Posts by Deglassco@mastodon.social
(DIR) Post #AwEd81zTnXq9fkyTMO by Deglassco@mastodon.social
2025-07-17T19:57:32Z
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Still, even as her stature grew, her body betrayed her. Multiple sclerosis weakened her legs. She left Congress in 1979—not because her mind dimmed, but because her body refused.And still, when the party asked her to speak again in 1992, she did—this time in a wheelchair.13/20Video: Barbara Jordan 1992 speech at the Democratic convention.https://youtu.be/ADDsKGs6Gr4?si=C8dDRD0xYj9C0qDt
(DIR) Post #AwEd82jv0szFzmhYkC by Deglassco@mastodon.social
2025-07-17T19:59:03Z
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That speech echoed too. Softer now. The fire remained, but the frame had shifted. MS. Leukemia. And something deeper—exhaustion. The exhaustion of having carried not just a career, but a nation’s conscience.14/20Image: Barbara Jordan, Oct 18, 1976 (Lyndon Baines Johnson Presidential Library).
(DIR) Post #AwEd83XY2MgaThvC6K by Deglassco@mastodon.social
2025-07-17T20:00:28Z
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Statues stand now. At the University of Texas, where she had once been barred. At the Austin airport, where many pass without knowing.But she knew.“I wanted to be a citizen,” she once said.And in 1976, she reminded America what that meant—not by heritage, but by will.And though many forgot the details, they remembered the voice.Because she had crossed the line.And she had spoken for the common good.15/20Image: Barbara Jordan as a young woman. Source: Office of the Clerk, U.S. House.
(DIR) Post #AwEd88jmiIReb6gXMu by Deglassco@mastodon.social
2025-07-17T20:01:40Z
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Primary Sources:“Barbara Jordan Family Collection,” Houston Public Library Archives and Manuscripts, repository description, accessed July 13, 2025, https://hplarchives.lyrasistechnology.org/repositories/3/resources/371/.U.S. National Archives. “The Keynote Speaker: An Exhibition of Congresswoman Barbara Jordan.” Google Arts & Culture, n.d. Accessed July 13, 2025. https://artsandculture.google.com/story/hQWhiqn7ZKMwvw.U.S. National Archives. “Barbara Jordan Congressional Records,” National Archives Catalog. Accessed July 13, 2025. https://catalog.archives.gov/search?q=%22SIL!ppl%2Fbcj%22.16/20
(DIR) Post #AwEd8EKTvHlnwMtPlI by Deglassco@mastodon.social
2025-07-17T20:02:07Z
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More Sources Digital Scholarship @ TSU. BJA. Texas Southern University. Accessed July 16, 2025. https://digitalscholarship.tsu.edu/bja/.University of North Texas Libraries. The Barbara C. Jordan Archives. The Portal to Texas History. Accessed July 16, 2025. https://texashistory.unt.edu/explore/collections/BCJA/. 17/20
(DIR) Post #AwEd8JilsPAcf9INoe by Deglassco@mastodon.social
2025-07-17T20:02:54Z
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Secondary Sources Max Sherman. Barbara Jordan: Speaking the Truth with Eloquent Thunder. Louann Atkins Temple Women & Culture Series. Austin: University of Texas Press, 2007.Mary Ellen Curtin. She Changed the Nation: Barbara Jordan’s Life and Legacy in Black and White. Philadelphia: University of Pennsylvania Press, 2024.Harry Preston Austin. Barbara Jordan: The Biography. Austin, TX: Golden Touch Press, 1997.18/20
(DIR) Post #AwEd8PFDLD5nnDVrZw by Deglassco@mastodon.social
2025-07-17T20:03:40Z
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More Secondary Sources Barbara Jordan and Shelby Hearon. Barbara Jordan: A Self‑Portrait. Garden City, NY: Doubleday, 1979.Barbara Jordan, edited by Max Sherman. Speaking the Truth with Eloquent Thunder. Austin: University of Texas Press, 2007.National Archives. “The Keynote Speaker – Congresswoman Barbara Jordan.” Rediscovering Black History (blog), June 22, 2022. https://rediscovering-black-history.blogs.archives.gov/2022/06/22/the-keynote-speaker-congresswoman-barbara-jordan/. Accessed July 12, 2025.19/20
(DIR) Post #AxVMXPz9ZEDDb7zhqK by Deglassco@mastodon.social
2025-08-24T19:37:13Z
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On the surface, Bruce Springsteen is the workingman’s troubadour—the bard of highways and mill towns. But for a Black listener, his voice carries another weight: it echoes the sorrow songs, borrows from Black survival, & exposes the fracture at America’s core.1/15#history #photography #music #blackandwhite #blackmastodon #histodons #newjerseyImage: Bruce Springsteen Up The River with Clarence Clemons, Dec 31, 1980, Nassau Veterans Memorial Coliseum, Uniondale, NY, Photographer: Brooks Kraft.
(DIR) Post #AxVMXQjamZMJv9inE8 by Deglassco@mastodon.social
2025-08-24T19:38:43Z
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In 1985, Springsteen was in a Guthrie documentary. He rasped through Ain’t Got No Home. My reaction was instant: that guy can’t sing. I was raised on gospel and soul, where truth meant clarity. Sam Cooke, Aretha, voices polished by fire.https://vimeo.com/15502521.2/15Video: Folkways: A Vision Shared – A Tribute to Woody Guthrie and Leadbelly. Directed by Jim Brown. 1988.
(DIR) Post #AxVMXUujF6dysqxk8m by Deglassco@mastodon.social
2025-08-24T19:40:40Z
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But, Springsteen's roughness was its own refusal. His voice did not beautify; it refused to sand down America’s broken promises. Guthrie appealed to him because the older man's ragged tone carried protest, not polish—an inheritance of lament closer to the wail than to the hymn.3/15Image: Black and white poster announcing Woody Guthrie performance at Towne Forum, Los Angeles, 1941. Photo by Seema Weatherwax.
