Academic literature on the topic 'Singers – United States – Biography'
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Journal articles on the topic "Singers – United States – Biography"
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Prendergast, A. "Scientific Biography in the United States." Choice Reviews Online 46, no. 02 (October 1, 2008): 227–38. http://dx.doi.org/10.5860/choice.46.02.227.
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Xiong, Yahuan. "Musical symbolism in the mirror of vocal performance poetics (on the material of Lesia Dychko’s vocal cycle “Moods”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, no. 69 (December 28, 2023): 87–103. http://dx.doi.org/10.34064/khnum1-69.04.
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Statement of the problem. Vocal performance is an impotent component of the national dimension of Ukrainian musical culture, it is not only choral, but also the solo singing. Currently, it is singers who are often raising the bar of interest in the composer’s person. Getting to know the meaning-making mechanism of symbolism owing to the isolation of the singing-gender component of the vocal image focuses the urgency of the topic at a practical level. In our case, it is the timbre-image of the soprano as the personification of “Ukrainian femininity”. The originality of female chamber and vocal lyrics is evidenced by Lesia Dychko’s early opus “Moods”, which represents the poetry by Lesia Ukrainka, a brilliant woman-poetess, whose name is not well known in China. The non-accidental nature of such a “meeting” of spiritually related female artists attracts the attention of performers. Objectives, methods, and novelty of the research. Given the multifaceted relevance of the chosen topic, the purpose of the study combines the following scientific tasks: to reveal the peculiarities of the musical symbolism of Lesia Dychko’s vocal cycle “Moods” and its performance reproduction from the point of view of the timbre role of the soprano on the example of the premiere performance of the composition. The research material is a video recording of the first performance of Lesia Dychko’s cycle the “Moods” by the laureate of international competitions Yuliia Radkevych (soprano) accompanied by the Academic Symphony Orchestra of the Kharkiv Philharmonic (the conductor – People’s Artist of Ukraine Yurii Yanko), in the author’s evening of the composer at Kharkiv (2017, December 7). Research methods are determined by its topic, material and aim. The key research approach are cognitive, which unit the stylistic, genre, intonation and performing types of music analysis. The symbol is understood as a musical-auditory phenomenon aimed at reflecting the invisible, hidden in the available timbre-sound images of the composition (at the different levels of text semantics – poetic, intonation, timbre-performing). Lesia Dychko’s style is quite often the subject of musicological studies. Let us point to the monograph by S. Hrytsya (2012), the article by H. Lunina (2013). The theory of the symbol in music is represented by the concept of Yu. Nikolaievska and L. Shapovalova (2021), as well as an interesting article by P. Palmer (2007). However, the study on the problem of the performing poetics in the system of value coordinates of musical symbolism is absent. The results of the research. The three-movement composition of “Moods” combined miniatures from different years: “On a Boat” (1964), “The Little Apple Tree” (1965–1968), “The Night Was Quiet and Dark” (1964). In 1980, the author combined individual solos into a vocal cycle like memories from the album. The reflected moods – the heroes, their feelings, events, imaginative states – are not connected by a single plot, but belong to the “biography” of one Author and are united by the sound of a lyrical soprano voice. The introduction of Oleksii Palazhchenko’s poem “The Little Apple Tree” into Lesia Ukrainka’s poetic text leads to double world quality – the stereophony of “feminine” and “masculine” in a single artistic concept. According to the author’s plan, neither the words nor the music of “Moods” are dominant: they should be consonant. Under such conditions, the completeness of the sound-image picture is visualized, which is built on the counterpoint of the soprano cantilena singing embodying of the concept of “the heart”, and the timbre contrast of the piano (or string orchestra) – the personification of the voices of nature (“a starling flashed far away”, “the wind sighed sadly in the garden”). The theme of nature runs through the entire vocal cycle. Therefore, the “core” of female love lyrics in the first vocal opus of the young gifted author is purely romantic psychology