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Rev. John Dickins by Charles Hargens, Based on an Eighteenth Century Engraving
A 1961 Painting of Rev. John Dickins by Charles Hargens, based on an eighteenth century engraving. Rev. John Dickins Outstanding Early Methodist Leader Rev. Dr. Frederick E. Maser (1989) Editor’s Note: Frederick E. Maser (1908-2002) was a member of the Eastern Pennsylvania Conference for nearly 70 years. A well-known authority on early Methodism, he authored a number of books, including The Dramatic Story of Early American Methodism (1965) and The Story of John Wesley’s Sisters, or Seven Sisters in Search of Love (1988). The following paper was given as a speech on March 28, 1989 for the 200th anniversary meeting of the United Methodist Publishing House, held at St. George’s. The paper has not been published previously, though Dr. Maser’s findings on John Dickins’ son, Asbury, were outlined in his “Discovery” column, in the April 1989 issue of Methodist History. Dr. Maser’s work has been adapted for publication; additional materials have been added by the editor. One of the best educated and finest preachers in early American Methodism, John Dickins has never received his just dues from historians or other church luminaries. Despite his tremendous impor- tance in early Methodism, no life of Dickins has ever been written, and only passing references are made to him in Methodist histories. The most complete portrayal of the man is found in James Pilkington’s 1968 History of the Methodist Publishing House.1 I would like to share a few words about this outstanding early Methodist leader. John Dickins was born in London in 1747. The exact date is unknown, and he, himself wrote in the family Bible, now in possession of the Publishing House: John Dickins was born, (as he supposed) August 24th, 1747. -
Love & Wedding
651 LOVE & WEDDING THE O’NEILL PLANNING RODGERS BROTHERS – THE MUSIC & ROMANCE A DAY TO REMEMBER FOR YOUR WEDDING 35 songs, including: All at PIANO MUSIC FOR Book/CD Pack Once You Love Her • Do YOUR WEDDING DAY Cherry Lane Music I Love You Because You’re Book/CD Pack The difference between a Beautiful? • Hello, Young Minnesota brothers Tim & good wedding and a great Lovers • If I Loved You • Ryan O’Neill have made a wedding is the music. With Isn’t It Romantic? • My Funny name for themselves playing this informative book and Valentine • My Romance • together on two pianos. accompanying CD, you can People Will Say We’re in Love They’ve sold nearly a million copies of their 16 CDs, confidently select classical music for your wedding • We Kiss in a Shadow • With a Song in My Heart • performed for President Bush and provided music ceremony regardless of your musical background. Younger Than Springtime • and more. for the NBC, ESPN and HBO networks. This superb The book includes piano solo arrangements of each ______00313089 P/V/G...............................$16.99 songbook/CD pack features their original recordings piece, as well as great tips and tricks for planning the of 16 preludes, processionals, recessionals and music for your entire wedding day. The CD includes ROMANCE: ceremony and reception songs, plus intermediate to complete performances of each piece, so even if BOLEROS advanced piano solo arrangements for each. Includes: you’re not familiar with the titles, you can recognize FAVORITOS Air on the G String • Ave Maria • Canon in D • Jesu, your favorites with just one listen! The book is 48 songs in Spanish, Joy of Man’s Desiring • Ode to Joy • The Way You divided into selections for preludes, processionals, including: Adoro • Always Look Tonight • The Wedding Song • and more, with interludes, recessionals and postludes, and contains in My Heart • Bésame bios and photos of the O’Neill Brothers. -
History of the M.E. Church, Vol. Ii
WESLEYAN HERITAGE Library M. E. Church History HISTORY OF THE M.E. CHURCH, VOL. II By Abel Stevens, LL.D. “Follow peace with all men, and holiness, without which no man shall see the Lord” Heb 12:14 Spreading Scriptural Holiness to the World Wesleyan Heritage Publications © 1998 HISTORY of the METHODIST EPISCOPAL CHURCH in the United States of America By Abel Stevens, LL.D., Author of "The History of the Religious Movement of the Eighteenth Century called Methodism," etc. VOLUME II The Planting and Training of American Methodism New York: Published By Carlton & Porter, 200 Mulberry-Street 1868 Entered according to Act of Congress, in the year 1861, by Carlton & Porter, in the Clerk's Office of the District Court of the United States for the Southern District of New-York HISTORY of the METHODIST EPISCOPAL CHURCH By Abel Stevens VOLUME II The Planting and Training of American Methodism CONTENTS VOLUME II -- BOOK II -- CHAPTER VI CONFERENCES AND PROGRESS FROM THE BEGINNING OF THE REVOLUTIONARY WAR TO THE ORGANIZATION OF THE METHODIST EPISCOPAL CHURCH Annual Conferences before the Organization of the Church -- Their Character and Powers -- Philadelphia Session of 1775 -- Important Success -- John Cooper -- Robert Lindsay -- William Glendenning -- William Duke -- John Wade -- Daniel Ruff at Abbott's Family Altar -- Edward Dromgoole -- First Baltimore Session, 1776 -- Its Character -- Freeborn Garrettson joins it -- Great Prosperity -- Methodism tends Southward -- Nicholas Watters -- James Foster -- Isham Tatum -- Francis Poythress -- Richard -
