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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. -
Indianapolis Signboard Photographs, Ca
Collection # P 0602 INDIANAPOLIS SIGNBOARD PHOTOGRAPHS, CA. 1930S–1960S Collection Information Historical Sketch Scope and Content Note Contents Processed by Dalton Gackle September 2017 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org COLLECTION INFORMATION VOLUME OF 1photograph box COLLECTION: COLLECTION 1930's–1960's DATES: PROVENANCE: William B. Lewis, Indianapolis, IN; 2 January 1979 RESTRICTIONS: None COPYRIGHT: REPRODUCTION Permission to reproduce or publish material in this collection RIGHTS: must be obtained from the Indiana Historical Society. ALTERNATE FORMATS: RELATED HOLDINGS: ACCESSION 1979.0107 NUMBER: NOTES: HISTORICAL SKETCH Tomlinson Hall: Indianapolis citizen Stephen D. Tomlinson left it in his will that his estate should be turned into public buildings for the city after his wife also passed. It read " He passed on November 14, 1870. His wife made a contract in 1871 by which the city would take ownership of the property and she would receive $7,000 per year until her death. Tomlinson Hall was then constructed in 1885–86. The approximate cost of the building, with running water and heating, was $137,500. On January 30, 1958, a four- alarm fire engulfed the building. Despite public dissent, the building was razed on July 8, 1958 as it could not be saved. It was not reconstructed. Sunset Terrace: With the end of prohibition in the United States, several night clubs and taverns sprang up along Indiana Avenue after 1933. The Sunset Terrace was one of the many properties within the area owned by brothers Denver and Sea Ferguson. -
Powell, His Trombone Student Bradley Cooper, Weeks
Interview with Benny Powell By Todd Bryant Weeks Present: Powell, his trombone student Bradley Cooper, Weeks TBW: Today is August the 6th, 2009, believe it or not, and I’m interviewing Mr. Benny Powell. We’re at his apartment in Manhattan, on 55th Street on the West Side of Manhattan. I feel honored to be here. Thanks very much for inviting me into your home. BP: Thank you. TBW: How long have you been here, in this location? BP: Over forty years. Or more, actually. This is such a nice location. I’ve lived in other places—I was in California for about ten years, but I’ve always kept this place because it’s so centrally located. Of course, when I was doing Broadway, it was great, because I can practically stumble from my house to Broadway, and a lot of times it came in handy when there were snow storms and things, when other musicians had to come in from Long Island or New Jersey, and I could be on call. It really worked very well for me in those days. TBW: You played Broadway for many years, is that right? BP: Yeah. TBW: Starting when? BP: I left Count Basie in 1963, and I started doing Broadway about 1964. TBW: At that time Broadway was not, nor is it now, particularly integrated. I think you and Joe Wilder were among the first to integrate Broadway. BP: It’s funny how it’s turned around. When I began in the early 1960s, there were very few black musicians on Broadway, then in about 1970, when I went to California, it was beginning to get more integrated. -
A Collection Analysis of the African-American Poetry Holdings in the De Grummond Collection Sarah J
SLIS Connecting Volume 2 | Issue 1 Article 9 2013 A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection Sarah J. Heidelberg Follow this and additional works at: http://aquila.usm.edu/slisconnecting Part of the Library and Information Science Commons Recommended Citation Heidelberg, Sarah J. (2013) "A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection," SLIS Connecting: Vol. 2: Iss. 1, Article 9. DOI: 10.18785/slis.0201.09 Available at: http://aquila.usm.edu/slisconnecting/vol2/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A Collection Analysis of the African‐American Poetry Holdings in the de Grummond Collection By Sarah J. Heidelberg Master’s Research Project, November 2010 Performance poetry is part of the new black poetry. Readers: Dr. M.J. Norton This includes spoken word and slam. It has been said Dr. Teresa S. Welsh that the introduction of slam poetry to children can “salvage” an almost broken “relationship with poetry” (Boudreau, 2009, 1). This is because slam Introduction poetry makes a poets’ art more palatable for the Poetry is beneficial for both children and adults; senses and draws people to poetry (Jones, 2003, 17). however, many believe it offers more benefit to Even if the poetry that is spoken at these slams is children (Vardell, 2006, 36). The reading of poetry sometimes not as developed or polished as it would correlates with literacy attainment (Maynard, 2005; be hoped (Jones, 2003, 23). -
