growing up I always heard music playing throughout the house. Whether it would be a traditional Vietnamese song or Michael Jackson, I would always get really into it. My father loved music and he loved his guitar. I can remember him playing it late at night after he put my little brother to bed and sang old Vietnamese songs at my bedside until I fell asleep. We weren’t rich at the time and we lived in a poor neighborhood, but needless to say the house was rich with music all the time. I would wake
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took him to a home for troubled boys. At that home, he talked to the band director into letting him join the band. That is where he learned to play the cornet. About two years later, Louis was released from the home and for the next few years, he would be supporting his family by selling newspapers and unloading bananas out of boats. Louis Armstrong’s achievements are remarkable. During his career, he developed a way of playing jazz, as an trumpet player and a singer, which has had an impact on
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Oklahoma. Later, shifted to Los Angeles with his parents at the age of 10. Baker, who was privileged with a musical family background enters the musical world when he was a kid. He marks his entrance to the world of music by joining the church choir team. He was introduced to playing trombone by his father who himself was a professional guitar player. Not to mention that his mother was also a very talented pianist. At the age of 13, Baker makes a significant mark in his musical career by replacing
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Anthony Kiedis In this essay I am going to tell you about one of the best singer/songwriters that the music industry has ever known, his name is Anthony Kiedis. Kiedis was born on November 1, 1962 in Grand Rapids, Michigan to his father Michael Kiedis and his mother Margaret Noble. In 1966 when Kiedis was just 3 years old his parents divorced; along with his 2 half-sisters Kiedis lived with his mother and step-father in Grand Rapids. Each summer he would visit his father in Hollywood for two
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Schwalm This paper explores the public memory of black slavery and freedom among white and African American Midwesterners of the nineteenth and early twentieth centuries. Using an innovative approach that probes public celebrations, autobiography and memoir, family history and obituaries of the formerly enslaved, this paper challenges several key conclusions about African American relationships to the slave past that have been drawn by scholars in both literary and African American studies. Rather than
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A Long Way Gone Ishmael Beah was an innocent boy who enjoyed playing football, swimming in the streams, and even started a rap and dance group with his friends and older brother. The group discovered their love for rap music from old cassette tapes of O.P.P, Run D.M.C, and the Sugarhill Gang. Ishmael and Junior, along with their other friends cherished these few hip hop and rap cassette tapes. Ishmael constantly carried these couple tapes on him at all times. They choreographed dance routines
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structure conveys the location strongly to the audience without being so defined that it is not possible to change the scene. While we waited there was no background music which gave a slightly eerie edge to the wait. The play started in the theatre depicted on the stage and almost immediately the humour as Mr Kipps’s is reading his memoirs and you don’t think it is going to be horror at all and I think this could be done to lulled the audience into a false sense of security which made shocks later
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pressure from the regime, and under fear for his life, and it was not given its first performance until 1961. Shostakovich: Fearing for his Life During 1936 and 1937, in order to maintain as low a profile as possible, Shostakovich mainly composed film music, a genre favoured by Stalin and one in which the composer could avoid expressing any potentially dangerous tendencies. Nevertheless, tired of the repression, he then decided to compose a piece a new piece: his Fifth Symphony, finished july 1937. Only
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When I was twenty years old, I became a kind of apprentice to a man named Andrew Lytle, whom pretty much no one apart from his negligibly less ancient sister, Polly, had addressed except as Mister Lytle in at least a decade. She called him Brother. Or Brutha—I don’t suppose either of them had ever voiced a terminal r. It was maybe an hour before midnight at the Avalon Nightclub in Chapel Hill, and the Miz was feeling nervous. I didn’t pick up on this at the time—I mean, I couldn’t tell. To me he
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Journal of American Studies, 45 (2011), 1, 113–129 f Cambridge University Press 2010 doi:10.1017/S0021875810001271 First published online 19 July 2010 Jazz as a Black American Art Form : Definitions of the Jazz Preservation Act JEFF FARLEY Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making
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