DOCSLIB.ORG

Sounding the Black Churches of Dallas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sounding the Black Churches of Dallas Sounding the Black Churches of Dallas Item Type text; Electronic Thesis Authors Campbell, Keyania Citation Campbell, Keyania. (2021). Sounding the Black Churches of Dallas (Master's thesis, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 08:55:47 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660136 SOUNDING THE BLACK CHURCHES OF DALLAS by Keyania Campbell ____________________________ Copyright © Keyania Campbell 2021 A Thesis Submitted to the Faculty of the GRADUATE INTERDISCIPLINARY PROGRAM IN APPLIED INTERCULTURAL ARTS RESEARCH In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master’s Committee, we certify that we have read the thesis prepared by Keyania Campbell titled Sounding the Black Churches of Dallas and recommend that it be accepted as fulfilling the thesis requirement for the Master’s Degree. Date: Jennifer C. Post Jennie M. Gubner Date: Date: Tyina L. Steptoe Final approval and acceptance of this thesis is contingent upon the candidate’s submission of the final copies of the thesis to the Graduate College. I hereby certify that I have read this thesis prepared under my direction and recommend that it be accepted as fulfilling the Master’s requirement. Jennifer C. Post Master’s Thesis Committee Chair Fred Fox School of Music 2 Acknowledgments I would like to thank all the people who helped me accomplish my goal of finishing this project. Dr. Jennifer Post, you are an elite educator, and I thank you for constantly going above and beyond to help me see my potential as a scholar. Dr. Jennie Gubner, thank you for believing in me enough to give me the tools to complete this project. Dr. Tyina Steptoe, thank you for lending me your expertise. Your presence was and will continue to be valuable to me. Of course, to all the people who collaborated on this project by donating your time to me, I cannot tell you how much I appreciate your kindness. This is not just my academic achievement. This is a celebration of who we are, and I’m forever grateful that each of you gave me your time and energy (during trying times, at that) to tell this story. We’ll do it again sometime. I can’t forget about the Mystery School. Thank you all for the good times and encouragement. We belong together. To my family, I owe you all million thanks for your love and support while I worked on this. Well, I did it. I got a graduate degree! And it’s because of you all. Thank you, from the bottom of my heart, for your long held unshakable faith in me. It absolutely made me who I am today. Deuce, we miss you man. You still got us laughing. Be easy. 3 TABLE OF CONTENTS ABSTRACT ....................................................................................................................... 5 PART 1: INTRODUCTION ............................................................................................ 6 METHODOLOGY ................................................................................................................. 7 Interdisciplinary Methods ............................................................................................................. 10 Public & Arts Based Ethnography .................................................................................... 11 PART 2: BLACK SONIFICATION ............................................................................. 14 SOUL: BLACK PEOPLE SEASONING .................................................................................. 14 YOU CAN SHOUT ABOUT IT ............................................................................................. 19 Interactive Shouts .......................................................................................................................... 19 Call & Response ............................................................................................................................ 22 The Holy Ghost .............................................................................................................. 23 VOCAL ART: LIKE A REALLY GOOD RAPPER .................................................................... 25 PART 3: CHURCH MUSIC ......................................................................................... 32 SOMETIMES I WANNA HEAR SOME MARVIN SAPP ............................................................. 32 Subdivisions of Gospel .................................................................................................................. 32 Placemaking .................................................................................................................. 39 COMMUNAL MUSIC & WELL- BEING ............................................................................... 40 PART 4: SOUND & EMOTIONS ................................................................................. 43 IT JUST REMINDS ME ....................................................................................................... 43 I MAKE SURE I CAN HEAR THAT WORLD .......................................................................... 48 PART 5: WEBSITE ........................................................................................................ 51 PART 6: CONCLUSION ............................................................................................... 55 ENDNOTES..................................................................................................................... 57 BIBLIOGRAPHY & DISCOGRAPHY ........................................................................ 