&object0=js|800|600|80|80|0|0|100|0|0|0|0|background_style12.jpg|1|0|0|0& &autoPlayOn=0& &navobjectsVisible=1& &numberOfSlides=8& &numberOfObjects1=15& &object1_1=t|468|100|100|100|168|125|100|0|0|left|0|8|3|0|0|24|0|0|1|0|Abraham Lincoln’s 19th century speech Ralph Ellison’s insightful story Louis Armstrong's representing artistry Barbara Streisand's 20th century attainment& &object1_2=t|461|100|100|100|152|43|100|0|0|left|1|8|2|0|0|32|0|0|0|2|Abe, Ralph, Satchmo, cx26 Barb& &object1_3=t|233|100|100|100|45|1|100|0|0|left|1|11|2|0|0|38|0|0|0|1|Jazz-story& &object1_4=t|229|100|100|100|404|85|100|0|0|left|0|3|4|0|0|16|0|0|0|0|IN TEXT, MUSIC, cx26 FILM& &object1_5=t|230|100|100|100|181|84|100|0|0|left|1|11|4|0|0|18|0|0|0|1|"SEEING" INVISIBILITY& &object1_6=t|410|100|100|100|200|150|100|0|0|left|0|3|3|0|0|20|0|0|1|0|His complex opposition to the Kansas-Nebraska Act in 1854& &object1_7=t|410|100|100|100|200|237|100|0|0|left|0|3|3|0|0|20|0|0|1|0|His first and only masterpiece novel of 1952, "Invisible Man"& &object1_8=t|410|100|100|100|200|324|100|0|0|left|0|3|3|0|0|20|0|0|1|0|His iconic perfection of INVISIBILITY in sound and on screen& &object1_9=t|424|100|100|100|200|413|100|0|0|left|0|3|3|0|0|20|0|0|1|0|Her mastery of becoming the MOST VISIBLE in our culture& &object1_10=r|111|358|100|100|43|87|30|0|3|0|0& &object1_11=js|353|500|24.7|24.7|56|88|100|0|0|1|0|Abraham_Lincoln_Biography_12204.jpg|2|11|0|0& &object1_12=js|359|441|26.3|26.3|53|177|100|0|0|1|0|Ralph20Ellison.jpg|2|93|-69|6& &object1_13=js|113|106|94.5|94.5|46|348|100|0|0|1|0|dolly_small_60210.jpg|2|24|-18|-100& &object1_14=js|108|109|94.4|94.4|50|264|100|0|0|1|2|satchalbum_thumb.jpg|2|16|-10|-90& &object1_15=t|369|100|100|100|255|9|100|0|0|left|1|1|3|0|0|30|0|0|1|2|A Transcendent Civil Rights Story& &numberOfObjects2=7& &object2_1=r|619|264|100|100|12|177|79|0|18|0|1& &object2_2=t|599|260|100|100|12|178|100|0|0|left|1|8|3|0|0|20|0|1|1|0|I think, and shall try to show, that it [the repeal of the Missouri Compromise] is wrong; wrong in its direct effect, letting slavery into Kansas and Nebraska—and wrong in its prospective principle, allowing it to spread to every other part of the wide world, where men can be found inclined to take it. This declared indifference, but as I must think, covert real zeal for the spread of slavery, I can not but hate. I hate it because of the monstrous injustice of slavery itself. I hate it because it deprives our republican example of its just influence in the world—enables the enemies of free institutions, with plausibility, to taunt us as hypocrites—causes the real friends of freedom to doubt our sincerity, and especially because it forces so many really good men amongst ourselves into an open war with the very fundamental principles of civil liberty—criticizing the Declaration of Independence, and insisting that there is no right principle of action but self-interest . Before proceeding, let me say I think I have no prejudice against the Southern people. They are just what we would be in their situation. If slavery did not now exist amongst them, they would not introduce it. If it did now exist amongst us, we should not instantly give it up. This I believe of the masses north and south. Doubtless there are individuals, on both sides, who would not hold slaves under any circumstances; and others who would gladly introduce slavery anew, if it were out of existence. We know that some southern men do free their slaves, go north, and become tip-top abolitionists; while some northern ones go