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https://foxy99.com/2024/05/29/snoop-dogg-thanks-drake-and-kendrick/
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Snoop Dogg Thanks ‘Nephews’ Drake And Kendrick For Their Rap Beef
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2024-05-29T00:00:00
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Snoop Dogg thanks his "nephews" Drake and Kendrick Lamar for their ongoing rap beef, saying it's been beneficial in the world of hip-hop.
|
en
|
Foxy 99.1
|
https://content.bbgi.com/2024/05/29/snoop-dogg-thanks-drake-and-kendrick/
|
https://www.youtube.com/watch?v=F18RQuT3-c0 “7 Minute Drill” was a part of J. Cole’s surprise EP Might Delete Later; the rapper took the EP’s name literally. On “7 Minute Drill,” rapped about how Kendrick’s 2022 album Mr. Morale & The Big Steppers doesn’t compare to his earlier works. “Your first s— was classic, your last s— was tragic/ Your second s— put n—– to sleep, but they gassed it/ Your third s— was massive and that was your prime/ I was trailin’ right behind and I just now hit mine,” Cole raps as he took some inspiration from Jay-Z’s “Takeover” which was used to diss Nas. “One was nah, the other was Illmatic/That’s a one hot album every ten year average,” Jay rapped. Cole continues: “Now I’m front of the line with a comfortable lead/ How ironic, soon as I got it, now he want somethin’ with me/ Well, he caught me at the perfect time, jump up and see.” “He averagin’ one hard verse like every 30 months or somethin’/ If he wasn’t dissin’, then we wouldn’t be discussin’ him,” he raps. He adds inspiration from another line of “Takeover” with: “Four albums in 12 years, n—-, I can divide/ S—, if this is what you want, I’m indulgin’ in violence.” Jay rapped: “Four albums in ten years, n—-? I could divide/That’s one every, let’s say two, two of them s—- was doo.” Cole eventually deleted the song and apologized to Kendrick for it at his annual Dreamville Festival.
While A$AP Rocky’s disdain against Drake was publicly known, The Weeknd coming for Drake seemed like a shot out of left field. The After Hours creator dissed Drake on Future and Metro Boomin’s “All To Myself.” He let’s everyone know that he dodged a bullet for not signing to Drake’s label OVO in 2012.
“These n—– always yappin’, yeah/ I promise that I got your back/ Ooh, look at how we movin’, baby/ They could never diss my brothers, baby/ When they got leaks in they operation/ I thank God that I never signed my life away/ And we never do the big talk/ They shooters makin’ TikToks/ Got us laughin’ in the Lambo,” The Weeknd sings.
After Kendrick Lamar, Future, A$AP Rocky, The Weeknd, and Metro Boomin, came for Drake on their respective tracks, Drizzy finally responded on “Push Ups (Drop & Give Me 50).” At first, fans believed it was an AI response since Drake only seemingly claimed it on social media through trolling, but he officially released the track on April 19.
With the “Push Ups” official release, Drake used the cover art to poke fun at the Compton native’s size. The cover art features the labeling for a men’s size 7, which references Drake’s line, “How the f— you big steppin’ with a size 7 mens on?”
After the shoe line Drake continues: “Your last one bricked, you really not on s— / They make excuses for you ’cause they hate to see me lit / Pull your contract ’cause we gotta see the split / Ain’t no way you doin’ splits bitch your pants might rip.”
Drake then came for Kendrick’s guest verses on pop songs and how he had to keep making the verses to please his former label Top Dawg Entertainment.
“Maroon 5 need a verse, you better make it witty / Then we need a verse for the Swifties / Top say drop, you better drop and give him 50 / Pipsqueak, pipe down / You ain’t in no big three, SZA got you wiped down, Travis got you wiped down, Savage got you wiped down / Like your label boy, you Interscope right now,” he raps.
He addresses Future and Metro with the first couple of lines: “I could never be nobody number-one fan/Your first number one, I had to put it in your hand/You p—— can’t get booked outside America for nan’/I’m out in Tokyo because I’m big in Japan.”
He comes for The Weeknd with this line: “Claim the 6 and boys ain’t even come from it/And when you boys got rich you had to run from it,” Drizzy raps. “Cash blowin’ Abel bread, out here trickin’/S— we do for bitches he doing for n—–/Jets, whips, chains, wicked, wicked, wicked/Spend it like you tryna f—, boy, you trippin’.”
Drake takes aim at Rick Ross with this line: “Can’t believe he jumpin’ in, this n—a turnin’ 50/Every song that made it on the chart, he got from Drizzy,” Drake raps, as he refers to Ross’ relationship with Diddy in the next line: Spend that lil’ check you got and stay up out my business/Worry ’bout whatever goin’ on with you and….”
Lastly, Drake’s mentions Metro directly with one line that has since gone viral: “Metro, shut your h– a– up and make some drums.”
The only one he fails to address on “Push Ups” is A$AP Rocky.
Weeks leading up to Kendrick’s scathing verse on “Like That,” Drake and Rick Ross’ relationship seemed to also be in treacherous territory. The Miami native unfollowed Drake on Instagram and after Drizzy mentioned Ross on “Push Ups,” it was all the ammo he needed to respond back with his own diss track “Champagne Moments.”
He finally reveals why he decided to unfollow Drake on Instagram:”I unfollowed you, n—-, ’cause you sent the motherf—— cease-and-desist to French Montana, n—-/ You sent the police, n—–, hatin’ on my dog project.”
Details surrounding a cease and desist have not been revealed.
Elsewhere in the song, Ross alleges that Drake had a nose job.
“You ain’t never want to be a n—- anyway, n—-/ That’s why you had a operation to make your nose smaller than your father nose, n—-,” Ross raps.
In the song, Ross suggests that Drake got BBL surgery (Brazilian Butt Lift) and ab surgery. He also repeatedly makes fun of Drake’s biracial heritage by persistently calling Drake a “white boy” throughout the song.
https://www.youtube.com/watch?v=zhEiduBxX4c
While Drake awaits a response from Kendrick, Drizzy releases “Taylor Made Freestyle” featuring AI verses of Snoop Dogg and the late Tupac Shakur.
“Kendrick, we need ya, the West Coast savior/Engraving your name in some hip-hop history,” AI Tupac raps in the opening verse. “F— this Canadian light-skin, Dot/We need a no-debated West Coast victory, man.”
Next up is AI Snoop Dogg who questions Kendrick’s past, “I know you never been to jail, or wore jumpsuits and shower shoes/Never shot nobody, never stabbed nobody/Never did nothing violent to no one, it’s the homies that empower you/But, still, you gotta show this f—— owl who’s boss on the West/Now’s a time to really make a power move,” the voice raps in the second verse.
In the last verse, Drake comes for Kendrick himself not using AI. Drizzy alleges that Kendrick is waiting to drop his diss track because Taylor Swift — who Kendrick has collaborated before on “Bad Blood” — dropped her double album The Tortured Poets Department on Friday (April 19) and he wants the chance to go No. 1. The “Rich Baby Daddy” hitmaker also admitted he’s moved music releases around Swift’s drops.
“But now we gotta wait a f—— week ’cause Taylor Swift is your new Top/And if you ’bout to drop, she gotta approve.” He adds later, “Yeah, shoutout to Taylor Swift/Biggest gangster in the music game right now/You know, I moved my album when she dropped.”
While we’re not sure why Drake thought this was necessarily a good idea in the first place, Shakur’s estate were deeply offended by Drake’s use of an AI version of the late rapper and threatened legal action. Drizzy decided to take the diss track off of his Instagram. The song was never submitted to streaming services.
Kanye got himself into the mix — why, we don’t know. The Chicago native released a remix of Kendrick’s “Like That” aiming straight for Drake and J. Cole. On Ye’s remix, he begins by referencing the feud between Drake and Kendrick.
“You know we had to get the hooligans up here to get these p—-n——out/ Yo Dot, I got you,” Ye raps.
Ye then calls out Cole and Drake by name. “Y’all so out of sight, out of mind/ I can’t even think of a Drake line/ Play J. Cole, get the p—- dry/ Play this s— back 130 times.”
Prior to this remix, Ye and Drake had some issues but the two seemingly made up in 2022 for the Free Larry Hoover event but shortly after Drake dissed him on “Circo Loco.”
“Linking with the opps, bitch, I did that for J. Prince/Bitch, I did it for the mob ties,” Drake raps. He adds later that there probably won’t be a reconciliation, “And I never been the one to go apologies/Me, I’d rather hit ’em up one more time.”
The moment everyone was waiting for: Kendrick’s response. The Mr. Morale & The Big Steppers artist reacted to Drake’s diss tracks with “Euphoria” on April 30. Kendrick began the diss track by calling Drake a “master manipulator and habitual liar” and adding that he literally hates everything about him: “I hate the way that you walk, the way that you talk, I hate the way that you dress/ I hate the way that you sneak diss, if I catch flight it’s gonna be direct/ We hate the bitches you f— ’cause they confuse themselves with real women/ And notice I said ‘we,’ it’s not just me, I’m what the culture feeling.”
He came for Drake’s fatherhood as well referencing Pusha T calling Drizzy out on “The Story of Adidon” back in 2018. “Y’all thinking my life is rap? That’s h- s—, I got a son to raise, but I can see you know nothing about that,” Kendrick raps.
Kendrick also mentions J. Cole as well regarding the “big three” comment on “First Person Shooter.”
“Cole and Aubrey know I’m a selfish guy, the crown is heavy/ I pray they my real friends, if not, I’m YNW Melly,” Kendrick raps referring to the “big three” statement but also YNW Melly is on trial currently for allegedly killing two of his close friends.
Nearing the end of the song, Kendrick propels himself above all of the other rappers who have tried to come for Drake.
“Ain’t 20 v. 1 it’s 1 v. 20 if I gotta smack n—– that write with ya,” he raps.
In the last line of the track he warns Drake, “We don’t wanna hear you say n—- no more,” after calling out how he uses his Blackness when it best suits him.
https://www.instagram.com/p/C6gdClArPXc/
After not getting a response back from Drake, Kendrick released another diss track three days later. “6:16 in LA” arrived on Kendrick’s Instagram on May 3 and the title references Drake’s timestamp series. Kendrick mentions Drake’s line in the “Push Ups” diss track that he was being swindled by Top Dawg Entertainment’s Anthony “Top Dawg” Tiffith.
“Conspiracies about cash, dawg, that’s not even the leak/ Find the jewels like Kash Doll, I just need you to think/ Are you finally ready to play ‘Have you ever?,’ let’s see/ Have you ever thought that OVO is working for me?” he raps.
Next, Kendrick calls Drake out for being a bully and infers that the ones around him aren’t loyal. He also references Drizzy’s 2020 hit “Toosie Slide.”
“Fake bully, I hate bullies, you must be a terrible person/ Everyone inside your team is whispering that you deserve it/ Can’t Toosie Slide up out of this one, it’s just gonna resurface/ Every dog gotta have his day, now live in your purpose,” he raps.
Kendrick continues with the theory that Drake’s own people are waiting for him to fail.
“A hunnid n—– that you got on salary, and twenty of ’em want you as a casualty/And one of them is actually, next to you/And two of them is practically tied to your lifestyle, just don’t got the audacity to tell you.”
Drake has been taking shots at Kendrick’s fiancée Whitney Alford suggesting that he cheated on her with white women (which Kendrick has already admitted to on his own song “Mother I Sober.”)
“You the Black messiah wifing up a mixed queen/ And hit vanilla cream to help out with your self-esteem/ On some Bobby s—, I wanna know what Whitney need,” Drake raps referring to Alford.
Then Drake suggests that Kendrick’s kids are not his and that they’re Dave Free’s, who is a record executive and former president of Top Dawg Entertainment where Kendrick was originally signed before leaving in 2022. Drake also suggests that Kendrick has been physically abusive to his wife.
“Your baby mama captions always screamin, ‘Save me’/ You did her dirty all her life, you tryna make peace/ I heard that one of them little kids might be Dave Free/ Don’t make it dave freeze/ Cause if your GM is your BM secret BD,” Drake raps.
While those are the main lines he address K. Dot with, he also takes shots at The Weeknd, A$AP Rocky, Future, Metro Boomin, and Rick Ross.
Drake flipped his “Buried Alive Interlude” from Take Care and while this is a parody, Drake still got some points across about how he really feels about Kendrick.
“If you were in a pine box, box/I would shovel dirt on top, top/I’d play this record on repeat, ‘peat/
You always been a bitch to me/If you was in a pine box, box/I would still be in my spot, spot/For you to make it to the peak, peak/It’d have to be the death of me, the death of me,” Drake raps in the intro.
In the first and only verse in the song, Drake reminds Kendrick who gave him a shot.
“Took you on your first tour with us, tryna catch a vibe/I was headline, you was standin’ on thе side/
Brought you and that other hoe along for the ride,” Drake raps referring to his 2012 Club Paradise Tour where Kendrick and A$AP Rocky headlined for him.
Kendrick took less than an hour to respond back to Drake with “Meet The Grahams.” Like the title suggests, Kendrick addresses Drake’s family including his son Adonis, his mother Sandra, and his father Dennis.
K. Dot begins with Adonis: “Dear Adonis, I’m sorry that that man is your father, let me be honest/It takes a man to be a man, your dad is not responsive/I look at him and wish your grandpa woulda wore a condom/I’m sorry that you gotta grow up and then stand behind him.”
Then he speaks to Drake’s mother Sandra: “Dear Sandra, your son got some habits/I hope you don’t undermine them.”
Kendrick does not hold back when addressing Drake’s father Dennis Graham: “You raised a horrible f—-’ person/The nerve of you, Dennis.”
He then addresses Sandra again but this time more harshly calling Drake a pedophile: “Your son’s a sick man with sick thoughts/I think n—– like him should die/Him and Weinstein should get f—– up in a cell for the rest of they life.”
“And we’ve gotta raise our daughters knowing there’s predators like him lurkin’/F— a rap battle, he should d–, so all of these women can live with a purpose,” he continues.
Kendrick then addresses the alleged 11-year-old daughter Drake is hiding who he refers to as “baby girl”: “I’d like to say it’s not your fault that he’s hiding another child/Give him grace/That’s the reason I made Mr. Morale,” referencing when Pusha T called Drake out on “The Story Of Adidon” about not publicly outing that he had a son.
“F— a rap battle/This a lifelong battle with yourself,” he ends the track.
Kendrick released “Not Like Us” the following day as hammers home the pedophile allegations against Drake.
“Say, Drake, I hear you like ’em young/ You better not ever go to cell block one/ To any b—- that talk to him and they in love/ Just make sure you hide your lil’ sister from him,” Kendrick raps.
Drake’s team is not safe from this diss track either, as Chubbs (Drizzy’s head of security), and OVO artists PartyNextDoor and Baka Not Nice (who was arrested for human trafficking) also are targets with the next line.
“They tell me Chubbs the only one that get your hand-me-downs/ And party at the party, playin’ with his nose now/ And Baka got a weird case, why is he around?/ Certified Lover Boy? Certified pedophiles,” he continues referencing Drake’s 2021 album Certified Lover Boy.
He then speaks on claims of Drake being a “deadbeat dad” as he’s hiding an 11-year-old daughter, “You lied about your son, you lied about your daughter, huh, you lied about them other kids that’s out there hoping that you come,” Kendrick raps.
While the song has some harsh lines, Kendrick made a potential summer hit with the Mustard-produced beat.
Did Drake wave the white flag? Well, after “The Heart Part 6” it seems he’s said all he’s had to say at this point. Just like Kendrick mimicked Drake’s timestamp series, Drake did the same with “Part 6” of the Compton native’s “The Heart” series. On “The Heart Part 6,” Drake immediately addressed the 11-year-old daughter rumors saying that Kendrick was fed false information and that he took the bait.
“We plotted for a week and then we fed you the information/A daughter that’s eleven years old, I bet he takes it/We thought about giving a fake name or a destination/But you so thirsty, you not concerned with investigation,” Drake raps.
Then Drake refers to Kendrick’s “Mother I Sober” again where Kendrick talks about his sexual traumas in his childhood.
“Mother, I—, mother, I—, mother—/Ahh, wait a second, that’s that one record where you say you got molested/Aw, f— me, I just made the whole connection/This about to get so depressin’
This is trauma from your own confessions/This when your father leave you home alone with no protection, so neglected/That’s why these pedophile raps is s— you so obsessed with, it’s so excessive
They acting like it’s so aggressive,” Drake raps.
However, it is to be noted that Kendrick raps in “Mother I Sober” that he was not molested as a child.
“Family ties, they accused my cousin, ‘Did he touch you, Kendrick?’/Never lied, but no one believed me when I said ‘He didn’t,'” Kendrick raps in the Mr. Morale & The Big Steppers track.
Drake attacks Kendrick’s fiancée, Whitney Alford, again claiming that his two children he shares with her are not his.
“What about the bones we dug up in that excavation?/And why isn’t Whitney denyin’ all of the allegations?/Why is she following Dave Free and not Mr. Morale?/You haven’t seen the kids in six months, the distance is wild/Dave leaving heart emojis underneath pics of the child,” Drake raps referring also the cover art of the song which features Dave commenting on a presumed photo of Alford.
Drake then dismissed the pedophilia claims.
“Speakin’ of anything with a child, let’s get to that now/This Epstein angle was the s— I expected/TikTok videos you collected and dissected/Instead of being on some diss-direct s—/You rather f—— grab your pen and misdirect s—,” he raps.
Drake also has one last jab to Alford and claims that Kendrick wanted to feud to promote an upcoming album he has not yet announced: “Album droppin’ soon, no wonder you turn to a clout chaser ‘stead of doing hard labor/N—-, I’ll see you when I see you like Fantasia/And Whitney, you can hit me if you need a favor/And when I say I hit ya back, it’s a lot safer/Huh, I promise.”
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en
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Facebook
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://www.facebook.com/login/
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https://www.xxlmag.com/simone-biles-mom-snoop-dogg/
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Olympian Simone Biles’ Mom Tells Snoop Dogg Hilarious Story About a Time He Blew Her Off for a Picture Years Ago
|
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2024-07-29T13:26:24+00:00
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Olympian Simone Biles' mom tells Snoop Dogg a hilarious story about a time he blew her off for a picture years ago.
|
en
|
https://townsquare.media/site/812/files/2015/09/favicon.ico
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XXL Mag
|
https://www.xxlmag.com/simone-biles-mom-snoop-dogg/
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Olympian Simone Biles' mom tells a hilarious story about meeting Snoop Dogg years ago during an interview with Uncle Snoop for the 2024 Paris Olympics Opening Ceremony.
Snoop Dogg Interviews Biles Family
Snoop Dogg will be a big part of NBC's coverage of the Olympic Games in Paris. On July 26, the rap icon interviewed gymnast Simone Biles' family. During the talk, Biles' mother Nellie reminded Snoop that they had met a long time ago.
"I remember, I will never forget that we met you in Times Square [in] 2010," she recalled. "You said—’cause we asked for a picture—you said, 'Two minutes.' One, two and you were gone."
Snoop got a good laugh out of the story but didn't get a chance to retort before his cohost changed the subject.
Read More: Snoop Dogg Opens S.W.E.D. Dispensary Store and Honors Tupac Shakur Through Cannabis Products
Snoop Dogg Covers the 2024 Olympics
Snoop Dogg is providing boots-on-the-ground coverage of the Summer Olympics. He has also been a part of the action. Back in June, he participated in the trials at Hayward Field in Eugene, Ore., where he ran the 200-meter trial and clocked in a time of 34.44. Snoop was one of the people who carried the Olympic torch on opening day. Pharrell was also a torch bearer in the ceremony. The 2024 Paris Olympics will continue through Aug. 11.
Read More: Here Are All the Rappers Who Have Made It Into the Songwriters Hall of Fame
Check out the video of Snoop Dogg getting jokingly called out by Simone Biles' mom below.
Watch Simone Biles' Mom Tell Story About Encounter With Snoop Dogg
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Make Your Day
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https://en.wikipedia.org/wiki/Gambino_Family_(group)
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en
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Gambino Family (group)
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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https://en.wikipedia.org/static/favicon/wikipedia.ico
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2009-03-19T01:04:17+00:00
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https://en.wikipedia.org/wiki/Gambino_Family_(group)
|
American hip hop group
For the crime family, see Gambino crime family.
The Gambino Family was an American hip hop group founded by Master P in 1997, named after the Gambino crime family. The four members of the group were Lil Gotti (after John Gotti), Malachi, Pheno and Reginelli (after Marco Reginelli).
The Gambino Family made their debut mainstream appearance in 1997 on the soundtrack to I'm Bout It on the song "Why They Wanna See Me Dead". After appearing on numerous No limit releases in 1998, including Steady Mobb'n's Black Mafia, Soulja Slim's Give It 2 'Em Raw and Fiend's There's One in Every Family, the group's debut album entitled Ghetto Organized was released on October 20, 1998. Though it found big success on the Billboard charts, peaking at #17 on the Billboard 200 and #3 on the Top R&B/Hip-Hop Albums. In 1999 Malachi and Reginelli formed the group Young Guns, appearing on Lil Soldiers' Boot Camp album and Master P's Only God Can Judge Me. They joined TRU Records in 2000, appearing together on C-Murder's Trapped In Crime, and on C-Murder's albums: Reginelli on C-P-3.com, Malachi on Tru Dawgs and Screamin' 4 Vengeance.
Jhon Matthew Gotti
List of albums, with selected chart positions Title Album details Peak chart positions US US R&B Ghetto Organized
Released: October 20, 1998
Label: No Limit, Priority
17 3
List of singles as lead artist, with selected chart positions and certifications, showing year released and album name Title Year Peak chart positions Album US US
R&B US
Rap "Studio B" (featuring Snoop Dogg & Mo B. Dick) 1998 — — — Ghetto Organized "Childhood Years"
(featuring C-Murder & Porsha) — — —
|
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https://www.hollywoodreporter.com/news/general-news/celebrities-paris-olympics-lady-gaga-tom-cruise-1235961321/
|
en
|
Celebrities Flock to Paris to Catch Olympics Action
|
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[] |
[
""
] | null |
[
"Chris Gardner"
] |
2024-07-29T22:17:52+00:00
|
Find out which A-listers are in Paris for the Olympics. Lady Gaga and Tom Cruise watched gymnastics, and Nicole Kidman checked out skateboarding.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/news/general-news/celebrities-paris-olympics-lady-gaga-tom-cruise-1235961321/
|
Gold medals aren’t the only thing glittering in Paris.
Stars have flocked to France to catch the Olympics live and in person in the first few day of the international competition. Lady Gaga, fresh from performing “Mon Truc en Plumes” while dressed in Dior during the opening ceremony, cheered on superstar Simone Biles and the USA women’s gymnastics team from inside Bercy Arena where Tom Cruise, Ariana Grande, Cynthia Erivo, Greta Gerwig, Baz Luhrmann, Jessica Chastain, Sarah Jessica Parker, Matthew Broderick, John Legend, Chrissy Teigen, Nick Jonas, Anna Wintour, Snoop Dogg, Lena Waithe, Jon M. Chu and Warner Bros. Discovery chief David Zaslav also caught the flips, tumbles and balance beam action.
First Lady Jill Biden snagged a seat next to Los Angeles Mayor Karen Bass during the first night of swimming while Microsoft billionaire Bill Gates and tennis great Serena Williams caught the Novak Djokovic versus Rafael Nadal tennis match. Spike Lee and Queen Latifah watched the men’s basketball team triumph over Serbia in a game that featured more stars on the court than in the stands thanks to a stacked roster of NBA superstars like LeBron James, Steph Curry, Kevin Durant, Anthony Davis, Devin Booker and more. Mick Jagger watched fencing while Nicole Kidman and Keith Urban checked out women’s street skateboarding.
The Olympics continue through Aug. 11, which means there will likely be plenty of star sightings and social media posts to come from inside the Olympics venues. See below for a roundup of what’s happened thus far in the City of Love.
|
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https://www.eurosport.com/olympics/super-cool-snoop-dogg-usa-women-s-basketball-team-express-delight-at-rapper-s-promotion_vid2208253/video.shtml
|
en
|
USA women's basketball team express delight at rapper's promotion
|
[] |
[] |
[] |
[
""
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A’ja Wilson has praised Snoop Dog for his Olympic enthusiasm. At the US trials, Snoop had done casual on-video interviews with a few Olympians about their sports, including women’s basketball player A’ja Wilson - and on Monday he was wearing a shirt with her face on it.
|
en
|
/favicon.png
|
Eurosport
|
https://www.eurosport.com/olympics/super-cool-snoop-dogg-usa-women-s-basketball-team-express-delight-at-rapper-s-promotion_vid2208253/video.shtml
|
A’ja Wilson has praised Snoop Dog for his Olympic enthusiasm. At the US trials, Snoop had done casual on-video interviews with a few Olympians about their sports, including women’s basketball player A’ja Wilson - and on Monday he was wearing a shirt with her face on it.
|
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https://www.xxlmag.com/childish-gambino-friend-zoned-jhene-aiko/
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en
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Childish Gambino Seems to Deny Rumor He Got Friend-Zoned by Jhené Aiko
|
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[] |
[] |
[
"news"
] | null |
[
"C. Vernon Coleman II"
] |
2024-02-05T23:54:05+00:00
|
Childish Gambino seems to deny rumor he got friend-zoned by Jhene Aiko.
|
en
|
https://townsquare.media/site/812/files/2015/09/favicon.ico
|
XXL Mag
|
https://www.xxlmag.com/childish-gambino-friend-zoned-jhene-aiko/
|
Childish Gambino seems to deny the rumor he got friend-zoned by Jhené Aiko in a recent interview.
Childish Gambino Addresses Jhené Aiko Rumor?
On Feb. 2, Childish Gambino sat down for an interview with Maya Erskine for BuzzFeed UK. During the talk, which can be seen below, the rapper-actor is asked what rumor about himself that he would like to disprove.
"It was a rumor I got friend-zoned by someone once," he responded. "But I didn't get friend-zoned by them," he added.
He refused to divulge the person's identity, only adding, "There was a rumor I got friend-zoned by them. I didn't get friend-zoned by them. I got other-zoned."
Read More: 20 Unnecessary Disses in Hip-Hop That Didn't Need to Happen
Childish Gambino and Jhené Aiko's Relationship
Some fans have speculated the mystery woman is Jhené Aiko. One person even made a cut of the BuzzFeed UK interview that includes clips of Jhené cut into the clip, seemingly questioning CG's denial. Childish Gambino and Jhené Aiko collaborated on multiple songs in the early 2010s including Aiko's "Bed Peace" and "Pink Toes," and Childish Gambino's "Telegraph Ave" music video. But it was never established that they were an item despite speculation.
Glover has been married to his longtime partner Michelle White since 2019. The couple share three sons, Legend, Drake, and Donald Glover III. Since her divorce from producer Dot Da Genius in 2016, Jhené Aiko has been with Big Sean. They welcomed their first child in November of 2022. She also has a daughter from a previous relationship with O'Ryan Granberry.
Read More: Drake Calls Childish Gambino's 'This Is America' Overrated in Tour Visual After Childish Admitted the Song Was Originally a Drake Diss
See video of Childish Gambino seeming to deny the rumor that he got friend-zoned by Jhené Aiko below.
Watch Childish Gambino on BuzzFeed UK
|
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https://nypost.com/2024/02/16/entertainment/snoop-doggs-brother-bing-worthington-dead-at-44/
|
en
|
Snoop Dogg’s brother, Bing Worthington, dead at 44
|
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[
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"celebrity deaths",
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[
"Erin Keller"
] |
2024-02-16T00:00:00
|
Snoop Dogg's brother Bing Worthington has died at age 44.
|
en
|
New York Post
|
https://nypost.com/2024/02/16/entertainment/snoop-doggs-brother-bing-worthington-dead-at-44/
|
Snoop Dogg’s brother Bing Worthington has died at age 44.
The cause of death was not disclosed, but the “Gin and Juice” rapper posted a series of Instagram tributes to Worthington on Friday, captioning a picture of them in a dressing room, “@badabing33 always made us laugh 💙🙏🏾😢 u bac with moms.”
Snoop’s mother, Beverly Tate, died at the age of 70 in October 2021.
The rapper also shared another Instagram photo Friday of him and Worthington with their other brother, Jerry, in a cemetery.
The Post has contacted reps for Snoop for comment.
Worthington was Snoop’s half-brother on his mom’s side and worked professionally with the rapper as a roadie before becoming his tour manager.
“I started from the bottom, I ain’t just become the tour manager, I was just the road guy. I worked my way to the top,” Worthington told Vice in 2016.
“Even though I’m [Snoop’s] brother he didn’t give me a top-ranked position. You can’t just become a president without knowing anything about being the president,” he added. “You have to learn.”
Worthington also told the outlet that his career included doing “a lot of entrepreneur s–t,” including Snoop’s 1966 Cadillac DeVille and Dogg Skateboards.
“You name it. I come up with a lot of great concepts,” Worthington said.
Worthington also had his own music group, Lifestyle. Their song “Tha Jump Off” appeared in the 2006 rom-com “Van Wilder 2.”
Some of Snoop’s famous friends showed their support for the rapper in the Instagram comments.
“My condolences, bro,” rapper and producer D-Nice wrote.
Tyrese Gibson added, “🙏 stay strong big bro…. I’m sorry this happened….. Prayers love and light to you and your family…..”
“Sorry for all your Loss Brother,” Tamar Braxton added.
