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doyoulikethissong-poll · 7 months ago

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Ritchie Valens - La Bamba 1958

"La Bamba" is a Mexican folk song, originally from the state of Veracruz, also known as "La Bomba". The song is best known from a 1958 adaptation by rock and roll pioneer and forefather of the Chicano rock movement Ritchie Valens, which became a Top 40 hit on the US charts. Valens's version is ranked number 345 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time. "La Bamba" has been covered by numerous artists, notably by Los Lobos whose version was the title track of the 1987 film La Bamba, a bio-pic about Valens; their version reached number 1 on many charts in the same year. Their music video won the 1988 MTV Video Music Award for Best Video from a Film.

"La Bamba" is a classic example of the son jarocho musical style, which originated in the Mexican state of Veracruz, and combines Spanish, indigenous, and African musical elements. "La Bamba" likely originated in the last years of the 17th century. The oldest known historical references come from the town of Alvarado, Mexico, where it apparently was performed with an atypically lively rhythm. The oldest recorded version known is that of Alvaro Hernández Ortiz, who recorded the song with the name of "El Jarocho". His recording was released by Victor Records in Mexico in 1938 or 1939, and was reissued on a 1997 compilation by Yazoo Records, The Secret Museum of Mankind Vol. 4.

Ritchie Valens learned the song in his youth. In 1958 he recorded a rock and roll flavored version of "La Bamba", originally released as the B-side of his number-two hit "Donna". His recording of the song was inducted into the Latin Grammy Hall of Fame and the Grammy Hall of Fame. On February 3, 1959, on what has become known as "The Day the Music Died", Valens died in a plane crash in Iowa, an accident that also claimed the lives of fellow musicians Buddy Holly and J.P. "The Big Bopper" Richardson, as well as their pilot. Valens was 17 years old at the time of his death. He was posthumously inducted into the Rock and Roll Hall of Fame, the Rockabilly Hall of Fame, the Native American Music Awards Hall of Fame, the California Hall of Fame, and has a star on the Hollywood Walk of Fame. In 2018, his version of "La Bamba" was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".

"La Bamba" received a total of 92,2% yes votes!

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#finished #high yes #50s #o1 #o1 sweep #o1 ultrasweep #lo2 #lo4 #ritchie valens #spanish

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blackfilmmakers · 2 months ago

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"I don't listen to rap because I don't like rhythm based genres/I have auditory disabilities/It's all about violence and sex/etc"

You know what, at this point, I'm not gonna suggest listening to some rap starter pack. I'm just gonna tell yall not to listen to any kind of music that stems from Rap and other Black music genres. Because apparently yall can't handle anything

"Well I can still listen to Metal-" Nope

"I mean Tecno is still-" Nope

"But I love City Po-" Nope

"BUTILOVEROCKNROLLSOMUC-" Don't test me

".......K-po-" I will slap you

Want to know if your favorite music genre is part of the list, here's a guide

#music #black history month #i dont want to hear your tragic backstory of how you listened to DMX once and it made you loose control and spilled your milk

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uwmspeccoll · 4 months ago

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Milestone Monday

Poetry in Punk

On this day, December 30th, 1946, Patti Smith, a singer, songwriter, author, poet, photographer, and painter, was born in Chicago, Illinois. Often referred to as the "Godmother of Punk," Smith is known for her influential music that blends rock and poetry. Her debut album, Horses, released in 1975, is considered a landmark work in the punk rock genre. Beyond her music career, Patti Smith has written several books, including the acclaimed memoir Just Kids, which explores her relationship with photographer Robert Mapplethorpe and their experiences within the New York City artistic scene. Throughout her life, she has been a prominent cultural figure, advocating for artistic freedom and social change.

Images featured come from:

Our first edition of A Useless Death, a poem by Patti Smith that was published as a chapbook and distributed by Gotham Book Mart and Gallery in New York in 1972.

Ha! Ha! Houdini!, a poem written by Patti Smith and published as a chapbook. It was distributed by Gotham Book Mart and Gallery in New York in 1977.

Robert Mapplethorpe, released by Peter Weiermair and published by Robert Wilk in 1981. The contexts come from a catalogue of an exhibition sponsored by the Frankfurter Kunstverein, April 10-May 17, 1981, and features an introduction by Sam Wagstaff, the artistic mentor and benefactor to Robert Mapplethorpe and Patti Smith.

Some Women by Robert Mapplethorpe that features an introduction by one of the pioneers of New Journalism, Joan Didion. Our first edition was published in Boston by Bulfinch Press in 1989.

Robert Mapplethorpe by Richard Marshall with essays by American poet, literary critic essayist, teacher, and translator Richard Howard, and South African-born American writer and editor Ingrid Sischy. Our copy is the first cloth edition, published in New York: Whitney Museum of American Art; Boston: in association with Bulfinch Press: Little, Brown and Company in 1988.

Mapplethorpe prepared in collaboration with the Robert Mapplethorpe Foundation with an essay by American art critic, philosopher, and Professor Arthur C. Danto. This first edition was published in 1992 by Random House in New York.

-View more Milestone Monday posts

-Melissa, Special Collections Graduate Intern

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batmanisagatewaydrug · 1 year ago

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Hi,

I am very much not american so I must admit that my first impulse when seeing all the rap/racism discourse was something like "do I really need to consume more american culture, it's fucking everywhere already". Idk but to me it feels like american/english-speaking culture absolutely dominates a lot of the world, sometimes at the cost of out own cultures and languages, if something is in English it is "good", if it is in own own languages it is "bad". Musicians often start singing in English and more american-like after a while to get bigger. We value American culture and music, they mock our accents (and languages sometimes) and best case scenario see us as funny and silly.

