Word: urbane
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Dates: during 1960-1969
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...emotional address before the giant, brooding figure of Lincoln. "Hear our anguished cries. We are admitting that we are poor. But we are also giving warning. We will not remain poor. We will not remain depressed, repressed or oppressed." Added Whitney Young Jr., executive director of the National Urban League: "This may be the last march which is non violent and which brings blacks and whites together. The nation and the Congress must listen to us now before it is too late-before the prophets of violence replace the prophets of peace and justice...
Latvian-born Sven Lukin, 34, also distorts perspective to reflect the pressures of Manhattan life. Of his grey and pink Squeeze, he explains: "Think of tender flesh squeezed under an environment that is all speed, cement and cars. Grey is an urban color." Squeeze seems to loom above the viewer far larger than its actual eight feet because its vanishing point is situated a foot or so below the painting, in what is known as "worm's-eye perspective." Traditionally, perspective was used to make a painting seem to open a window into the wall; Lukin uses the technique...
...jazz group) and moved into theaters, dance halls and recording studios. This was the era of Bessie Smith's classic records. By the 1930s, a new style was forged around tenements, speakeasies and rent parties?a harsher, more nervous brand of blues that reflected the stress and tempo of urban living. This style mingled with the blaring jazz and blues that swept out of the Southwest during the swing era (Andy Kirk, Count Basic), and so the stage was set for the emergence, after World War II, of rhythm & blues...
Proxy Performances. Even more slashing and frenetic than urban blues, R & B introduced amplified guitars, honking saxophones and gyrating singers in lamé costumes. Popularized and commercialized as it was, it still retained the fundamental quality of the blues. Such was the force of R & B, in fact, that white singers of the 1950s quickly saw the potential for lifting it out of the limited Negro market and filtering it into the far more lucrative pop field. Much, if not most of what the white public knew as rock 'n' roll during this period consisted of proxy performances of Negro...
...this began to change with such English rock 'n' roll groups as the Beatles, the Rolling Stones and the Animals, who made a point of crediting their sources?not only R & B figures such as Chuck Berry and Bo Diddley, but also country and urban bluesmen such as John Lee Hooker, Muddy Waters, T-Bone Walker and B. B. King. "Until the Beatles exposed the origins," says Waters, "the white kids didn't know anything about the music. But now they've learned that it was in their backyard all the time...