Tyrese commented, “stay strong big bro…. I’m sorry this happened….. Prayers love and light to you and your family…..”
|
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|
https://snoopdogg.com/news/snoop-dogg-releases-latest-album-b-o-d-r-bacc-on-death-row-out-today/
|
en
|
SNOOP DOGG, RELEASES LATEST ALBUM, B.O.D.R. (BACC ON DEATH ROW) OUT TODAY
|
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[] |
[] |
[
""
] | null |
[] |
2022-02-11T17:50:57+00:00
|
One of the most legendary artists in the game, Snoop Dogg, literally returns to his roots with the release of his 20th studio album, B.O.D.R. (Bacc On Death Row). In a monumental week for the Entertainment Icon, this album comes off the heels of the announcement that Snoop Dogg has acquired the Death Row Records […]
|
en
|
Snoop Dogg
|
https://snoopdogg.com/news/snoop-dogg-releases-latest-album-b-o-d-r-bacc-on-death-row-out-today/
|
One of the most legendary artists in the game, Snoop Dogg, literally returns to his roots with the release of his 20th studio album, B.O.D.R. (Bacc On Death Row). In a monumental week for the Entertainment Icon, this album comes off the heels of the announcement that Snoop Dogg has acquired the Death Row Records brand, in which he was a founding member and was his debut label. B.O.D.R. is the first album through Death Row Records, now under Snoop Dogg’s ownership. B.O.D.R. available everywhere today here.
“B.O.D.R. is especially important to me and I’m excited to have a full circle moment in my career at this time,” said Snoop Dogg. “The album has all the classic Snoop Dogg style with surprises and features from some of the dopest artists out there.”
B.O.D.R. marks the 30th anniversary of Death Row’s very first release, the seminal West Coast, genre defining The Chronic. In the same vein, B.O.D.R. finds Snoop at peak Doggfather, both lyrically and culturally with an iconic ensemble cast of features including Nas, Wiz Khalifa, DaBaby, The Game, Nate Dogg, T.I., Sleepy Brown, Uncle Murda, E-Mo, October London, Nefertitti Avant, HeyDeon, and Jane Handcock. Not to be outdone, the tracks are fueled by equal amounts of firepower with production from Hit-Boy, DJ Green Lantern, DJ Battlecat, Hi-Tek, Bink, Nottz, Soopafly, Trevor Lawrence Jr., and Hollis. The album is currently on all streaming services and is being distributed by Create Music Group.
TRACKLISTING
Still Smokin
Gun Smoke
Coming Back (feat. October London, Nefertitti Avani)
Sandwich Bag
Conflicted (feat. Nas)
Daddy (feat. Emo Trap)
Doggystylin
Crip Ya Enthusiasm
Gotta Keep Pushing (feat. T.I., Sleepy Brown)
House I Built
Outside The Box (feat. Nate Dogg)
Jerseys In The Rafters (feat. The Game)
Pop Pop (feat. DaBaby)
Catch a Vibe (feat. HeyDeon)
It’s In The Air (feat. Uncle Murda, Jane Handcock)
We Don’t Gotta Worry No More (feat. Wiz Khalifa)
Get This Dick (feat. Lil Duval, October London)
Snoopy Don’t Go (feat. October London)
|
|||||
4521
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2
| 73
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https://www.winespectator.com/articles/19-crimes-snoop-dogg-cali-wine-facts-guide
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|
19 Crimes Snoop Dogg Cali Red Wine—What You Need to Know
|
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[
"Sean Evans",
"Dana Nigro"
] |
2024-06-07T11:00:00-04:00
|
Snoop Dogg's 19 Crimes Cali Red wine is here, along with a rosé, 2 whites and canned cocktails. From the types of wine and grapes used, price per bottle and more, here are 11 facts to know.
|
en
|
Wine Spectator
|
https://www.winespectator.com/articles/19-crimes-snoop-dogg-cali-wine-facts-guide
|
Snoop Dogg has always appreciated a solid tipple. Back in 1993, the iconic rapper had an enduring smash hit with “Gin and Juice,” and ever since, we, the general drinking public, are consistently delighted to learn that whatever’s in Snoop’s cup is always something uplifting.
In the early Aughts, Snoop partnered with Cognac house Landy for a fun ad campaign, and in 2020, he officially launched his own gin and a wine collaboration with 19 Crimes. Starting with a Cali Red, the partners have since expanded into a Cali Rosé, a Cali Blanc (Sauvignon Blanc) and a Cali Gold white blend. This man has seemingly not met a spirit or wine category his palate doesn’t love.
We interview Snoop Dogg and the executives at Treasury Wine Estates, who own the 19 Crimes brand, fairly regularly, resulting in a number of interesting facts about Snoop wine bottles and brand. Here’s your guide to everything relating to Snoop Dogg and 19 Crimes wine.
1. Snoop Loves the 19 Crimes Brand
When partnering with 19 Crimes to launch his brand, Snoop shared, “I’ve been a fan,” of the Australian company’s wine. The brand ethos and marketing stem from the historical act of sending British criminals to Australia for any one of 19 various crimes. (Many of those crimes, established in the 1700s, were insane, including: “impersonating an Egyptian, stealing fish from a pond or river, or clandestine marriage.”)
The notion of outlaws who evolved into pioneers is celebrated by 19 Crimes, and the synergy between the winery and Snoop was evident to 19 Crimes' top brass. “[19 Crimes] is really a story of overcoming adversity and coming from somewhere that’s a tough situation, to somewhere amazing. And we absolutely think that Snoop embodies that in a contemporary context,” John Wardley, Treasury Wine Estates marketing vice president for the Americas, told us.
2. Snoop Dogg’s 19 Crimes Cali Red is a Blend
The mix is Petite Sirah, Zinfandel and Merlot, all sourced from vineyards in Lodi, California. (The precise breakdown is 65 percent Petite Sirah, 30 percent Zinfandel and 5 percent Merlot, if you’re wondering.) The current release is a 2020 vintage and comes in at 14.1 percent alcohol by volume.
3. Snoop Tasted All the Options and Picked the Final Blend Himself
It would be easy to outsource tasting and blend selection, but that’s not what Snoop did. After sampling a variety of options, “[Snoop] very much picked this wine,” Wardley told us. “We wouldn’t have done it any other way.”
4. Many Wine Drinkers Think Snoop Dogg Cali Red is Great
While taste comes down to a variety of personal palate preferences, typically a Petite Sirah will afford deep and complex notes that include dark berries, ripened plums and even a hint of cocoa on the finish. Petite Sirah will also lend a punch of acidity and tannins to the blend. Zinfandel can lead to a jammy taste and lingering smoky note on the tongue, while Merlot will bolster the dark fruit flavors.
As to whether you’ll find Snoop’s wine good, you’ll have to try for yourself. Many reviewers who’ve purchased the bottle through national retailers rank it highly (above a 4 out of 5 in many cases), noting that it’s got great flavor for the price, which is around $15 per bottle.
5. Snoop Pairs 19 Crimes Red Wine with His Favorite Cookbook Recipes
Given his unorthodox but lovely friendship with Martha Stewart—the duo hosted a dinner party TV show dubbed “Martha & Snoop’s Potluck Dinner Party”—it’s not surprising Snoop’s got a penchant for cuisine, too. His first cookbook, entitled From Crook to Cook, highlights 50 recipes that include comfort food mainstays like chicken and waffles, but plenty of loftier fare, like lobster Thermidor.
Many of these recipes are apt for wine pairings, so the menu-planning app eMeals worked with the 19 Crimes team to match the ideal wine to nine of Snoop’s recipes. Available options include Snoop’s Yardie Yardbird (Jamaican-inspired chicken), Bow Wow Brownies and Ice Cream, and more. Users get the full recipes, shopping lists and a wine-matching suggestion.
6. Kroger Still Sells Snoop’s 19 Crimes, Despite Pulling a Display
In February 2023, a complaint from a former president of an NAACP chapter was lodged against a Georgia Kroger supermarket. The issue concerned the prominent display placement of Snoop Dogg’s wine which was viewed as offensive and stereotypical to those wishing to celebrate Black History Month. Kroger removed the display, stating that it is committed to “diversity, equity, and inclusion.” The supermarket chain didn’t stop selling Snoop’s 19 Crimes, though. It’s currently available for purchase on the store’s website and in stores.
7. Snoop Experimented with Augmented Reality with 19 Crimes Labels
19 Crimes launched an innovative augmented reality program where the company’s wine labels come to life. And Snoop didn’t sit on the sidelines when it came to his own labels, either. To see the label come to life, head over here.
8. 19 Crimes Snoop Cali Rosé Was Snoop’s Vision
“It was Snoop’s idea to take us down the rosé path,” Wardley told us. “Snoop called it ‘a West Coast party in a bottle—and the wine of summer.’” Snoop launched his rosé in 2021 with a 2020 vintage from California, featuring 75 percent Zinfandel, 20 percent Grenache and 5 percent Pinot Noir. The bottle, which costs $15, contains 12 percent alcohol by volume.
9. Snoop and 19 Crimes Donated $100,000 to Charity
When protests about human rights erupted across all 50 states during 2020, Snoop and 19 Crimes announced a $100,000 donation to the NAACP Legal Fund to help protestors find legal assistance and aid. “We knew it was time to get involved and show our support for those simply exercising their rights as a U.S. citizen,” Wardley told us.
10. Snoop’s Staying True to Gin and Juice
"[Wine and gin] have their own occasions," Snoop told us. "A lot of people call wine ‘juice.’ So, it’s only right that I give them the gin and juice with [my gin] Indoggo and 19 Crimes."
In fact, inspired by the 1994 Grammy-nominated hit, he and producer Dr. Dre introduced pre-mixed Gin and Juice by Dre And Snoop cocktails at the Super Bowl LVIII after party. “Look at our age and look at what we’ve done, and we still love each other, so why not do something together?” said Snoop. Clocking in at 5.9% ABV, these (obviously) gin-based drinks come in four flavors: Apricot (with honey and bergamot), Citrus (with rose and lemon), Melon (watermelon, lemon and hibiscus) and Passionfruit (with pineapple and ginger). A variety pack of 12 cans, adorned with vintage cars in different colors, sells online for around $25 at sites like ReserveBar, while a single-flavor pack of four cans goes for $14–$15.
11. He Helped 19 Crimes Bring Martha Stewart on Board
Stewart launched her Martha’s Chard, a $12 bottle of California Chardonnay, with 19 Crimes in 2022. Snoop, it seems, played a helping hand in 19 Crimes closing the deal with Stewart. “Snoop and Martha have a close friendship, and it was very helpful to have Snoop in our corner when we started negotiations with Martha,” a representative from 19 Crimes’ Treasury Wine Estates told us.
12. Snoop's Wine Project Led Him to Create Canned Wine Cocktails
The entertainment icon kicked off the summer of 2024 with a new entry into the "ready-to-drink" market of canned cocktails. Once again teaming up with 19 Crimes, he launched Cali Cocktails—lightly carbonated drinks with an agave wine base—in two flavors, Smokin' Strawberry Margarita and Long Beach Lemonade. Their ABV comes in at 9 percent, higher than a typical canned beer but lower than many spirits-based canned cocktails. Cali Cocktails are sold in 4-packs of 335ml cans, with a suggested retail price of $15, and can be enjoyed straight out of the can or over ice.
|
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0
| 85
|
https://daddyshangout.com/2022/02/03/soulja-slim-at-the-same-time-featuring-snoop-dogg/
|
en
|
Soulja Slim At the Same Time Featuring Snoop Dogg
|
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[
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] | null |
[
"Travis"
] |
2022-02-03T00:00:00
|
Are you ready for another classic Throwback Thursday? Where's my Soulja Slim fans? Check out Soulja Slim At the Same Time Featuring Snoop Dogg
|
en
|
http://www.daddyshangout.com/wp-content/uploads/2017/02/Favicon.png
|
Daddy's Hangout|Atlanta Daddy Blogger|Parenting,Sports,Music & More
|
https://daddyshangout.com/2022/02/03/soulja-slim-at-the-same-time-featuring-snoop-dogg/
|
Welcome to another Thursday as that mean we are closer to the weekend. This week was another one with a lot of music being played. There were some R&B being played with the debut joint from Lyfe Jennings. Michael Jackson Bad album and J.E. Heartbreak II from Jagged Edge. Eazy-E final album, Better Dayz from 2Pac and The Soul Tape 2 from Fabolous got some play. There were a couple others, but as you can see a lot of good music made my playlist this week. The late, great Soulja Slim’s Streets Made Me was also played and it got me thinking about his debut joint. Streets Made Me was a good one but Give It 2 ‘Em Raw was a straight up classic. From What I Was Told has already been featured as my Throwback Thursday joint. Another standout track from the album featured Snoop Dogg.
At the Same Time was the name of it and the track is crazy with both of them spitting. As we all know, Soulja Slim was taken from us back in November of 2003. Give It 2 ‘Em Raw debut in the top-5 of the Billboard charts when it was released. The album was certified gold, and it was one of the No Limit albums you need to check out I’ve listed. Check out the track for At the Same Time up above featuring Snoop Dogg. Check out the track listing and stream links below for Give It 2 ‘Em Raw.
From What I Was Told
Street Life ft. Silkk the Shocker, Master P & O’Dell
Wright Me ft. O’Dell
At the Same Time ft. Snoop Dogg
Only Real Niggas
Pray For Your Baby ft. Master P
Head Buster ft. Big Ed & Mr. Serv-On
Me & My Cousin ft. Full Blooded
You Got It ft. Mia X
You Ain’t Never Seen ft. Master P
Anything ft. Mia X
Imagine ft. C-Murder & Mac
Takin’ Hits
Wootay
Get High with Me ft. Mystikal
Law Brekaz
What’s Up, What’s Happening
Hustlin’ Is A Habit ft. Steady Mobb’n
Getting Real ft. Silkk the Shocker, Fiend & Full Blooded
L. Party ft. Master P, Silkk the Shocker, Full Blooded, Gambino Family, Big Ed, Prime Suspects, Mac, Kane & Abel, Magic & Snoop Dogg
|
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4521
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3
| 48
|
https://www.complex.com/music/a/backwoodsaltar/ray-j-talks-piru-bloods-and-snoop-dogg
|
en
|
Ray J Reflects on His Affiliation With Piru Bloods, Discusses Family Ties With Snoop Dogg
|
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The singer spoke about their family ties to Mississippi and his current work with LA gangs.
|
en
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https://images.complex.com/complex/images/w_144/complex-icon_m74wk2/complex-favicon.ico
| null |
In an interview with The Art of Dialogue, linked above, Ray J suggested that not a lot of people seem to know that Snoop Dogg and Daz Dillinger are his cousins.
"Yeah, Snoop my cousin, we all from Mississippi," he said. "We all from Mississippi, everybody is from anywhere from Greenwood, Jackson, McComb, and everywhere else up this block. We all been related... It hasn't been a super-duper public thing over time, but I think it's getting more popular now. But my granddaddy used to take Daz and Snoop's Mom or Mom's sister or cousins to school way back before we was born. Like, it stretches far, far back before us. So shout out to Snoop, shout out to everybody in Mississippi."
The 43-year-old singer said that he was well aware of his relation to Snoop before he became famous.
"Snoop used to come pick me up," he added. "Snoop and Daz, when I was real [young]... Like, Brandy had her first album popping... Yeah, this shit been going on for a hell of a long time."
This isn't the first time he's spoken about being related to Snoop and Daz, as he previously opened up about it in an interview on Drink Champs in 2019.
Related
Elsewhere in the interview, he also touched upon his rarely mentioned association with the Piru Bloods.
"Since I was, shit... I don't even remember, four, five?" he said of his Piru Blood association. "Everybody adapts to the neighborhood that they from, so yeah. And now doing positive things with the gangs is crazy. Our new company, Gang Up, is a company that'll actually open up more opportunities than ever for every gang all over. With some of the stuff we're going to implement into this new campaign, I really can't wait for everybody to see that."
When asked about how he became associated with the Piru Bloods, he said that it all came down to the neighborhood he was from.
"My neighborhood was Pirus," he said. "But yeah, that part of Ray J and that part of my world, again, is very small in a sense of... If you're from out here, then you know what's up. If you're from anywhere else, you might be like, 'What the fuck?' It's an LA thing. Shout out to the Piru, shout out to the Bloods, shout out to the Crips. Shout out to the north side, south side... Shout out to all the gangs."
Watch the full interview up top.
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2
| 53
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https://www.distractify.com/p/snoop-dogg-siblings
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en
|
Who Are Snoop Dogg's Siblings? One of His Brothers Was a Successful Businessman
|
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[
"Music",
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[
"Anna Garrison"
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2021-05-08T18:15:45.506000+00:00
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Fans of rapper and musical icon Snoop Dogg are wondering if he has any siblings and who they are. Here's what to know about Snoop's brothers.
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en
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https://www.distractify.com/favicon.ico
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Distractify
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https://www.distractify.com/p/snoop-dogg-siblings
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By Anna Garrison
Updated Feb. 16 2024, 6:56 p.m. ET
To many, the name Snoop Dogg is synonymous with good times and legendary music. Snoop, real name Calvin Cordozar Broadus Jr., has been making waves in the music industry since his career beginnings in 1993.
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His extensive career has led to no less than 17 solo albums and many awards. Snoop is related to several other famous industry musicians like Brandy Norwood, but who are his siblings?
Read on to find out everything we know about Snoop Dogg's siblings — as well as some other famous names he's related to.
Snoop Dogg has two half-siblings.
Reportedly, Snoop has two half-siblings, both brothers. His older brother Jerry Wesley Carter is an employee of United Steel Workers. Jerry is Snoop's half-brother through his mother's side. There aren't many photos of the two brothers together, but Jerry does make the occasional appearance on Snoop's Instagram page.
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Snoop's second brother (also through his mother's side) is younger sibling Bing Worthington Jr. Bing sadly passed away in February of 2024, at the age of 44. Snoop remembered his brother in a series of heartfelt Instagram posts. In one caption, Snoop said Bing "always made us laugh 💙🙏🏾😢 u bac with moms."
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Bing was a businessman who spent a lot of time in the background of Snoop's work. The entrepreneur had been his brother's tour manager, created music of his own, and in 2016, merged music labels Dogg Records with Canadian label Urban Heat Legends.
Bing was good friends with Urban Heat Legends owner Miguel Lopez.
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During an interview with Vice, Bing elaborated on his many business ventures, both in collaboration with his brother and without. Bing explained, "I started from the bottom, I ain’t just become the tour manager, I was just the road guy. I worked my way to the top. Even though I’m [Snoop's] brother he didn’t give me a top-ranked position. You can’t just become a president without knowing anything about being the president. You have to learn."
Snoop's family is very close-knit, and it's clear that both of his brothers worked hard to achieve their goals. All three siblings spent a lot of time with their mother, Beverly Tate. Snoop's mother passed away in 2021, at the age of 70.
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Snoop is also related to several other famous stars.
Several of Snoop's cousins have also made names for themselves in the music industry. His most famous cousins include Brandy Norwood, Ray J, Daz Dillinger, WWE star Sasha Banks, Nate Dogg, and RBX.
Snoop has also collaborated with many of his famous relatives on various projects. Snoop and Daz Dillinger (real name Delmar Drew Arnaud) rose to fame together with the creation of Death Row Records.
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Sadly, Nate Dogg passed away in 2011, but not before he and Snoop collaborated on rap group 213. Snoop also has a tattoo of his late cousin on his arm, with the phrase "All dogs go to heaven" in honor of their shared moniker. The group was effectively disbanded after Nate's passing, but their music will remain a lasting tribute to his legacy.
Snoop Dogg has a large family, and it seems that family is important to him. He spends time with his loved ones whenever he possibly can.
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https://www.complex.com/music/a/david-drake/mafia-culture-influence-on-rap-music
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en
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The Homage: Mafia Culture’s Influence on Rap Music
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Here's further proof that the relationship between mob crime and hip-hop runs deep.
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Image via Complex Original
Kool G Rap “On the Run” (2005)
Kool G Rap was not just Mafioso hip-hop’s pioneer; he became its most enduring proponent, manufacturing John Gotti rhymes throughout the 1990s. (Although a then-unknown rapper from Houston named Mr. Scarface may have beaten him to the gangster movie punch by a few years, he was named after the 1983 Scarface, a new version of the original Al Capone story about a non-Mafia Cuban-American immigrant.) His first step into mob music began with 1989’s “Road to the Riches,” but G Rap’s creative peak was the epic “On the Run,” from 1992’s Live and Let Die. Playing the part of a flunky transporting cash for the mob, G Rap decides to abscond with half a million dollars. Chased by the Luciano family, G Rap goes on the run (thus the title), until eventually shooting Don Luciano five times and spitting “in his guinea face.” Damn son! Not only was his Mafia obsession super influential, but G Rap’s narrative style is a clear inspiration to rappers like Biggie and Nas—but more on them in a minute.
Raekwon “Wu-Gambinos” (1995)
Though the opening of the song samples the 1989 John Woo film The Killer—not exactly a Mafia film, although it is about a hitman—“Wu-Gambinos” (like Only Built 4 Cuban Linx as a whole) is a classic in the Mafia-rap canon. The year 1995 marked the real emergence of Mafioso rap, and Cuban Linx was a centerpiece record: From “Criminology” to “Incarcerated Scarfaces,” Raekwon transformed day-to-day street drama into a crime story epic, flooding street stories with fresh slang and framing them with cinematic scope. Even the song’s introduction—where different members of the Wu are given nicknames like Noodles—was in part inspired by Sergio Leone’s Once Upon a Time in America, an Italian film about a character who becomes a major player in New York’s criminal underworld.
Kool G Rap f/ Nas “Fast Life” (1995)
Kool G Rap’s 4, 5, 6 continued the rapper’s Mafia narratives, as on “It’s a Shame”(“The boss of all bosses, I own racehorses and a fortress”). But “Fast Life” found Kool G Rap passing the mob-rap baton to Nas, transforming Surface’s ’80s R&B classic “Happy” into an enigmatic canvas on which the two rappers stitched not so much a story as a setting, with glamorous largess and kingpin fantasies that would make Rick Ross seem uninspired in the contrast. A team from Queens “plottin’ up a scheme to get the seven-figure cream,” Nas and G Rap blanket the canvas with bodies rolled up in carpets, “count math from steam baths,” and get guns from Italy. In case the comparison wasn't clear enough, by the end Nas makes it explicit, comparing the duo to “Ghetto wise guys: Lucky Luciano, Frankie Yale, Bugsy Siegel/Green papers with eagles from a trade that’s illegal.”
AZ f/ Nas “Mo Money Mo Murder (Homicide)” (1995)
AZ’s Doe Or Die was another entry in the Mafioso rap canon. Perhaps no song better illustrated the subgenre’s cinematic ambitions than “Mo Money Mo Murder,” written less like a story and more like a screenplay—a screenplay, that is, with an especially rococo lyrical style. AZ and Nas indulge in their tendency to internal rhyme and intricate lyrical architecture: “I’m into bigger cheddar, G’s and better, Armarettas/Armani sweaters, plus these crabs could never dead us.” AZ—whose nickname was Sosa the year Chief Keef was born—even opens the track with a clip from the 1991 film Mobsters, a dramatized account of Lucky Luciano, Meyer Lansky, Frank Costello, and Bugsy Siegel’s rise: “We’re bigger than the Jews...bigger than the Irish.” In comparison with earlier examples, like Kool G Rap’s literal mafia narrative, or “Fast Life’s” glamorization, “Mo Money Mo Murder” draws more attention to the kinds of writerly details of scene and setting (“Sippin’ cappuccino, spilled on his silk suits, was scaldin’/Laugh was vulgar, canvas paintings of the Isatollah/And on his arm he wore a priceless vulture”), as well as the ominous consequences, of a life lived illegal.
Nas “Street Dreams” (1996)
At this point it should be evident that Nas Escobar is G Rap’s one rival for the most Mafia-inclined rapper out of New York. He solidified his status as one of the reigning names in mob music with It Was Written, from the Italian film score strings of “The Message” (OK, actually it was a Sting sample, but inspired recontextualization nonetheless) and especially “Street Dreams.” While Nas raps about a drug dealer’s destiny (reaching the Florida Keys) the video reinvents Scorsese’s Casino as the hip-hop showcase it was always meant to be.
The Notorious B.I.G. “Last Day” (1997)
With storm cloud strings entering like a film soundtrack, Sheek Louch calls himself Sheek Luciano, Jada threatens to turn people “into Jimmy Hoffa,” and Biggie threatens to break both your legs. In a record that transformed Biggie from a corner hustler to the rap game kingpin, this was the Mafioso rap promise of Kool G fully realized.
Jay Z “Dead Presidents II” (1996)
It wasn’t just the sartorial flair of the cover art on Reasonable Doubt, where Jay’s face is hidden under the brim of his hat, a cigar poking out from between two fingers. It’s not just the money he’s still spending from ’88, the fruits of the illegal life. Instead, it was the bulletproof rap style—Jay sounded like a boss, his confidence so extreme that one didn’t even realize how much was left out, the details obscured. “Crime family, well-connected, Jay Z.”
Big Pun f/ Fat Joe “Twinz (Deep Cover ’98)” (1998)
Nothing says “the Mafia” like threats of violence and a weight problem. “Twinz” is an absolute Mafioso classic, and no one had an ear for mob movie details like Pun: “Meet me at Vito’s with Noodles, we’ll do this dude while he’s slurping spaghetti.” Then of course it all culminates in Pun’s iconic showboating line: “Dead in the middle of Little Italy, little did we know we’d riddled some middlemen who didn’t do diddly.”
The Firm f/ Dr. Dre “Phone Tap” (1997)
With mob movie production and verses spit like dialogue heard over the wire while the Feds listen in, “Phone Tap” was archetypal Mafioso rap music. Of course, if you’re talking on the phone, Nas can’t break into the real details—it all comes in code: “Son, we took an oath, then this life took us both/We rich now, milk the whole cow, split the growth.”
Kool G Rap “Mobstas” (1998)
One of the lesser-known albums of Kool G Rap’s oeuvre is the underrated Root of Evil LP, perhaps the last great Mafioso record of New York’s mob-rap reign. Kool G Rap still packed impossible levels of details into each dense stanza, his words coiled into a maze of cinematic narrative: “Moved on it closer get the toaster/Started to feel like death was closer, I hit Capone hard/Murder him and his bodyguard in their car and dust the chauffeur.”
Jiggs & Cheeks “Death Before Dishonor” (1999)
The beat swipes the same sample as AZ’s “The Pay Back” from one year earlier, and in the ornate rap style of obscure Chicago rap duo Jiggs & Cheeks, there is a definite AZ influence. A perfect example of how the Mafioso rap movement in New York was beginning to influence other artists across the country, “Death Before Dishonor” is one track from the group’s only album, 1999’s Jiggs & Cheeks The Don. It was hardly the only example of Mafioso rap on the record, either, as the title suggests. The Don was a blend of jiggy/crimewave rap not unlike the Firm’s album, laid atop a uniquely Chicago brand of gangster rap. Songs like “Show Me tha Money” captured this style of dense cinematic gangland rapping, while “Valentine Massacre” gave the entire record an authentically Chicagoan twist.
Master P “Da Last Don” (1998)
With its string patches and one of history’s worst fake accents, Master P introduced his latest album with an explicit Mafia record and reference. Of course, No Limit, in general, owed a sartorial debt to the Mafia as well, resplendent in boxy suits and wide-brimmed fedoras. In this instance, it seems as likely to have come from the West Coast influences that so directly shaped No Limit’s sound—the formal wear of Pac, as well as Snoop, who of course had released his Doggfather album to an underwhelming response a few years earlier, and now rode alongside P in the tank.
Young Bleed “The Day They Made Me Boss” (1998)
Young Bleed, alias Young Bleed Carleone [sic], was raised on South Garfield Street in Baton Rouge, La., which, as he pointed out in an interview with Consequence of Sound, is the name of the same street Al Capone grew up on in Brooklyn. Much of Young Bleed’s music contains Mafia references—like “The Day They Made Me Boss,” from the rapper’s underrated 1998 debut, My Balls and My Word. (If we talked about Scarface references, this list would be 47 times as long.)
Mac Dre f/ Young Dru “Mafioso” (2003)
Mafioso hip-hop was by and large an East Coast phenomenon in part because the West Coast was so consumed with the vicarious realism of gangster rap at the time. But that’s not to say that gangster rap on the left coast was ignoring the Mafia mythos either. Here, Mac Dre interpolated the theme to The Godfather for this classic record about “Sippin’ martinis, eatin’ scampi and linguini/Makin’ blunts disappear like I’m Houdini.” The record has that comical Mac Dre touch, as if the notion of comparing modern-day drug deals to the Mafioso lifestyle is more about the absurdity than thematic resonance.
The Mob Figaz “Tailor Made” (1999)
Bay Area hip-hop crew the Mob Figaz were disciples of ’90s East Coast rap styles, so perhaps it’s no surprise that some of their early work similarly dresses up street hustles in the dramatic costumes of history’s greatest Mafia flicks. The production likewise hints at the cinematic origins of the group’s inspiration.
