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#Ernest Hogan
oldshowbiz · 10 months
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August 1900.
Ernest Hogan was the first major Black comedian of the 20th Century. 
After a typical performance in New York City in the summer of 1900, he was chased through the streets by a violent mob of 500 racists.
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oldschoolfrp · 2 years
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Victory is within grasp (Ernest Hogan, The Space Gamer 9, Metagaming, Dec 1976-Jan 1977)
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aceredshirt13 · 2 years
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a friend and I decided that the funniest possible interpretation of Barok before he gets un-xenophobic is “astonishingly liberal for his time period in every political view that does not involve Japanese people.” for example.
Barok, embroiled in a heated debate with pro-imperialist members of his extended family: How can we as a nation call ourselves civilized when we commit such atrocities against the people of India?!
Barok, being asked if he has a copy of racist 1890s ragtime hit track “All Coons Look Alike To Me” for his phonograph: …No, I am not in possession of that particular cylinder. I highly doubt the genre of minstrelsy is an accurate portrayal of the lives of American Negroes.
Barok, sighing and shaking his head in disbelief at the eager news reporter in front of him: Of course women should have the vote. I’m incapable of understanding why this is even a debate.
Also Barok: Upon viewing it for myself, I found The Mikado to be both terribly offensive and wholly inaccurate. But not enough. I want it twice as offensive and at least three times as inaccurate.
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(from left to right) Ernest Caldwell, Iris Caldwell, Alan "Rory Storm" Caldwell, and Violet "Vi" Caldwell.
" Throughout this period [after WWII] we can also get a sense of the kindness of this 'mild-mannered' man, as Ernie began to take notice of people's situations during his work. If he saw a home with no fire burning during the cold months he would later return to leave a bag of coal on the doorstep. He would often set out early for work, giving himself enough time to clean the windows free of charge for many who could not afford to pay. He would also give his time to a number of charities, and even sent crates of oranges to Russia when he heard that people were starving there.
(..) By [1944] it was also clear that young Alan had a bad speech impediment. At first, the family doctor tried to help Alan. He was then sent to have hypnosis therapy, but it failed to help him control his stammer. A stutter back in those days was not looked upon kindly, with those who stammered being classed as stupid. He also had a new hobby - fire. He would light fires on the bombed areas that he played on, then wait until the firemen arrived to put the fire out, fascinated as he watched them. Alan attended Broad Green Infants and Juniors school. He liked it, but struggled with his speech.
Although his stammer was rather severe, Alan would not let it hold him back. He loved playing out, was full of energy, and had turned into a practical joker, telling one teacher who asked him his name that it was 'Alan Cornflake' as it was easier for him to say than Caldwell. "
- FROM A STORM TO A HURRICANE: Rory Storm & the Hurricanes, Anthony Hogan (2016)
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ix-c-999 · 11 months
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cosmartic
a xenogender related to art and outer space, especially art as an act of defiant non-conformity and personal expression.
it may feel vibrant, excited, lively, and confident, and it may relate to how the user relates personally to the themes of their art.
the connection between art and outer space may involve art about outer space, or art that feels like it was done in space.
because this gender is inspired by the book Cortez on Jupiter by Ernest Hogan, this may be considered a fictigender.
