February ’17 Mix

  1. Jazz Suite No. 1: 1. Waltz / Dmitri Shostakovich
  2. I Wonder U / Prince
  3. Chunari Chunari / Abhijeet and Anuradha Shriram
  4. But Not For Me / Ahmad Jamal
  5. Can’t She Tell – feat. Sly Stone / Billy Preston
  6. Armellodie / Chilly Gonzales
  7. Please Don’t Go / Stevie Wonder
  8. Running Away / Friendly Fires
  9. What’s New / Helen Merrill, Clifford Brown
  10. Expresso 2222 / Gilberto Gil

January ’17 Mix

  1. Hard Times / John Legend, The Roots
  2. BTSTU / Jai Paul
  3. Love Has Come Around / Donald Byrd
  4. Only Memories Remain / My Morning Jacket
  5. Cooking Up Something Good / Mac Demarco
  6. This Must Be The Place / Talking Heads
  7. Realize / Benny Sings
  8. FDT / YG, Nipsey Hussle
  9. Mexican Chef / Xenia Rubinos
  10. Original Faubus Fables / Charles Mingus

Copland’s “Appalachian Spring” and Manifest Destiny

I’m currently reading An Indigenous People’s History of the US by Roxanne Dunbar-Ortiz, and one of the main takeaways is that settler-colonialism is an ongoing process in the US, not a relic from our past. The conflict over the Dakota Access Pipeline (DAPL), which infringes on the sovereignty of Indians in the Standing Rock reservation and threatens their water supply, demonstrates that fact dramatically. And as families all over the country sat down to commemorate a holiday celebrating a fantasy of Pilgrim-Indian collaboration, the world was stunned by the spectacle of non-violent protesters being brutally repressed with tear gas, rubber bullets, dogs, concussion grenades, batons, and water cannons in subzero temperatures. The ideology of Manifest Destiny has to go. The problem is – what to do we do about all of the groundbreaking, masterful works of art that served to justify, celebrate or shape this genocidal ideology?

I’ve loved Appalachian Spring, Aaron Copland’s landmark Pulitzer-Prize winning ballet, for years. It’s an extremely influential and popular piece, and its impact can be felt in popular film scores, classic and modern, from Elmer Bernstein’s To Kill a Mockingbird to Thomas Newman’s Little Women, and especially John Williams’ Lincoln. I was studying and analyzing Appalachian Spring this month when my growing awareness of the #NoDAPL Movement prompted me to think about the piece in a completely different way.

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