Rick Ross “Mafia Music” (2009)
In many ways, Rick Ross is an anachronism: from his regal largess to his intricate, illustrative rap writing, Ross resuscitated classic Mafioso rap’s stylistic characteristics and transported them to Miami. The kingpin lifestyle he weaves throughout his work is reminiscent of the similarly intricate rhymes and fantasies of classic New York. Of course, it’s not exactly the same—there’s the stature and poise of Biggie, AZ’s lyrical architecture, and G Rap’s fast life aspirations. A pastiche of the themes of the 1990s’ most popular rap stars, Rick Ross, in many ways, embodies a lost art—even if he lacks the innovative edge of those legends, even though his style may at times feel like a bit more of an optical illusion, he has kept the torch alive.
Kevin Gates “John Gotti” (2014)
If we were to highlight every rapper who’d referenced John Gotti in their career, this list would be endless. But Gates—who’s now named two separate mixtapes for The Godfather character Luca Brasi, a moniker that he’s also taken to describe himself—is an exception. One of the most buzzed-about artists in street rap, Gates focuses primarily on first-person narratives, honing in on his own psychological well-being. His incorporation of Mafia tropes tends to be limited to a simile or two (“like John Gotti”) rather than the formal characteristics of Mafia rap past. Yet, even then, the Mafia’s influence lives on in Italian nicknames—less of a musical style and more of a cultural accent.
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US NY: Drug Dealer's Tie To Hip
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Media Awareness Project
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URL: http://www.mapinc.org/drugnews/v03/n027/a08.html
Newshawk: Jo-D
Votes: 0
Webpage: http://www.nytimes.com/2003/01/07/nyregion/07RAP.html
Pubdate: Tue, 07 Jan 2003
Source: New York Times (NY)
Copyright: 2003 The New York Times Company
Contact:
Website: http://www.nytimes.com/
Details: http://www.mapinc.org/media/298
Authors: Michael Wilson, with Lynette Holloway
Related: http://www.mapinc.org/drugnews/v03/n017/a04.html?2041
DRUG DEALER'S TIE TO HIP-HOP LABEL IS INVESTIGATED
Hip-hop insiders said yesterday that the investigation into the Murder Inc. label and its brash mogul, Irv Gotti, will involve separating fact from fiction in an industry of blurs, where the songs often read like police blotters.
Federal agents and the police raided the Eighth Avenue offices of Mr. Gotti, 31, on Friday morning, investigating his relationship with a convicted Queens drug dealer, Kenneth McGriff, 42, who is known as Supreme on the Hollis streets where he and Mr. Gotti grew up.
Mr. McGriff went to prison for 10 years after his 1988 arrest on federal narcotics conspiracy charges, and was arrested on Dec. 28 on federal firearms charges.
Mr. Gotti brought artists like Ja Rule, Ashanti and DMX to Island Def Jam records, a part owner of Murder Inc., and is seen by many as a standout - even in an industry of I'm-badder-than-you braggadocio.
"Irv is a great producer who turns labels in, who is a little confused about which direction to take with stardom," said Antoine Clark, publisher of F.E.D.S. magazine, which profiles rappers and drug dealers alike.
Phone messages left for the spokeswoman for Murder Inc. yesterday were not answered. A spokesman and a spokeswoman at Def Jam would not comment.
At issue is whether Mr. McGriff gave Mr. Gotti seed money for Murder Inc. from his drug profits, the police have said. Record label executives at Def Jam, speaking on the condition of anonymity, said yesterday that Mr. Gotti did not take drug money for the business.
Before Def Jam's president, Kevin Liles, told Rolling Stone last summer that "Gotti's so hot we had to get an extra air-conditioner put in here," Mr. Gotti used to sleep on a sofa in the office, because he was essentially homeless, the executives said.
There was no windfall of drug money or any other kind of money, the executives said.
Mr. Gotti was born Irving Lorenzo, but changed his name in homage to John Gotti, the Gambino crime family boss, now dead. One of the favorite stories about Irv Gotti concerns his interview for a job with Def Jam. Asked where he wanted to be in five years, he replied, "I want to become you, and then destroy you and everyone like you, because you can't know hip-hop better than me."
He got the job, and his proteges resuscitated the label that had launched Public Enemy and LL Cool J. He records at a SoHo studio called the Crack House.
Mr. McGriff is well known to the police as the leader of the Supreme Team, a drug gang in Queens. He resumed contact with Mr. Gotti when he was released from prison.
"A lot of these guys, they're really confused," Mr. Clark said. "They bring in the criminals from their neighborhood around them now. They think they know the guy, and bring the guy into the organization, and they forget what happens in the street, and that there's an effect from all that."
Mr. Gotti made Mr. McGriff a producer on a forthcoming straight-to-video project titled "Crime Partners," label executives said. The investigation that led to Friday's raid began when the police saw a bootleg copy of the DVD and noticed Mr. McGriff's name in the credits, the Def Jam sources said.
The police have said Mr. McGriff helped write and produce the film, Murder Inc.'s first, in which Ja Rule, Ice-T and Snoop Dogg appear.
MAP posted-by: Jo-D
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2018-02-24T10:24:22+00:00
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Real Name: Cordozer Calvin Broadus D.O.B.: October 20th, 1972 Long Beach, California Label: Deathrow/Interscope, Doggystyle/Geffen Born and raised in Long Beach County, California, Snoop is the face of the West coast Gangsta Rap and the voice behind Dr. Dre’s revolutionary G-Funk patent. Snoop was and always will be known synonymously with his laid back drawl delivered over a…
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HIPHOP.SH
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https://hiphopsh.wordpress.com/artists/snoop/
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Real Name: Cordozer Calvin Broadus
D.O.B.: October 20th, 1972 Long Beach, California
Label: Deathrow/Interscope, Doggystyle/Geffen
Born and raised in Long Beach County, California, Snoop is the face of the West coast Gangsta Rap and the voice behind Dr. Dre’s revolutionary G-Funk patent. Snoop was and always will be known synonymously with his laid back drawl delivered over a distinct brand of Long Beach funk that swept the music industry and changed the tempo and identity for the West coast rap scene. Snoop Dogg is the modern reincarnation of Bob Marley and Miles Davis in the genre of gangsta rap.
Snoop is best known as Dr. Dre’s leading protégé from day one of the birth of G-Funk music. An original artist from the infamous Death Row Records label, he boasts a collection of ten solo album releases all of which hitting multi-platinum success, also one of the most collaborated artists in hip-hop today. Snoop Dogg embodies the essence and reflection of rap music today. With his iconic stature, he has marketed his name into a multi-million dollar industry. Putting his name to his own clothing label, cannabis flavoured candies, Cadillac cars, alcoholic drink, film production companies and record labels. Starring in his own television series, several movie credits, charity events and coaching his son’s junior football team, moving above and beyond the career of music, Snoop Dogg is a worldwide corporation.
Calvin Broadus, (nicknamed ‘Snoopy’ by his mother as a child) was active in music from a young age singing in his church choir. Growing up in the lower economic areas of Los Angeles, young Calvin often found himself in negative company, doing drugs and selling them in school. Consequently he often fell on the wrong side of the local law enforcement caught selling dope whilst attending Long Beach Polytechnic High School. He discovered his talent while participating in freestyle battles in the school yard. After graduating high school, Snoop still accompanied himself in negative crowds becoming an active member of the Rollin’ 20 Crips gang in L.B.C. landing in and out jail over the following three years. Pushed by older inmates and peers to make something positive of himself, he began making home-made demo tapes with a small crew. His cousin Nathanial Hale, (Nate Dogg) and best friend Warren Griffen III; a step-brother of Dr. Dre who was already a well-known and established DJ/producer for The World Class Wreckin’ Crew and soon to be the world famous rap act, N.W.A. Originally Snoop and Nate’s cousin Lil’ Half Dead was also part of the group called ‘213’ from the Long Beach area code. (213) Together the trio worked together at parties in Long Beach while still actively leading the gang life and selling drugs for money, Snoop continued his love for music through 213.
Warren G managed to release a demo tape of 213 to his brother, Dre during the time off after he left Ruthless Records. One day in the studio with Dre, Warren tried to convince Dre to hear the tape on the bottom of a large pile of hopefuls. Catching Dre on the telephone, Warren grabbed the tape and played it, blasting the speakers with this unique Long Beach stoned drawl of Snoop Dogg and Warren laced with Nate’s beautiful soulful R&B talents. A connection was established and Dre invited Snoop and Nate to the studio to record a further demo for him. The timing was perfect as Dre had joined forces with local Compton entrepreneur, Suge Knight to form a record label under Interscope Records called Death Row Records. Dre was scouting for new talent to head the new label, 213 stars had filled this position. Using Dick Griffey’s Solar Records studios, Dre collaborated with Snoop Dogg for Death Row’s first commission, the title track on the soundtrack for the film, Deep Cover. The most successful chemistry in hip-hop history of record sales was formulated. Dre and Snoop became Batman and Robin in gangsta rap. Snoop introduced his Long Beach family to Death Row Records for Dr. Dre’s début solo album, The Chronic. Cousins, Nate Dogg, RBX and Delmar Arnaud (Dat Nigga Daz) with recording partner, Ricardo Brown(Kurupt) commonly referred to as Tha Dogg Pound or the LBC Crew. Death Row Records had established themselves on the market with a new distinct Compton meets Long Beach genre. Together with Dre’s revolutionary production creativity Snoop became the voice of the new G-Funk takeover. Snoop appeared on Dre’s The Chronic as much as he did to establish the record as the highest selling hip-hop album ever. Snoop Dogg was made.
After the immediate success of Dre’s solo album, the west coast was paused in anticipation of this new breakthrough sound of G-Funk. Death Row commissioned the release of Snoop’s début in 1993, Doggystyle. The greatest single-selling album in hip-hop ever surpassing Dre’s unprecedented sales due to the intense exposure of Snoop on The Chronic, Snoop’s album debuted on the charts at number one. (The first time ever an artist’s début album had debuted number one on the charts) Doggystyle spawned a string of singles booming onto the top ten of the charts, “Who Am I? (What’s My Name)”, “Murder Was The Case” and “Gin N Juice” to promote the ascendance of west coast G-Funk rap.
During the production of Doggystyle, Snoop and bodyguard McKinley Lee were involved in a murder trial. Arrested in August of ‘93 (month before the release of the album) for fatally shooting local rival L.A. gangbanger and obsessed fan, Philip Woldermarian. Represented by notorious defence lawyer, Johnny Cochran and Death Row attorney, David Kenner, Snoop remained on trial for his life over the next three years. Doggystyle was released in November to unimaginable accomplishment.
Twenty year old Ethiopian immigrant, Philip Woldermarian was shot in the back by Snoop’s bodyguard, Lee in August 1993 outside Snoop’s Palms apartment. After Snoop’s Crip homeboy Sean Abrams flashed his gang sign at Woldermarian and two friends who drove past, the car stopped as both parties exchanged epithets. Bodyguard Lee raced down the stairs to aid his star. Woldermarian’s party drove off. Less than one hour later Snoop was at the wheel of his Jeep with Lee riding shotgun and Abrams in the back. They prowled the neighbourhood for Woldermarian and crew finding them at nearby Woodbine Park dining on Mexican food. The following accounts were in court room disputes. Snoop’s lawyer, David Kenner, Johnnie Cochran for Abrams and Donald Re for Lee all stated Woldermarian reached for his .38 he wore in his waistband forcing Lee to defend by drawing his own gun and shoot the victim. Prosecution countered that Snoop’s party pursued the crew into the park and Woldermarian was shot in the buttock and back, how could that be self defence? The case continued for the following three years. Showing support, Suge Knight, Tupac Shakur and new Death Row member, Hammer were present at most hearings.
The singles, “What’s My Name” and “Gin and Juice” and the album itself persisted on the mainstream charts through 1994 even as storm raged over the murder trial and his allegedly violent and misogynist lyrics. Gangsta rap became the centre of embroiled arguments for censorship and labelling, with Snoop often used as a scapegoat of musicians promoting this so-called gangsta mythology used to market their talents. Parental and community groups pressed on with a war to ban hip-hop and gangsta rap, as much publicity as they and Snoop’s murder trial received the more records artists sold. Snoop’s gangsta identity grew monstrously.
A short film about the trial called, Murder Was the Case, and an accompanying soundtrack, were released in 1994. Maybe utilising Snoop’s legal situation as a powerful marketing tool, the film (directed by Dr. Dre himself) portrayed a situation with him entangled in a battle for his life over gang violence. The title track, first released late on Snoop’s Doggystyle record was re-released on the soundtrack with a host of various artists associated with Death Row Records.
Towards the end of 1994 at The Source Awards, Snoop won the New Artist Of The Year (solo) award and the high distinction of Lyricist Of The Year. Also the year brought Snoop the MTV Video Music Award for Best Rap Video. (‘Doggy Dogg World’) A video starring the Chocolate Lovelites depicting a Players Ball evening with the entire Death Row family dressed as their favourite 1970’s star. Also starring blaxploitation stars, Pam Grier, Richard Roundtree and Fred Williamson in the video.
Later at the 1995 Snoop again was shown appreciation from the mainstream music industry by awarding him Favorite Rap/Hip-Hop Artist at the esteemed American Music Awards. Snoop had reached worldwide fame, all the while spending most of his available time fighting long arduous hours in the court rooms of California embroiled in his murder trial.
Three major advantages swayed for the defence. Kenner had beaten down on the prosecution’s witness’ credibility forcing jurors to distrust their accounts. Secondly one of Woldermarian’s accompaniments had suddenly changed his story, explaining that Woldermarian had drawn his .38 first and after the shooting had removed the gun from his hand to ensure Snoop’s conviction. And the third was the key evidence of bloody clothing and spent shell casings had been destroyed or removed from the property room at the L.A.P.D.’s Pacific Division. By 1996 the jury returned with a not-guilty verdict on all counts. Acquitted on self-defence grounds, Snoop was collected outside the courthouse by Suge’s personal chauffeur-driven Rolls-Royce and Death Row celebrated the decision with a lavish party held at Monty’s Steakhouse that apart from Death Row employees and stars also included members of the jury.
After three years centred in the well-publicised dramatic murder trial, Snoop had walked out a free man, shaken and matured with a renewed sense of appreciation for his illustrious celebrity lifestyle. Snoop had taken a more responsible and professional approach to his daily routine, spending more time in the studio and concentrating on his music finding an alternative to the realism and carelessness of the gangsta persona he’s carried with him. This same year saw the release of Snoop’s follow up solo album, Tha Doggfather.
The year of 1996 saw the most devastating period in west coast hip-hop especially in the Death Row family. The most dominant record label had degenerated into a violent madness. Dr. Dre had parted company with Suge Knight and his criminal enterprise seemingly taking over the music company’s business affairs. Snoop found himself alone with Suge Knight bearing down on him, dodging criminal activity with gang members swarming the studios and controversy surrounding a gang-related murder, (Rolling 60’s member Kelly Jamerson) at a Death Row held party after the Soul Train awards in Wilshire, L.A. in March ’95 and several gang-related stompings and gun threatening violence in the studios, namely the violent beating of ex Death Row associate rapper, Sam Sneed, a close friend of Dr. Dre who was invited to the studio to assist on the recording of Snoop’s second album. Death Row members had intensified beefs with the Bad Boy label and Sean ‘Puff Daddy’ Combs, newly released Dr. Dre and the incoming baggage of Tupac’s enemies. It overcrowded an artist’s creativity. This environment was not conducive to a focused career away from crime for Snoop Dogg. His second album was produced by fellow Long Beach labelmate and cousin, Daz and DJ Pooh. A hasty recording development as Death Row was facing extreme outside criminal elements and bad press due to the unfortunate assassination-style death of Tupac Shakur in Las Vegas in September. Tha Doggfather was released in November ’96.
However, by this time Tha Doggfather had entered the market at a critical juncture in the west coast rap genre. Both the revelation and innovative nature of G-Funk and gangsta rap had taken a momentary swing for another direction and subsequently the sales of this release suffered. Due to the negative energy surrounding the death of Snoop’s labelmate Tupac Shakur and the probation violation sentencing of Death Row co-founder Suge Knight, the west coast image had been besmirched. Dr. Dre had left Death Row earlier that year, and so Snoop co-produced the album himself with Daz Dillinger and DJ Pooh. The anticipation of a follow-up album to the mass-success of Doggystle marketed the release well, selling two million copies debuting number one on the U.S. charts. This was to be Snoop’s final Death Row LP.
This year turned the page to a new chapter in west coast rap, Snoop had officially bailed on Death Row Records, travelling down south to the safety of No-Limit Records, a New Orleans based record label owned by mega mogul, Percy ‘Master-P’ Miller. No-Limit carried a strong enough reputation to protect Snoop from the ferocious retaliations of Suge Knight and his Mob Piru gang of brutal criminals threatening his livelihood. Powerful enough was No-Limit to harness the talent of Snoop Dogg’s hardcore, misogynist gangsta rap career, he joined the New Orleans camp to work on several solo albums. Snoop turned a new professional leaf shortening his name to ‘Snoop Dogg’ as he branched out to further his acting career with Master-P’s film company as well as releasing several albums with his new production team. Snoop Dogg still remained close companions with Dr. Dre and Tha Dogg Pound members who had also jumped the sinking ship of Death Row while Suge Knight was incarcerated.
Snoop Dogg appeared in the No Limit film, I Got The Hook-Up and Hot Boys showcasing his acting prowess. The films sold according to their rap-cult following and stayed within the interests of the No-Limit and Snoop Dogg fanbase. Also in 1998 Snoop released his début No Limit album, Da Game Is To Be Sold, Not To Be Told again the album debuted number one on the U.S. charts and remained so for two weeks, a double platinum achievement. He released his second No-Limit and fourth career album in 1999, Top Dogg with sloping sales reaching platinum rate, Snoop had tired from the usual laid-back drawl he is so famous for, repetitive beats over weak over-played topics of celebrity gangsta lifestyle had taken it’s toll proving his need to recreate himself in the hip-hop market. He appeared in several more hip-hop movies, introducing his former Long Beach gang associates to his repertoire, Snoop produced the film Tha Eastsidaz named after Tray Dee and Goldie Loc, members of the rap duo Tha Eastsidaz. They were to influence Snoop’s brave pursuit of sole ownership of his trademark bringing in the new century.
Snoop rejoined forces with Dr. Dre in 1999 for Dre’s long-awaited follow up album, Chronic 2001 collaborating on again another Dre album that became one of the highest selling albums ever selling in excess of six million copies worldwide. The legendary duo was back for another classic. They followed this new height of success for the greatest hip-hop concert tour ever assembled in 2000 and took up a lot of Snoop’s free time this year. Teaming together with Aftermath Entertainment, Snoop toured with old friend, Dr. Dre on The Up In Smoke Tour with Ice Cube’s Westside Connection (Mack 10 & WC), Eminem and his group D12, The DOC, Warren G, Nate Dogg and Daz also appeared together to collaborate on the legendary performances of Death Row’s finest masterpieces.
By the year 2000 Snoop fulfilled his contract with No-Limit bringing out his third album for them entitled, The Last Meal so called because Snoop’s endeavour to fly his career solo and manage his own record label. This album would be the last meal anyone will eat off his plate. Débuting at number four on the charts, the album carried platinum sales. Snoop Dogg again turned a new chapter, heading into a bolder, more mature direction taking hold of his own destiny and controlling the sole operations of his career. The next year Snoop had left No-Limit on mutual terms and opened his own record label under Priority Records called ‘Doggystyle records’ signing his homeboys, The Eastsidaz to head his new label.
This new era of enlightenment gave Snoop the inspiration to harness his own marketing wealth. He branched the business of ‘Snoop Dogg’ out into a line of clothing based on his style of dress. “Snoop Dogg Clothing” company was created, sales opened in the large U.S. middle priced market of Macy’s. The new urban street wear sold well with young enthusiasts of Snoop’s work. He released an autobiography that same year, Dogg Days. He also put his name to a pornographic film called Snoop Dogg’s Doggystyle with Hustler Magazine Films. He opened the film in his own house in L.A. with a host of friends celebrating Snoop’s birthday party. The Eastsidaz filmed prominently through the film. With several music videos staged among various X-rated pornographic scenes with professional porn stars. This won the 2002 Adult Video News awards for Best Music soundtrack and Top Selling Tape of 2001 for “Snoop Dogg’s Doggystyle.” This started several film projects released off the label. He again stretched his acting career further, starring in more mainstream films with John Singleton in Baby Boy and a cameo performance with Denzel Washington in Training Day winning him the MTV Movie Award for Best Cameo in 2002. ‘Bones’ was released by his own label with accompanying soundtrack and Snoop and Dre collaborated together again for a cult classic remake of the 70’s film, Car Wash called The Wash with Eminem, DJ Pooh and George Washington. A mixed development of soundtrack with Dre’s Aftermath and Snoop’s Doggystyle artists was released to coincide with the film.
A seemingly endless ascension of fame, Snoop continued to market his name, releasing a designer fleet of cars from Cadillac called the Snoop Deville customised to a pimp-influenced fashion. Snoop Dogg Clothing released a line of sneakers called Doggy Biscuits. Cannabis flavoured lollies, Chronic Candy was developed. Snoop’s clothing company was awarded Best Celebrity Clothing Line at the 2002 Urban Fashion Awards. By 2002 he claimed he was remodelling himself for a more positive and responsible image by giving up the drugs (smoking marijuana). He was by now coaching his son’s junior football league season and felt the need to be more responsible for his role model. He started the charity organisation for under privileged children in Los Angeles with ‘Pee Wee Football League’ (Snoop Youth Football league) and Snooperbowl.
Later that year he released the album, Paid Tha Cost To Be Da Bo$$, which featured the hit singles and videos “From Da Chuuuch To Da Palace” and “Beautiful” featuring guest vocals by the Neptunes’ Pharrell Williams and production work from the Neptunes team. The single, Beautiful and the album won Snoop a host of awards over the next year internationally.
The much anticipated project from the days of way back was finally released, unveiling the reunion of 213. The first rap group Snoop entered the game with as a teenager. Consisting of long time best friends, Warren G and Nate Dogg, who grew up together in Long Beach, California working together for almost 20 years now, released 213: The Hard Way which featured the single, “Groupie Luv” and reached number four on the U.S. Billboard Album Charts.
The award-winning collaboration with Pharrell and the Neptunes production found Snoop joining forces with their record label Star Trek to release Snoop’s seventh solo album, R&G: Rhythm & Gangsta The Masterpeice. “Drop It Like It’s Hot” (featuring Pharrell), the first single released from the album, was a huge mainstream hit and became his first single to reach number one. The single won another accolade of awards. His third release was “Signs,” featuring Justin Timberlake & Charlie Wilson. The album was his seventh platinum achievement.
Snoop’s personal life was fading in his celebrity success. Earlier that year on May 21, 2004, he filed for divorce from his wife Shante Broadus, citing irreconcilable differences and seeking joint custody of their three children, Corde, Cordell, and Cori. They have since reconciled.
Early 2005 Snoop Dogg starred in another box office movie, Soul Plane. He started his new enterprise, Snoopadelic Films. Snoop’s own movie production company opening with Boss’n Up, a film inspired by R&G starring Lil Jon and Trina. Snoop Dogg recently announced to British Radio that his next album, The Blue Carpet Treatment, will feature production by the ever-platinum long-time partner Dr. Dre, In addition, Snoop will be featured on Dre’s proclaimed (and much delayed) masterpiece Detox.
Snoop is participating in a charity single written and produced by the legendary Michael Jackson. His part has reportedly already been recorded. “I Have This Dream”, is scheduled to be released in mid-late February 2006.
Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, “Gangsta Luv”, featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. Snoop re-released the album under the name More Malice later on.
Snoop Dogg’s eleventh studio album is Doggumentary.
On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming same-titled studio album. The album was released April 23, 2013. Singles off the album were credited to the moniker Snoop Lion. By the end of July, 2012, Snoop had introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafarian priest in Jamaica. In an interview with The Fader magazine, Snoop stated “Snoop Lion, Snoop Dogg, DJ Snoopadelic—they only know one thing: make music that’s timeless and bangs.”
In December 2012, Snoop released his second single from Reincarnated, “Here Comes the King”. It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That’s My Work a collaboration rap mixtape with Tha Dogg Pound.
In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; “I’ve been working with Snoop, he’s actually working on his last solo album as Snoop Dogg.“ In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg release another mixtape entitled That’s My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dâm-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013.
In August 2014, a clip surfaced online previewing Snoop’s Pharrell Williams-produced album BUSH released last May, 2015.
Discography:
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https://www.yahoo.com/lifestyle/snoop-dogg-gets-cozy-alongside-190415400.html
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Snoop Dogg gets cozy alongside wife, kids and grandkids in rare family pics for Skims
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2022-12-01T19:04:15+00:00
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Snoop Dogg posed in rare family photos with wife, children and grandchildren in a Skims holiday campaign.
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Yahoo Life
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https://www.yahoo.com/lifestyle/snoop-dogg-gets-cozy-alongside-190415400.html
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Matching pajama sets for the win!
Snoop Dogg posed in rare photos with three generations of his family as part of a holiday campaign for the shapewear and loungewear brand, Skims.
The rapper, 51, whose birth name is Calvin Cordozar Broadus Jr., posed with his wife and manager, Shante Broadus, 51, and the three children they share, sons Corde Broadus, 28, and Cordell Broadus, 25, and daughter Cori Broadus, 23, joined by her fiancé, Wayne Deuce.
Snoop Dogg’s grandchildren — Luna, Journey, Zion, Sky and Elleven — also made an appearance, marking a rare moment when the three generations of the rapper's family have been publicly photographed all together.
In classic holiday photo style, the family wore matching plaid fleece sleep sets in a few styles from the Skims Cozy Collection.
In the past, the “American Song Contest” host has brought his children to the occasional event, such as when his kids joined him and wife Shante Broadus on the red carpet at the 2013 BET Awards in Los Angeles.
Broadus also joined her husband in 2018 when he received a star on the Hollywood Walk of Fame.
Broadus is the founder of Boss Lady Productions and recently became Snoop Dogg’s official manager, overseeing all aspects of his career, according to W Magazine.
“He knows that he can always trust me. So he wanted the world to know he had his wife by his side, helping him,” she told the magazine in 2021. “He wanted a strong female to lead. And of course, that’s me. I’m the boss lady.”
Snoop Dogg opened up about his approach to fatherhood on TODAY in 2015 and talked about his strong connection to his family.
"My relationship with my kids is more important than anything," he said. "It's a friendship relationship ... it's based on me being a father, a mentor and a friend."
The rapper didn't hold back about the joys of being a grandfather, too, saying that he was going to own being a "get-away-with-everything kind of grandpa."
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Make Your Day
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https://www.billboard.com/music/awards/childish-gambino-kendrick-lamar-mastering-engineer-mike-bozzi-interview-grammys-8497072/
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en
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Meet the Man Competing Against Himself in Multiple Big Four Categories at This Year’s Grammys
|
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2019-02-08T15:02:00+00:00
|
Mastering engineer Mike Bozzi is competing against himself with five nominations in two categories at the year's Grammys.
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en
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Billboard
|
https://www.billboard.com/music/awards/childish-gambino-kendrick-lamar-mastering-engineer-mike-bozzi-interview-grammys-8497072/
|
When Mike Bozzi heads to the Grammys this weekend, he’ll be competing against himself with five nominations across two of the Big Four categories. That’s because he’s the mastering engineer behind the Kendrick Lamar-curated Black Panther: The Album and Post Malone’s beerbongs & bentleys (both up for album of the year) as well as those projects’ big singles — “All the Stars” and “rockstar,” respectively — and Childish Gambino’s “This Is America” (all up for record of the year).
He’s been here before. Bozzi is a nine-time Grammy nominee for his work putting the sonic icing on tracks by hip-hop and R&B artists ranging from SZA to Snoop Dogg. He earned his first album of the year nomination in 2014 for Lamar’s good kid, m.A.A.d city. “It’s always humbling, when you realize how much music worldwide is put out,” he says of this year’s nods. “It’s fun to be around for another cycle.”
A hip-hop head who grew up in Los Angeles and Ontario with a father in the radio business, Bozzi got his start assisting Brian Gardner, the lauded hip-hop engineer who mastered OutKast’s storied 2003 album SpearkerBoxxx/The Love Below — the last hip-hop project to win album of the year. At the upcoming Feb. 10 ceremony, a win for the rap-dominated Black Panther soundtrack could end the draught, and the significance isn’t lost on Bozzi: “It would be bigger than just me.”
Just days before the big night, he tells Billboard how he met Kendrick, what it was like to hear Gambino’s momentous “This Is America” before the rest of the world and why he wants — finally — “to win a goddamn Grammy.”
You’re clearly a hip-hop guy. What was the first rap song that blew your mind?
“The Message” [by Grandmaster Flash and the Furious Five]. That was the first hip-hop song I ever heard. In those days, early ‘80s, everybody liked Journey or Night Ranger, you know? It was rock bands. Public Enemy, to me, was like heavy metal — really aggressive, but saying a whole lot of stuff that blew me away as a suburban white kid. Run-D.M.C. and The Beastie Boys’ first albums were really like, “Oh, this is cool.” At that time, N.W.A. wasn’t a national thing yet. But I do remember driving around in my friend’s Honda Accord, pretending to be the guys in N.W.A. as a teenager.
What were you doing when you found out about your Grammy nominations this year?
I woke up, turned on the TV and checked Twitter. I had hoped that the Childish Gambino track was going to get a record of the year nom, because it was an impactful track. With that music video, it was a “holy crap” moment. So I really was only expecting that, and holding out a little hope, since they expanded the Grammy categories, that maybe Black Panther would slide in, which it did. They announced Post Malone last, and I just kind of chuckled — not to be an asshole, but it was like, “Oh my gosh, this would be a dream. Is this a dream?” It’s kind of wild. It’s not lost on me that that doesn’t happen all that frequently.
