#bessie carter icons

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Prudence Featherington Icons

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[phenomenologically]

As "Ameriican Requiem" opens with gospel-inspired elegance, the melody will quickly switch into -- what will become -- Cowboy Carter's signature acoustic twang. As the melody turns with synth sparkle, you realize Beyoncé has provided us her new 'pledge of allegiance': "For things to stay the same, they need to change again." Amen!

The gospel -- in terms of scripture, rather than musicality -- captures my attention here. Perhaps I've been listening to too much old-school blues, but Cowboy Carter's biblical references provide through-lines to the heart of Southern Black country and blues music. This isn't to say that this is Beyoncé's first time bringing God into her lyrics; but rather, the spiritual exclamations and jubilations of Cowboy Carter seem more fully realized when married with the sounds of blues' forebearers like Blind Joe Taggart ("God's Gonna Separate the Wheat from the Tares); Sister Rosetta Tharpe ("Precious Lord, Take My Hand"); and Arizona Dranes ("My Soul is a Witness"). These parallels can be drawn through acoustics, through the embellished runs Beyoncé uses to emphasize milestones within her songs' narratives (think of the octave change on "early age" in verse one and the bridge of "16 Carriages").

The prose-like approach to personal narrative throughout the album also serves the connection to late-1800s/early-1900s emerging blues, "negro spirituals," and country songs from Black artists of the era. While Beyoncé has drawn her life experiences plainly into her discography prior to Cowboy Carter, the styling of the album feels particularly attuned to imparting heartfelt, genuine lived experience.

In "Protector," Beyoncé soothes her children (in the song, Rumi's voice is sampled) with promises of protection, projection, and "Liftin' you up, so you will be raised." The content here reminded me, by contrast, of the well-loved blues anthem "(Sometimes I Feel Like A) Motherless Child" covered by icons like Sister Rosetta Tharpe, multi-hyphenate Paul Robeson, and folk-revivalist Odetta. While the singer of "Motherless Child" laments their lonesomeness, their isolation "a long ways from home," Cowboy Carter subverts this relationship and ensures that she will "lead you down that road if you lose your way." This points to another relationship between the album and its possible early blues-inspirations: "For things to stay the same, they need to change again."

Beyoncé's Cowboy Carter seeks to establish a new dialogue between Southern Black parent and child; husband and wife; community and individual. "Texas Hold 'Em" clarifies my point. Here, Beyoncé invites her muse to "lay your cards down," a phrase relevant to cardgames, yes, but one that's also used figuratively to indicate succumbing to vulnerability. In the pre-chorus after verse one she says, "I can't read your mind," indicating that while her partner may be connecting with her physically (on "the floor"), he still needs to "lay [his] cards down" so they can "work [their problems] in the middle," rather than side-stepping and dancing around them.

Her continual request to "pour some sugar on me," while immediately recognizable as a possible allegory of Def Leppard's "Pour Some Sugar On Me," the line reminds me more of "the Empress of Blues" Bessie Smith's "Need a Little Sugar in My Bowl." In the song, Bessie pleads for "some good man to tell my troubles to," -- laying her cards on the table. Interestingly, both Bessie Smith's "Need a Little Sugar," and Def Leppard's "Pour Some Sugar," carry a... frisky, let's say, subtext. I would be remiss to say that "Texas Hold 'Em," is entirely about breaking down emotional barriers between partners, without recognizing there's a lot of physical barriers Beyoncé tangles with as well. However, ultimately "Texas Hold 'Em" helps to elucidate that larger theme of the album: starting hard conversations among partners and families, and reasserting love and forgiveness above all.

The empassioned declarations of love and support -- to daughters, to husbands, to mothers and fathers -- are peppered throughout the album. "Bodyguard," "My Rose," "Alligator Tears," and "II Hands II Heaven," provide Beyoncé the platform to express these wishes singularly; while duets like "II Most Wanted" with Miley Cyrus more explicitly illustrate how important unhindered commitment in partnership is to Beyoncé. And, once again, these themes between romantic/sexual/lifelong partners mirrors much of the content of early blues, particularly (to me) the work of Sippie Wallace: the inspiration of blues/rock artist Bonnie Rait.

For instance, Sippie's biggest hit, "I'm a Mighty Tight Woman," recounts her wishes for a good man who will make her happy, "and I will make him happy too." She describes herself as a "jack of all trades," able to support her "pretty papa" in any wish or struggle -- mirroring some of the promises Beyoncé extends in "Bodyguard," for example. Much of Sippie's discography presents cynical (but wise, perhaps) views on marriage. Her song "Women Be Wise" advises married women, "don't advertise your man," as desperate women will come looking for him: a similar case as Cowboy Carter's "Jolene." Yet, once again, Beyoncé reaffirms her pledge of change by telling Jolene, "I'ma stand by him, he gon' stand by me." She doesn't relent to the "inevitability" of female competition, of unfaithfulness. She reaffirms wholeheartedly the trust in her partnership, and the value they add to one another. This is an evolution on Sippie's narrative, in which "Women Be Wise," ends with her own admission of guilt: "Lord honey, I just might sneek up and try to make him mine." Rather than committing to a partnership, she too moves on to the next.

