Mack sennett autobiography of malcolm x
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By Harvey Blume
&#;I&#;m trying to get people to be at ease with the incredible amount of variety in the United States.&#;
The late Stanley Crouch saw jazz as a democratic, even utopian, art form.
One of the pleasures of doing interviews is that of being educated by interviewees. I recall how much I learned prepping for and talking to Stanley Crouch. He introduced me to a vein of African American thought I&#;d skirted, one originating in the writings of Albert Murray and Ralph Ellison. This was in marked opposition to the black nationalism expressed in various ways by the Black Panthers and Malcolm X, and made a persuasive argument that blacks weren&#;t opposed to American identity as nationalists maintained; in fact they were a unique and defining element of it. Crouch based much of this view on jazz, which he saw and wrote about as a democratic, even utopian, art form. But his ideas extended beyond music; he had an unusually wide ranging mind.
I&#;m sorry Stanley Crouch has passed away.
Originally appeared in The Boston Book Review
&#;. . . the charismatic relationship Afro-Americans have to this society can be as irresponsibly decadent as it can be high-minded, joyous, soberly critical, and cautionary. We have as much responsibility for the health of our demo
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Introduction
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Mack Sennett was born Michael Sinnott on January 17, in Danville, Quebec, Canada, to Irish immigrant farmers. When he was 17, his parents moved the family to East Berlin, Connecticut, and he became a laborer at American Iron Works, a job he continued when they moved to Northampton, Massachusetts. He happened to meet Marie Dressler in , and through her went to New York City to attempt for a career on the stage. He managed some burlesque and chorus-boy parts. In , he began acting in Biograph films. His work there lasted until ; it included being directed by D.W. Griffith and acting with Mary Pickford and Mabel Normand. By , he was directing.
In , he and two bookies-turned-producers--Adam Kessel and Charles Bauman--formed the Keystone Film Company. Sennett brought Mabel Normand with him and soon added Roscoe 'Fatty' Arbuckle, Chester ConklinAl St. John, Slim Summerville, Minta Durfee and Charles Chaplin (who was directed by Sennett in 35 comedies during ). He told Chaplin, "We have no scenario--we get an idea, then follow the natural sequence of events until it leads up to a chase, which is the essence of our comedy." To the slapstick chase gags of the Keystone Kops were gradually added the Bathing Beauties and the Kid Komedies. In he, Griffith and Thomas