(DIR) Post #AxVMXaBvcaNBFe338y by Deglassco@mastodon.social
2025-08-24T19:42:18Z
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To understand this inheritance you must go back: to ring shouts, hush arbors, the “sorrow songs” Du Bois called the nation’s greatest gift. Spirituals that bore weight and coded escape—"Wade in the Water," "Swing Low," "Steal Away." They carried endurance in bent notes.4/15Image: Postcard of Black American prisoners leased to build the railroad in Asheville, North Carolina, January 2, 1892, Photographer T.H. Lindsey.
(DIR) Post #AxVNnKGsgCIISnR42y by Deglassco@mastodon.social
2025-08-24T19:43:52Z
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This music—the “changing same” Amiri Baraka named—flowed into blues hollers, gospel moans, Delta cries. Guthrie absorbed it in migrant camps: "Take This Hammer," "John Henry," cotton-field chants. Black cadence became the grammar of American protest.5/15https://youtu.be/0SMfDbOJlqE?si=Za5tnKZm05lIai9DVideo: Video: Blind Lemon Jefferson, "See That My Grave Is Kept Clean," Recorded in Chicago, IL, circa February, 1928.
(DIR) Post #AxVNnL0FxUaejWfIm0 by Deglassco@mastodon.social
2025-08-24T19:45:10Z
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The folk revival claimed this current but canonized it white. Seeger, Dylan, the Weavers—borrowing Black idioms while naming Guthrie saint. When Springsteen appeared rasping Guthrie, he sealed the line: white troubadour as vessel of grievance built on Black song.6/15https://youtu.be/TxMORIhbFl4?si=9i-mZYGgAfUFSjl2Video: Video: Sharon Jones and the Dap Kings perform "This Land is Your Land," Jimmy Kimmel, October 30, 2012.
(DIR) Post #AxVNnLgRQeKmqMOzWi by Deglassco@mastodon.social
2025-08-24T19:46:42Z
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For a Black listener, the paradox is sharp. One hears the idioms of survival—gospel cadences, blues refrains—but carried by a white bard. The authenticity others celebrate is borrowed from black inheritance, black sorrow turned anthem for another crowd.7/15https://youtu.be/yC3_ONtSEiU?si=0IQV6wwDazONAHdLVideo Video: "Hoe, Emma, Hoe," Slave songs performed by Larry Earl Jr., Christina Lane and Willie Wright, Part of the The Music of Washington's World series, Mt. Vernon, 2015.
(DIR) Post #AxVNnMFtIqgscIzImW by Deglassco@mastodon.social
2025-08-24T19:48:23Z
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And yet, the music itself complicates. "Tunnel of Love" revealed a Springsteen stripped bare, confessional, fragile. Not mythic America, but human longing. He leaned closer to gospel wail than bar-band chant. It was sincerity, not invention, that carried him.8/15Video: Bruce Springsteen, Tunnel of Love (Columbia Records, 1987).https://youtu.be/T8xq0j57VPc?si=FLvd1qoDt3LCoFZmAlt t
(DIR) Post #AxVNnModDgToM3F2vo by Deglassco@mastodon.social
2025-08-24T19:50:32Z
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Clarence Clemons made this plain. On the cover of "Born to Run," Springsteen leaned on him—literally. Clemons’s horn was no ornament; it was the sound of transcendence. Without Clemons, there was no Springsteen. And without the blues, there is no folk, no rock and roll.9/15Image: The original cover of Springsteen's “Born to Run” from 1975. Photographer, Eric Meola.
(DIR) Post #AxVNnQcj3tKiAHhavg by Deglassco@mastodon.social
2025-08-24T19:53:17Z
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Springsteen’s New Jersey became every city of struggle—Detroit, Baltimore, Jackson. His highways became the search itself: not for land or money, but for connection, love, meaning. His truest songs are not about cars or mills but about yearning.10/15Video: Bruce Springsteen, “My Beautiful Reward.” Lucky Town. Columbia Records, 1992.https://youtu.be/TSq34PgSl-Q?si=6RvYQf1yT9cmkkZT
(DIR) Post #AxVNnUFpYxObQR1MnY by Deglassco@mastodon.social
2025-08-24T19:54:37Z
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Two ongs crystallize this. "My Beautiful Reward"—a pilgrim still restless, feathers black against gray fields, searching for transcendence. And Janey, "Don’t You Lose Heart"—a fragile vow to endure, tenderness pledged until rivers run dry.11/15Video: Bruce Springsteen, Janey, Don’t You Lose Heart, B-side of “I’m Goin’ Down” (from Born in the USA, (Columbia Records, 1985). Later included on Tracks (1998) and on the Essential Bruce Springsteen bonus disc (2003)https://youtu.be/kKIPdOVWTjU?si=zSGEjvKx1_a7kTpD
(DIR) Post #AxVNnXtI2hk4hgVQDg by Deglassco@mastodon.social
2025-08-24T19:56:35Z
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To be a Black Springsteen fan is to inhabit a contradiction—seldom visible in the crowd, yet woven everywhere through the music. The roots are unmistakable, the cadences familiar, the reflection clear in Clarence Clemons’s horn. The paradox endures: a white troubadour carrying a Black idiom. And still, it speaks.12/15https://youtu.be/bqxjHzff-Qo?si=b3xowktBonXyLxOtVideo: "John Henry," re-done by Bruce Springsteen, Seeger Sessions, 2019.
(DIR) Post #AxVPrIXXG5rOA0FOWO by Deglassco@mastodon.social
2025-08-24T20:22:14Z
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@wjmaggos it sure is!!