2016 Arsc Conference Session Abstracts
2016 ARSC CONFERENCE SESSION ABSTRACTS THURSDAY, MAY 12 PLENARY SESSION Thursday, 8:45 am – 9:45 am THE JAZZ LEGACY OF INDIANA AVENUE Monika Herzig, Indiana University & David Williams Traditionally, jazz history books trace the inception of the art form jazz from New Orleans to Chicago and its final destination New York. Of course, innovation rarely follows such a linear path and during those early decades many regional jazz scenes developed. Indiana, the Crossroads of America, not only became a central destination for recording sessions at the Gennett Studios, but a frequent stop for all touring bands as they traveled across the country. As a result, Indianapolis’ club scene featured 33 clubs on the two blocks around the Walker Theatre on Indiana Avenue during the height of the Jazz Age. In addition, the dedicated music teachers of the segregated Crispus Attucks High School pushed their students to perform at their highest potential. Such fertile environment produced a host of influential and world-renowned jazz musicians and educators such as Wes Montgomery, Freddie Hubbard, David Baker, J.J. Johnson, Slide Hampton, Larry Ridley, Leroy Vinegar, David Young, Willis Kirk, Killer Ray Appleton, and many more. This panel discussion will discuss the social, economic, and cultural factors that created this unique and fertile community, the teaching philosophy of the Crispus Attucks music educators, and the rise and fall of the Indiana Avenue scene due to the Civil Rights Movement and regional city development using historic recordings and visuals. CIVIL RIGHTS AND ACTIVISM ON RECORD Thursday, 10:15 am – 11:45 am – Session 1 RECORDS OF RESISTANCE: LISTENING TO THE ANTI-VIETNAM WAR GI MOVEMENT THROUGH THE PAREDON RECORD LABEL Jennie Williams, Indiana University This paper focuses on two albums of songs protesting the Vietnam War, recorded and released in the late 1960s and early 1970s. -
Cornbread (Blue Note)
Lee Morgan Cornbread (Blue Note) Cornbread Lee Morgan, trumpet; Hank Mobley, tenor sax; Jackie McLean, alto sax; Herbie Hancock, piano; Larry Ridley, bass; Billy Higgins, drums. 1. Cornbread (Morgan) 9:00 Produced by ALFRED LION 2. Our Man Higgins (Morgan) 8:50 Cover Photo by FRANCIS WOLFF 3. Ceora (Morgan) 6:20 Cover Design by REID MILES 4. Ill Wind (Koehler-Arlen) 7:55 Recording by RUDY VAN GELDER 5. Most Like Lee (Morgan) 6:46 Recorded on September 8, 1965 TV viewers of the 1965 World Series, if they weren't in the kitchen grabbing a beer between innings, most likely heard a finger-popping blues behind the automobile commercial. It was "The Sidewinder" by Lee Morgan. The use of jazz in TV commercials has both good and bad aspects. Here the music was being played faithfully to its fashion and, as such, was representative of Lee Morgan's new success. If the music from Morgan's albums subsequent to "The Sidewinder" has not been utilized by Mad Ave., it has been heard on the radio -- AM and FM -- and on many a home music system. These albums have enabled him to form his own group which has played in nightclubs of some of the eastern seaboard's larger cities. Lee, who had been with Art Blakey's Jazz Messengers from 1958 into 1961, rejoined Blakey in 1964 but 1966 found him on his own. In a June engagement at Slugs', tenor saxophonist Hank Mobley and drummer Billy Higgins were members of Morgan's group. Here, they are part of his recording group along with three others who are no strangers to their session-mates or Blue Note listeners: Jackie McLean, Herbie Hancock and Larry Ridley. -
Of Audiotape
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DAVID N. BAKER NEA Jazz Master (2000) Interviewee: David Baker (December 21, 1931 – March 26, 2016) Interviewer: Lida Baker with recording engineer Ken Kimery Date: June 19, 20, and 21, 2000 Repository: Archives Center, National Museum of American History Description: Transcript, 163 pp. Lida: This is Monday morning, June 19th, 2000. This is tape number one of the Smithsonian Jazz Oral History Project interview with David Baker. The interview is being conducted in Bloomington, Indiana, [in] Mr. Baker’s home. Let’s start with when and where you were born. David: [I was] born in Indianapolis, December 21st, 1931, on the east side, where I spent