You’ve mastered Kendrick’s last three albums — good kid, m.A.A.d city, To Pimp a Butterfly, and DAMN. How did your relationship with the rapper start?
Kendrick is the artist that got the spotlight pointed in my direction. I got a credit on good kid, m.A.A.d city because they had hired my mentor [Gardner] to master that album. My mentor was out of town for the weekend, but they needed to wrap things up, so I spent that weekend in the studio doing last-minute changes and remastering a few things. I think that [Kendrick and Top Dawg Entertainment] appreciated the hustle, because that’s who they are. They’re not ready to work at 10 in the morning — they want to work at 10 at night until six in the morning. Knowing how great the project is, it’s easy to put in stupid hours. I think I proved to them that I was willing to hustle with them. I think that I’m part of their recipe. By the time To Pimp a Butterfly came around, I had already done a project for Schoolboy Q for TDE. Most artists and engineers have people they favor for their projects. Luckily I get to be that guy.
How did the Black Panther soundtrack arrive in your hands?
I got “All The Stars” just before Christmas of 2017. I literally left somebody’s Christmas party to come into the studio to master that song. I had done SZA’s [Ctrl]. When somebody calls you with a Kendrick Lamar or SZA project, you drop what you’re doing, and you go through that session. I don’t know if at the time I realized it was related to the movie or not. It was both the first song I mastered for the Black Panther soundtrack and the last song I mastered for the Black Panther soundtrack, because it came out as a single first, and then they changed the SZA verse for the album.
The soundtrack was very much a hip-hop album. I treated it like, “Here’s a TDE hip-hop project, just with a million features on it, and god, it already sounds good — don’t screw this up. [Laughs.] The common thread of the drums from the movie and Kendrick being different characters really pulled that whole thing together. You have that Jorja Smith song that’s nice and mellow and smooth, but then you have a super aggressive banger after that. “Seasons” [by Mozzy, Sjava and Reason] just floors me because it’s different languages and a different mood. And after that you have another hype, lit track. It’s fun to make sure everything lives in the same world.
What sort of feedback was Kendrick giving you?
Kendrick is at his mastering sessions — like, every one of them. To me, that says a lot. [Producer] Sounwave, who’s also nominated a bunch, is in the mastering sessions. Their attention to the detail, all the way up until it’s really finished is amazing. You can tell that, with the inner circle of engineers and producers that he works with, there’s a trust built between them. But Kendrick is kind of quiet in what he’s looking for. He might just want to turn a word up, or turn a line up, or turn something down — last-minute, smaller detail things that don’t seem significant but are totally the right move. He’s so much more than a rapper, it’s ridiculous. He’s an artist on many fronts. If you’re just superficially listening to his work and saying, “Oh, that’s just another rap album,” then you’re not paying attention.
At mastering, normally we get things that are already completed, and there’s not a lot of revision done to a mix. For him to be able to make a call in the 11th hour before we turn something in in the morning is amazing. That’s truly an artist knowing and not second-guessing himself — making the decision to do something and doing it. And every time he’s done something like that, it always works. I think on the To Pimp a Butterfly album, he and [producer Derek] Ali took an iPhone into one of our other studios and were just yelling some stuff into the phone. That ended up on the album. Who does that at mastering? That’s not really a normal thing.
Let’s switch gears to “This Is America.” What were your first impressions when you heard it?
I was kind of expecting more of [“Awaken, My Love!”], and then to hear what was delivered was like, “Oh, okay, now we’re talking. We’re not trying to go for smooth, soulful, warm ‘70s vibes. This is an aggressive track. Let’s make it aggressive. There are parts in it that are very quiet and beautiful, and then it just gets crazy loud, so let’s do that.” But I don’t think I really, fully got the whole thing until I saw the video. When I watched the video, it was definitely a “holy shit” moment.
Did you have any inkling of how impactful it would be?
Not really, until I saw the video. I’ve been lucky enough in a very short period of time to have a couple things that I think transcend just music. Like [Lamar’s] “Alright” track being a Black Lives Matter anthem for that summer. I’m not saying I made it an anthem or anything, but to just be involved with things that are bigger than an album release is really cool. I’m proud to work alongside these people with these messages.
“This Is America” has so many beat switches and sonic elements. How did you approach that from a mastering perspective?
I always want to honor what the mix is and the things that have musicality — like the African chanting, the drumming in that song. The quieter section reminded me of ‘80s Paul Simon. I wanted to keep the beauty of those instruments as clear as I could keep them. But when those beat switches come on and it gets more aggressive, there’s a lot of anxiety and tension. The message of the song is unsettling. So, to amplify that a little bit with mastering in any way that I could was a goal. My cue is to pull out the elements that give you that unsettling feeling. Later on in that song, the bottom end comes in a little bit more, and you want to feel that fullness. But that song probably would’ve been great unmastered. A great song is a great song.
Was Donald Glover — a.k.a. Gambino — in the studio?
Nobody came in for that one. That was a standard case of, “Hey, I’m going to send you this track, you send it back to me to hear.” I’m sure Donald Glover had something better to do that day. [Laughs.] It’s really flattering that people trust you with their art, and I feel honored to work on all these projects, but I would also love to meet these guys, so there’s a face to the name.
What was the process like for beerbongs & bentleys?
The Post Malone people, I’ve never met anybody in that whole camp. But we’ve mastered two albums, and they’ve been relatively successful. Manny Marroquin mixed both those albums, and Manny’s a great mixer, so I didn’t have to do a lot. I did “rockstar” way before the album came out, and then “Psycho” was the one after that, and sometimes you don’t know: Is this going to be an album six months from now? Or are these just one-off singles? Who knows anymore? And then it was like, “Well, here’s 14 more songs, and here’s the sequence — do what you do.”
I’m super nitpicky and critical of my own mastering, and I think most good engineers are critical of themselves, so I might listen to it a few times myself and then make little adjustments and let somebody hear those. I’m constantly going back at it.
The Grammys don’t have the best reputation when it comes to recognizing hip-hop. What do you think needs to happen for that to change?
I think hip-hop gets a bad rap. I want hip-hop to win an album of the year Grammy. It’s no longer, “Hey, is this a fad that’s going to stick around for this industry?” Hip-hop drives this industry. But hip-hop gets passed over a lot. The only way to change that is to become a member and vote for it. I encourage people who are involved in hip-hop and who have enough credits to be a voting member. It’s $100, but you have a say. It’s like voting for president. You can bitch and moan if you voted for the other guy and lost, but if you didn’t vote at all, then I don’t want to hear what you’ve got to say about it.
What would it mean to you to take home a Grammy on Sunday?
I know there’s a lot of people who don’t put any stock in winning a Grammy. But I want a goddamn Grammy! I’d especially love to win one with the TDE people, because they brought the attention to me. Personally, it would validate 20 years of wondering if this is worth doing. Before I got the opportunity to run this room, there was a lot of, “Am I ever going to get a shot?” I was raising a family and paying my bills. And I’m a three-time junior-college dropout. It would validate all that time of questioning whether or not I had what it took.
On a bigger level, it brings attention to the genre that I love. I master every genre, but I tend to do mostly hip-hop and R&B, and I’m perfectly happy with that if it’s all I ever do. It would be bigger than just me or a Kendrick album. We’ve been waiting around for [a hip-hop album to win album of the year] for years. That’s not to discredit any of the other nominees — those are all amazing albums. I just feel like it’s been hip-hop’s time.
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https://www.nbc.com/nbc-insider/snoop-dogg-wife-kids
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Everything to Know About Snoop Dogg's Wife and Four Kids
|
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2024-05-13T21:38:34+00:00
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Everything to know about Snoop Dogg's family, including his wife, Shante Broadus, four kids, and his many grandchildren.
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/sites/nbcblog/themes/custom/nbcblog/images/icons/apple-touch/apple-touch-icon.png
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NBC Insider Official Site
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https://www.nbc.com/nbc-insider/snoop-dogg-wife-kids
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Snoop Dogg is a father of four children.
Snoop and his wife Shante Broadus have three kids together: sons Cordé, 29, and Cordell, 27; and daughter Cori, 24.
Snoop's fourth child is his son Julian Corrie Broadus, 24, whom he shares with Laurie Helmond.
RELATED: What Will Snoop Dogg’s Role Be at the Paris Summer Olympics?
"My relationship with my kids is more important than anything," Snoop told TODAY in 2015. "It's a friendship relationship ... it's based on me being a father, a mentor and a friend."
Snoop Dogg and his wife Shante Broadus have been married since June 1997.
According to People, the couple first met in high school, where they even attended prom together before graduating in 1989.
Snoop revealed the secret to his and Shante's longtime happiness in a 2023 TODAY interview.
“I think because we were both young and we were both willing to sacrifice for each other. She knew what my dreams and goals was, and at the same time, I knew what hers were," Snoop said. "To have a family and to be who we are ... we both wanted to get to that goal, and when we reached it, it was hard, definitely, because you got so many different things pulling you away from marriage, and people divorcing every other day. But when you truly love somebody, there ain't nothing you can do to break that up and I feel like that was true love at first sight."
RELATED: Snoop Dogg and His Wife Shante Broadus Look So in Love on Luxurious Yacht Getaway
Nowadays, Shante is not only Snoop's wife but also his business manager, overseeing his music and acting projects, as well as his sprawling lineup of partnerships in the cannabis, spirits, and gaming space. Together, the couple also launched a unisex scarf line called The Broadus Collection.
Shante launched her own music management and production company, Boss Lady Entertainment, in 2003. BLE manages the Compound, an event space boasting industry-coveted recording and dance studios, according to the Los Angeles Times.
She is additionally known for her reality television appearances. From 2007 to 2009, Shante and Snoop gave fans a sneak peek into the Broadus household on the reality series Snoop Dogg’s Father Hood, which centered around Shante and Snoop's family life. She's also appeared in reality series like Celebrity IOU, E! True Hollywood Story, and Celebrity Family Feud.
Snoop welcomed his second son, Cordell Broadus, on February 21, 1997.
He played football throughout high school and then briefly played for UCLA's Bruins in 2015 before discovering his true career path: Film and media production.
In 2015, Cordell launched his entertainment company Film School Productions. Aside from helping write the TV series Ground 0, Cordell also made an appearance alongside his father and Wiz Khalifa in the 2012 comedy Mac & Devin Go to High School, in which he was billed as Cordelle Braudus on IMDb.
RELATED: Snoop Dogg Could Fully Be Twins With 2 of His 20-Something Sons
Like his father and siblings, Cordell has also dabbled in the music industry, releasing the single “Bron and Bronny" under the moniker Champ Medici. (Snoop contributed vocals to the track.)
“To be honest with you, I’m real critical with my creativity,” Cordell told Women’s Wear Daily in 2020. “Through my music, I just want to represent myself and I want to represent individualism."
In November 2023, Cordell announced on Instagram that he and his father were launching the video gaming studio, Death Row Games. The game publishing company was designed to give minority creators a platform to develop content for Fortnite, as Cordell revealed to Galore.
"Myself and my father, we’re avid gamers,” he told the Los Angeles Times. “We’ve witnessed the power of video games and how impactful storytelling is, and we just wanted to provide an immersive experience that represents the neighborhoods and the places that we come up from.”
In addition, Cordell has a lineup of investments and business partnerships within the NFT, real estate, fashion, and gaming spaces and opened the taco restaurant Bored Taco. He is also an active philanthropist, having launched the Champ Medici Arts Fund to support "emerging and legacy musicians and artists across the globe."
He is the father of three daughters.
Snoop's youngest child, Cori Broadus, was born on June 22, 1999.
She, too, is a singer and musician and has released music under the stage name Choc. Cori was featured on Snoop's 2013 album Reincarnated on the track "No Guns Allowed" along with Drake. In 2020, she released a music video for her song “With You,” which features her boyfriend, Wayne Duece.
Cori shares music and business announcements to her personal Instagram, where she also frequently sheds light on mental health and Lupus awareness. According to People, she was diagnosed with Lupus when she was just 6 years old. She has since made extensive efforts to spread information about the autoimmune disease.
RELATED: All About Rapper and Olympic Commentator Snoop Dogg
Aside from her music pursuits, Cori is also an entrepreneur and CEO of Choc Factory, a company that specializes in body oils and cosmetic products. When launching the company in 2020, she revealed that the recurring Choc moniker was inspired by her father's nickname for her growing up.
“When I was a little girl, my dad used to call me 'Choc' because I was sweet and chocolate-colored,” Cori told Essence in 2022. “And that is what I put in my products that are handmade and filled with love and a touch of sweetness.”
Snoop is also a grandfather of six.
Through his eldest son Cordé, he is the grandfather of Zion, Leo, and Elleven.
Through Cordell, Snoop has granddaughters Cordoba, Chateau, and Symphony Sol.
"My grandkids are my everything because they all individually get a piece of my heart and they're different," Snoop told People in 2023 while dishing on the unique personalities of the kids. "My oldest grandson Zion told me he's the biggest star in the family. He took my Snoop Loopz box and put his own little cover on the front and made his own cereal."
"And then my granddaughter CC, she plays tennis, she loves her papa," Snoop continued. "She sees me in the store in my little Corona ads and whatnot — [she says], 'Papa!' That sh-t means the world to me for them to call me that because I had a papa."
RELATED: Snoop Dogg Shares Precious Photo of His 3 Granddaughters in Matching Bows
The following year, Snoop spoke with Jennifer Hudson about the massive Broadus family, revealing to the former Voice Coach what his grandchildren call him.
"[My grandchildren are] different ages, ranges, sizes and I love them all the same way," Snoop said while chatting about attending Zion's 9th birthday later that day. It was Zion who bestowed the "Drop It Like It's Hot" rapper with the moniker "Papa Snoop."
"He used to call me Papa Noop because he couldn't say Snoop, so he started calling me Papa Noop," Snoop revealed. "And then as time went by, he learned how to say Snoop, so now I'm Papa Snoop."
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https://www.nme.com/news/music/snoop-dogg-hints-that-mount-westmores-debut-album-is-arriving-next-week-3237257
|
en
|
Snoop Dogg hints that Mount Westmore’s debut album is arriving next week
|
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[
"Charlotte Krol"
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2022-05-31T10:57:42+00:00
|
Snoop Dogg appears to confirm the release date for Mount Westmore’s debut album more than a year on from the rap supergroup's formation.
|
en
|
NME
|
https://www.nme.com/news/music/snoop-dogg-hints-that-mount-westmores-debut-album-is-arriving-next-week-3237257
|
Snoop Dogg has appeared to confirm the release date for Mount Westmore’s debut album.
READ MORE: Snoop Dogg – ‘Algorithm’ review: Snoop’s shot at making old-school hip-hop great again
The rapper, who is in the supergroup with E-40, Too $hort and Ice Cube, shared a video via his Instagram that shows the bandmembers performing live with a new song soundtracking the montage. In a caption, he wrote: “June 7th. The wait is over. BadMFs. @mtwestmore.”
This means that Mount Westmore’s debut album will finally reach fans this Tuesday (June 7), more than a year on from the group’s formation.
Snoop’s reference to “BadMFs” could mean it’s the album title. A song of the same name was released in March, following on from the previously shared songs ‘Big Subwoofer‘ and ‘Step Child’ in 2021.
Advertisement
In an interview with HotNewHipHop last year, Snoop said of the project: “You bring the legends of the West Coast together, something great will always happen.
“Cube, 40, Short, and I have been running the game for years. This is the perfect time because each of us brings authentic and new ideas to the table. All four together? That’s magic.”
Recommended
Last March, Too $hort revealed that Mount Westmore had “recorded somewhere in the neighbourhood of 50 songs”.
“At the age we’re at is a good time to do a thing like this and kind of extend your career a bit in a different way,” he said. “The minute we join forces, we get a handful of new business opportunities that none of us would’ve had.”
Meanwhile, Snoop has cancelled all his non-US shows for the remainder of 2022 due to “unforeseen scheduling conflicts, including family obligations and upcoming tv and film projects”.
Advertisement
That means that his upcoming ‘I Wanna Thank Me’ tour that was set to hit the UK in August is no longer going ahead.
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https://www.usatoday.com/story/entertainment/music/2022/02/09/snoop-dogg-death-row-records-owner/6729226001/
|
en
|
Snoop Dogg takes over Death Row Records brand as owner days before Super Bowl show
|
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"Jonathan Landrum Jr., USA TODAY"
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2022-02-09T00:00:00
|
Days before the Super Bowl, Snoop Dogg has become the owner of the popular record label that launched his career, Death Row Records.
|
en
|
Associated Press
|
https://www.usatoday.com/story/entertainment/music/2022/02/09/snoop-dogg-death-row-records-owner/6729226001/
|
LOS ANGELES — Snoop Dogg has taken over a popular record label that launched his stellar career.
The rapper-mogul acquired Death Row Records' brand from MNRK Music Group, which is controlled by a private equity fund managed by Blackstone, the investment firm announced Wednesday. The terms of the deal were not disclosed.
Snoop Dogg said he's excited about acquiring the label's brand.
"I am thrilled and appreciative of the opportunity to acquire the iconic and culturally significant Death Row Records brand, which has immense untapped future value," the 50-year-old Snoop Dogg said in a statement. "It feels good to have ownership of the label I was part of at the beginning of my career and as one of the founding members. This is an extremely meaningful moment for me."
Snoop Dogg found his springboard to success during the 1990s while on Death Row Records. The label was founded in 1992 by Dr. Dre, Suge Knight, the D.O.C. and Dick Griffey in the immediate aftermath of the breakup of N.W.A.
Super Bowl 2022: Everything to know about the halftime show and other musical performances
More: Best features on Snoop Dogg's new 'Algorithm' album, from Usher to Mary J. Blige
David Kestnbaum, a senior managing director at Blackstone, said he's looking forward to seeing Snoop Dogg at the helm of Death Row.
"We are excited to put the Death Row Records brand back in the hands of a legend like Snoop Dogg," Kestnbaum said. "We wish him success in the years ahead as the brand moves forward under his leadership and vision."
The label's records, including Dre's first solo album "The Chronic" and Snoop Dogg's debut "Doggystyle," are considered classics of the hip-hop genre that defined an era.
Tupac Shakur became the label's star artist later in the '90s before he was shot and killed in Las Vegas in 1996 while riding in a car driven by Knight. Shakur's death brought on decline for the label, which led to decades of decline for Knight himself.
Knight lost Death Row after it went into bankruptcy in 2006. He served time in prison and had a knack for being near violence that eventually caught up with him.
"Snoop is clearly the executive to take Death Row into its next 30 years," said Chris Taylor, president and CEO of MNRK Music Group.
The news comes days before Snoop Dogg will take the stage during the Super Bowl halftime show alongside Dr. Dre, Mary J. Blige, Kendrick Lamar and Eminem.
Snoop Dogg said in an interview that the opportunity to perform at the Super Bowl is important for the legacy of hip-hop culture.
"I’m still thinking I’m in a dream because I can’t believe that they will let a real hip-hop artist grace the stage in an NFL Super Bowl,” he said. “We’re just going to wait for that moment and put something together that’s spectacular, and do what we’re known for doing and add on to the legacy."
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https://www.facebook.com/SteveHarvey/posts/snoop-dogg-played-fast-money-on-celebrity-family-feud-and-you-wont-believe-the-a/2122092981384889/
|
en
|
Facebook
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.pupsbytaylor.com/dogs/page/2/
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en
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Our Doodles Archive
|
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en
|
Pups By Taylor
|
https://www.pupsbytaylor.com/dogs/page/2/
|
Snoop Dogg is a very mini double doodle, he is just under 9 pounds. He is a Fergie/Jay Z puppy from their final litter May 30, 2019. Both parents are retired. Beyonce is his maternal grandmother, Blue Ivy is his aunt (mom’s side). He has Fergie’s loose coat and is really a small guy, just under 12″ tall. Snoop is “cleared by parentage” for genetic testing by Paw Print Genetics. That means if you go to my breeder profile and look at both Fergie and Jay Z you will see their profiles, both completely clear, not carriers so the “cleared by parentage” title is for the first generation of their offspring. If I hold back a Snoop Dogg puppy they should have their own testing done, meaning the cleared title is only for their children and doesn’t carry down to grandchildren, great grandchildren etc. He also has OFA clearances for eyes, hips and knees but photos can be edited so please head over to the OFA website and do a search there for my dogs. For dogs under 2 years old the results are considered preliminary so they do not report those to their site, sorry for that one you will have to trust my photo but hopefully I’ve earned some trust by now. If you have questions ask anytime. I’m happy to give a humble brag about this!
Prince retired in 2021. He had 4 GORGEOUS litters with Blue Ivy and I kept a girl from each litter to be a future mom. Ciara, Pink, Jewel and Sia are all Blue Ivy/Prince puppies. He spends his retired days with his family in Medina enjoying attention in a very active home with four kiddos.
This little muppet is a mini mulligan goldendoodle born in June 2017. Prince is about 16″ tall from the floor to his shoulder and he weighs about 19 pounds. Like most reds, his color has lightened with time. His Paw Prints health testing can be seen on my breeder profile HERE
This cutie I usually just refer to as “Gambino” but his guardian family calls him Teddy. He is a mini goldendoodle born in December 2016. He was supposed to be our back-up daddy, with Prince being our primary pup but since Prince had a low sperm count until he was almost 3 years old (sorry Prince, I know that is TMI) we ended up using Gambino for multiple litters and we had gorgeous minis with some nice abstract and parti markings. Gambino is about 17-18 pounds and he is lover! He currently lives in a guardian home about 3 miles from our house with 2 little boys. His Paw Prints report can be found on my breeder profile HERE
Retired, final litter was January 2021. She still lives with us and we are so in love with this girl. I was able to keep four girls from Blue Ivy and Prince – future moms Ciara, Pink, Jewel and Sia.
Blue Ivy is a Beyonce puppy. We think she is actually a little Beyonce mini me. She has a super soft coat and the tighter, poodle “wool” curls. She is about 16″ from the floor to her shoulder and she weights about 22 pounds. Her Paw Prints reports can be seen HERE
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https://www.nbc.com/nbc-insider/snoop-dogg-dad-twins-look-alike-hollywood-walk-of-fame
|
en
|
Snoop Dogg and His Dad Look Like Literal Twins in This Throwback Photo
|
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[] |
[] |
[
""
] | null |
[
"Elizabeth Logan"
] |
2024-01-05T17:00:03+00:00
|
Snoop Dogg was joined by his father Vernell at his Walk of Fame ceremony in 2018, where the pair couldn't have looked more alike. Check it out.
|
en
|
/sites/nbcblog/themes/custom/nbcblog/images/icons/apple-touch/apple-touch-icon.png
|
NBC Insider Official Site
|
https://www.nbc.com/nbc-insider/snoop-dogg-dad-twins-look-alike-hollywood-walk-of-fame
|
The Snoop apple doesn't fall far from the Snoop tree.
Rapper and entertainer Snoop Dogg just posted a throwback picture of himself with father, Vernell Varnado, and you can totally see the resemblance.
In the photo, which was taken at Snoop's 2018 Hollywood Walk of Fame ceremony, Snoop stands with his arm around his dad, wearing a Gucci sweater and camel coat, while his father looks snappy in a light gray suit. "Me and pops 🔥🔥💙💙," he wrote on Instagram.
"Pops looks just like you," wrote one commenter. "Like father like son 🔥" added another.
RELATED: Snoop Dogg Shares Precious Photo of His 3 Granddaughters in Matching Bows
Snoop Dogg and his father Vernell Varando
Varnado is a Vietnam War veteran who spent ten years as a mail carrier in Detroit. While the rapper, and former The Voice Mega Mentor, was raised primarily by his mother in Long Beach, California, he reconnected with his father as a young adult.
In an article for OC Weekly in 1999, Varnado admitted, “I didn't even much see Snoop until he was 12 years old.”
He fondly remembered when his son's hit "Nuthin' But A G Thang" came out, and how proud he was of his son's success. "Man, that was like the national anthem," he recalled. "I was out there delivering mail in Detroit, and everyone on my route was playing it, givin' me love because everybody knew I was Snoop's dad. It made me popular in Detroit. I mean, I'm a mailman, and my son is doin' this and doin' that?” Later, Varnado moved to Southern California to work on projects in the music business.
RELATED: Martha Stewart Talks Entertaining Snoop Dogg and the Real Leonard Bernstein
He was always a fan of his son's work, telling Spin in 1993, just after Snoop had became famous on the hip-hop scene, "Snoop was always extraordinary. I thought he was a genius. Even when he was like six or seven, if music came on, he’d jump up and dance and perform all the hand movements."
Snoop Dogg and the Paris Olympics
Next stop: Paris! Snoop Dogg was recently announced as a reporter for NBC's coverage of the 2024 Summer Olympics.
RELATED: Get to Know Olympic Gymnast Simone Biles Ahead of the 2024 Summer Games
In a press release, he enthused, “I grew up watching the Olympics and am thrilled to see the incredible athletes bring their A-game to Paris. It’s a celebration of skill, dedication, and the pursuit of greatness. We’re going to have some amazing competitions and, of course, I will be bringing that Snoop style to the mix. It’s going to be the most epic Olympics ever, so stay tuned, and keep it locked. Let’s elevate, celebrate, and make these games unforgettable, smoke the competition, and may the best shine like gold. Peace and Olympic LOVE, ya dig?”
We so dig.
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https://www.nme.com/news/music/nft-collector-spends-450000-to-live-as-snoop-doggs-virtual-neighbour-3114160
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en
|
NFT collector spends $450,000 to live as Snoop Dogg’s virtual neighbour
|
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"Will Lavin"
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2021-12-08T18:25:01+00:00
|
An NFT collector has spent $450,000 for a plot of virtual land to be Snoop Dogg's neighbour in the rapper's new interactive world.
|
en
|
NME
|
https://www.nme.com/news/music/nft-collector-spends-450000-to-live-as-snoop-doggs-virtual-neighbour-3114160
|
An NFT collector has spent $450,000 (£339,837) for a plot of virtual land to be Snoop Dogg‘s neighbour in the rapper’s new interactive world.
READ MORE: Burning Banksys and rubbish tweets: these are the most WTF NFTs so far
‘Snoopverse’ is a digital community that resides within The Sandbox, an Ethereum-based platform for creating and monetising online hangout spaces and gaming experiences.
By being Snoop’s virtual neighbour, fans will be given access to exclusive, members-only parties at a digital replica of his California mansion – which is currently still being constructed.
‘Snoopverse’ residents will be able to deck out their avatars in designer clothes, drive sports cars, and build upon their own Snoopverse plots, which they can they profit off when other residents come to visit.
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They’ll also have the chance to become Snoop Dogg himself, thanks to hand-crafted voxel Avatars that can be used in The Sandbox metaverse.
Snoop isn’t the only big name to partner with The Sandbox. Deadmau5, Avenged Sevenfold, and Richie Hawtin, as well as intellectual properties such as The Walking Dead, The Smurfs, Hell’s Kitchen and Care Bears already own land on the digital platform.
Recommended
The Sandbox recently closed a $93million (£70.2million) Series B funding round led by SoftBank. The startup’s majority stakeholder is Hong Kong-based gaming firm Animoca Brands, an early metaverse and GameFi backer that was valued at $2.2billion (£1.6billion) after raising $65million (£49million) in October.
Other investors in the round include True Global Ventures, Liberty City Ventures, Galaxy Interactive, Kingsway Capital and Blue Pool Capital.
The virtual world now has $144million (£108.7million) in gross merchandise value, 500,000 registered wallets, and 12,000 unique landowners.
Snoop dropped his new album ‘The Algorithm’ last month, marking Tha Doggfather’s 19th studio album. It also served as his first project for Def Jam, after coming onboard as the label’s executive creative consultant back in June.
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In a three-star review of the album, NME‘s Kyann-Sian Williams said it “brings hip-hop lovers of all ages together”, adding that it “will probably appeal more to the older hip-hop cynics”.
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| 38
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https://www.biography.com/musicians/snoop-dogg
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Snoop Dogg: Biography, West Coast Rapper, Actor
|
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"Last Name: Dogg",
"First Name: Snoop",
"Birth City: Long Beach",
"Life Events/Experience: Were Aquitted",
"Life Events/Experience: Were Arrested on Weapons\r\nCharges",
"Birth Month/Day: October 20",
"Life Events/Experience: Were Arrested for Drug\r\nPossession",
"Group: Hip-Hop Stars",
"Birth Year: 1971",
"Life Events/Experience: People Who Were Imprisoned",
"Birth State: California",
"Industry/Interest Area: Film",
"Industry/Interest Area: Television",
"Birth Month: 10",
"Birth Country: United States",
"Astrological Sign: Libra"
] | null |
[
"Biography.com Editors"
] |
2014-04-02T06:29:05+00:00
|
Snoop Dogg is a West Coast rapper who evolved under the tutelage of Dr. Dre, and has received fame for albums such as 'Doggystyle,' 'Tha Doggfather' and 'Reincarnated.'
|
en
|
/_assets/design-tokens/biography/static/images/favicon.3635572.ico
|
Biography
|
https://www.biography.com/musicians/snoop-dogg
|
(1971-)
Who Is Snoop Dogg?
