Calvin Harris appears have reflowed Taylor Swift on social media. The move came as tabloids published photos of Swift kissing actor Tom Hiddleston just weeks after splitting from Harris. RevivalTourNashville pic. Calvin Harris is reportedly ready to let out his emotions about his recent break-up from Taylor Swift in a new song about the split.
According to reports Calvin is in the studio working on his upcoming fifth album and one song might be about his recent heartache. Is Calvin Harris writing a Taylor Swift break-up song? The Sun reports that he is even considering getting Kanye West on board for the sessions, someone whom Taylor isn't on the best of terms with. A guest spot from Kanye could be fitting considering Calvin was spotted out wearing some Yeezy trainers earlier in the week. Days after Taylor Swift was pictured cozying up to Tom Hiddleston , rumours about the end of her relationship with Calvin Harris have gotten even more interesting.
Taylor Swift allegedly dumped Calvin Harris with a phone call. A source told the gossip website that Taylor called Calvin from Nashville at some point after his car crash to put an end to their relationship. Taylor is said to have been vague during the call, only saying she needed some space. Calvin Harris Rihanna. The song is the second single to be released ahead of his yet-to-be-announced new album, and the first for the year.
Calvin Harris unveils a new video. Calvin Harris wants fans to focus on his music rather than his relationships right now as he launches his new video directed by Emil Nava who has previously worked with him on the videos for 'I Need Your Love' and 'Outside', both featuring Ellie Goulding another of Harris' rumoured exes, incidentally. Taylor Swift Calvin Harris. Calvin Harris Taylor Swift. Calvin Harris has broken his silence about his split with ex-girlfriend Taylor Swift as he was spotted out and about driving his car, just over a week after his car crash that has caused him to cancel a number of live appearances.
While he remained quiet about whether that was true, he did take to Twitter in order to assure fans that the break-up had been as amicable as can be expected in the circumstances, and that they remain on good terms. Calvin Harris broke his silence over his break-up with Taylor Swift. Calvin Harris has broken up with his pop superstar girlfriend Taylor Swift , multiple sources have confirmed via E! News, after dating for nearly a year and a half. It was all done in a very mature fashion. Taylor is pretty upset but they are still in communication. Taylor was there for Adam with his accident and supportive.
Calvin Harris is recovering after being involved in a car accident on Friday night May 20th , his team have confirmed. Harris, real name Adam Wiles, was on his way to his regular show at Omnia nightclub when the collision happened at around 11pm and the DJ is said to have been taken to hospital after suffering a laceration on his face. Calvin Harris was involved in a car accident on Friday night. As a result he will be unable to perform at Omnia tonight. He has been examined by doctors and told to rest for a few days.
Calvin Harris Rihanna Taylor Swift. It's the first time they've worked together since their massive hit 'We Found Love', and it's released on Friday April 29th. The Scottish DJ announced via his Twitter page on Wednesday night that the new track, featuring the Barbadian superstar, will drop on Friday April 29th. Leonardo Dicaprio and Rihanna seemed to be enjoying themselves on Saturday evening April 16 when they both attended Coachella after-hours event the Neon Carnival. The two stars, who have been the subject of dating rumours in the past, were photographed partying together at the event, while trying to remain incognito.
Rihanna partied with Leonardo DiCaprio during Coachella over the weekend. He knew every word!
55th GRAMMY Awards® by FX Group - Issuu
A couple tables over Rihanna was dancing with a couple girlfriends. Leo saw her and made his way over to say Hi. The singer took home four awards at the iHeartRadio awards. The Wildest Dreams singer also took her moment in the acceptance speech spotlight to thank her boyfriend DJ Calvin Harris - real name Adam Wiles - for all his help and support. Ellie Goulding Calvin Harris. The 29 year old British star is hooking up with Harris for a third collaboration, due later in She and Harris revealed a new song is set to drop in the summer, which has been recorded but not yet given a title.
Ellie Goulding is fed up of everybody calling her boring. Cole have been unveiled as the headliners of the Finsbury Park spectacular in London. Calvin Harris is headlining Wireless Festival The pop power couple look to be spending their first Christmas together, and Swift posted a picture of Harris and her brother building a snowman.