this post has no DNI
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pollicinor · 1 year
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Psyco (1960) Alfred Hitchcock Il mago di Oz (1939) Victor Fleming Il padrino (1972) Francis Ford Coppola Quarto potere (1941) Orson Welles Pulp Fiction (1994) Quentin Tarantino I sette samurai (1954) Akira Kurosawa 2001: Odissea nello spazio (1968) Stanley Kubrick La vita è meravigliosa (1946) Frank Capra Eva contro Eva (1951) Joseph L. Mankiewicz Salvate il soldato Ryan (1998) Steven Spielberg Cantando sotto la pioggia (1952) Stanley Donen e Gene Kelly Quei bravi ragazzi (1990) Martin Scorsese La regola del gioco (1939) Jean Renoir Fa' la cosa giusta (1989) Spike Lee Aurora (1927) Friedrich Wilhelm Murnau Casablanca (1942) Michael Curtiz Nashville (1975) Robert Altman Persona (1966) Ingmar Bergman Il padrino - Parte II (1974) Francis Ford Coppola Velluto Blu (1986) David Lynch Via col vento (1939) Victor Fleming Chinatown (1974) Roman Polanski L'appartamento (1960) Billy Wilder Tokyo Story (1953) Yasujirō Ozu Susanna! (1938) Howard Hawks I 400 colpi (1959) François Truffaut Gangster Story (1967) Arthur Penn Luci della città (1931) Charlie Chaplin La fiamma del peccato (1944) Billy Wilder L'impero colpisce ancora (1980) Irvin Kershner Quinto potere (1976) Sidney Lumet La donna che visse due volte (1958) Alfred Hitchcock 8 1/2 (1963) Federico Fellini Ombre rosse (1939) John Ford Il silenzio degli innocenti (1991) Jonathan Demme Fronte del porto (1954) Elia Kazan Io e Annie (1977) Woody Allen Lawrence d'Arabia (1962) David Lean A qualcuno piace caldo (1959) Billy Wilder Fargo (1996) Joel e Ethan Coen Il mucchio selvaggio (1969) Sam Peckinpah Moonlight (2016) Barry Jenkins Shoah (1985) Claude Lanzmann L’avventura (1960) Michelangelo Antonioni Titanic (1997) James Cameron Notorious - L'amante perduta (1946) Alfred Hitchcock Mean Streets (1973) Martin Scorsese Lezioni di Piano (1993) Jane Campion Non aprite quella porta (1974) Tobe Hooper Fino all'ultimo respiro (1960) Jean-Luc Godard Apocalypse Now (1979) Francis Ford Coppola Come vinsi la guerra (1926) Buster Keaton In the Mood for Love (2000) Wong Kar-wai Interceptor - Il guerriero della strada (1981) George Miller Il lamento sul sentiero (1955) Satyajit Ray Rosemary's Baby (1968) Roman Polanski I segreti di Brokeback Mountain (2005) Ang Lee E.T. - L'extraterrestre (1982) Steven Spielberg Senza tetto né legge (1985) Agnès Varda Moulin Rouge! (2001) Buz Luhrmann La passione di Giovanna D'Arco (1928) Carl Theodor Dreyer La vita è un sogno (1993) Richard Linklater Bambi (1942) David Hand Carrie - Lo sguardo di Satana (1976) Brian De Palma Un condannato a morte è fuggito (1956) Robert Bresson Parigi brucia (1990) Jennie Livingston Ladri di biciclette (1948) Vittorio De Sica King Kong (1933) Merian C. Cooper e Ernest B. Schoedsack Beau Travail (1999) Claire Denis 12 anni schiavo (2013) Steve McQueen Il matrimonio del mio migliore amico (1997) P. J. Hogan Le onde del destino (1996) Lars von Trier Intolerance (1916) D.W. Griffith Il mio vicino Totoro (1988) Hayao Miyazaki Boogie Nights (1997) Paul Thomas Anderson The Tree of Life (2011) Terrence Malick Agente 007 - Missione Goldfinger (1964) Guy Hamilton Jeanne Dielman (1975) Chantal Akerman Sognando Broadway (1966) Christopher Guest Pixote - La legge del più debole (1981) Héctor Babenco Il cavaliere oscuro (2008) Christopher Nolan Parasite (2019) Bong Joon-ho Kramer contro Kramer (1979) Robert Benton Il labirinto del fauno (2006) Guillermo del Toro Assassini nati - Natural Born Killers (1994) Oliver Stone Close Up (1990) Abbas Kiarostami Tutti insieme appassionatamente (1965) Robert Wise Malcolm X (1992) Spike Lee Bella di giorno (1967) Luis Buñuel The Shining (1980) Stanley Kubrick Scene da un matrimonio (1974) Ingmar Bergman Pink Flamingos (1972) John Waters Frank Costello faccia d'angelo (1967) Jean-Pierre Melville Le amiche della sposa (2011) Paul Feig Toy Story (1995) John Lasseter Tutti per uno (1964) Richard Lester Alien (1979) Ridley Scott Donne sull'orlo di una crisi di nervi (1988) Pedro Almodóvar La parola ai giurati (1957) Sidney Lumet Il laureato (1967) Mike Nichols
Dall’articolo "I 100 migliori film della Storia del Cinema secondo Variety: 1° Psyco, 5° Pulp Fiction, 33° 8 1/2, 45° Titanic" di Antonio Bracco
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byneddiedingo · 1 year
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William Holden in Stalag 17 (Billy Wilder, 1953)
Cast: William Holden, Don Taylor, Otto Preminger, Robert Strauss, Harvey Lembeck, Richard Erdman, Peter Graves, Neville Brand, Sig Ruman, Edmund Trczinski,. Screenplay: Billy Wilder, Edwin Blum, based on a play by Donald Bevan and Edmund Trzcinski. Cinematography: Ernest Laszlo. Art direction: Franz Bachelin, Hal Pereira. Film editing: George Tomasini. Music: Franz Waxman.