Then I started thinking. Do you think that americans kind of see rap kind of like foreign music still? Like low-brow unexotic foreign music.

I don't know this is a really fresh thought and I'm not sure if I am explaining it very well.

hey first off I just want to say -

you are entirely correct in your reaction that people outside of America/the English-speaking world do not need more American culture thrust upon them! this discussion is extremely centered on Americans, the reception and reaction to rap within America, and excuses that white American use to avoid interacting meaningfully with Black culture, art, and ideas. while anti-Blackness as an issue obviously extends far outside of America, this particular conversation is deeply tied to American culture. I appreciate you pointing that out!

I also think you're point about rap, and by extension other Black artforms, being Othered in American pop culture. certainly in terms of language, African American Vernacular English (AAVE), which is utilized by many rappers, is still heavily disputed in its validity as a "real" language, with many dismissing it as a bastardized version of "proper" English and associating it heavily with those who are lower-class and uneducated. in a similar way to many international artists having to work in English to gain wider recognition and validation, many Black Americans are proficient in "code switching," the practice of switching between AAVE that they likely grew up speaking and an English dialect that is considered more "professional."

similarly, I think your use of the term "low-brow" is very apt. Black music has always been met with distrust and disdain by white audiences. there's a reason that so many people feel the need to bring up sex, drugs, and violence when they talk about rap; to many white cultural gatekeepers that was all rap was. (and, like, we should very much talk about why that is in and of itself a bad thing, when white crime is so often glorified in pop culture. why is the Godfather a classic masterpiece but Black men making art about their own experiences with racism, violence, poverty, and survival don't deserve serious consideration?) and that didn't start with rap! in the early 20th century jazz, also a Black creation, was seen as dangerous for promoting promiscuity among nice white teens. no matter what Black people make, white cultural gatekeepers will find a way to start a moral panic about it.

the reverse also happens as well, with Black people being treated as foreigners even in music genres that they helped pioneer. Black Americans were hugely formative in the early days of country, but are met with hostility in the contemporary country scene. Lil Nas X's Old Town Road was one of the biggest songs of the year it was released and undeniably country but was largely snubbed by country music community, and Beyoncé's new country album, Cowboy Carter, is a direct response to her hostile reception at the Country Music Awards in 2016.

the point being, yes, I don't think it's off-base to say that, to many Americans, rap and Black music and art generally are like... very optional and avoidable parts of pop culture in the way that more white-dominated genres are not, similarly to a lot of international and especially non-English art.

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blackmusicdaily · 4 months ago

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Photographs from Alan Lomax’s “Southern Journey” a long series of recordings of various music such as blues, gospel, country, and spirituals from prisoners, recently freed slaves, poor southerners and largely black communities where these genres originated, this series became the first official stereo recordings of traditional african american southern folk music, celebrating generational heritage and the struggles of black life in the south at the time and impacted the creation and commercial spread of american music as we know it pioneering the “american” country sound, many of the singers, musicians and dancers present in these recordings and pictures are unnamed to this day.

#photographs #music history

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crooked-wasteland · 1 year ago

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The rapresentation of abusers in helluva boss is something that particularly frustrates me, Stella in particular, it seems to be done just to victimaze certain characters not to show the complex dynamics of those relationships. It seems to me the writers aren't mature enough to handle these topics properly.

Abuse and Vivienne Medrano

Christmas 1962, a man renowned the western world over for his revolutionary approach to animation sat in a withering melancholy as he watched what could only be called a cinematic masterpiece based on a novel classic. Walt Disney, now in the twilight years of his life, saw the walls closing in and his legacy coming to a close. This man, who pioneered the animated feature film, saw his greatest accomplishment as his greatest obstacle. The man responsible for the tales brought to life of Cinderella, Snow White, Pinocchio, and Dumbo felt trapped in his achievement. “I wish,” Walt lamented, “I could make a picture like that.”

To Kill a Mockingbird was a piece that challenged its audience. The discussion of a white man defending a black man in southern America, years before the civil rights movement. The movement that, at the time the movie hit cinemas, was in its infancy. Released during the height of the historically revisionist counter movement taking place to combat the rising push of African Americans towards their human rights. The last film Walt Disney ever saw the production of before his death in 1966 was The Jungle Book, a movie that was the epitome of “Safe” and a message that upheld the status quo of segregation.

It wasn’t until 1972 that the media of animation became raucously adult with those political and challenging concepts Disney felt were unattainable. Fritz the Cat was an X-rated animated film composed of vignettes that were unapologetically perverse, violent, and aggressively political. Critical of politicians and the police with a sympathetic if exploitative lens towards the LGBT and racial minority communities Brooklyn-based director Ralph Bakshi grew up around. Bakshi proved that animation was not strictly a child-friendly media and that adult animation could be financially and critically successful.