Taylor Swift is spending Christmas getting her boyfriend Calvin Harris and her brother Austin to bond with each other, taking a snap on Instagram of a snowman the three of them built together. Taylor Swift turned 26 on Sunday and with it being December and all, what better way was there to celebrate than with a Christmas themed-bash? Taylor Swift celebrated her birthday with a Christmas-themed bash.
Swift marked her birthday on Instagram, by posting an adorable throwback photo of herself as a youngster, wearing a Little mermaid sweatshirt. Taylor Swift has shared an adorable snap with her rumoured beau Calvin Harris. The two enjoyed an afternoon in the pool alongside an inflatable swan. Swift was pictured sitting behind Harris, who was at the head of the swan, with her legs wrapped round his hips. She pointed triumphantly into the air whilst Harris shielded his eyes with one hand and gazed off into the distance.
Update: Taylor Swift and Calvin Harris are indeed a thing. Besides hanging out A LOT recently and adopting matching outfits see here , the pair have now stepped out holding hands. While not too obvious in this photo, that leather-clad arm is indeed attached to Calvin Harris.
What makes this even more awesome is that said show was by Haim , aka the awesome all-female indie trio, who vacationed with Swift last month. Under the terms of agreement in the new deal, the Scottish DJ will also work as a music consultant with Hakkasan Group. Calvin Harris will be a resident in Sin City for a little while longer! Harris will keep his Las Vegas residency for another Three years. This exclusive new deal sees Harris take on more than just a DJing role. After making a name for themselves in Hollywood, Vincent Chase and his entourage of friends from Queens have finally made a movie.
The only problem is, that after securing the chance to direct the film for million USD, the film has gone over-budget by 15 million. The money is being put up by a wealthy Texas billionaire, yet the catch is that he really wants a return on his investment. Chase and the gang have to ensure that the movie is a hit - otherwise, they'll have one angry producer and one murderous billionaire on their backs.
That probably won't go away, even if they just move back to Queens. Continue: Entourage - Teaser Trailer. Adele Calvin Harris One Direction. In a surprise twist, Adele 26 topped the list, despite releasing her last album in There are also whispers of a new album coming at the end of this year , so we will probably see Adele near the top of the chart as well. Adele is a pro at turning heartbreak into art. Also lots and lots of money. Al Walser was born in Lausanne Switzerland as a child out of the love of his mother, who comes from Liechtenstein, to his African father.
He grew up in a large family and became involved with himself at an early age. Already as a high school student in Liechtenstein he worked as a moderator for Radio Liechtenstein, e. Radio presenters from Liechtenstein did not yet exist at that time, international pop singers from Liechtenstein were also unique and unimaginable. One of his motivational impulses to this day is the past. The next step in his career took him to Hamburg, where he worked in the legendary Studio But I agreed, because the producers already knew me and I was already signed there anyway, and had a great time with Fun Factory.
We toured the world, it was like a crash course for me! Grammy Legend — outstanding talent — best singer and songwriter: Al Walser — a rebel connecting continents In: Portraits. Facebook Pinterest. Share: Facebook Twitter Pinterest. When I think of country music, in my mind I can hear what sounds like to me the whiny steel guitar to accompany that accompanies it.
The origin of the steel guitar begins in Hawaii in the early The repertoire first performed by the steel guitar performed by the first generation of steel guitarists consisted of mele and was in the Hawaiian language. Joseph Kekuku is credited with inventing the steel guitar, and spent the rest of his life perfecting it. The very origin of how he invented the steel guitar is contested, but according to his great niece he developed the sound by an accident. As she recalls, Kekuku was eleven years old when he was sitting on the front steps of his house. By accident, he leaned over and his metal tooth comb fell out of his pocket and onto the strings of his guitar, making a sound he would spend his life trying to recreate and perfect.
Above is audio of how the steel guitar was used in Hawaiian music.
Great Music. No Limits
While it is not performed by Kekuku, Sol Hoopii is another well known Hawaiian steel guitarist who made his living performing across the country. Especially when I am tired, nervous, overtaxed from worry. It is so resting, so comforting when I am all alone and blue. Below is an example of the steel guitar used in country music, in a song by Hank Williams. The dreaminess as told by reviews gave listeners a sense of comfort.