of human feelings. However, their embodiment by the leading singer, in the richness of soprano timbres, reveals more than the usual world of female love: there is a qualitative jump in the listener’s perception of the meanings of music – the transition from an image to a symbol. Conclusion. On the example of the performance analysis of Lesia Dychko’s vocal cycle “Moods”, the problem of symbolizing musical language as a sign of modern stylistic thinking is posed. The understanding and reproduction of the symbol as a musical-auditory phenomenon presupposes the singer’s previous thorough intellectual work aimed at the musical work as a cryptogram, in which, including due to the timbre personification of the voice, the symbolic artistic world comes to life. In Lesia Dychko’s cycle, it is the secret world of female Love, inspired by the deep images of Lesia Ukrainka’s poetry and passed through the composer’s own female self, personified by the soprano timbre. Thanks to her high culture of symbolic thinking and excellent command of vocal technique, the first performer of the work, the soprano singer Yuliya Radkevich visualized the “hidden world” of Lesya Dychko’s love lyrics “Moods” vividly, organically, inspired, with a subtle sense of spiritual kinship with its lyrical heroine and its Author. Hence, the first performance of the cycle presented by Yulia Radkevich appears as an ideal version of the feminine interpretation. Thus, Lesia Ukrainka’s voiced poetry, dedicated to the greatness of the female spirit, the Gift of Love, testifies to the ontological ability of music to serve as an eternal symbol – of the invisible world of the human soul.
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Бережна, Світлана, and Олена Дьякова. "ACTIVITIES OF BORIS HMYRYA DURING THE SECOND WORLD WAR." КОНСЕНСУС, no. 1 (2024): 46–59. http://dx.doi.org/10.31110/consensus/2024-01/046-059.
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The work’s aim is to highlight Boris Romanovych Hmyria’s life during the Second World War. The methodological basis of the work are the principles of historicism, objectivity and systematicity. The article is based on philosophical and special scientific methods of the socio-humanitarian sphere of scientific knowledge. The scientific novelty consists in the study of the activities of B. Hmyria during the Second World War. The singer's biography of 1939-1945 is recreated, and important events that happened in his life at that time and in the post-war period are determined. Conclusions. The life of Boris Romanovych Hmyria during the Second World War can be divided into three stages: before the Nazi occupation (1.09.1939–22.10.1941), during the Nazi occupation (24.10.1941–25.03.1944) and after the Nazi occupation (25.03.1944–2.09.1945). All three stages and post-war life unite performances on stage, improvement of creative potential, and love of the public. But there are peculiarities. At the beginning of the war, B. Hmyria’s career was beginning and was successful, as evidenced by the award of Honored Artist of the Ukrainian SSR in 1941. The second stage is marked by the fact that the singer was a civilian prisoner (as told to him by the head of the Poltava Opera Z. Wolfer) and was forced to perform where he was ordered. This period negatively affected the future life of the man. After the liberation of Ukraine from the German occupiers, the attitude of some of the colleagues towards Boris Romanovych was negative. Despite the support of the Soviet government and the boundless love of the public, persecution in the theatre led to the premature death of the artist. It should be noted that the biography of B. Hmyria was typical for actors who survived the Nazi occupation, and differed only in that he did not survive the arrest and prison term, like many others. He had the opportunity to emigrate to the West, but his boundless love for Ukraine forced him to stay in his native land.
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Graber, Katie J. "Affect, language, race, voice: opera singers in nineteenth-century United States." Ethnomusicology Forum 29, no. 1 (January 2, 2020): 40–61. http://dx.doi.org/10.1080/17411912.2020.1808500.
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Fryer, Paul. "Musicians as heroes: Black singers in the United States and Jamaica." New Community 13, no. 2 (September 1986): 208–13. http://dx.doi.org/10.1080/1369183x.1986.9975969.
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Lookingbill, Brad. "Weisner And Hartford, Eds., American Portraits - Biographies In United States History." Teaching History: A Journal of Methods 23, no. 2 (September 1, 1998): 92–94. http://dx.doi.org/10.33043/th.23.1.92-94.
