#african american classical music

[deadhorserecords]

Tales Episode 23: Garfield Moore

Tales From the Jazz Side with cellist/composer/educator Garfield Moore. I have known Mr. Moore for quite some time and have had the privilege to perform with him on only one occasion. And that one time, the plethora of knowledge that I gained in that interaction still sits with me today as I progress into new territories of music. Where do I start with the history of this fascinating and…

[bitter69uk]

Q: Do you get off on being tempestuous?

A: “What do you mean “get off”? That’s just the way I am.”

Q: How would you like to be remembered?

A: “I want to be remembered as a diva from beginning to end who never compromised in what she felt about racism and how the world should be, and who to the end of her days consistently stayed the same.”

Q: But isn’t life about evolving and changing?

A: “Not for me.”

/ Brantley Bardin interviewing legend-with-an-attitude with Nina Simone in Details magazine, January 1997 /

Born on this day: lacerating, regal and fierce High Priestess of Soul Nina Simone (née Eunice Kathleen Waymon, 21 February 1933 – 21 April 2003). I’d argue Simone was at her artistic zenith between 1964 – 1966, when she recorded essential statements like “I Put a Spell on You”, “Work Song” (“I left the grocery store man bleeding …”), “Ne Me Quitte Pas”, “Wild is the Wind”, “Don’t Let Me Be Misunderstood”, “I Hold No Grudge” and especially “Four Women” (“I’m gonna kill the first mutha I see …”). Pictured: portrait of Simone by Herb Snitzer, 1959.

[woobosco]

Afro Culture (My Culture) @woobosco

[wiserebeltiger]

Unfathomable levels of based

[hellocanticle]

Treemonisha Wasn’t the Only One, James P. Johnson’s Lost Operas.

Naxos 8.669041 Regular readers of this blog are doubtless aware of my “underdog” interests. Whether suppressed by fascist regime, (as in London Records “Entartete Musik” series and Chandos “ARC”ensemble recordings), or just somehow eclipsed by more “spectacular” (by which I mean, “producing a spectacle” like Stravinsky’s Rite of Spring) but, as exemplified by Cedille Records’ “Avant L’ Orage”,…

[mostofthingsmostofthetime]

So I watched The Whiz for the first time last night & obviously, I knew rasicim buried good art, but Holy shit dose racism burry good art

[akiey]

Timeless. Classic. Iconic

[menandwomanofhistory]

William Grant Still

[jadenvargen]

free online james baldwin stories, essays, videos, and other resources

**edit

James baldwin online archive with his articles and photo archives.

---NOVELS---

Giovanni's room"When David meets the sensual Giovanni in a bohemian bar, he is swept into a passionate love affair. But his girlfriend's return to Paris destroys everything. Unable to admit to the truth, David pretends the liaison never happened - while Giovanni's life descends into tragedy. This book introduces love's fascinating possibilities and extremities."

Go Tell It On The Mountain"(...)Baldwin's first major work, a semi-autobiographical novel that has established itself as an American classic. With lyrical precision, psychological directness, resonating symbolic power, and a rage that is at once unrelenting and compassionate, Baldwin chronicles a fourteen-year-old boy's discovery of the terms of his identity as the stepson of the minister of a storefront Pentecostal church in Harlem one Saturday in March of 1935. Baldwin's rendering of his protagonist's spiritual, sexual, and moral struggle of self-invention opened new possibilities in the American language and in the way Americans understand themselves."

+bonus: film adaptation on youtube. (if you’re a giancarlo esposito fan, you’ll be delighted to see him in an early preacher role)

Another Country and Going to Meet the Man Another country: "James Baldwin's masterly story of desire, hatred and violence opens with the unforgettable character of Rufus Scott, a scavenging Harlem jazz musician adrift in New York. Self-destructive, bad and brilliant, he draws us into a Bohemian underworld pulsing with heat, music and sex, where desperate and dangerous characters betray, love and test each other to the limit." Going to meet the Man: " collection of eight short stories by American writer James Baldwin. The book, dedicated "for Beauford Delaney", covers many topics related to anti-Black racism in American society, as well as African-American–Jewish relations, childhood, the creative process, criminal justice, drug addiction, family relationships, jazz, lynching, sexuality, and white supremacy."

