1,067 research outputs found
Memphis Stories: Fred Jones Jr.
No full textThis oral history with Fred Jones, Jr., was recorded on December 5, 2024, with Dr. Charity Clay as part of the Mellon grant-funded Memphis Stories Project. In this inerview Fred Jones Jr. covers topics including John Gaston Hospital, Clayborn Homes, Ellie Brown Park, the Southern Heritage Classic, Tennessee State University, Jackson State University, Isaac Hayes, Stax Records, Union Planters Bank, David Porter, and the Emmanuel Center
Widening of Logan Canyon Highway Report
No full textA compilation, by Hancey, Jones, Wright & Co., of information gathered from a telephone survey conducted by Councilman Fred Duersch Jr. Includes Exhibits 1 and 2 which show the results of the information in graphs and tables
Dr. Courtland Davis, Jr. and Dr. Fred Garvey fishing.
No full textDr. Courtland Davis, Jr. and Dr. Fred Garvey fishing
Selected examples of the Crusader style icons in the Fred Jones Jr. Museum of Art
No full textBefore Constantinople fell in 1453, Byzantine-style iconography had been experiencing massive shifts in not only production, but also in manufacturing quantity and personal use. Two such pieces reminiscent of this shift are displayed in the Fred Jones Jr. Museum of Art as part of the Ambassador George Crews and Cecilia DeGoyler McGhee Collection of Icons at the Fred Jones Jr. Museum of art at The University of Oklahoma at Norman. These two works, Virgin and Child, Virgin of Consolation (Madonna della Consolazione) and The Virgin as the Life-Giving Spring are representative of the aforementioned variables, namely the effects of Crusaders and their art on the iconological canon, the emergence and prevalence of icons hailing from the Greek Ionian islands, and the influence of private patronage on thematic matter and function. By creating a historiographical timeline focusing on the influence of these variables of style, I identify the icons in the FJJMC as derivates of the works being manufactured around the thirteenth to fifteenth centurie
Retelling racialized violence, remaking white innocence: the politics of interlocking oppressions in transgender day of remembrance
No full textTransgender Day of Remembrance has become a significant political event among those resisting violence against gender-variant persons. Commemorated in more than 250 locations worldwide, this day honors individuals who were killed due to anti-transgender hatred or prejudice. However, by focusing on transphobia as the definitive cause of violence, this ritual potentially obscures the ways in which hierarchies of race, class, and sexuality constitute such acts. Taking the Transgender Day of Remembrance/Remembering Our Dead project as a case study for considering the politics of memorialization, as well as tracing the narrative history of the Fred F. C. Martinez murder case in Colorado, the author argues that deracialized accounts of violence produce seemingly innocent White witnesses who can consume these spectacles of domination without confronting their own complicity in such acts. The author suggests that remembrance practices require critical rethinking if we are to confront violence in more effective ways. Description from publisher's site: http://caliber.ucpress.net/doi/abs/10.1525/srsp.2008.5.1.2
Book Review: The Fred Jones Jr. Museum of Art at the University of Oklahoma: Selected Works
No full textIn an effort to outline the depth of the collections of the University of Oklahoma Fred Jones Jr. Museum of Art, Selected Works is a genuine mix of many varying styles and media. After gifts of Asian art formed the beginnings of the OU art collection in the 1930s, a significant acquisition was made by founding director Oscar Jacobson in 1948 consisting of 117 American paintings from the Advancing American Art exhibition organized by the u.s. Department of State. Many of the works are illustrated. The paintings cover the gamut of American Modernism, including work by Georgia O\u27Keeffe, Romare Bearden, Adolph Gottlieb, Marsden Hartley, Edward Hopper, and Max Weber
Walter and Hazel Jones and others of the Golden Fifties Club, photo 2
No full textCaption on front: Golden Fifties; Row 1 (L to R) Kathleen Searcy Maxwell, Maud Flynn Frank, Cecile Cunningham Craig, Viola Hollis Oakley, Auguste S. Sledge, Hazel Phelps Jones, Willie Veal Sewell. Row 2 (L to R) P. E. Frank, M. L. Oakley, Minnie Jackson Wilson, Dr. Walter B. Jones, Joe Sewell. Row 3 (L to R) Fred R. Maxwell, Jr., Graham Echols, Ray L. Farabee, James A. McKay, John C. Wilson, William Tandy Barrett, Guy Gilliland
Song Album of Primrose and Dockstader\u27s Minstrels
