Black Soul Of The 1960s Music Essay

Black Soul Of The 1960s Music Essay In the early 1960s before the British invasion black soul music, Doo wop, Motown and RB dominated the American audiences. The 1960s saw the civil rights movement. In 1963, a march on Washington saw the passing of the civil rights act of 1964 which outlawed discrimination in public accommodations and employment. This followed with the assassination of Malcolm X and Martin Luther King, spurring riots in 125 US cities in 1968, coinciding with the civil rights act of 1968. The 1960s saw Billboard change the name of its RB chart to Soul, but the term Soul had been used as a label since the mid 50s. It had its beginnings in the 1950s when Ray Charles exploited the gospel sound to create fusions of black religious and RB music with songs such as I got a woman based on the gospel song My Jesus is all the World. Sam Cooke also contributed a great deal to Soul. Cooke produced an almost unbroken sequence of hits from 1957 to 1964, the year of his death his music gave proof that anything was possible. This influenced artists who would later become global black Soul performers such as Aretha Franklin, The Falcons and James Brown. Groups such as The Angels, The Shirelles and The Righteous Brothers helped to popularize the music as mainstream. For much of the 1960s soul could be seen as the umbrella term for black popular music, which dominated American audiences in the early to mid 1960s. However one of the biggest success stories was the Detroit based Motown, which could be seen as pop soul which gave fame to names such as Diana Ross, Gladys Knight and Smokey Robinson. Tamla Motown was created by Berry Gordy Jr and although the stars were all black, you couldnt fully define it as black music as the intent was to make music palatable to white audiences. Gordy was also known to have controlled the performing styles and clothes in a way to prepare them for the wider mainstream audience. Amongst the most successful of his artist was Marvin Gaye, who was the first to take his artistic control over his recordings and repertoire. The East Coast DooWop and girl groups also made a contribution to African-American music during the 1960s. They were singers and groups whose origins were found on the street corners in the form of cappella groups found in many urban centres. With very rare exceptions, these groups did not write their own songs, but relied on their handlers to set up the recording sessions, pick the material, and produce the records. In fact, many of these behind-the-scenes people eventually became stars in their own right in the seventies. The influence of Doo Wop can be seen in soul music through groups such as William Robinsons, The Miracles who started a Doo Wop group whilst at school. White popular music of the UK developed into one of the most leading musics in the world. Through the 1950s there existed a barely understood American style. Rock and Roll. At the beginning of 1960 American pop music continued to set the patterns of the native musical efforts in the UK. The US contribution to the British charts was large and extremely important At this point- the twist was in full swing, Chubby Checker, Elvis Presley and Jerry Lee Lewis dominated the British charts. After rock and roll, Britain returned to its traditional values with the likes of Cliff Richard and Living Doll which brought mums and dads along as well. For a short while in Britain at the end of the 1950s into the early 60s there was a revival of American Skiffle, made popular by Skiffle artist, Lonnie Donegan. Skiffle was the first attempt undertaken to appropriate American popular music. It was a growing interest in rural and urban blues. Many of these interests involved a conservative nostalgia for the authentic of some imagined yesteryear. Skiffle would later influence John Lennon and Paul Mcartney in their first band The Quarrymen and The Beatles. We can also see the influence of African American artists through British RB which developed as a major musical movement in the early 1960s, initially in London, but also in other urban centres in the UK, as predominately young white male musicians attempted to emulate the style and recordings of African American RB artists. We can see this influence through The Rolling Stones. Muddy Waters used song extension to transform 1940s Chicago Blues. This was achieved by reviving repertoire he had learnt and increasing amplification. 15 years later The Stones and subsequently Cream and Canned Heat followed his example in substance as well as spirit by themselves drawing from the same source. Thus The Stones recorded I Just want to make love to you and I cant be Satisfied. Blues songs and influences continued to surface in the Rolling Stones music throughout their long career. Cream made versions of the delta blues and Canned Heat took their inspiration from the delta bluesman Tommy Johnson. This song copying tradition played a big role in the pop music.