59 4 Abstract Black Christians have historically looked to the church to provide a refuge from the effects of systemic racism and a place for socialization and community. During the 2020 COVID-19 closures, in Dallas, Texas, many churches either expanded their virtual programs or created them for the first time to continue engaging with the community. This prolonged involuntary separation changed the way spirituality, music, and sound in churches is experienced for many churchgoers. In this thesis, I explore how the pandemic’s closures affected church members’ relationships to sounds and soundscapes by analyzing emotions, memories, and reactions to church sound before and after the pandemic. This ethnographic research, conducted via Zoom from January to April 2021, utilizes participatory and art-based research methods. I worked with eleven Black Dallas residents from six church homes to gather information on their responses to sounds, soundscapes, and music, and to build an accompanying webpage featuring their favorite photographs and anecdotes about their religious lives. I also explore how the formation of the site utilizes principles of arts-based ethnography to share information in visual, audio, and narrative formats. Through the stories and research, I show how spirituality and heritage intertwines with Black sound and its effects on Black Christian communities by connecting spirituality to Black communication. I also explore how sound and memory can function as bridges to sensations of well-being in and out of church. Overall, my study explains the ways that church is important to Dallas’ Black Christians as a cultural experience that sonically enriches the community. 5 PART 1 Introduction Since the first Black Christian church in Dallas opened its doors in July 1873, (King 2017), Black churches have remained an influential institution for leadership, culture, and political thought in Dallas’ Black community. Given that the Black population is nearly 25% (the average American city is around 13% Black) (United States Census Bureau 2019) the institution of the church is important to the community’s vitality and well-being (DeSouza et al. 2020). However, due to the COVID-19 pandemic, many Black churches have pivoted to online services to mitigate the spread of the coronavirus for the foreseeable future. As Friendship West Baptist Church’s website reads, “the Church is not closed, we have been redeployed” (Friendship West). The pandemic was not the only hardship of 2020. Fear of racist terror during the 2020 election campaigns plagued the community as hate symbols and messages appeared throughout the city. The Dallas Police Department attacked protestors rallying against police brutality, injuring multiple people with chemical weapons and rubber bullets. In February 2021, the electrical infrastructure in Texas failed during a historic four-day snowstorm where temperatures plunged to record lows. Millions of homes and buildings went unheated and lost access to communications and medical equipment due to lack of electricity. Water became contaminated as residents left faucets dripping to keep pipes warm, depressurizing the supply. Pipes burst, causing water damage in schools and homes. Local supply lines were delayed, causing food and medicine shortages throughout the entire state for days after the snow melted. 6 Throughout times of strife, like the conditions of the past year, Black folks have historically turned to the church (McRae et al., 1998). Because we are a sonically
Load more

Recommended publications
  • Tune in Alert***
    ***TUNE IN ALERT*** 34th Stellar Gospel Music Awards Hosted by Kirk Franklin Premieres Easter Sunday April 21 on BET Airing in National Syndication April 27 to May 30 Check Local Listings on TheStellarAwards.com Sensational Performances by Host Kirk Franklin, Jonathan McReynolds, Hezekiah Walker, Brian Courtney Wilson, Koryn Hawthorne, Todd Dulaney, Charles Jenkins and Jekalyn Carr 34th Stellar Awards Hosted by Kirk Franklin Premieres on Easter Sunday April 21 on BET (Clip Courtesy of: Central City Productions) Click the button below to check local TV listings for national broadcast dates from April 27-May 30 Check Local Listings for Additional Air Dates April 18, 2019 (LOS ANGELES ) – The 34th Stellar Gospel Music Awards hosted by Kirk Franklin willpremiere on Easter Sunday April 21 on BET Network at 7:00 p.m. ET/6:00 p.m. CT. with an encore presentation immediately following . The show will also air for the first time internationally on BET Africa (6:00 p.m. CAT), BET UK (3:00 p.m. GMT and encore at 10:00 p.m. GMT) and BET Korea (3:00 p.m. KST and encore at 10:00 p.m. KST). Central City Productions has announced national broadcast syndication dates from April 27 through May 30 on local television stations throughout the nation. Viewers can check local air dates and channel listings at TheStellarAwards.com . The exhilarating show was highlighted by an emotional performance tribute to recently announced posthumous Pulitzer Prize Winner Aretha Franklin by Kelly Price, Erica Campbell and Regina Belle . Family members of the late-legend Brenda Corbett, Jordan Franklin and Kecalf Franklin were presented with the Stellar Awards' inaugural Aretha Franklin ICON Award to give posthumous recognition of her profound impact on the Gospel music genre and timeless contributions.
    [Show full text]
  • Long-Term Missing Child Guide for Law Enforcement
    Long-term missing child guide for law enforcement: Strategies for finding long-term missing children Long-term missing child guide for law enforcement: Strategies for finding long-term missing children 2016 Edited by Robert G. Lowery, Jr., and Robert Hoever National Center for Missing & Exploited Children® www.missingkids.org 1-800-THE-LOST® or 1-800-843-5678 ORI VA007019W Copyright © 2016 National Center for Missing & Exploited Children. All rights reserved. This project was supported by Grant No. 2015-MC-CX-K001 awarded by the Office of Juvenile Justice and Delinquency Prevention, Office of Justice Programs, U.S. Department of Justice. This document is provided for informational purposes only and does not constitute legal advice or professional opinion about specific facts. Information provided in this document may not remain current or accurate, so recipients should use this document only as a starting point for their own independent research and analysis. If legal advice or other expert assistance is required, the services of a competent professional should be sought. Points of view or opinions in this document are those of the author and do not necessarily represent the official position or policies of the U.S. Department of Justice. CyberTipline®, National Center for Missing & Exploited Children®, 1-800-THE-LOST® and Project ALERT® are registered trademarks of the National Center for Missing & Exploited Children. LONG-TERM MISSING CHILD GUIDE FOR LAW ENFORCEMENT - 2 Contents Acknowledgments.....10 Letter from John Walsh.....15 Foreword by Patty Wetterling.....16 Chapter 1: Introduction by Robert G. Lowery, Jr......18 Quick reference.....18 We are finding more long-term missing children now.....19 Are we doing enough?.....21 Chapter 2: Overview of missing children cases by Robert G.