West Coast rap legend Snoop Dogg has come a long way since being discovered by Dr. Dre in the early 1990s. As impressive as he was when guesting on Dre’s The Chronic in 1992, few could have guessed he’d go on to global fame, tens of millions of record sales and a career in movies and TV.
Quick Facts
FULL NAME: Calvin Cordozar Broadus Jr.
BORN: October 20, 1971
BIRTHPLACE: Long Beach, CA
SPOUSE: Shante Broadus (m. 1997)
CHILDREN: Cordell Broadus, Cori Broadus, Julian Corrie Broadus, Corde Broadus
ASTROLOGICAL SIGN: Libra
Early Life
Chart-topping hip-hop artist Snoop Dogg was born Cordozar Calvin Broadus Jr. in Long Beach, California, on October 20, 1971. His nickname came from his mother because she thought he looked like Snoopy from the Peanuts cartoon. The musically inclined youngster played piano and sang at his local Baptist church, before starting rap in sixth grade.
After graduating high school, Snoop was arrested several times for drug possession and spent time in prison. He was also associated with the Rollin’ 20 Crips Gang. He started making music as a way out of his troubles and recorded early demos with his cousin Nate Dogg and friend Warren G as 213.
A track on one of these came to the attention of Dr. Dre, who invited Snoop — then rapping under the name Snoop Doggy Dogg — to audition. From there they collaborated on a song called "Deep Cover" for the soundtrack of a film of the same name; and Snoop became the key rapper on Dre’s hugely successful first solo album, The Chronic, in 1992.
Hit Albums: 'Doggystyle' & 'Tha Doggfather'
Snoop's first album, the Dre-produced Doggystyle (1993), climbed its way to the No. 1 spot on Billboard's hip-hop and Top 200 charts, based in part on the success of the singles "Who Am I (What's My Name)?" and "Gin and Juice." It built on the G-Funk template that The Chronic had established, as Cypress Hill’s B-Real later reminisced: “I think Dr. Dre gave Snoop a sound that would resonate in the minds of hip-hop fans for generations. It made Snoop an icon.”
Next came a short film called Murder Was the Case, the soundtrack of which went double platinum. Snoop's next album, Tha Doggfather (1996), also reached the top of the charts, despite the absence of Dre, who had left Death Row over a contract dispute. While it didn’t perform as well commercially, it still showed that Snoop was a major-league artist.
'Da Game Is to Be Sold' to 'The Hard Way'
Snoop then left Death Row himself, falling out with label mogul Suge Knight and moving to Master P’s No Limit Records. He scored the top slot on the hip-hop charts with his next two albums: Da Game Is to Be Sold, Not to Be Told (1998) and No Limit Top Dogg (1999). His last album for No Limit, The Last Meal, came in 2000 and sold over 2 million copies. By now his sound had become less "gangsta rap" and somewhat smoother.
Snoop continued to make music throughout the noughties, enjoying a big hit in 2004 with the chart-topping single "Drop It Like It's Hot," which sparked several fruitful collaborations with Pharrell Williams. That year he also reunited with Warren G and Nate Dogg as 213 to drop the album The Hard Way. In 2007, Snoop became the first artist to release a track — "It's The D.O.G." — as a ringtone prior to its release as a single.
Branching Out: From Rapper to Actor to Reality Star
into acting during the same period and appeared in several films, including Starsky & Hutch, The Wash and Training Day. He also made guest appearances on television shows, including The L Word and Weeds, and starred in his own E! reality show, Snoop Dogg's Father Hood, in 2007. The series featured his wife, Shante, and their three children, Corde, Cordell and Cori. He was part of a sketch show, Doggy Fizzle Televizzle, and participated in the 2011 Comedy Central Roast of future president Donald Trump.
Legal Issues, Banned From the U.K. & Australia
Since achieving fame, Snoop has had a number of brushes with the law. In 1990, he was convicted of cocaine possession. Three years later, he pleaded guilty to gun possession. Snoop was also tried and acquitted of murder charges in 1996. The case involved the killing of an alleged gang member who was shot by someone in the vehicle Snoop was riding in.
Snoop made the news again in April 2006 when the rapper and his posse were taken into custody at a London airport after the group got into a fight at the terminal. The British government banned Snoop from entering the country, although they later had to change their position. (It wasn’t his first brush with notoriety in the United Kingdom — in 1994, The Daily Star carried a picture of Snoop on its front cover with the headline, “Kick this evil bastard out!”)
Later in 2006, he was arrested at the Bob Hope Airport in Burbank, California, after officers found marijuana and a gun in his vehicle. In 2007, the Australian Department of Immigration and Citizenship, citing his prior criminal convictions, banned him from entering the country and appearing at the MTV Australia Video Music Awards.
Changing His Name to Snoop Lion
In early 2012, Snoop announced that he was working for the first time on an all-reggae album, called Reincarnated. Later that year he announced that he was dropping "Dogg" from his name to become Snoop Lion.
According to the Los Angeles Times, Snoop decided to change his name after traveling to Jamaica where he met with a priest, who told him: "You are the light, you are the lion." Moved by the meeting, Snoop immediately changed his name. In August 2012, Snoop released Reincarnated's debut single, "La La La."
Cannabis Business
Outside of music, Snoop has made investments in the burgeoning cannabis business. In November 2015, he launched Leafs By Snoop, becoming the first A-list celebrity to brand a line of cannabis products. That same year he also launched a new digital-media venture called Merry Jane, which focuses on the latest marijuana news.
More Music and Screen Roles
Snoop's 13th studio album, produced by Pharrell and titled Bush, arrived in May 2015. With the release of singles like "Peaches N Cream" and "So Many Pros," the album shot to No. 1 on the hip-hop/R&B charts and debuted at No. 14 on the Billboard 200. In July 2016, Snoop followed with his 14th studio album, Coolaid, which also garnered positive reception.
In May 2017, Snoop dropped his 15th studio album Neva Left. Branching out again, he delivered his first gospel album, Bible of Love, in March 2018, before returning to hip-hop form in summer 2019 with I Wanna Thank Me and its eponymous single.
Since 2016, the artist has used his likable laconic personality to good effect in VH1's Martha & Snoop’s Potluck Dinner Party, in which he and Martha Stewart host dinner parties for various celebrities. He also landed a prominent role in the 2019 animated adaptation of The Addams Family, as the voice of Cousin Itt.
Personal Life and Wife
Snoop has been married to his high school sweetheart, Shante Taylor, since 1997. They have two sons and one daughter together. Snoop is first cousins with the R&B artists Brandy and Ray J.
Fact Check: We strive for accuracy and fairness. If you see something that doesn’t look right, contact us!
QUOTES
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en
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Snoop Dogg takes over Death Row Records brand as owner
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[
"Jonathan Landrum Jr",
"Associated Press"
] |
2022-02-09T19:15:51-04:00
|
The rapper-mogul has taken over a popular record label that launched his stellar career.
|
en
|
PBS News
|
https://www.pbs.org/newshour/arts/snoop-dogg-takes-over-death-row-records-brand-as-owner
|
LOS ANGELES — Snoop Dogg has taken over a popular record label that launched his stellar career.
The rapper-mogul acquired Death Row Records’ brand from MNRK Music Group, which is controlled by a private equity fund managed by Blackstone, the i nvestment firm announced Wednesday. The terms of the deal were not disclosed.
Snoop Dogg said he’s excited about acquiring the label’s brand.
“I am thrilled and appreciative of the opportunity to acquire the iconic and culturally significant Death Row Records brand, which has immense untapped future value,” the 50-year-old Snoop Dogg said in a statement. “It feels good to have ownership of the label I was part of at the beginning of my career and as one of the founding members. This is an extremely meaningful moment for me.”
Snoop Dogg found his springboard to success during the 1990s while on Death Row Records. The label was founded in 1992 by Dr. Dre, Suge Knight, the D.O.C. and Dick Griffey in the immediate aftermath of the breakup of N.W.A.
David Kestnbaum, a senior managing director at Blackstone, said he’s looking forward to seeing Snoop Dogg at the helm of Death Row.
“We are excited to put the Death Row Records brand back in the hands of a legend like Snoop Dogg,” Kestnbaum said. “We wish him success in the years ahead as the brand moves forward under his leadership and vision.”
The label’s records, including Dre’s first solo album “The Chronic” and Snoop Dogg’s debut “Doggystyle,” are considered classics of the hip-hop genre that defined an era.
Tupac Shakur became the label’s star artist later in the ’90s before he was shot and killed in Las Vegas in 1996 while riding in a car driven by Knight. Shakur’s death brought on decline for the label, which led to decades of decline for Knight himself.
Knight lost Death Row after it went into bankruptcy in 2006. He served time in prison and had a knack for being near violence that eventually caught up with him.
“Snoop is clearly the executive to take Death Row into its next 30 years,” said Chris Taylor, president and CEO of MNRK Music Group.
|
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https://podcasts.apple.com/us/podcast/snoop-doggs-ggn-podcast/id969672114
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âSnoop Dogg's GGN Podcast on Apple Podcasts
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[
"Snoop Dogg"
] |
2018-12-19T00:00:00
|
Wake and bake cuz! Down to smoke one with your big homie Snoop Dogg? Well, here I is and hereâs your shot neffew. Get up close and personal with me â the one and only Snoop Dogg each week on my official GGN podcast.
This podcast right here is hosted by none other than meâ¦yours trulyâ¦music legend anâ¦
|
en
|
Apple Podcasts
|
https://podcasts.apple.com/us/podcast/snoop-doggs-ggn-podcast/id969672114
|
Wake and bake cuz! Down to smoke one with your big homie Snoop Dogg? Well, here I is and hereâs your shot neffew. Get up close and personal with me â the one and only Snoop Dogg each week on my official GGN podcast.
This podcast right here is hosted by none other than meâ¦yours trulyâ¦music legend and pop culture icon⦠Snoop D-O-double G ya dig?!? This is nuthin but a smoked out session rolled tightly into podcast form that features me choppinâ game with and doinâ full-length interviews with a whoâs who from the entertainment world. Listen to some funny ass comedic tales or me bustinâ some off tha cuff freestyles. Man, me and my guests speak on everything related to popular culture. No one does uncensored and uncut quite like ya boy Big Snoopâ¦aka Finding Nemoâ¦aka Nemo Hoes. And now Iâm inviting you to blaze one up with us and jump on in.
Subscribe now and then join us for #PuffPuffPassTuesdays to listen to a brand new podcast delivered fresh from the oven, prepared perfectly on the GGN News Desk and delivered directly to your ear drum...You bitch you. LOL!
Oh, a donât forgetâ¦you can listen to my GGN podcasts just about anywhere in your hood⦠iTunes and Soundcloud to be exact.
We also heavy on that social media Jack!
Make sure to follow us at:
Facebook.com/DoubleGNews
Instagram.com/DoubleGNews
&
Facebook.com/SnoopDogg
Twitter.com/SnoopDogg
Instagram.com/SnoopDogg
Plus.Google.com/+SnoopDogg
Also catch more GGN content on my official video channel: https://www.youtube.com/user/westfesttv .. UHEARME????
Chuuuch, Preach, Tabernacleâ¦
Wake and bake cuz! Down to smoke one with your big homie Snoop Dogg? Well, here I is and hereâs your shot neffew. Get up close and personal with me â the one and only Snoop Dogg each week on my official GGN podcast.
This podcast right here is hosted by none other than meâ¦yours trulyâ¦music legend and pop culture icon⦠Snoop D-O-double G ya dig?!? This is nuthin but a smoked out session rolled tightly into podcast form that features me choppinâ game with and doinâ full-length interviews with a whoâs who from the entertainment world. Listen to some funny ass comedic tales or me bustinâ some off tha cuff freestyles. Man, me and my guests speak on everything related to popular culture. No one does uncensored and uncut quite like ya boy Big Snoopâ¦aka Finding Nemoâ¦aka Nemo Hoes. And now Iâm inviting you to blaze one up with us and jump on in.
Subscribe now and then join us for #PuffPuffPassTuesdays to listen to a brand new podcast delivered fresh from the oven, prepared perfectly on the GGN News Desk and delivered directly to your ear drum...You bitch you. LOL!
Oh, a donât forgetâ¦you can listen to my GGN podcasts just about anywhere in your hood⦠iTunes and Soundcloud to be exact.
We also heavy on that social media Jack!
Make sure to follow us at:
Facebook.com/DoubleGNews
Instagram.com/DoubleGNews
&
Facebook.com/SnoopDogg
Twitter.com/SnoopDogg
Instagram.com/SnoopDogg
Plus.Google.com/+SnoopDogg
Also catch more GGN content on my official video channel: https://www.youtube.com/user/westfesttv .. UHEARME????
Chuuuch, Preach, Tabernacleâ¦
|
|||||
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0
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https://www.nickiswift.com/118560/celebrities-whove-gangs/
|
en
|
Celebrities Who've Been In Gangs
|
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[
"Jessica Sager"
] |
2018-04-30T20:04:23+00:00
|
A lot of celebrities like to make themselves seem like gangsters, but not many stars can actually claim to have been in gangs in real life.
|
en
|
Nicki Swift
|
https://www.nickiswift.com/118560/celebrities-whove-gangs/
|
A lot of celebrities like to make themselves seem like gangsters, whether it means posing with guns, wearing certain colors, or just dropping certain references in their musical lyrics or public appearances. However, not many stars can actually claim to have been in gangs in real life — and those who can often may not be forthcoming about it, because, well, there's that whole "crime" aspect of organized crime. Beyond the bright colors, street cred, and cash, there's often a dark underbelly of drugs, violence, and fierce rivalries, and gang allegiances have been rumored to be behind the untimely death of some stars.
Whether it's Snoop Dogg promising to make America Crip again, Cardi B pledging allegiance to Bloods and avoiding the color blue, Frank Sinatra rubbing elbows with Gambinos, or Lil' Wayne lashing out over his gang loyalty in a televised interview, these stars have all been linked to (or openly part of) gangs.
Chris Brown has been close with several members of the Fruit Piru Bloods throughout his career, likely much to the chagrin of his attorney and probation officers. In July 2014, Breezy posted several references to the gang on Instagram and during his shows, reported TMZ. Those nods included using "bool" instead of "cool" in an Instagram caption and throwing up gang signs and shouting them out onstage.
However, some insiders claimed that while Brown openly affiliates himself with the Bloods, he's not a fully initiated member. However, sources told TMZ that the Bloods are okay with Brown claiming them because the troubled singer supposedly hired several members to work for him in various capacities, with some even living with him in his Los Angeles home. Sources close to the gang also claim Breezy has given their Compton neighborhood an "economic boost" and often comes to hang out with them, even shooting a music video in the area. The gang particularly appreciated his kind gesture of donating 1,000 pairs of sneakers to underprivileged children in Compton.
Before Danny Trejo was a tough guy onscreen, he was a self-described crazy guy in gangs and in and out of prison. He talked about his time as a gangbanger with The Huffington Post in 2013: "We had a lot of pistols, and you don't really want to mess with somebody who's got a lot of pistols ... You've got to remember: People aren't scared of tough guys. People are scared of crazy people."
He told The Guardian that at one point, he was facing multiple potential death penalty sentences. "I went to the hole looking at three gas-chamber offenses," Trejo said. "After the Cinco de Mayo riots at San Quentin, in 1968, they said I threw a rock and hit the lieutenant in the head, but you know what? I did hit him in the head with a rock. But I wasn't throwing it at him, I was throwing it at a group of guys and he happened to be hit. So we all had gas-chamber offenses, and we were taken to the hole and I remember saying: 'God, if you're there, everything will turn out the way it's supposed to. If you're not, I'm f**ked.'"
Trejo isn't impressed by celebrities who try to claim gang status. He cracked to The Huffington Post, "All the rappers become very famous and then try to get street credit. They get caught playing with machine guns and it's like wait a minute ... You're no longer a thug, you're a businessman."
Nick Cannon was embroiled in the Bloods gang growing up, though he didn't necessarily want to be. He told Vlad TV, "I wouldn't say I joined a gang ... I grew up in a neighborhood in Southeast San Diego — this public assistance area called Bay Vista. And that was kinda the thing ... Actually, if anything I was always trying to get away from it. Of course, during the early '90s when it was glorified I definitely was wearing my Dickies and certain colors and the Chucks."
He added, "It was a Blood set, but it was one of those things where that's the area that I grew up in. I mean, even if you think of Southeast San Diego, the majority of the people from down there are from different Blood sets ... I lost a lot of friends to senseless gang violence. A lot of people still locked up right now. So I always try to downplay it and be like that cat that was allowed to get away from it ... Yo man, once Nickelodeon called I locked in. I forgot about all of that stuff."
The Game grew up in Compton, Calif., and peppers his lyrics with references to the Bloods, even dropping an entire LP, The R.E.D. Album, dedicated to the lifestyle. In fact, the lead single from the project, "Red Nation" (featuring Lil' Wayne) was actually banned from MTV and BET in 2011 before it ever premiered, allegedly because it was too gang-affiliated.
At the time, The Game said in a statement (via XXL), "No love is lost for BET and MTV. I know they have standards for all ages watching the networks. I didn't want to change the artistic integrity of the music video, and with the amount of people watching videos online, I know all my fans will still be able to find it."
He also talked about the ban with Dub magazine (via XXL): "I didn't fight it. I have kids and understand why the networks didn't want to show it ... They may have banned it, but it still blew up on the Internet."
Lil' Wayne, Young Thug, and Birdman are rumored to be affiliated with the Bloods gang — and in a bizarre twist, that gang was accused of trying to murder Lil' Wayne.
Rolling Stone obtained court documents that described Lil' Wayne, Young Thug, and Birdman as members of the gang and alleged that Jimmy Carlton Winfrey — who served as Young Thug's tour manager — was a high-ranking Blood who shot at Lil' Wayne's tour bus in April 2015. The indictment cited an alleged threat Winfrey made in Young Thug's "Halftime" video, in which Winfrey can be seen holding a weapon similar to that used in the shooting. The legal docs also claimed that Young Thug threatened Lil' Wayne on Instagram leading up to the incident.
For his part, Lil' Wayne frequently references the Bloods gang. When asked in a November 2016 Nightline interview if he supported the Black Lives Matter movement, Weezy pointed to his red bandana and said, "I don't feel connected to a damn thing that ain't got nothin' to do with me ... I'm connected to this motherf**king flag right f**king here. I'm connected. I'm a gangbanger, I'm connected."
Frank Sinatra's exact mob ties are unclear, but he was friendly with several Italian organized crime family members. According to the Daily Mail, many of the clubs Sinatra performed in early in his career were owned by the mob, and it seems ol' blue eyes family was at the very least acquainted with certain mobsters, including Meyer Lansky, Bugsy Siegel, Dutch Schultz, and Lucky Luciano, who were reportedly friends with his parents when he was growing up in Hoboken, N.J.
Sinatra's close friend Phil Silvers' wife told the Daily Mail that Sinatra was oddly fascinated with Siegel's violent tendencies. "[Sinatra and Silver] would brag about Bugsy, what he'd done and how many people he'd killed," she said. "Sometimes they'd argue about whether Bugsy preferred to shoot his victims or simply chop them up with axes ... [I never forgot] the awe Frank had in his voice when he talked about him. He wanted to emulate Bugsy."
Sinatra was called to testify in court when he was suspected of potentially running millions of dollars between Lucky Luciano and Al Capone's bodyguards, the Fischettis. The Sultan of Swoon admitted to meeting with Luciano, but insisted he was just saying hello at an event and denied any further involvement, though he'd allegedly continued to rub elbows with organized criminals for the rest of his heyday.
Comedian D.L. Hughley was a member of the Bloods growing up. He told Vlad TV, "As a young boy you're looking for acceptance any way you can get it. Although I'm not proud of what happened, I'm not proud of my experiences, I learned a lot from them that I think is invaluable for me in terms of how I see the world." He admitted, "I thought they were the clearest, [most] honest, bravest human being I'd ever met ... I think they were some of the best human beings I'd ever met," explaining that he interpreted a lot of the gang's activities to be "illegal, but not immoral."
His stance changed somewhat when one of his own cousins, a member of a rival gang, was killed by Bloods. "That was difficult because ... he was one of my favorite cousins, and when he died they wouldn't let me go to the funeral ... Bloods had killed my cousin."
He then left the Bloods to avoid any more violence. "I knew I didn't have it in me to take human life. It just seemed brutal to me."
Rapper and actor Ice-T was affiliated with the Crips growing up in the Crenshaw neighborhood of Los Angeles. He told The AV Club, "You're either with them or without them. You kind of get indoctrinated into that lifestyle, like I say on one of my records, whether you're in a gang or not, you know what color to wear. You don't want to wear the wrong color just to cause a problem ... Gangs are real. They fight to the death."
Though he was never actually an indoctrinated Crip, Ice-T says he pretended he was. "We actually created a fake gang. We told people we were part of the Hillside Crips. We had them thinking there was hundreds of us. We connected together ... it kind of kept people off of us," he said. "By 10th grade, you start to know people from the different neighborhoods. I've always had a very cool, charismatic personality, and as long as you meet the shot-callers and the troublemakers and they like you, you ain't got no problems."
Snoop Dogg was long affiliated with Los Angeles' Crips gang, and he makes no secret of his loyalty in his music. In October 2017, he dropped an eight-song LP, Make America Crip Again, the cover of which was largely comprised of an image of the gang's signature blue bandanas. In the title track, Snoop lashes out at President Donald Trump, spitting, "The president said he wants to make America great again, f**kt hat s**t, we're going to make America Crip again."
Still, Snoop doesn't necessarily endorse the violence associated with gang life. He told Vibe in a statement about the album title, "What I mean by that is — in my lifetime, that's when young black men in impoverished areas organized to help their communities and to take care of their own because society basically left them for dead. A lot of people glorify the gang banging and violence but forget that in the beginning, the Crips' main and sole purpose was to be the reflection of the Black Panthers. They looked after kids, provided after school activities, fed them and stepped in as role models and father figures."
Before starring as mobsters in Goodfellas (1990), Casino (1995), and The Irishman (2019), Robert De Niro was an actual gangster when he was just 14 years old. De Niro went by the nickname "Bobby Milk" because "he was pale and strange as milk," reported Vanity Fair. He joined a street gang in New York's Little Italy.
Martin Scorsese, who directed De Niro in his infamous mobster roles, first met the method actor during De Niro's days as a gangster. Scorsese told Vanity Fair that when he ran into De Niro at a Christmas party in 1971, "I said to him, 'Hey! Didn't you use to hang around Hester Street?' Bobby didn't answer, just stared at me — he does not look at you, he considers you — so I stared back. Then I remembered: 'It was Kenmare Street — the Kenmare gang.' And Bobby goes, 'Heh heh!' I hadn't seen him in fourteen years ... We were both guys who'd grown up on the street."
New York City rap group The Diplomats, commonly called Dipset, have all been long-rumored to be affiliated with the red bandana-waving Bloods.
Dipset member Jim Jones has been the most forthcoming about his connection, telling Vice in 2006, "I've been affiliated with the Blood gang since I was a teenager. And for y'all that's not familiar with the court of law, being a member of a gang, being a Blood is not a crime, you know what I mean? That is not a crime to be a gang member ... it's what you do as a gang member, that's when you get conspiracy charges and racketeering and all that. Me being who I was, I just came up in a hood that was a Blood neighborhood."
However, he added, "I don't care where you gangbang at, it's people dying, it's young youth dying all that time. Gangs are killing each other and at the end of the day, it's f**king up our hood regardless of where we're coming from, that's what people really need to know."
Member Juelz Santana also admitted to Dipset having Blood ties. "I been gang-affiliated since day one. Everybody knows that, everybody know we got a heavy affiliation with the Bloods since day one," he told MTV News. "...People around me happen to be around more Bloods than anything else, so they assume that's what I'm doing. But I know Crips too. I know Latin Kings."
The Los Angeles Police Department claims Death Row Records founder Suge Knight was affiliated with the Mob Piru Bloods — and that his loyalty to the gang led to the murder of rapper Tupac Shakur.
An LAPD source told People that Mob Piru was in a "deadly rivalry" with Compton Crips that led to Shakur's shooting. "Mob Piru was built off of Death Row [Records]," the source said. "They had been around for a while, but Suge put them on the map and they started making money and became big." The source added that when Shakur signed with Death Row, he "immediately [became] enemies with the Crips."
The insider told People that the day Shakur was shot, he got into a scuffle with Crip member Orlando Anderson. "It was simple retaliation: you mess with one of ours, we will mess with one of yours. If Orlando had never been jumped in the hotel, they never would have killed Tupac that night ...Immediately after Tupac was shot [in Las Vegas], the next day there were murders all the way back in LA because the Compton Mob Piru (which Suge was a part of) knew that the Southside Compton Crips were involved."
Actor James Caan starred as Sonny Corleone in The Godfather (1972) and has an actual real-life tie to the Mob: He's close friends with Colombo crime family bigwig Andrew Russo.
Caan told the New York Post in 2011, "My friendship with Andrew Russo dates back over 35 years, and I've only known him to be as good a friend as anyone could be to me and my family."
Caan also wrote a letter to the court for a bail hearing for Russo that said, "Our two families are intertwined. My son Scott is his godson ... [Russo] has always been the first to call when any member of my family has been ill or troubled, and always looked after me like a brother ... I'd be willing to put up anything of personal value that the court would accept [for bail]. I would not hesitate a moment to fly in and be present if the court should so request. In short, there's nothing I wouldn't do to see this man where he belongs and where he is needed the most — with his family."
Rapper Tekashi 6ix9ine considers himself affiliated with the Bloods. In his video for "Gummo," he hangs out with a large group rocking red bandannas. However, rumors that he switched from Crip loyalty to Blood loyalty have haunted the rainbow-haired MC, and his video for "Kooda" shows he's certainly not unfriendly with the blue crew. However, he has denied actually being a Crip, telling The Breakfast Club, "There's this crew called Scum Gang from Flatbush. I used to run with them, but nobody can say who I'm Crip under. Like who was I Crip under?"
6ix9ine has faced a slew of trouble throughout his brief career due to his gang affiliations and criminal history. In February 2018, TMZ reported that he was jumped at LAX. The site also reported that the Tango Orejon gang in Texas attempted to ban him from performing in San Antonio, Texas, but failed to block the performance — one of their members was reportedly arrested for threatening 6ix9ine.
Cardi B was a Blood before hitting it big.
"When I was 16 years old, I used to hang out with a lot of ... Bloods," she told GQ in April 2018. "Sometimes it's almost like a fraternity, a sorority ... and sometimes I see people that's in the same gang kill each other. So sometimes there is no loyalty. Sometimes you gotta do certain things to get higher, to get higher and higher. You're doing all of that and you not making money off of it. That's why I don't talk about it much. Because I wouldn't want a young person, a young girl, to think it's okay to join it."
She added, "People always be like, 'Oh, Cardi never used to rep it when she wasn't making music.' ... When I do interviews, I don't talk about it, because I will lose my endorsements. But since the cat is out of the bag, that's how I feel ... Why would you join a gang?"
Her Blood affiliation almost got her into hot water ahead of a Los Angeles concert in February 2018, when she dissed rival gang the Crips. According to TMZ, Crip members began to threaten her on Instagram. Still, it makes the "Bodak Yellow" lyric "These is red bottoms / These is bloody shoes" a lot more interesting.
Josh Brolin is great at playing bad guys on screen, from Thanos in Avengers: Infinity War to a dirty detective in American Gangster. Perhaps some of his villainous skill comes from his past as a member of the Cito Rats surfer gang.
Brolin told The Guardian that when he was a teenager in the gang, he'd steal radios from cars for drug money and was usually in some kind of trouble — and some of that trouble could have killed him. "I tried heroin," he admitted. "I never got into it and I never died from it, which is a good thing. I've had 19 friends who died. Most of those guys I grew up with, they're all dead now."
He also told Men's Journal (via Radar Online) that he'd served time behind bars before he could even legally buy a beer. He was reportedly involved in a brawl at age 19 that eventually turned into a physical altercation with police who'd arrived on the scene.
"To this day, I have no idea what the fight was about. I woke up in jail," Brolin said. "The police were very angry with me ... They kicked my a** really well. I was looking at a long time in prison. So, basically, I put everything I had — everything I had earned from a TV series I did — into lawyers. I did a bit of jail time. Not much, but a little bit."
|
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https://www.allamericanspeakers.com/speakers/389079/Snoop-Dogg
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en
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Booking Agent
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Biography and booking information for Snoop Dogg, Rapper, Singer, Songwriter, Record Producer & Actor. Contact All American Speakers Bureau to book the best keynote speaker for your next live or virtual event.
|
en
|
https://www.allamericanspeakers.com/speakers/389079/Snoop-Dogg
|
As an Entertainment Icon, Snoop Dogg has reigned for more than two decades as an unparalleled force who has raised the bar as an entertainer and globally recognized innovator. He is one of the most successful rappers, media personalities, singers, songwriters, producers, tech moguls, authors, entrepreneurs, and actors of this era. Snoop defines entertainment history. An award-winning entertainer, he has released 19 studio albums, sold over 40 million albums worldwide, reached No. 1 countless times on Billboard charts internationally, and received 17 Grammy nominations. In addition to his extensive work in music, Snoop has made his mark in the television and film space as well.
