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Ascension – added further propulsion to his career, emboldening him to delve deeper in his sonic explorations and liberate Black improvised music (Shepp wasn’t comfortable with the word “jazz”) from musical clichés as well as stock melodic, harmonic, rhythmic, and structural conventions. While some of his contemporaries – like Coltrane, Ayler, and Pharoah Sanders – ruminated on cosmic and spiritual themes, Shepp was more overtly political. His music reflected the zeitgeist of an increasingly radicalized Civil Rights movement that had given rise to the ideologies of Black Power and Afrocentrism.
By the early 70s, Shepp was expanding his musical palette, combining the rhetoric of protest with a combination of free jazz and funk flavors on his seminal 1972 concept album,
Keeping the Eyes: New Evidence By UTgrad 08 on Mar 4, 2021, 2:49pm CST 42
Since June, I have done my own investigation into the history of the Eyes of Texas. Recently, I have come across new pieces of evidence regarding William Prather, Robert E. Lee, and the origin of the phrase, the eyes of Texas. All of three of the following excerpts were found using the database Newspapers.com.
1. From an article by Eudora Garrett in the
Austin-American Statesman, June 6, 1926: .Mr. Prather.is also famous for the origination of the song The Eyes of Texas Are Upon You; Mr. Prather had used the phrase in one of his early lectures, and on countless occasions afterwards, which gave the idea for the song.