- All these African American influences such as Skiffle, RB and Soul along with white American Rock and Roll gave way to Beat music or the Merseybeat. Bands who defined this genre were largely the Beatles but also Hermans Hermits and Gerry and the Pacemakers, to name a few. In Walter Everetts The Beatles as Musicians he describes their compositional style as imitations of buddy holly and RB techniques practised by the witty guitarist Chuck Berry, the energetic Little Richard, and the humorous and skilful coasters After the large success of the Merseybeat in the UK, it transformed over to the US led by The Beatles on the 7th of February 1964. This would be then followed by other beat, pop and rock groups. Among the most successful bands in the genre were the Rolling Stones, The Yardbirds, The Kinks, Manfred Mann, The Animals, the Spencer Davis Group and The Who. Many of these bands dominated the UK and US charts from 1964, becoming a second wave of British Invasion acts in the US, and in the UK were central to the Mod subculture. Several of the bands and their members went on to become leading rock music performers of the late 1960s and early 1970s, helping to create sub-genres that included psychedelic, progressive and hard rock and making RB a key component of that music. However the British Invasion ended careers of black artists such as chubby checker and fats domino with only a handful surviving such as the Motown artists. However soul music did remain popular through evolved forms such as Funk which can be associated to James Brown. This later developed into Funk and Soul influenced by Phychedelic Rock. A good example would be the band Sly and the Family Stone and their album Stand! who were successful. However groups such as The Miracles and The Supremes found it hard to keep up with the changing trends and could never recover. Black music charted a musical path different from white rock. Although much black music crossed over to the pop charts, black performers did not share common ground with their white counterparts.-

Revision for K218

These are the key points in Learning Guide 1: The children and young people's workforce is large and diverse. Its composition raises some important questions about who works with children and in what sort of organisations. Policy and legislation increasingly vary across the UK as devolution becomes more firmly established. It is important to understand the context most relevant to you, but valuable learning can also be drawn from comparing developments in different contexts and countries. Developing the skill of reflection can enhance your learning from the module and day-to-day practice. †¢What are some of the key professional standards used by practitioners across the UK? †¢What are some of the different ways of understanding children, young people, their families and the services that are provided for them? †¢What knowledge, skills and values are required to support ‘good practice'? These are the key points in Learning Guide 2 There are five key themes, emphas ising theories, frameworks or aspects of working with children young people and families, which will recur throughout the module.Practice can be seen as consisting of three intertwined elements of knowledge, skill and values. What constitutes good or effective practice is complex and open to discussion and debate. Attempting to measure good practice through outcomes can play a role in improving practice with children and families but also has some major limitations. 3 †¢How does social constructionist theory help with our understanding of children and families? †¢How does practice involve relationships between children, young people, families, community and society?How does this change across time? †¢What is a social ecological perspective and how can it help us to understand and develop practice with children, young people and families? These are the key points in Learning Guide 3 An ecological perspective is useful for making sense of the complexities that surround working with children, young people and families. Ecological models can support how we think about practice and how we organise practice – including policy, assessment and collaborative relationships such as multi-agency working.Ecological models are not static; they need to take into consideration changes to people, communities and society across time. 4 †¢What are the different levels that make up a web of relationships? †¢What is social constructionism? †¢How is social constructionism useful in understanding how the lives of children, young people and families are constructed? †¢What are the implications of social constructionism for practice? These are the key points in Learning Guide 4Social constructionist theory argues that understandings of childhood, development and appropriate care for children and young people vary between different historical and geographical/cultural/family contexts Viewing development as a stage-based pathway is strongly embe dded in practice and legislation, with understandings of children and young people often based on their age and perceived developmental stage Development as a stage-based pathway needs to be approached with caution as it has implications for some children and young people who are not easily accommodated within the ‘normative' assumptions of the pathway †¢What are some of the broad ways that power operates, as identified by Foucault?