Just Above My Head"Here, in a monumental saga of love and rage, Baldwin goes back to Harlem, to the church of his groundbreaking novel Go Tell It on the Mountain, to the homosexual passion of Giovanni's Room, and to the political fire that enflames his nonfiction work. Here, too, the story of gospel singer Arthur Hall and his family becomes both a journey into another country of the soul and senses--and a living contemporary history of black struggle in this land."

If Beale Street Could Talk"Told through the eyes of Tish, a nineteen-year-old girl, in love with Fonny, a young sculptor who is the father of her child, Baldwin's story mixes the sweet and the sad. Tish and Fonny have pledged to get married, but Fonny is falsely accused of a terrible crime and imprisoned. Their families set out to clear his name, and as they face an uncertain future, the young lovers experience a kaleidoscope of emotions-affection, despair, and hope. In a love story that evokes the blues, where passion and sadness are inevitably intertwined, Baldwin has created two characters so alive and profoundly realized that they are unforgettably ingrained in the American psyche."

also has a film adaptation by moonlight's barry jenkins

Tell Me How Long the Train's been gone At the height of his theatrical career, the actor Leo Proudhammer is nearly felled by a heart attack. As he hovers between life and death, Baldwin shows the choices that have made him enviably famous and terrifyingly vulnerable. For between Leo's childhood on the streets of Harlem and his arrival into the intoxicating world of the theater lies a wilderness of desire and loss, shame and rage. An adored older brother vanishes into prison. There are love affairs with a white woman and a younger black man, each of whom will make irresistible claims on Leo's loyalty. 

---ESSAYS---

Baldwin essay collection. Including most famously: notes of a native son, nobody knows my name, the fire next time, no name in the street, the devil finds work- baldwin on film

--DOCUMENTARIES--

Take this hammer, a tour of san Francisco.

Meeting the man

--DEBATES:--

Debate with Malcolm x, 1963 ( on integration, the nation of islam, and other topics. )

Debate with William Buckley, 1965. ( historic debate in america. )

Heavily moderated debate with Malcolm x, Charles Eric Lincoln, and Samuel Schyle 1961. (Primarily Malcolm X's debate on behalf of the nation of islam, with Baldwin giving occassional inputs.)

----

apart from themes obvious in the book's descriptions, a general heads up for themes of incest and sexual assault throughout his works.

[goryhorroor]

masterpost of horror lists

here are all my horror lists in one place to make it easier to find! enjoy!

sub-genres

action horror

analog horror

animal horror

animated horror

anthology horror

aquatic horror

apocalyptic horror

backwoods horror

bubblegum horror

campy horror

cannibal horror

children’s horror

comedy horror

coming-of-age horror

corporate/work place horror

cult horror

dance horror

dark comedy horror

daylight horror

death games

domestic horror

ecological horror

erotic horror

experimental horror

fairytale horror

fantasy horror

folk horror

found footage horror

giallo horror

gothic horror

grief horror

historical horror

holiday horror

home invasion horror

house horror

indie horror

isolation horror

insect horror

lgbtqia+ horror

lovecraftian/cosmic horror

medical horror

meta horror

monster horror

musical horror

mystery horror

mythological horror

neo-monster horror

new french extremity horror

paranormal horror

political horror

psychedelic horror

psychological horror

religious horror

revenge horror

romantic horror

dramatic horror

science fiction horror

slasher

southern gothic horror

sov horror (shot-on-video)

splatter/body horror

survival horror

techno-horror

vampire horror

virus horror

werewolf horror

western horror

witch horror

zombie horror

horror plots/settings

road trip horror

summer camp horror

cave horror

doll horror

cinema horror

cabin horror

clown horror

wilderness horror

asylum horror

small town horror

college horror

plot devices

storm horror

from a child’s perspective

final girl/guy (this is slasher horror trope)

last guy/girl (this is different than final girl/guy)

reality-bending horror

slow burn horror

possession

pregnancy horror

foreign horror or non-american horror

african horror

spanish horror

middle eastern horror

korean horror

japanese horror

british horror

german horror

indian horror

thai horror

irish horror

scottish horror

slavic horror (kinda combined a bunch of countries for this)

chinese horror

french horror

australian horror

canadian horror

decades

silent era

30s horror

40s horror

50s horror

60s horror

70s horror

80s horror

90s horror

2000s horror

2010s horror

2020s horror

companies/services

blumhouse horror

a24 horror

ghosthouse horror

shudder horror

other lists

horror literature to movies

techno-color horror movies

video game to horror movie adaption

video nasties

female directed horror

my 130 favorite horror movies

horror movies critics hated because they’re stupid

horror remakes/sequels that weren’t bad

female villains in horror

horror movies so bad they’re good

non-horror movies that feel like horror movies

directors + their favorite horror movies + directors in the notes

tumblr’s favorite horror movie (based off my poll)

horror movie plot twists

cult classic horror movies

essential underrated horror films

worst horror movie husbands

religious horror that isn’t christianity 

black horror movies

extreme horror (maybe use this as an avoid list)

horror shorts

[doyoulikethissong-poll]

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!