south, and become most cruel slave-masters. When southern people tell us they are no more responsible for the origin of slavery, than we; I acknowledge the fact. When it is said that the institution exists; and that it is very difficult to get rid of it, in any satisfactory way, I can understand and appreciate the saying. I surely will not blame them for not doing what I should not know how to do myself. If all earthly power were given me, I should not know what to do, as to the existing institution. My first impulse would be to free all the slaves, and send them to Liberia,—to their own native land. But a moment's reflection would convince me, that whatever of high hope, (as I think there is) there may be in this, in the long run, its sudden execution is impossible. If they were all landed there in a day, they would all perish in the next ten days; and there are not surplus shipping and surplus money enough in the world to carry them there in many times ten days. What then? Free them all, and keep them among us as underlings? Is it quite certain that this betters their condition? I think I would not hold one in slavery, at any rate; yet the point is not clear enough for me to denounce people upon. WHAT NEXT? FREE THEM, AND MAKE THEM POLITICALLY AND SOCIALLY, OUR EQUALS? MY OWN FEELINGS WILL NOT ADMIT OF THIS; AND IF MINE WOULD, WE WELL KNOW THAT THOSE OF THE GREAT MASS OF WHITE PEOPLE WILL NOT. WHETHER THIS FEELING ACCORDS WITH JUSTICE AND SOUND JUDGMENT, IS NOT THE SOLE QUESTION, IF INDEED, IT IS ANY PART OF IT. A UNIVERSAL FEELING, WHETHER WELL OR ILL-FOUNDED, CAN NOT BE SAFELY DISREGARDED. WE CAN NOT, THEN, MAKE THEM EQUALS. It does seem to me that systems of gradual emancipation might be adopted; but for their tardiness in this, I will not undertake to judge our brethren of the south. ... [emphasis added]& &object2_3=r|518|49|100|100|13|125|50|0|20|0|1& &object2_4=js|322|586|34.3|34.3|516|4|90|0|0|3|0|abraham_lincoln-1.jpg|2|20|-13|-91& &object2_5=t|269|100|100|100|41|7|100|0|0|left|1|11|2|0|0|32|0|0|0|1|Lincoln's View& &object2_6=t|471|100|100|100|74|45|100|0|0|left|1|3|3|0|0|20|0|0|0|1|His speech, given in Peoria, Illinois in 1854, against the proposed Kansas-Nebraska Act, which would repeal the Missouri Compromise and allow the introduction/extension of slavery into any new state.& &object2_7=t|457|100|100|100|67|126|100|0|0|center|0|19|4|0|0|18|0|0|1|0|Identifying (Seeing) Individuals Through Freedom And (or Versus) Equality& &numberOfObjects3=9& &object3_1=r|619|237|100|100|12|194|79|0|18|0|1& &object3_2=t|603|230|100|100|12|196|100|0|0|left|1|8|3|0|0|20|0|1|1|0|I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids – and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination – indeed, everything and anything except me. ... My hole is warm and full o flight. Yes, FULL or light. I doubt if there is a brighter spot in all New York than this hole of mine, and I do not exclude Broadway. Or the Empire State Building on a photographer’s dream night. But that is taking advantage of you. Those two spots are among the darkest of our whole civilization – pardon me, our whole CULTURE (an important distinction, I’ve heard) – which might sound like a hoax, or a contradiction, but that (by contradiction, I mean) is how the world moves: Not like an arrow, but a boomerang. ... I know; I have been boomeranged across my head so much that I now can see the darkness of lightness. And I love light. Perhaps you’ll think it strange that an invisible man should need light, desire