New York Times Current file , Jan 23, Much of his music uses themes from Native Music that is fraught with problems in respect and appropriation to modern listeners , as can be represented by the Blim article. The full text is short and is reproduced below:. The score can be found here , for reference to the melodies that it describes.
Despite the short nature of this review, there are a few things we can safely extrapolate from it. This shows that Macdowell was not a key facet of many, if any, concert programs in , just 36 years after his death. The reason for this is not specified, but it does go to show that the use of such Native American Melodies was not popular for composers to do, as Macdowell did with a number of pieces he has at least two full Indian Suites as the title of the piece suggests.
The second review is much longer, and is regarding a recording of several piano works by Macdowell. For our purposes, we can just look at the material regarding the piano work itself. Barela praises the first two sonatas of Macdowell for their narrative splendour, but had little good to say about the second two. Barela, Margaret Mary. American Music , vol. JSTOR , www. Louis G. Music Educators Journal , vol.
A Native American Medicine Man standing beside a sick woman, c. Photographed by O. Smith American, active s — s. In almost every Native American tribe, there is a medicine man or healer, as seen in the picture above. A medicine man gained his power to heal through dreams, visions, and even during the song, as discovered in class while looking through many primary sources. During visions and encounters with the Great Spirit, healers were told how to heal ailments and advised on which herbs, roots and plants to use, and which to avoid.
A traditional medicine mask used to scare off evil spirits and disease in tribe members. Ely S. Parker, born in , was from the Iroquois tribe and in newspapers, recounts the practices of the medicine man through public and private ceremonies. Native American medicine men treated the sick and ailing in public ceremonies followed by a private meeting. The public ceremony was attended by tribesman of high power and influence and took place over several days. During those public and private healing sessions, the medicine man may have told narratives, chanted, and sing. Most songs were accompanied by a regular drumbeat, dubbed as the heartbeat of the Earth, to help calm and relax the sick.
Additionally, the drumbeat expanded the mind of the medicine man to the awareness of self and spirit. Native american medicine. What I found striking was a video from the early s of a woman named Maria Tallchief who was in fact not in traditional regalia, but an elaborate ballet costume, pointe shoes, and dancing to Igor Stravinsky. If I would have seen this video as a kid I probably never would have quit ballet.
I would find it safe to say that not all of the dances Densmore recorded, let alone what those who made first contact saw, made it to the 21st century in their original form due. The role of the U. The article claims she was produced by the same era that created Shirley Temple and that:. The discussion of her lineage only mentions that her father was a full-blooded member of the Osage tribe , further exoticizing her and leaving out the fact that her mother had European heritage: Scotch, Irish, Dutch .
Her image, both literal and social, is another aspect of her life I found compelling. This brings us back to depictions of the idealized Native woman, the peace bringer such as Pocahontas, a role model of femininity and what was called civilization, integration, or assimilation. EBSCOhost, search. Toll, Shannon. In my research, I happened upon the names of a few hymn books, but the one that interested me the most was the Chahta Vba Isht Taloa Holisso of the Choctaw.
I was also able to find corresponding letters from the missionaries who had shared their hymns with them, which I found interesting. Missionary Paragraphs . Choctaw hymn alphabet .
The hybridization of Native American music and Christian hymnody adds complexity to the oftentimes oversimplified narrative of the erasure of Native American culture. As hinted at in some of the letters above, Choctaw were thought to be more receptive to conversion due to the available access of their language in printed form. This aspect might have aided in their conversion; however, it also aided in the preservation of their language and the transmission of what is now seen by them as their own traditional music. The collection and performance of these hymns, original and translated, have helped the Chactaw maintain its ethnic identity through frequent meetings and the continued use of native language .
Many people have a clear and narrow impression of Native American music, broadly amounting to a simple, percussive beat and non-syllabic unison melody atop it. As is the case for many such clear-cut descriptions, this is a gross oversimplification. The Christian verses, set to choral, sometimes-chromatic textures, are a far cry from the stereotype.
