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Posts tagged as “Library of Congress”

America's 1st Slavery Museum Shifts the Focus from Masters to Slaves

Dr. Ibrahima Seck points toward a marble Wall of Honor, where the names of 350 enslaved people at Whitney Plantation have been engraved. (All photos by Michael Patrick Welch via Vice.com)

When you arrive at Whitney Plantation in Wallace, Louisiana, you’re given an enslaved person’s image and story to wear for the day. Mine was Ann Hawthorne, who was 85 years old when the Library of Congress’s Federal Writer’s Project recorded her personal story of growing up enslaved on the Whitney Plantation, one of many plantations along the Mississippi’s winding River Road. Each story is printed on a laminated card that you wear around your neck—a physical manifestation of the history of slavery; a reminder that real people lived here, died here.
Billed as America’s first-ever museum dedicated exclusively to American slavery, Whitney Plantation sits amid acres of sugar cane that, on the late afternoon of my visit, swayed in a wild wind from a passing tropical depression. The plantation’s swampy land lay heavy with ankle-deep water and hummed with voracious mosquitos. A long row of black and white umbrellas leaned against the visitors’ center and gift shop so that those who had paid $22 a head to tour the grounds were not made uncomfortable by the day’s fine, cool mist of rain.
As I waited for my tour guide, a black woman with long braids led a tour group past a white church, where statues of a young Ann Hawthorne and a dozen other enslaved children seemed to stare directly at—or, really, into—the visitors, who watched a video featuring their testimony.


The entire museum is similar: You walk the same pathways that victims of chattel slavery walked, you listen to their stories in their own words, you see and hear the pieces of history that aren’t printed in textbooks or told on other plantation tours. You won’t find much information on the wealthy slaveowners on this plantation. Instead, Whitney presents slavery through the stories of those who experienced it.
The museum’s creation is owed in part to Dr. Ibrahima Seck, a tall, dark man with a florid African accent, who built the museum along with Whitney’s owner, white New Orleans attorney John Cummings. He has an encyclopedic knowledge of the Antebellum South, and it’s clear that everyone working at Whitney regards him as a living exhibit.
“According to the Trans-Atlantic Slave Database, 60 percent of the people in Louisiana came from Senegambia, my area of Africa,” Dr. Seck told me. “So there are very strong ties here from my home.”
Seck had agreed to give me a private tour, so we climbed into his golf cart and drove past a small, rusty jail. Through its cage bars, we could see the slave masters’ 220-year-old “Big House” in the distance.
“This jail wasn’t on this plantation,” said Dr. Seck, driving faster now so the mosquitos wouldn’t catch up. “It was found in Gonzales, Louisiana, buried in the mud. At the slave markets in New Orleans, this is where the slaves were locked up before being sold.”

There is no fiction here. There is nothing you can deny here. — Dr. Ibrahima Seck

Past seven small cypress wood cabins, which at one time slept dozens of slaves apiece, Seck stopped the cart at the marble Wall of Honor, which displays the names of over 350 people who were once enslaved at Whitney, plus how much each sold for and why. Seck, who originally gleaned all this information from documents found on the property, pointed out enslaved people who were deemed less valuable: a one-armed driver, a mentally-disabled woman, an old man with a hernia. Their prices were lower, but their fate was the same.
“Mentally-disabled or old slaves might be assigned to watch the master’s toddlers or something,” Dr. Seck said. “They sold for less, but were never retired. You worked till you died.”

R.I.P. Singer/Songwriter and R&B Legend Ben E. King

Ben E King
Ben E King received an award from the Songwriters Hall of Fame in 2012 (Photo via bbc.com)

R&B and soul singer Ben E. King, best known for the classic song “Stand By Me,” has died at the age of 76.  The singer died on Thursday, his publicist Phil Brown told BBC News.

King started his career in the late 1950s with The Drifters, singing hits including “There Goes My Baby” and “Save The Last Dance For Me.”  After going solo, he hit the U.S. top five with “Stand By Me” in 1961.  It returned to the charts in the 1980s, including a three-week spell at number one in the U.K. following its use in the film of the same name directed by Rob Reiner.

King’s other hits included “Spanish Harlem,” “Amor,” “Don’t Play That Song (You Lied)” and “Supernatural Thing – Part I.”
Fellow musician Gary U.S. Bonds wrote on Facebook that King was “one of the sweetest, gentlest and gifted souls that I have had the privilege of knowing and calling my friend for more than 50 years”.
He wrote: “I can tell you that Ben E. will be missed more than words can say. Our sincere condolences go out to Betty and the entire family.
“Thank you Ben E. for your friendship and the wonderful legacy you leave behind.”
Actor Jerry O’Connell, who played Vern in the film “Stand By Me” alongside River Phoenix and Corey Feldmantweeted: “You know you are good when John Lennon covers your song. Ben E. King was a wonderful and immensely talented man.”
https://youtu.be/MX5sLLCrVdA
Born Benjamin Earl Nelson, he initially joined a doo-wop group called The Five Crowns, who became The Drifters after that group’s manager fired the band’s previous members.  He co-wrote and sang on the band’s single “There Goes My Baby,” which reached number two in the U.S. in 1959.