(For more on Ralph Bakshi's career and animation history)

If one has ever had the opportunity to listen to a Brad Bird (director of Ratatouille and The Incredibles) interview, it is clear to see that the success of Bakshi was generally quite limited. That animation is considered a genre and not a medium of art has resulted in animated films being knee-capped in the box office. There is far more potential to animation, highlighted by Howard Ashton in his collaboration with Disney studios during the Renaissance. Responsible for resurrecting the feature-length animated movie through The Little Mermaid and credited for the monumental success of Best Picture Award winner Beauty and the Beast, Ashton once said that the potential animation was ideal for musical theatre. The limitless possibilities given the medium gave the possibility of introducing Broadway to the common folk who didn’t live in New York and otherwise couldn’t afford the theater. He was quoted saying that live action musical films were “an exercise in stupidity,” highlighting the freedom that comes with a blank page.

However, the success of animation, and media in general, comes down to the message the media wishes to send. The reason the Disney Renaissance films have enjoyed their position as cornerstones of pop culture and creativity was because it did introduce the artform of musical theater into homes and made them readily accessible to everyone with an even heightened sense of fantasy that revitalized Walt’s ethos of making films for the child in everyone.

With Bakshi, it was the loud and violently political message of a revolution taking place. This continues in adult animation with the Simpsons, a series critical of hyper-capitalist America and the fallout of Reagan’s economic disaster that the effects of which are still being felt today and a satire of toxic masculinity and abusive family dynamics.

So, ultimately, the value of a piece of media is a cross between its social artistic influence and the message the creators are intending to make. While Medrano’s influence on the field of indie animation is often mischaracterized as a “pioneer”, the fact is that indie animation and pilots have existed and been funded before Spindlehorse existed. It is simply that Medrano has had the spotlight handed to her for the myth surrounding the production and subsequent success of his indie projects. Artistically, her influence can be summarized as a double-edged sword. For some, she is the motivation for inspiring artists to connect with the community to one day, hopefully, create their own work. On the other hand, she is the cautionary tale of why investing in an indie project is a financial risk for an audience member and a risk to the community as a whole that poses a real danger of making the indie sphere financially cannibalistic, as her public persona is off-putting to “normies” and her show is simply not good.

Much like Disney, the man in 1962, and Disney the company circa 2023, the revolution of animating "because you can" loses its luster very quickly. Without something profound to say, an entire company, regardless of its social influence, can fade into irrelevance despite still being "successful". The story of Disney is a cautionary tale for Indie animation as a whole and Spindlehorse in specific.

And that is the other axis on this chart. Her narrative lacks a message worth telling, and that’s very much due to her not having anything worthwhile to say.

“I really liked when things and shows and stories allow the characters to be flawed, and allow them to grow and to change. And I think that’s something that’s, you know, the world is not black and white. And I like things that explore the gray and that and the complexity, of life and mistakes and of things like that.” - Vivienne Medrano

It is not for want of mockery that I carefully transcribe Medrano’s words in her interview. To read the words aloud tells the story just as clearly as I have set out to do here. This is someone who is highly inspired by better media, who has ideas and a belief that she has something to say. But that is where the belief ends. There is no conclusion to that thought any more than there is one in the unfocused and run-on sentences she rambles along throughout the interview. She talks of “Things” without clarity, because she herself is a fundamentally incurious individual who has never once spent the time critically analyzing herself, let alone the work of others to better grasp what about it resonated with her. She merely consumes art insatiably and without any substance. Like a diet of fruit, it has a superficial veneer of positive value. Fruit would be considered healthy as it is “natural”. However, it is the nutritional equivalent of candy, lacking vital components that are necessary to sustain basic life, it is pure sugar. Her work, similarly, lacks any value of depth that would qualify as meaning.

Which comes back to what the message is in her work.

When it comes to others in the field of indie animation, Medrano does not have many friends. In response to the Lackadaisy situation, creator Tracy explained why she returned Medrano’s donation. For one, the donation was not Medrano’s money, but money she crowd sourced from her employees. While the $5k for the producer spot of the fundraiser would have not been a dent in her personal wallet, Medrano is so uninterested in supporting fellow creators while presenting an impression of camaraderie that she instead took money from the people she is in charge of the paychecks for to get her name in the credits of another creator’s work. In regards to why Medrano was declined her support, it was due to numerous individuals who had such an awful experience working for Medrano that they did not want her involvement associated with the project to any extent. When the money was returned, she made the situation extremely public and encouraged harassment by liking tweets attacking Tracy and the Iron Circus team.

A well-known member of Medrano’s crew, Hunter B, was leaked speaking crassly of other animation projects that were still in the process of production, met with support from other members in the discord. One of these creators being Ashley Nicoles from Far-Fetched. A former friend and creative partner on the Hazbin Pilot whose podcast streams featuring Edward Bosco and Michael Kovach single-handedly maintained interest in the show until the winter of 2021, free of charge. Ashley once spoke of how Medrano would speak disparagingly of an employee to her, saying that this individual was “Too unstable to work with”. Which, regardless of whether or not that is Medrano’s honest opinion, counts as defamation by an employer. It is the exact reason why most previous employers will not give a negative, detailed review of a former employee, maintaining instead to verify facts of the employment. If Erin Frost was more experienced and less involved in social media exposed culture, they could have easily sued Medrano and Spindlehorse for damaging their reputation in their field of employment.

Which circles back to Medrano’s self-assigned message of her show:

“Abusers rely on your silence. They rely on knowing you can’t retaliate without consequence. That they can tell any lies and vague around without getting called out. But we see you, and you don’t have the power you think you do anymore. A message I put into my work. “Fuck you!” - Vivienne Medrano

Medrano, who has vague and sub tweeted individuals like Lackadaisy Tracy, The Diregentlemen, Michael Kovach, and Ashley Nicoles. Medrano who has instigated and incited harassment campaigns knowing that no one can call her out without severe and relentless backlash from her cultish fanbase that she personally encourages through positive reinforcement of liking the tweets of fans. Medrano who relies on the silence of other creators in the field due to the fear of her ire collapsing their projects before they even have a chance to begin.