After their success with Sunset Blvd. (1950), Billy Wilder and Charles Brackett went their separate ways. They had been one of the most successful teams in Hollywood history since 1938, when they began collaborating as screenwriters, and then as a producer (Brackett), director (Wilder), and co-writer team starting with Five Graves to Cairo in 1943. But Wilder decided that he wanted to be a triple-threat: producer, director, and writer. His first effort in this line, Ace in the Hole (1951), was, however, a commercial flop -- now regarded as a classic. So he seems to have decided to go for the sure thing: film versions of plays that had been Broadway hits and therefore had a built-in attraction to audiences. His next three movies, Stalag 17, Sabrina (1954), and The Seven Year Itch (1955), all fell into this category. But what Wilder really needed was a steady writing collaborator, which he didn't find until 1957, when he teamed up with I.A.L. Diamond for the first time on Love in the Afternoon. The collaboration hit pay dirt in 1959 with Some Like It Hot, and won Wilder his triple-threat Oscar with The Apartment (1960). Which is all to suggest that Stalag 17 appeared while Wilder was in a kind of holding pattern in his career. It's not a particularly representative work, given its origins on stage which bring certain expectations from those who saw it there and also from those who want to see a reasonable facsimile of the stage version. The play, set in a German P.O.W. camp in 1944, was written by two former inmates of the titular prison camp, Donald Bevan and Edmund Trczinski. In revising it, Wilder built up the character of the cynical Sgt. Sefton (William Holden), partly to satisfy Holden, who had walked out of the first act of the play on Broadway. Sefton is in many ways a redraft of Holden's Joe Gillis in Sunset Blvd., worldly wise and completely lacking in sentimentality, a character type that Holden would be plugged into for the rest of his career, and it won him the Oscar that he probably should have won for that film. But it's easy to see why Holden wanted the role beefed up, because Stalag 17 is the kind of play and movie that it's easy to get lost in: an ensemble with a large all-male cast, each one eager to make his mark. Harvey Lembeck and Robert Strauss, as the broad comedy Shapiro and "Animal," steal most of the scenes -- Strauss got a supporting actor nomination for the film -- and Otto Preminger as the camp commandant and Sig Ruman as the German Sgt. Schulz carry off many of the rest. The cast even includes one of the playwrights, Edmund Trczinski, as "Triz," the prisoner who gets a letter from his wife, who claims that he "won't believe it," but an infant was left on her doorstep and it looks just like her. Triz's "I believe it," which he obviously doesn't, becomes a motif through the film. Bowdlerized by the Production Code, Stalag 17 hasn't worn well, despite Holden's fine performance, and it's easy to blame it for creating the prison-camp service comedy genre, which reached its nadir in the obvious rip-off Hogan's Heroes, which ran on TV for six seasons, from 1965 to 1971.
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martinbackhausen · 2 years
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The World's First Music
Who discovered the first written music on a Sumerian clay tablet with musical notation and tunings. This cuneiform ode to the goddess Nikkal was composed and written in the 14th century B.C. and is widely regarded as the world's first form of musical notation.