Yet its distance raises another concern: that of appropriation. The combination of traditional tunes with Protestant verse is seen by the author as an expansion of Indian repertoire in a collaborative, rather than parasitic, light. But that is still not enough to pick apart the dialogues surrounding this work. In the preface, Commuck makes his intentions with the writing clear.
This statement opens up the possibility for concessions made in the interest of financial sustenance. If Commuck was desperate enough for the publishing of the book, it is at least plausible. If these final words can be taken as genuine without financial concern forcing his hand , Commuck himself may have been a participant in the era of the Vanishing Indian, at least in part. Referring to the elements of Native American culture which inform the work in such brief terms suggests their non-importance.
At the same time, the most apparent part of the book remains the most potent proof of its expansion, rather than narrowing, of Indian culture—its title. Protestant hymns may also be Indian tunes after all. Upon decades and even centuries of reflection, scholars can debate the true motivations and implications of the cultural observation and study of Native Americans. At best, the efforts of ethnologists like Frances Densmore and James Owen Dorsey can be hailed as necessary archival work that preserved cultures on the verge of extinction from a colonialist nation.
The latter is my understanding of the work of Rev. Myron Eells. Eells compares the musicality of the Clallam and Twana people of the Pacific Northwest. Despite detailed accounts of the percussive instruments created and the diverse use of song in the daily lives of these peoples, Eells summarizes the music as plain and dull, with little variety save for loud or soft moments. The reverend does notate the various melodies described in his prose, but his level of analysis and specificity is but a shadow of the work of Frances Densmore- a scholar discussed at length in class who will release volumes of her own works just a few decades later.
In this article , we are informed that an ancient relic has been preserved that upends decades of historical understanding of Native American music. After further digging, I was able to procure both a recording of a military band arrangement and a score of a piano rag arrangement of the piece. This sheet music was found in a rag piano collection at the music library of St. Olaf College. The work of ethnologists like Rev. Eells signaled to broader American society a subordination and savagery of Native Americans, which allowed composers like Abe Holzmann to create music that glorified indigenous melodies whether truly authentic or not.
By comparing these two examples, we see how the passage of time allowed for conclusions from earlier ethnologists to be realized by the musicians of the early twentieth century. As a part of a personal diary, William T. Parker, M. Army, wrote of his experiences with Native American populations and peoples in New Mexico, California, Canada, and Kansas between and Parker places most of the importance of this section of his writing on, what he takes to be, the poor prioritizing of Native American tribes.
He consistently reinforces his biased belief that American Indian populations place too much importance on art, music, and religion, and not enough on health and traditional European gender roles, with respect to home life. He names Native American women as the reason for the poor education of children, particularly female children, in that they are taught music and art before they are taught homemaking skills. Unlike Densmore, he did not write critically about Native American lifestyle as a viable and rich culture, but instead stuck to a pre-defined, Eurocentric view of what makes for an acceptable lifestyle.
Parker, William T. Personal experiences among our North American Indians from to Blim, Daniel. Accessed September 17, The two works could easily be based on each other. Just as the cover art of the collection presents an image of Native Americans that reduces them to a part of the landscape, Smith couples nearly every reference of Native Americans to a description of nature. Lanman, Charles. Naxos of America. From music to poetry, representations of Native Americans as a vanishing race are ubiquitous. Smith, Emeline S. The American Indians. She extensively studied the Great Plains Indians, and was frequently able to gain their trust and immerse herself in much of their daily lives.
She recorded and transcribed hundreds of songs and recorded observations of their rituals and music using Western notation, similar to Frances Densmore. While she seemed to care about the Native Americans she interacted with, and even helped one woman get a loan to attend medical school, she also advocated for the Dawes Act, which redistributed reservation land and broke up tribes with the goal of assimilation 1. This excerpt narrates her experience living on an Omaha reservation. As an Iowan growing up in a college town, Saturday football games were unavoidable.
- Making Sense of Al Walser and the Grammys EDM Mess!
- Calvin Harris Page 10?
- Women in music.
