Music Commons^™

Whence Comes Black Art?: The Construction And Application Of “Black Motivation”, Derrell Acon

Lawrence University Honors Projects

George Schuyler, in his tragically misguided 1926 essay for The Nation magazine, “The Negro-Art Hokum,” suggests that the only difference between Blacks and Whites is the color of skin, and that both races experience the same social, psychological and educational forces in America. He blatantly disregards American racism and inequality, and in his attempt to put forth his advocacy of color-blindness he merely projects and perpetuates the most racist of ideals within our country. Schuyler views the concept of Black Art very narrowly and insists on the impossibility of such an idea because of the supposed Americanness of the art. …

Detroit Blues Women, Michael Duggan Murphy

Wayne State University Dissertations

ABSTRACT

DETROIT BLUES WOMEN

by

Michael Duggan Murphy

August 2011

Advisor: Dr. John J. Bukowczyk

Major: History

Degree: Doctor of Philosophy

"Detroit Blues Women" explores how African American "women's blues" survived the twentieth century relatively unscripted by the image-makers of the male-dominated music industry. In the 1920s, African American blues queens laid out a foundation for assertive and rebellious women's blues that the many musical heirs who succeeded them in the twentieth century and into the first decade of the twenty first century sustained, preserved and built upon. The dissertation argues that women's blues, which encouraged women to liberate themselves …

Passing For Black: Coon Songs And The Performance Of Race, Patricia R. Schroeder

English and Creative Writing Faculty Publications

No abstract provided.

The Features Of The Voice Of African American Tradition: An Analysis Of African American Rhetoric For The Influence Of The Call Response Technique, Laura Venezia

Communication Studies

This project explicates the nature of the rhetorical strategies, especially the call response, used by various African American artists and orators (Frederick Douglass, Martin Luther King Jr., Malcolm X, Grandmaster Flash and the Furious Five, and Public Enemy). The techniques include the interplay of repetition and heightening emotion provided especially through 1. using the “call response” directly, 2. announcing jeremiad warnings and rallying cries, and 3. using potent images to arouse emotions—the objective correlative.

Ua94/6/1 Student / Alumni Personal Papers Western Kentucky University Small Collections, Wku Archives

WKU Archives Collection Inventories

Small collections of personal papers and oral histories relating to the Western Kentucky University.

Hip Hop Rhetoric: Relandscaping The Rhetorical Tradition, Roberto Jose Tinajero Ii

Open Access Theses & Dissertations

This dissertation is a rhetorical analysis of hip hop music and culture. Chapter 1 focuses on adding hip hop rhetoric to the discussion and terrain of rhetoric and writing studies and to the rhetorical tradition. Chapter 2 uses the rhetorical notion of kairos to discuss the ethos of hip hop culture and discourse. Chapter 3 uses hip hop rhetoric to discuss the tensuous-solidarity between Latinos and African Americans. Chapter 4 focuses on Latino/Borderland Hip Hop and discusses the multi-consciousness of Latino identity. Chapter 5 focuses on Christiian religious imagery in gangsta rap music. There is also a short conclusion.

Brown, James, Monica Berger

Publications and Research

Encyclopedia article on James Brown focusing on his impact on African American history and the Civil Rights movement as well as, to a lesser degree, his impact on the history of music.

Bronx Soundscape: Reflections On The Multicultural Roots Of Hip Hop In Bronx Neighborhoods, Mark Naison

Occasional Essays

No abstract provided.

Hip Hop Is Dead: The Rhetoric Of Hip Hop, Kalyana Champlain

Senior Honors Projects

There is no doubt that Hip Hop has become a most influential international force. This animal has had many faces: two of these faces have been as a political tool as displayed by Public Enemy, and as a therapeutic release-- as I discovered while in AmeriCorps interning at AS220 for a program called Hip Hop 220, in which we took underprivileged youth and helped them to channel their energy through this art form. However, there is a dark side to this culture that includes extreme misogyny, self- sabotage, hatred, and an unhealthy obsession with status. As I reflected on these …

Ua1c6 Events Photos, Wku Archives

WKU Archives Collection Inventories

Images of events not otherwise categorized.