Lament is a musical genre inherited from the Hebrew language that expresses a sorrowful condition of being. It frequently blends singing and musical accompaniment, relying on language's healing capabilities. However, the lyrics themselves are the dominating power in this style of music, which combines cognitive and expressive qualities. Music is a complement to the words, not an afterthought or gratuitous addition.
The force of sorrow makes it the world's first music. It helps us recall the past's grace and renew our faith in the present. Remembering also enables us to deepen our faith and optimism.
All Mortal Flesh Be Free Keep Silent is a French carol arrangement. It's written for SSA voices with optional percussion. It begins suspiciously and concludes with an alleluia chorus. It's a fantastic processional anthem.
The song is an ancient Christian hymn. It was derived from the Greek text of the Cherubic Hymn in the fourth century. It is a component of the St. James Liturgy and is commonly referred to as the St. James Liturgy. This hymn is sung in the previous Divine Liturgy and is performed during the Offertory in the Liturgy of St. James.
Edith Piaf was a French singer who grew up in Paris's red-light district. During WWII, her career went off like a rocket. Piaf, a feisty 4ft 10in diva, was a volcano of drama. Her songs frequently dealt with abandonment, murder, and prostitution. She penned around 100 of her songs and several co-written songs with other ladies.
Indian classical music is the world's oldest classical music tradition (marga). Musical instruments and dance are shown in ancient Indus Valley monuments. The Rigveda features components used in Indian music today, such as musical notation to denote chanting mode. Persian performance customs and the Afghan Mughals affected Indian music during the Middle Ages.
The original melody of the song is a French folk tune. It depicts Jesus' arrival on Earth beautifully. It also portrays the brilliance of Heaven's cherubim and seraphs.
Grace Jones recorded the song in 1977. It was the third single from her first album and the first song to be released by Island Records. A montage of Jones playing the song was featured on the cover of the compilation CD Island Life in 1978. Jones dances in the video, exposing her right breast while wearing skimpy gold and black underwear.
The oral tradition, through which musicians learned to play instruments and sing, was a significant input to the evolution of Indian classical music. This form of instruction allowed for improvisation and contributed to the Gharana's progress over time.
Both ragtime and jazz originated in America, although they are entirely distinct styles. Ragtime was popular before the invention of sound recordings in the nineteenth century. It spread via published sheet music and piano rolls, whereas jazz was a more contemporary genre that spread via recordings and live performances. Ragtime was popularized by Ernest Hogan, a ragtime composer who originated the word. It's also notorious for racist songs like "La Pas Ma La."
African-American music influenced the development of ragtime and jazz. The saxophone was initially used in ragtime and jazz music. They used improvisation and instruments such as cornet, clarinet, and trombone. Ragtime and jazz performers drew inspiration from various genres, such as traditional slave songs and pop tunes.
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kindtobechurlish · 1 year
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Katie doesn’t want to do Valentine’s Day Tomorrow, the best day ever, instead she calls me a coon. She says if she gets with me, she will be in a world of trouble.. so, the negro woman makes the narrative and now I have to get what I need to get a negro woman to have her. That negro woman is calling for equality, and these old fuckfaces, pinheads, oppress me. I’m not being friendly with them, they aren’t my family.. just because i say I would rather Trump than Biden, that doesn’t mean I don’t like them both. Fuck them.
Some woman sees what I have to say, she’s calling me a coon. “Go out and get you another job”, and because it’s 2023 and intelligence is.. I can get that job just to not see that typical cracker who gets to talking when I come around. He isn’t there. Now, in him not being there, that cracker, you see people looking to drive sales and there is not a Kike yelling, “shades, shades, get your sun shades”, and I’m going up to them saying, “have you ever had polarized shades? It stops the glare from the sun, it’s very good” just for a Kike to be a swindler. That is what this job is, and because idiots don’t know what is criminal they are looking to drive sales.. a bunch of people who shop there are spicks. I was talking to some spicks, some asshole was in my face with his son and I found out he thought I was Dominican. What? That’s a first.. and a woman agreed. What?