light, love light. But maybe it is exactly because I AM invisible. Light confirms my reality, gives birth to my form. ... Without light I am not only invisible, but formless as well; and to be unaware of one’s form is to live a death. I myself, after existing some twenty years, did not become alive until I discovered my invisibility. That is why I fight my battle with Monopolated Light cx26 Power. The deeper reason, I mean: It allows me to feel my vital aliveness. ... In my hole in the basement there are exactly 1,369 lights. I’ve wired the entire ceiling, every inch of it. And not with fluorescent bulbs, but with the older more-expensive-to-operate kind, the filament type. An act of sabotage, you know. ... Nothing, storm or flood, must get in the way of our need for light and ever more and brighter light. The truth is the light and the light is the truth. ... Now I have one radio-phonograph; I plan to have five. There is a certain acoustical deadness in my hole, and when I have music I want to FEEL its vibration, not only with my ear but with my whole body. I’d like to hear five recordings of Louis Armstrong playing and singing “What Did I Do to Be so Black and Blue” – all at the same time. Sometimes now I listen to Louis while I have my favorite dessert of vanilla ice cream and slow gin. I pour the red liquid over the white mound, watching it glisten and the vapor rising as Louis bends that military instrument into a beam of lyrical sound. PERHAPS I LIKE LOUIS ARMSTRONG BECAUSE HE’S MADE POETRY OUT OF BEING INVISIBLE. I THINK IT MUST BE BECAUSE HE’S UNAWARE THAT HE IS INVISIBLE. AND MY OWN GRASP OF INVISIBILITY AIDS ME TO UNDERSTAND HIS MUSIC. ... INVISIBILITY, LET ME EXPLAIN, GIVES ONE A SLIGHTLY DIFFERENCE SENSE OF TIME, YOU’RE NEVER QUITE ON THE BEAT. SOMETIMES YOU’RE AHEAD AND SOMETIMES BEHIND. INSTEAD OF THE SWIFT AND IMPERCEPTIBLE FLOWING OF TIME, YOU ARE AWARE OF ITS NODES, THOSE POINTS WHERE TIME STANDS STILL OR FROM WHICH IT LEAPS AHEAD. AND YOU SLIP INTO THE BREAK AND LOOK AROUND. THAT’S WHAT YOU HEAR VAGUELY IN LOUIS’ MUSIC.& &object3_3=r|596|49|100|100|13|145|50|0|20|0|1& &object3_4=t|269|100|100|100|41|7|100|0|0|left|1|11|2|0|0|32|0|0|0|1|Ellison's Insight& &object3_5=t|467|100|100|100|40|54|100|0|0|left|1|3|3|0|0|20|0|0|0|1|From the Prologue of "Invisible Man," published in 1952, describing the speaker's living conditions, his existence, his understanding of light and darkness, and his favorite music.& &object3_6=js|158|200|86.4|86.4|494|5|80|0|0|3|0|ellison.jpg|2|0|0|0& &object3_7=t|555|100|100|100|8|148|100|0|0|center|0|19|4|0|0|18|0|0|1|2|Identifying the Obscurity (Invisibility) of Individuals Through Light, Drugs, Time, and Jazz& &object3_8=r|474|49|100|100|117|407|60|0|20|1|0& &object3_9=t|477|100|100|100|122|408|100|0|0|left|1|16|3|0|0|16|0|0|1|1|Does Ralph slip into a 'node of time' with Louis to hear/see Abe differentiate between Freedom cx26 Equality? Is there something invisible there?& &numberOfObjects4=8& &object4_1=t|614|100|100|100|23|43|100|0|0|left|1|3|3|0|0|18|0|0|0|0|Listen to Louis' 1929 recording of this music. This early version pre-dates what Ellison would have listened to, but it marks an important "aural" moment in Louis' history - you can read the story below. But, please note the following...