Vivienne Medrano with an extensive abusive history that continues to this day, has something to say about abuse.

What Medrano has to say about abuse comes from someone who has the position of superiority in all of her relationships, but feels like she’s the outcast and bullied loser. Her self insert that is repeatedly expressed in every character at one point or another is how easily they abuse those around them just because they can, but that the narrative justifies their “acting out” because they are sad. According to the National Coalition Against Domestic Violence, “An abuser externalizes the causes of their behavior. They blame their violence on circumstances.”

Indeed, the lists of abusive characteristics and traits, according to the National Coalition Against Domestic Violence, overwhelmingly encompasses the characteristics shown by characters like Loona, Blitz and Stolas that Medrano repeatedly has attempted to rationalize, justify and minimize. Which, “An abuser often denies the existence or minimizes the seriousness of the violence [including emotional and mental abuse] and its effect on the victim and other family members.”

It is not surprising, then, that the conversation of abuse in Helluva Boss is often infuriating. The narrative underplays the harm done by characters we are supposed to see as “good”. Not allowing for them to grow or change, but ignoring and minimizing the behavior, justifying it through circumstances and perpetuating the false belief that victims are not, themselves, abusers.

One of the first blog post rants I ever made about mental health and abuse was the affirmation that not all victims of abuse are survivors. I wholly stand by that. Victims of abuse perpetuate abuse. A victim and an abuser are one in the same, whereas a survivor is someone who has actually done the difficult work of being self-critical. And the one thing we all are very aware of is how much Vivienne Medrano rejects criticism.

#helluva boss critical #helluva boss criticism #helluva boss critique #vivienne medrano #vivziepop #vivziepop critical #spindlehorse critical #spindlehorse criticism #vivziepop criticism #helluva boss #perpetuating abuse #narcissistic abuse #abuse breeds abuse #essay writing

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trapangeles · 5 months ago

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Kendrick Lamar’s "Squabble Up": A Visual Masterpiece of Cultural References and Homage

Kendrick Lamar has once again cemented his place as a visionary artist with the release of his "Squabble Up" music video. Packed with cultural nods, historical tributes, and impactful cameos, the video is a layered exploration of Black culture, West Coast pride, and hip-hop legacy. Here’s a deep dive into the elements that make this visual a masterpiece.

1. Ice-T's Power Album Cover

Kendrick pays homage to Ice-T’s 1988 album Power, one of the foundational pieces of West Coast rap history. By referencing this album, Kendrick honors a pioneer who paved the way for artists to merge raw storytelling with mainstream appeal.

2. David Hammons’ “African-American Flag”

The reinterpretation of the U.S. flag by David Hammons, featuring red, black, and green colors, symbolizes Black identity and resilience. Kendrick’s inclusion of this flag is a nod to empowerment, heritage, and the ongoing fight for equality.

3. Soul Train Scramble Boards

Kendrick incorporates the scramble boards made famous by Soul Train, the iconic Black dance and music show. This nostalgic reference celebrates Black excellence and the cultural impact of the show, which gave countless artists a platform.

4. Trunk Boiz “Scraper Bike” Video

The video nods to the 2007 “Scraper Bike” video by Trunk Boiz, a Bay Area anthem celebrating creativity and individuality. This homage reflects regional pride and highlights how grassroots movements have shaped urban culture.

5. Menace II Society Reference

The tricycle scene is a direct reference to the 1993 urban classic Menace II Society. This moment reminds viewers of the gritty realities of inner-city life and ties Kendrick’s storytelling to a legacy of authentic cinema.

6. Isaac Hayes’ Black Moses Album Cover

Kendrick recreates the cover of Isaac Hayes’ 1971 album Black Moses. This nod pays tribute to a soul music legend whose work represented strength, vulnerability, and empowerment.

7. The Roots’ "The Next Movement" Video

Visual parallels to The Roots’ 1999 “The Next Movement” video highlight Kendrick’s connection to progressive hip-hop storytelling, showing his appreciation for fellow innovators.

8. Nate Dogg Tribute

Kendrick subtly honors West Coast legend Nate Dogg, whose smooth hooks defined an era of hip-hop. This tribute ties the video to the golden age of West Coast rap and acknowledges Nate Dogg’s lasting influence on the culture.

9. “Jesus Saves Gangsters Too” Outreach Ministry

This reference to the grassroots ministry founded in 2000 emphasizes themes of redemption and transformation. By including this, Kendrick underscores his message that no one is beyond saving.

10. Statue of a Black Panther

A striking statue of a Black Panther symbolizes resistance, unity, and empowerment. This imagery connects Kendrick’s work to the legacy of the Black Panther Party and its role in advocating for justice.

11. Ese’s Partying Scene

Kendrick includes a scene of Ese’s partying, highlighting the intersection of Black and Chicano cultures in L.A. This moment is a celebration of diversity and community, integral to the West Coast lifestyle.

12. Big and Curvy Women Dancing

The inclusion of big and curvy women dancing challenges societal beauty standards and celebrates body positivity. Kendrick has long been an advocate for authenticity, and this scene is a bold statement of inclusivity and empowerment.

