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The Supreme Court, Segregation Legislation, and the African American Press, 1877-1920
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2007 Slipping Backwards: The Supreme Court, Segregation Legislation, and the African American Press, 1877-1920 Kathryn St.Clair Ellis University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the United States History Commons Recommended Citation Ellis, Kathryn St.Clair, "Slipping Backwards: The Supreme Court, Segregation Legislation, and the African American Press, 1877-1920. " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/160 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kathryn St.Clair Ellis entitled "Slipping Backwards: The Supreme Court, Segregation Legislation, and the African American Press, 1877-1920." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in History. W. Bruce Wheeler, Major Professor We have read this dissertation and recommend its acceptance: Ernest Freeberg, Stephen V. Ash, -
Finding and Using African American Newspapers
Finding and Using African American Newspapers Timothy N. Pinnick [email protected] http://blackcoalminerheritage.net/ INTRODUCTION African American researchers will find black newspapers an extremely valuable part of their search strategy. Although mainstream newspapers should always be consulted, African American newspapers will provide nuggets of information that can be found nowhere else. Although the first African American newspaper was established in 1827, it is in the post Civil War period that the black press experienced tremendous growth. Hundreds of newspapers appeared to quench the thirst for knowledge in the newly freed slaves, and to provide an accurate and positive image of the race. Clint C. Wilson took the incomplete manuscript of the foremost historian of the African American press, Armistead Pride and produced A History of the Black Press in 1997. It is a great source of information on black newspapers. Another worthwhile source can be found online at the public television website of PBS. They produced the documentary film, “The Black Press: Soldiers Without Swords” in 1999, and their website is rich in reference material. http://www.pbs.org/blackpress/index.html VALUE OF BLACK NEWSPAPERS Aside from the most obvious benefit of locating obituaries, researchers can discover: an exact or nearly exact event date (birth, death, or marriage) of an ancestor, therefore enhancing the odds of a successful outcome when the eventual request for the vital record is made. Remember, some places will only search a short span of years in their index, and charge you whether they find the record or not. additional information on the event that will not be found on the vital record. -
Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of 8-26-2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/musicfacpub Part of the African American Studies Commons, American Popular Culture Commons, and the Music Commons Lefferts, Peter M., "Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography" (2016). Faculty Publications: School of Music. 64. http://digitalcommons.unl.edu/musicfacpub/64 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 08/26/2016 Chronology and Itinerary of the Career of J. Tim Brymn Materials for a Biography Peter M. Lefferts University of Nebraska-Lincoln This document is one in a series---"Chronology and Itinerary of the Career of"---devoted to a small number of African American musicians active ca. 1900-1950. They are fallout from my work on a pair of essays, "US Army Black Regimental Bands and The Appointments of Their First Black Bandmasters" (2013) and "Black US Army Bands and Their Bandmasters in World War I" (2012/2016). In all cases I have put into some kind of order a number of biographical research notes, principally drawing upon newspaper and genealogy databases. None of them is any kind of finished, polished document; all represent work in progress, complete with missing data and the occasional typographical error. -
262671234.Pdf
Out of Sight Lynn Abbott and Doug Seroff University Press of Mississippi / Jackson OutOut ofofOut of Sight Sight Sight The Rise of African American Popular Music – American Made Music Series Advisory Board David Evans, General Editor Barry Jean Ancelet Edward A. Berlin Joyce J. Bolden Rob Bowman Susan C. Cook Curtis Ellison William Ferris Michael Harris John Edward Hasse Kip Lornell Frank McArthur W. K. McNeil Bill Malone Eddie S. Meadows Manuel H. Peña David Sanjek Wayne D. Shirley Robert Walser Charles Wolfe www.upress.state.ms.us Copyright © 2002 by University Press of Mississippi All rights reserved Manufactured in the United States of America 10 09 08 07 06 05 04 4 3 2 ϱ Library of Congress Cataloging-in-Publication Data Abbott, Lynn, 1946– Out of Sight: the rise of African American popular music, 1889–1895 / Lynn Abbott and Doug Seroff. p. cm. — (American made music series) Includes bibliographical references (p. ) and index. ISBN 1-57806-499-6 (cloth: alk. paper) 1. African Americans—Music—Hisory and criticism. 