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Articles 1 - 7 of 7
Full-Text Articles in American Popular Culture
"Listen To The Wild Discord": Jazz In The Chicago Defender And The Louisiana Weekly, 1925-1929, Sarah A. Waits
"Listen To The Wild Discord": Jazz In The Chicago Defender And The Louisiana Weekly, 1925-1929, Sarah A. Waits
University of New Orleans Theses and Dissertations
This essay will use the views of two African American newspaper columnists, E. Belfield Spriggins of the Louisiana Weekly and Dave Peyton of the Chicago Defender, to argue that though New Orleans and Chicago both occupied a primary place in the history of jazz, in many ways jazz was initially met with ambivalence and suspicion. The struggle between the desire to highlight black achievement in music and the effort to adhere to tenets of middle class respectability play out in their columns. Despite historiographical writings to the contrary, these issues of the influence of jazz music on society were …
Phoebe Snow: Odd, Rare And Sublime, Vincent L. Stephens
Phoebe Snow: Odd, Rare And Sublime, Vincent L. Stephens
Vincent L Stephens
A draft from my work-in-progress essay collection on post-war American popular singing "Sound Love." The essay argues that Phoebe Snow is unique among her generation of singer-songwriters as she is more notable as an interpreter than as a writer. Her synthesis of elements from blues, jazz, pop, gospel and R&B defy category as does her artistry.
Who We Are: Incarcerated Students And The New Prison Literature, 1995-2010, Reilly Hannah N. Lorastein
Who We Are: Incarcerated Students And The New Prison Literature, 1995-2010, Reilly Hannah N. Lorastein
Honors Projects
This project focuses on American prison writings from the late 1990s to the 2000s. Much has been written about American prison intellectuals such as Malcolm X, George Jackson, Eldridge Cleaver, and Angela Davis, who wrote as active participants in black and brown freedom movements in the United States. However the new prison literature that has emerged over the past two decades through higher education programs within prisons has received little to no attention. This study provides a more nuanced view of the steadily growing silent population in the United States through close readings of Openline, an inter-disciplinary journal featuring …
Style Watch: Blackface Edition, Rashida Aluko-Roberts
Style Watch: Blackface Edition, Rashida Aluko-Roberts
SURGE
The above quote is from a statement/apology offered by Sebastian Kim, a photographer, whose recent editorial, “African Queen,” which featured a 16-year-old white female made to appear black, was marred with controversy. According to the photographer, dousing a young white female in deep bronze, accessorizing her in elaborate head wraps and heavy jewels (symbols that are often associated with Africa), was in no way an attempt to depict what an “African queen” looks like. Rather, his spread was attempting to showcase “the beauty aesthetic of his shoot” by using a “tanned or golden skin” model. [excerpt]
Jim Crow In The Soviet Union, Rebecca Gould
Louis Armstrong, Gene H. Anderson
Louis Armstrong, Gene H. Anderson
Music Faculty Publications
Despite his lifelong claim of 4 July 1900 as his birthday, Armstrong was actually born on 4 August 1901 as recorded on a baptismal certificate discovered after his death. Although calling himself “Louis Daniel Armstrong” in his 1954 autobiography, he denied knowledge of his middle name or its origin. Nevertheless, evidence of “Daniel” being a family name is strong: Armstrong's paternal great-great-grandfather, a third generation slave brought from Tidewater Virginia for sale in New Orleans in 1818, was named Daniel Walker, as was his son, Armstrong's great-grandfather. The latter's wife, Catherine Walker, sponsored her great-grandson's baptism at the family's home …
The Crossroads At Midnight: Hegemony In The Music And Culture Of Delta Blues, Taylor Applegate
The Crossroads At Midnight: Hegemony In The Music And Culture Of Delta Blues, Taylor Applegate
Summer Research
The blues gave rise to the many forms of Afro-American popular music, among them bebop, ragtime, jazz, funk, soul and rap. The origins of the blues itself, however, is less clear; many origin stories cite a simple fusion of West African musical traditions with Western ones while others are founded in the mythos of the lone guitarist at the crossroads in league with the devil. In reality, the origin of blues music, like any other cultural production, probably arose from a series of interacting factors under unique social and economic circumstances. This project investigates the probable origins of the blues, …