Word: negroness
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Dates: during 1970-1979
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...decades later, New York's front doors began opening to Blake as the composer of such Negro-flavored Broadway musicals as Elsie and Chocolate Dandies. His biggest hit was a startlingly original synthesis of ragtime and operetta called Shuffle Along. Written with Blake's old vaudeville partner, Lyricist Noble Sissle, Shuffle ran for 18 months in 1921-22 and introduced both jazz dancing and Josephine Baker to Broadway. Two of his show tunes were destined to become standards in the pop world and steady royalty producers for him: Memories of You and I'm Just Wild About...
Moynthan became the center of controversy in 1965 when his report on the black family in America. "The Negro Family: the Case for National Action," was condemned as racist by influential black leaders. The Johnson Administration had pleased to use the report as the basis of its civil rights program...
...passengers think themselves in hell without the intervening grace of death. When the survivors reach harbor their true journey begins. Aboard a riverboat, they become aware of the flaws in the fable. Rich folk stride upon the top deck; down below are the new arrivals. Below them are Negro slaves, chained to each other and to a corrupted ideal...
...material and urge Dean Dunlop. President Bok, or their friends on the Faculty not to restructure the department. Like any politician, Guinier has attempted to pick up endorsements for his department's program. Guinier went to the recent convention of the Association for the Study of African-American (formerly Negro) Life and History and tried t politicise the meeting, by distributing his pamphlet. He claimed Tuesday night that the Association had recognised Harvard's program as the finest in the country...
...Americans has long been subjected to racist analyses. Unable to understand a language that sounds superficially like a shirring of their own, white scholars have concocted a variety of theories to explain the speech patterns of Afro-Americans H. L. Mencken wrote in his influential The American Language. "The Negro dialect as we know it today seems to have been formulated by the songwriters for the minstrel shows." Mencken, in his typically culturally-biased manner, simply assumed that blacks were incapable of constructing their own language, and were only able to mimic what they heard in traveling sideshows. But Mencken...