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Teaching historians often assign biography to supplement reading lists for the introductory survey classroom, even though selecting which life to share might be a difficult process. Biography represents a unique form of history and literature, inviting a reader to come to terms with the significance of human agency. Indeed, a biography possesses the potential to reveal how a particular person influenced and was influenced by broader historical forces.
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Phillips, Carla Rahn, and William D. Phillips. "Christopher Columbus in United States Historiography: Biography as Projection." History Teacher 25, no. 2 (February 1992): 119. http://dx.doi.org/10.2307/494269.
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Feng, Qingqing. "Comparative Analysis of Sino-US Pop Singer's Influence in the New Media Era." International Journal of Arts and Humanities Studies 3, no. 2 (April 15, 2023): 24–30. http://dx.doi.org/10.32996/ijahs.2023.3.2.3.
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Popular music has clearly permeated every aspect of modern society, whether it is through active participation in streaming media or opening music software, or passive acceptance while doing business in coffee shops and retail malls. The United States has long been at the top of the world music market, and its pop music has influenced the trend of contemporary pop music. In recent years, with the continuous development of the music industry, pop music has gradually become an important aspect that demonstrates the cultural soft power of the country and region. The struggle between China and the United States in terms of soft power has been fiercer in light of globalization and rivalry between the two nations. This article will refer to the "Billboard" list of the most influential singles in the United States in recent years and the "Grammy" award, the most authoritative music award, to introduce several influential Chinese singers overseas and representative American singers. Comparing and analyzing the current Chinese and American popular music and comparing their influence is of great significance for grasping the development trend of the times, understanding popular trends, enhancing the soft power of Chinese culture, and using music as a carrier to promote Chinese culture to the world stage.
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Barilleaux, Ryan J. "Gonzo biography." Review of Politics 68, no. 2 (May 2006): 347–49. http://dx.doi.org/10.1017/s0034670506280136.
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The single organizing fact of the Cold War was “the bomb.” In our present age of unipolarity, globalization, and the clash of civilizations, it is useful to remember that our current complexities exist only because the previous age of stark simplicity has passed into history. The decades from the end of World War II until the fall of Communism were years shaped by a nuclear standoff. The threat of nuclear conflict between the United States and the Soviet Union framed the politics and culture of the age. This framing was especially apparent in the 1950s and 1960s, before arms-control agreements lent an air of manageability to nuclear politics.
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Edward Beauchamp. "Education and Biography in the Contemporary United States: An Introduction." Biography 13, no. 1 (1990): 1–5. http://dx.doi.org/10.1353/bio.2010.0381.
Full textDissertations / Theses on the topic "Singers – United States – Biography"
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Westerfield, Jane R. "An investigation of the life styles and performance of three singer-comediennes of American vaudeville : Eva Tanguay, Nora Bayes and Sophie Tucker." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/515977.
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In the early days of the twentieth century when vaudeville was the most popular theatrical entertainment in America, there were a number of female singers who became its star performers. In the process of conducting preliminary research for a dissertation topic on female singers of this era, it quickly became evident that while much has been written about opera singers of that era, only limited material was available on female vaudeville singers. Furthermore, the small amount of information which was available was so randomly scattered among various sources that it was difficult to perceive a composite picture of these performers.The purpose of this investigation into the musical styles and repertoire of three great female singer-comediennes of early vaudeville--Eva Tanguay, Nora Bayes and Sophie Tucker--is to determine what the reasons were for their tremendous popularity. Because vaudeville was the prime source of entertainment before the days of mass media, the American public was quick to make stars of many of its performers. This study seeks to ascertain what it was about thesewomen's particular musical styles, repertoire and personalities which made them so interesting and caused the public to make them vaudeville stars. Though there are certainly other female singers of this period which are also of interest:, these three were chosen because they were unique.This study is presented as a series of articles with separate chapters devoted to Eva Tanguay, Nora Bayes and Sophie Tucker as individuals. These chapters include biographical material, especially from books about vaudeville performers, and also explore critical reviews and other reports on their work from such sources as "Variety," "Theatre Magazine," and various newspaper accounts. Analysis of these sources on each individual within the chapters is included as well. The final chapter contains a summary of the research and a discussion of what conclusions were reached about the musical styles and repertoire of Eva Tanguay, Nora Bayes and Sophie Tucker as a result of this investigation.In addition to discovering the reasons for these performers' popularity and appeal, it is hoped that a viable by-product of this research has been to arouse renewed public interest in these three fascinating ladies of early vaudeville.