13. Dog Trainer Bitten by a Pitbull

The scene of a pitbull biting its handler carries layered symbolism. It could represent the struggle between control and rebellion or speak to the unpredictability and survival instincts that define life in the streets.

14. Westside Traffic’s Hoover Stomp

Schoolboy Q’s artist Westside Traffic performs the Hoover Stomp, bringing raw, authentic energy to the video. This moment is a vibrant nod to L.A. street culture and its unique contributions to hip-hop.

15. Storm DeBarge’s Stunning Moves

Choreographer and dancer Storm DeBarge brings dynamic energy to the video with her captivating performance, further showcasing Kendrick’s commitment to highlighting Black artistry.

16. Black Panther Movie Connection

Kendrick subtly nods to his work on the Black Panther movie soundtrack. This acknowledgment reinforces his role as a cultural leader bridging the worlds of art, music, and activism.

17. Cameos from L.A. Stars

The video features appearances by Taz Arnold, G Perico, RJMrLA, and Cuzzos, bringing together a community of creatives who embody the vibrant spirit of L.A.’s music scene.

A Celebration of Culture and Legacy

From its rich cultural references to powerful imagery and standout cameos, Kendrick Lamar’s "Squabble Up" is a layered visual masterpiece. It’s not just a music video—it’s a celebration of resilience, identity, and the enduring legacy of hip-hop.

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Have you been spending all your money and time on making music and shooting videos, but still not getting any exposure? Tired of just spinning your wheels? You know to get exposure you need to get featured on blogs, radio stations, playlist, and get your music e-mail blasted out to the masses. Need help getting all that done? Then check out the Package we’ve made available for you below!

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bitter69uk · 11 months ago

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Born on this day: African American rhythm and blues nightclub chanteuse and transgender pioneer Jackie Shane (15 May 1940 – 21 February 2019). The regal and enigmatic soul diva (who often looked and sounded like a fierce hybrid of Little Richard and Eartha Kitt) originally hailed from Nashville, Tennessee but had to relocate to Canada to find acclaim and acceptance in her adopted city of Toronto, Ontario. Disillusioned with the music industry, by the early 70s Shane retired and vanished so completely off the radar she was widely assumed to be dead. Luckily, Shane lived long enough to be re-discovered and embraced by a new generation of admirers as a LGBTQ icon and for her long out-of-print recorded work to be compiled and reissued on CD. (You can listen to the 2017 album Any Other Way on Spotify – and I highly recommend you do!).

#jackie shane #soul music #soul diva #bold soul sister #rhythm and blues #kween #fierce #diva #transgender #lobotomy room #lgbtqia #any other way #transgender pioneer #queer

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slackville-records · 7 months ago

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John William Coltrane, also known as "Trane"

(September 23, 1926 – July 17, 1967), was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and was later at the forefront of free jazz. He organized at least fifty recording sessions as a leader during his career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk.

As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history. He received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane and a special Pulitzer Prize in 2007.

John Coltrane at his "Blue Train" session of September 15. 1957 at the Van Gelder Studio, Hackensack, New Jersey.

Photo by © Francis Wolff

A cropped version of the photograph was used on the original album cover.

https://www.facebook.com/TheWorldOfJazz

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cartermagazine · 1 year ago

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She Gave Us King

Coretta Scott King, civil rights activist and wife of Dr. Martin Luther King, Jr., was born in Marion, AL, on this date April 27, 1927.

Before the world knew Martin Luther King Jr., there was Coretta Scott. We have always heard the saying “In order to know where you’re going, you must know where you came from.” Well this still is revelant today.

Coretta’s father was an entrepreneur and knew injustice all to well, when his business was burned down. Despite challenging odds, her mother risked her safety by busing her children and the children of others, to the only Black school in their vicinity. Her older sister was a pioneer, becoming the first African American to attend college on integrated terms.

Corettta graduated valedictorian of her high school and studied music and education in college. For these experiences, along with her family’s quest for justice, became the building blocks for her activism. She was active on her local school board, NAACP and college’s Race Relations and Civil Liberties Committees. Because Scott used music as a way to create change, it only made sense to bring life to it in her civil rights work as well.

The tools that her family instilled in her such as perseverance, ambition and hope, prepared her for one of her greatest roles. Being the foundation of a people, lead by one man. by Syreeta Gates for CARTER™️ Magazine

CARTER Magazine

#coretta scott king #carter magazine #carter #historyandhiphop365 #wherehistoryandhiphopmeet #history #cartermagazine #today in history #staywoke #blackhistory #blackhistorymonth

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kalpakita · 11 days ago

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IWTV - additional music

Long post about the music used in the show.

I added some info about the artist / composer / song + a mention if I found some relevance or interesting bits.

note: I didn't identify most myself, so thanks to @greedandenby's playlists + @iwtvfanevents 🎵

Ferdinand LaMothe aka Jelly Roll Morton (1890-1941) : Creole musician, pianist and composer who is regarded as one of the pioneers of jazz music. He started his piano playing in the Storyville area.

1.01: The Crave -We see him portrayed and playing this song in the very 1st scene where Louis meets Lestat.

1.03: Wolverine Blues -In ep3 Daniel plays it after Louis claims Lestat inspired Morton to write the song. It's an early jazz standard.

Scott Joplin (1868-1917) : Composer and pianist, who has been dubbed the "King of Ragtime". He considered ragtime to be a form of classical music meant to be played in concert halls.

1.01: Solace -plays later in the same scene when Lestat holds Louis in his gaze. Both this and Morton's "The Crave" have a habanera rhythm.

