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10 results for "Musicians--African American"
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Record #:
27088
Author(s):
Abstract:
The Veldt is a longtime Raleigh cult favorite band. Racism and major-label expectations plagued The Veldt in the eighties and nineties, but music is finally catching up with the band’s mix of soul singing and shoe-gaze rock.
Source:
Indy Week (NoCar Oversize AP 2 .I57), Vol. 33 Issue 14, April 2016, p20-22, por Periodical Website
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Record #:
27897
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The Black Banjo Gathering conference was held in Boone, NC recently. The gathering unites musicians, scholars, and enthusiasts to celebrate the banjos tradition and recognize it’s African, Afro-Caribbean, and Africa-American origins. The small gathering included workshops, concerts, panel discussions, lectures, and parties.
Source:
Independent Weekly (NoCar Oversize AP 2 .I57 [volumes 13 - 23 on microfilm]), Vol. 27 Issue 13, March 2010, p25 Periodical Website
Record #:
27231
Author(s):
Abstract:
J. Gunn is a rapper and BET Music Matters artist from Durham. Gunn wants to create a Durham dynasty out of his rap talents by partnering with Dame Dash, the dynasty maker who cofounded Roc-A-Fella Records with Jay Z. He aspires to use his rapping platform to fight some of the injustices of the world and to preserve the integrity of downtown’s Black Wall Street legacy.
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Indy Week (NoCar Oversize AP 2 .I57), Vol. 33 Issue 29, July 2016, p14-15, por Periodical Website
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Record #:
39864
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Abstract:
Huddie Ledbetter, later known as Lead Belly, grew up in the south and eventually became part of a trio with John and Alan Lomax, a father-son team of song collectors. Lead Belly collected, wrote, and sang songs in several different styles, including Blues. He is also credited with helping to define American vernacular music in the 20th century.
Record #:
23957
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Abstract:
Rapsody, a female rapper in Raleigh, strived to bring rap to Raleigh by hosting rap battles at N.C. State and organizing Packapalooza, N.C. State's back to school block party.
Source:
Indy Week (NoCar Oversize AP 2 .I57), Vol. 32 Issue 32, August 2015, p16-17, il Periodical Website
Record #:
28087
Abstract:
The Allen Boys are the state’s only touring Sacred Steel band. The Sacred Steel musical tradition focuses steel guitar being used in praise and worship songs. Steel guitar player DaShawn Hickman is interviewed and describes how he came to play the instrument and the cultural significance of the music.
Source:
Independent Weekly (NoCar Oversize AP 2 .I57 [volumes 13 - 23 on microfilm]), Vol. 25 Issue 1, January 2008, p18 Periodical Website
Record #:
23569
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Abstract:
Rodney Barber does not perform his soulful renditions on a traditional stage, but rather on street corners in Uptown Charlotte. In an effort to leave his dark past behind, Barber performs to make people happy and hopes that the right person will hear him and make his recording dreams come true.
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Record #:
27762
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Hillsborough resident and noted bluesman Ironing Board Sam has been given the opportunity to play music again. Samuel Moore’s history and his influence on music in America and the blues is recorded. Moore has been given the opportunity to perform again after Hillsborough’s The Music Maker Relief Foundation has provided assistance to him and re-released his record. The group is dedicated to preserving and promoting all forms of traditional music.
Source:
Indy Week (NoCar Oversize AP 2 .I57), Vol. 30 Issue 10, March 2013, p24-25 Periodical Website
Record #:
28540
Author(s):
Abstract:
The Young Men’s Institute Band of Asheville and their history is detailed. Started by George Vanderbilt in 1893, the YMI served African American men and boys who helped construct the Biltmore Estate. The instrumental makeup of the band, their performances, their style of music, and their place in American music history are detailed.
Record #:
22137
Author(s):
Abstract:
The authors recount how East Carolina University took a big step toward integration four years before the first black student enrolled at the university when the Dave Brubeck Quartet performed there on the night of February 5, 1958. Brubeck arrived with a new bassist, Eugene Wright, who was black, and there were laws preventing black performers from appearing on stage. A compromise was reached, but the dam had been breached. Many black performers appeared in the following years.
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