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leondumoulin.nl: America Beyond the Color Line: Henry Louis Gates, Maya Angelou, Reggie Rock Bythewood, Don Cheadle, Aasha Davis, Morgan Freeman.
Table of contents

Vertical lines often communicate a sense of height because they are perpendicular to the earth, extending upwards toward the sky. In this church interior, vertical lines suggest spirituality, rising beyond human reach toward the heavens. Cabinet , French, about Horizontal and vertical lines used in combination communicate stability and solidity. Rectilinear forms with degree angles are structurally stable. This stability suggests permanence and reliability. Diagonal lines convey a feeling of movement.

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Objects in a diagonal position are unstable. Because they are neither vertical nor horizontal, they are either about to fall or are already in motion. The angles of the ship and the rocks on the shore convey a feeling of movement or speed in this stormy harbor scene. The curve of a line can convey energy.

Soft, shallow curves recall the curves of the human body and often have a pleasing, sensual quality and a softening effect on the composition. The edge of the pool in this photograph gently leads the eye to the sculptures on the horizon. Shape and form define objects in space.

Forms exist in three dimensions, with height, width, and depth. Download a worksheet that introduces students to the concept of shape. Studies for a Ceiling Decoration , Charles de la Fosse, about Shape has only height and width. Shape is usually, though not always, defined by line, which can provide its contour.

In this image, rectangles and ovals dominate the composition. They describe the architectural details for an illusionist ceiling fresco. Rearing Horse , Adriaen de Vries, — Form has depth as well as width and height. Three-dimensional form is the basis of sculpture, furniture, and decorative arts. Three-dimensional forms can be seen from more than one side, such as this sculpture of a rearing horse.

Geometric shapes and forms include mathematical, named shapes such as squares, rectangles, circles, cubes, spheres, and cones. Geometric shapes and forms are often man-made.

KET - 10 Years Later: Kentucky Beyond the Color Line

However, many natural forms also have geometric shapes. This cabinet is decorated with designs of geometric shapes. Gold Wreath , Greek, — B. Organic shapes and forms are typically irregular or asymmetrical. It was a conflict his family watched on the TV news. It was almost like a war being fought overseas.

The Piedmont public schools responded to the U. Supreme Court ruling banning school segregation by promptly, and rather quietly, opening the doors of white schools to black children. Young Skip's parents encouraged their boys to excel in the newly integrated schools. Gates remembers being recognized and nurtured as a gifted child by the white faculty. He also developed an early sense of ease and friendship with white children. No artificial tones, no hypercorrectness. Gates grew up in an African American community — in terms of both geography and his extended family — that was rich in culture and characters.

He tells their tales with the affection and relish of a natural storyteller, a trait he credits to his father's love of a good yarn. He also describes an early "avidity for information on the Negro," anticipating his life calling as a student and exponent of African and African American heritages. Gates fondly remembers developing elaborate soul-brother handshakes, spouting the few phrases of Swahili he managed to master, and growing the tallest afro in town. In , Gates left home for college. He majored in history at Yale University, then won a fellowship to Cambridge University, where he earned a Ph.

Gates taught at Yale, Cornell and Duke, establishing himself as a powerful new figure in English literary criticism and the interpretation of African American literature. He has published prolifically, branching out from literary studies to co-produce extensive reference works on African American history and culture. These include a massive encyclopedia called Africana, first imagined a century earlier by scholar W.

America Beyond the Color Line with Henry Louis Gates Jr.

Du Bois as a Negro equivalent to the Encyclopedia Britannica. Gates lured eminent scholars from other leading universities to his program, including Cornel West, William Julius Wilson, and Evelyn Brooks Higginbotham. Gates and his dream team resuscitated the program at Harvard. They are also widely credited with lifting the academic status of black studies as a whole.

Beyond the Color Line | The New Yorker

Gates's mission was to free black studies from the grip of afro-centrism, and to welcome interested students and scholars of all racial and ethnic backgrounds. As his academic reputation soared, Gates also established himself as one of America's leading public intellectuals. In , Time declared Gates one of the 25 most influential Americans, saying he combines "the braininess of the legendary black scholar W.