    [Show full text]
  • Transcription of LGBT Oral History 060: Colin Kreitzer
    LGBT History Project of the LGBT Center of Central PA Located at Dickinson College Archives & Special Collections http://archives.dickinson.edu/ Documents Online Title: LGBT Oral History: Colin Kreitzer Date: February 16, 2017 Location: LGBT Oral History – Kreitzer, Colin – 060 Contact: LGBT History Project Archives & Special Collections Waidner-Spahr Library Dickinson College P.O. Box 1773 Carlisle, PA 17013 717-245-1399 [email protected] Interviewee: Colin Kreitzer Interviewer: Barry Loveland Videographer: Catherine McCormick Date: Thursday, February 16, 2017 Place: Colin’s home in Harrisburg Transcriber: Amanda Donoghue Proofreader: VJ Kopacki Finalized by Mary Libertin (July 2020) Abstract: Colin Kreitzer was born in 1947 in Enola, Pennsylvania, and grew up in Wormleysburg, Pennsylvania with his parents and his younger sister. He attended West Chester College and moved to Harrisburg in 1977, where he began getting involved in the gay community through activism and social activities. In this interview Colin reviews his involvement in the Gay and Lesbian Switchboard of Harrisburg, Dignity, Metropolitan Community Church, and volleyball. He also talks about the stigma of growing up as a closeted gay man, the bullying he experienced in primary and secondary school, and how he came to accept his sexuality and come out when he was in college. He discusses his past relationships and the struggles that he has experienced trying to forge healthy, emotional connections with others. Colin is also involved in Alcoholics Anonymous, he and explains the values he has gained from the organization and the changes in his own character and behavior. CM: So we are recording. BL: Okay, my name’s Barry Loveland, and I’m here with Catherine McCormick who’s our videographer, and we’re here on behalf of the LGBT Center of Central Pennsylvania History Project.
    [Show full text]
  • View the Program Book for How I Got Over
    A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead.
    [Show full text]
  • OF CROSSINGS and CROWDS: RE/SOUNDING SUBJECT FORMATIONS by Devon R. Kehler a Dissertation Submitted T
    Of Crossings and Crowds: Re/Sounding Subject Formations Item Type text; Electronic Dissertation Authors Kehler, Devon R. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 06:11:05 Link to Item http://hdl.handle.net/10150/625373 OF CROSSINGS AND CROWDS: RE/SOUNDING SUBJECT FORMATIONS by Devon R. Kehler __________________________ Copyright © Devon R. Kehler 2017 A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN RHETORIC, COMPOSITION AND THE TEACHING OF ENGLISH In the Graduate College THE UNIVERSITY OF ARIZONA 2017 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Devon R. Kehler, titled Of Crossings and Crowds: Re/Sounding Subject Formations and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ___________________________________________________________ Date: April 14, 2017 Adela C. Licona ____________________________________________________________ Date: April 14, 2017 Maritza Cardenas ____________________________________________________________ Date: April 14, 2017 John Melillo Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement.
    [Show full text]
  • Mood Music Programs
    MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine
    [Show full text]
  • Comedian A-Train M COMEDIAN RADIO PERSONALITY HOST EMCEE PRODUCER P H I L a N T H R O P I S T
    c o m e d i a n a t r a i n . c o comedian a-train m COMEDIAN RADIO PERSONALITY HOST EMCEE PRODUCER P H I L A N T H R O P I S T em: [email protected] ph: 904.514.7955 COMEDIAN A-TRAIN as seen and heard on bio Comedian A-Train, seen on WEtv’s Braxton Family Values, The Low Down with James Yon, River City Live, First Coast Living, and The Chat, is host of Yo Daddy’ Nem Podcast—iHeart Radio’s #1 Podcast in Duval, former co-host of Jacksonville’s #1 morning show, on 107.9 and Jacksonville’s #1 drive-time radio show on 103.7. He's a clean, traveling, stand-up, and corporate comedian, host and emcee. He tours with Original King of Comedy D. L. Hughley, and has toured with Kountry Wayne. He has featured for the biggest names in clean comedy, Michael Jr., viral sensation KevonStage, Dave Coulier (Uncle Joey on Full House), and Preacher Lawson (AGT). He's performed with Pete Lee (Jimmy Fallon and VH1’s Best Week Ever), Comedienne Dominique (Last Comic Standing), Bill Bellamy (Who's Got Jokes and Ladies Night Out), Ali Siddiq (Bring the Funny and Comedy Central), Loni Love (The Real), Deon Cole (Blackish and Grownish), Ronnie Jordan (Bossip), Huggy Low Down and Chris Paul (Tom Joyner Morning Show), and many others. Comedian A-Train has hosted the Zora Neal Hurston Festival, Orlando Jazz Festival, Steel City Jazz Festival— Birmingham, and Jacksonville Jazz Festival—the second largest in the country where he’s the first and only comedian to host in the city’s 40-year history.