Native American Art Maria Martinez Essay

Art is defined as â€Å"one such as a painter, sculptor or writer who is able by virtue of imagination and talent or skill to create works of aesthetic value,† Answers. com, thus we define the works of the iconic pottery artist Maria Martinez with her worldly known gift of shaping earth residue to fine ceramic work. Nearing the end of 18th Century, using of plant pigments and powdered mineral residue became a preference method of painting and slowly caused the extinction of glazed pottery , therefore they needed a savior for their over a thousand legendary heritage of pottery was getting to extinction. It was only timely that the birth of the famous Maria Martinez was on this time and the love of pottery as an art was in her blood. Her skill advanced with each pot, and her art began to cause quite a stir among collectors and developed into a business for the black ware pottery. In addition, Maria began experimenting her new models and methods to produce new shapes and decorations. The Life of Maria Martinez It was in the between the year 1881- 1887 that a woman by the name of Reyes Pena and her husband a farmer, carpenter and cowboy Thomas Montanya in a village in San lldefonso, New Mexico, a small community of humble dwellings of the eastern bank of the Rio Grande gave birth to a beautiful girl by the name of Maria Antonia Montanya or famously called by her mother in her Tewa tongue, â€Å"Po-Ve-Ka† meaning â€Å"Pond Lily†. She was the second born of five siblings all girls. Maria Antonia Montanya who was later to be called Maria Martinez grew up watching her mother’s sister Nicolasa Pena roll balls of clay in her moisten hand to make a tall cylinder which she would put in a contour then leveling the finished product with a smooth stone to give it a smooth finishing . She would then dry it and paint it with a variety of clay slips then fire it in a wood fire. By now young Maria would make small crooked bowls and pots on her own. After her education Maria Martinez came back home and perfected her pottery specializing in jars called ollas. In 1904 a young lady of 17 years or so, she fell in love and married an art lover as herself, Julian Pocano Martinez a member of the same village who painted as she crafted pots, and later that evening boarded a train to a world fair in St. Louis, Missouri where they were to demonstrate their arts , Julian showing his custom dancing prowess with other village men while Maria shaped, fired and colored her ceramics. Later they opted on settling in their home village for good. They had same projects sometimes like the excavation headed by Dr. Edgar Lee Hewett and later their work was viewed at the museum. They had four sons and a daughter who died an infant. Maria Martinez continued with pottery even after the death of her husband due to alcoholism. But she respected his memories and used to sign her work with all her names and many are seen with the name of her husband. Her works turned a poor, remote village into a craft center. Education & Awards In between pottery with her aunt and 1896 Maria went to a government grammar school where she received academic education then later joined St. Catharine’s Indian School in Santa Fe, New Mexico. In 1912 Maria discovered her black-on-black technique but it was until 1919 that she and her husband went brave on decorating their wares with the shiny, glossy black look. By 1921 she had perfected the art and it was known widely and admired by many and taught her villagers that’s why by 1925 most of the villagers were molding the same technique. The Museum of Mexico collected much of the pieces for display and by 1930s Maria was financially independent due to the wide show of her work. The year 1934 awards started streaming in Maria’s life, in this year she was the first woman to get a bronze medal for Indian achievement by the Indian fire Council, the University of Colorado and the University of New Mexico were among the four universities that awarded Maria Martinez honorary doctorate degrees. In 1954 the American institute of Architects awarded her the years Craftsmanship Medallion and the French bestowed to her the French Academiques for her contribution to art. As if it wasn’t enough, in1969 she got the Minnesota Museum of Art’s Symbol of Man Award and in 1974 The New Mexico Arts Commission’s First Annual Governor’s Award. Description of Black-on-black Pottery One of the greatest achievements of Maria and Julia Martinez was the invention of the Black-on-black technique in pottery. For many generations, San lldefonso and the neighboring Pueblos made plain black pottery as their main traditional practice but in 1919 this was to change, for Maria and her husband discovered the use of decorations in the glossy black and matte black surfaces. In 1921, the Martinez introduced the skill to their people who were enthusiastic of the change and had fun making this new type of ceramics. They then started selling them and within no time they had attracted the attention of the world on their art. By 1920 it was only natural for the museum of Mexico to collect and display the pieces of the ceramic in their exhibitions, and with this move the town of San lldefonso was a tourist stop and the Native Americans had a model. The rim of the jar ‘olla’ is usually slightly flattened and has an angle at the shoulder which is marked. The rims of the jar created by the Martinez have decorations of continuous paneled bands above the angle of the shoulder. The pots have a smooth, shiny surface which reflects light. The ceramics are decorated using a lighter black band which winds around it. These decorations are manipulated as they appear as scratches on the pots surface. A serpent which has horns and wide eyes wraps the pot and crawls inside the thick light band as part of the decorations . The body movement of the snake appears to be alive which signifies the Pueblo community appreciation of nature and life. The various decorations, gives the final products a unique look and personifies the object. Importance of the Black-on-black technique When the Pueblo people had nearly given up on their ancestral gift of pottery to help them in any way, Maria Martinez gave hope to them when she crafted with affection and feelings and the by product was a piece that was admired by the whole world, which brought change socially and economically to them. Their heritage was restored and they all went back into pottery and out of the village came many more world recognized potters. The world attention turned the lldefenso town into a tourism center thus providing vocation to its people and it was no longer known as a poor village but a village with resources. The new technique appreciated