Throughout his career, Snoop’s chart-topping hits include "Young, Wild and Free," "War", "California Gurls," “Gin & Juice,” and “Who Am I? (What’s My Name?),” “Nuthin’ But A ‘G’ Thang,” “Next Episode,” “Beautiful,” “Drop It Like It’s Hot,” “Signs,” “Sensual Seduction,” and “I Wanna Rock." He has acted and appeared in numerous films, including Dolemite is My Name, Beach Bum, Soul Plane, Starsky & Hutch, Pitch Perfect 2, Half Baked, and the Oscar-winning drama Training Day, and such TV series as "Empire," "Trailer Park Boys," and "Mary + Jane." Snoop’s voice has also been featured in the animated films The Addams Family, Turbo, Arthur and the Invisibles, and Hotel Transylvania and TV shows, including "The Simpsons," "King of the Hill," "Futurama," "The Boondocks," and "The Cleveland Show."
As a producer through his company Snoopadelic Films, Snoop Dogg has produced Mac & Devin Go to High School, Boss’n Up, Hood of Horror, and Reincarnated (in conjunction with VICE Films). He currently has numerous partnership deals with major studios and networks, including Nealix, VH1, etc. His accolades include an Emmy Award nomination for his role as Executive Producer and Co-host of VH1’s hit show, "Martha & Snoop’s Potluck Dinner Party," Executive Producer of MTV’s "Mary + Jane," Executive Producer and Host of TNT’s game show, "Joker’s Wild," and Executive Producer of acclaimed Netflix’s docuseries, "Coach Snoop."
In 2018, Snoop received a star on the Hollywood Walk of Fame, released his highly praised and award-winning Gospel album, "Bible of Love," and his first cookbook, "From Crook to Cook: PlaSnum Recipes from Tha Boss Dogg's Kitchen." In 2022, he acquired Death Row Records and released his 19th studio album, "BODR." He has also performed at the Super Bowl LVI halftime show. Snoop Dogg continues to make an impact with his diverse range of ventures and is a renowned figure in the music, television, and film industry.
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https://www.billboard.com/lists/snoop-dogg-k-pop-history-bts-psy-girls-generation/
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en
|
A Timeline of Snoop Dogg’s History With K-Pop
|
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[
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] | null |
[
"Jeff Benjamin"
] |
2022-08-17T00:33:49+00:00
|
Snoop Dogg's history with K-pop extends more than a decade with collaborations with BTS, PSY, Monsta X, 2NE1, 'Show Me the Money' and more.
|
en
|
Billboard
|
https://www.billboard.com/lists/snoop-dogg-k-pop-history-bts-psy-girls-generation/
|
Throughout his decades in the music business, Snoop Dogg has shown love for music genres across the spectrum. From his hip-hop start with the Billboard 200 No. 1 album Doggystyle to charting on the Gospel and reggae charts, Snoop has proven himself to be a multifaceted music star. While the Korean pop scene may not seem like an obvious connection for Snoop Dogg, the rapper has been mixing it up with K-pop artists for more than a decade.
Earlier this year, Snoop told viewers on American Song Contest that “K-pop is my guilty pleasure” while he hosted the NBC singing competition alongside Kelly Clarkson. From teaming up with girl groups like Girls’ Generation and 2NE1 in the ’00s to sharing his expertise with Korean rappers like WINNER’s Mino, Basick and Superbee, Snoop has continuously lent his talents and showed love to this “guilty pleasure.”
Snoop’s latest step alongside the Korean music scene is teaming up with BTS members Jin, V, Jimin and Jung Kook for a new collaboration alongside Benny Blanco. The superstar single “Bad Decisions” debuts at No. 10 on the Billboard Hot 100 this week, giving Snoop his 12th top 10 single to date. The feat also makes the Dogg Father the third artist to earn top 10 singles in each of the past four decades — the ’90s, ’00s, ’10s and ’20s — joining Mariah Carey and Jay-Z.
Teaming up with BTS not only helped Snoop Dogg extend his ever-growing, historic chart run, but continued his ongoing professional and creative relationship with K-pop. This is Snoop’s K-pop history, proving he’s been an OG fan even before the scene blew up worldwide.
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https://www.cheatsheet.com/entertainment/snoop-dogg-long-list-of-famous-cousins-include-music-artists.html/
|
en
|
Snoop Dogg’s Long List of Famous Cousins Include Music Artists Brandy and Ray J
|
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2021-05-27T10:33:00+00:00
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Snoop Dogg is related to a lot of A-list celebrities.
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en
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Showbiz Cheat Sheet
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https://www.cheatsheet.com/entertainment/snoop-dogg-long-list-of-famous-cousins-include-music-artists.html/
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Snoop Dogg has gone through many name changes during his tenure in the spotlight, but he has always remained true to himself. A cultural icon and a well-respected rapper who has garnered many awards, Snoop Dogg first became famous in the early ’90s.
Over the years, the rapper has consistently written and released popular music, tunes that people of all ages and interest levels can relate to and enjoy. While Snoop Dogg’s fans might know a great deal about his music and his personality, what they might not realize is that the rapper isn’t the only member of his family to enjoy a career in entertainment.
Snoop Dogg’s cousin helped him to become famous
Snoop Dogg first became attracted to music when he was a very young child, creating and performing rhymes as a way to deal with his occasionally troubled home life. As a teenager, Snoop Dogg was often involved in altercations with the law, but was always able to turn to music for escape.
In the ’80s, Snoop Dogg began experimenting with making tapes, along with his cousins Nate Dogg and Daz Dillinger. It was Dillinger who helped Snoop Dogg form Death Row Records in the early ’90s.
After starting a band called 213 with Nate Dogg, Lil’ ½ Dead, and friend Warren G, Snoop Dogg began performing on a wide scale. The group didn’t last, disbanding in the late ’80s, but Snoop Dogg soldiered on — eventually releasing his debut solo album, Doggystyle, in 1993. The album, released through Death Row Records, became a hit and helped pave the way to superstardom for young Snoop Dogg.
Dillinger, Snoop Dogg’s loyal cousin and confidante, was by his side the whole time. Sadly, Nate Dogg died when he was only 41 years old, in March 2011. Snoop Dogg memorialized his cousin by getting a tattoo of his face, inscribing “all dogs go to heaven” underneath the portrait.
Snoop Dogg is related to Brandy and Ray J
While Snoop Dogg has several musically-inclined family members, perhaps his most high-profile relations are Brandy Norwood and her brother, professionally known as Ray J.
Brandy first rose to fame in the ’90s, singing gospel music and acting in various television productions. As a first cousin to Snoop Dogg, she witnessed firsthand how difficult the music industry could be. Snoop Dogg has worked with his younger cousin on several occasions, and has featured her in several music videos, including for his song “Special.”
Norwood’s brother, known as Ray J, is probably best known for the sex tape that he made with Kim Kardashian West — but he has also dabbled in music and acting, appearing on several reality shows. Ray J has also worked with his cousin, Snoop Dogg, even appearing in an episode of his YouTube show.
Snoop Dogg is first cousins with a high-profile professional wrestler
Snoop Dogg’s connections in the entertainment world don’t end with Brandy and Ray J Norwood. The rapper is also first cousins with a professional wrestler named Sasha Banks.
Snoop Dogg has been open about supporting his little cousin’s wrestling career, even admitting in a 2016 interview that he helped her get her foot in the door of the wrestling industry: “I took her around to meet everybody that she wanted to meet, and you could just see her face light up. This is what she wanted to be.”
Clearly, Snoop Dogg loves sharing his industry knowledge with those he is close with and definitely has no trouble sharing the spotlight.
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https://simple.wikipedia.org/wiki/Snoop_Dogg
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Simple English Wikipedia, the free encyclopedia
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2005-12-31T11:45:25+00:00
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en
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https://simple.wikipedia.org/wiki/Snoop_Dogg
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This article is about the American rapper and actor. For the fictional dog, see Snoopy.
Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg,[note 1] is an American rapper and actor.[5] He became known as one of the popular gangsta rappers during the 1990s. Snoop Dogg has also appeared in many movies and television shows throughout his career.
Early life
[change | change source]
The reason why he is called "Snoop Dogg" is because his mother nicknamed him after a character called "Snoopy". Snoop Dogg was a fan of the Peanuts cartoon, which has the Snoopy character. Snoop Dogg sang in his church choir and played piano as a child. Snoop Dogg's brother, Bing Worthington, was a bad influence for him. He began smoking when he was in the sixth grade. As a young adult, he was involved in gang activity. He was arrested, convicted and put in prison for possession of illegal drugs.
Musical career
[change | change source]
At the beginning of his career, Broadus performed under the stage name Snoop Doggy Dogg. He first appeared on Dr. Dre's first solo album, The Chronic, released in 1992. Later in 1993, Snoop Dogg released his first album Doggystyle. The album became successful.
In 1996, his second album, Tha Doggfather, was released. Although the album met with positive acclaim, it was not as successful as his first album.
In 2004, his album R&G (Rhythm & Gangsta): The Masterpiece was released and featured the hit single “Drop It Like It's Hot”. The single became Snoop Dogg's first number one single on the Billboard Hot 100.
2012–2013: Reincarnated
[change | change source]
In 2012, Snoop Dogg went to Jamaica. He studied the Rastafari movement. He changed his name to Snoop Lion, after the Lion of Judah. This is a name from the tribe of Judah. It is sometimes used to describe Haile Selassie, who is worshipped by Rastafarians. Reincarnated, released in 2013, is his first reggae album.[6]
2018-2022: Bible of Love and Super Bowl LVI
[change | change source]
In 2018, Snoop Dogg released his first gospel album, Bible of Love. It features appearances from Patti LaBelle, Fred Hammond, Rance Allen, Charlie Wilson, and others. On February 13, 2022, Snoop Dogg performed at the Super Bowl LVI halftime show. Later, he released the album, BODR (Bacc on Death Row).
Studio albums
Doggystyle (1993)
Tha Doggfather (1996)
Da Game Is to Be Sold, Not to Be Told (1998)
No Limit Top Dogg (1999)
Tha Last Meal (2000)
Paid tha Cost to Be da Boss (2002)
R&G (Rhythm & Gangsta): The Masterpiece (2004)
Tha Blue Carpet Treatment (2006)
Ego Trippin' (2008)
Malice n Wonderland (2009)
Doggumentary (2011)
Reincarnated (2013)
Bush (2015)
Coolaid (2016)
Neva Left (2017)
Bible of Love (2018)
I Wanna Thank Me (2019)
From tha Streets 2 tha Suites (2021)
The Algorithm (2021)
BODR (2022)
Collaboration albums
Snoop Dogg presents Tha Eastsidaz with Tha Eastsidaz (2000)
Duces 'n Trayz: The Old Fashioned Way with Tha Eastsidaz (2001)
The Hard Way with 213 (2004)
Mac & Devin Go to High School with Wiz Khalifa (2011)
7 Days of Funk with 7 Days of Funk (2013)
Royal Fam with Tha Broadus Boyz (2013)[7]
Cuzznz with Daz Dillinger (2016)
See the main article: Snoop Dogg filmography
Films Year Title Role Notes 1994 Murder Was the Case: The Movie Himself Main role 1996 A Thin Line Between Love and Hate Himself Cameo 1998 Half Baked Scavenger Smoker 1998 Ride Mente 1999 Urban Menace Preacher Caleb Main role 1999 Whiteboyz Himself Cameo 1999 Hot Boyz C-Dawg 2000 The Wrecking Crew Dra-Man Main role 2000 Up in Smoke Tour Himself Concert film 2001 Training Day Blue 2001 Baby Boy Rodney 2001 Bones Jimmy Bones Main role 2001 The Wash Dee Loc Main role 2003 Old School Himself Cameo 2003 Malibu's Most Wanted Ronnie Rizzat Voice role 2003 Bigg Snoop Dogg: Raw 'N Uncut Vol. 1[8] Himself Main role 2004 Starsky & Hutch Huggy Bear Brown 2004 Soul Plane Captain Antoine Mack 2005 Racing Stripes Lightning Voice role 2005 The Tenants Willie Spearmint Main role 2005 Boss'n Up Corde Christopher Main role 2007 Arthur and the Invisibles Max Voice role 2008 Singh Is Kinng Himself Bollywood movie 2009 Futurama: Into the Wild Green Yonder Himself Voice role 2009 Falling Up Raul 2009 Brüno Himself 2009 Arthur and the Revenge of Maltazard Max Voice role 2011 The Big Bang Puss 2012 We the Party Big D 2012 Mac & Devin Go to High School Mac Johnson Main role 2013 Turbo Smooth Move Voice role 2013 Reincarnated Himself Documentary 2013 Scary Movie 5 Ja'Marcus 2014 The Distortion of Sound Himself 2015 Pitch Perfect 2 Himself 2015 The Culture High Himself 2016 Popstar: Never Stop Never Stopping Himself 2017 Grow House Himself 2018 Future World Love Lord 2019 The Beach Bum Lingerie 2019 Trouble Snoop Voice role 2019 Dolemite Is My Name Roj 2019 The Addams Family Cousin Itt Voice role 2020 Unbelievable!!!!! Major LeGrande Bushe 2020 The SpongeBob Movie: Sponge on the Run Himself 2021 All-Star Weekend Himself Post-production[9] 2021 The Addams Family 2 Cousin Itt Voice role 2024 The Garfield Movie Snoop Catt Voice role
Television Year Title Role Notes 1993–1994 The Word Himself 2 episodes 1994 Martin Himself Episode: "No Love Lost" 1997 The Steve Harvey Show Himself Episode: "I Do, I Don't" 2001 King of the Hill Alabaster Jones Episode: "Ho Yeah!" 2001 Just Shoot Me Himself Episode: "Finch in the Dogg House" 2002–2003 Doggy Fizzle Televizzle Himself 8 episodes 2003 Playmakers Big E Episode: "Tenth of a Second" 2003 Crank Yankers Himself Episode: "Snoop Dogg & Kevin Nealon" 2004 Chappelle's Show Puppet Dangle/Himself Episode 10 2004 Las Vegas Himself Episode: "Two of a Kind" 2004 The Bernie Mac Show Calvin Episode: "Big Brother" 2004 The L Word Slim Daddy Episodes: "Luck, Next Time" & "Liberally" 2004 2004 Spike Video Game Awards Host/Himself TV special 2006 Weeds Himself Episode: "MILF Money" 2007–2009 Snoop Dogg's Father Hood Himself 2 seasons, 18 episodes 2007 Monk Russel “Murderuss“ Kray Episode: "Mr. Monk and the Rapper" 2008, 2010, 2013 One Life to Live Himself 3 episodes
Wrote and produced theme song[10] 2009 Dogg After Dark Himself 1 season, 7 episodes 2009; 2015 WWE Raw Host/Himself TV special 2010 The Boondocks Macktastic Episode: "Bitches to Rags" 2010 Big Time Rush Himself Episode: "Big Time Christmas" 2011 90210 Himself Episode: "Blue Naomi" 2011 The Cleveland Show Himself Episode: "Back to Cool" 2014 Love & Hip Hop: Atlanta Himself Guest appearance 2014 Love & Hip Hop: Hollywood Himself Guest appearance 2015 Snoop & Son, a Dad's Dream Himself 1 season, 5 episodes 2015 Sanjay and Craig[11] Street Dogg Episode: "Street Dogg" 2015 Show Me the Money 4[12] Himself Episode 4 2016–2017 Trailer Park Boys Himself 5 episodes 2016 Lip Sync Battle Himself Episode: "Snoop Dogg vs Chris Paul" 2016–present Martha & Snoop's Potluck Dinner Party Himself Co-host 2017 The Simpsons Himself Episode: "The Great Phatsby" 2017 Growing Up Hip Hop: Atlanta Himself Guest appearances 2017 The Joker's Wild Himself Host 2018 Coach Snoop Himself All 8 Episodes of Netflix documentary 2018 Sugar Himself Episode: "Snoop Dogg surprises a young father who is working to turn his life around." 2019 Law & Order: Special Victims Unit P.T. Banks Episode: "Diss" 2019 American Dad! Tommie Tokes Episode: "Jeff and the Dank Ass Weed Factory" 2020 F Is for Family Rev. Sugar Squires Voice; episode: "R is For Rosie" 2020 Utopia Falls The Archive Series regular 2020 Mariah Carey's Magical Christmas Special Himself Television special 2021 The Voice Himself Knockout Mega Mentor 2021 Black Mafia Family Pastor Swift Upcoming series
Stage play Year Title Role Notes 2018 Redemption of a Dogg Himself Musical tour
Video games Year Title Voice role Notes 2003 True Crime: Streets of LA Himself Playable character 2004 Def Jam: Fight for NY Crow Likeness 2012 Tekken Tag Tournament 2 Himself Likeness 2013 Way of the Dogg Himself Likeness 2013 Call of Duty: Ghosts Multiplayer Announcer (DLC) Likeness 2015 Family Guy: The Quest For Stuff Himself Playable character 2019 Madden NFL 20 Himself Playable character 2019 NHL 20 Himself Occasional announcer
Biographical film portrayals Year Title Portrayed by Notes 2009 Notorious Anwan Glover Biographical movie about the Notorious B.I.G. 2015 Straight Outta Compton Lakeith Stanfield Biographical movie about N.W.A 2017 All Eyez on Me Jarrett Ellis Biographical movie about Tupac Shakur
Other websites
[change | change source]
Official website
Snoopdog TV on YouTube
Snoop Dogg discography at Discogs
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Why Sasha Banks And Snoop Dogg Have Tag-Teamed WWE Star Power For Years
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2022-05-04T21:35:16+00:00
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She may have spent her childhood far from the lights of Hollywood, but thanks to her real-life ties to a certain hip hop titan, WWE Superstar Sasha Banks has always had a special connection with the West Coast’s blinged-out lights and sights. Contrary, though, to the smack talk lobbed at her in the ring from some of her fiercest WWE rivals, Banks started earning her own Legit Boss status on her terms before getting an assist at the big time from her famous cousin.
|
en
|
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USA Insider Official Site
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https://www.usanetwork.com/usa-insider/wwe-sasha-banks-snoop-dogg-related
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She may have spent her childhood far from the lights of Hollywood, but thanks to her real-life ties to a certain hip hop titan, WWE Superstar Sasha Banks has always had a special connection with the West Coast’s blinged-out lights and sights. Contrary, though, to the smack talk lobbed at her in the ring from some of her fiercest WWE rivals, Banks started earning her own Legit Boss status on her terms before getting an assist at the big time from her famous cousin.
We’re talking, of course, about Banks’ family relationship with Calvin Broadus, Jr., better known to pretty much everyone on the planet as Snoop Dogg. Each is a superstar in their own right these days, but those family ties date back all the way to 1992 — the year Banks was born, even as her cousin was just hitting it big as the complementing voice alongside Dr. Dre on Dre’s early-1990s masterpiece album "The Chronic." Now, while Snoop is busy hosting NBC's "American Song Contest" alongside Kelly Clarkson, he still takes the time to be there for his younger cousin.
Born Mercedes Justine Kaestner-Varnado, Banks is related to Snoop on her father’s side, and she fell in love with wrestling when she was still a kid. It served as a fantastical escape through a tough childhood (Banks’ single mother moved the family around a lot to seek medical treatment for her younger brother), during which she became absorbed in the huge personalities and heroes-vs.-villains storylines that her childhood wrestling idols such as Eddie Guerrero brought to life each week on TV.
While Snoop was slinging gold records in California, Banks’ family eventually settled in Iowa during her pre-teen years. In her very own in-depth episode of Peacock’s "WWE: Evil," Banks explained she felt isolated as the only Black child living in her small town and decided then and there that she’d grow up to become a wrestling star. Banks did manage to catch up with Snoop during her childhood whenever his busy celebrity schedule made time, as reported recently by "The Athletic." The Doggfather was already a huge wrestling fan, so the fan duo would attend the occasional major event together while Banks was still a kid.
When she was just eight years old, Banks told her megastar first cousin that she’d someday be a wrestling pro — and after rising through the amateur ranks and finally getting a big break via the WWE’s NXT franchise, that’s exactly what she did. Those early days where Mercedes Varnado honed her wrestling persona were some of the toughest, but as Snoop explained on Banks’ "Evil" episode, there was something smart and tenacious, even in childhood, about how she approached her dreams: “She was infatuated [around WWE superstars] but professional at the same time,” he said. “It was fascinating to me.”
In her early career, Banks wasn’t the mean, win-at-all-costs mayhem machine that her Boss moniker signifies today. When she decided to retool her stage personality after joining the WWE’s development system in 2012, she took a big cue from the braggadocious hip hop life that Snoop and other genre stars such as Kanye West and Nicki Minaj embodied. As she explained in "WWE: Evil," that’s when the light bulb finally went off in her head that she could actually spin her family connection with Snoop into something more: “Uh, Mercedes, hello! Snoop Dogg is your cousin,” she reminded herself. “People used to call him the boss. I want people to treat me like that. Let me take that. I’ll call myself ‘The Boss.’ I was going to be the bad guy.”
As every fan knows, that decision proved to be one of the smartest career moves in WWE history. Through epic rivalries with Charlotte Flair, Bayley, and Becky Lynch, Banks has been a huge part of the WWE’s girl-powered success story, ticking off one franchise first after another — including her appearance alongside eventual winner Bianca Belair in the first-ever WWE main event (at WrestleMania 37) to ever feature two Black female athletes.
Despite (or, more likely, because of) her bad-girl stage presence, Snoop is Banks’ number-one fan these days, rolling out her bespoke musical entrance theme while making joint WWE appearances that double up on the star power. “Being the Boss, sometimes you gotta do what you gotta do,” Snoop explained as part of Banks’ "WWE: Evil" episode. “And that’s what makes her who she is — that she’s willing to take that chance and be different…and be on the dark side.”
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https://www.nbcsports.com/olympics/news/snoop-dogg-olympics-nbc-paris-2024
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Snoop Dogg joins NBC Olympics team for 2024 Paris Games
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] |
[] |
[] |
[
""
] | null |
[
"OlympicTalk",
"www.nbcsports.com"
] |
2024-01-02T02:42:33.509000+00:00
|
Snoop Dogg will be a special correspondent for NBC Olympics at the Paris Games.
|
en
|
/apple-touch-icon.png
|
NBC Sports
|
https://www.nbcsports.com/olympics/news/snoop-dogg-olympics-nbc-paris-2024
|
Snoop Dogg returns to Olympic coverage this summer as a special NBC Olympics correspondent at the Paris Games, which open July 26.
“Let’s elevate, celebrate, and make these games unforgettable, smoke the competition, and may the best shine like gold,” Snoop Dogg said in a NBC Sports PR release. “Peace and Olympic LOVE, ya dig?”
Snoop Dogg, 52, will speak with NBC Olympics host Mike Tirico during the Paris Games, attend competition, visit with athletes and their friends and families and explore city landmarks. His reports will air on the primetime show on NBC and Peacock.
Snoop Dogg made his Olympic broadcast debut in 2021 on the acclaimed Peacock show “Olympic Highlights with Kevin Hart and Snoop Dogg,” which included memorable commentary on equestrian dressage.
This past November, Snoop Dogg met with U.S. Olympic and Paralympic hopefuls at a promotional shoot for the Paris Games.
|
||
4521
|
dbpedia
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3
| 63
|
https://www.sportingnews.com/us/olympics/news/noah-lyles-snoop-dogg-friends-relationship-sprinter-rapper/54dbd089a2d886a9812a6f23
|
en
|
Is Noah Lyles related to Snoop Dogg? Explaining unlikely relationship between star sprinter, rapper
|
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[] |
[] |
[
""
] | null |
[
"David Suggs"
] |
2024-08-08T11:58:01+00:00
|
Noah Lyles and Snoop Dogg are seemingly thick as thieves now. Here's how it happened.
|
en
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https://static-nw-production.sportingnews.com/7a1ffa9a7c8bc7d881df34471f7f899c75817114-static/assets/images/favicon.ico
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https://www.sportingnews.com/us/olympics/news/noah-lyles-snoop-dogg-friends-relationship-sprinter-rapper/54dbd089a2d886a9812a6f23
|
Few figures in music have remained as culturally relevant in present times as Snoop Dogg. The 52-year-old mogul still draws attention despite subsiding from the music industry — save for a couple feature verses here and there — over the past decade or so.
Despite making his bones as a slick-tongued wordsmith who dovetailed Dr. Dre's synth-fueled production with impunity, Snoop's impact has long since eclipsed his musical skill. Rather, he's one of those celebrities who has transitioned into the mainstream seamlessly, collaborating with fellow luminaries like Martha Stewart, Owen Wilson, and, now, Noah Lyles.
A relationship between the sprinting superstar — a 26-year-old from Alexandria, VA — and the rap supernova may seem unlikely at first glance. Based on clips that emerged on Sunday of the duo strutting into Hayward Field, a partnership has, indeed, taken place. Cultural diffusion is a very real thing, it seems.
Here's what you need to know about Snoop and Lyles' budding relationship, one that has come to the surface during the 2024 U.S. Olympic Track and Field team trials.
Is Noah Lyles related to Snoop Dogg?
Lyles and Snoop have no real ties, at least not at first glance, and he is not the rapper's "nephew," at least not in the literal sense (more on that later). However, Snoop is a noted sports enthusiast, having graced a number of sporting surfaces, from the football field to the safe haven of the hardwood.
His delight at the prospect of witnessing sporting greatness has earned him the attention of corporations galore, including, most recently, NBC, who announced that Snoop Dogg was joining its coverage of the 2024 Paris Olympics back in January.
“Let’s elevate, celebrate, and make these games unforgettable, smoke the competition, and may the best shine like gold,” Snoop Dogg said in a release. “Peace and Olympic LOVE, ya dig?”
As part of his gig with the network, Snoop Dogg will offer musings to lead Olympic host Mike Tirico. He'll also go to Olympic events, chum it up with athletes, their friends and families, and venture to new sites within the French capital.
Snoop has taken the role in stride since the start of Olympic trials. He met fellow American superstar Sha'Carri Richardson earlier in trials, much to her delight.
And during Lyles' qualifying run for Sunday's 100m final, Snoop took to the concourses, spending time with Lyles' mother, Keisha Caine Bishop, and cheering for his "nephew" — a slang term for a youngster that Snoop has respect for.
All that amounts to a growing respect and admiration between the two stars. When that happens, sparks tend to fly. If Lyles secures Olympic qualification, expect that relationship to only continue to develop.
|
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dbpedia
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3
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https://www.usmagazine.com/celebrity-news/pictures/celebrity-families-you-didnt-realize-are-connected/
|
en
|
Celebrity Families You Didn't Realize Are Connected
|
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[] |
[] |
[
""
] | null |
[
"Miranda Siwak"
] |
2023-12-28T15:00:23+00:00
|
Snoop Dogg and Brandy, Nicolas Cage and Sofia Coppola and more celebrities have famous relatives who are also in the spotlight
|
en
|
/wp-content/uploads/2020/05/cropped-us-logo.png?w=32&quality=86&strip=all
|
Us Weekly
|
https://www.usmagazine.com/celebrity-news/pictures/celebrity-families-you-didnt-realize-are-connected/
|
Credit: Getty Images (2)
Unexpected Celebrity Family Connections: Snoop Dogg and Brandy, Nicolas Cage and Sofia Coppola, More
Family dynasties are not uncommon in Hollywood, from Snoop Dogg and Brandy to Nicolas Cage and Sofia Coppola.
Brandy and her brother, Ray J, have another famous relative in their brood: Snoop Dogg, their first cousin. Snoop and Brandy even collaborated on a 2009 duet, “Special.”
Cage also has a famous cousin in the spotlight: Coppola. Both Cage and Sofia are members of the legendary Coppola family. Carmine and Italia Coppola had three children: August Floyd Coppola, Francis Ford Coppola and Talia Rose Coppola. (Cage is one of the sons of August, who died in 2009, and Sofia is the daughter of The Godfather director Francis Ford.)
Cage changed his last name from Coppola after working on 1982’s Fast Times at Ridgemont High.
“People would not stop saying things like, 'I love the smell of Nicolas in the morning,’” Cage said during an April 2022 Wired Autocomplete interview, quoting Apocalypse Now but swapping his first name for napalm. “It made it hard to work, and I said, 'I don't need this,' and changed it to Cage.”
The National Treasure star chose the last name Cage in homage to Marvel Comics’ Luke Cage and composer John Cage.
Keep scrolling to see more unexpected celebrity connections:
Credit: Getty Images (2)
Unexpected Celebrity Family Connections: Snoop Dogg and Brandy, Nicolas Cage and Sofia Coppola, More
Family dynasties are not uncommon in Hollywood, from Snoop Dogg and Brandy to Nicolas Cage and Sofia Coppola.
Brandy and her brother, Ray J, have another famous relative in their brood: Snoop Dogg, their first cousin. Snoop and Brandy even collaborated on a 2009 duet, “Special.”
Cage also has a famous cousin in the spotlight: Coppola. Both Cage and Sofia are members of the legendary Coppola family. Carmine and Italia Coppola had three children: August Floyd Coppola, Francis Ford Coppola and Talia Rose Coppola. (Cage is one of the sons of August, who died in 2009, and Sofia is the daughter of The Godfather director Francis Ford.)
Cage changed his last name from Coppola after working on 1982’s Fast Times at Ridgemont High.
“People would not stop saying things like, 'I love the smell of Nicolas in the morning,’” Cage said during an April 2022 Wired Autocomplete interview, quoting Apocalypse Now but swapping his first name for napalm. “It made it hard to work, and I said, 'I don't need this,' and changed it to Cage.”
The National Treasure star chose the last name Cage in homage to Marvel Comics’ Luke Cage and composer John Cage.