Katie is just like that negro female, she hears what I have to say, doesn’t give a damn about Albert Pike and his “brotherhood” and you see it. “Go out and get you another job”, and it’s only means to make her more comfortable to do female crimes. Katie doesn’t want to do Valentine’s Day, and I get my enablement from people I’m not getting buddy buddy with as I did servitude myself.. she wants me to do what that negro female wants. Why can all these people date, get turned off, just to find another, and they aren’t saying all coons look alike to me because they aren’t black and Ernest Hogan did race betrayal, but when I want to do Valentine’s Day you see women who call me coon? Why would I not be turned off? Now, things are about a budget and this fuckface, pinhead, is oppressing me. I’m not going to their funerals, I’m not getting to know them personally.. and fuck these women. Why can other people date and be turned off, but I have to fit the stereotype and be crazy over light skinned and people not me race? Fuck you
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if-you-fan-a-fire · 1 year
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“Complains To Price Of Toronto Police,” Toronto Star. November 16, 1932. Page 3. ---- Frank Regan Retained by Relatives of Albert Dorland, Now in ‘Pen’ --- Frank Regan (K.C.), barrister, today sent a letter to Hon. W. H. Price, Attorney-General, making serious charges against Toronto police in connection with the case of Albert E. Dorland, now serving a five-year term in Kingston penitentiary for carrying offensive weapons.
On April 7, 1930, Dorland and William Toohey, alias Charles Gordon, were arrested as Dorland was about to hold up the Royal Bank at the corner of Church and Wellesley Sts.
The men appeared in police court on April 8 when Dorland was sent to the penitentiary, but the charges against Toohey and a third man, Ernest Bird, were withdrawn.
Mr. Regan has been retained by relatives of Dorland and the allegations in his letter to Mr. Price are based on statements made to him by Toohey. Toohey is now in jail in Hamilton awaiting removal to the Ontario reformatory to begin a sentence of one year definite and two years less a day indefinite for theft, four charges of forgery and uttering and breach of recognizance.
May Investigate If the Regan letter to the attorney-general contains definite charges, the matter will be dealt with forthwith by the police commission, Mayor Stewart declared to-day upon hearing of the letter.
The report of the arrest as published in The Star of April 7 1930, makes lively reading and is as follows: ‘Headquarters detectives shortly before three o’clock this afternoon apprehended two former inmates of Kingston Penitentiary in a stolen car with sawed-off guns resting on their knees, after the men had charged head on into the police car and detectives had fired several rounds from their pistols. It is believed a hold-up of the Royal Bank, Church and Wellesley Sts., was frustrated.’
‘The driver of the car, W. E. Dorland, of Toronto, rolled out into the street. The detectives thought they had killed him, while the other man, named Gordon, threw up his hands and surrendered. The car with Dorland and Gordon was in a lane-way just to the each of Church St., on the south side and started to drive up the lane-way when the detectives’ machine proceeded along the street. Suddenly the bandits drove their car at full tilt into the police vehicle, occupied by Detective-Sergeant George Tift, James Thomson, Pat Hogan, Archie McCathie and Driver Carick.
‘The detectives, finding the men with guns on their knees, jumped at the other machine, which was blocked by the police car, drew their pistols and opened fire.
Thought Dorland Dead ‘Two shots shattered the front windshield whizzing by Dorland at the wheel, one embedding itself in the back seat. Another ripped through the right side and two more crashed through the glass of the left door. Detective-Sergeant Thomson, standing on the running board of the police car, was jammed against the rear door of it in the collision. His leg was injured and the door of the police car was ripped clean off and fell to the street.
‘The detectives then surrounded the car and Dorland fell from his seat to the sidewalk. ‘We thought he was dead,’ said Detective Tuft. Then Gordon was also placed under arrest. The men, with their shotguns, were brought to police headquarters. Detective-Sergeant Thomson, limping from injuries to his leg, went up to the M.O.H.’s department and had it examined.
‘Later police announced that Dorland would be held on a charge of conspiracy to rob a bank. Dorland just missed death in some remarkable manner. At headquarters he told the police one bullet seared his forehead, burning the skin on his temple. ‘It was a close call – I’ll say,’ he exclaimed.