I would be remiss to publish this review without addressing "Ya Ya." Here, Beyoncé partners with a soulful chorus to opine on American realities: sex, God, and shady insurance companies. The narrative retelling of these moments intercut with a toe-tapping "ya ya ya" chorus brought to mind lawyer, professional football player, activist, singer and actor (that's what I meant by multi-hyphenate) Paul Robeson. His famous rendition of "Joe Hill," details the 1914 murder of union organizer and communist Joe Hill. Parallel to the repetition of "ya-ya" and "la-la" through Cowboy Carter, Robeson returns again and again to Joe Hill's empowering response to questions of his death: "'I never died,' says he." And similar to Beyoncé's questioning of "workin' time and a half for half the pay," so too is "Joe Hill" questioning the working class: if your leader dies, does your cause die? Does your need for change die? No, "they organized." For this, Beyoncé prays "that he don't crash," but similarly, that her hardworking man "gotta keep the faith." Now -- "Ya Ya" is not a call to union organization and worker's empowerment as "Joe Hill," was. But, it's an important touchstone onto my earlier point: that Cowboy Carter is calling not only for changes within partnership and family, but larger communities and perhaps, American society at-large. To recognize the shared struggle, faith, and love of delicious cheesy grits that has always connected working-class Americans -- rather than superficial categories pre-determined by melanation -- despite a bloody "History that can't be erased."

I could unpack many, many more connections between Cowboy Carter and the blues genre, but I'll end on the poignant necessity of "Amen." Here, Beyoncé returns to the hook of "Ameriican Requiem,": Can you see her point? Can you hear her history? "Looker-there, looker there now," she croons in the opening track. "Have mercy on me," she belts at the close. "Amen," brings us visions of the present South; meticulously upkept plantation homes "built with blood and bone," though the homes of the enslaved Americans who built them have "crumbled." Civil War and Colonial-era monuments standing above struggling neighborhoods, beautifying the "lies of stone."

"For things to stay the same, they need to change again." For freedom to remain intact, to remain the foundation of "country," it must evolve to new heights, new communities, new dialogues. To "purify our Father's sins," requires not only a reckoning with the self, but a reckoning with the greater culture. It means not only shamelessly extending love and support to those closest to you, but recognizing the opportunities to spark love with those farthest from -- or most dissimilar to -- you.

Favorite Tracks:

"16 Carriages"

"Alligator Tears"

"Ya Ya"

[behindfairytales]

icons of Bessie Carter in Bridgerton (s1-2) as Prudence Featherington

[magiiicath]

— like or reblog if you save any.

[bridgertonsiconss]

📃Bridgerton📃 🎬1x01🎬

[zuzcreation]

Icons of Bessie Carter as Prudence Featherington in Bridgerton s1 (x3)

[defjux]

my favorite albums of 2022 so far, all genres. also, any recommendations yall have would be appreciated. obviously there’s a lot of hip hop on here but this was the year i got back into metal/hardcore HEAVILY and there’s been a lot of interesting stuff dropping lately. loving that new callous daoboys record, and the new nouns album is fun too. plus there’s a handful of albums coming out in the next few months that i’m looking forward to - avantdale bowling club, the mars volta, bjork, open mike eagle, pink siifu, city of caterpillar, freddie gibbs, clout rat, the comet is coming, alvvays, brutus, KEN MODE, birds in row, nnamdi, sudan archives. rap ferreira, gillian carter, danny brown, AKAI SOLO.. rest of the year is looking stacked. this list might look completely different in a couple months. chart w/ album titles 1. Billy Woods & Preservation - Aethiopes 2. Danger Mouse & Black Thought - Cheat Codes 3. Cities Aviv - MAN PLAYS THE HORN 4. Gospel - The Loser 5. Jam Baxter - Fetch The Poison 6. Wormrot - Hiss 7. ShrapKnel - Metal Lung 8. Elucid - I Told Bessie 9. Roc Marciano & Alchemist - The Elephant Man's Bone 10. The Callous Daoboys - Celebrity Therapist 11. Defcee & BoatHouse - For All Debts Public And Private 12. Fly Anakin - Frank 13. Greyhaven - This Bright and Beautiful World 14. Soul Glo - Diaspora Problems 15. J.I.D - The Forever Story 16. Messa - Close 17. Cult of Luna - The Long Road North 18. Tómarúm - Ash In Realms Of Stone Icons 19. SolarFive & Iceberg Theory - Momento Mori 20. Lupe Fiasco - DRILL MUSIC IN ZION 21. Quelle Chris - DEATHFAME 22. Wrecking Crew - Sedale Threat 23. Artificial Brain - Artificial Brain 24. KILLVONGARD - I Think I've Lost It. 25. Bloodmoney Perez - Curses