1. Demonstrations & Protests
2. Commencement
3. Homecoming
4. Banquets / Dinners
5. Conferences / Workshops
6. Dedications
7. Entertainment
8. Exhibits

Includes images of College High and Training School events.

Black Expressive Art, Resistant Cultural Politics, And The [Re] Performance Of Patriotism, Deborah Elizabeth Whaley

Trotter Review

During World War I, the Boston editor William Monroe Trotter described black American patriotism as a cautious endeavor and America's willingness to participate in the World War while it turned its back on domestic issues as misguided. In an era when freedom bypassed most black women and men within the nation-state of America and in an era of mass lynching in the American South, he proclaimed that black Americans and the U.S. government might refocus their efforts on making the world safer for "Negroes."

Like William Monroe Trotter, the rap group Public Enemy's rap odyssey "Welcome to the Terrordome," from …

Jazz On The River By William Howland Kenney (Book Review), Gene H. Anderson

Music Faculty Publications

Jazz has not always been "America's classical music." In the first decades of the twentieth century it was regarded by much of the black and white Establishment as unsettling, provocative, even dangerous - attitudes exacerbated by the social upheaval of the Great Migration around the time of World War I. Enter black riverboat jazz bands to negotiate the color line: to help "white Americans approach in an oblique manner underlying social and cultural changes that were too deep and too heavily laden with pain, guilt, and fear for most citizens to discuss openly" (5). Such is the thesis of Jazz …

Images And Lyrics: Representations Of African American Women In Blues Lyrics Written By Black Women, Danette Marie Pugh-Patton

Theses Digitization Project

The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with various subthemes. The focus of this study is to explore the …

A Joint Rolled In Toilet Paper: Funkadelic’S Funky Soul, Joseph T. Thomas Jr.

Reconstruction: Studies in Contemporary Culture

Through an examination of Parliament-Funkadelic’s lyrics and music, this paper explores shit, dirt, and the funk, investigating their relationship to George Clinton and his band’s desire to darken the Humanistic project of Enlightenment, their desire to soil language, and thereby question conventional, bourgeois values. The author argues that Funkadelic participate in what Mikhail Bakhtin calls the “peculiar logic” of the carnivalesque, detourning status quo notions of culture and society, creating complex contortions through the blurring of the good and the bad, the cerebral and the carnal, the sublime and the mundane. In essence, Funkadelic are a musical carnival that exists …

The Albany Movement And The Origin Of Freedom Songs, Nicole Lenart

The Gettysburg Historical Journal

“We became visible.” This is how Bernice Johnson Reagon, a Civil Rights Movement worker, a member of the Freedom Singers, and the founder of Sweet Honey In The Rock explained how songs uplifted and inspired those blacks and whites who worked tirelessly for freedom throughout the 1950’s and 1960’s. Indeed, freedom songs in the movement gave participants the ability to stand up against their fears, express their hopes and desires, and unite the diverse range of people who participated in the movement. Reagon, now a history professor and music legend, grew up right outside of Albany, Georgia, where freedom songs …

The Origin Of Armstrong's Hot Fives And Hot Sevens, Gene H. Anderson

Music Faculty Publications

It has been almost fifty years since Louis Armstrong's Hot Five and Hot Seven recordings of 1925-1928 were first recognized in print as a watershed of jazz history and the means by which the trumpeter emerged as the style's first transcendent figure. Since then these views have only intensified. The Hot Fives and Hot Sevens have come to be regarded as harbingers of all jazz since, with Armstrong's status as the “single most creative and innovative force in jazz history” and an “American genius” now well beyond dispute. This study does not question these claims but seeks, rather, to determine …

Making The "Birthplace Of Jazz": Tourism And Musical Heritage Marketing In New Orleans, J. Souther

History Faculty Publications

No abstract provided.

Ua12/2/1 College Heights Herald, Vol. 77, No. 27, Wku Student Affairs

WKU Administration Documents

WKU campus newspaper reporting campus, athletic and Bowling Green, Kentucky news.