Keep scrolling to see more unexpected celebrity connections:
Credit: Frazer Harrison/Getty Images for HFA
Dakota Johnson and Antonio Banderas
Relationship: Stepparent and Stepchild
Banderas was married to Johnson’s mother, Melanie Griffith, between 1996 and 2015. (Griffith shares Dakota with ex Don Johnson.)
“I come from a family of many a marriage and I got very lucky. I got a bonus dad who I realized that, over time, is actually one of the most influential people in my whole life,” Dakota said at the 2019 Hollywood Film Awards. “When I was 6 years old, my mother married a man who brought an unbelievably bright light and a whole new world of creativity and culture — and one remarkably magical little sister — into our family.”
She added: “Antonio Banderas burst into our lives. He was so vibrant and so fun and so funny and his English was abstract and we found it absolutely amazing. He loved my mother, and my siblings and I so big, and so fiercely and so loud, that it would change all of our lives together.”
Griffith and Banderas share daughter Stella, who was born in 1996. The Working Girl star also shares son Alexander with ex-husband Steven Bauer.
Credit: Vince Bucci/Getty Images
Nicolas Cage and Sofia Coppola
Relationship: Cousins
“She’s so gifted, so talented,” Cage gushed during a November 2023 interview with Entertainment Tonight. “It was interesting because we were both in Toronto at the same time filming and she was filming [Priscilla] and I was filming [Dream Scenario], and I did text her and said, ‘You know, it’s kind of incredible that your dad is over there making a movie in Atlanta at the same time you’re making a movie and I’m making a movie in Toronto. This is great. This has got to be good luck for all of us.’”
Credit: Kevin Winter/Getty Images for AFI
Warren Beatty and Shirley MacLaine
Relationship: Siblings
MacLaine is three years older than her brother, with whom she’s had ups and downs over the years.
"Now is not one of them. We are fine now,” MacLaine told The Guardian in 2007. “I think we've been through a couple of lifetimes together. He's going through his left-brain intellectual lifetime now. He's on a very different path to me. But his kids are very interested in what I'm saying.”
She added: “As for beauty, Warren was the beautiful one in the family. That was the given.”
Credit: Alexandra Wyman/WireImage
Jason Momoa, Zoe Kravitz and Lenny Kravitz
Relationship: Stepparent and Stepchild, In-Laws
Kravitz was married to Lisa Bonet, with whom he shares daughter Zoë, from 1987 to 1993. After their split, Bonet started dating Momoa, with whom she shares two kids, in 2005. The Aquaman star always remained close with his stepdaughter and her biological father. (Momoa and Bonet eventually separated in 2022.)
“People can’t believe how tight Jason and I are, or how tight I still am with Zoë’s mom, how we all relate,” Lenny told Men’s Health in November 2020. “We just do it because that’s what you do. You let love rule, right? I mean, obviously, after a breakup, it’s work — it takes some work and time, healing and reflection.”
Credit: Kevin Mazur/WireImage
Debbie Reynolds, Carrie Fisher and Billie Lourd
Relationship: Mother and Daughters
Reynolds and singer Eddie Fisher, who were married from 1955 to 1959, shared daughter Carrie and son Todd. Carrie followed her parents into the entertainment industry, notably playing Princess Leia in the Star Wars franchise. Carrie and ex Bryan Lourd were parents to daughter Billie, who is also an actress.
Carrie died at age 60 in December 2016, one day before Reynolds passed away.
Billie joined her mom onscreen in Star Wars: The Last Jedi, which was released one year after Carrie’s death. “It was incredible,” Billie said on The Ellen DeGeneres Show. “I’m a big believer of things happening for a reason, and I think I ended up in that movie for a reason. It was really incredible for us to get to have that experience together.”
|
||||
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0
| 20
|
https://www.independent.com/2014/02/18/childish-gambino/
|
en
|
Childish Gambino
|
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2014-02-18T00:00:00
|
The writer/actor/rapper heads to UCSB for a show at the Thunderdome
|
en
|
The Santa Barbara Independent
|
https://www.independent.com/2014/02/18/childish-gambino/
|
Donald Glover (aka Childish Gambino) is not related to Danny Glover (Lethal Weapon, Gone Fishin’). He is, however, a sort of millennial Renaissance man; he’s not so much a “rapper” as an artist making rap music. This isn’t to say that his rhymes are strictly ironic; hip-hop is a medium that Glover uses confidently to say what he wants to say. He adopted the name Childish Gambino by way of an online Wu-Tang Clan name generator, a fitting example of his sharp wit (a wit no doubt honed during a stint writing for NBC’s 30 Rock). It’s Glover’s candidness, though, and his ability to impart intimacy into his verses that make Childish Gambino’s flow unique. Last year’s late release Because the Internet can feel a bit like a hipster twenty-something credo, but it’s also sonically enthralling and markedly more complex than 2011’s Camp. At its best, Because is soaring and bright; Glover’s sense of melody is superb, and the hooks are both intimate and infectious. At its worst, it feels forced, and like Glover is posturing. Regardless of all this, Because remains interesting due to Glover’s use of the album format as a dramatic staging device for five separate “scenes.” Perhaps equally as notable, though, is the bridge that Glover has built between hip-hop and Hollywood. Some rappers have tried to act and some celebrities have tried to rap, but these have always been package deals: Warren Beatty the actor rapped; Snoop Dogg the rapper acted. Donald Glover became Childish Gambino.
|
|||||
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2
| 39
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https://www.famousafricanamericans.org/snoop-dogg
|
en
|
Biography and Facts
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Snoop Dogg Biography - Snoop Dogg is an American rapper who is famous for his gangster image and rap meets reggae style of music. He was born Calvin Broadus on October 20, 1971
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en
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https://www.famousafricanamericans.org/wp-content/themes/famousafricanamericans/images/favicon.ico
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FAMOUS AFRICAN AMERICANS
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https://www.famousafricanamericans.org/snoop-dogg
|
Snoop Dogg is an American rapper who is famous for his gangster image and rap meets reggae style of music. He was born Calvin Broadus on October 20, 1971 in Long Beach, California to Beverly Broadus and Vernall Varnado. His father was a war veteran and singer, who was rarely present in his life, and Snoop was named after his stepfather, Calvin Cordozar Broadus, Sr. He was nicknamed “Snoopy” by his mother because she thought he looked like the dog in the cartoon “Peanuts”. He began singing and playing the piano at an early age for his local Baptist church, and also began to rap as early as 6th grade.
After high school, Snoop was arrested for possession of cocaine and was also likely a member of a violent gang, although he denies this. After being in and out of jail for three years, Snoop decided to focus his energies on music. Along with his cousins and friend Warren G., he started recording homemade tapes and formed a group called 213. This tape reached the famous rapper Dr. Dre, who was impressed by Snoop’s talent and invited him to audition. Snoop and Dre then collaborated on the latter’s album titled “The Chronic” as well as the title song of the movie “Deep Cover” released in 1992. This gave him invaluable exposure, and the success of Dre’s album also helped to launch Snoop’s own career.
Adopting the stage name “Snoop Doggy Dogg” he went on to launch his own debut album titled “Doggystyle” in 1993 with Dr. Dre’s recording label, Death Row Records. The album reached the No. 1 spot on the Billboard hip hop and Top 200 charts with singles such as “What’s My Name” and “Gin and Juice” which reached the status of top 10 most played songs in the United States. It stayed on the charts for many months, despite controversy about the violent and misogynistic nature of the lyrics. However, his fans felt that his lyrics were real and they could connect with his feelings. His second album, titled “Tha Doggfather” was released in 1996 which reached the No. 1 spot on pop and R&B charts. When his friend and fellow rapper Tupac Shakur was murdered, and the CEO of Death Row was jailed, Snoop decided to leave Death Row Records.
In 1998, he signed with a new label called No Limit Records, and released his album “Da Game Is to Be Sold, Not to Be Told” the same year, which also reached the No. 1 spot on pop and R&B charts. The very next year, he released another album titled “No Limit Top Dogg”. He then started his own label by the name of Dogg House Records. In 2000, he toured with many major artists such as Eminem, Dr. Dre and Ice Cube for the “Up In Smoke” tour. He released several more hit albums such as Paid tha Cost to Be da Bo$$ in 2002, R&G (Rhythm & Gangsta): The Masterpiece in 2004, Tha Blue Carpet Treatment in 2006, Ego Trippin’ in 2007, Malice n Wonderland in 2009 and Doggumentary in 2011.
Snoop Dogg is notorious for his run ins with the law. He has been accused of sexual assault, drug and arms possession and even murder. He changed his name to “Snoop Lion” after a visit to Jamaica where a priest told him “You are the light; you are the lion” which inspired him to immediately add the title to his name. Snoop has also appeared in television shows and movies such as Starsky & Hutch, The L Word and Weeds. He had his own reality TV show by the name of “Snoop Dogg’s Father Hood” which featured his domestic life with his his wife Shante and three kids.
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Make Your Day
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https://www.nytimes.com/2005/11/17/nyregion/trial-asks-if-music-producers-lives-imitate-gangsta-rap.html
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en
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Trial Asks if Music Producers' Lives Imitate Gangsta Rap
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[
"Alan Feuer",
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2005-11-17T00:00:00
|
He called his recording studio, in SoHo, the Crack House. He named his record label Murder Inc. He even traded in his real name, Irving Lorenzo, for a Mafia fantasy, taking not just the surname of the late John J. Gotti, the Gambino family don, but also welcoming to his legal team one of the gangster's lawyers, Gerald L. Shargel. Irv Gotti, 35, often dressed in ivory suits and fedoras in the old-time style and the albums he produced, which earned hundreds of millions of dollars for his label, sometimes showed defiant rappers on their covers toting guns. His affectations, though, were more than mere window dressing, federal prosecutors say, and now, with his brother, Christopher, 38, he has made the journey his rap stars sometimes sing about: from recording room to court.
|
en
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/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
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https://www.nytimes.com/2005/11/17/nyregion/trial-asks-if-music-producers-lives-imitate-gangsta-rap.html
|
Correction Appended
He called his recording studio, in SoHo, the Crack House. He named his record label Murder Inc. He even traded in his real name, Irving Lorenzo, for a Mafia fantasy, taking not just the surname of the late John J. Gotti, the Gambino family don, but also welcoming to his legal team one of the gangster's lawyers, Gerald L. Shargel.
Irv Gotti, 35, often dressed in ivory suits and fedoras in the old-time style and the albums he produced, which earned hundreds of millions of dollars for his label, sometimes showed defiant rappers on their covers toting guns. His affectations, though, were more than mere window dressing, federal prosecutors say, and now, with his brother, Christopher, 38, he has made the journey his rap stars sometimes sing about: from recording room to court.
"This case," said Sean Haran, an assistant United States attorney, "is about them laundering drug money for one of the biggest drug dealers in New York."
Two of Irv Gotti's best-known artists, Ja Rule and Ashanti, turned up in Federal Court in Brooklyn yesterday to support him and his brother as their trial on charges of money laundering began. There was a vague club-like atmosphere as court officers in navy blazers turned away late arrivals, much like bouncers at the velvet ropes.
The government claims that, beginning in the late 1990's, the brothers let a longtime friend, Kenneth McGriff, funnel more than $1 million in illicit drug profits through their record label, founded in a partnership with Island Def Jam Music Group. The Gottis claim that even though their association with Mr. McGriff, a drug lord known as Supreme, gave them credibility in the world of hip-hop, their reputations and financial ledgers are clean.
Mr. Haran, in his opening remarks, described Mr. McGriff as a wildly successful drug dealer with operations in New York and Baltimore, who helped Irv Gotti start his career a decade ago by providing him with a tainted supply of illicit cash.
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https://ew.com/article/2008/03/07/ego-trippin/
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en
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Ego Trippin'
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2008-03-07T00:00:00
|
Ego Trippin'
|
en
|
/favicon.ico
|
EW.com
|
https://ew.com/article/2008/03/07/ego-trippin/
|
Does Snoop Dogg suffer from a multiple-personality disorder? There’s the family man who reveals his soft side in hits like ”Beautiful.” There’s the tough-talking rapper who often wears blue to reflect his gang-affiliated roots. And there’s the pimped-out playboy who gets his rocks off in tracks like ”Drop It Like It’s Hot.” He’s certainly no saint, but he’s not a hopeless sinner either. In fact, Snoop’s moral imperfections are precisely the crux of his mass appeal.
All of Snoop’s personalities make appearances on his ninth CD, Ego Trippin’. But it’s the playboy who dominates, especially on the preponderance of bass-heavy party jams — exec-produced mostly by Snoop, DJ Quik, and Teddy Riley, who endow the album with a cohesive sound inspired by ’70s soul and ’80s R&B. It’s easy to love the synthy sex appeal of ”Sensual Seduction” and the horn-laden ”Press Play,” an irresistible slice of funk updated with a booming hip-hop beat and anchored by a sample of the Isley Brothers ballad ”Voyage to Atlantis.” However, many of these tracks, though superbly produced, are also predictably misogynistic: Closer inspection of the latter reveals Snoop spitting such unforgivable lyrics as ”Bitch get outta line, I’ll put my Chucks on her throat.”
Moments like that make it hard to sympathize with Snoop when he raps the sappy breakup lament ”Why Did You Leave Me.” And yet we find ourselves rooting for him when he pledges to be a better man to his wife on the piano-tinged groove ”Make It Good.” Slipping into character as the family guy, Snoop does justice to this persona in ”Say Goodbye,” a sincere, Bruce Hornsby-sounding ballad about reconciling home life with an allegiance to the streets.
Of course, no Snoop CD would be complete without a handful of run-of-the-mill gangsta anthems. Here, there are at least five, including the Rick Rock-produced ”Staxxx in My Jeans,” which features the hilarious hook ”My pockets look like Rerun, your pockets look like Raj.” Trippin’ also contains a few surprise highlights beyond the gangsta fare — notably, a funky cover of Morris Day and the Time’s ”Cool” and the fantastically weird ”My Medicine.” Produced by Whitey Ford (a.k.a. Everlast), ”Medicine” is a hip-hop jam with a twang that opens with Snoop declaring ”Grand Ole Opry, here we come,” then continues, ”Girl, my love’s gonna last just as long as my high/You can trust every word I’m gonna say will be a lie.”
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https://www.foxnews.com/entertainment/snoop-doggs-olympic-gold-gin-juice-martha-stewart-viral-sensation
|
en
|
Snoop Dogg's Olympic gold: From 'Gin & Juice' and Martha Stewart to viral sensation
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"Elizabeth Stanton"
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2024-08-08T04:00:40-04:00
|
Snoop Dogg has been charming viewers during the 2024 Paris Olympics with his genuine enthusiasm and reactions, a far cry from his earlier career as a leader of "gangster" rap.
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Fox News
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https://www.foxnews.com/entertainment/snoop-doggs-olympic-gold-gin-juice-martha-stewart-viral-sensation
|
If charming authenticity was an Olympic sport, Snoop Dogg would have a gold medal.
The rapper has been creating memorable moments, like carrying the Olympic torch, swimming with Michael Phelps, dancing with Simone Biles, and most recently taking in a dressage event with his longtime unlikely buddy, Martha Stewart.
"When the lights are on, that’s when I shine the best," he told the Associated Press. "This opportunity was nothing but a chance for me to show the world what it’s supposed to look like when you put the right person in the right environment."
The 52-year-old, who is working as a correspondent for NBC during the games, first showed his skills as a commentator during a 2020 boxing match between Jake Paul and Nate Robinson.
TOM CRUISE, SNOOP DOGG, LADY GAGA MARVEL AT OLYMPIC WOMEN'S GYMNASTICS COMPETITION
He later covered the Tokyo Games with Kevin Hart for NBC, further showcasing his authentic take on the competition.
"But remember, I’m a rapper. So, ain’t no rapper ever did what I’m doing," said Snoop. "It’s limitations to the field that I come from. Rappers aren’t supposed to do this. I tend to do the unthinkable."
Snoop was born Calvin Cordozar Broadus Jr. in Long Beach, California, and his rise to Olympic commentator and friendly household name has a somewhat unlikely origin.
In 1992, he made a guest appearance on Dr. Dre’s debut solo single, "Deep Cover," and later his album, "The Chronic," became a fixture on the West Coast rap and hip-hop scene, earning his first Grammy nomination for his collaboration with Dr. Dre on "Nuthin’ but a ‘G’ Thang."
"It’s limitations to the field that I come from. Rappers aren’t supposed to do this. I tend to do the unthinkable."
— Snoop Dogg
SNOOP DOGG TO PRODUCE A BIOPIC ABOUT HIS LIFE: 'I WAITED A LONG TIME TO PUT THIS PROJECT TOGETHER'
He released his debut album, "Doggystyle," on Dr. Dre’s Death Row Records in 1993. The album was a success and included one of his most popular songs, "Gin and Juice," earning a Grammy nomination for best rap solo performance.
The rapper had legal trouble before his rise to fame, serving jail time after a 1990 conviction for cocaine possession, as well as having involvement with the Rollin’ 20s Crips in Long Beach, per Rolling Stone.
In 1993, he and his bodyguard were charged with first-degree murder in connection with the death of a rival gang member.
Snoop was acquitted in 1996 and began to change his relationship with the gangster lifestyle, starting with his sophomore album, "Tha Doggfather."
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In an interview with Jemele Hill for Revolt, he explained his label, Death Row Records, "wanted me to change, like they didn’t want me to go, like, as soft as I did on [Tha] Doggfather."
"They wanted me to keep it gangsta. They wanted me to, like, remain gangsta and still be, you know, f---ing s--t up, but I just went through a murder case and I couldn’t," he continued.
When the label criticized the album, he recalled, "‘Y’all not feeling what I’m feeling. Y’all didn’t sit in that courtroom with your life on the line. Y’all didn’t have to go through the agony of watching this man’s family look at me as being responsible for this man being dead, like, y’all not carrying that weight that I’m carrying."
"Tha Doggfather" went on to sell 2 million units, earning double platinum status.
SNOOP DOGG SETS GUINNESS WORLD RECORD FOR LARGEST GIN AND JUICE COCKTAIL
Snoop’s rap career continued as he released multiple albums, and in 2004, his first No. 1 hit, "Drop It Like It’s Hot."
Throughout his musical career, he’s released 20 studio albums, including this year’s "Missionary," and earned 16 Grammy nominations.
His pop culture impact has proven to be lasting, including popularizing adding "izzle" into the lexicon.
In 2004, he said that he brought it into "the mainstream for sure, but it's a way of speaking that's been around for years. It originated in Northern California."
"They wanted me to, like, remain gangsta … but I just went through a murder case and I couldn’t."
— Snoop Dogg
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He’s dabbled in acting, landing leads in films like "The Wash" and the horror film "Bones." He also had smaller roles in "Half Baked," "Starsky & Hutch" as well as "Training Day," starring Denzel Washington.
Snoop’s image continued to evolve as he emerged as a family man with his wife, Shante Broadus.
The couple met as teens and later married in 1997. Together they share sons Corde and Cordell and daughter Cori. He also has one child, son Julian, from a relationship with Laurie Holmond.
They briefly split in 2004, around the time he claimed to have been working as a real-life pimp, according to Rolling Stone.
RAP LEGEND SNOOP DOGG DISCUSSES UNLIKELY FRIENDSHIP WITH NFL STAR
"But I had enough. That pimping s--t was cool because I needed to do it; t's in me; but I'm into the family, I'm into this now," he told the outlet in 2006 of his decision to stop.
While moving away from that image, Snoop also became involved in coaching football for his son.
"My business people always say it's a loss, because when I'm in football mode, I don't go out and make money. But when I'm into these kids, it ain't about making money, it's about making [their] dreams come true on some real s--t," he told Rolling Stone.
It was his children who urged him to reconcile with Broadus, which he did in 2007.
SNOOP DOGG SAYS PRINCE HARRY, PRINCE WILLIAM ‘ARE MY BOYS’ AFTER LEARNING THE ROYALS WERE FANS
Snoop told People at the time, "I thought I was the man, and I was willing to give up what I had at home for that, until I realized that what I had at home was irreplaceable."
He added, "I had kids with my wife because I wanted to be with my wife. And those three babies are all wanted, and I wanted to be with them."
Broadus currently works as Snoop’s manager, as of 2021.
"Shante has been guiding my career behind the scenes from day one," Snoop said in a press release at the time, per People. "She has always been my final gut check with all my decisions, and I wouldn't be where I am today without her. I am grateful to have her as my official manager, helping to build the Snoop Dogg empire together."
SNOOP DOGG TURNED DOWN ONLYFANS DESPITE CLAIMS HE COULD HAVE MADE $100M
Snoop’s image continued to evolve after his reconciliation with Broadus, particularly after he appeared on Martha Stewart’s show, "Martha Stewart Living" in 2008.
"Well, Snoop came on my show, and what was really charming about Snoop, first of all, was his giggle. He giggles in a very, very nice way," Stewart recalled in her 2023 Sports Illustrated cover interview.
"And his quest for learning! He is a real student, and that’s what really appealed to me," she added.
After that, he made a return appearance on the show, and they remained friendly over the years.
SNOOP DOGG AND MARTHA STEWART TEAM UP FOR NEW HALLOWEEN TV SHOW
They appeared together at the "Comedy Central Roast of Justin Bieber" in 2015, and Snoop later told told People in 2019, "She sat next to me, and she stole the show. She was the funniest roaster that night."
He added, "In that moment I knew I wanted to be alongside this lady for the rest of my life."
They went on to collaborate on several projects, co-hosting Puppy Bowls, VH1’s celebrity cooking show "Martha & Snoop’s Potluck Dinner Party" and "Snoop and Martha’s Very Tasty Halloween."
At the Olympics, Stewart celebrated her 83rd birthday, and the duo took in the dressage event wearing matching horseback riding attire.
SNOOP DOGG CELEBRATES WITH US SWIMMER'S WIFE DURING GOLD MEDAL RACE IN HEARTWARMING MOMENT
Stewart told "Today" that Snoop had invited her to the event, saying, "Snoop called me, and he knows I love horses," adding, "He's a little fearful of horses."
"I think he’s done an amazing job for the Olympics," she told AP.
"This is the celebration of the finest athleticism ever in the world, and he has made it so accessible to everybody," she continued. "That’s his talent. Everybody loves him."
Snoop told the outlet he initially thought NBC would want him to be more "buttoned-up" in his commentary, but they encouraged him to be his authentic self, especially after his Olympic trials coverage.
WILLIE NELSON, SNOOP DOGG 'SMOKED A LOT OF MARIJUANA' TOGETHER IN AMSTERDAM
"This is what I do. I do it every day," he said.
"That’s why it’s not hard for me," he continued. "It’s not like an act, the bits that we do. They’re comfortable. They’re not stretched or forced. It’s me being me."
Snoop will next be dispensing advice as a coach on the upcoming season of "The Voice" alongside Reba McEntire, Gwen Stefani and Michael Bublé.
"Well, if you know anything about me, you know I love all forms of music," Snoop said on "The Tonight Show."
CLICK HERE TO GET THE FOX NEWS APP
"So, this is a great opportunity for me to show that I really understand music and to be a real coach," the rapper continued, "and to really give direction to some of these artists that could be, you know, today's next big thing."
He also noted that he and Stefani "have been friends for a long time, in a real way. She's a California girl." Snoop also had high praise for McEntire.
"That's the queen. I mean, I'm Snoop Dogg," he said. "I respect the queen. All hail the mighty queen!"
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https://www.esquire.com/entertainment/music/news/a36097/how-i-got-snoop-dogg-to-quit-weed/
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How I Convinced Snoop Dogg to Stop Smoking Weed
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[
"snoop dogg",
"charlie wilson",
"weed",
"marijuana"
] | null |
[] |
2015-07-02T18:24:00
|
From 'I Am Charlie Wilson' by Charlie Wilson.
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en
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/_assets/design-tokens/esquire/static/images/favicon.9bd3ce0.ico
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Esquire
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https://www.esquire.com/entertainment/music/news/a36097/how-i-got-snoop-dogg-to-quit-weed/
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It was Calvin Broadus Jr.—you know him as the rapper Snoop Dogg—who announced me to the world as "Uncle Charlie." But the title wasn't some rap moniker or gimmicky nickname, and it sure wasn't meant as the insulting reference racists used to lob at older black men back in the day. Snoop called me "Uncle" out of admiration and respect for our friendship. Indeed, because we are family.
In the beginning, ours was an easy bond. Those initial sessions in the studio, when he was taking his first steps away from Death Row Records and I was piecing myself together both personally and musically, were filled with moments of admiration for each other's skills. Snoop's abilities as a rapper, soft-spoken and smooth and steeped in the very essence of G-funk, were something to behold; his voice was like the buttery rap answer to the soulful, velvety stylings of Al Green, with a laser-sharp focus on the reality of black lives that mirrored what Marvin Gaye was hitting with What's Going On, or what I loved about Curtis Mayfield's lyrical observations on socio-political and pop cultural moments that helped to ignite the passions of a people in the sixties.
With that easy-like-Sunday-morning Southern twang dancing up and through his words, Snoop was making poetic what it was like to live on the streets of Long Beach—a collage of gangster, pimp, and drug experiences that captured what I was seeing while I was homeless and addicted, tottering from stash houses to rooms overrun with the illegal narcotics and the sex trade that made up that world's underbelly. He wasn't rapping; he was kicking game—laid-back but still very much in control. I liked that about his artistry, about him.
"I listened to you all's music because my mama played all of that," he said.
As for Snoop, he seemed genuinely enamored with my musical abilities, and with me. In those first few days of our working together, he would entertain me with stories about being raised in a house where funk lived. He would lie at his mother's feet, listening to Parliament Funkadelic and Sly and the Family Stone, Kool and the Gang, and Earth, Wind and Fire, and, of course, The GAP Band, learning about the stylings from his mom and letting the instrumentation, melodies, and lyrics seep into his bones. "I listened to you all's music because my mama played all of that," he said. "I learned about you from my mom."
But he would learn a lot more about me outside of the music, when we moved on from being musical colleagues and started getting to know each other as men. Those deeper conversations—about family, loyalty, love, fatherhood, how to do right—came slowly at first, then opened up like floodgates once I started hanging with him and his family outside the studio, back at his home. His babies were really little then and they called me Uncle Charlie. Snoop joined in after I started schooling him on the ways of men and talking to him like a father. I would talk to him about how to have a relationship with his wife, how to be a good father to his children, how to simply be. In that advice were lessons—all the things I'd learned from my own trials, tribulations, and triumphs as a husband, father, and artist. "You don't want to make the same mistakes I did," I'd warn him.
Snoop wasn't rebellious when it came to the advice I gave him. Generally, he listened to what I had to say and even took my advice. But in the beginning, he was taken aback when I started talking to him about making changes in his life—changes in the way he did business, the way that he presented himself as an artist, the way he cared for his body, the way he loved his wife and their family. My wife and I talked to him about everything. We were muscling him so hard on every little thing that every once in a while he would kind of look at me sideways and say, "Man, nobody tells me anything about my house and what I'm supposed to do with it. Every time I make a move, here y'all come." Truly, we were like parents to him, and he was our hardheaded but loved son.
"You're smoking and smoking and smoking, and what good is it doing you?"
One time I went in there preaching about his weed habit. He's never made a secret of his love for marijuana. In interviews, pictures, his lyrics, and his videos, Snoop espouses the virtues of smoking and portrays himself as one of the most vocal proponents of the drug. Spend more than five minutes around him and it's clear he loves the stuff. But when we started working together, the life he was getting from inhaling was killing me. My wife was the first one to say something about it. She didn't waste any time getting right down to it, either. On the first day I took her to the studio, she laid down Mahin's Law. She has an accent and she struggles with the letter S, so she ends up putting "uh" in front of it, which made the way she called Snoop's name interesting enough. But what she said made Snoop snap to attention. "Uh-Snoop," she demanded, "y'all can't uh-smoke and get high around my husband. He's recovering."
"Word?" he said, clearly taken aback by the request. That was the first day we met; I'll never forget that. He turned to his boys, who were in the studio smoking with him, and said, "Okay, y'all gotta put this out. Charlie Wilson is coming in here." He took her request that he stop smoking around me under advisement and respected what she had to say about it as a former drug counselor who had seen up close the downward spiral an addict could take simply by being around people who were drinking or doing drugs. She was afraid that his habit, and particularly his penchant for smoking in the studio while he was working, would trigger a relapse for me.
Of course, I was concerned about that, too, even years into my recovery, but I was equally worried that he would fall prey to the same demons that tried to take me out when I was addicted and being robbed, abused, and taken advantage of by the predators who'd been surrounding me. So one day when I was visiting his house, I spoke up and told him he'd have to quit it. And when I tell you I went in? I mean, I went in. I pulled him into his kitchen and let it fly.
"He hasn't smoked," she said. "What did you say to him, Uncle Charlie?"
"Man, I can't stop you from doing what you're doing, but I can't be around that weed because I'm a recovering alcoholic and addict, and the way you're around here smoking, you're no different from a crackhead as far as I'm concerned," I said. "Shit, look at y'all. You're talking about how you saw me that time at the gas station, high and looking all bad and everything, but I'm looking at you, and you can't even cut a damn song because you're too high to get the work done. You're in there laughing and giggling and too high to do what you're supposed to be doing.
"Let me tell you this, man," I said, "I really love you. You've got a beautiful wife, you got these kids, and I know there's a lot of craziness going on in here, but you're going to have to quit smoking weed."