‘Inspector of Detectives Murray told The Star that Dorland admitted he was going to rob the bank. When we caught them they begged for mercy, stated the detectives. ‘We were rolling on the streets on top of them until we finally subdued them. When they saw our car they rushed out of the lane right at us, head on, and hit us sideways. Their radiator was crushed in. We saw their shots guns and then opened up on them and they quit cold. We cannot, understand, how they missed being hit.’
‘The police had been warned an attempt was about to be made to rob a bank on Wellesley St. and drove there and waited.’
That official recognition has been taken of Mr. Regan’s letter is indicated by the fact that at about 11 a.m. to-day Sergt. of Detectives McMahon, in charge of the city hall detective branch, came to the office of the police court clerk and secured the original complaint and the records of the conviction of Dorland.
‘I am too busy to discuss this matter now,’ said Chief Draper. ‘See the chief inspector.’
‘I have received the letter but have not read it carefully enough to make any statement,’ said Attorney-General Price.
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humanoidhistory · 4 years
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Ron Walotsky cover art for Cortez on Jupiter by Ernest Hogan, 1990.
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svourvoulias · 6 years
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Guatemalan and Mexican jarras, used to make and/or serve chocolate, atole and café de olla, hold molinillos and other wooden kitchen  implements. The Guatemalan jarra, on the left, bears the inscription: “No me olvides” (“Don’t forget about me”).
This is the time of year when the timelines of speculative fiction writers and reviewers fill with awards eligibility posts listing stories and novels readers might consider nominating for upcoming Nebula and Hugo awards.
It can be a humbling time for those of us who are slow to write and slow to submit. Many of my colleagues in the field have four or five eligible short stories, and at least one eligible longer piece (novelette, novella or novel); I have only one. And while it is true that I’m not a fantastically prolific fiction writer even in the best years, I know my creative output took a real hit in 2017.
From chatting with and hearing the comments of other Latinx writers, I’m not the only one. The  profound and recurring political threats to our local and national communities, as well as the catastrophic natural events that have impacted us, our friends and loved ones, have taken a toll. Understand — none of us are laying down or laying off, none of us are willingly muting our voices at a time when it becomes more and more urgent to speak out — but writing can feel like slogging through particularly thick and bitter molasses these days.
Still, you know what they say.
One. Story. At. A. Time.
My award nomination eligible short story this year — “Sin Embargo,” published in the anthology Latin@ Rising in January — is among my favorites. It plays across languages. It looks at tough issues of displacement and migration and politically motivated brutality, and still finds a way to speak of love, of hope, and of the radically transformative magic of interpersonal solidarity. It is a bear to read aloud because of all the bilingual homographs, and yet I insist on doing just that at public readings because … well, there is delight to be had in noting difference and similarity and the possibility of wholeheartedly embracing both.
  In “Sin Embargo,” by Sabrina Vourvoulias, the psychology of immigration and asylum collides with inhuman transformation. — Kirkus Reviews
“Sin Embargo” is not, unfortunately, available to read online for those who might want to read it for nomination consideration. But the whole anthology is top-notch and well worth purchasing in print or eBook, and it deserves a a much wider SFF readership than it has had so far.
Latin@ Rising includes wonderful reprint stories from writers celebrated by the SFF community (Junot Díaz, Carlos Hernández, Daniel José Older and Carmen María Machado), along with remarkable original stories by  Latinx literary luminaries that are perhaps less known to SFF-only audiences, like the superb Kathleen Alcalá and Ana Castillo. It also includes the first English-language translation of a short story, “Accursed Lineage,” by Daína Chaviano, who is considered one of the three most important SFF authors writing in Spanish (Argentina’s Angélica Gorodischer and Spain’s Elia Barceló are the other two).
