Jelly Roll Morton, Charley Patton

Author(s):  
David Stephen Calonne

Chapter 2 begins with a review of Crumb’s fascination with music, especially the blues, and his efforts over the years in building a huge record collection of his favorite music. Allusions to jazz and blues appear in many of his works and his admiration for particular musicians such as Jelly Roll Morton is exemplified by his illustrations to a biography of Morton which Crumb titled “Jelly Roll Morton’s Voodoo Curse.” In exploring Morton’s life, Crumb explores Morton’s encounter with hoodoo and interrogates the question whether such supernatural experiences are “real” or not. This is a question which Crumb will pursue in many of his drawings because it is related to his own search for his inner self. The chapter then turns to Charley Patton and Crumb’s illustrations entitled “Patton.” Religious themes occur in this narrative as well and this chapter explores the theme of the gifted musician who sells his soul to the devil in order to attain virtuosic musical powers. The link between surrealism and the lyrics of some blues songs is also explored, as well as Crumb’s own relationship to African American culture and religion.

1998 ◽  
Vol 84 (4) ◽  
pp. 1471
Author(s):  
V. P. Franklin ◽  
Jack Salzman ◽  
David Lionel Smith ◽  
Cornel West

1995 ◽  
Vol 82 (3) ◽  
pp. 1174
Author(s):  
Craig Werner ◽  
Genevieve Fabre ◽  
Robert O'Meally

1997 ◽  
Vol 25 (1) ◽  
pp. 54-57
Author(s):  
Joyce Russell-Robinson

Alice Walker and former Democratic Congresswoman Pat Schroeder of Colorado have something in common. Both advocate the cessation of female circumcision in African countries, and both tout themselves as feminists, though Walker, borrowing from African American culture, prefers to be labeled as a womanist. What the elders had in mind when they described young African American women as “womanish,” or as “omanish,” the eclipsed form of that same word, was that such girls were too fast, or that they obtruded upon areas that were not their business. While Schroeder cannot properly be called a womanist (to do so would be to misapply the term), one can say that, similar to Alice Walker, Schroeder is putting herself into other people’s business, specifically the business of female circumcision in African communities.


Author(s):  
Susan Scott Parrish

This chapter considers the question of what made the recent disaster called Katrina in 2005, and its mediation, distinct from its 1927 forerunner. It argues that what was most different about the two events is that artists and commentators in 2005 could be more openly critical of the racial and class dimensions of their disaster before a multiracial mass audience. The chapter also considers a poem that appeared in print in April 1927, which must have seemed a providential coincidence to many readers. The poem, called “Noah Built the Ark,” moves from the halcyon days in Eden to the point at which “God got sorry that he ever made man.” Like other works of the Harlem Renaissance, the poem called upon the currency of folk form to create a public awareness of traditions within African American culture.


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