• Hall, Rex. Western Suspends Fraternity – Sigma Alpha Epsilon
• Ragan, Jason. Behind the Muckrakers’ Music
• Hoang, Mai. Western Markets Credit Card to Students
• Lord, Joseph. Employees Complain of Mold in Tate Page Hall
• Enrollment Money Can Bring Teachers – University Senate
• Grady, Brian. Editorial Cartoon re: Teacher Relief
• Leslie Bedo Meeting Goals of Student Government Association, But Not Students’
• Ransdell, Troy. Action, Not Complaints – Student Government Association
• Cottrell, Lindsey. Cowgirls Not a Club – Equestrian Team
• Holm, Hollan. Student Government Association to Buy Presents for Potter Children’s Home …

Ua12/2/1 College Heights Herald, Vol. 76, No. 52, Wku Student Affairs

WKU Administration Documents

WKU campus newspaper reporting campus, athletic and Bowling Green, Kentucky news. Articles in this issue:

• Moore, Brian. Another Meningitis Case Found on Campus
• Dawes, Jennifer. Boy Riding Bicycle Hit on Normal – Christopher Siegrist
• Walsh, Erica. Student Government Association Election Produces Low Voter Turnout
• Hall, Rex. Alcohol to be Served in Luxury Suites – Diddle Arena
• Training Needed to Avoid Rolling – Vans
• Grady, Brian. Editorial Cartoon – Rolling Vans
• NCAA Stepping on Mid-Major Schools
• Hiles, Tom. Naming Revenue Needed
• Murphy, Sean. Policing the Police
• Corbin, Brett. Concrete Canoe Team Rows to Sixth Regional Win
• Hoang, Mai. Dance Company Debuts …

"Hair Drama" On The Cover Of "Vibe" Magazine, Bertram D. Ashe

English Faculty Publications

This study consists of a cultural reading of the cover photograph of the June-July 1999 issue of Vibe magazine. It explores the relationship between Mase, an African-American male rap star, and the three anonymous African-American female models that surround him. The study interprets the cover through the long, straightened hair of the models, locating the models' hair in a historically-informed context of black hair theory and practice. The study argues that the models' presence on the cover, particularly their "bone straight and long" hair, "enhances" Mase in much the same way breast-augmented "trophy women" "enhance" their mates. Ultimately, the study …

Interview With John Buell Edmonds (Fa 198), Manuscripts & Folklife Archives

Folklife Archives Oral Histories

Transcription of an interview with John Buell Edmonds conducted by Michelle Ross on 18 October 2000. The purpose of the interview was to discuss Edmonds involvement with gospel music, particularly his role as a worship and choir leader in the Mt. Zion Baptist Church, Bowling Green, Kentucky. He discusses his musical background and his musical endeavors outside the church.

On The Jazz Musician's Love/Hate Relationship With The Audience, Bertram D. Ashe

English Faculty Publications

An assistant professor of English at the College of the Holy Cross, Bertram D. Ashe discusses how the intersection of an African American cool style with a black vernacular tradition and multi-racial audiences complicates audience-performer relations. In the vernacular tradition, performers play not "to" but "with" an audience, drawing on the call-response patterns that characterize the black aesthetic. Ashe notes that the vernacular tradition is not racial but cultural, and class can be as important a marker as race in determining audience expectations. Differing cultural backgrounds create, in Ashe's words, "competing realities," distinct sets of expectations that can shape a …

Oral History Interview: Lowell E. Long, Lowell E. Long

0064: Marshall University Oral History Collection

Lowell E. Long’s interview focuses on the region of Appalachia: its location, environments, people, and identity. Mr. Long was born in April 1941 in War, McDowell County, WV. His family moved to East Liverpool, OH, after World War II, and relocated to Huntington, WV, in January 1945. In the audio clip provided, Mr. Long discusses what it means to be Appalachian and focuses on family bonds and sense of belonging in the region. During his interview, he describes his family’s use of folk medicine. Mr. Long provides descriptions of the segregated neighborhoods and schools of Huntington, WV, during his childhood. …

Cummings Guest House Register Pages 097 And 098, Usm African American Collection

We Exist Series 4: Cummings Guest House Register Excerpts

This is a detail from the Cummings Guest House Register. You can see a digital version of the full text HERE.

