BLACK REINSCRIPTION, WHITE REPRISAL: ELIZABETH KECKLEY AND MARGARET BONDS
- Feb 16
- 7 min
SEQUINA DUBOSE: FROM “BLURRED LINES,” A MESSAGE CRYSTAL CLEAR (pt. 1 of 2)
- Nov 11, 2023
- 5 min
Margaret Bonds and The Ballad of the Brown King
- Oct 5, 2023
- 2 min
The Tombstone’s Tale (2)
- Jul 10, 2023
- 4 min
ANTI-SEMITISM AND ANTI-JUDAISM IN ROMANTIC MUSIC (Part 4: Science's Betrayal, Music's Losses)
- Jul 5, 2023
- 4 min
ANTI-SEMITISM AND ANTI-JUDAISM IN ROMANTIC MUSIC (Part 2: Richard Wagner)
- Jul 5, 2023
- 5 min
ANTI-SEMITISM AND ANTI-JUDAISM IN ROMANTIC MUSIC (Part 1)
- Jun 26, 2023
- 5 min
RACISM IN ROMANTIC MUSIC (4): CANONICAL SILENCING, AND SOME CONCLUSIONS
- Jun 25, 2023
- 3 min
RACISM IN ROMANTIC MUSIC (3): ARCHIVAL SILENCING
- Jun 24, 2023
- 3 min
RACISM IN ROMANTIC MUSIC (2): SILENCING BY MUSIC PUBLISHERS
- Jun 23, 2023
- 7 min
RRM – RACISM IN ROMANTIC MUSIC (Part 1 of 4)
- Mar 24, 2023
- 4 min
MARGARET BONDS, LANGSTON HUGHES, AND THE JOY OF “JOY”:
- Feb 22, 2023
- 5 min
A FATHER-DAUGHTER GIFT FOR TODAY
- Feb 19, 2023
- 3 min
A HISTORIC RE-ENACTMENT
- Dec 11, 2022
- 2 min
A MOST AUSPICIOUS OCCASION
- Nov 19, 2022
- 4 min
MARGARET BONDS: “NO MAN HAS SEEN HIS FACE” (1968)
- Nov 11, 2022
- 4 min
COALESCENCE, CULMINATION, AND EMANCIPATION:
- Nov 1, 2022
- 3 min
J.S. BACH AND THE HARMONY OF THE SPHERES AT THE ROYAL OBSERVATORY GREENWICH
- Jul 1, 2022
- 3 min
“I DEDICATED IT TO MOTHER”
- Jun 20, 2022
- 6 min
ON THE VERY FAMILIAR, AND VERY MYSTERIOUS, SCOTT JOPLIN
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