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[Gifset: Laverne Cox speaks at the GLAAD media awards, she says,
"Each and every one of us has the capacity to be an oppressor. I want to encourage each and every one of us to interrogate how we might be an oppressor, and how we might be able to become liberators for ourselves and each other."]
Had to give tumble snaps as an educator to karnythia for what I read on my TL this morning. Especially that last retweet, this literally just happened in boston public schools. Middle school students all over the district received a letter saying there will no longer be school bus service to the schools. They’re hinting at providing students with t-passes but who knows what the follow through will be… (Though I think they’re trying to force students of color to attend their underperforming neighborhood schools and keep them out of the upper-tier public schools)
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"Karen Mattos is a law student at Unipalmares, which is Brazil’s first and only black college. The school’s student body is 87% Afro-Brazilian."
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"Manteca" is one of the earliest foundational tunes of Afro-Cuban jazz. Co-written by Dizzy Gillespie, Chano Pozo and Gil Fuller in 1947, it is among the most famous of Gillespie’s recordings (along with the earlier "A Night in Tunisia") and is “one of the most important records ever made in the United States”, according to Gary Giddins of the Village Voice. “Manteca” is the first tune rhythmically based on the clave to become a jazz standard.
In 1947, Gillespie asked Mario Bauzá to recommend a Cuban percussionist for his big band. Bauzá suggested Pozo, a rough-living percussionist already famous in Cuba, and Gillespie hired him. They began to work Pozo’s Cuban-style percussion into the band’s arrangements.
The band was touring in California when Pozo presented Gillespie with the idea for the tune. It featured a bridge of two eight-bar trumpet statements by Gillespie, percussion patterns played by Pozo, and horn lines from Gillespie’s big band arranger Walter “Gil” Fuller.
According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: “If I’d let it go like [Pozo] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn’t have been a bridge. I thought I was writing an eight-bar bridge, but after eight bars I hadn’t resolved back to B-flat, so I had to keep going and ended up writing a sixteen-bar bridge.” The rhythm of the ‘A’ section melody is identical to a common mambo bell pattern.”
Same root, many branches! I love learning about Afrodescendants from all over creating together.
Chano Pozo & Dizzy Gillespie’s Big Band - Manteca
Joie Lee, slaying since ‘86.
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