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Harris, Matthew L. Sharp James Roger. "'Experience must be our guide' John Dickinson and the origins of American federalism, 1754 - 1808 /." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2004. http://wwwlib.umi.com/cr/syr/main.
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LaFantasie, Glenn Warren. "William C. Oates : a biography /." View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174631.
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Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.
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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.School of Music
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DuBay, Susan Adams. "John Humphrey Noyes, 1811-1840 : a social biography." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3568.
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John Humphrey Noyes was the founder of the Oneida Community, one of the most successful utopian ventures in nineteenth-century America. Early in his life, Noyes was a deep religious thinker, but he founded Oneida as an ideal society based on extending the family unit, and not as a church. Noyes's social theories eventually overwhelmed his former religious concentration.
The purpose of this thesis is to locate in Noyes's religiously-oriented youth the sources of his social interests. Few scholars have studied in depth the childhood and young manhood of John Humphrey Noyes, but that is where the roots of his social theories are to be found. Noyes did write his religious autobiography, but completely passed over his formative years. Further, he never wrote the analysis of his social ideas and experiences that he had once promised. However, many of his early letters and journals have been compiled and edited by his relatives; and his immediate family left reminiscences of his youth. These works provide most of the available information on the childhood of Noyes. Large gaps in his history do exist, however. Therefore, the modern psychological theories of Erik Erikson are used to illuminate the otherwise shadowy areas of Noyes's early life.
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Graff, Frank Warren. "Strategy of involvement a diplomatic biography of Sumner Welles /." New York : Garland, 1988. http://catalog.hathitrust.org/api/volumes/oclc/17807643.html.
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Meyer, Nancy Jean. "Vance Hartke : a political biography." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/530361.
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The focus of this dissertation is the political career of R. Vance Hartke, Democratic Senator from Indiana 1958-1976. The areas of emphasis include Hartke's role in the creation of the Veterans' Affairs Committee of the Senate and his chairmanship of the Committee, several of the controversies of his career, and his political style and philosophy.Books and articles written by Hartke were used extensively as were various newspapers and the Conqressional Record. Information was also obtained from interviews with Hartke and Frank Brizzi, who was staff director of the Veterans' Affairs Committee during Hartke's term as chairman.That Hartke philosophically was a liberal and politically was a risk-taker are among the conclusions reached in this study. Hartke's strongest asset in winning election to the Senate three times in a relatively conservative state was an energetic and personalized political style. Despite the controversies which surrounded Hartke and some apparent conflicts of interest," there is no evidence he committed illegal or unethical acts. Hartke used his power as chairman of the Veterans' Affairs Committee of the Senate to infuse his liberal ideology into public policy for American veterans. Furthermore, he expanded veterans' benefits during his tenure.Department of Political Science
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Erskine, Kristopher Charles. "Frank W.Price, 1895-1974 : the role of an American missionary in Sino-U.S. relation." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206668.
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This dissertation is a biography of American missionary Frank W. Price, friend and advisor to Madame and Generalissimo Chiang Kai-shek, and KMT official for two decades. Price was closer to Chiang than any other American, yet no one has attempted to unravel his role within Chiang’s government or his impact on Sino-U.S. relations. This dissertation makes that attempt, giving special attention to the years between 1937 and 1947, during which Price was most involved with Chiang and the KMT.