Florence Price (1887-1953) : Classical composer, pianist and more. She is noted as the first African-American woman to have a composition played by a major orchestra. She was mentioned as one of the inspirations and a fav of the show's composer Daniel Hart.

1.01: Dances in the Canebrakes: I. Nimble Feet -plays when Louis starts hanging out with Lestat.

Pyotr Tchaikovsky (1840–1893) : One of the most famous composers of the Romantic period, perhaps best known for his ballets Swan Lake and The Nutcracker. He had a number of affairs with men but strove to keep it hidden.

1.01: Iolanta -his last opera. The setting is a beautiful garden and its heroine is an "outsider". In the end Iolanta is amazed of the of the world hidden from her before. Louis was moved by it but hides that from his family.

1.01: During Paul's funeral you can hear a brass band version of the hymn called In the sweet by and by. I read that this kind of procession is an unique tradition in New Orleans, sometimes called "jazz funeral."

Mauro Giuliani (1781-1829) : Cellist/violinist best known for his guitar music.

1.02: Caprice for guitar, Op.11 - This classical guitar piece plays in the scene with "Rashid" while Daniel discovers Marius's painting. Armand hint.

Gaetano Donizetti (1797-1848) : A prolific composer of over 70 operas. His most famous one is probably Lucia di Lammermoor.

1.02: Don Pascuale - Apparently, these 'comic operas' traditionally referenced to the stock characters from commedia dell'arte. (iykyk) The story revolves around unapproved love and marriage shenanigans.

1.03: Darktown Strutters' Ball by a black Canadian-born songwriter Shelton Brooks. It became a vaudevillian hit and is considered a jazz standard. The lyrics make a ref. to Morton. The version in the scene is very low tempo though.

1.03: Minuet in G major - One of the most well known pieces for beginners on the piano. It's often attributed to J.S.Bach but later to Christian Petzold. The Jelly Roll style 'Vampire’s Minuet' was arranged and played by Ethan Uslan for ep3.

1.03: Am I Blue can briefly be heard When Jonah enters Azalea. It's a popular song originally recorded by Ethel Waters for a 1929 movie, so it's a little out of timeline.

Frederic Chopin (1810–1849) : Composer and pianist of the Romantic period. His romantic and suggestive letters to men seem to have been intentionally misinterpreted by his biographers.

1.03: Nocturne, Op. 55: No. 1 in F minor -Plays during the scene with Louis and Jonah, ending just before "Was it raining?"

2.06: Nocturne, No. 20 in C Sharp Minor -Plays at the Sushi restaurant in S2. It is notable for its association with few Holocaust survivors.

1.04: Colour Suite: III. Yellow Hammers by Madeleine Dring, a mid century composer and pianist who had an "unique blend of classical and jazz influences,"-starts playing when the unholy family leave the wake.

1.04 note: Multiple nice pieces from APM library are used in ep4, mostly New Orleans dixieland - "The Viper " "Bourbon Street Blues" "Exotique" and "Jungle Jazz Room." There's also "Jelly's Blues" in ep1 and "Skip Dat Pop Dat" in ep5.

Alexander Scriabin (1872–1915) : Composer and pianist who "developed a growing atonal system, which was in accordance with his idea of mysticism." He "came to believe that he had a mission to regenerate mankind through art."

1.05: 24 Preludes Op. 11 No. 15 - Lestat plays it at the start of ep5.

Duke Ellington (1899–1974) Louis Armstrong (1901–1971) As many of you probably know, these jazz legends helped the genre forward. Ellington has the largest recorded personal jazz legacy. Armstrong became one of the most influential artists in jazz history. At the time of the story though, both were at the start of their careers.

1.05: East St. Louis Toodle-Oo was the first charting single for Ellington. It plays during the conversation with Anderson, before L&L come home to drunk Claudia.

1.05: Everything Is Hotsy Totsy Now - This fox-trot tune starts playing just after that, during the police search.

Few songs play over the radio/record in ep5 & 6:

1.05: Underneath The Arches by the duo Flanagan and Allen. It refers to the railway bridge where homeless slept during the Great Depression. It plays when Claudia returns home.

1.06: Haunted Heart - Broadway tune covered by Jo Stafford. It plays when Louis asks Claudia to make an effort to get along.

1.06: Was Your Heart Ever There - sang by Alyce Hauser. It plays when Lestat smokes and complains to Antoinette. (ep6 are bit out of timeline)

1.06: Giuseppe Tartini's "Devil's Trill Sonata" plays when Lestat comes after Claudia when she tries to leave by train. Tartini (1692-1770) was a composer and violinist of the Baroque era. He told that the devil had appeared to him in a dream and inspired to compose the sonata.

Johan Sebastian Bach (1685–1750) : A composer and organist of the Baroque period who is regarded one of the most influential musicians and often called the most spiritual. He composed for a variety of instruments and forms.

1.07: Partita in B-Flat Major: II. Allemande -Lestat plays it before Claudia offers to play the duet. It's a slow version of it.

Claude Debussy (1862–1918) : Composer whose works had a major influence on 20th century music. He "embraced nontraditional scales and tonal structures and developed a highly original system of harmony."

1.07: Six épigraphes antiques 1. "To invoke Pan" -The one Claudia and Lestat play together. It was originally composed for 4 hands but later made solo. Apparently, parts of these were earlier written as musical accompaniments for his friend's lesbian poems "Les Chansons de Biliti."