almost all my – when I lived in Indianapolis, most of my childhood life on the east side. I was born in 24th and Arsenal, which is near Douglas Park and near where many of the jazz musicians lived. The Montgomerys lived on that side of town. Freddie Hubbard, much later, on that side of town. And Russell Webster, who would be a local celebrity and wonderful player. [He] used to be a babysitter for us, even though he was not that much older. Gene Fowlkes also lived in that same block on 24th and Arsenal. Then we moved to various other places on the east side of Indianapolis, almost always never more than a block or two blocks away from where we had just moved, simply because families pretty much stayed on the same side of town; and if they moved, it was maybe to a larger place, or because the rent was more exorbitant, or something. -
Guide to African American History Materials in Manuscript and Visual Collections at the Indiana Historical Society
Guide to African American History Materials in Manuscript and Visual Collections at the Indiana Historical Society Originally compiled as a printed guide (Selected African-American History Collections) by Wilma L. Gibbs, 1996 Revised and updated by Wilma L. Gibbs as an online guide, 2002 and 2004 Introduction Personal Papers Organizations, Institutions, and Projects Communities Education Race Relations Religious Institutions 15 July 2004 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org Introduction This guide describes manuscript and visual collections in the William Henry Smith Memorial Library of the Indiana Historical Society (IHS) that document the experiences of African Americans in Indiana. In 1982, a collecting effort was formalized at the Historical Society to address the concern for the paucity of records available for doing research on the history of African Americans in the state. The purpose of that effort continues to be to collect, process, preserve, and disseminate information related to the history of black Hoosiers. The Archivist, African American History is available to answer and direct research questions from the public. Indiana Historical Society members can receive Black History News & Notes, a quarterly newsletter that publicizes library collections, relevant historical events, and short papers pertaining to Indiana’s black history. Preserving Indiana’s African American heritage is a cooperative venture. The Society needs your help in providing information about existing records in attics, basements, and garages that can be added to the library’s collections. As more records are collected and organized, a more accurate and complete interpretation of Indiana history will emerge. -
Here May Is Not Rap Be Music D in Almost Every Major Language,Excerpted Including Pages Mandarin
ENCYCLOPEDIA OF THE BLACK ARTS MOVEMENT ed or printed. Edited by istribut Verner D. Mitchell Cynthia Davis an uncorrected page proof and may not be d Excerpted pages for advance review purposes only. All rights reserved. This is ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London 18_985_Mitchell.indb 3 2/25/19 2:34 PM ed or printed. Published by Rowman & Littlefield An imprint of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 istribut www.rowman.com 6 Tinworth Street, London, SE11 5AL, United Kingdom Copyright © 2019 by The Rowman & Littlefield Publishing Group Inc. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Mitchell, Verner D., 1957– author. | Davis, Cynthia, 1946– author. Title: Encyclopedia of the Black Arts Movement / Verner D. Mitchell, Cynthia Davis. Description: Lanhaman : uncorrectedRowman & Littlefield, page proof [2019] and | Includes may not bibliographical be d references and index. Identifiers:Excerpted LCCN 2018053986pages for advance(print) | LCCN review 2018058007 purposes (ebook) only. | AllISBN rights reserved. 9781538101469This is (electronic) | ISBN 9781538101452 | ISBN 9781538101452 (cloth : alk. paper) Subjects: LCSH: Black Arts movement—Encyclopedias. Classification: LCC NX512.3.A35 (ebook) | LCC NX512.3.A35 M58 2019 (print) | DDC 700.89/96073—dc23 LC record available at https://lccn.loc.gov/2018053986 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. -
April and May 2011 (Please --- No Pets on Hikes)