    [Show full text]
  • I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
    ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent.
    [Show full text]
  • Karaoke Book
    10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • We're All So Blessed to Live the Lives That We Do. I Realize
    Photo by: Kwaku Alston “We’re all so blessed to live the lives that we do. I realize that we didn’t get here alone. So many people have helped pave this road for all of us. I would like to pay tribute and honor some of those who’ve come before and have been a Bridge to Now, all legends in entertainment and civil rights, a prestigious group of women I admire and respect. I would be so happy if you could join me in honoring and celebrating them.” —Oprah Dr. Dorothy Height, civil rights activist Yolanda Adams, singer Iman, model Diana Ross, singer Debbie Allen, actress-dancer Janet Jackson, singer Valerie Simpson, singer-composer Dr. Maya Angelou, author Judith Jamison, dancer-choreographer Naomi Sims, model Ashanti, singer Beverly Johnson, model Anna Deavere Smith, Tyra Banks, model Alicia Keys, singer actress-playwright Angela Bassett, actress Chaka Khan, singer Susan L. Taylor, editorial director, Essence Kathleen Battle, opera singer Coretta Scott King, civil rights activist Tina Turner, singer Halle Berry, actress Gayle King, editor at large, Cicely Tyson, actress Mary J. Blige, singer O, The Oprah Magazine Dionne Warwick, singer Shirley Caesar, singer Gladys Knight, singer Nancy Wilson, singer Naomi Campbell, model Patti LaBelle, singer Oprah Winfrey Mariah Carey, singer Darnell Martin, director-screenwriter Alfre Woodard, actress Diahann Carroll, actress-singer Audra McDonald, actress-singer The Legends Unable to Attend Elizabeth Catlett, artist Terry McMillan, author Melba Moore, actress-singer Katherine Dunham, Pearl Cleage, poet-playwright choreographer-dancer Brandy Norwood, actress-singer Natalie Cole, singer Aretha Franklin, singer Ruby Dee, actress Michelle Obama, community affairs executive Nikki Giovanni, poet Kimberly Elise, actress Suzan-Lori Parks, playwright Lena Horne, actress-singer Missy Elliot, rap artist Suzanne de Passe, producer-writer Toni Morrison, author Roberta Flack, singer Leontyne Price, opera singer Rosa Parks, civil rights activist Pam Grier, actress Phylicia Rashad, actress Alice Walker, author Della Reese, actress-singer.
    [Show full text]
  • In Hip-Hop Published on Ethnomusicology Review (
    Under the Blasphemous W(RAP): Locating the “Spirit” in Hip-Hop Published on Ethnomusicology Review (https://ethnomusicologyreview.ucla.edu) Under the Blasphemous W(RAP): Locating the “Spirit” in Hip-Hop By Christina Zanfagna - University of California, Los Angeles This article is an expanded version of the Ki Mantle Hood Prize-winning paper presented at the SEMSCC 2004 Conference in Los Angeles, California. Biography Christina Zanfagna is a Ph.D. student in ethnomusicology at UCLA. Her work has appeared in The Beat, fRoots, Afropop Quarterly, and she has a forthcoming article on krump dancing in The Social and Popular Dance Reader (University of Illinois Press, 2007). Her proposed doctoral dissertation explores themes of spirituality and commercialism in holy hip-hop music and culture. In addition, Christina has performed with the Gospel Workshop of America (GMWA) mass choir in New Orleans, the UCLA Music of Brazil Ensemble (batUCLAda), and co-organized the first Hip-Hop Film Festival at UCLA. Abstract Black popular music has always been a spiritual art form, from its sacred roots in the spirituals and gospel and extending to the blues, jazz, soul, and finally hip-hop. Despite its blasphemous w(rap), mainstream hip-hop percolates with unexpected and multifaceted religious inclinations. While many rap listeners experience a sense of spiritual ecstasy through its words and music, the sacred underbelly of rap music remains elusive to the outsider. As descendents of black music’s sacred-profane ideology, rap artists encode spiritual philosophies in the thorny arenas of sexuality, substance, and suffering. To accept this presupposes that popular culture could be a theological space— an arena in which one may encounter God even in what may be deemed unholy places.
    [Show full text]