26. Imperial Triumphant - Spirit Of Ecstasy 27. Ockham's Blazer - Ockham's Blazer 28. moses rockwell - Until You Run out of Cake 29. Blind Girls - The Weight of Everything 30. Nouns - WHILE OF UNSOUND MIND 31. KnXwledge. - 家.V1 32. Knoll - Metempiric 33. Naked Flames - Miracle in Transit 34. Cave In - Heavy Pendulum 35. YUNGMORPHEUS & Theravada - Up Against The Wall: A Degree Of Lunacy 36. Melody's Echo Chamber - Emotional Eternal 37. amani & robalu - ill be right black! 38. White Ward - False Light 39. Big Thief - Dragon New Warm Mountain I Believe In You 40. King Gizzard & The Lizard Wizard - Omnium Gatherum 41. Elephant Gym - Dreams 42. Moor Mother - Jazz Codes 43. Boldy James & Real Bad Man - Killing Nothing 44. Vein.FM - This World is Going to Ruin You 45. Mary Halvorson - Amaryllis 46. YUNGMORPHEUS & Theravada - Up Against The Wall; A Degree Of Lunacy 47. Black Country, New Road - Ants From Up There 48. Nilüfer Yanya - PAINLESS 49. chat pile - God's Country 50. JYOCHO - Let's Promise to Be Happy 51. Chalk Hands - Don't Think About Death 52. Raum - Daughter 53. Krallice - Crystalline Exhaustion 54. Oh No - OFFAIR: Dr. No's Lost Beach 55. Psycroptic - Divine Council 56. Black Flower - Magma 57. Aeviterne - The Ailing Facade 58. Wake - Thought Form Descent 59. ANNA SAGE - Anna Sage 60. Kokoroko - Could We Be More 61. Angles - A Muted Reality 62. Ghais Guevara - There Will Be No Super-Slave 63. I AM - Beyond 64. Rome Streetz x Royalz - Pyrex Pot Poetry

[edwinadaily]

Charithra Chandran, who plays Edwina Sharma in Bridgerton season two, gets Up Close with Cosmo, chatting style advice, new projects, and her Bridgerton cast mates.

Transcript under the read more. Thanks to @mrmalcolmslist! ♡

Who is your style icon?

My style icon is a mix of two people. Tracee Ellis Ross, I love her use of fun colors and bold patterns and Audrey Hepburn. I love her use of tailoring and shapeliness of her outfits. The combination of these two is my dream fashion icon.

Who is the most prolific in the Bridgerton group chat?

I think the person who is really good at getting people together and do social stuff is Bessie Carter who plays Prudence Featherington.

Which other celebrity would you trust to give you a tattoo?

It’s got to be someone that’s good at art because i want a cool tattoo. I’m trying to think! I know Simone’s really good at drawing. So I’d think she’d be able to give a cool tattoo and she does have a tattoo gun and she does know a lot about tattoos. Shelley Conn, who plays my mom on Bridgerton, is very crafty. She does a lot of DIY stuff but I don’t know if that translates to tattoos. So either Simone or Shelley. There’s so much pressure to get a tattoo that’s really meaningful that you won’t regret and I have such an inertia because I put so much pressure on it. So I think probably I’d get something really silly and meaningless. Maybe like a pug. I don’t know.

Where were you when you found out you'd got the role of Edwina Sharma in Bridgerton?

It’s actually a really good story. I was helping my mum on her allotment. So we were making a polytunnel with PVC tubing and I was measuring and cutting. I get a call from my agent telling me that I’m gonna be in glamorous gowns for the next six months so real juxtaposition there. The skill and the effort that go into making each of these gowns, I mean they’re couture gowns. So i had a lot of respect for the art that was created with the costumes.

How excited were you about joining the show?

I think the experience of new cast members is very different from the season 1 cast because, you know, when they were filming season 1 and when they were casting season 1, they, i don’t think they had any idea of what it was gonna be.

That is was gonna big as big of a phenomenon as it is. But joining season 2 and joining season 3, you know, we know how important it is to people.

What’s your beauty secret?

I have two actually. I’m feeling very generous today. The first thing is and I got from a lovely person that I met at British Fashion Counsel. The best “eyebrow gel” to get feathered laminated brow look is to use latex-free eyelash glue because I have very horizontal brows. So if you brush them up with latex-free eyelash glue, they stay and you get that laminated look without having to actually laminate them. The other tip is and I got this from a Youtube video that Sir John, Beyonce’s makeup artist, did where he said he uses eye cream as lip balm because it won’t add that glossy texture that Vaseline or gel might have. So it’s a matte moisturiser essentially.

What are three things you can’t live without?

I’m very practical- My phone. A phone charger. Electricity. But if I’m thinking non-practical: chocolate, tequila and tabasco. I love food so– yeah. All food related.

What style advice do you live by?

The best style advice I can give is: don’t focus on trends. Find out what you enjoy, what works for you regardless whether you see it on a magazine. Just be true to yourself. And don’t be afraid to experiment.

Truly, my go to look is jeans and a nice top. It’s just so effortless and classic and you don’t have to think about it too much. Right now, I’m loving the Levi’s Wide Straights, they are so flattering and easy to wear. And I love having a colorful, printed top on with some fun colorful boots. And that’s kind of my go to look everyday.

What’s your dream date?

April 25th, it’s not too hot, it’s not to cold. That’s from one of my favourite movies; Miss Congeniality!  

I think the first few dates I would prefer a drink, where you can look someone in the eye and get to know them and talk to them. But generally I love activity dates, maybe bowling or going for a hike. To be able to share an experience with someone is really fun.