This last weekend was the biggest rivalry game yet, when some , extra people came to town just to celebrate and watch football. Amid the triumphant chorus these lines stand out to me. Iowa became a state in , only 38 years prior to the year the convention was held. In Iowa, almost all of the Indigenous population was forcibly removed by the government by 3 , except for the Meskwaki Tribe which still exists to this day, so when this reunion was held there were likely attendees who were very familiar with this history. Similarly in these lyrics, Richard B. The act of singing a song meant to celebrate an identity in opposition to something is unifying.
Anyone who cheers for a certain sports team can feel a sense of camaraderie with perfect strangers if they wear the same colors as us, hate the same people as us, and sing the same song as us. Keokuk, Iowa: Tri-state Printing. Iowa History Reader. Iowa: University of Iowa Press, Accessed September 16, ProQuest Ebook Central. In order to prevent another cultural appropriation outbreak in Pocahontas, the producers hired Native American advisors to join their team and cast Native American performers to provide the voices for the main Native American roles.
Next, an older man beckons the children into a teepee, where they start watching the Disney movie Pocahontas. The commercial concludes with two individual dressed in what looks like wooden masks and armor playing with the Happy Meal toys. This ties into the liberties that Disney took throughout the movie, such as distinguishing the violent and traumatic experiences that the real Pocahontas endured, such as her kidnapping, isolation from her people for a year, marriage, and eventual death at age 21 from tuberculosis.
YouTube, September 14, Phonetic pronunciation of words and sounds were provided. When reading through her memoir of Frances Densmore and American Indian Music , Densmore accounts on instances where her plans of recording tribes became difficult due to lack of cooperation. In this primary source dating from , she recounts her first encounter with the Ute tribe, located on their Southwest Colorado reservation, and their disinterest in making an archive and recording.
Events proved this to be correct. From the day of my arrival the Utes did not like the idea of my work. I set up the phonograph in the front room, secured a good interpreter and hoped for singers. Many Indians came out of curiosity, looked in the windows, sat around the room and laughed. In vain I explained through the interpreter, that I had been with many tribes who were glad to record their songs.
I told of the building in Washington that would not burn down, where their voices would be preserved forever, but still they only looked at each other and laughed Densmore The lack of desire from these tribes to work with Densmore poses a problem. Densmore is a pioneer in her attempt to preserve the believed to be disappearing traditions of Native American tribes.
Through all the work we have studied as a class, I believe her intentions were to give the most accurate preservation of the music and such is shown in the visceral work she provides through writing and recordings. This primary source makes me question the authenticity of the work Densmore strived for the musical practices and songs of Native American tribes given that there were clearly Native people who had no interest in cooperating with Densmore.
There are many factors that make me question whether Densmore achieved the goal she set out. Not only were the people clearly apprehensive but their songs had been taken out of their ceremonious context. This source opens the audience up to the possibility that Densmore may have not achieved her goal. The format in which Densmore chooses to present the encounter becomes a question of biased. Museum of the American Indian, Heye Foundation, One particular section of his book felt very relevant to our conversations from class, and was similar to the first assigned primary source readings we had.
One segment focused in on the connection between dance and music that is so essential to Native American music, but is often left out in our education about it as a recording cannot fully convey what the Native American musicking experience was like. I think this excerpt helps to demonstrate the complicated ways that Americans have historically, and currently, interact with native culture, and especially their music.
They know it is passionate and feel the meaning but at the same time they find it odd and crude; simplifying it to be insignificant rather than putting effort into understanding. He does this while wrapping it in a package of typical Western orchestration that is more palatable to a white audience, allowing them to further generalize and stereotype the culture from which this music was derived. Personal experiences among our North [[American]] Indians from to Were visitors truly interested in gaining a deeper understanding of Native American culture, or were they there purely for entertainment?
To get a second perspective on what the general public thought of this specific exhibit, I looked at an article published in The Independent, an article that is published in after the fair had taken place. I was honestly kind of shocked that these articles were printed and accepted as the norm, and am thankful society has mostly developed a deeper understanding of respecting cultures. We still have a long way to go! The book itself is based on statements given to the author by different people that were in some way affiliated with the native American tribes in the area.