[hillaryisaboss]

A film set to unwinnable expectations. Too “woke” for having Halle Bailey play Ariel; not “woke” enough because it is still a classic fairytale written by Hans Christian Andersen in 1837, where a princess falls in-love with a prince.

What I saw was a fabulous live-action adaptation. The acting & music is truly on-point.

Disney also added backstory to the Prince, which was very worthwhile storytelling. Visually, it was a stunning movie. The water effects on the hair are a sight-to-behold. And if you’ve seen Pirates of the Caribbean, it is that style/mood mixed with Disney magic & great songs.

Though the 2023 live-action will never be our cartoon imagination from childhood, the original film from 1989 will always be there for us to watch over-and-over again.

However, if you watch the other live-action Disney adaptations, this one truly is the best one by far. Some just want to hate it for whatever reason.

Halle Bailey did a phenomenal job as Ariel & I saw many African American kids in the audience at the theatre. Representation matters ❤️🧡💛💚💙💜

Go see The Little Mermaid!! It is the right film for the moment — a moment where Disney is being banned in Florida.

Sing & celebrate under the sea with this truly amazing film!! Go Halle Go!! Our Disney heroine 🧜🏾‍♀️

[blackexcellence]

#BlackHistory365 Art Round-Up ⬇️

Elsa Soares via @rodrigoincolors

"This is Elsa Soares. She's one of the biggest names in Brazilian music and considered a matriarch of Brazilian black artistry. BBC named her the voice of the millenium and she was one of the most important and loudest voice against racism, LGBTQIA+ and women rights, among other social causes. She's died yesterday at age 91. This is a very simple, but sincere tribute to her. May you rest in power!

Please, listen to her music and search more about this great woman."

2. Portrait of Sarah Forbes Bonetta by Hannah Uzor via @fyblackwomenart

Portrait of   Sarah Forbes Bonetta by  Hannah Uzor

Sarah Forbes Bonetta  was an Egbado princess of the Yoruba people in West Africa who was orphaned during a war with the nearby Kingdom of Dahomey and later became the slave of King Ghezo of Dahomey. In a remarkable twist of events, she was liberated from slavery by Captain Frederick E. Forbes of the British Royal Navy and became a goddaughter to Queen Victoria. She was married to Captain James Pinson Labulo Davies, a wealthy Lagos philanthropist.

3. Marian Anderson by @novva

I’ve always wanted to do a series on black classical singers for BHM, so here’s a sketch I squeezed in this week—a tribute to the great Marian Anderson!

Marian Anderson (February 27, 1897 – April 8, 1993) was an African-American opera singer and contralto. In 1939, after the Daughters of the American Revolution refused to allow Anderson to sing to an integrated audience in Washington, D.C, then First Lady Eleanor Roosevelt and her husband President Franklin D. Roosevelt arranged for Anderson to perform an open-air concert on the Lincoln Memorial steps on Easter Sunday, April 9, 1939. She was able to deliver a critically acclaimed performance before an integrated crowd of more than 75,000 people, and a radio audience in the millions.

Read more about her accomplishments here, and donate to the National Marian Anderson Museum here.

Remember: tag your history & trailblazers art with #BlackExcellence365 for a chance to be featured!

And keep your eyes out for next month's theme... 👀

[batmanisagatewaydrug]

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.

[nautical-language]

Cowboy Carter - Why it matters that Beyonce finally won Album of the Year at the Grammy’s for this album, specifically.

I grew up listening to exclusively modern country and classic rock, genres which both owe their existence to Black people (and by Black I do mean African American) but have been whitewashed.

I have literally had Cowboy Carter on repeat since it came out; easily my favorite country album of all time, if not just my favorite album, period.

If you don’t wanna read it all, here’s the short version: Cowboy Carter is a truly seamless blend of country and other musical styles that pays homage to the genre’s greatest musicians and mirrors the ways Black music has transformed, and been transformed by, U.S. culture. Never forget: the only musical genres that were created in the U.S. (jazz, hip-hop, rock, country, and more) were created by Black people.