Cummings Guest House Register Pages 099 And 100, Usm African American Collection

We Exist Series 4: Cummings Guest House Register Excerpts

This is a detail from the Cummings Guest House Register. You can see a digital version of the full text HERE.

Leaders Of The New School: A Comparative Analysis Of Selected African American Rap Artists, Andrew P. Smallwood

Black Studies Faculty Proceedings & Presentations

“This is a presentation examining the cultural influence of rap groups Gang Starr, The Roots, and Rakim to examine their message directed at African American youth culture . . . It is through examining the messages in Rap music that we can educate Black youth about Black culture and Black life at the dawn of the 21st century.”

The Black Church: The 'Cocoon' For The Black 'Butterfly' And The African-American Music Idiom, Hubert Walters

Trotter Review

An interesting phenomenon takes place in the world of nature when the larvae of the Monarch butterfly goes through the period of metamorphosis in the protective cover of the cocoon, and emerges as one of the most beautiful butterflies in North America. This phenomenon seems to be an appropriate metaphor to use in our discussion of the African-American Music Idiom. This idiom was developed and nurtured in the "cocoon" of the Black Church, while undergoing the "metamorphosis" of slavery, second-class citizenship, and segregation and emerge as the beautiful Black musical, "Butterfly," which stands at the very foundation of the only …

From Jazz To Swing: African-American Jazz Musicians And Their Music, 1890-1935 By Thomas Hennessey (Book Review), Gene H. Anderson

Music Faculty Publications

According to Hennessey, the purpose of the present text, an extension of his dissertation, "From Jazz Age to Swing: Black Musicians and Their Music, 1917-1935" (Ph.D. diss., Northwestern University, 1973), is to trace the interaction between the enormous sociological changes in America and the music of African American musicians from the origin of jazz to the beginning of the swing era. He claims that "the transformation of jazz from a primarily local music rooted in black folk traditions to the tightly managed product of a national industry controlled by white businessmen and aimed at a predominantly white mass market paralleled …

Ua12/2/2 Xposure - Spring 1996, Wku Student Affairs

WKU Administration Documents

1996 Xposure yearbook.

• Davis, Amanda. College Bands
• Witty, Patrick. Keeping His Composure: Award-Winning Conductor Visits – Karel Husa
• Noel, Anthony. Eyes in the Dark – Tara Higdon, Stalking
• Gamblin, Joe. The Thursday Night Ritual – Entertainment
• Portrait Gallery – Neal Thomas, Tamico Johnson, Elin Ramberg, Larry Danielson, John Hildreth
• Shain, Kimberly. Graves of Earthly Delights: Western Students Dig for Bones of Confederate Soldiers – Archaeology, Sons of Confederate Veterans
• Wade, Molly. College Habitats – Dormitories, Apartments
• Hieb, Dan. The Underground Club – Green River Grotto, Spelunking, Caves
• 35^th Annual Student Art Competition
• Gamblin, Joe. WWF . . . Or …

Blues For You Johnny: Johnny Dodds And His "Wild Man Blues" Recordings Of 1927 And 1938, Gene H. Anderson

Music Faculty Publications

Shortly after Johnny Dodd's death Sidney Bechet invited Johnny's brother to join his New Orleans Feetwarmers in a recording honoring Bechet's hometown musical colleague and lifelong friend. Although Baby Dodds pronounced "Blues for You, Johnny," recorded in Chicago on September 6, 1940, a "fine tribute," Down Beat found vocalist Herb Jeffries "from hunger on blues." A more fitting memorial would have been "Wild Man Blues" cut by Bechet a few months previously. Said to be his favorite number, "Wild Man Blues" was recorded by Dodds three times in 1927 and once again in 1938. This study examines Johnny Dodds's style …