the heritage of the Pueblos. More so, it brought different cultures from all over the world together to appreciate Mother Nature in giving the Pueblos a nice earth where they harvested the soil and for their artistic gift. Artistic Themes Presented In Pottery by Maria Martinez Daily Life In the early years of 1800 pueblo community was undergoing changes in both cultural and traditional practices. Among the changes was the introduction of the cheap Spanish tin wares and Anglo enamelware that were taking the place of their handmade ceramics, the water jars and cooking pots, which were now being sold for a few cents to the tourist who came to their village. That was when Maria Martinez revived the art of pottery making among her people, reconnecting them to their ancestral way of life as they are known for their famous pottery that goes with their words according to Susan Peterson, â€Å"†¦they are their earth and their earth is them you cannot speak of one and forget the other. † (13) Historic Edgar Lee Hewett who knew of Maria Martinez slickness and thinning of her pottery, invited her to help in the excavation of old broken pieces of ancient pottery that were discovered in Puebloan sited on the Pajarito Plateau above San llidefenso . She got interested with the proposal to refurbish the old ceramic that were later displayed in the museum of New Mexico for the world to view the handiwork. Political Within a period of time the work of Maria Martinez was recognized by head of states for several generation and got the privilege to be invited to the white house by: Herbert Hoover, Franklin D. Roosevelt, Dwight Eisenhower and Lyndon B. Johnson. She didn’t pass the recognition of an avid collector of her work John D. Rockefeller, Jr. , who requested her to lay a cornerstone for the Rockefeller Center in New York City. Spiritual Baring the fact that Maria was the most famous of all potters in Pueblo and one of the greatest potters in the world , in her mind she saw herself as just one of the traditional women of San lldefonso who made good pottery. And was quoted by Richard Spivey in His book Maria saying: â€Å"My Mother Earth gave me this luck. So I’m not going to keep it. I take care of our people. † Her belief was seen and proved by the fact that she taught all she could the art of pottery that has been carried with her great and great-great grand children. Process Used To make the Black-on-Black Jar, Creating the black-on-black pottery is a tedious work that requires a lot of skill and patience. According to Susan Peterson of The Living Tradition of Maria Martinez pp164 -174 there are six important steps to be followed. Finding and collecting the clay, which is done in the month of October every year when it is dry and stored in an old weathered adobe structure, where the temperature is constant. The clay is brought into the house, a cloth is laid upon the table, hold a mound of gray pink sand with a hole size of your fist at the center fill it with blue sand of the same amount. Make another hole inside the blue sand but of smaller size now then fill the hole with water. Knead the substance together. Pick within the cloth then wash cover with a towel to prevent the clay from loosing its moisture for it will be there for a day or two. The supporting mold â€Å"a fired clay shape the origin of a new formation† also known as pukis builds the pot base pancake looking kind of base. Squeeze the clay together using your fingers shaping a wall up about an inch high from the pancake base. Make it thick and even by smoothing out the walls by making cross-crossing motions using a gourd rib. To increase the pots height coil long tubes of clay on top of the clay wall then smooth it out using the gourd. To patch air holes put extra clay seal away using the gourd rib. Scrap, sand and polish with stones after the pot is dry, this is the longest step in the whole process. The stones are to be applied to the side of the pot consistently, horizontally, with a rhythimic motion. By rubbing the stone parallel to the pot’s side produces a glossy, polished balanced look. Finally burnish then fire the pottery. After decorating, the pot is finished. Visual Elements in Maria Martinez Pottery Shape – The pot has a shoulder, top, body and a pancake shaped base. â€Å"†¦ The rim of an Olla jar is slightly flattened and has an angle at the shoulder. † (Bunzel 44) Lines – they are also evident in Maria’s pottery like the band under the neck of the pot with the slithering snake nearly biting its tail. â€Å"†¦the band wraps directly below the neck of the pot. † (Bunzel 44) Texture – The pots are known of their glossy, smooth even tone that even reflects light. A stone is used for smoothing the texture of the pot. â€Å"†¦by rubbing the stone parallel to the side of the pot produces a smooth, even look to the pot. † (Bunzel 44) Color – The final process in pottery is decorating the pot by giving it hue and color. The black-on-black technique was loved because it did not only have the deep black color but defined with a light black band. Value –The revival of the ancestral art and innovation of the black-on-black technique added value to the pottery work, thus they are presently sold for several thousand dollars a piece. â€Å":†¦ Since her death her art and that of her family has gotten more collectible and difficult to get. † Sublette J Mark. Principles of Design in Maria Martinez Pottery The principles of design are basically the recipe for a good work of art. The principles combine the elements of artistic placement of the art to produce a good design. For example center of interest, harmony, balance, directional movement, rhythm. Center of interest – The serpent below the neck of the jar attracts your attention the moment you see the pot. The horned big eyed serpent slithers and coils through from side to side nearly biting its tail. The pot is extra soft and glossy due to the technique of black-on-black. Harmony – Maria harmonized her work by putting even thickness in walls and exceptional symmetry. She was known for her skill in polishing and getting a fiery shiny surface on the pot. Her decorative designs worked in harmony with the surfaces and shapes; she rarely repeated her designs except for the special avanyu which was a mythical water serpent. Balance – In making the famous Olla jar the fast and must step was making a pancake like base to stabilize and create balance of the pot. So balance was fundamental for the success of the famous jar. Directional Movement – The decoration of the serpent body slithering round the pot seems alive and gives unique movement from the head of the serpent to the tail back to the head and not getting out of the band which has now taken place for the serpent’s path.

