Essay from the year 2016 in the subject American Studies - Literature, grade: 1, , language: English, abstract: Harlem had evolved into a buzzing centre of Afro-American culture and art at the beginning of the 20th century. Racism, segregation and discrimination in the agricultural South of the United States had driven hundred thousands of Afro-Americans into the industrial cities of the North. Additionally, the First World War had led to a tremendous labour shortage that could only be balanced by intense migration, education and employment of black farm workers. Just like other American cities at the time, New York saw the development of an urban district with a predominantly black population. Located in the northern part of Manhattan, Harlem had almost two hundred thousand inhabitants in 1925 and covered an area of more than two square miles. This busy quarter not only supplied the entire infrastructure of modern city life but also provided the human capital and institutional resources of the New Negro Movement. The New Negro Movement of the 1920s and 1930s brought Harlem Renaissance fiction to full bloom. Political concerns found their way into the early novels but were increasingly supplanted by artistic intentions. Torn between social uplifting and individual expression, the novelists became more and more daring in their treatment and representation of Afro-American issues. Today the Harlem Renaissance is regarded as a crucial period in the history of Afro-American literature. Its representatives used a wide range of traditional and modern narrative and stylistic techniques to produce a variety of first-rate works. Even if the civil rights movement in the 1950s dismissed some of their novels as too conservative, subsequent generations of black authors could take them as creative models.
It´s 1933, in a near-future Harlem on the verge of massive transformation: crowds are flocking to the new Black-No-More Sanitarium, brainchild of the mysterious Dr. Junius Crookman, eager to change the color of their skin and live free of the burdens of racism and prejudice. Black No More (1931), George S. Schuyler´s wildly inventive masterpiece, begins with a premise out of pulp-era speculative fiction. What would happen in America if race, by the ´´strange and wonderful workings of science,´´ were suddenly no longer a fixed or meaningful category? In the carnivalesque mayhem that ensues as millions undergo Crookman´s procedure and the old racial order is upended, Schuyler spares no one, mocking Klansmen and ´´race´´ men alike and reveling in the myriad absurdities of the nation´s racial obsession. By turns hilarious and (in an unforgettable lynching scene) utterly shocking, Black No More is Afrofuturist satire of the highest order--a sui generis Harlem Renaissance tour-de-force.
From Harrisburg, Pennsylvania in the USA, a city mired in corruption and bankruptcy, plagued by racism, corruption, nepotism, oppressive Christianity, and a floundering Nazi legacy comes an African-American and Native-American hero to save the day! The studio of Bryan Thomas Molloy presents the HarrisProject! Showing the true history of this Central PA region as the oasis of tolerance, shelter from persecution, and center of global wealth and trade that it once was and may be again, the HarrisProject reintroduces these truths back into popular consciousness in glowing form with a re-creation of the most famous legend of the city´s founder, John Harris. Painted lavishly in oils in historic, genre-melding, technical virtuosity, and using custom-made costumes and local craftsman, the six-foot wide panoramic scene features an actual descendant of John Harris posing as John Harris himself, and a former Broadway Dancer as the heroic rescuing chief. Secret ancient historical information, celestial symbolism, and fantastic artistic technique are delivered within the compositional arrangements and careful selection of colors and elements - including the use of the Lost Angles Process and Renaissance Pattern Echoing. The research phase alone took over six years of pouring intensively through historical records in many universities and museums throughout the world, and formed the foundation for the project. The final painting itself took more than three years of meticulous patience and dedicated attention to detail and technique. The entire process of the HarrisProject spanned a triumph by the artist over multiple personal tragedies including family deaths, a nervous breakdown, hospitalization, and a near-death experience. Each instance being a terrifying threat to the completion of this elaborate work of art. 1. Language: English. Narrator: Andy Taylor. Audio sample: http://samples.audible.de/bk/acx0/057546/bk_acx0_057546_sample.mp3. Digital audiobook in aax.
(2000/Arpeggio) Migration has played a key role in the blues, as America´s black population moved to urban centres seeking employment, many blues legends came with them. But New Orleans born William Dupree ventured further than most, num-bering Indiana, Chicago and Detroit among his ports of call before emigrating to Europe in 1959. He wouldn´t return home until 1990, two years before his death, but by that time he´d been acclaimed as one of the last surviving barrelhouse style piano players in the Crescent City style. Dupree was born in 1909 and followed in the footsteps of the legendary Louis Armstrong with an upbringing in the New Orleans Colored Waifs Home for Boys after his parents died in a racially motivated arson attack. Music became a way for the enterprising orphan to hustle a dollar or two, and he picked up his pounding piano style from local greats Willie Hall and Don Bowers. But though he moved to Chicago at the start of the 1930´s, he failed to break out of the club scene there and, after a short spell as a café pianist in Detroit, dedi-cated the rest of the decade to a career in the boxing ring. Hands that had previously caressed the ivories proved remarkably adept at decking oppo-nents, and ´Champion Jack´ Dupree, as he was professionally tagged reached the dizzy heights of lightweight champion of Indiana in a career whose fights totalled three figures. His music, though now a part time profession, had meanwhile matured under the early influence of Leroy Carr, whose laid back singing style he favoured, and his talents were recognised by noted producer Lester Melrose who cut him in Chicago, an album ´Dunker Blues 1940-41´ preserved the results of some of these early sessions. The stage was set for a musical renaissance. But the outbreak of war saw him conscripted into the US Navy and a spell as a Japanese prisoner of war added yet another (albeit unwanted) geographical diversion to his travels. Dupree´s musical career restarted in earnest in New York, where the fast growing rhythm and blues scene ensured that labels like King and Savoy were more than happy to cut him. The breakthrough came in 1955 when ´Walking The Blues´, a duet with Teddy ´Mr Bear´ McRae revisited here, reached number 6 in the R&B charts. After many diversions, Champion Jack was back on track.... The same year saw him play a New York session in June with former child star Little Willie John, whose life would end tragically in 1968 when he died in prison of pneumonia after taking a manslaughter rap. Our compilation contains two of only three tracks Jack and Willie would cut together: one of the songs, Titus Turner´s ´All Around The World´, would prove to be a top 10 pop hit for Willie that year and features backing here from Willis Jackson (tenor sax), Mickey Baker (guitar), Ivan Rolle (bass) and Calvin Shields (drums). The Groove and Vik monikers were further labels to add to Champion Jack´s blues baggage before, tiring of the racism he encountered in American society, he determined to take his talents to Europe. Audiences there were delighted to have a legend in their midst, and musicians from the ranks of Free, Chicken Shack and the Rolling Stones flocked to play with him and enjoy authenticity by association. Mickey Baker — present on the Dupree/Willie John sessions back in 1955, a hitmaker the following year with ´Love Is Strange´ and now resident of Paris — would also often be found accompanying Jack as he toured Europe extensively, making his home in Switzerland, England, Sweden and finally Germany. All Around The World´ indeed.... Dupree´s triumphant return home to play the New Orleans Jazz and Heritage Festival in 1990 led to a live album and a repeated booking. But further acclaim was cut short by his death in January 1992 in Hanover, Germany. Fats Domino was just one New Orleans piano man to have benefited from Dupree´s trailblazing example — indeed, one of his earliest recordings was a version of ´Junkers Blues´.