Erskine Hawkins (1914–1993) : Renowned bandleader and composer who was nicknamed the "20th-Century Gabriel," because of his heavenly trumpet play. His best known song is the jazz standard" Tuxedo Junction."

1.07: Dolemite - A popular song from that year plays when they plan the attack.

Ludwig van Beethoven (1770-1827) : Composer and impactful musical figure between the classical and romantic eras. He began to grow increasingly deaf in his 30s but continued composing. As our subject is vampires: he wrote a ten-page love letter to an "Immortal Beloved" but never sent it.

1.07: Piano Sonata No. 14 (moonlight sonata) -Plays several times + during the end credits. Most likely a homage to the usage of it in the 94 movie.

2.03: Fidelio, Op 72: Prisoners’ Chorus -This Opera tells a story of a woman who, dressed as a guard, tries to rescue her husband from prison. It gained significance after WW2. The chorus is an ode to freedom. Plays in S2 when Louis shows Alois his photographs.

2.01: Y’A Pas D’Printemps - Edith Piaf Piaf is perhaps the most well known French singers. She became kind of a symbol "of passion and tenacity". The song translates to "There's No Spring." The lyrics express longing for better life.

2.02: Snowfall - Claude Thornhill & his Orchestra - Thornhill was a pianist, composer and bandleader who wrote few jazz and pop standards. Notably this and "I Wish I Had You" with Billie Holiday. It plays when Louis says he started taking pictures.

Maurice Ravel (1875–1937) : Composer and pianist who "incorporated elements of modernism, baroque, neoclassicism and, in his later works, jazz." It's been speculated that he was gay. According to Daniel Hart, show Lestat loves Ravel.

2.02/04/08 Piano Concerto in G, II. Adagio assai -plays 3 times in S2: When Louis reads Lestat's letter, lets go of 'dreamstat' and during their reunion. Each time it's performed by Martha Argerich (seems she has recorded it 3 times) who Lestat also mentions in ep8.

2.02: Menilmontant - Charles Trenet, a singer-songwriter most famously known for the hit song La Mer. (Beyond the Sea) He was gay behind the public. This plays during end credits and refers to an area in Paris with "bohemian, left-wing and counterculture identity." (random side note: I love the jazz guitar version of this song recorded by Django Reinhardt)

Nat King Cole - A well loved singer, actor and it's often overlooked how great jazz pianist he was too. Despite the worldwide success, he still suffered intense racial discrimination during his career. Cole's trio was the model for small jazz ensembles that came later.

2.04: King Cole Trio - Vom, Vim, Veedle - One of the earliest recordings with the trio. I wonder if it made Louis homesick.

Josephine Baker -Iconic dancer, singer, actress, activist and more. She has been titled the "first black international superstar." Although married, she had a number of affairs with women (including Frida Kahlo)

2.06: Mon Cœur Est Un Oiseau Des Îles "My heart is an island bird" -This made me think about the bird motifs around Claudia.

#iwtv #amc iwtv #iwtv bts #iwtv list #interview with the vampire #beginning of jazz🤝beginning of amc Loustat

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kemetic-dreams · 1 year ago

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House is a music genre characterized by a repetitive four-on-the-floor beat and a typical tempo of 120 beats per minute as a re-emergence of 1970's disco. It was created by DJs and music producers from Chicago's underground club culture and evolved slowly in the early/mid 1980s, and as DJs began altering disco songs to give them a more mechanical beat. By early 1988, House became mainstream and supplanted the typical 80s music beat

House was created and pioneered by DJs and producers in Chicago such as Frankie Knuckles, Ron Hardy, Jesse Saunders, Chip E., Joe Smooth, Steve "Silk" Hurley, Farley "Jackmaster" Funk, Marshall Jefferson, Phuture, and others. House music initially expanded internationally, to London, then to other American cities, such as New York City, and ultimately a worldwide phenomenon.

In its most typical form, the genre is characterized by repetitive 4/4rhythms including bass drums, off-beat hi-hats, snare drums, claps, and/or snaps at a tempo of between 120 and 130 beats per minute (bpm); synthesizerriffs; deep basslines; and often, but not necessarily, sung, spoken or sampled vocals. In house, the bass drum is usually sounded on beats one, two, three, and four, and the snare drum, claps, or other higher-pitched percussion on beats two and four. The drum beats in house music are almost always provided by an electronic drum machine, often a Roland TR-808, TR-909, or a TR-707. Claps, shakers, snare drum, or hi-hat sounds are used to add syncopation. One of the signature rhythm riffs, especially in early Chicago house, is built on the clave pattern. Congas and bongos may be added for an African sound, or metallic percussion for a Latin feel

One book from 2009 states the name "house music" originated from a Chicago club called the Warehouse that was open from 1977 to 1982. Clubbers to the Warehouse were primarily African, gay men, who came to dance to music played by the club's resident DJ, Frankie Knuckles, who fans refer to as the "godfather of house". Frankie began the trend of splicing together different records when he found that the records he had were not long enough to satisfy his audience of dancers. After the Warehouse closed in 1983, eventually the crowds went to Knuckles' new club, The Power House, later to be called The Power Plant, and the club was renamed, yet again, into Music Box with Ron Hardy as the resident DJ. The 1986 documentary, "House Music in Chicago", by filmmaker, Phil Ranstrom, captured opening night at The Power House, and stands as the only film or video to capture a young Frankie Knuckles in this early era, right after his departure from The Warehouse.