& &object4_2=t|429|100|100|100|20|7|100|0|0|left|1|11|2|0|0|28|0|0|0|1|Satchmo's 1st Spectacle& &object4_3=t|602|114|100|100|11|304|100|1|18|left|0|8|3|0|0|14|0|1|1|1|History of Black and Blue and Louis Armstrong's recording of it: "Hot Feet" was an all black musical revue with words and music by Andy Razaf and Thomas "Fats" Waller. The show opened in Feb., 1929, at Connie’s Inn, a Harlem nightclub owned by brothers George and Connie Immerman. Connie's Inn was the chief competitor of the famous Cotton Club, and had similar elaborate floor shows, restrictive admission policies, and gangster involvement. Eventually, the club modified its whites only admission policy and black musicians were admitted to the club late at night after the white patrons had left. Given the standard of racial segregation of the time, this show, and the nightclub itself, were both unique to the Harlem setting. "Hot Feet" was considered to be one of the best floor shows in Harlem, so the Immerman brothers took it to Broadway, where the show opened in June, 1929. They renamed it "Connie’s Hot Chocolates," got financial backing from gangster Dutch Schultz (who supplied the club with booz), and asked Fats Waller and Razaf to write more songs for the "new" show. One of those songs was "Ain’t Misbehavin’." The show ran for 219 performances, and each night, after the cast finished performing on Broadway, the performers, Armstrong included, would hurry uptown to Connie’s Inn and perform the show again for the club’s "darker" patrons. A New York Times critic wrote, "A synthetic but entirely pleasant jazz ballad called "Ain’t Misbehavin" stands out and its rendition between the acts by an unnamed member of the orchestra was a highlight of the premier." The unnamed member of the orchestra was trumpeter Louis Armstrong. His rendition of "Ain’t Misbehavin’" was so well received that he was given another chorus of the song during the first act, and a few weeks after the show opened, Armstrong recorded the song for the Okeh Records label and it became his best selling hit to date. He also recorded... "What did I do to be so Black and Blue"... While "Ain’t Misbehavin" became a standard, it is arguable that "What Did I Do To Be So Black And Blue" became Louis' theme song. But not for its original intent. In Hot Feet and Connie's Hot Chocolates, this lament is sung by a dark-skinned black lady who is bemoaning the fact that her suitor has given her up for a "lighter-skinned" gal. She is singing for - both on stage and in the house - a black audience. This is the "intentional backdrop" of the song that would become so important to Ralph Ellison in its later version. During the following years, the "intent" of the song was "viewed" differently, and that's what Ellison is commenting on...& &object4_4=t|518|100|100|100|87|421|100|0|0|right|0|1|2|0|0|10|0|0|1|0|Now, on the next slide, listen to a later version that Ellison would have played on his phonograph...& &object4_5=t|191|100|100|100|421|287|100|1|18|right|1|10|3|0|0|12|0|0|1|1|Scroll to read a history of Louis' rise to fame& &object4_6=js|349|232|100|100|271|61|70|0|0|4|0|louis_armstrong_large.jpg|2|0|0|0& &object4_7=t|597|100|100|100|29|114|100|0|0|left|1|11|3|0|-6|18|0|0|1|2|The first thing you hear from and of Louis is the trumpet, not the voice - this is an important part of his "visibility" as an artist and person. Notice the tempo of this version - be ready to compare cx26 contrast it to a later version you'll hear. Know that Louis recorded this, in part, because it was in the Broadway show which made him famous - he and his audience ("viewers") would make this a theme song of his future. Notice the original intent and purpose of this song (see the history below), and think about what difference that makes in "light" of what Louis did with it.