What book do you recommend to everyone?

Essays in love by Alain de Botton. When Breath Becomes Air by Paul Kalanithi. It’s devastating, but for me it’s about the exploration of what it means to be human. All About Love by Bell Hooks, I think, for young women, it’s a really important book to read.

Is there a TV show you wish you were in?

Succession. I say this in every interview like genuinely,I would love to be in Succession. My housemate and I are rewatching it right now in preparation for season 4 because it cannot come soon enough. I’m team Kendall, but my favourite interactions are cousin Greg and Tom Wambsgans. I think I’m probably a bit like Shiv or would be like a Shiv in terms of the character I would play.

What’s you go-to comfort meal?

God, I have so many! But my favourite meal is something called kothu parotta and it’s a very classic Tamil dish. It is just the perfect combination of salt, fat, acid, heat. And it’s just, urgh, the umami! It’s so good. But if I think about easy quick comfort meal, it’d just be a bowl of pasta with pesto.

How open are you about your life on social media?

Before the show I think I was really open about the ups and the downs. And I think that when you have a lot of people watching you, you do feel the scrutiny a bit more, and I have noticed holding myself back a lot and I think that’s something that I need to change. I want to go back to feeling like myself, but it’s a process of figuring that out.

What makes you happiest?

I’m on the journey of figuring that out. I think there’s a lot of pressure for us to have the answers to these complicated philosophical questions but I feel like the purpose of life is the journey and the experience of these things. I don’t think we are supposed to find the answers to these questions. But, things that make me happy? Food, watching a good film, hanging out with my family and friends.

What are you most excited for right about?

I just wrapped up filming on a movie which will came out next year- I cannot say when. And I’m developing a limited series at the moment, and there are a couple of things I cannot mention! I hate to be that person! But what I’m really excited about, in terms of the industry, is that there really is a push to have diversity in front of the camera and behind the camera, which is equally as important. Like, the projects that you hear circulating, whether I’m involved in them or not, are so cool and are gonna be so important for future generations in terms of representation and it’s incredibly exciting.  

[bridgertongifs]

BESSIE CARTER as PRUDENCE FEATHERINGTON IN “BRIDGERTON SEASON ONE”

On the source link below there are 148 gifs of BESSIE CARTER as PRUDENCE FEATHERINGTON in the TV Show “Bridgerton” season one.

All gifs were created by me, so I would appreciate if no one claims them as their own if they use them in a gif hunt. Please, do not edit these gifs in any way, crop them, or turn them into gif icons. Thank you, and please like or reblog if you plan on using them.

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[ucflibrary]

Women’s History Month began as a week-long celebration in Sonoma, California in 1978 which was centered around International Women’s Day on March 8. A year later during a women’s history conference at Sarah Lawrence College, participants learned how successful the week was and decided to initiate similar in their own areas. President Carter issued the first proclamation for a national Women’s History Week in 1980. In 1987, Congress (after being petitioned by the National Women’s History Project) passed Pub. L. 100-9 designating March as Women’s History Month. U.S. Presidents have issued proclamations on Women’s History Month since 1988.

 The University of Central Florida community joins together to celebrate Women’s History Month across multiple campuses with a wide variety of activities including the Women in STEM @ UCF panel discussion, a special screening of the student-produced film, Filthy Dreamers, and WomanFest 2020. You can also view the Women First at UCF Project on the display wall at the John C. Hitt Library. The project was a collaboration between UCF Libraries Special Collections and University Archives, Dr. M.C. Santana from the Women’s and Gender Studies Program, and Dr. Robert Cassanello from the Department of History. Full details about the project, exhibit reception information and the UCF Celebrates the Arts Panel can be found on the Libraries blog.

 Here at the UCF Libraries, we have created a list of books about women, both history and fiction, suggested by staff. Please click on the read more link below to see the full book list with descriptions and catalog links. And don’t forget to stop by the John C. Hitt Library to browse the featured bookshelf on the 2nd (main) floor near the bank of two elevators for additional Women’s History Month books and DVDs.

 Backwards and in Heels: the past, present and future of women working in film by Alicia Malone Women have been instrumental in the success of American cinema since its very beginning. One of the first people to ever pick up a motion picture camera was a woman. As was the first screenwriter to win two Academy Awards, the inventor of the boom microphone and the first person to be credited with the title Film Editor. Throughout the entire history of Hollywood women have been revolutionizing, innovating, and shaping how we make movies. Yet their stories are rarely shared. Film reporter Alicia Malone tells the history of women in film in a different way, with stories about incredible ladies who made their mark throughout each era of Hollywood. From the first women directors, to the iconic movie stars, and present-day activists. Each of these stories are inspiring in the accomplishments of women, and they also highlight the specific obstacles women have had to face. Suggested by Richard Harrison, Research & Information Services

 Burn it Down: women writing about anger edited by Lilly Dancyger A rich, nuanced exploration of women's anger from a diverse group of writers. Women are furious, and we're not keeping it to ourselves any longer. We're expected to be composed and compliant, but in a world that would strip us of our rights, disparage our contributions, and deny us a seat at the table of authority, we're no longer willing to quietly seethe behind tight smiles. We're ready to burn it all down. Suggested by Megan Haught, Student Learning & Engagement/Research & Information Services