The specific primary source is the experiences as stated by Ora. Woodman Fig. In the section I chose from this account, Woodman explains how the Native American music might be wrongly perceived Fig. Why did Puckett include this rather nuanced encounter, stating somewhat radical opinions on Indian music, in his book? Woodman, with no recollections of his life outside the tribe and one could argue without the biases that comes with western, Eurocentric society, has an interesting platform for promoting the Native American cause.
Or did Puckett simply include this story as a curiosity for the readers, a local Tarzan of sorts? Does he want to show the world the depravity attainable when one fraternizes too much with the natives? To find meaning and take pleasure in their music? After a failed courtship with a Cheyenne woman he went to Oklahoma where he had close friendship with a Cherokee man Fig. He ended up being married to three Cherokee women, separately, throughout his life and the book names the third one as a co-author Fig.
It seems to me that this is a life and the actions of a somewhat progressive thinker, through marriage and friendship he interacted a lot with native tribes and collected testimonies from them directly. Puckett, James L. Vinita, Oklahoma: Chieftain Publishing Company. The pseudoscience of phrenology was running rampant in midth century society. Samuel George Morton wrote Crania americana; or, A comparative view of the skulls of various aboriginal nations of North and South America  in Crania americana allowed racism to reign in 19th-century thinking under the guise of science, as the book was published in great quantities and spread across the continent and across the ocean to Europe.
Phrenology directly influenced how people viewed Native American music and musicians. Looking back at the first excerpt,  it is easy to witness how this undercurrent of phenological thought influenced the cultural norms of the 19th century about racism towards Native Americans. This passage comes from the American Phrenological Journal , a publication by scholars of this pseudoscience. Much to my chagrin, this journal would have held great authority over its original audience, an audience well-accustomed to phrenological thought. Along with making assumptions about the music before listening to it, the author makes conclusions about the whole people group based off of the music.
YouTube, December 1, Accessed September 14, Philadelphia: J. Dobson, Accessed September 13, This is Henry Finck. In addition to having an impressive mustache, Finck was an American music critic. Although German and a Wagnerite, he distrusted Germany. His 18 publications include Wagner and his works: the story of his life , Richard Strauss: The man and his works, Songs and Song Writers , an autobiography, and books on gardening and food.
Finck was a music critic at the Evening Post for 43 years and a lecturer at the National Conservatory of Music alongside Dvorak. In this way the article has a unique mix of informal musicological argument and half reverent biography. While Blim only quotes Pisani on this point, he does not refute it, leading me to the conclusion that he agrees with this argument.
Blim in fact seems to take the argument for granted as it is presented in the portion of the essay dedicated to context. Finck states that MacDowell:. This was but one interesting tidbit in a rather long article. Finck, Henry T. Grant, Mark. Boston: Northeastern University Press, It is a sweeping orchestral work, symphonic in nature, that evokes auditory images of our ancestors, their mores, and their cherished aspirations and bitter frustrations.
Rather, due to the strength of the national shift spurred by MacDowell himself, they project onto this piece the concept that the Native American has vanished and transformed into fodder for American music. I can freely admit that this playbill announcement caught my attention because I share a name with it. The Montana Territory, not yet a state in when this playbill was published, was a frontier territory. Clashes between Native American tribes and European settlers were still common. However, there are plenty of interesting and multicultural features of this program.
This playbill was published not terribly long after a large wave of Irish immigrants came to the United States in the s. This type of wave of immigration often comes with mixed feelings toward the group in question, and the Irish certainly were not met with arms all open. The prominence of an Irish drama in this program could be another example of what was discussed in our very first class session: the construction of a distinct American identity through reference to and use of the art and culture of marginalised American groups.
American music and art has always been an amalgamation of cultures, and that of frontier Montana in the s is no different. Home to mostly young, male miners 3 , this playbill from a theatre in Helena, Montana nonetheless draws on different styles of music, dance, and theater, and conveys an interesting picture of the artistic landscape that people from this time would have encountered.
What would it be like to walk down a corridor in the natural history museum to have real people and animals stare back at you? Historical newspapers and current scholars describe these events as half circus, half Night at the Museum. The Indian Bureau of Washington, D. Nearly members of these tribes were camped out over four acres of Expo premises. For three months, anthropologists, sociologists, and the general public could observe Native American musics, rituals, and all modes of living in between as if they were zoo animals.