No full textA songbook with piano and vocal scores for several songs performed by Lew Dockstader\u27s minstrel shows. Included is Sleep on, Dream on by Dave Reed, Jr.; I\u27ve Got Money Locked Up in a Vault by Irving Jones; Don\u27t Butt In by James Weldon Johnson, a Black lyricist, Robert Cole, a Black lyricist, and John Rosamond Johnson, a Black composer; and There are Two Sides to a Story by Will A. Heelen and J. Fred Helf.https://digitalcommons.usf.edu/aa_sheet_music/1339/thumbnail.jp
Representations of screen heterosexuality in the musicals of Fred Astaire and Vincente Minnelli
No full textThis thesis examines the ways in which heterosexuality
is rendered in the Hollywood genre where its existence
is most privileged: musicals of the studio era (c. 1930 -
c. 1960). In this popular film category, heterosexuality
is expressed in a framework of "boy-meets-girl" amatory
coupling that is remarkably amplified and insistent. In
analysis that is at once sympathetic and critical of the
subject matter, I show that heterosexuality in the
Hollywood musical is constructed in a way that is far
from monolithic. On the contrary, I find that there are
in fact varieties of heterosexual identity that exist in
the genre, and that they are most succinctly revealed
through romantic engagement. Yet heterosexuality is
depicted along divergent formulations owing to
contrasting relational aims and assumptions. Building on
Richard Dyer's 1993 essay, "'I Seem to Find the
Happiness I Seek': Heterosexuality and Dance in the
Musical," I will discuss how the basis of these separate
models is traceable to different approaches related to
power distributions between men and women. These
processes, in turn, arise from different notions
concerning masculinity and femininity. In this way, a
mix of gender expressions inhabit the Hollywood musical
leading to an assortment of heterosexual models. Textually these models become visible not only through
an analysis of characterization and the position of the
man and woman within the narrative, but in the camera
work, all aspects of the mise-en-scene, and most
cogently, in the arrangement of the central heterosexual
couple in the song-and-dance sequences.
For my examination of heterosexuality in the Hollywood
musical, I will concentrate on the work of two of its
greatest auteurs: Fred Astaire (star) and Vincente
Minnelli (director). The impact each man made on this
genre is hard to overestimate. In terms of methodology
I divide my analysis between these two artists, and
ascertain what model(s) of heterosexual identity are
communicated by them. Then after establishing what
design(s) of heterosexual life each one suggests (for
Astaire I analyse Top Hat (1935] as well as Carefree
[1938] and The Sky's the Limit [1943], while for
Minnelli I look at Meet Me in St. Louis (1944) and The
Pirate (1948]), I conclude this thesis by examining
their most acclaimed joint effort (The Band Wagon
(1953]) to discern what, if any, change one might have
had on the other. A phenomenon tied to the US musical
(whether stage or screen) is that although it is the
most heterosexual of genres, it is also one
traditionally both crafted and appreciated by gay men. Though it does not fall within the scope of this thesis,
it is worth speculating for future work if Astaire's
heterosexuality and Minnelli's homosexuality had any
significant bearing on the way they represented the
standard boy meets-girl plot device upon which the
Hollywood musical relies
Beyond black and white : affirmative action in America
No full textModerator, Charles J. Ogletree ; panelists, Ward Connerly, Angela Walker, Ruth J. Simmons, Ann Coulter, Frank D. Riggs, Ann F. Lewis, Antonia Hernandez, Suzan Shown Harjo, Diane Chin, Robert L. Woodson, Sr., Christopher Edley, Jr., Judge Jon O. Newman, John R. Strangfeld, Tamar Jacoby, Lt. Gen. Julius W. Becton, Jr. Editor, Jonathan Fein.All sides of the affirmative action issue have targeted the same goal: ending racism of all types. But do opportunities for some have to come at the expense of others? In this Fred Friendly Seminar moderated by Harvard Law School's Charles Ogletree, a what-if scenario revolves around a university's efforts to enroll a diverse student body of qualified candidates. Panelists include Ward Connerly, proponent of California's Proposition 209; Christopher Edley, Jr., author of Not All Black & White: Affirmative Action, Race, and American Values; Julius Becton, Jr., former head of Washington, D.C.'s public schools; Ruth Simmons, president of Smith College; and policy activists from the African-American, Asian, Native American, and Latino communities
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