Podcasts about prove it on me

This podcast celebrates the prolific female blues music from the early 1920's to present times. This show entitled “Prove It On Me” is curated by my special guest, Charlie Apicella. Charlie is a musician and music historian with a special affinity for the Mother of the Blues, so this episode will be all about Ma Rainey. https://www.ironcity.nyc/#charlieapicella #bluesalive #marainey

Five-time Tony Award-winning director George C. Wolfe talks about his acclaimed new motion picture Ma Rainey's Black Bottom, the legacy of the original the original Mother of the Blues, and what went into transforming Oscar-winner Viola Davis into this larger than life icon. He discusses what the Chicago jazz scene meant to black musicians who migrated from the Jim Crow South in the 1920s and some of the creative ways that he found to visually depict the foreignness of the urban north for those who made that journey. George opens up about the process of bringing August Wilson’s play to the screen and why he chose to use Wilson’s hometown of Pittsburgh as a double for the windy city. He shares why he always has an intense rehearsal period before he shoots a frame of film, how his own experience as an occasional actor informs his directing, and how he got the performance of a lifetime out of the late Chadwick Boseman. Plus we talk about the white bandleader who appropriated black music and then had the nerve to bill himself as "the king of jazz," the relevance of Ma Rainey’s story in the wake of last year’s Black Lives Matter protests, and the swirl of Oscar buzz surrounding this five-time Tony-winning director and his movie. George C. Wolfe's fantastic film Ma Rainey’s Black Bottom is now showing in select theaters and streaming on Netflix. I also encourage you to check out the wonderful motion picture soundtrack by the great Branford Marsalis and discover some of the original recordings by the real Ma Rainey on Spotify, iTunes, Amazon Music, Pandora, or wherever you like to listen. Some of my personal favorites by Ma include "See See Rider Blues," "Chain Gang Blues," "Prove It On Me," "Moonshine Blues," "Hear Me Talking to You," and of course "Ma Rainey's Black Bottom." If you enjoyed today's episode of Kickass News, please subscribe and rate and review us on Apple Podcasts, Spotify, or wherever you get your podcasts. Visit www.kickassnews.com for more information on the show, and follow us on Facebook and on Twitter at @KickassNewsPod. Thanks for listening!   See omnystudio.com/listener for privacy information.

Making a Scene Presents the PODCAST of LIVE from the Midnight Circus Featuring Rory BlockThis is the Voice of Indie Blues, the future of the blues. Artists who embrace the diversity of the blues that always has and still is being created from it's roots. These artists understand the blues is a living art form that is driven by innovation and creativity. These are the Indie Blues Artists!John Pagano Band,Ain't Gonna Lose You,One More RoundJohn Pagano Band,Misbehavin,SingleEric Hughes Band,03 He's Just  An Alley Cat,Postcard From Beale StreetSunday Wilde & The 1 Eyed Jacks,5. Dead Presidents,Sunday Wilde & The 1 Eyed JacksJeff Fetterman,Memphis Sky,Southern SonCharlie Bedford,Steady Driver Man,Good To GoSteve Howell,Singin' the Blues,Long AgoLisa Mills,07 Same Time Same Place,The TriangleReverend Freakchild,Black Peter,The Bodhisattva BluesPeter Karp,The Last Heartbeat,Magnificent HeartTas Cru,Save Me,Drive OnCrystal Shawanda,Rather Be Alone,Church House BluesRory Block,Prove It On Me,Prove It On MeRory Block,In My Girlish Days,Prove It On Mewww.makingascene.org,Rory Block,Rory Block,Motherless Child,Prove It On MeRory Block,Milk Man Blues,Prove It On MeJay Willie & James Montgomery,Give Me One Reason,Cadillac WalkJay Willie & James Montgomery,Detroit Blues,Cadillac WalkJim Gustin & Truth Jones,My Love Is True,Lessons LearnedJim Gustin & Truth Jones,I Hate To See You Go,Lessons LearnedThe Proven Ones,Already Gone,You Ain't DoneJohn Primer And Bob Corritore,Walked So Long,The Gypsy Woman Told MeStephen Cooper and The Nobody Famous,Three Shades of Black,Stephen Cooper and The Nobody FamousJeremiah Johnson,Leo Stone,Heavens To BetsySass Jordan,07_Too Much Alcohol,Michael Mills Band,My New Woman,Stand UpMike Zito,QUARANTINE BLUES,Quarantine BluesThe Claudettes, I Don't Do That Stuff Anymore,Lisa Mills,09 That's How Strong My Love Is,The TriangleEliza Neals,Black Crow Moan (feat. Joe Louis Walker),Black Crow MoanMisty Blues,Treat Me Like I Want,Weed ‘Em & ReapVictor Wainwright & The Train,Recovery,Memphis LoudChickenbone Slim,Dignity,SleeperAndrew Alli,30 Long Years,Hard Workin Man 

