankfurter, who in the 1920s served as a key outside consultant and counsel to the Fund. To set the stage, readers have learned in Part 1 about Baldwin as a disillusioned reformer, who advocated progressive programs like the initiative and referendum only to see direct democracy produce a wave of white supremacist initiatives. -
Brian Stokes Mitchell Outside at the Colonial
Press Contacts: Katie B. Watts Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For immediate release, please: Monday, July 20 at 10am Berkshire Theatre Group Announces An Intimate Performance with Two-time Tony Award-winner Brian Stokes Mitchell to Benefit Berkshire Theatre Group and a Portion of Sales to go to The Actors Fund and Black Theatre United Pittsfield, MA – Berkshire Theatre Group (BTG) and Kate Maguire (Artistic Director, CEO) are excited to announce two-time Tony Award-winner Brian Stokes Mitchell in an intimate performance and fundraiser to benefit Berkshire Theatre Group. In this very special one-night-only concert, Brian Stokes Mitchell will deliver an unforgettable performance to an audience of less than 100 people, outside under a tent at The Colonial Theatre on Labor Day Weekend, September 5 at 8pm. Dubbed “the last leading man” by The New York Times, Tony Award-winner Brian Stokes Mitchell has enjoyed a career that spans Broadway, television, film, and concert appearances with the country’s finest conductors and orchestras. He received Tony, Drama Desk, and Outer Critics Circle awards for his star turn in Kiss Me, Kate. He also gave Tony-nominated performances in Man of La Mancha, August Wilson’s King Hedley II, and Ragtime. Other notable Broadway shows include: Kiss of the Spider Woman, Jelly’s Last Jam, Women on the Verge of a Nervous Breakdown and Shuffle Along. In 2016 he was awarded his second Tony Award, the prestigious Isabelle Stevenson Tony for his Charitable work with The Actors Fund. -
Georgia Douglas Johnson and Eulalie Spence As Figures Who Fostered Community in the Midst of Debate
Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Caroline Roberta Hill, B.A. Graduate Program in Theatre The Ohio State University 2019 Thesis Committee: Jennifer Schlueter, Adviser Beth Kattelman Copyright by Caroline Roberta Hill 2019 Abstract The Harlem Renaissance and New Negro Movement is a well-documented period in which artistic output by the black community in Harlem, New York, and beyond, surged. On the heels of Reconstruction, a generation of black artists and intellectuals—often the first in their families born after the thirteenth amendment—spearheaded the movement. Using art as a means by which to comprehend and to reclaim aspects of their identity which had been stolen during the Middle Passage, these artists were also living in a time marked by the resurgence of the Ku Klux Klan and segregation. It stands to reason, then, that the work that has survived from this period is often rife with political and personal motivations. Male figureheads of the movement are often remembered for their divisive debate as to whether or not black art should be politically charged. The public debates between men like W. E. B. Du Bois and Alain Locke often overshadow the actual artistic outputs, many of which are relegated to relative obscurity. Black female artists in particular are overshadowed by their male peers despite their significant interventions. Two pioneers of this period, Georgia Douglas Johnson (1880-1966) and Eulalie Spence (1894-1981), will be the subject of my thesis. -
Copyright by Cary Cordova 2005
Copyright by Cary Cordova 2005 The Dissertation Committee for Cary Cordova Certifies that this is the approved version of the following dissertation: THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO Committee: Steven D. Hoelscher, Co-Supervisor Shelley Fisher Fishkin, Co-Supervisor Janet Davis David Montejano Deborah Paredez Shirley Thompson THE HEART OF THE MISSION: LATINO ART AND IDENTITY IN SAN FRANCISCO by Cary Cordova, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2005 Dedication To my parents, Jennifer Feeley and Solomon Cordova, and to our beloved San Francisco family of “beatnik” and “avant-garde” friends, Nancy Eichler, Ed and Anna Everett, Ellen Kernigan, and José Ramón Lerma. Acknowledgements For as long as I can remember, my most meaningful encounters with history emerged from first-hand accounts – autobiographies, diaries, articles, oral histories, scratchy recordings, and scraps of paper. This dissertation is a product of my encounters with many people, who made history a constant presence in my life. I am grateful to an expansive community of people who have assisted me with this project. This dissertation would not have been possible without the many people who sat down with me for countless hours to record their oral histories: Cesar Ascarrunz, Francisco Camplis, Luis Cervantes, Susan Cervantes, Maruja Cid, Carlos Cordova, Daniel del Solar, Martha Estrella, Juan Fuentes, Rupert Garcia, Yolanda Garfias Woo, Amelia “Mia” Galaviz de Gonzalez, Juan Gonzales, José Ramón Lerma, Andres Lopez, Yolanda Lopez, Carlos Loarca, Alejandro Murguía, Michael Nolan, Patricia Rodriguez, Peter Rodriguez, Nina Serrano, and René Yañez. -