& &object4_8=js|345|21|80.9|80.9|353|19|100|0|0|1|0|Black_and_Blue_c.1929_copy.swf|7|0|0|0& &numberOfObjects5=8& &object5_1=t|581|100|100|100|16|5|100|0|0|left|1|11|2|0|0|34|0|0|0|1|Satchmo's Invisible(?) Success& &object5_2=t|602|114|100|100|11|308|100|1|18|left|0|8|3|0|0|14|0|1|1|1|As you can hear, Louis Armstrong transformed this song into an anthem of complaint and powerful protest against racial discrimination, as well as a magnificent musical creation. Satchmo plays his heart out, employing his superb tone and capacity to construct such marvelous musical lines, and using slides, slurs and at least one glissando to convey further feeling and meaning. Satch's vocal work developed extraordinary depth of nuance and expressive capacity, and his timing and phrasing is sublime, in addition to that celebrated combination of grit and soulfulness in the character of his voice. All this and his experience as an African American he drew upon to sing these lyrics with profound poignancy and power. This is not only great music, it is also a very important cultural expression. Remember that this version of the song is in the “time” of the landmark U.S. Supreme Court decision in Brown v. Board of Education of Topeka. This was also the time of the series of brutal murders of blacks in Mississippi and elsewhere; and of when Rosa Parks ignited the civil rights movement by refusing to give up her seat. Armstrong would eventually speak out against President Eisenhower's reluctance to act when African-American teens were barred from Central High School in Little Rock, Arkansas. All this was "in the air" at the time; Louis Armstrong and musical partners recorded an ultimate articulation of those concerns. It is a testament to the power of Armstrong's recordings of this song that they moved Ralph Ellison to use it in his Prologue – but it is important to understand what Ellison might be telling us... that Louis is INVISIBLE in those actions and his career – and that Louis doesn’t know that HE can’t be seen.& &object5_3=t|290|100|100|100|321|292|100|1|18|right|1|10|3|0|0|12|0|0|1|1|Scroll to read about how Louis became INVISIBLE with "Black and Blue"& &object5_4=t|584|100|100|100|17|425|100|0|0|right|0|1|2|0|0|10|0|0|1|0|Now, on the next slide, SEE how Ellison wanted to "light up" Satchmo's essence ...& &object5_5=js|110|111|172.5|172.5|434|95|55|0|0|3|0|satchalbum_thumb_59012.jpg|5|5|13|-85& &object5_6=t|600|100|100|100|26|68|100|0|0|left|1|3|3|0|0|18|0|0|0|2|Now, listen to live recording of Louis playing and singing this song in the late-1940's/early-1950's. This is the music which Ellison heard and uses in his Prologue. As you listen, please compare it to the original and note the following...& &object5_7=t|585|100|100|100|32|136|100|0|0|left|1|11|3|0|-5|18|0|0|1|2|The trumpet is still the first thing you hear, but is it the most important? Note the response from the audience to Satchmo's singing. What do "they" see of him? Notice the tempo and feel of this version - what's different in comparison to the original, and what might that mean? Notice the importance of "rifs" and "licks" in Louis' performance - HE plays jazz. What has changed with regard to the "intent" of this song? Why is Louis playing/singing it?