SHOW #511 TWEED SMITH Tweed and her band The Internationals were in Memphis for the 2020 IBC. But her career is so much more than that. The only female to be a member of WAR. Let’s learn all about this remarkable singer.   DUFFY BISHOP Another 2020 IBC Challenger, Duffy began in the PAC NW and is now in Florida. Her story is exciting and we hope you join us to learn more.   RORY BLOCK – COUCH KID NEW MUSIC Rory returns to The Couch to talk about Prove It On Me, the second in her “Power Women Of The Blues” Series.  Always an fun to chat with Rory and learn more about the women she honors.   CASEY HENSLEY This talented vocalist has released her sophomore album, Good As Gone, an all original studio album.  Casey shared producing credits with guitarist Laura Chavez.  I look forward to speaking with her about the journey so far and what is to come.

Whoever states the old adage, “A picture is worth a thousand words” grossly underestimates. So Erin D. Chapman shows in Prove It On Me: New Negroes, Sex, and Popular Culture in the 1920s (Oxford University Press, 2012). Just consider the images of African Americans in US popular culture throughout the 19th and 20th centuries; consider the power they held in defining an entire people, and we know better–pictures evince far more than 1000 words. Chapman explores what happens when African Americans use old sexist-racist images and/or create fresh ones to tout the Negro at the turn of the 20th century as modern and new. Through an examination of advertisements at the time, the author makes it evident that many saw the commodification and consumption of the black female body as essential to achieving goals for racial advancement or self-determinism. Chapman, professor of History at George Washington University, offers readers something new: she demonstrates the push-pull dynamics of the image-making in the New Negro era. For, as the new public desire for actual black bodies (as opposed to minstrel caricatures) opens space for the nation to view African Americans as human beings, it also allows for the continued dehumanization of those same bodies–particularly those of the African American female body. As Blueswoman Gertrude “Ma” Rainey demonstrates in the lyrics of her 1928 recording, “Prove It On Me”, to define the self through the use of images is tricky business for who one purports to be in their public persona does not necessarily reflect their private selves. Moreover, in judging “right” versus “wrong” images one must consider the sex-race marketplace where selling and buying is the name of the game–regardless of who is selling to and/or buying from whom. If you want to learn more about New Negroes and how they used prominent ideas about gender, race and sexuality to sell and consume various ideas and products Erin D. Chapman's fine book is what you're looking for. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whoever states the old adage, “A picture is worth a thousand words” grossly underestimates. So Erin D. Chapman shows in Prove It On Me: New Negroes, Sex, and Popular Culture in the 1920s (Oxford University Press, 2012). Just consider the images of African Americans in US popular culture throughout the 19th and 20th centuries; consider the power they held in defining an entire people, and we know better–pictures evince far more than 1000 words. Chapman explores what happens when African Americans use old sexist-racist images and/or create fresh ones to tout the Negro at the turn of the 20th century as modern and new. Through an examination of advertisements at the time, the author makes it evident that many saw the commodification and consumption of the black female body as essential to achieving goals for racial advancement or self-determinism. Chapman, professor of History at George Washington University, offers readers something new: she demonstrates the push-pull dynamics of the image-making in the New Negro era. For, as the new public desire for actual black bodies (as opposed to minstrel caricatures) opens space for the nation to view African Americans as human beings, it also allows for the continued dehumanization of those same bodies–particularly those of the African American female body. As Blueswoman Gertrude “Ma” Rainey demonstrates in the lyrics of her 1928 recording, “Prove It On Me”, to define the self through the use of images is tricky business for who one purports to be in their public persona does not necessarily reflect their private selves. Moreover, in judging “right” versus “wrong” images one must consider the sex-race marketplace where selling and buying is the name of the game–regardless of who is selling to and/or buying from whom. If you want to learn more about New Negroes and how they used prominent ideas about gender, race and sexuality to sell and consume various ideas and products Erin D. Chapman’s fine book is what you’re looking for. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whoever states the old adage, “A picture is worth a thousand words” grossly underestimates. So Erin D. Chapman shows in Prove It On Me: New Negroes, Sex, and Popular Culture in the 1920s (Oxford University Press, 2012). Just consider the images of African Americans in US popular culture throughout the 19th and 20th centuries; consider the power they held in defining an entire people, and we know better–pictures evince far more than 1000 words. Chapman explores what happens when African Americans use old sexist-racist images and/or create fresh ones to tout the Negro at the turn of the 20th century as modern and new. Through an examination of advertisements at the time, the author makes it evident that many saw the commodification and consumption of the black female body as essential to achieving goals for racial advancement or self-determinism. Chapman, professor of History at George Washington University, offers readers something new: she demonstrates the push-pull dynamics of the image-making in the New Negro era. For, as the new public desire for actual black bodies (as opposed to minstrel caricatures) opens space for the nation to view African Americans as human beings, it also allows for the continued dehumanization of those same bodies–particularly those of the African American female body. As Blueswoman Gertrude “Ma” Rainey demonstrates in the lyrics of her 1928 recording, “Prove It On Me”, to define the self through the use of images is tricky business for who one purports to be in their public persona does not necessarily reflect their private selves. Moreover, in judging “right” versus “wrong” images one must consider the sex-race marketplace where selling and buying is the name of the game–regardless of who is selling to and/or buying from whom. If you want to learn more about New Negroes and how they used prominent ideas about gender, race and sexuality to sell and consume various ideas and products Erin D. Chapman’s fine book is what you’re looking for. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whoever states the old adage, “A picture is worth a thousand words” grossly underestimates. So Erin D. Chapman shows in Prove It On Me: New Negroes, Sex, and Popular Culture in the 1920s (Oxford University Press, 2012). Just consider the images of African Americans in US popular culture throughout the 19th and 20th centuries; consider the power they held in defining an entire people, and we know better–pictures evince far more than 1000 words. Chapman explores what happens when African Americans use old sexist-racist images and/or create fresh ones to tout the Negro at the turn of the 20th century as modern and new. Through an examination of advertisements at the time, the author makes it evident that many saw the commodification and consumption of the black female body as essential to achieving goals for racial advancement or self-determinism. Chapman, professor of History at George Washington University, offers readers something new: she demonstrates the push-pull dynamics of the image-making in the New Negro era. For, as the new public desire for actual black bodies (as opposed to minstrel caricatures) opens space for the nation to view African Americans as human beings, it also allows for the continued dehumanization of those same bodies–particularly those of the African American female body. As Blueswoman Gertrude “Ma” Rainey demonstrates in the lyrics of her 1928 recording, “Prove It On Me”, to define the self through the use of images is tricky business for who one purports to be in their public persona does not necessarily reflect their private selves. Moreover, in judging “right” versus “wrong” images one must consider the sex-race marketplace where selling and buying is the name of the game–regardless of who is selling to and/or buying from whom. If you want to learn more about New Negroes and how they used prominent ideas about gender, race and sexuality to sell and consume various ideas and products Erin D. Chapman’s fine book is what you’re looking for. Learn more about your ad choices. Visit megaphone.fm/adchoices

