Unit 8: Heroes

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The document discusses three personal heroes: 1. The author's father Alirio Boscan who is a hard worker, intelligent, and a great father. 2. Mother Teresa, known for founding the Missionaries of Charity and receiving the Nobel Peace Prize for her humanitarian work in India. 3. Singer Juanes, a social activist who held a large peace concert in Cuba to promote hope and humanitarian causes.

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The JMCC, an interdenominational choir of 50 voices known as the "Majestics" is under the Christian leadership and spiritual direction of Dr. Kirdell S. Minor. The Majestics were organized in Washington, D.C. in 1956 at the Church of God. The Choir began with a group of young people who loved to sing and wanted to spread their music ministry outside of the walls of the church community. The Majestics' attribute their longevity as a choir to their love for God and the inspiration they give and receive through their ministry in song. It is through their ministry of musical praise that they seek to bring souls to Christ. The choir does not sing to benefit monetarily, but to grow and benefit spiritually.

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The role of the Black Protestant Church has figured prominently in scholarly discussions of African American music culture, and to some extent its importance has been explored with respect to jazz. However, with the exception of the Nation of Islam, the influence of Eastern religious practices among black Americans has not been significantly researched nor have adequate connections been made between these spiritual pursuits and the musical innovations they inspired. Nevertheless, since the mid-’60s, black American artists have explored Yoga, Hinduism, various sects of Buddhism, Ahmadiya Islam, and Bahá’í. The aesthetic impact of these pursuits has been multi-dimensional and far-reaching. In their study of Asian philosophy and religion, jazz musicians have been exposed to the sounds and musical processes they have discovered in the cultures from which these traditions have emerged. One can hear this influence in musical borrowings, such as the use of traditional instrumentation, the reworking of melodic material from folk and classical genres, and the incorporation of indigenous improvisational and compositional techniques. Though less audible, Eastern spiritual traditions have also exerted a more abstract philosophical influence that has shaped jazz aesthetics, inspiring jazz musicians to dissolve formal and stylistic boundaries and produce works of great originality. Contextualizing the spiritual explorations of John and Alice Coltrane within American religious culture and liberation movements of the 1960s, this essay explores the way that their eclectic appropriation of Eastern spiritual concepts and their commitment to spiritual universality not only inspired musical innovation, but also provided a counter-hegemonic, political, and cultural critique.

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Maya Angelou Maya Angelou was born Marguerite Annie Johnson in St. Louis, Missouri. Her parents divorced when she was only three and she was sent with her brother Bailey to live with their grandmother in the small town of Stamps, Arkansas. In Stamps, the young girl experienced the racial discrimination that was the legally enforced way of life in the American South, but she also absorbed the deep religious faith and old- fashioned courtesy of traditional African American life. She credits her grandmother and her extended family with instilling in her the values that informed her later life and career. She enjoyed a close relationship with her brother. Unable to pronounce her name because of a stutter, Bailey called her "My" for "My sister." A few years later, when he read a book about the Maya Indians, he began to call her "Maya," and the name stuck. At age seven, while visiting her mother in Chicago, she was sexually molested by her mother's boyfriend. Too ashamed to tell any of the adults in her life, she confided in her brother. When she later heard the news that an uncle had killed her attacker, she felt that her words had killed the man. She fell silent and did not speak for five years. Maya began to speak again at 13, when she and her brother rejoined their mother in San Francisco. Maya attended Mission High School and won a scholarship to study dance and drama at San Francisco's Labor School, where she was exposed to the progressive ideals that animated her later political activism. She dropped out of school in her teens to become San Francisco's first African American female cable car conductor. She later returned to high school, but became pregnant in her senior year and graduated a few weeks before giving birth to her son, Guy. She left home at 16 and took on the difficult life of a single mother, supporting herself and her son by working as a waitress and cook, but she had not given up on her talents for music, dance, performance and poetry. In 1952, she married a Greek sailor named Anastasios Angelopulos. When she began her career as a nightclub singer, she took the professional name Maya Angelou, combining her childhood nickname with a form of her husband's name. Although the marriage did not last, her performing career flourished. She toured Europe with a production of the opera Porgy and Bess in 1954 and 1955. She studied modern dance with Martha Graham, danced with Alvin Ailey on television variety shows and recorded her first record album, Calypso Lady (1957). She had composed song lyrics and poems for many years, and by the end of the 1950s was increasingly interested in developing her skills as a writer. She moved to New York, where she joined the Harlem Writers Guild and took her place among the growing number of young black writers and artists associated with the Civil Rights Movement. She acted in the historic Off-Broadwa.

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