& &object5_8=js|345|21|93.4|93.4|306|46|100|0|0|1|0|03_Black__Blue.swf|7|0|0|0& &numberOfObjects6=10& &object6_1=t|620|100|100|100|9|8|100|0|0|center|1|11|2|0|0|32|0|0|0|1|Ellison's Dream Come True& &object6_2=js|217|300|63.9|63.9|464|188|80|0|9|4|0|satch.jpg|2|18|0|0& &object6_3=js|651|706|23.5|23.5|4|137|90|0|9|4|1|ellison2.jpg|2|-13|12|0& &object6_4=t|618|230|100|100|15|102|100|0|0|center|1|8|3|1|0|24|0|0|1|2|Now I have one radio-phonograph; I plan to have five. There is a certain acoustical deadness in my hole, and when I have music I want to FEEL its vibration, not only with my ear but with my whole body. I’d like to hear five recordings of Louis Armstrong playing and singing “What Did I Do to Be so Black and Blue” – all at the same time.& &object6_5=t|619|100|100|100|11|39|100|0|9|center|1|3|4|0|0|16|0|0|1|1|Here is what Ellison wanted in the Prologue; A recreation of his "hole" with the sound he desired& &object6_6=t|224|100|100|100|407|375|80|0|0|center|1|3|3|1|0|16|0|0|1|0|How will it end? Aint' got a friend. My only sin is in my skin. What did I do to be so Black and Blue?& &object6_7=r|341|112|100|100|13|336|80|0|18|1|1& &object6_8=t|341|100|100|100|11|332|100|0|9|center|1|4|3|0|0|16|0|0|1|0|This version was recorded by Louis in 1954, two years after the publication of Ellison's novel and 100 years after Lincoln's speech. And notice something subtle that's happened...& &object6_9=t|341|100|100|100|11|389|100|0|0|center|1|11|3|0|0|16|0|0|1|0|As the song ends in this version, is there a shift in Louis' identity? What do you (not) hear?& &object6_10=js|345|21|100|100|148|82|100|0|0|1|0|Satch5.swf|7|0|0|0& &numberOfObjects7=8& &object7_1=js|519|363|36|36|452|1|80|0|0|1|0|louis_and_dolly_71240.jpg|5|0|0|0& &object7_2=r|456|342|100|100|15|124|100|0|5|0|1& &object7_3=t|610|100|100|100|14|69|100|0|0|left|1|3|3|0|0|20|0|0|1|0|And now, from the 1969 film, "Hello Dolly," we enjoy a "cameo" appearance of Satchmo himself.& &object7_4=t|472|100|100|100|16|5|100|0|0|left|1|11|2|0|0|28|0|0|0|1|Dolly makes Jazz as the "Lights" come up on Louis& &object7_5=t|461|100|100|100|15|411|100|0|20|left|1|8|3|0|0|21|0|0|1|0|Is there a trumpet? Who sings the tune? Who plays the jazz?& &object7_6=t|127|100|100|100|489|189|100|0|20|center|1|8|3|0|0|34|0|0|1|0|WHO IS (IN) VISIBLE ?& &object7_7=t|197|100|100|100|447|159|100|0|0|center|1|3|3|0|0|24|0|0|1|0|What do we see?& &object7_8=v|100|100|94|141|0|1|100|0|1|0|DollyScene.flv|1& &numberOfObjects8=12& &object8_1=r|614|339|100|100|13|88|60|0|9|0|3& &object8_2=js|179|207|89.6|89.6|218|90|85|0|0|1|0|ellison_ralph.jpg|2|8|5|-26& &object8_3=t|192|100|100|100|21|120|100|0|0|center|1|11|3|0|0|24|0|0|1|2|Is Ellison right? Does Satchmo make poetry out of being INVISIBLE?& &object8_4=t|619|100|100|100|11|11|100|0|0|center|1|3|2|0|0|32|0|0|0|1|Visible Invisibility?& &object8_5=t|623|100|100|100|9|46|100|0|0|center|1|4|4|1|0|22|0|0|0|1|What do you think?& &object8_6=js|325|426|31.7|31.7|310|164|85|0|0|1|0|1010451215_119c821f5f.jpg|2|-2|0|-73& &object8_7=js|116|175|100|100|211|214|90|0|0|1|0|louis-armstrong_36835.jpg|5|0|0|0& &object8_8=js|119|114|110.3|110.3|284|282|85|0|0|1|1|dolly_small_49184.jpg|2|17|28|-85& &object8_9=t|192|100|100|100|427|118|100|0|0|center|1|8|3|0|0|24|0|0|1|2|Was Lincoln able to "see" ALL free persons as equals?& &object8_10=t|192|100|100|100|419|270|100|0|0|center|1|11|3|0|0|24|0|0|1|2|Does "Dolly" succeed in attaining a jazz identity because Louis is invisible by fame and film?& &object8_11=t|192|100|100|100|26|267|100|0|0|center|1|8|3|0|0|24|0|0|1|2|Did Louis become INVISIBLE as his fame, our culture, and the medium made him MOST visible to us?& &object8_12=t|200|100|100|100|147|454|100|0|0|left|0|3|3|0|0|10|0|0|0|0|Final Slide of this Section - Return to Main Menu&