 Dreaming in French: the Paris years of Jacqueline Bouvier Kennedy, Susan Sontag, and Angela Davis by Alice Kaplan A year in Paris . . . since World War II, countless American students have been lured by that vision—and been transformed by their sojourn in the City of Light.  Dreaming in French tells three stories of that experience, and how it changed the lives of three extraordinary American women. Suggested by Richard Harrison, Research & Information Services

 Fair Labor Lawyer: the remarkable life of New Deal attorney and Supreme Court Advocate Bessie Margolin by Marlene Trestman Through a life that spanned every decade of the twentieth century, Supreme Court advocate Bessie Margolin shaped modern American labor policy while creating a place for female lawyers in the nation's highest courts. Despite her beginnings in an orphanage and her rare position as a southern, Jewish woman pursuing a legal profession, Margolin became an important and influential Supreme Court advocate. Suggested by Richard Harrison, Research & Information Services

 Hill Women: finding family and a way forward in the Appalachian Mountains by Cassie Chambers Appalachian women face issues that are all too common: domestic violence, the opioid crisis, a world that seems more divided by the day. But they are also community leaders, keeping their towns together in the face of a system that continually fails them. With nuance and heart, Chambers uses these women’s stories paired with her own journey to break down the myth of the hillbilly and illuminate a region whose poor communities, especially women, can lead it into the future. Suggested by Anna Dvorecky, Cataloging

 Invisible: the forgotten story of the black woman lawyer who took down America's most powerful mobster by Stephen L. Carter Eunice Hunton Carter, Stephen Carter’s grandmother, was raised in a world of stultifying expectations about race and gender, yet by the 1940s, her professional and political successes had made her one of the most famous black women in America. But her triumphs were shadowed by prejudice and tragedy. Greatly complicating her rise was her difficult relationship with her younger brother, Alphaeus, an avowed Communist who—together with his friend Dashiell Hammett—would go to prison during the McCarthy era. Yet she remained unbowed. Suggested by Katy Miller, Student Learning & Engagement

 Lactivism: how feminists and fundamentalists, hippies and yuppies, and physicians and politicians made breastfeeding big business and bad policy by Courtney Jung Political scientist Courtney Jung offers the most deeply researched and far-reaching critique of breastfeeding advocacy to date. Drawing on her own experience as a devoted mother who breastfed her two children and her expertise as a social scientist, Jung investigates the benefits of breastfeeding and asks why so many people across the political spectrum are passionately invested in promoting it, even as its health benefits have been persuasively challenged. What emerges is an eye-opening story about class and race in America, the big business of breastfeeding, and the fraught politics of contemporary motherhood. Suggested by Sandy Avila, Research & Information Services

 My Antonia by Willa Cather Set in rural Nebraska, Willa Cather’s book is both the story of an enduring friendship and a brilliant portrayal of the lives of rural pioneers in the late-nineteenth century. Suggested by Larry Cooperman, Research & Information Services

 My Own Words by Ruth Bader Ginsburg with Mary Hartnett and Wendy W. Williams In this collection, Justice Ginsburg discusses gender equality, the workings of the Supreme Court, being Jewish, law and lawyers in opera, and the value of looking beyond US shores when interpreting the US Constitution. This book’s sampling is selected by Justice Ginsburg and her authorized biographers Mary Hartnett and Wendy W. Williams, who introduce each chapter and provide biographical context and quotes gleaned from hundreds of interviews they have conducted. Suggested by Sandy Avila, Research & Information Services

 Text Me When You Get Home: the evolution and triumph of modern female friendship by Kayleen Schaefer journalist Kayleen Schaefer interviews more than one hundred women about their BFFs, soulmates, girl gangs, and queens while tracing this cultural shift through the lens of pop culture. Our love for each other is reflected in Abbi and Ilana, Issa and Molly, #squadgoals, the acclaim of Girls Trip and Big Little Lies, and Galentine’s Day.

Suggested by Megan Haught, Student Learning & Engagement/Research & Information Services

 The Alice Network by Kate Quinn In an enthralling new historical novel from national bestselling author Kate Quinn, two women—a female spy recruited to the real-life Alice Network in France during World War I and an unconventional American socialite searching for her cousin in 1947—are brought together in a mesmerizing story of courage and redemption. Suggested by Kelly Young, Administration

 The Future is Feminist: radical, funny, and inspiring writing by women edited by Mallory Farrugia A star-studded roster of iconic women write powerfully about what it means to be a feminist yesterday, today, and tomorrow. These poets, essayists, activists, actors, and professors address topics ranging from workplace harassment to resting bitch face. The results are by turns refreshing, provocative, moving, and hilarious. A diverse chorus of intersectional voices and a forward-looking stance set this book apart. It's the smart, covetable anthology that women of all ages will turn to for support and inspiration in the ongoing fight for gender equality. Suggested by Jada Reyes, Research & Information Services