I honestly believe that if Latin@ Rising had been reviewed by SFF-focused review sites, or if it had gotten the attention other, more mainstream SFF anthologies have received this year, many of its stories would already be on people’s Nebula and Hugo nominating lists. I’m particularly fond of “Caridad” by Alex Hernández, “The Drain” by Alejandra Sánchez,”Room for Rent” by Richie Narvaez, and “Flying Under the Texas Radar With Paco and Los Freetails” by Ernest Hogan. (I wish there were an award somewhere for ingenious story titles because Hogan would be a repeat winner. “Pancho Villa’s Flying Circus” in the anthology  We See a Different Frontier is another good one of his.)
Beyond Latin@ Rising
I read a lot of other great short stories this year and no way can I remember them all, but among those that live most vividly in my memory are:
“The Famine King” by Darcie Little Badger (Mythic Delirium)
“Monster Girls Don’t Cry” by A. Merc Rustad (Uncanny Magazine)
“Clearly Lettered in a Mostly Steady Hand” by Fran Wilde (Uncanny Magazine)
“Naranjas Inmortales” by Ezzy Guerrero Languzzi (from the anthology Strange California)
“The Obsidian Codex“ by David Bowles (from his 2017 collection of short stories Chupacabra Vengeance). I think this story is longer than a short story, possibly novelette length? A further word about this collection (which contains my favorite Bowles story, “Wildcat,” originally published by Apex Magazine in 2015): Many of the stories in the collection are very dark and contain horrors beyond the commonplace … a number of them really should be under consideration for a Shirley Jackson award.
“The Corporal” by Ali Bader. All right, this short story isn’t actually eligible for nomination since it appeared (translated) in the 2016 anthology Iran +100, but I only read it this year so, for me, it is identified with this year’s great pieces. I urge you to seek it out simply for the pleasure of reading a beautifully written fantasy with sci fi elements.
As far as 2017 novels are concerned, I haven’t yet read most of the ones that have been mentioned in the overlapping “Best of” lists are being published now. Still, I am hoping that the exceptional “American Street” by Ibi Zoboi is on lots of folks’ award-nominating lists in either the novel or YA categories. And, yes, it is good enough to deserve to be on both at once.
If I can dredge up more recommended reads from my memory banks during this nominating period, I’ll update this post. Stay tuned.
And don’t forget to nominate!
                  2017 awards eligibility and what I’ve loved reading this year This is the time of year when the timelines of speculative fiction writers and reviewers fill with awards eligibility posts listing stories and novels readers might consider nominating for upcoming Nebula and Hugo awards.
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primatechnosynthpop · 2 years
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Re: last rb, I feel like I've got the ernest posting out of my system but I do need to point out that the second verse of "oh no!" could very easily be applied to him as well
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airecolormundo · 7 years
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“All Coons Look Alike to Me” de Ernest Hogan (Coon Song, Estados Unidos, 1895).
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Danger Mouse: [the phone rings while Danger Mouse is cracking a safe] Answer the phone, tell him it's the wrong number.
Penfold: I'm sorry, you've got the wrong number. [pause] So what if you haven't told me who you're calling yet? No matter who you're calling it's still the wrong number because I don't even have a phone!
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kemetic-dreams · 3 years
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Ragtime originated in African American music in the late 19th century and descended from the jigs and march music played by African American bands, referred to as "jig piano" or "piano thumping".
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By the start of the 20th century, it became widely popular throughout North America and was listened and danced to, performed, and written by people of many different subcultures. A distinctly American musical style, ragtime may be considered a synthesis of African syncopation and European classical music, especially the marches made popular by John Philip Sousa.
Some early piano rags are entitled marches, and "jig" and "rag" were used interchangeably in the mid-1890s.Ragtime was also preceded by its close relative the cakewalk. In 1895, African entertainer Ernest Hogan composed two of the earliest sheet music rags, one of which ("All Coons Look Alike to Me") eventually sold a million copies. The other composition was called "La Pas Ma La", and it was also a hit.
As African musician Tom Fletcher said, Hogan was the "first to put on paper the kind of rhythm that was being played by non-reading musicians." While the song's success helped introduce the country to ragtime rhythms, its use of racial slurs created a number of derogatory imitation tunes, known as "coon songs" because of their use of racist and stereotypical images of Africans. In Hogan's later years, he admitted shame and a sense of "race betrayal" from the song, while also expressing pride in helping bring ragtime to a larger audience.
The emergence of mature ragtime is usually dated to 1897, the year in which several important early rags were published. In 1899, Scott Joplin's "Maple Leaf Rag" was published and became a great hit and demonstrated more depth and sophistication than earlier ragtime. Ragtime was one of the main influences on the early development of jazz (along with the blues). Some artists, such as Jelly Roll Morton, were present and performed both ragtime and jazz styles during the period the two styles overlapped. He also incorporated the Spanish Tinge in his performances, which gave a habanera or tango rhythm to his music. Jazz largely surpassed ragtime in mainstream popularity in the early 1920s, although ragtime compositions continue to be written up to the present, and periodic revivals of popular interest in ragtime occurred in the 1950s and the 1970s.
The heyday of ragtime occurred before sound recording was widely available. Like classical music, and unlike jazz, classical ragtime had and has primarily a written tradition, being distributed in sheet music rather than through recordings or by imitation of live performances. Ragtime music was also distributed via piano rolls for player pianos. A folk ragtime tradition also existed before and during the period of classical ragtime (a designation largely created by Scott Joplin's publisher John Stillwell Stark), manifesting itself mostly through string bands, banjo and mandolin clubs (which experienced a burst of popularity during the early 20th century) and the like.
A form known as novelty piano (or novelty ragtime) emerged as the traditional rag was fading in popularity. Where traditional ragtime depended on amateur pianists and sheet music sales, the novelty rag took advantage of new advances in piano-roll technology and the phonograph record to permit a more complex, pyrotechnic, performance-oriented style of rag to be heard. Chief among the novelty rag composers is Zez Confrey, whose "Kitten on the Keys" popularized the style in 1921.
Ragtime also served as the roots for stride piano, a more improvisational piano style popular in the 1920s and 1930s. Elements of ragtime found their way into much of the American popular music of the early 20th century. It also played a central role in the development of the musical style later referred to as Piedmont blues; indeed, much of the music played by such artists of the style as Reverend Gary Davis, Blind Boy Fuller, Elizabeth Cotten, and Etta Baker could be referred to as "ragtime guitar."
Although most ragtime was composed for piano, transcriptions for other instruments and ensembles are common, notably including Gunther Schuller's arrangements of Joplin's rags. Ragtime guitar continued to be popular into the 1930s, usually in the form of songs accompanied by skilled guitar work. Numerous records emanated from several labels, performed by Blind Blake, Blind Boy Fuller, Lemon Jefferson, and others. Occasionally ragtime was scored for ensembles (particularly dance bands and brass bands) similar to those of James Reese Europe or as songs like those written by Irving Berlin. Joplin had long-standing ambitions of synthesizing the worlds of ragtime and opera, to which end the opera Treemonisha was written. However, its first performance, poorly staged with Joplin accompanying on the piano, was "disastrous" and was never performed again in Joplin's lifetime.[The score was lost for decades, then rediscovered in 1970, and a fully orchestrated and staged performance took place in 1972. An earlier opera by Joplin, A Guest of Honor, has been lost
The rag was a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music.It was usually written in 2/4 or 4/4 time with a predominant left-hand pattern of bass notes on strong beats (beats 1 and 3) and chords on weak beats (beat 2 and 4) accompanying a syncopated melody in the right hand. According to some sources the name "ragtime" may come from the "ragged or syncopated rhythm" of the right hand. A rag written in 3/4 time is a "ragtime waltz."
European Classical composers were influenced by the form. The first contact with ragtime was probably at the Paris Exposition in 1900, one of the stages of the European tour of John Philip Sousa. The first notable classical composer to take a serious interest in ragtime was Antonín Dvořák.
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French composer Claude Debussy emulated ragtime in three pieces for piano. The best-known remains the Golliwog's Cake Walk (from the 1908 Piano Suite Children's Corner). He later returned to the style with two preludes for piano: Minstrels, (1910) and General Lavine-excentric (from his 1913 Préludes), which was inspired by a Médrano circus clown
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