Whoever states the old adage, “A picture is worth a thousand words” grossly underestimates. So Erin D. Chapman shows in Prove It On Me: New Negroes, Sex, and Popular Culture in the 1920s (Oxford University Press, 2012). Just consider the images of African Americans in US popular culture throughout the 19th and 20th centuries; consider the power they held in defining an entire people, and we know better–pictures evince far more than 1000 words. Chapman explores what happens when African Americans use old sexist-racist images and/or create fresh ones to tout the Negro at the turn of the 20th century as modern and new. Through an examination of advertisements at the time, the author makes it evident that many saw the commodification and consumption of the black female body as essential to achieving goals for racial advancement or self-determinism. Chapman, professor of History at George Washington University, offers readers something new: she demonstrates the push-pull dynamics of the image-making in the New Negro era. For, as the new public desire for actual black bodies (as opposed to minstrel caricatures) opens space for the nation to view African Americans as human beings, it also allows for the continued dehumanization of those same bodies–particularly those of the African American female body. As Blueswoman Gertrude “Ma” Rainey demonstrates in the lyrics of her 1928 recording, “Prove It On Me”, to define the self through the use of images is tricky business for who one purports to be in their public persona does not necessarily reflect their private selves. Moreover, in judging “right” versus “wrong” images one must consider the sex-race marketplace where selling and buying is the name of the game–regardless of who is selling to and/or buying from whom. If you want to learn more about New Negroes and how they used prominent ideas about gender, race and sexuality to sell and consume various ideas and products Erin D. Chapman's fine book is what you're looking for. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

My guests are: Paranormal Investigator, Ron Fabiani ("Paranormal Cops") Writer, Dee Jae Cox ("Prove It On Me") Musician, Michele Weiss ("Los Angeles Women's Theatre Project") Actress, Ruthy Otero ("Dancing With My Demons") To hear this show: http://www.latalkradio.com/Sheena.php For more info: http://www.sheenametalexperience.com