 The Making of Mary Shelley's Frankenstein by Daisy Hay Frankenstein was inspired by the extraordinary people surrounding the eighteen-year-old author and by the places and historical dramas that formed the backdrop of her youth. Featuring manuscripts, portraits, illustrations, and artifacts, this work explores the novel’s time and place, the people who inspired its characters, the relics of its long afterlife, and the notebooks in which it was created. Hay strips Frankenstein back to its constituent parts to reveal an uneven novel written by a young woman deeply engaged in the process of working out what she thought about the pressing issues of her time: from science, politics, religion, and slavery to maternity, the imagination, creativity, and community. Suggested by Jada Reyes, Research & Information Services

 The Other Einstein by Marie Benedict In the tradition of The Paris Wife and Mrs. Poe, this book offers us a window into a brilliant, fascinating woman whose light was lost in Einstein's enormous shadow. It is the story of Einstein's wife, a brilliant physicist in her own right, whose contribution to the special theory of relativity is hotly debated and may have been inspired by her own profound and very personal insight. Suggested by Kelly Young, Administration

 The Women Who Flew for Hitler: a true story of soaring ambition and searing rivalry by Clare Mulley Hanna Reitsch and Melitta von Stauffenberg were talented, courageous, and strikingly attractive women who fought convention to make their names in the male-dominated field of flight in 1930s Germany. With the war, both became pioneering test pilots and were awarded the Iron Cross for service to the Third Reich. But they could not have been more different and neither woman had a good word to say for the other. Suggested by Kelly Young, Administration

 Womanish: a grown black woman speaks on love and life by Kim McLarin Searing in its emotional honesty, this essay collection explores what it means to be a black woman in today’s turbulent times. Writing with candor, wit and vulnerability on topics including dating after divorce, depression, parenting older children, the Obama’s, and the often fraught relations between white and black women, McLarin unveils herself at the crossroads of being black, female and middle-aged, and, ultimately, American. Powerful and timely, it draws upon a lifetime of experiences to paint a portrait of a black woman trying to come to terms with the world around her, and of a society trying to come to terms with black women. Suggested by Megan Haught, Student Learning & Engagement/Research & Information Services

[blackmusicreview-142-fan-blog]

Agoraphobia, the Mixtape

“Stones in My Pathway” by Robert Johnson

Robert Johnson’s “Stones in My Pathway” was not popular in its time--1937--but became largely recognized after the blues revival period. Johnson has been socially constructed on behalf of scholars and listeners alike as a so-called “lonesome blues man”, an embodiment of authentic rural blues sound. The lack of success of “Stones in My Pathway” when it was originally recorded was conceptualized later as testament to Johnson’s distance from the marketplace. Such logic posited Johnson as somehow more legitimate and original than his more popular contemporaries. The song was short and simple in that it featured only Johnson’s voice and sole guitar accompaniment. A metaphor for sexual pleasure obstructed like stones in a pathway, the song demonstrated desperation and despair: the “authentic” stereotype to blues audiences.

“Empty Bed Blues” by Bessie Smith

Whereas Johnson was a wandering bluesman, Bessie Smith was just the opposite: a musician that produced commodified blues. Bessie Smith’s “Empty Bed Blues” was one of the biggest hits of the singer’s career. The song, like its artist, was largely marketed to black audiences and performed via vaudeville circuits. “Empty Bed Blues” is an explicitly sexual song filled with funny innuendos and accompanied by trombone and piano. With big-bodied character and metaphorical wit, Bessie Smith unapologetically owns her sexuality. The song is in stark contrast to Stones in My Pathway: six minutes long with robust accompaniment and Charlie Green’s trombone accenting the hilarious lyrics. Similarly, while scholars paraded Johnson’s anguish and lack of market success, they criticized Smith’s Empty Bed Blues for being sexually explicit and for its commodification to black audiences at the time. Though in reality both songs and their artists spoke of sex in the language of the blues, and both did see monetary and popular success at some point, they are caught up in the audience’s debate over authenticity and the market. 

“Afro Blue” By Robert Glasper

Robert Glasper’s adaptation of Afro Blue sung by Eryka Badu is an example of Glasper’s reach beyond jazz into R&B music as he strayed from the traditional Jazz arrangement of this song. Glasper was known for exploring genres beyond jazz and for that was critiqued by many for “selling out”. However, he argued he was being true to his desires to explore, and not doing so would be the real definition of “selling out”. Glasper’s Afro Blue has a heavy drum beat accompanied by sparse piano and the occasional riff on a wind instrument. The heavy repetitive beat keeps a steady laid back new age rhythm.

“Love Theory” By Kirk Franklin

Love theory by Kirk Franklin is a funky R&B “gospel” with hip hop influence. The inclusion of a choir in the song is a powerful addition as it is representative of traditional gospel choir songs one would hear in a church. Kirk is someone who fought to reach a wider audience, specifically the youth, by collaborating with artists such as “salt-n-pepa” and creating music that strayed from traditional gospel instrumentals to including pop, R&B and hip hop audiences.