Although it’s a country album—and it IS, undeniably, a country album!—Cowboy Carter is structured like a classic hip-hop album, including an “anthem” song that intros and outros the album (“AMERIICAN REQIUEM”) and intermissions where other famous stars of the country genre dap up Queen Bey.

Specifically, white country music legends Willie Nelson and Dolly Parton introduce the album/songs. That’s not just significant because they’re white or because they’re genre icons, but ALSO because they are icons of the country music era that—while predominantly white—actually still focused on the OG working class, blue collar themes of the genre. (Explaining how country music has changed over time is something I can’t even get into here, but the point is that Beyonce had white authentic country music legends introduce her album, as opposed to modern country music stars. It legitimizes the album as a country album the same way having a more famous rapper introduce your song/album would legitimize it as true rap.)

The first half of Cowboy Carter is much more “classically country,” while the second half is a bolder blend of country with other genres. In the intermission where Willie Nelson introduces the back half of the album, he literally says, “I’m here because sometimes it takes someone you trust to turn you onto some real good shit.” It’s this beautiful moment of authentic artistry and cultural exchange, because not only is Willie Nelson introducing white country lovers to Black music, Beyonce has also introduced Black r&b/hip-hop/rap fans to country music.

People who think Beyonce did a country album to prove she can cross genres like taylor swift are completely missing the point. First of all, Cowboy Carter is the second in a planned album trilogy, with each album paying homage to a different musical genre/group of genres created by Black people. The first installment was Renaissance, a trap/house album. Beyonce had originally planned to start the trilogy with Cowboy Carter, but chose to release Renaissance first in 2022 because she felt like “people needed to dance.”

As part of Beyonce’s career, Cowboy Carter also exists in a very specific context: https://www.vulture.com/article/beyonce-cmas-the-chicks-oral-history.html. After all the shit that happened during and after Beyonce’s performance of “Daddy Lessons” at the 2016 CMAs, “Cowboy Carter” didn’t even get NOMINATED at this year’s CMAs (and then it won this year’s grammy for best country album AND album of the year, so FUCK those racist assholes). Beyonce literally referenced the 2016 CMAs in the instagram post announcing Cowboy Carter.

In my mind, Billboard and the CMAs snubbing Lil Naz X’s wildly popular “Old Town Road” in 2019 must’ve only added fuel to the fire.*

So the planned album trilogy — and, of course, Cowboy Carter in particular — are a reaction to the whitewashing of genres created by Black people and the cultural appropriation that happens when modern Black artists are excluded from the genres they/their predecessors created.

*Note that Beyonce paired up with Miley Cyrus for “II MOST WANTED” on Cowboy Carter. Why would that matter? Because Miley’s dad is country artist Billy Ray Cyrus, who was notably one of the only modern white country musicians to publicly condemn the industry for its treatment of Lil Nas X’s “Old Town Road,” to the point that Billy Ray Cyrus literally did a version of Old Town Road with Lil Nas X as a way of legitimizing the song as real country music.

Other standout moments on the album—and these are just the ones I’ve caught:

-“BLACKBIIRD” (2nd song on the album) has Beyonce and 4 other, less well-known WOC cover the beatles’ “Blackbird,” which Paul McCartney wrote in honor of the Black women of the U.S. civil rights movement.

-At the end of “DAUGHTER,” Beyonce seamlessly transitions into the operatic aria “Caro Mio Ben.” If that doesn’t tell you what a flawless genre-blender this album is, I don’t know what will.

-Track 10 is “JOLENE,” which is Beyonce’s version of Dolly Parton’s song of the same name. Beyonce’s cover directly mirrors the way white artists took over the country music genre by covering and sampling songs originally created by Black artists.

-Every single track is a bop, but IMO, the album’s crowning achievement is “YA YA.” The song is amazing, and my favorite moment is when Beyonce does an impression of Elvis, who built his reputation as the King of Rock and Roll by doing an impression of Chuck Berry. “YA YA” features samples from country songs created or made famous by white artists (“These Boots Are Made For Walking” by Nancy Sinatra and “Good Vibrations” by The Beach Boys, plus a ton of other references—literally just go read YA YA’s Genius page), once again intentionally subverting the phenomenon of white artists covering Black artist’s music and receiving greater acclaim.