All Rights Reserved by HDM for This Digital Publication Copyright 2000 Holiness Data Ministry
All Rights Reserved By HDM For This Digital Publication Copyright 2000 Holiness Data Ministry Duplication of this CD by any means is forbidden, and copies of individual files must be made in accordance with the restrictions stated in the B4Ucopy.txt file on this CD. * * * * * * * THE FIRST M. E. CHURCH ELDERS Compiled & Edited By Duane V. Maxey * * * * * * * Digital Edition 02/03/2000 By Holiness Data Ministry * * * * * * * INTRODUCTION This compilation presents biographical sketches of the First Ordained Elders of the Methodist Episcopal Church -- elected to this office at the Christmas Conference of 1784 when the Church was organized. Some of these first Elders were ordained at that conference; some were ordained following it. While their history does not eclipse the 19 to 24 years of American Methodist history prior to their ordination, it does tell us much about the M. E. Church at the birth of its organization. As with some leaders in other organizations, not all of this group turned out for the best:-- one especially fell to horrible depths, and another created a major split from the M. E. Church, but most accounts will tell a better story and can be a source of real inspiration to the reader. These compilations were created from the writings of various different Early Methodist historians and biographers, the four most used sources being the writings of Nathan Bangs, John Lednum, Abel Stevens, and Ezra Squier Tipple. All of the material for them was gathered from digital publications found in our HDM Digital Library. I do not claim to be the author, but simply the compiler and editor. -
The Social and Cultural Changes That Affected the Music of Motown Records from 1959-1972
Columbus State University CSU ePress Theses and Dissertations Student Publications 2015 The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 Lindsey Baker Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Baker, Lindsey, "The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972" (2015). Theses and Dissertations. 195. https://csuepress.columbusstate.edu/theses_dissertations/195 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. The Social and Cultural Changes that Affected the Music of Motown Records From 1959-1972 by Lindsey Baker A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the degree of Bachelor of Music in Performance Schwob School of Music Columbus State University Thesis Advisor Date Dr. Kevin Whalen Honors Committee Member ^ VM-AQ^A-- l(?Yy\JcuLuJ< Date 2,jbl\5 —x'Dr. Susan Tomkiewicz Dean of the Honors College ((3?7?fy/L-Asy/C/7^ ' Date Dr. Cindy Ticknor Motown Records produced many of the greatest musicians from the 1960s and 1970s. During this time, songs like "Dancing in the Street" and "What's Going On?" targeted social issues in America and created a voice for African-American people through their messages. Events like the Mississippi Freedom Summer and Bloody Thursday inspired the artists at Motown to create these songs. Influenced by the cultural and social circumstances of the Civil Rights Movement, the musical output of Motown Records between 1959 and 1972 evolved from a sole focus on entertainment in popular culture to a focus on motivating social change through music. -
Recreating the Ensemble Dynamic of Motown's Funk Brothers
6 Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers Vincent Perry Introduction By the early 1960s, the genre known as soul had become the most commercially successful of all the crossover styles. Drawing on musical influences from the genres of gospel, jazz and blues, ‘soul’s success was as much due to a number of labels, so-called “house sounds”, and little- known bands, as it was to specific performers or songwriters’ (Borthwick and Moy, 2004, p. 5). Following on from the pioneer releases of Ray Charles and Sam Cooke, a Detroit-based independent label would soon become the ‘most successful and high profile of all the soul labels’ (Borthwick and Moy, 2004, p. 5). Throughout the early 1960s, Berry Gordy’s Tamla Motown dominated the domestic US pop and R&B charts with its assembly-line approach to music production (Moorefield, 2005, p. 21), which resulted in a distinctive sound that was shared by all the label’s artists. However, in 1963, the company ‘achieved its international breakthrough’ shortly after signing a landmark distribution deal with EMI in the UK (Borthwick and Moy, 2004, p. 5). Gordy’s headquarters—a seemingly humble, suburban 95 POPULAR MUSIC, STARS AND STARDOM residence—was ambitiously named Hitsville USA and, throughout the 1960s, it became a hub for pop record success. Emerson (2005, p. 194) acknowledged Motown’s industry presence when he noted: Motown was muscling in on the market for dance music. Streamlined, turbo-charged singles by the Marvelettes, Martha and the Vandellas, and the Supremes rolled off the Detroit assembly line … Berry Gordy’s ‘Sound of Young America’ challenged the Brill Building, 1650 Broadway, and 711 Fifth Avenue as severely as the British Invasion because it proved that black artists did not need white writers to reach a broad pop audience. -