The Indianapolis Hiking Club www.indyhike.org Happiness - A Step at a Time SCHEDULE FOR APRIL AND MAY 2011 (PLEASE --- NO PETS ON HIKES) Celebrating 54 Years of Sponsoring Hikes and Outings HIKE RATING SYSTEM - Shown in parentheses at the end of each hike TERRAIN SURFACE SPEED H (Hilly) Continuously NS (Natural) Primarily Soft Walking Speed in MPH, M (Mixed) Hilly & Flat HS (Hard) Packed Dirt or Gravel not including breaks F (Flat) Few Hills PS (Paved) Concrete or Blacktop (e.g., 3.0 is 20 min/mile) Hikers should arrive at the meeting location at least 10 minutes early, which will enable the leader to complete sign-ups and start the hike on time. Hike leaders are responsible for safety first. In adverse weather the leader may reroute, shorten or cancel a hike. If the weather is inclement call the leader to confirm a hike. Interested in leading a hike? Contact Pathfinders: Jean Ballinger (696-2120) [email protected] for weekend hikes or Ed Wright (219-5536) [email protected] for weekdays. PRESIDENTS CORNER: BILL LARRISON 1917-2011 Bill Larrison, Hike Leader, Publications Chairman, Club Historian and “Father figure” to so many, passed away after a major heart attack, on January 23rd, 2011. I met Bill on my first hike with the Club in 1999. This was also my first hike ever in my life. Bill was leading a 6- mile long trek through Eagle Creek Park with a large group of really old people. Bill was so welcoming and sincere that instead of running as fast as I could to my car and getting the heck out of there, I stuck it out, completed 6 miles and have added over 4,000 miles to that in the 12 years since. -
African-American Writers
AFRICAN-AMERICAN WRITERS Philip Bader Note on Photos Many of the illustrations and photographs used in this book are old, historical images. The quality of the prints is not always up to current standards, as in some cases the originals are from old or poor-quality negatives or are damaged. The content of the illustrations, however, made their inclusion important despite problems in reproduction. African-American Writers Copyright © 2004 by Philip Bader All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Bader, Philip, 1969– African-American writers / Philip Bader. p. cm.—(A to Z of African Americans) Includes bibliographical references (p. ) and indexes. ISBN 0-8160-4860-6 (acid-free paper) 1. American literature—African American authors—Bio-bibliography—Dictionaries. 2. African American authors—Biography—Dictionaries. 3. African Americans in literature—Dictionaries. 4. Authors, American—Biography—Dictionaries. I. Title. II. Series. PS153.N5B214 2004 810.9’96073’003—dc21 2003008699 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Joan M. -
Historic Bush Stadium 1501 W 16Th ST, INDIANAPOLIS, IN
FOR SALE, LEASE OR BTS > OFFICE SPACE Historic Bush Stadium 1501 W 16th ST, INDIANAPOLIS, IN Property Highlights > 7 minute walk to IUPUI & Hospital complex > 7,000 – 21,000 SF & 40,000 – 120,000 SF available > Adjacent $23 million dollar mixed-use project > Ample free parking > Multiple parcels for development > Great green space within historic Bush Stadium = BUILT-TO-SUIT OFFICE SPACE > Walking / Biking path / Direct connection to IUPUI Campus & Eskenazi Hospital > Part of 16 Tech (16techindy.com) RICH FORSLUND MATT LANGFELDT COLLIERS INTERNATIONAL 317 713 2172 317 713 2173 241 N Pennsylvania St, Suite 300 [email protected] [email protected] Indianapolis, IN 46204 colliers.com Site Plan Learn more about 16 Tech SITE www.16techindy.com Leading life sciences, biotech, IT and Indiana Avenue Streetscape motorsports companies all intersect at 16 Tech — creating an enriching Helix Park environment for established and emerging companies. Aerial Photo > Adjacent to IUPUI campus and its collaborative facilities and resources - IU School of Informatics, IU Health People Mover Station, IU Biotechnology Research and Training Center. > Walking distance to the IU Medical School, second largest in the U.S. > Surrounded by an incredible cluster of other renowned healthcare / medical facilities - Eskenazi Hospital, Riley Hospital for Children, IU Neuroscience Center of Excellence, IU Health, National Institute for Fitness & Sports. > Located on key path connecting downtown commercial zone to numerous anchor institutions and area attractions: NCAA Hall of Champions, Indianapolis 500 Indianapolis Motor Speedway, Indianapolis Zoo, and more. IU Health 16 TECH Neuroscience Center of Excellence IU Health Methodist Roudebush VA Eskenazi Reilly Hospital Hospital Medical Center Hospital for Children IU Health Academic Health IUPUI Center Indiana University – Purdue University of Indianapolis National Institute of Fitness & Sports Military Park NCAA $1.5+ Billion in Private & Public sector projects planned or already underway within or nearby 16 Tech’s boundaries.