The article, read by thousands across the U. It is a curious and interesting fact that less than half a century ago the same docile Omaha Indians who peacefully doze by the camp fires within the Exposition gates were waging the war of the tomahawk and arrow on these very grounds, which is gratifying proof of the triumphal march of civilization. I have decided to dedicate my last blog post to Sister Rosetta Tharpe because she was mentioned in class the other day and she is just so very cool.
She was born Rosetta Nubin and was a famous blues guitar player who would go on to become the first successful crossover acts who played both gospel and pop songs with a career spanning the s and 50s. She was an incredibly talented singer and guitar player. She was one of the foremost talents on guitar and used to regularly challenge and subsequently beat male guitar players.
She disrupted both the expectations of the musical genre gospel and her gender with her skill. If you watch the video, you notice her incredible gift of playing the guitar. She plays it like it is an extension of herself, especially at that moment when she stops playing for a few seconds to clap but then goes right back to it like nothing happened.
While it is good that people can recognize and celebrate her talent, it implies that she can only be skilled by taking on a male trait like proficiency at the guitar. She has somehow become an unusual point in a trend that has existed in American history that women cannot be skilled and still retain their identity as a female. Yet, she never shied away from the supposed dichotomy that others saw in her.
She claimed her ability and embraced her identity as a female without issue. Of note, is the fact that she was so popular that she was one of two black gospel acts who cut a V-Disc for American soldiers overseas in WWII. This happens to be an announcement promoting an event she is headlining in Kansas but is not an advertisement so there is a greater likelihood that the feeling is true. What does interest me is the fact that she was able to achieve fame as a gospel singer.
Is there any significance behind the fact that she is known and celebrated predominantly as a gospel singer rather than as an early rock and roll star? Can you name any early female rock and rollers? Or is it possible they are all placed in other genres as their primary identifier? What could this mean? Regardless of the answer to those questions, Sister Rosetta Tharpe was an incredible woman and deserves to be better known in our time in any capacity.
She was both enormously talented and influential and should be better known. Sanjek, David.
Wald, Gayle. Shout, Sister, Shout! African American Music Reference. Boston: Beacon Press, The letter enveloped the idea that NWA was advocating for violence against local police officers. Later, NWA clarified that their music was not advocating for action, rather reflecting on their personal experiences with police brutality.
This letter was perceived by many as a means of artistic censorship, which caused much controversy across the nation. Many people felt that their amendment of free speech was being threatened by the FBI. The entire incident reflected the oppression of expression at the hand of the government.
Los Angeles Times journalist Steve Hochman writes this particular article from a 3rd person perspective. When you read the article, you get to hear all sides of the story, including the FBI member, Milt Ahlerich. Ultimately, Hochman does end up including an argument that music should not be censored by government entities by utilizing quotes stated by Danny Goldberg, chairman of the Southern California affiliate of the American Civil Liberties Union and a recording industry executive.
The article was written in , which gave the writer some time for more information on the incident to arise, since the letter was sent to Priority Records, the label that represented NWA, in August Although this source highlights the overall story from all angles of the issue, there are more articles that may highlight or focus on the controversy that immediately followed the publication of the FBI letter to NWA.
This incident surely created some heated debates across the United States, and only brought NWA more recognition for their art. Hearing from those sides would be paired well with this primary source. March 20, Accessed May 01, Hochman, Steve. Advocates Violence on Police. October 05, Accessed April 29, He revolutionized the way key elements of the genre, like the electric guitar, were played but also how they were understood.
You can see him on t-shirts, skateboards, and every throwback playlist on Spotify. Trap Skateboard Company advertisement influenced by a famous Jimi Hendrix portrait. Many believe that his exceptional musical performances stood out because of the uniqueness as his position as a black man. Though there is a great amount of evidence to support this I contend that his significant musical abilities and his position as a powerful black man worked in tandem to elevate his position as an influential black musician.
His race was something deeply rooted in his music and his career. Though he catered to mostly white audiences at his more popular venues, like Woodstock, he continually made attempts to perform to black audiences as well. Jimi Hendrix poster housed in the National Portrait Gallery. The elements of his music that stemmed from his personal life are what made his music so unique.