Groundbreaking research was undertaken in Taiwan, the United States, and China. New archives and family collections were used, and recently declassified documents were accessed in the United States through the Freedom of Information Act. Chiang’s diaries were utilized and interviews conducted with at least twenty individuals in China, the United States, and Taiwan, most of whom either knew Frank Price or whose parents or spouse worked with him. These interviews include Price’s son and niece.
In the final analysis evidence will reveal that though his ultimate policy impact was minimal, missionary Frank Price was a valued member of Chiang’s political inner circle, acting, for more than a decade, as a diplomatic backchannel between Chiang Kai-shek and President Roosevelt’s administration. The dissertation demonstrates that unconventional actors – missionaries specifically – may have been more involved in Sino-U.S. relations during China’s Nationalist period, particularly during the Second Sino-Japanese War, than has been previously supposed. It will also be asserted that Price’s role in the China Lobby indicts the KMT for secretly exerting influence on that lobby as early as 1938.published_or_final_version
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Doctor of Philosophy
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Armontrout, David Eugene. "John F. Kennedy : a political biography on education." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4259.
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In what is historically a brief number of years, the life and times of John F. Kennedy have taken on legendary proportions. His presidency began with something less than a mandate from the American people, but he brought to the White House an inspiration and a style that offered great promises of things to come.
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Wannenburg, Nicola. "A psychobiographical study of Temple Grandin." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/57358.
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Psychobiographical researchers methodically formulate life histories and interpret them by means of psychological theories. The research typically focuses on exemplary and completed lives. The cases that are studied are usually of individuals who are of particular interest to society as a result of excelling in their particular fields, be they to benefit or detriment of society. Temple Grandin was chosen for this study using purposive sampling as she meets the psychobiographical requirement of being an extraordinary individual. As an individual with autism Grandin faced many challenges growing up. Despite a difficult and absent beginning, Grandin developed into a stable and scientifically creative adult who contributes to society. She excels as an animal scientist and designer of humane livestock handling facilities and has an international reputation for her contribution to the livestock industry and animal welfare. The primary aim of this study is to describe and interpret the life of Temple Grandin through Erikson’s (1950/1973) theory of psychosocial development. A mixed method approach (Yin, 2006) was employed for the conduction of this study. The overarching data processing and analysis guidelines for this study were provided by Miles and Huberman (1994, 2002a, 2002b). The conduction of the processing and analysis of data was aided by Alexander’s (1988, 1990) method of asking the data questions as well as an integration of Yin’s (2014) time series analysis with Erikson’s (1950/1973) triple bookkeeping approach. This study contributes to the development of psychobiographical research in South Africa as well as to personality and developmental theory.
Books on the topic "Singers – United States – Biography"
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Wild about Harry: The illustrated biography of Harry Connick Jr. Dallas, Tex: Taylor Pub., 1995.
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Bill, Truman, and Yamanaka Roy Oki, eds. Diamond, a biography. Chicago: Contemporary Books, Inc., 1987.
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Broken on the back row: A journey through grace and forgiveness. West Monroe, La: Howard Pub. Co., 2005.
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Osmond, Jay. Stages: An autobiography. San Clemente, California: Source Media Books, LLC, 2010.
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Fields, Armond. Lillian Russell: A biography of "America's Beauty". Jefferson, N.C: McFarland, 1999.
Find full textBook chapters on the topic "Singers – United States – Biography"
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Abrams, Jesse. "Author biography." In Forest Policy and Governance in the United States, 283. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003043669-15.
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Wendler, Eugen. "Overview of List’s Biography and Economic Theory." In Friedrich List’s Exile in the United States, 1–9. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-23642-1_1.
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Fiorito, Luca, and Sebastiano Nerozzi. "Chicago Economics in the Making, 1926–1940: A Further Look at United States Interwar Pluralism." In Hayek: A Collaborative Biography, 373–418. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95219-2_11.
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Alvarado, Paulo. "Women's Auto/biography in the Mexico-United States Borderscape, 1942–1968." In The Routledge Handbook of Latinx Life Writing, 96–109. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003273141-10.