“Redeeming the Time”: the Making of Early American Methodism
“REDEEMING THE TIME”: THE MAKING OF EARLY AMERICAN METHODISM By Michael Kenneth Turner Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Religion May, 2009 Nashville, Tennessee Approved: Dean James Hudnut-Beumler Professor M. Douglas Meeks Professor James P. Byrd Professor Dennis C. Dickerson Copyright ©2009 by Michael Kenneth Turner Al Rights Reserved To my ever-supportive and loving wife, Stephanie and To my father, Thomas, who helped every step of the way iii ACKNOWLEDGEMENTS The idea for this dissertation took nascent form during my time as a participant in the 2006 Wesley Studies Seminar. I am very grateful for the fellowship from Duke Divinity School that enabled me to participate in the seminar and do early research on the dissertation. In particular, I would like to thank that group’s helpful leader and organizer, Dr. Richard Heitzenrater. I am also appreciative of the conversations, suggestions, and encouragement I received from Dean Laceye Warner (Duke Divinity School), Dr. Jason Vickers (United Theological Seminary), Dr. Sarah Lancaster (Methodist Theological School of Ohio), Dr. Rex Matthews (Candler School of Theology), and Dr. Steve McCormick (Nazarene Theological Seminary) both during and following the seminar. I am also thankful for all my colleagues and mentors at Vanderbilt University. First and foremost, I would like to thank the members of my dissertation committee. Dean James Hudnut-Beumler, my chair, is among the most knowledgeable students of American Religious History that I know. I am very grateful for his guidance through the program. -
Raising the Volume Episode VI A
EDUCATION WORKSHOP RAISING THE VOLUME Raising the with Marcus Amaker & Charlton Singleton Volume Episode VI A Conversation on The Charleston Jazz Initiative and the Jenkins Orphanage with Dr. Karen Chandler -- Sixth Grade and Up CORE SUBJECTS AND 21ST CENTURY THEMES Mastery of core subjects and 21st century themes is essential for all students in the 21st century. Core subjects include English, reading or language arts, world languages, arts, mathematics, economics, science, geography, history and government, and civics. In addition to these subjects, schools must move forward to include not only a focus on mastery of core subjects, but also an understanding of academic content at much higher levels by weaving 21st century interdisciplinary themes into core subjects. Global Awareness 1. Use 21st century skills to understand and address global issues. 2. Learn from and work collaboratively with individuals representing diverse cultures, religions, and lifestyles in a spirit of mutual respect and open dialogue in personal, work, and community contexts. Civic Literacy 1. Participate effectively in civic life through knowing how to stay informed and understanding governmental processes. 2. Exercise the rights and obligations of citizenship at local, state, national, and global levels. 3. Understand the local and global implications of civic decisions. Work Creatively with Others 1. Develop, implement, and communicate new ideas to others effectively. Raising the 2. Be open and responsive to new and diverse perspectives; incorporate group input and Volume feedback into the work. Episode VI: A 3. Demonstrate originality and inventiveness in work, and understand the real world limits to Conversation on adopting new ideas. 4. -
The Assassination of Dr. Martin Luther King Jr. and the Birth of Funk Culture
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture Domenico Rocco Ferri Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the United States History Commons Recommended Citation Ferri, Domenico Rocco, "Funk My Soul: The Assassination of Dr. Martin Luther King Jr. And the Birth of Funk Culture" (2013). Dissertations. 664. https://ecommons.luc.edu/luc_diss/664 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Domenico Rocco Ferri LOYOLA UNIVERSITY CHICAGO FUNK MY SOUL: THE ASSASSINATION OF DR. MARTIN LUTHER KING JR. AND THE BIRTH OF FUNK CULTURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY DOMENICO R. FERRI CHICAGO, IL AUGUST 2013 Copyright by Domenico R. Ferri, 2013 All rights reserved. ACKNOWLEDGEMENTS Painstakingly created over the course of several difficult and extraordinarily hectic years, this dissertation is the result of a sustained commitment to better grasping the cultural impact of Dr. Martin Luther King Jr.’s life and death. That said, my ongoing appreciation for contemporary American music, film, and television served as an ideal starting point for evaluating Dr. -