In the Channel 4 documentary Pump Up the Volume, Knuckles remarks that the first time he heard the term "house music" was upon seeing "we play house music" on a sign in the window of a bar on Chicago's South Side. One of the people in the car joked, "you know that's the kind of music you play down at the Warehouse!" In self-published statements, South-Side Chicago DJ Leonard "Remix" Rroy claimed he put such a sign in a tavern window because it was where he played music that one might find in one's home; in his case, it referred to his mother's soul and disco records, which he worked into his sets

#house music #african music #chicago #african #afrakan #kemetic dreams #brownskin #africans #brown skin #afrakans #african culture #frankie knuckles #Farley “Jackmaster” Funk #dance #evolution of african american music

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shewhoworshipscarlin · 1 year ago

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Evelyn Preer

Evelyn Preer (née Jarvis; July 26, 1896 – November 17, 1932), was an African American pioneering screen and stage actress, and jazz and blues singer in Hollywood during the late-1910s through the early 1930s. Preer was known within the Black community as "The First Lady of the Screen."

She was the first Black actress to earn celebrity and popularity. She appeared in ground-breaking films and stage productions, such as the first play by a black playwright to be produced on Broadway, and the first New York–style production with a black cast in California in 1928, in a revival of a play adapted from Somerset Maugham's Rain.

Evelyn Jarvis was born in Vicksburg, Mississippi, on July 26, 1896. After her father, Frank, died prematurely, she moved with her mother, Blanche, and her three other siblings to Chicago, Illinois. She completed grammar school and high school in Chicago. Her early experiences in vaudeville and "street preaching" with her mother are what jump-started her acting career. Preer married Frank Preer on January 16, 1915, in Chicago.

At the age of 23, Preer's first film role was in Oscar Micheaux's 1919 debut film The Homesteader, in which she played Orlean. Preer was promoted by Micheaux as his leading actress with a steady tour of personal appearances and a publicity campaign, she was one of the first African American women to become a star to the black community. She also acted in Micheaux's Within Our Gates (1920), in which she plays Sylvia Landry, a teacher who needs to raise money to save her school. Still from the 1919 Oscar Micheaux film Within Our Gates.

In 1920, Preer joined The Lafayette Players a theatrical stock company in Chicago that was founded in 1915 by Anita Bush, a pioneering stage and film actress known as “The Little Mother of Black Drama". Bush and her troupe toured the US to bring legitimate theatre to black audiences at a time when theaters were racially segregated by law in the South, and often by custom in the North and the interest of vaudeville was fading. The Lafayette Players brought drama to black audiences, which caused it to flourish until its end during the Great Depression.

She continued her career by starring in 19 films. Micheaux developed many of his subsequent films to showcase Preer's versatility. These included The Brute (1920), The Gunsaulus Mystery (1921), Deceit (1923), Birthright (1924), The Devil’s Disciple (1926), The Conjure Woman (1926) and The Spider's Web (1926). Preer had her talkie debut in the race musical Georgia Rose (1930). In 1931, she performed with Sylvia Sidney in the film Ladies of the Big House. Her final film performance was as Lola, a prostitute, in Josef von Sternberg's 1932 film Blonde Venus, with Cary Grant and Marlene Dietrich. Preer was lauded by both the black and white press for her ability to continually succeed in ever more challenging roles, "...her roles ran the gamut from villain to heroine an attribute that many black actresses who worked in Hollywood cinema history did not have the privilege or luxury to enjoy." Only her film by Micheaux and three shorts survive. She was known for refusing to play roles that she believed demeaned African Americans.

By the mid-1920s, Preer began garnering attention from the white press, and she began to appear in crossover films and stage parts. In 1923, she acted in the Ethiopian Art Theatre's production of The Chip Woman's Fortune by Willis Richardson. This was the first dramatic play by an African-American playwright to be produced on Broadway, and it lasted two weeks. She met her second husband, Edward Thompson, when they were both acting with the Lafayette Players in Chicago. They married February 4, 1924, in Williamson County, Tennessee. In 1926, Preer appeared on Broadway in David Belasco’s production of Lulu Belle. Preer supported and understudied Lenore Ulric in the leading role of Edward Sheldon's drama of a Harlem prostitute. She garnered acclaim in Sadie Thompson in a West Coast revival of Somerset Maugham’s play about a fallen woman.

She rejoined the Lafayette Players for that production in their first show in Los Angeles at the Lincoln Center. Under the leadership of Robert Levy, Preer and her colleagues performed in the first New York–style play featuring black players to be produced in California. That year, she also appeared in Rain, a play adapted from Maugham's short story by the same name.

Preer also sang in cabaret and musical theater where she was occasionally backed by such diverse musicians as Duke Ellington and Red Nichols early in their careers. Preer was regarded by many as the greatest actress of her time.

Developing post-childbirth complications, Preer died of pneumonia on November 17, 1932, in Los Angeles at the age of 36. Her husband continued as a popular leading man and "heavy" in numerous race films throughout the 1930s and 1940s, and died in 1960.

Their daughter Edeve Thompson converted to Catholicism as a teenager. She later entered the Sisters of St. Francis of Oldenburg, Indiana, where she became known as Sister Francesca Thompson, O.S.F., and became an academic, teaching at both Marian University in Indiana and Fordham University in New York City.

Still from the 1919 Oscar Micheaux film Within Our Gates.

#historical #black history #actress #evelyn preer

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