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"Visit to the United States, 1856." In George Peabody, A Biography, 76–86. Vanderbilt University Press, 2020. http://dx.doi.org/10.2307/j.ctv176kvjp.15.
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"Last Visit to the United States, 1869." In George Peabody, A Biography, 174–79. Vanderbilt University Press, 2020. http://dx.doi.org/10.2307/j.ctv176kvjp.28.
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Chan, Raymond H., Chen Greif, and Dianne P. O’Leary. "Gene H. Golub Biography." In Milestones In Matrix Computation: Selected Works Of Gene H. Golub, With Commentaries, 3–12. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199206810.003.0001.
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Abstract Gene Howard Golub was born on February 29th, 1932 to Bernice and Nathan Golub. His mother was from Latvia and his father from Ukraine. They both came to the United States independently of one another in 1923, and both settled in Chicago for family reasons: they each had an older sibling in the city.
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Piaf, Edith. "The Sparrow." In Singers and the Song II, 201–16. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195115567.003.0013.
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Abstract Americans never really knew Edith Piaf. When she died, the New York Times said in its obituary, “Strangely, Miss Piaf was perhaps best known in the United States for her La Vie en rose, a song of happiness and love.” There may have been something ironic about it, but there was nothing strange. Her act was bowdlerized and glamorized for her appearances at the Versailles and the Waldorf-Astoria in New York. Her songs about prostitutes and their marlous, about the murders that often ended the search for love, were thrown out or cleaned up for Americans raised on a diet of sexless love in songs and happy endings in movies and Saturday Evening Post fiction.
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André, Naomi. "Black Opera across the Atlantic." In Black Opera, 27–54. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0002.
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This chapter provides an overview of the participation of black people in opera in the United States and South Africa. Themes include the practice and legacy of minstrelsy in both countries. For the United States, the focus explores the creation of an American operatic tradition outside Europe and one that features black composers and singers. For South Africa, the focus explores the experiences of Angelo Gobbato who worked in opera through the last decades of apartheid and into the new millennium with integrated casts and Neo Muyanga (Soweto-born composer) who was educated in Europe during the last decades of apartheid and has become a leading voice in the post-apartheid black opera scene. This chapter also discusses black opera singers and the Isango Ensemble.
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Wald, Elijah. "Afterword." In Social Voices, 237–40. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045240.003.0013.
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This chapter looks at several generations of South African women singers, including Miriam Makeba (1932–2008), Sathima Bea Benjamin (1936–2013), Sibongile Khumalo (1957–2021), Melanie Scholtz (b. 1979), and King Tha/Thandiswa Mazwai (b. 1976), who, during and after apartheid, negotiated various ideas of home and away in their lives and voices amid shifting senses of history, politics, language, gender, and memory. By juxtaposing earlier singers who developed their careers in the United States during the apartheid era with recent singers who have chosen to base themselves in South Africa, the chapter highlights shifting power relations at home and abroad spanning the Global North and the Global South, along with contingent, evolving notions of diasporic identity, belonging, and unbelonging.
Conference papers on the topic "Singers – United States – Biography"
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Castro, Ana Claudia Veiga de. "Um historiador entre duas cidades: Richard Morse, de Nova York a São Paulo." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Instituto de Arte Americano. Universidad de Buenos Aires, 2013. http://dx.doi.org/10.5821/siiu.5938.
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O historiador Richard Morse (1922-2001) publica o livro De comunidade à metrópole, a biografia de São
Paulo, em 1954, nas comemorações do IV Centenário da cidade. O livro, hoje um clássico, foi gestado entre
a sua formação nos Estados Unidos e a pesquisa de campo em São Paulo. Esse artigo tem a intenção
traçar paralelos entre as condições urbanas e culturais de São Paulo e Nova York em 1940 e 1950 e a
estrutura narrativa do livro, apontando o que Morse traz da América para a formulação do problema
encarado na tese – a evolução urbana de comunidade à metrópole – e o que ele formula na experiência de
pesquisa numa cidade em processo de metropolização. Richard Morse (1922-2001) published the book
From community to metropolis, the biography of São Paulo, in 1954, in celebration of the fourth centenary of the city. The book, now a classic, was conceived between his training in the United States and his field research in São Paulo. This article intends to draw parallels between the urban and cultural conditions of Sao Paulo and New York in the 40’s and 50’s and the narrative
structure of the book, pointing out that Morse brings form America to the formulation of the problem faced in the thesis - the urban evolution from community to metropolis - and that he makes in the search experience
in a city undergoing metropolis.