2. Popular music—United States—To 1901—History and criticism. I. Seroff, Doug. II. Title. III. Series ML3479 .A2 2003 781.64Ј089Ј96073—dc21 2002007819 British Library Cataloging-in-Publication Data available Contents Acknowledgments ϳ Introduction ϳ Chapter 1. 1889 • Frederick J. Loudin’s Fisk Jubilee Singers and Their Australasian Auditors, 1886–1889 ϳ 3 • “Same”—The Maori and the Fisk Jubilee Singers ϳ 12 • Australasian Music Appreciation ϳ 13 • Minstrelsy and Loudin’s Fisk Jubilee Singers ϳ 19 • The Slippery Slope of Variety and Comedy ϳ 21 • Mean Judge Williams ϳ 24 • A “Black Patti” for the Ages: The Tennessee Jubilee Singers and Matilda Sissieretta Jones, 1889–1891 ϳ 27 • Other “Colored Pattis” and “Queens of Song,” 1889 ϳ 40 • Other Jubilee Singers, 1889 ϳ 42 • Rev. -
The Woman's Improvement Club of Indianapolis
The Woman’s Improvement Club of Indianapolis: Black Women Pioneers in Tuberculosis Work, 1903-1938 Earline Rae Ferguson* During the first decades of the twentieth century Americans of all classes came to terms with the ways in which industrialization and urbanization affected their lives. The diversity of experience was reflected in the dissimilarity of progressive reformers. Women approached reform from the vantage point of family experiences and values and based their actions in the private and public spheres on those values. Whatever their background, many American women responded strongly to the urgent needs of the poor and the progressive temperament of their time, commiting themselves to social work and reform within their communities. One of the vehicles used by American women to achieve their goals was the woman’s club. Initially, middle-class white women, who were confined to the home after marriage, found that partici- pation in club life afforded them the opportunity to grow intellec- tually and socially. As they became more aware of the problems and issues in American life, however, clubwomen began to em- brace an ideology that would permit them to move out into the public sphere of activity-“Municipal Housekeeping.” Implicit in or- ganization was a responsibility to benefit their communities as well as their families. The woman’s club became the vehicle that they used in an attempt to meet that responsibility. Few black women, however, were confronted by the domestic void that plagued middle-class white women, in part because from the beginning they had worked outside the home to a much greater * Earline Rae Ferguson is a graduate student in history at Indiana University, Bloomington. -
Lynching and Postmemory in Lashawnda Crowe Storm's "Her Name Was Laura Nelson"
TO BE A WITNESS: LYNCHING AND POSTMEMORY IN LASHAWNDA CROWE STORM'S "HER NAME WAS LAURA NELSON" Viola Ratcliffe A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2015 Committee: Allison Terry-Fritsch, Advisor Rebecca L. Skinner Greene ii ABSTRACT Allison Terry-Fritsch, Advisor The literal reframing of the lynching postcard The Lynching of Laura Nelson within the medium of quilting allows for a visual re-contextualization of this image’s history. In LaShawnda Crowe Storm’s Quilt I: Her Name Was Laura Nelson the confrontation between viewers and the lynched body of an African American woman addresses an often neglected phenomenon, the lynching of black women in the United States during the late 19th and early 20th century. The literal reframing of the lynching postcard The Lynching of Laura Nelson within the medium of quilting allows for a visual re-contextualization of this image’s history. In the act of quilting Crowe Storm has removed this image from its original intention, a form of propaganda used to fuel racist ideology, and has now placed it within a context of feminism, activism, and communal art making. The selection of the medium of quilting in this work was intentional. In quilting LaShawnda Crowe Storm situates the work, and its attendant imagery, within a dialogue regarding female identity, the construction of community and the history of racial violence in the United States. As a community leader and activist in the city of Indianapolis, Indiana, LaShawnda Crowe Storm developed The Lynch Quilts Project as a means to bring people from across the country together to have an honest dialogue about the legacy of lynching and racial violence in the United States. -
Volume 16 • Number 3 • Fall 2016