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. -
The Harlem Renaissance
THE HARLEM RENAISSANCE P&L 863-Rama Ndiaye[Type text] Page 1 Curriculum Development Project OVERVIEW The Harlem Renaissance was a period in which black intellectuals, poets, musicians and writers explored their cultural identity. In a society where racism was prevalent African Americans lacked economic opportunities. The creation of art, music and poetry was not only a way to economically uplift the race but also to demonstrate racial pride. The cultural movement started at the end of the First World War and ended in the middle of the Great Depression in the 1930s. Many argue that the War expanded economic opportunity in Northern cities because of industrialization and the decrease of European immigrants coming into the United States. The Great Migration in the beginning of the 20th century also played a big role in the birth of the cultural movement. African Americans in the South were experiencing social, cultural and economic oppression so when they found opportunities to escape Jim Crow laws they took their chances. The lack of a political voice and the prevalent racial hatred led many African Americans to express themselves via artistic means. Alain Locke, an African American writer, was the first to come up with the term “New Negro” talking about a spur of young black artist who were going to change the African American culture by demonstrating that their people were not subservient, good for nothing cretins. Other intellectuals such as W.E.B. Du Bois and James Weldon Johnson aided in the expansion of the movement by being spokespeople for the literary youth. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
The Martin Luther King, Jr. Papers Project
preciate it if you could find it for me.5 I am happy to say that I have read most of zg Dec Gandhi’s works and I have most of them in my library. ‘959 Incidentally, I have written a book entitled Stride Toward Freedom. One of the chapters is devoted to my pilgrimage to nonviolence. Here I try to show the Gand- hian influence in my thinking. I regret that I sent my last copy out a few days ago. If you are interested, however, you may secure a copy from Harper and Brothers. It was published in September, 1958. I will highly appreciate your comments. In answer to your question concerning China, I definitely feel that it should be admitted to the United Nations. We will never have an effective United Nations so long as the largest nation in the world is not in it. Thanks again for your kind letter, and I hope for you a joyous Christmas sea- son and a blessed new year. Yours very truly, Martin L. King, Jr. (Dictated, but not personally signed by Dr. King.) TLc. MLKP-MBU: Box 72. 3. Gandhi, Gandhi’s Letters to a Disciple (New York: Harper, 1950). In a 2 November 1960letter to King, Teek-Frank indicated that she had learned that the book was out of print but offered to lend him her copy the next time he visited New York. The Martin Luther King, Jr. Papers Project To Langston Hughes 29 December 1959 Montgomery, Ala. King thanks Hughes for contributing a poem to A. -
Fighting Segregation, Teaching Multiculturalism: the Beginning of the Education/Instruccion Narrative of the 1970S Hartford Civil Rights Movement
Trinity College Trinity College Digital Repository Papers and Publications Cities, Suburbs, and Schools Project 6-2010 Fighting Segregation, Teaching Multiculturalism: The Beginning of the Education/Instruccion Narrative of the 1970s Hartford Civil Rights Movement Jasmin Agosto Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/cssp_papers Part of the Education Commons Recommended Citation Agosto, Jasmin. “Fighting Segregation, Teaching Multiculturalism: The Beginning of the Education/ Instruccion Narrative of the 1970s Hartford Civil Rights Movement”. Educational Studies Senior Research Project, Hartford, Connecticut: Trinity College, 2010. Available from the Trinity College Digital Repository, Hartford, Connecticut (http://digitalrepository.trincoll.edu) FIGHTING SEGREGATION, TEACHING MULTICULTURALISM: The Beginning of the Education/Instrucción Narrative of the 1970s Hartford Civil Rights Movement REVISED June 8, 2010 Investigated by