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Bruce, Dr. "The Life and Mysterious Death of Harold F. Pitcairn: Was it Suicide?" In Vertical Flight Society 76th Annual Forum & Technology Display. The Vertical Flight Society, 2020. http://dx.doi.org/10.4050/f-0076-2020-16260.
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Harold F. Pitcairn, American aviation and Autogiro pioneer, died from a single gunshot wound to the head in the late evening hours of April 23, 1960 at the age of 62 after a gala evening at which he presided over a celebration attended by more than 450 guests for his brother's Raymond's 75th birthday. Initially labelled a suicide by the press, Pitcairn's widow Clara declared that "she never wanted to hear another word about the tragedy", while friends and friendly local authorities made the argument, duly reported by Frank Kingston Smith in Legacy of Wings, his devotional Pitcairn biography (subsidized by the Pitcairn family), that the death was accidental because "there was no note, no indication of depression or unhappiness" and "the police investigation disclosed that two shots had been fired; one had penetrated the ceiling directly over the desk in the first floor study, another had struck Pitcairn in the eye" and that "the next morning it was discovered the semi-automatic pistol was defective: when cocked, it had a supersensitive "hair trigger," and it had a faulty disconnector so that it would fire more than one shot at a time, a condition known as "doubling."" The Pitcairn families, prominent and powerful, prevailed upon the local authorities to declare the death accidental and Kingston Smith's 1981account became the de facto authoritative story of the death of Harold F. Pitcairn. With the perspective, however, of six decades, it appears far more likely that Pitcairn's death was a suicide for reasons that were not readily evident, minimized, unappreciated or deliberately ignored at the time to craft a result that met the needs of Clara Pitcairn and her surviving family. These included the fact that while the claim was made that Pitcairn was making his nightly rounds to check on the estate’s ground-level windows (and had been doing so since the Lindbergh kidnapping in 1932), he actually died at his desk; that those in the house only reported a single shot; the 1907 Savage pistol had no reputation for a hair-trigger, and had not evidenced such a flaw in almost three decades of Pitcairn's nightly ritual; that even though Pitcairn had been assured that his almost-decade-long lawsuit against the United States government for Patent infringement of his Autogiro patents was going well, he was concerned about the impact this lawsuit was having on his aged associates who had been called to give depositions and he had voiced the sentiment that "if he had known that he would have to sue the government, he would not have gone into the Autogiro business"; that the lawsuit, itself intended as a vindication of Pitcairn's contribution to aviation was dragging on and would reach its first legal conclusion in 1967, and not finally conclude upon appeal until 1977; and most importantly, those who deny suicide and point to Pitcairn’s state-of-mind, have failed to take into account when the death occurred or ready evidence of his 'state of mind' To fail to see the tragic end of Harold F. Pitcairn is to forget that 29 years and one day earlier, he had been recognized for "the greatest achievement in aeronautics or astronautics in America, with respect to improving the performance, efficiency, and safety of air or space vehicles, the value of which has been thoroughly demonstrated by actual use during the preceding year." The memory of that day on the White House back lawn with the President was the high point of his life even as Pitcairn prepared to celebrate his older brother's achievements. The evidence, when marshalled and documented, conclusively points to suicide - a death of an American aviation pioneer before his contributions were vindicated in the largest patent infringement judgement against the United States in history. To fail to see the tragic end of Harold F. Pitcairn is to forget that 29 years earlier, he had been recognized for "the greatest achievement in aeronautics or astronautics in America".