“F**k the Industry” By Solange Knowles

Through a leaking of her unofficially released mixtape, singer Solange Knowles adheres to the theme of agoraphobia breaking the musical norms of what the industry depicts as successful female R&B artists of the 90s-2000s. She calls out her own successful sister Beyonce, Ashanti, Jennifer Lopez, aka JLo, and Mary J. Blige as the norm who all represent a similar type of style that includes precisely planned out aesthetics of Benz cars, carefully matched and coordinated hair, make-up, and clothing saying that she refuses to go along with the mainstream style just for sales and chart-topping popularity. As she claims her power in being original and true to self in her lyrics she criticizes the industry and record labels for not giving her the same attention, credit, and time simply because she is not pushing this fake alter-ego image. Using lyrics like, “I’ll never be picture perfect like Beyonce” and, “I’m sorry I ain’t in the Benzes in my videos / I’m sorry I ain’t even really trying to match my clothes … No, I don’t trust the crowd just to walk around it / So I’m writing this letter to the industry / It says “Fuck you, signed sincerely” one gets a clear picture of how she calls out the industry for its portrayal of artistry that only serves to sell this commodified version of what they want music to sound like.

“Apeshit” By The Carters

“Apeshit” by The Carters represents the theme of agoraphobia since we see Beyonce and Jay-Z, the most powerful, influential Black musician couple of modern time taking advantage of their messy extra-marital affair debacle that spread like wildfire across social media platforms like Twitter, Instagram, and Facebook, as a means of commodification turning their life into a juicy love story that everyone wants a piece of. In the song we hear a different style of rap from both artists which we have never heard them submerge themselves in before until now. They take on Atlanta-styled trap music using ad-libs like “skrrt, skrrt, skrrt/jumpin’, jumpin’, hey, hey” from Migos’ group member Quavo who is widely known for his extremely simple rap style of talking about women and money in objectifying ways. Before this album, Beyonce had not really completely submerged herself in trap music and culture and once the album was dropped, she was criticized for what people felt was “selling-out.”

“Respect” By Aretha Franklin

Aretha Franklin, although one of the greatest singers of all time and considered the Queen of Soul still conformed to the cultural trends of society during her musical career. While she began her musical career as a gospel singer, she was only able to attain modest success at best from this. Consequently, she decided to make the transition into a soul singer and ultimately reeked the benefits. One of her most iconic songs released was “Respect” in the sixties. The tune, a remix of Otis Redding’s original version, touches upon prevalent issues during this era such as feminism and civil rights movements. Simple but blissful, from the steady drum beat separated by intermittent horns, to the back-up vocals, to the saxophone solo, the song is energetic and one demanding the idea of respect which is the theme Franklin is trying to express. Released during a pivotal time, the song swept the nation by their feet, giving average people the confidence to demand the respect they deserve. From one perspective though this can be looked at as Aretha selling out by trying to use current events as a way to enhance her popularity and monetary value.

“Soon All Will Know” By Wynton Marsalis

Wynton Marsalis is a globally recognized musician who has performed in an expansive array of musical groups. Unlike many artists who over the duration of their career conform to the likings of society, Wynton has maintained a fear of the marketplace and stayed loyal to the principals of Jazz. One of his most popular songs which implicates the transcending message jazz music is trying to portray is “Soon All Will Know” from his Grammy winning album ‘Standard Time Vol 1’. In the song, Marsalis elegantly and effortlessly leads his quartet in creating a relaxing type of mood by dancing around the pianist and drummer with his trumpet. Marsalis’s ability to continuously produce immaculate compositions and refusal to alter his emotionally evoked trumpet playing style has allowed him to remain significant within the classical jazz world for nearly four decades.

[natalierwyble]

Dot Time Records Welcomes Catherine Russell

Dot Time Records is honored to announce that it has signed Catherine Russell, a celebrated vocalist and one of the greatest voices in jazz and blues, to release her upcoming album. The label and artist are joining forces with the shared goal of enriching the contemporary music scene with the release of new tracks, renditions of jazz classics which highlight the genre’s history, diversity and lasting impact on 21st century music. The new album, titled Alone Together, will be released on March 1, 2019, and is her seventh solo album.

An honors graduate of the American Academy of Dramatic Arts, jazz runs in Ms. Russell’s lineage. Her father, Luis Russell, was a legendary pianist, orchestra leader, and Louis Armstrong’s long-time musical director. Her mother, Carline Ray, was a pioneering vocalist, guitarist and bassist who performed with rhythm darlings Mary Lou Williams and Sy Oliver, among others.

Ms. Russell is now in the midst of the second decade of her solo career, having also worked extensively with David Bowie, Jackson Browne, Rosanne Cash, Steely Dan, Levon Helm, Cyndi Lauper, Paul Simon and Carrie Smith, in various roles including backup singer, multi-instrumentalist, and lead singer. Ms. Russell has appeared on over 200 albums. She has been described by NPR as “a voice that wails like a horn and whispers like a snake in the Garden of Eden.” Often likened to vocal powerhouses Bessie Smith, Ella Fitzgerald and Billie Holiday, Russell burnishes a clear identity and sound all her own which dazzles listeners with each and every one of her performances.