About Machiavellis Way - Free Essay Example

Sample details Pages: 3 Words: 757 Downloads: 3 Date added: 2019/08/12 Category People Essay Level High school Tags: Niccolo Machiavelli Essay Did you like this example? Machiavelli was the product of tempestuous and risky times, personally experiencing the complexities and ruthlessness seemingly essential when he ruled Florence. In line with Machiavelli, the ideal way to rule a principality is by any means necessary; the ruler should be able to oversee absolute moral rules without consequence. The ruler is also deemed to be able to be dishonest, telling the community what it wants to hear while deceiving his people by giving the impression that he is of the purest and most honest beings. When becoming a leader of sorts, in the eyes of Machiavelli, that individual is expected to be fluent in the language of manipulation. For the fearless ruler, the only way to maintain the highest power was by an means necessary; in The Prince, a non-fiction political science work by Machiavelli himself, he tells of how Cesare Borgia, a trusted duke of Machiavelli, lured in the leaders of the Orsini, people who were a threat to the rulers power, offering them money, clothes, and horses to gain their trust, putting them, at [Machiavellis] mercy, then he kills all of them in a significant massacre (pg. 520). In doing so, Machiavelli upheld his ultimate power by way of ruthless actions while also gaining the support of his ruled population as they were enjoying a new prosperity. This reveals that a ruler in the opinion of Machiavelli has to do whatever is essential in order to assert your dominance and influence on the people. Don’t waste time! Our writers will create an original "About Machiavellis Way" essay for you Create order Furthermore, another strength a Machiavellian ruler must possess is the art of lying. While lying makes you seem untrustworthy and dishonorable to the people you are ruling, it is critical that one must be able to accomplish the task by making it seem like you are really telling the truth; being as slick as a fox. The most important part of being untruthful, is that the people being ruled are completely unware of what is occurring. Machiavelli claims that people are devious and will not keep faith with others, therefore faith shouldnt be kept on with them, thus leads to him saying, a wise ruler cannot, and should not keep [their] word when doing so is to [their] disadvantage (pg. 538). Due to this, it is evident the people being ruled will never be satisfied with the truth, therefore one must be deceitful with them in order for the community to keep its peace and continue to run smoothly. Lastly, another component that a ruthless ruler must own is the ability to be feared. In The Prince, the question of ?should one be feared or loved? is alluded to on occasions and the answer almost always depends on the character of the one answering, however in the eyes of Machiavelli, it is crucial for one to be feared by their peers, especially if they are in a position of sovereign. The sense of fear is also the ultimate strength when dealing with other territorial competitors; if one is so ruthless and daunting in the way they rule, it dreads the equals of the ruler due to their worry of a potential conquering. When discussing the probable defeat of one of the territorial competitors due to their negation to give up land in The Prince, Machiavelli states, The subjects can appeal against their exactions to you, their ruler. As a consequence they have more reasons to love you, if they behave themselves, and, if they do not, the more reason to fear you (pg. 511). This makes it evid ent to the reader that Machiavelli thinks a ruler should always take matters into their own hands, never to compromise and never to delegate. As a result, a ruler aspiring to be like Machiavelli, is to get things done in their own way without any fear of repercussions, allowing the people being led to see their ruler is fearless. Due to Machiavelli being the creation of a malicious and violent period of time, his first-hand experience of cruelty gave him to the tools and ideas to become the harsh leader he once was. By imposing fear and hatred amongst his people, he was always feared by many, giving him the success he once obtained. These same factors of manipulation, dishonesty, and fear are what modern Machiavellian leaders tend to possess as well, making their unjust actions are seen as inhumane and wrong. This, however is how Machiavelli rose to power because his actions did not matter to him, as long as they benefitted his reign, giving the prime example of the ends justifying the means.