He died from side effects of his drug use. Just Around Midnight.
Student Blogs and Library Exhibit Companion
Cambridge, Massachusetts: Harvard University Press, The music of New York-based hip hop group Public Enemy regularly created intense criticism from mainstream audiences. The uncensored, sometimes vile lyrics explicitly challenge social systems and raise awareness of race relations in the s and 90s. The video criticizes the peaceful protests of the MLK era and, instead, urges people of color to loudly defend their rights, sometimes at any cost.
In my search for primary source material for this post, I came across one particular newspaper article that, a bit to my surprise, exemplified this perfectly. He suggests a very narrow definition which, the author of this article would suggest, creates more problems than it does answers. Ethnomusicology: Journal of the Society for Ethnomusicology, 39 2 , After hearing Carol Oja give a lecture on Marian Anderson, a black woman and arguably one of the greatest opera singers of the 20th century, one thing that stood out to me is that Marian Anderson did not consider herself an activist.
She was still a black singer in an overtly racist society, and this placed limitations on her. Despite the overwhelmingly white field of opera and classical music, she gained popularity among greater American society. She appealed to common western society through things such as her western vocal training, western repertoire although she did sing spirituals along with European repertoire , and western dress. This is not to say she did all of these things purposely to appeal to a greater, white audience.
She was also extremely popular among black communities, and her pure vocal talent leading to much of her success cannot be denied. This point is also not implying that appealing to these traditionally western ways was necessarily against her nature. Although Marian Anderson in many ways appealed to white operatic tradition, she also acted in a variety of ways to show resistance against the racism present in her life as a vocalist.
She had performance contracts that prohibited segregated audiences, gave her famous Easter concert at the Lincoln Memorial video clip shown above in response to the DAR denying her performance at the Constitution Hall, and was the first black singer to debut with the Met. The newspaper clipping on the right, published in , discusses the struggle for equality for black people over the past years, and mentions Marian Anderson in the fourth full paragraph in the far right column.
There is constant tension between these two versions of the self that is manifested within people of color living in a racist society. Marian Anderson Singing at the Lincoln Memorial. It is possible that Marian Anderson resisted the label of activist because of tension between her two selves. She lived in a racist society and likely would have been criticized even more than she already was if she had been more explicit about her activism. At the same time, she acted in ways to resist the racism within society, as mentioned earlier.
Double consciousness and tension of the two selves may not have been at the root of Anderson not considering herself an activist. Feman, Seth.
Washington D. C, My Country Tis of Thee. Performance at Lincoln Memorial. Performed by Marian Anderson. Oja, Carol. Van Vechten, Carl. Sister Rosetta Tharpe seems to be the unsung hero of Rock and Roll. While sadly forgotten today, she served as a great musical influence to many great names we now know and love, such as Elvis Presley and Johnny Cash.
In a few days, she will finally claim her rightful place among the greats in the Rock and Roll Hall of Fame. Born in rural Arkansas in , Rosetta was exposed to music from the outset of life. Her mother was a devout Christian who would sit out and play on the guitar or tambourine, singing and playing for people and encouraging them to convert and see the wonder of Jesus. This is where Rosetta learned to play and to love religion. Not only did the move expose the young girl to the urban music scene of jazz and blues, but the congregation gave her a stage to perform on. She played and sang for the congregation, quickly becoming a sensational musician and show-woman.
Over time, she became a famous church performer, her mother taking around to different cities and congregations, building her name and reputation. In the s, the pair moved to New York City and Rosetta entered the world of commercial music. At first, she lost the devotion of churches because of her definitely-not-about-God singing in nightclubs and her questionable song productions after signing with Decca Records in Soon, the church liked her again, as did everyone else. By the age of 25, she was rated as among the finest musicians of the day.
Rosetta was loved for a variety of reasons. She was an amazing performer, putting her heart and soul into her performances, singing not simply to the people, but to the Lord himself. A clergyman from one of the churches she performed at said that her gospel songs often spoke of suffering, but her singing expressed a freedom which awoke the congregations and revived the people.