James Jamerson 2000.Pdf
able to conjure up the one lick, fill or effect that perfected albums. Live at Fillmore West exhibits Curtis the bandleader the sound. Some of his best work is found on those records. at his absolute best on a night when his extraordinary players There’s little else to say about Hal Blaine that the music included Bernard Purdie, Jerry Jemmott and Cornell Dupree. itself doesn’t communicate. But I’ll tell you one experience I His 1962 “Soul Twist” single MfclNumber One on the R&B had that showed me just how widespread his influence has charts and the Top Twenty on the pop charts, and made such been. Hal was famous for rubber-stamping his name upon an impression on Sam Cooke that he referred to it in “Having all the charts to which he contributed. In 1981, after one of a Party:” But nothing King Curtis did on his own ever scaled our concerts at Wembley Arena, Bruce asked me into his the Promethean heights of his sax work as a sideman, where dressing room. He pointed to the wall and said, “Look at he mastered the ability to be an individual within a group, that.” I looked at the wall but didn’t see anything except peel standing out but never overshadowing the artists he was sup ing wallpaper. “Look closer,” he said. Finally, I kneeled down porting and mastering the little nuances that made winners to the spot he was pointing to, and - to my great surprise - of the records on which he played. His was a rare voice j a rare in a crack in the paper, rubber-stamped on the w a ll, there it sensibility, a rare soul; and that sound - whether it be caress was: HAL BLAINE STRIKES AGAIN. -
The Foreign Minister of Methodism
The Foreign Minister of Methodism By Warren Thomas Smith Saturday, September 18, 1784, may have dawned as just another day in Bristol, England, but in the province of God it was highly significant. “At ten in the morning we sailed from King—Road for New York. A breeze soon sprung up, which carried us with the help of the tides, about a hundred leagues from Bristol by Monday morning . .” so Thomas Coke made the first entry in his Journal, a little volume published in 1793 and dedicated to John Wesley. The small vessel was not unlike other ships of the time, yet it was playing a role in an important scene of church history. Three of the passengers were to open a new chapter in the religious life of America. Of these one was a dedicated Welsh gentleman who would travel at least a hundred thousand miles on a hundred separate voyages as the Foreign Minister of Methodism and Ambassador of Jesus Christ. Thomas Coke was sailing as the executor of John Wesley’s design for the people called Methodists. It is doubtful that this plump little clergyman, who stood just five feet one inch, fully realized the significance of the voyage he was undertaking. A church was about to be born, and he was to be a key figure in the first moment of its breathing. Background of the Time We cannot form an estimate of the life and work of Thomas Coke without considering the time-spirit in which he lived: (1) His was to be a background of war and threat of war. -
BARRY HARRIS NEA Jazz Master (1989)
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BARRY HARRIS NEA Jazz Master (1989) Interviewee: Barry Harris (December 19, 1929 - ) Interviewer: Aaron Graves with recording engineer Ken Kimery Date: August 20th, 2010 Repository: Archives Center, National Museum of American History Description: Transcript, 36 pp. Graves: My name is Aaron Graves, today is August the 20th 2010. We’re here at the University of the Streets with Master Barry Harris. And we’re going to ask Mr. Harris, if you would to give us – state your name for us. Harris: Okay. Barry D. Harris. The “D” stands for Doyle. Barry Doyle Harris. Graves: Barry Doyle Harris. Harris: That’s right. Graves: That’s new to the world? Harris: All Irish all the way. Graves: Irish? Harris: Irish and English and Scottish. And born – when – December 15th, 1929. Graves: Mm-hm. Harris: In a little cabin. [laughs] Graves: When – where were you born? Harris: Where was I born? For additional information contact the Archives Center at 202.633.3270 or [email protected] Graves: Where were you born? Harris: I was born in Herman Kiefer Hospital in Detroit. You know, so Detroit was really my home, you know for quite a few years. Graves: So, mother and father. What’s your mother and father’s names? Harris: Mother’s named Bessie, father’s named Melvin. Graves: Melvin. Harris: That’s right, as you know. Graves: Alright. So who named you? Do you know who named you – your name is Barry Doyle… Harris: Don’t ask me.