OHIO VALLEY HISTORY VALLEY OHIO Periodicals postage paid at Cincinnati, Ohio, and additional mailing offices. A Collaboration of The Filson Historical Society, Cincinnati Museum Center, and the University of Cincinnati. VOLUME 16 • NUMBER 3 • FALL 2016 VOLUME • NUMBER 16 3 • FALL 2016 Ohio Valley History is a Submission Information for Contributors to OHIO VALLEY STAFF David Stradling Phillip C. Long collaboration of The Filson University of Cincinnati Julia Poston Editors Nikki M. Taylor Thomas H. Quinn Historical Society, Cincinnati LeeAnn Whites Texas Southern University Joanna Reeder Museum Center, and the The Filson Historical Society Frank Towers Dr. Anya Sanchez Department of History, University Matthew Norman University of Calgary Judith K. Stein, M.D. Department of History Steve Steinman of Cincinnati. University of Cincinnati CINCINNATI Carolyn M. Tastad Blue Ash College MUSEUM CENTER Anne Drackett Thomas Cincinnati Museum Center and One digital copy of the manuscript, saved in Microsoft Word, *Regarding general form and style, please follow the BOARD OF TRUSTEES Albert W. Vontz III should be sent by email to: 16th edition of the Chicago Manual of Style. For The Filson Historical Society Book Review Editor Kevin Ward specific style guidelines, please visit The Filson’s web- William H. Bergmann Chair Donna Zaring are private non-profit organiza- Matthew Norman, Editor or LeeAnn Whites, Editor site at: http://www.filsonhistorical.org/programs- Department of History Edward D. Diller James M. Zimmerman tions supported almost entirely Ohio Valley History Ohio Valley History and-publications/publications/ohio-valley-history/ Slippery Rock University Asst. Professor of History Director of Research submissions/submissions-guidelines.aspx. -
African-American Hospitals and Health Care in Early Twentieth
AFRICAN-AMERICAN HOSPITALS AND HEALTH CARE IN EARLY TWENTIETH CENTURY INDIANAPOLIS, INDIANA, 1894-1917. Norma B. Erickson Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department History, Indiana University May 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee _________________________________ Modupe G. Labode, Ph.D., Chair _________________________________ William H. Schneider, Ph.D. _________________________________ Robert G. Barrows, Ph.D. ii Dedication To those who lifted and those who climbed iii ACKNOWLEDGEMENTS I have so many people to thank for the help and support I received for this project. First, my gratitude to my committee for their patience in waiting for a product that was always “almost there.” Professor William Schneider and Professor Robert Barrows complained not at all for having to deal with the Sasquatch of the History Department. I am especially grateful for my chair, Professor Dr. Modupe Labode, who endured a stream of ever- changing drafts, but still managed to steer me to a final product that accounts for a little- accounted-for era. This project has taken a long time, and people who helped me in the early stages probably don’t even remember they did so. Wilma Moore, Senior Archivist, African American History at the Indiana Historical Society, Eugene and Marilyn Glick Indiana History Center certainly helped me along. I cannot fail to thank those who helped place me in the program, Dr. Phil Scarpino, whose Historic Preservation class in 1987 first introduced me to the Indiana Medical History Museum, which has become such a large part of my life. -
Proceedings of the Annual Meeting of the Association for Education in Journalism and Mass Communication (86Th, Kansas
DOCUMENT RESUME ED 481 253 CS 512 483 TITLE Proceedings of the Annual Meeting of the Association for Education in Journalism and Mass Communication (86th, Kansas City, Missouri, July 30-August 2, 2003) . History Division. PUB DATE 2003-07-00 NOTE 541p.; For other sections of these proceedings, see CS 512 480-498. PUB TYPE Collected Works Proceedings (021) Reports Research (143) EDRS PRICE EDRS Price MF02/PC22 Plus Postage. DESCRIPTORS Broadcast Television; Censorship; Federal Legislation; Females; Fiction; Foreign Countries; Government Role; Higher Education; *Journalism Education; *Journalism History; Presidential Campaigns (United States); Propaganda; Radio; Sex Role; World War II IDENTIFIERS *Black Press; Eighteenth Amendment; Federal Communications Commission; Great Britain; Ku Klux Klan; Literary Journalism; Pulitzer (Joseph II); *September 11 Terrorist Attacks 2001; Wyoming ABSTRACT The History Division of the proceedings contains the following 18 papers: "Woman as Machine: Representation of Female Clerical Workers in Interwar Magazines" (Jane Marcellus); "'So Vivid A Crossroads': The FCC and Broadcast Allocation, 1934-1939" (James C. Foust); "Cattle Barons Vs. Ink Slingers: The Decline and Fall of the Wyoming Stock Growers Association (1887-1894)" (Ross F. Collins); "The Black Press, the Black Metropolis, and the Founding of the Negro Leagues (1915-1920)" (Brian Carroll); "The International Sources of Section 12 of the Radio Act of 1927" (Rita Zajacz); "Alcoholic Dogs and Glory for All: The Launch of New Communications for National -
Pierce, Polite Protest