But the group members were paid just $100 per week by their manager and, after a request for a pay rise was turned down, the singer decided to go it alone. In the process, he adopted the surname King.

His first solo hit was “Spanish Harlem” in 1961, which was followed by “Stand By Me.”

Lauryn Hill’s Grammy-Winning Album "The Miseducation of Lauryn Hill" to Be Entered Into the Library of Congress

Lauryn Hill
Lauryn Hill poses with the five Grammy Awards she won for The Miseducation of Lauryn Hill at the 41st annual Grammy Awards in Los Angeles Feb. 24, 1999. (VINCE BUCCI/AFP/GETTY IMAGES)

Each year, the Library of Congress selects 25 recordings to add to its archive. This year, Lauryn Hill’s record-breaking album, The Miseducation of Lauryn Hill, will be included in the 25.

According to the Library of Congress press release, among requirements for inclusion in the archive are that the recordings be “culturally, historically or aesthetically significant” and be at least 10 years old. The Library of Congress gave a lengthy explanation as to why it chose Hill’s debut album:
“Lauryn Hill’s debut solo record, following the breakup of the Fugees, is a work of honesty in which Hill explores her feelings on topics that included the deep wonder of pregnancy, the pitfalls of modern relationships and the experience of the sacred. The album effortlessly fuses soul, rhythm and blues, rap and reggae. Hill’s vocal range, smooth clear highs and vibrato are stunning. The rapping is rhythmically compelling while always retaining, and frequently exploiting, the natural cadences of conversational speech. Standout guest performances include Carlos Santana’s soulful acoustic guitar solo on ‘Zion,’ and duets with Mary J. Blige and D’Angelo on ‘I Used to Love Him’ and ‘Nothing Even Matters,’ respectively.”
Hill’s album joins an eclectic list, which includes Ben E. King’s “Stand By Me,” Sly and the Family Stone’s Stand album, and even a Sesame Street platinum-hits album.
Check out the full list of inductees below:
1. Vernacular Wax Cylinder Recordings at University of California, Santa Barbara Library (c.1890-1910)
2. The Benjamin Ives Gilman Collection, recorded at the 1893 World’s Columbian Exposition at Chicago (1893)
3. “The Boys of the Lough”/ “The Humours of Ennistymon” (single)—Michael Coleman (1922)

Library of Congress Acquires Papers of Legendary Jazz Drummer Max Roach

From Max Roach’s archive: a contract for a 1956 club date; an undated photo of Roach, at right, with Art Blakey, center; a 1964 letter from Maya Angelou. Lexey Swall for The New York Times

WASHINGTON — Max Roach, the great drummer and bandleader and paradigm-shifter of jazz, though he disliked that word, never finished an autobiography.  That’s a shame. He died in 2007 at 83, and his career spans the beginning of bebop, the intersection of jazz with the civil rights movement, free improvisation, and jazz’s current state of cross-disciplinary experiments and multimedia performances. Inasmuch as jazz is about change and resistance, he embodied those qualities: He fought anything that would contain or reduce him as an artist and a human being. He would have been well served by his own narrative, set in one voice.

Max RoachBut Roach was archivally minded, and, when he died, he left 400 linear feet of his life and actions to be read: scores and lead sheets, photographs, contracts, itineraries, correspondence, reel tapes and cassettes and drafts of an unfinished autobiography, written with the help of Amiri Baraka. On Monday, the Library of Congress will announce that it has acquired the archive from Mr. Roach’s family and that it will be made available to researchers.

“What I think he would hope people would see,” said the violist Maxine Roach, his daughter from his first marriage, “is that there was a lot about his life that was difficult, you know? The struggles. A lot about economics, and jazz as a word that we didn’t define ourselves.” (Roach felt that it was a pejorative term; he preferred to call it African-American music.)  “But aside from all of that,” she continued, “I hope that people see his excellence and his mastery of his skill, which helped him rise in this country that’s been so hard on black men especially, and how he went through it and what price he paid.”

Gordon Parks Photos: New York Museum To Mark Photographer's 100th Birthday With New Exhibit

Gordon Parks Photos
The State Museum in Albany, NY is marking the 100th birthday of photographer Gordon Parks with an exhibit of his works.  The show opens on Jan. 26  and will showcase six decades of Parks’ photographs.  It will include his most famous photo, “American Gothic, Washington, D.C.,” which shows a black cleaning woman standing in front of an American flag with a broom and a mop.
State Education Commissioner John King says Parks’ work helped drive the Civil Rights movement by exposing the stark realities of life faced by many African Americans.
The State Museum display is organized by the Schomburg Center for Research in Black Culture. The exhibit includes images from the Farm Security Administration and Office of War Information collections at the Library of Congress.
article by Associated Press via huffingtonpost.com