With Alone Together, Catherine Russell builds upon her catalogue as a leader, which includes six highly acclaimed, award winning, and chart topping albums. Of her 2006 debut album, the late Nat Hentoff, one of the most iconic of all jazz critics, wrote, “After listening to a continuous stream of singers who couldn’t have lasted through a chorus with Ella Fitzgerald or Betty Carter, It’s a delight to hear the real thing in Catherine Russell.” Ms. Russell’s various albums have garnered a German Record Critics Award, Prix du Jazz Vocal from L’Academie du Jazz, Grand Prix du Hot Club de France, while also reaching #1 on numerous Jazz sales and radio charts, including ITunes, Amazon, JazzWeek, and Roots Music Report. Her most recent album received a Grammy nomination for Best Jazz Vocal Album, while she also appeared as a featured artist on the Grammy Award Winning soundtrack album to the HBO-TV show Boardwalk Empire.

Ms. Russell commented, “I’m thrilled to join the Dot Time Records family. I’m drawn to a label which both supports contemporary artists, while also preserving the music’s history through it’s Legends Series. I’ve always wanted to be a label mate of Louis Armstrong and Ella Fitzgerald and now I am!”

“Catherine is an exquisite vocalist” said Johanan ‘Jo’ Bickhardt, Dot Time Records CEO. ” No matter what genre she approaches, her prowess and methodology is superb. She has an acute instrument and knows how to use it. It is a joy to be working with her.”

Dot Time Records will release all further developments with regards to Ms. Russell’s work under the label in future communications with the press.

Image Credit: Sandrine Lee.

To learn more about Catherine Russell please visit www.catherinerussell.net To book Catherine Russell please contact www.thekurlandagency.com

source https://www.dottimerecords.com/news/dot-time-records-welcomes-catherine-russell/ from Dot Time Records https://dottimerecords.blogspot.com/2018/11/dot-time-records-welcomes-catherine.html

[josephemize]

Dot Time Records Welcomes Catherine Russell

Dot Time Records is honored to announce that it has signed Catherine Russell, a celebrated vocalist and one of the greatest voices in jazz and blues, to release her upcoming album. The label and artist are joining forces with the shared goal of enriching the contemporary music scene with the release of new tracks, renditions of jazz classics which highlight the genre’s history, diversity and lasting impact on 21st century music. The new album, titled Alone Together, will be released on March 1, 2019, and is her seventh solo album.

An honors graduate of the American Academy of Dramatic Arts, jazz runs in Ms. Russell’s lineage. Her father, Luis Russell, was a legendary pianist, orchestra leader, and Louis Armstrong’s long-time musical director. Her mother, Carline Ray, was a pioneering vocalist, guitarist and bassist who performed with rhythm darlings Mary Lou Williams and Sy Oliver, among others.

Ms. Russell is now in the midst of the second decade of her solo career, having also worked extensively with David Bowie, Jackson Browne, Rosanne Cash, Steely Dan, Levon Helm, Cyndi Lauper, Paul Simon and Carrie Smith, in various roles including backup singer, multi-instrumentalist, and lead singer. Ms. Russell has appeared on over 200 albums. She has been described by NPR as “a voice that wails like a horn and whispers like a snake in the Garden of Eden.” Often likened to vocal powerhouses Bessie Smith, Ella Fitzgerald and Billie Holiday, Russell burnishes a clear identity and sound all her own which dazzles listeners with each and every one of her performances.

With Alone Together, Catherine Russell builds upon her catalogue as a leader, which includes six highly acclaimed, award winning, and chart topping albums. Of her 2006 debut album, the late Nat Hentoff, one of the most iconic of all jazz critics, wrote, “After listening to a continuous stream of singers who couldn’t have lasted through a chorus with Ella Fitzgerald or Betty Carter, It’s a delight to hear the real thing in Catherine Russell.” Ms. Russell’s various albums have garnered a German Record Critics Award, Prix du Jazz Vocal from L’Academie du Jazz, Grand Prix du Hot Club de France, while also reaching #1 on numerous Jazz sales and radio charts, including ITunes, Amazon, JazzWeek, and Roots Music Report. Her most recent album received a Grammy nomination for Best Jazz Vocal Album, while she also appeared as a featured artist on the Grammy Award Winning soundtrack album to the HBO-TV show Boardwalk Empire.

Ms. Russell commented, “I’m thrilled to join the Dot Time Records family. I’m drawn to a label which both supports contemporary artists, while also preserving the music’s history through it’s Legends Series. I’ve always wanted to be a label mate of Louis Armstrong and Ella Fitzgerald and now I am!”

“Catherine is an exquisite vocalist” said Johanan ‘Jo’ Bickhardt, Dot Time Records CEO. ” No matter what genre she approaches, her prowess and methodology is superb. She has an acute instrument and knows how to use it. It is a joy to be working with her.”

Dot Time Records will release all further developments with regards to Ms. Russell’s work under the label in future communications with the press.

Image Credit: Sandrine Lee.

To learn more about Catherine Russell please visit www.catherinerussell.net To book Catherine Russell please contact www.thekurlandagency.com

from https://www.dottimerecords.com/news/dot-time-records-welcomes-catherine-russell/

from Dot Time Records - Blog http://dottimerecords.weebly.com/blog/dot-time-records-welcomes-catherine-russell

[behindfairytales]

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By clicking the source link, you’ll find 729 icons for roleplay, made by myself from Bridgerton (s1-s2).

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