Du Bois and the chutzpah of P. While Gates is certainly a high-profile figure compared to most academics, he is perhaps best known to some Americans as the Harvard professor who got into a scuffle with a cop, and then made peace over a beer on the White House patio. On July 16, , Gates was returning home to Cambridge, Massachusetts, after an overseas trip. His front door was stuck, so Gates and his taxi driver tried to push it open. A neighbor called the police to report a suspected burglary. Gates and a white officer got into a verbal confrontation and Gates was arrested for disorderly conduct.

The charges were dropped, but the incident sparked a vociferous national conversation over the persistence of racial discrimination in the United States. Commentators found reason to blame both parties for the fracas. Gates gave this speech at the Commonwealth Club of California, in San Francisco, the nation's oldest and largest public affairs forum. The program was a kind of State of the Union report on black America at the dawn of the 21st century.

Gates describes what he learned travelling the country to interview a cross-section of African Americans for the show, and concludes with his own declaration of the most pressing obstacles in the nation's long struggle for racial equality. I'm going to show you a clip from my new film series, and I'm going to tell you about it. In , W.

The comedian on his brooding adolescence, the joys of standup, and making a Netflix show for kids.

Du Bois, of course, the greatest black intellectual of all time — you know they talk about our generation of black intellectuals and writers — they talk about my main man, Cornel West, and they talk about Kwame Anthony Appiah, and Manning Marable and Claude Steele up at Stanford — you could add us all up together, and put us in a Cuisinart and pour us out, and we would not be worthy of tying W. Du Bois' shoelaces.

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Du Bois was the man. And he woke up in and he predicted, famously, that the problem of the 20th century would be the problem of the color line. And that turned out to be true, certainly, no one could dispute that. So at the beginning of the 21st century, I wanted to ask, and attempt to answer, the same question: What will the problem of the 21st century be? But unlike the lordly Du Bois, who sat at his desk up in Harlem and just pronounced the answer, I wanted to travel all throughout the United States, interviewing a cross-section of the African-American community, and address the question the following way: Where are we, as a people, 35 years after the brutal assassination of the Rev.

Martin Luther King? Where are we as a people? Have we progressed? Have we gone far enough?

How much further do we have to go? And the result is, as you heard in the marvelous introduction, I interviewed dozens of people.

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From the rich and powerful and famous, to the homeless, the not-so-powerful, the impoverished, the infamous, the imprisoned. I went and did a segment on black Hollywood; I interviewed Chris Tucker and Bernie Mac; I mean it was hilarious, I could barely ask the questions for laughing for the whole time. But I also interviewed single heads of households on the South Side of Chicago. I went to Cook County Jail and interviewed prisoners.


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I interviewed people who formerly were drug dealers, who were now reformed drug dealers and most probably will fall off the wagon and be drug dealers again. I wanted to ask black America, in every possible shape and size and even color, "Where are we as a people? Now part one is called, "Ebony Towers," and it's about the new, black middle class that's emerged since Dr. King was killed in Part two is about the amazing phenomenon of black people from the North reverse-migrating to the South.

You could look through all of the annals of African-American literature, and you'll find tens of thousands of references to black people in the South following the North Star, or following the Drinking Gourd — which was a metaphor for the Big Dipper, which, of course, involves the North Star — but you will not find one, not one, that says, "Black man or black woman, find your freedom by heading back to Mississippi. And I wanted to ask, why? Because for me, when I was growing up in the '50s, the South was a litter of crosses and the corpses of black men. And why would these people — and these are upper-middle-class black people — moving back to Atlanta, moving into all-black neighborhoods, all million-dollar homes, all-black country clubs, all-black swimming pools?

And I wanted to ask them, "Is this what Dr. King died for? If Dr. King came back, would he like this? Or would he not like this? Part three is called "Black Hollywood. So I wanted to go to Hollywood and ask, "Has racism disappeared in Hollywood because we have so many black actors on the A-list?