Aspiring Local Historian Jasmin E. Agosto For Educational Studies Senior Research Seminar Trinity College, Hartford, CT Fall/Spring 2009-10 PLEASE SEND COMMENTS to author at [email protected] Or Jasmin Agosto,39 Arnold Street, Hartford, CT 06106 WEB OF POWER: MAPPING INSTITUTIONAL RACISM The year was 1970. Three eager individuals gathered in a small recently bought storefront office space at 1170 Albany Avenue1 in the North End of Hartford. They were focused. They were determined to deeply investigate, unearth, and eliminate institutional racism in the city of Hartford. The first step was this map of where it was at – locating power. They cut pieces of paper with lists of the Boards of Directors of all the major corporations in Hartford – the insurance companies, the banks, the real estate agencies. Gluing names on the wall they realized that names were repeated on Boards across companies. -
Eugenicists, White Supremacists, and Marcus Garvey in Virginia, 1922-1927
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2001 Strange Bedfellows: Eugenicists, White Supremacists, and Marcus Garvey in Virginia, 1922-1927 Sarah L. Trembanis College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African History Commons, and the United States History Commons Recommended Citation Trembanis, Sarah L., "Strange Bedfellows: Eugenicists, White Supremacists, and Marcus Garvey in Virginia, 1922-1927" (2001). Dissertations, Theses, and Masters Projects. Paper 1539624397. https://dx.doi.org/doi:10.21220/s2-eg2s-rc14 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. STRANGE BEDFELLOWS- Eugenicists, White Supremacists, and Marcus Garvey in Virginia, 1922-1927. A Thesis Presented to The Faculty of the Department of History The College of William and Mary In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Sarah L. Trembanis 2001 APPROVAL SHEET This thesis is presented in partial fulfillment of the requirements for the degree of Master of Arts Sarah L. Trembanis Approved, August 2001 (?L Ub Kimbe$y L. Phillips 'James McCord TABLE OF CONTENTS Page Acknowledgments iv Abstract v Introduction 2 Chapter 1: Dealing with “Mongrel Virginians” 25 Chapter 2: An Unlikely Alliance 47 Conclusion 61 Appendix One: An Act to Preserve Racial Integrity 64 Appendix Two: Model Eugenical Sterilization Law 67 Bibliography 74 Vita 81 iii ACKNOWLEDGMENTS First of all, I would like to thank my advisor, Professor Kimberly Phillips, for all of her invaluable suggestions and assistance. -
The History and Development of Jazz Piano : a New Perspective for Educators
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1975 The history and development of jazz piano : a new perspective for educators. Billy Taylor University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Taylor, Billy, "The history and development of jazz piano : a new perspective for educators." (1975). Doctoral Dissertations 1896 - February 2014. 3017. https://scholarworks.umass.edu/dissertations_1/3017 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]. / DATE DUE .1111 i UNIVERSITY OF MASSACHUSETTS LIBRARY LD 3234 ^/'267 1975 T247 THE HISTORY AND DEVELOPMENT OF JAZZ PIANO A NEW PERSPECTIVE FOR EDUCATORS A Dissertation Presented By William E. Taylor Submitted to the Graduate School of the University of Massachusetts in partial fulfil Iment of the requirements for the degree DOCTOR OF EDUCATION August 1975 Education in the Arts and Humanities (c) wnii aJ' THE HISTORY AND DEVELOPMENT OF JAZZ PIANO: A NEW PERSPECTIVE FOR EDUCATORS A Dissertation By William E. Taylor Approved as to style and content by: Dr. Mary H. Beaven, Chairperson of Committee Dr, Frederick Till is. Member Dr. Roland Wiggins, Member Dr. Louis Fischer, Acting Dean School of Education August 1975 . ABSTRACT OF DISSERTATION THE HISTORY AND DEVELOPMENT OF JAZZ PIANO; A NEW PERSPECTIVE FOR EDUCATORS (AUGUST 1975) William E. Taylor, B.S. Virginia State College Directed by: Dr. -
Richard Wright and Ralph Ellison: Conflicting Masculinities
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1994 Richard Wright and Ralph Ellison: Conflicting Masculinities H. Alexander Nejako College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Nejako, H. Alexander, "Richard Wright and Ralph Ellison: Conflicting Masculinities" (1994). Dissertations, Theses, and Masters Projects. Paper 1539625892. https://dx.doi.org/doi:10.21220/s2-nehz-v842 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. RICHARD WRIGHT AND RALPH ELLISON: CONFLICTING MASCULINITIES A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by H. Alexander Nejako 1994 ProQuest Number: 10629319 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10629319 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC.