Drumline This paper is an examination of the movie Drumline. It presents a few characters, their mentality, screw ups in the movie, and a short synopsis of the movie itself. Drumline, a movie fixated on the exceptional rivalry and pomp of the Marching Bands of the Historically Black Colleges and Universities of the South. The marching bands set the structure for Drumline a movie around a talented, yet cocky adolescent drummer who understands that it takes more than ability to succeed. Drumline is a heartbeat beating musical drama around a youthful, undisciplined, freshman drummer who tries to fit into a disciplined show-style marching band at an anecdotal school in Atlanta. Drumline is a fascinating, yet humanist, investigation of the dangers …show more content…
Set in Atlanta, at the imaginary Atlanta A& T University, we meet Devon Miles (Nickelodeon's Nick Cannon) a youthful road drummer from Harlem who gets a full grant to play in the school's marching band. He ends up being the best resource on the Drumline, but at the same time he's a diva, and he tangles early and heatedly with his area pioneer, Sean (Buffy's Leonard Roberts), an upper-classman who's committed 3 years to the Drumline and doesn't need Devon to twist the congruity. To add to the strain between the two, Devon upstages Sean on a few events, and turns into the most loved of the Dean, yet not of his attacked band director Dr. Lee. The band director of neighboring school and rivalry rival, Morris Brown University, additionally recognizes his gifts, and pranks. Morris Brown has been wiping the floor with A& T for the recent years at the BET Southern Classic, a yearly rivalry for HBCU …show more content…
It isn't until the most recent 20 minutes where we are at last treated to a few full exhibitions where their exactness and imaginativeness are permitted to sparkle. I was inspired, yet at that point, the totally unsurprising plotline had emptied any ounce of energy left in the movie. Drumline tries to be interesting, yet it fizzles. It likewise neglects to be moving by lecturing stale, abused representations like, you must figure out how to take after before you can lead. Bottom line, there is nothing persuasive about Drumline and the main fascinating parts happen in the film's last stanza. At least, Drumline succeeds in scattering a few myths about marching bands, yet it never truly provides for us any motivation to give a second thought. Still, however the movie does exceed its respect, it’s never exhausting and most of the music is irresistibly snappy - also amazing, which the vast majority of the drum arrangements positively are. At the same time the widespread consistency of the screenplay and overlong running time keeps Drumline from getting to be significantly more than an immediately forgettable two
Rachel M. Harper’s The Myth of Music intentionally weaves together 1960s era jazz music and a poor African American family via metaphor and allusion to show a deep familiar bond between father and daughter.
For centuries, music has been defined by history, time, and place. To address this statement, Tom Zè, an influential songwriter during the Tropicália Movement, produced the revolutionary “Fabrication Defect” to challenge oppression as a result from the poor political and social conditions. On the other hand, David Ramsey discusses, in mixtape vignettes, the role of music to survive in New Orleans’ violent setting. Furthermore, “The Land where the Blues Began”, by Alan Lomax, is a film and perfect example to understand under what musical conditions profound ways of communication are made to stand the hard work of cotton plantations. As a result, music plays a crucial role in the sources’ cultures and its creation relies on particular conditions such as the social
Tap dancing, an art grounded in African American culture, has moved from an upbeat style with its collection of steps that characterize the Jazz Age, such as the Charleston and the Stomp Time Step, to a style that better mirrors rap’s explosive rhythms and tendency towards synchronization. Much like African American music, tap- dancing’s evolution has been closely aligned with social progress and the slow breaking-down of stereotypes developed in the minstrel shows of the late 1800’s. The direct effects of racist stereotyping on tap-dancing are best observed in pre- 1960’s Hollywood films because these films reached a wide, mostly white, audience and were financed and directed by Whites. Tap legend, Bill ‘Bojangles’ Robinson, the star of Stormy Weather (1943), was forced to funnel his talent through a colander of social prejudices set to White Hollywood’s liking, and these social confines are visible in his dancing in this film. It was not until the 1980’s that modern tap emerged in Hollywood as an energetic battle cry from young African American dancers who demanded respect for their art form by refusing to conform to stereotypes. The film Bamboozled (2000), directed by Spike Lee, contrasts modern-day tap to the old-school style. In it, Savion Glover performs both the funky, urban style in street scenes and the smiley, traditional style in modern-day minstrel shows recreated for the film. In order to demonstrate how early conformity with and later break away from stereotypes have fueled the formation of two different generations of tap dancing, I will discuss historical context, and specifically the influence of minstrel shows on Stormy Weather and the 80’s tap revival on Bamboozled, before isolating and analyzing a scene from each film as representative of the two styles of tap-dancing.
Prompt 1 Mr. Dadier and Gregory Miller’s relationship throughout Blackboard Jungle reflects the socioculture happenings in the civil rights movement in relation to rock-and-roll. The beginning of the film opens with its only rock song Bill Haley and the Comets “Rock Around the Clock” and Dadier first encountering a group of students dancing, harassing a woman and gambling or as Shumway (125) describes, “helping to define the culture’s conception of dangerous youth and to make rock & roll apart of that definition.” The opening scene informs both Mr. Dadier and the viewer that rock-and-roll has already reached this racially integrated school noting that Gregory Miller has yet to be in a seen. For the viewers of this 1955 movie there would be a more profound reaction to the sight of a racially integrated school dancing to “Rock Around the Clock” because just a year before Brown vs Board of Education was passed which according to Szatmary (21) “helped start a civil rights movement that would foster an awareness and acceptance of African American culture, including the African American based rock-and-roll.” Since rock-and-roll was recognized as created by African-Americans it is easy for white Americans of the time to use African-American culture as a scapegoat for unruly teen behavior presented in the opening scene. The first scene Gregory Miller is introduced there is tension between him and Mr. Dadi...
The book depicts the story of culture conflicts of the music, which arose from the introduction of the foot-tapping, hip-swaying music now known as rock n' roll (Graarrq). The outcome of rock n’ roll coincided with tremendous uproar in the movement to grant civil rights to African American. Trapped in the racial politics of the 1950s, rock n’ roll was credited with and criticized for promoting integration and economic opportunity for blacks while bringing to “mainstream” cloture black styles and values (Altschuler). Black values were looked over and kind of not important to whites. Whites were very much so well treated then blacks were, however no one spoke out until the outcome of rock n’ roll.
This type of integration went both ways, as black bands would hire young, adolescent white musicians in an effort to get more gigs. Jazz went to war, too, and would serve to remind men and women of home. On the home front, the music industry found itself struggling once again. Black-outs and late-night curfews darkened some nightclubs and dance halls. “The rationing of rubber and gasoline eventually drove most band buses off the roads, and the draft stole away good musicians.
Music nurtured the African American tradition and their struggle towards equality in the same century.... ... middle of paper ... ... Greensboro, N.C.: Morgan Reynolds Pub. Carter, D. (2009).
Before the war started, a wealthy white man by the name of John Hammond worked to integrate black and white music.1 Since his childhood, he enjoyed the music of numerous black artists, and he wanted to share his love with the rest of America. He used much of his inherited fortune to make this possible. He went against the general opinion of society and his parents, who despised black people. Hammond refused to ignore black artists’ musical abilities because of their color, “I did not revolt against the system, I simply refused to be a part of it.”2 He used his money to organize the most eclectic group of musicians ever assembled, for an integrated audience of his time. Hammond’s efforts made an indelible impact on the music industry. The musicians Hammond introduced in...
Not known to many, the genre of rock music originated from gospel music sung on the slave plantations in early Mississippi. A common musical device used in rock music is known as “call and response”. This is where the singer sings the line and everyone else involved in the chorus repeats that line. This came from slaves working in the fields and singing songs to get through the day. Theses hymns are fondly referred to as “negro spirituals”. In Anne Moody’s novel, Coming of Age in Mississippi we revisit African Americans in Mississippi struggling not through slavery, but through the oppression of the Civil Rights Era. At the same plantation but in a different time, Jim crow has made life almost impossible for blacks to get by in the South. In a country were all men were created equal, laws were put in place to ensure that blacks could never achieve equality. Through Anne Moody’s work and through the work of musical artists Johnny Cash, and Nas, we will discover just how far we may or may not have come.
“Sonny’s Blues” is a short story in which James Baldwin, the author, presents an existential world where suffering characterizes a man’s basic state. The theme of tragedy and suffering can be transformed into a communal art form, such as blues music. Blues music serves as a catalyst for change because the narrator starts to understand not only the music but also himself and his relationship with Sonny. The narrator’s view of his brother begins to change; he understands that Sonny uses music as an outlet for his suffering and pain. This story illustrates a wide critical examination.
According to Albert Murray, the African-American musical tradition is “fundamentally stoical yet affirmative in spirit” (Star 3). Through the medium of the blues, African-Americans expressed a resilience of spirit which refused to be crippled by either poverty or racism. It is through music that the energies and dexterities of black American life are sounded and expressed (39). For the black culture in this country, the music of Basie or Ellington expressed a “wideawake, forward-tending” rhythm that one can not only dance to but live by (Star 39).
Percival Everett’s “The Appropriation of Cultures” (2004), demonstrates the power of a symbol and the meanings that it can carry. In the story, Daniel Barkley is a highly accomplished African American man who graduated from Brown and frequently plays guitar near the campus of The University of South Carolina. From the beginning of the story, Barkley exposes a distinct independent personality that isn’t afraid to break stereotypes or labels. The first scene describes an instance in a bar where white fraternity boys were challenging Barkley to play ‘Dixie’ for them. Instead of refusing, like most would have done, he instead begins to play and take ownership of the song. Later in the story, Barkley decides to purchase a truck with a giant confederate flag decal in the back. Despite the strange stares and confusion
The development of Rock ‘n’ Roll in the late 1940s and early 1950s by young African Americans coincided with a sensitive time in America. Civil rights movements were under way around the country as African Americans struggles to gain equal treatment and the same access to resources as their white neighbors. As courts began to vote in favor of integration, tensions between whites and blacks escalated. As the catchy rhythm of Rock ‘n’ Roll began to cross racial boundaries many whites began to feel threatened by the music, claiming its role in promoting integration. This became especially problematic as their youth became especially drawn to ...
When first reading “Sonny’s Blues” by James Baldwin, it may initially seem that the relationship between musicians and drugs is synonymous. Public opinion suggests that musicians and drugs go hand and hand. The possibility lies that Sonny’s passion for jazz music is the underlying reason for his drug use, or even the world of jazz music itself brought drugs into Sonny’s life. The last statement is what the narrator believes to be true. However, by delving deeper and examining the theme of music in the story, it is nothing but beneficial for Sonny and the other figures involved. Sonny’s drug use and his music are completely free of one another. Sonny views his jazz playing as a ray of light to lead him away from the dim and dismal future that Harlem has to offer.
Music often carries information about community knowledge, aesthetics, or perspectives. Toni Morrison discusses the power of music and the way it functions in culture in discussions of her craft. Symbolic and structural elements of music appear throughout all of Toni Morrison’s fiction in one way or another. (Obadike) As mentioned above, the title itself, draws attention to the world-renowned music created by African Americans in the 1920s’ as well as to the book’s jazz-like narrative structure and themes.