The The story of Political Contents Pierce Economy of Polite the Indianapolis Race in Introduction Indianapolis PROTEST 1. More than a Game: The Political black community’s Meaning of High School Basketball 1920–1970 The Political Economy of in Indianapolis Race in Indianapolis 2. “We Have Given You No Extremists”: fi ght against Polite 1920–1970 The Challenge against Segregated Schools segregation. PROTEST Richard B. Pierce 3. “We Were Always Fighting the Housing Battle”: African-American Housing in Indianapolis Polite 4. “You’re Tired, Chile”: Work This history of Indianapolis’s black community Opportunities and Restrictions in the 20th century focuses on methods of for Indianapolis’s African political action—protracted negotiations, Americans interracial coalitions, petition, and legal 5. Building a Fence around the City: challenge—employed to secure their civil African Americans and Unigov rights. These methods of “polite protest” set Conclusion Indianapolis apart from many Northern cities. Richard B. Pierce looks at how the black Notes PROTEST Index community worked to alter the political and social culture of Indianapolis. It would be too much to say that these exchanges were held between equal partners; far from it. The 1920s RICHARD B. PIERCE is the Carl E. in particular was a period of retrenchment. Koch II Assistant Professor of History and But as city leaders became concerned with Associate Director of African and African Indianapolis’s image, black leaders found it American Studies at the University of possible to achieve gains by working with Notre Dame. whites inside the existing power structure, while continuing to press for further reform and advancement. -
Chicago's New Negroes: Consumer Culture and Intellectual Life Reconsidered
New Voices Conference Chicago's New Negroes: Consumer Culture and Intellectual Life Reconsidered Bavarian L. Baldwin "Chicago Has No Intelligentsia"? The term "New Negro" in American history and culture has become a conventional way of referring to the literary and visual artists and intellectuals of the Harlem Renaissance. According to cultural critic Alain Locke, the New Negro represented a new generation of masses coming out of the Jim Crow South, "with a new psychology." In direct response to "Negro problem" studies within the emerging social sciences, the New Negro no longer wanted to be seen as a "formula ... to be argued about, condemned, or defended." Locke's 1925 edited anthology, The New Negro: Voices of the Harlem Renaissance, upheld arts and letters as the medium through which a New Negro personality and culture would emerge to counter damaging stereotypes and cultivate relationships between the "enlightened" segments of the races. Ideally, locating the Black "folk" content of spiritual hymns, folktales, dialect, etc. within "civilized" European forms of literacy, composition and verse would uplift Black culture and create a new interracial American cultural modernism. Moreover, Black critics argued that this new "primitive" and "virile" African American aesthetic would challenge the standards of "high" art and culture, while providing a balm from the "soulless" materialism of the industrial age and the "chaos" of urban, working-class, "low" culture.1 0026-3079/2003/4401-12152.50/0 American Studies, 44:1-2 (Spring/Summer 2003): -
Ida Wells-Barnett and Chicago's Pekin Theatre
Global Posts building CUNY Communities since 2009 http://tags.commons.gc.cuny.edu Ida Wells-Barnett and Chicago’s Pekin Theatre Karen Bowdre/ Ida Wells-Barnett (1862-1931) is well known as an anti-lynching advocate and activist, but she is less well known for her involvement with the theatre. In this essay, I argue that she played an instrumental role in creating new attitudes concerning the theatre and artistic expression. She engaged in persuasion campaigns in the early twentieth century that stretched the moral boundaries African American communities placed on entertainment. In order to affect this cultural shift she sought to bring the dramatic arts to Chicago through the Pekin Theater shortly after its re-opening in March 1906. The Pekin Theater was the city’s, and one of the nation’s, first theatres owned, managed, and operated by African Americans.[1] In her artistic crusade she battled not only the biases held by middle and upper-class African Americans toward the theatre but also the religious and moral panic patronizing the theatre often brought about in these communities. Her intervention took place over fifteen years prior to Art Theatre Movement, or Little Theatre Movement, and Alain Locke’s “Steps Toward the Negro Theatre,” published in 1922. It also came a decade before W. E. B. Du Bois’s defined Black Theatre as theatrical works “about us [African Americans], by us, for us, near us.”[2] Though Wells-Barnett can be linked to uplift ideology, she disrupted uplift tenets by being a female leader with a lower class background.[3] While Wells-Barnett gained class status from her job as a journalist as well as international recognition as a reformer, her gender and her original class status (her parents were slaves and later working people), as well as her attitudes about Black leadership, complicated her “elite” position.