"What?" he asked, clearly taken aback. "For real?"
"Man, you're going to have to quit. You're smoking and smoking and smoking, and what good is it doing you? Come on, man!"
I talked to him nonstop for a good ten minutes. When I finally stopped talking, he was quiet for a good half a minute as he stared at me with this look, as if to say, "Man, who the hell do you think you are?" But when he finally spoke, I was shocked by what he had to say.
"Okay," he said. "All right. I'm going to stop."
You could have knocked me flat on my behind. I'd expected a fight. Or for him to lay me out. But instead, he listened to me—actually took my advice and quit smoking weed right at that very moment.
Admittedly, I didn't fully believe he was going to do what he said, but he did. The next day, I asked his wife, Shante, how he was doing and she was shocked. "He hasn't smoked," she said. "What did you say to him, Uncle Charlie?"
That day without smoking turned into a week for Snoop, then it turned into two weeks, and then a month and then another month, and then he sent out an official message into the industry saying that he'd quit smoking. Honestly? I couldn't believe he'd listened. I know that he faced an enormous amount of pressure behind the decision; people would go over to his house with weed and he was trying to keep people away from his door. "They keep coming, Uncle Charlie," he complained.
"Nobody's ever tried to talk to me like this, man. Never," he said with joyful tears in his eyes.
I told him I knew it better than most, as the same thing happened to me. I offered to sic Mahin on them but he said he could handle it himself, and he did. Snoop, the self-proclaimed weed connoisseur, quit smoking for almost a year. I continued to counsel him on various things, one area of which was marriage. I reminded him, for instance, that he and his wife made a commitment to each other and that the key to his success was in the bond he created with his wife and children. I needed him to listen to and respect what I was saying to him as a man, and thankfully, he did, because really, he's been famous almost as long as not and he was used to people doing what he said, catering to his every demand and, at home, being the man of his house.
"Nobody's ever tried to talk to me like this, man. Never," he said with joyful tears in his eyes. He went on to tell me that he'd missed having a true father figure in his life while he was growing up—how his stepfather divorced his mother when he was just four and how his biological father hadn't come back into his life until after he became a superstar. "I had nobody, man. I grew up in the hood, just me and my mama. But you're teaching me a lot right now."
I was proud of Snoop and Shante for working hard to make their marriage last, so much so that I debuted "There Goes My Baby," a fan-favorite song about the first time a man meets and falls in love with his woman, at their vow-renewal ceremony, which they held at my ranch. The song has an old feel to it, but the lyrics are modern, fresh, and tell a story that I just knew the two of them could relate to. They loved it—everyone did—and I was pleased about that. But I was even more honored to feature them in the song's video as a visual testament to Snoop's love for his wife.
It was Michael Paran's idea to gather footage from Snoop and Shante's wedding and other special moments in their lives and put it together in a documentary-style illustration of the song, and I couldn't have been more happy to do so. The twinkle in their smiles, the tears in Snoop's eyes, the way the two of them embrace, the way their kids look at them with admiration, all of that makes my heart swell.
I had more advice: "Let your wife run the business. Let her be a part of your organization. Let her be with you. You're gone for five and six and seven days at a time, and though she knows you're somewhere in Germany, she really doesn't know where you are. All she wants is to be with you. You're her family. She's your family. Family sticks together." He finally did listen to that; his wife is involved in his business, though he and Shante categorically refuse to be around each other every day all day, like me and Mahin. I brought that up and both of them looked at me as if I were crazy and said, practically simultaneously, "I don't know if we can do all that, Uncle Charlie!" We laughed so hard we all fell out.
From by Charlie Wilson. Copyright © 2015 by Pacific Coast Pirate Entertainment. Reprinted by permission of Atria Books, a Division of Simon & Schuster, Inc. Published on June 30, 2015, ISBN 9781476790077 $25.99
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https://time.com/6991607/snoop-dogg-olympics-2024-nbc-interview/
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Snoop Dogg on His Olympic Gig, the Horse He Wants to Meet, and Being a ‘Very Legal Guy’
|
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[
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[
"Sean Gregory"
] |
2024-06-26T11:00:00+00:00
|
In an interview, Snoop Dogg talks about Olympic memories from his childhood, Caitlin Clark and U.S. basketball, and the crip-walking horse from Tokyo.
|
en
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/favicon.ico
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TIME
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https://time.com/6991607/snoop-dogg-olympics-2024-nbc-interview/
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Snoop Dogg is on the line from Eugene, Ore., where he’s pitching in on NBC’s coverage of the U.S. track-and-field trials, to talk about his new TV gig and upcoming Olympic trip to Paris. On the heels of his memorable Olympic commentary with Kevin Hart on the streaming service Peacock during the last Summer Games, in Tokyo in 2021—a clip of Snoop saying a horse in the dressage competition looked like he was doing the crip walk went viral—NBC has hired Snoop as a special correspondent for the Paris Games.
But as Snoop is about to discuss the draw of the Olympics and what he hopes to deliver to audiences watching back home in the U.S., a car alarm goes off nearby. And just like any other red-blooded American trying to have an undistracted conversation on a Sunday afternoon, he pauses for a moment before flipping his lid.
“Where’s the driver? Turn it off,” says Snoop Dogg, exasperated but calm. But it won’t stop – beep, beep, beep. So Snoop has had about enough.
“Turn your goddamn car off!” Snoop Dogg, to my great delight, yells at his offending neighbor, my cell phone picking up the entire exchange.
In an instant, the alarm stops, and all is quiet.
Thank you, Snoop.
Interview crisis averted, Snoop, 52, is now ready and eager to talk Olympics. With the Games now exactly a month away—opening ceremonies begin on July 26—here’s the multiplatinum rapper, producer, actor, and entrepreneur on why he first started watching the Olympics, who he’s excited to see in Paris, and a potential meetup with that crip-walking horse.
(This interview has been edited and condensed for length and clarity)
While growing up in Long Beach, Calif., what are some of your first Olympic memories?
Bruce Jenner and the Wheaties box. Sugar Ray Leonard boxing. Edwin Moses. Things of that nature.
Read More: Before There Was Caitlin Clark, There Was Jimmer Fredette
What made you fall in love with the Games?
Back then we only had so much. It's not like right now, where you got so many different things you can watch and social media and all that sh-t. We only had TV. There was only one TV in the house, so whatever one member of the family was watching, we were all forced to watch it. The Olympics was big because it would take over the whole house whenever it would come on. And it’s special ‘cause you’re seeing athletes for the first time in three, four years and they’re representing the country. So that meant a lot, watching it as a kid.
When NBC came to you about this gig, why did you sign on?
Why not? Not why. This is what I do, you know what I’m saying? I love being in front of the people. I love sports. I know what I'm talking about. The network is appealing enough to understand that we deserve each other. So we’re gonna make magic.
And what do you plan to bring to NBC’s coverage that maybe we haven't seen before?
The fire and the smoke.
What do you mean by that?
You figure it out. I’m pretty sure you've been doing this sh-t long enough to figure out what I mean by that. [Laughs]
Read More: Sunny Choi Is Heading to Paris for Her Sport's Olympic Debut. Just Don't Call It 'Breakdancing'
Any stories you particularly want to do in Paris?
I definitely want to roll with the [U.S.] basketball team. And I definitely want to try to get in the water. See if I can get a 50-[second] time out of myself in the 50-meter freestyle.
I'm just a kid that's living his dream. I ran the 200 today. I wanted to do the pole vault till I seen what that sh-t looks like. I was like, ‘No way.’ I’ll try the high jump. It don’t require poles and holding [them] in the air.
There’s things that I’m going to try. And at the same time I respect the sport and I respect the Olympics.
Do you plan to try equestrian at all?
Me and horses, I’m gonna let them dance while I talk.
I saw somewhere that you’re going to try to meet the horse you said was crip walking in Tokyo.
Yes, I'm definitely trying to meet him. Hopefully he’s in the Olympics so I can say, ‘What’s happening?’ to him. Bring him a couple of carrots, some apples or somethin’, know what I’m saying?
Read More: Fred Richard Is Team USA's Next Olympic Hope for Men's Gymnastics
Have you been to Paris before?
Yeah, many times. I’ve performed in Paris a whole bunch of times. I ran through the Arc de Triomphe. I’ve been to a lot of the big buildings out there, classic buildings from back in the day. They never change. I've been all over Paris.
What is special about the city to you?
Love. Love is in the air once you get there. You feel the love.
How’s your French? Have you been working on it?
Nah, I don’t think I have to. I think they like my language, you know what I’m sayin’? They’re going to convert to me. I’m going to translate to them what we’re talking about.
Do you think Caitlin Clark should have been on the U.S. Olympic basketball team?
I just wish they got the best team possible. They ain’t lost in about 18 years. On the women’s side in basketball, in the Olympics, they know what they’re doing. What they said is basically, she’s great, but I don’t believe she’s gold-medal-worthy until she pulls her stuff in the WNBA.
This is a big step from college to the WNBA. I love what she's done for the sport in general. But you’ve got to understand, these are WNBA players that have been seasoned to do this. And when you’re going for that gold medal, you want your best girls out there.
You just watched Sha’Carri Richardson win the 100-m title at the U.S. Olympic trials. What do you think of Sha’Carri?
She’s living young, wild, and free. She’s supposed to. She’s supposed to be wild. She’s supposed to be everything that she is. The setbacks set up the comeback. I love the way that she’s doing it, the way the team is supporting her, the way she’s got great people around her. She’s going to be just fine.
She had a big setback before the last Olympics, as she missed the Games for testing positive for cannabis, which is on the sport’s banned list. Do you think cannabis is performance-enhancing in track and field?
Nah, I just ran a 34.44 in the 200 meters and I was smoking all night. So that sh-t ain’t got nothing to do with helping my time at all. It f-cked my time up, if anything. Unless they got some supersh-t to get you faster. Let me know where it is and I’ll be the first to try.
Cannabis is illegal in France, not sure if you knew that.
Yeah, yeah. Trust me, I’m a very legal guy.
Do you plan on lobbying the French government to change that while you’re over there?
Oh, nah. I plan on going out there and doing NBC Olympic work. Being clean as a book, clean as the athletes. They can test me if they want to. I’m going to be out there doing what I’m supposed to be doing to make sure I bring home the gold. Which is me.
Any international Olympians you're excited to see in Paris?
The Australian swim team, up against the Americans. They push us to the limit. And I like Jamaica’s track team. And Canada’s basketball team. They got a shot to get to the gold-medal round, but they’re not going to win it. They got a shot ‘cause they’ve got a bunch of NBA players who are really seasoned and on top of their game. But the overall factor is going to be, the USA is the dogs. We’re not going to lose to no puppies.
What do you think of Canadian star Shai-Gilgeous Alexander as a player?
I think he’s the Snoop Dogg of basketball. I love the way he plays, his style. The way he stays focused and gets better every time he gets out on the court. I love his game. I respect it.
Why is he the Snoop Dogg of basketball?
Look at him. He looks like me. He’s got the braids, he’s low-key, he’s the Silent Assassin.
What is the Snoop perspective you can bring to the Games that nobody else can?
It’s just me. It’s hard to explain. I can't say it’s going to be a bag of potato chips, Kool-Aid, but I know it’s me. Put some plastic around me and let me come there, I do what I do. You can sell me. I’m sold.
Anything I didn't ask or you want to say before you get back to watching the trials out in Oregon?
Nah, I’m just going out there to have a good time. Potpourri. Comment allez-vous. Oui oui. And all of the above.
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Calvin Cordozar Broadus Jr. (born 20 October 1971), known by his stage name Snoop Dogg, is an American rapper and actor. He has sold over 35,000,000 albums worldwide and is one of the most successful hip-hop artists ever. Snoop Dogg holds the record of having seventeen Grammy nominations without...
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Calvin Cordozar Broadus Jr. (born 20 October 1971), known by his stage name Snoop Dogg, is an American rapper and actor. He has sold over 35,000,000 albums worldwide and is one of the most successful hip-hop artists ever. Snoop Dogg holds the record of having seventeen Grammy nominations without a win, the most of any artist.
Snoop Dogg first rose to prominence in late 1991 as Snoop Doggy Dogg when he was discovered by Dr. Dre and featured on the song "Deep Cover" in early 1992. He was then subsequently featured heavily on Dr. Dre's solo debut The Chronic. Snoop's debut album, Doggystyle, was released in 1993 on Death Row Records, debuting at #1 on the Billboard 200. Selling almost a million copies in the first week of its release, Doggystyle ended up selling 11,000,000 albums worldwide and spawned several hit singles, including "Who Am I? (What's My Name?)" and "Gin and Juice". In 1994, Snoop released a soundtrack on Death Row Records for the short film Murder Was the Case, starring himself. His second album Tha Doggfather was released in 1996 and also debuted at #1 on the Billboard 200, with "Snoop's Upside Ya Head" as the lead single. The album sold 3,000,000 albums worldwide.
After leaving Death Row Records in early 1998, Snoop Doggy Dogg signed with No Limit Records. The three albums he released on the label were: Da Game Is to Be Sold, Not to Be Told (1998) which sold 700,000copies in it's first week and over 2,200,000 in under two months, No Limit Top Dogg (1999), and Tha Last Meal (2000). Snoop then signed with Capitol Records in 2002, where he released Paid tha Cost to Be da Boss. He then signed with Geffen Records in 2004 for his next three albums R&G (Rhythm & Gangsta): The Masterpiece, Tha Blue Carpet Treatment, and Ego Trippin'. Malice n Wonderland (2009) and Doggumentary (2011), were released on Priority Records. Snoop Dogg has starred in motion pictures and hosted several television shows. In September 2009, Snoop was hired by EMI as the chairman of a reactivated Priority Records.
In 2012, he announced a conversion to the Rastafari movement and a new alias, Snoop Lion, after a trip to Jamaica. Under the new moniker, he released a reggae album, Reincarnated, and a documentary film of the same name that was about his Jamaican experience. Bunny Wailer, the last surviving member of the Wailers criticized Snoop's commitment to the Rastafari faith. His thirteenth solo studio album, Bush, was released on May 2015 and marked a return to hip-hop music.
Early life[]
Calvin Cordozar Broadus Jr. was born in Long Beach, California, the second of three sons. He was named after his stepfather, Calvin Cordozar Broadus Sr. His mother is Beverly Broadus (née Tate). His father, Vernell Varnado, was a Vietnam veteran, singer, and mail carrier who was frequently absent from his life. As a boy, Broadus's parents nicknamed him "Snoopy" because of his appearance and love of the cartoon character from Peanuts but usually addressed him as Calvin at home. His mother and stepfather divorced in 1975. When he was very young, Broadus began singing and playing piano at Golgotha Trinity Baptist Church. In sixth grade, he began rapping. Broadus's father left the family when he was three months old. A DNA test read by George Lopez on Lopez Tonight revealed Broadus to be of 71% African, 23% Native American, and 6% European descent.
As a teenager, Broadus frequently ran into trouble with the law. He was a member of the Rollin' 20 Crips gang in the Eastside area of Long Beach, although he stated in 1993 that he never joined a gang. Shortly after graduating high school, he was arrested for possession of cocaine, and for the next three years was frequently in and out of jail or prison (including Wayside Jail). With his cousins Nate Dogg and Lil' ½ Dead and friend Warren G, Snoop recorded homemade tapes as a group called 213, named after the Long Beach area code. One of his early solo freestyles over En Vogue's "Hold On" made it to a mixtape that was heard by influential producer Dr. Dre, who called to invite him to an audition. Former N.W.A associate The D.O.C. taught him how to structure his lyrics and separate the thematics into verses, hooks, and chorus.
Musical career[]
1991–1998: Death Row, Doggystyle, and Tha Doggfather[]
When he began recording, Broadus took the stage name Snoop Doggy Dogg. Dr. Dre began working with Snoop Dogg, first on the theme song of the 1992 film Deep Cover, and then on Dr. Dre's debut solo album The Chronic with the other members of his former starting group, Tha Dogg Pound. The huge success of Snoop Dogg's debut Doggystyle was partially because of this intense exposure.
Fueling the ascendance of West Coast G-funk hip hop, the singles "Who Am I (What's My Name)?" and "Gin and Juice" reached the top ten most-played songs in the United States, and the album stayed on the Billboard charts for several months. Gangsta rap became the center of arguments about censorship and labeling, with Snoop Dogg often used as an example of violent and misogynistic musicians.[27] Unlike much of the harder-edged gangsta rap artists, Snoop Dogg seemed to show his softer side, according to music journalist Chuck Philips. Rolling Stone music critic Touré asserted that Snoop had a relatively soft vocal delivery compared to other rappers: "Snoop's vocal style is part of what distinguishes him: where many rappers scream, figuratively and literally, he speaks softly." Doggystyle, much like The Chronic, featured a host of rappers signed to or affiliated with the Death Row label including Daz Dillinger, Kurupt, Nate Dogg, and others.
A short film about Snoop Dogg's murder trial, Murder Was the Case, was released in 1994, along with an accompanying soundtrack. On July 6, 1995, Doggy Style Records, Inc., a record label founded by Snoop Dogg, was registered with the California Secretary of State as business entity number C1923139.
Broadus was acquitted of his murder charge on February 20, 1996. According to Broadus, after he was acquitted he did not want to continue living the "gangsta" lifestyle, because he felt that continuing his behavior would result in his assassination or a prison term.
After his acquittal, he, the mother of his son, and their kennel of 20 pit bulls moved into a 5,000-square-foot (460 m2) home in the hills of Claremont, California and by August 1996 Doggy Style Records, a subsidiary of Death Row Records, signed the Gap Band's Charlie Wilson as one of its first artists. He collaborated with fellow rap artist Tupac Shakur on the 1996 single "2 of Amerikaz Most Wanted". This was one of Shakur's last songs while he was alive. Shakur died on September 13, 1996, in Las Vegas.
By the time Snoop Dogg's second album, Tha Doggfather, was released on November 1996, the price of appearing to live the gangsta life had become very evident. Among the many notable hip hop industry deaths and convictions were the death of Snoop Dogg's friend and labelmate Tupac Shakur and the racketeering indictment of Death Row co-founder Suge Knight. Dr. Dre had left Death Row earlier in 1996 because of a contract dispute, so Snoop Dogg co-produced Tha Doggfather with Daz Dillinger and DJ Pooh.
This album featured a distinct change of style from Doggystyle, and the leadoff single, "Snoop's Upside Ya Head", featured a collaboration with Charlie Wilson. The album sold reasonably well but was not as successful as its predecessor. Tha Doggfather had a somewhat softer approach to the G-funk style. After Dr. Dre withdrew from Death Row Records, Snoop realized that he was subject to an ironclad time-based contract (i.e., that Death Row practically owned anything he produced for a number of years), and refused to produce any more tracks for Suge Knight other than the insulting "Fuck Death Row" until his contract expired. In an interview with Neil Strauss in 1998, Snoop Dogg said that though he had been given lavish gifts by his former label, they had withheld his royalty payments.
Stephen Thomas Erlewine of Allmusic said that after Tha Doggfather, Snoop Dogg began "moving away from his gangsta roots toward a calmer lyrical aesthetic":[13] for instance, Snoop participated in the 1997 Lollapalooza concert tour, which featured mainly alternative rock music. Troy J. Augusto of Variety noticed that Snoop's set at Lollapalooza attracted "much dancing, and, strangely, even a small mosh pit" in the audience.
1998–2006: Signing with No Limit and continued success[]
Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told (selling over 4,470,000 copies) that year. His other albums on No Limit were No Limit Top Dogg in 1999 (selling over 1,503,865 copies) and Tha Last Meal in 2000 (selling over 2,000,000). In 1999, his autobiography, Tha Doggfather, was published.
In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, selling over 1,300,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image.
In 2004, Snoop signed to Geffen Records/Star Trak Entertainment, both distributed by Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,724,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included the single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor" along with fellow rappers Lil Jon, Xzibit, and David Banner.
Snoop Dogg appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. His song "Real Talk" was leaked on the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was dedicated to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too Short (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio.
Snoop's 2006 album Tha Blue Carpet Treatment debuted on the Billboard 200 at No.5 and sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers on the single "Candy (Drippin' Like Water)".
2007–2012: Ego Trippin', Malice n Wonderland, and Doggumentary[]
In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone before its release as a single, "It's the D.O.G." On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first-ever rap for an Indian movie, Singh Is Kinng; the song title is also "Singh is Kinng". He appears in the movie as himself. The album featuring the song was released on June 8, 2008, on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sensual Seduction". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy).
Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice.
Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 11, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Currensy's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing recording artist Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010, as a follow-up to "Magic"). Snoop also collaborated with comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain.
Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020before being released under the final title Doggumentary during March 2011. Snoop was featured on Gorillaz' album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also features E-40 and Krizz Kaliko.
2012–2013: Reincarnated and 7 Days of Funk[]
On February 4, 2012, Snoop Dogg announced a documentary, Reincarnated, alongside his new upcoming studio album entitled Reincarnated. The film was released on March 21, 2013, with the album slated for release on April 23, 2013. On July 20, 2012, Snoop Dogg released a new reggae single, "La La La" under the pseudonym Snoop Lion. Three other songs were also announced to be on the album, "No Guns Allowed", "Ashtrays and Heartbreaks", and "Harder Times".
On July 31, 2012, Snoop introduced a new stage name, Snoop Lion. He told reporters that he was rechristened Snoop Lion by a Rastafarian priest in Jamaica. In response to Frank Ocean coming out, Snoop said hip hop was ready to accept a gay rapper. Snoop recorded an original song for the 2012 fighting game Tekken Tag Tournament 2, titled "Knocc 'Em Down"; and makes a special appearance as a non-playable character in "The Snoop Dogg Stage" arena.
In September of the same year, Snoop released a compilation of electronic music entitled Loose Joints under the moniker DJ Snoopadelic, stating the influence of George Clinton's Funkadelic. In an interview with The Fader magazine, Snoop stated "Snoop Lion, Snoop Dogg, DJ Snoopadelic—they only know one thing: make music that's timeless and bangs."
In December 2012, Snoop released his second single from Reincarnated, "Here Comes the King". It was also announced that Snoop worked a deal with RCA Records to release Reincarnated in early 2013. Also in December 2012, Snoop Dogg released a That's My Work a collaboration rap mixtape with Tha Dogg Pound.
In an interview with Hip Hop Weekly on June 17, producer Symbolyc One (S1) announced that Snoop was working on his final album under his rap moniker Snoop Dogg; "I’ve been working with Snoop, he's actually working on his last solo album as Snoop Dogg." In September 2013 Snoop released a collaboration album with his sons as Tha Broadus Boyz titled Royal Fam. On October 28, 2013, Snoop Dogg released another mixtape entitled That's My Work 2 hosted by DJ Drama. Snoop formed a funk duo with musician Dâm-Funk called 7 Days of Funk and released their eponymous debut album on December 10, 2013.
2014–present: Bush, Coolaid, Neva Left and Bible of Love[]
In August 2014, a clip surfaced online featuring a sneak preview of a song Snoop had recorded for Pharrell. Snoop's Pharrell Williams-produced album Bush was released on May 12, 2015, with the first single "Peaches N Cream" having been released on March 10, 2015.
On June 13, 2016, Snoop Dogg announced the release date for his album Coolaid, which was released on July 1, 2016.
He headlined a "unity party" for donors at Philly's Electric Factory on July 28, 2016, the last day of the Democratic National Convention.
Released March 1, 2017, through his own Doggy Style Records, "Promise You This" precedes the release of his upcoming Coolaid film based on the album of the same name.
Snoop Dogg released his fifteenth studio album Neva Left in May 2017. He released a gospel album titled Bible of Love on March 16, 2018.
Snoop was featured on Gorillaz's latest album The Now Now on a track called: "Hollywood" with Jamie Principle.
In November 2018, Snoop Dogg announced plans for his Puff Puff Pass tour, which features Bone Thugs-n-Harmony, Too Short, Warren G, Kurupt, and others. The tour will run from November 24 to January 5.
Other ventures[]
Snoop Dogg has appeared in numerous films and television episodes throughout his career. His starring roles in film includes The Wash (with Dr. Dre) and the horror film Bones. He also co-starred with rapper Wiz Khalifa in the 2012 movie Mac and Devin Go to High School which a sequel has been announced. He has had various supporting and cameo roles in film, including Half Baked, Training Day, Starsky & Hutch, and Brüno.
He has starred in three television programs: sketch-comedy show Doggy Fizzle Televizzle, variety show Dogg After Dark, and reality show Snoop Dogg's Father Hood (also starring Snoop's wife and children). He has starred in episodes of King of the Hill, Las Vegas, and Monk, one episode of Robot Chicken, as well as three episodes of One Life to Live. He has participated in three Comedy Central Roasts, for Flavor Flav, Donald Trump, and Justin Bieber. Cameo television appearances include episodes of The L Word, Weeds, Entourage, I Get That a Lot, and The Price Is Right. He has also appeared in an episode of the YouTube video series, Epic Rap Battles of History as Moses.
In 2000, Snoop (as "Michael J. Corleone") directed Snoop Dogg's Doggystyle, a pornographic film produced by Hustler. The film, combining hip hop with x-rated material, was a huge success and won "Top Selling Release of the Year" at the 2002 AVN Awards. Snoop then directed Snoop Dogg's Hustlaz: Diary of a Pimp in 2002 (using the nickname "Snoop Scorsese").
Snoop founded his own production company, Snoopadelic Films, in 2005. Their debut film was Boss'n Up, a film inspired by Snoop Dogg's album R&G, starring Lil Jon and Trina.
On March 30, 2008, he appeared at WrestleMania XXIV as a Master of Ceremonies for a tag team match between Maria and Ashley Massaroas they took on Beth Phoenix and Melina.
In December 2013, Snoop performed at the annual Kennedy Center Honors concert, honoring jazz pianist Herbie Hancock. After his performance, Snoop credited Hancock with "inventing hip-hop".
On several occasions, Snoop has appeared at the Players Ball in support of Bishop Don Magic Juan. Juan appeared on Snoop's videos for "Boss Playa", "A.D.I.D.A.C.", "P.I.M.P. (Remix)", "Nuthin' Without Me" and "A Pimp's Christmas Song."
In November 2015, he starred in an Old Navy TV commercial together with Kumail Nanjiani and Julia Louis-Dreyfus.
In January 2016, a Change.org petition was created in the hopes of having Dogg narrate the entire Planet Earth series. The petition comes after Snoop narrated a number of nature clips on Jimmy Kimmel Live!
In April 2016, Snoop Dogg performed "Straight outta Compton" and "Fuck tha Police" at Coachella, during a reunion of N.W.A. members Dr. Dre, Ice Cube, and MC Ren.
He hosted a Basketball fundraiser "Hoops 4 Water" for Flint, Michigan. The event occurred on May 21, 2016, and was run by former Toronto Raptors star and Flint native Morris Peterson.
In the fall of 2016, VH1 premiered a new show featuring Snoop Dogg and his friend Martha Stewart called Martha & Snoop's Potluck Dinner Party, featuring games, recipes, and musical guests. Snoop Dogg and Stewart also later starred together in a Super Bowl commercial for T-Mobile during Super Bowl LI in February 2017.
Snoop currently hosts a revival of The Joker's Wild, which spent its first two seasons on TBS before moving to TNT in January 2019.
Style and rap skills[]
Kool Moe Dee ranks Snoop at No. 33 in his book There's a God on the Mic, and says he has "an ultra-smooth, laidback delivery" and "flavor-filled melodic rhyming". Peter Shapiro describes Snoop's delivery as a "molasses drawl" and AllMusic notes his "drawled, laconic rhyming" style. Kool Moe Dee refers to Snoop's use of vocabulary, saying he "keeps it real simple...he simplifies it and he's effective in his simplicity".
Snoop is known to freestyle some of his lyrics on the spot for some songs – in the book How to Rap, Lady of Rage says, "Snoop Dogg, when I worked with him earlier in his career, that's how created his stuff... he would freestyle, he wasn't a writer then, he was a freestyler," and The D.O.C. states, "Snoop's [rap] was a one-take willy, but his shit was all freestyle. He hadn't written nothing down. He just came in and started busting. The song was "Tha Shiznit"—that was all freestyle. He started busting and when we got to the break, Dre cut the machine off, did the chorus and told Snoop to come back in. He did that throughout the record. That's when Snoop was in the zone then."
Peter Shapiro says that Snoop debuted on "Deep Cover" with a "shockingly original flow – which sounded like a Slick Rick born in South Carolina instead of South London" and adds that he "showed where his style came from by covering Slick Rick's 'La Di Da Di'". Referring to Snoop's flow, Kool Moe Dee calls him "one of the smoothest, funkiest flow-ers in the game". How to Rap also notes that Snoop is known to use syncopation in his flow to give it a laidback quality, as well as 'linking with rhythm' in his compound rhymes, using alliteration, and employing a "sparse" flow with good use of pauses.
Snoop re-popularized the use of -izzle speak, particularly in the pop and hip-hop music industry.
Personal life[]
Sheila Crystal Mari Becky Tasha Malik mother Shawn Deneen
In 2014, he became a grandparent.
He endorsed Hillary Clinton for the 2016 U.S. presidential election.
Discography[]
Studio albums[]
1993: Doggystyle. 8,000,000 U.S.
1996: Tha Doggfather. 2,500,000 U.S
1998: Da Game Is to Be Sold, Not to Be Told. 4,400,000 U.S
1999: No Limit Top Dogg 1,550,000. U.S
2000: Tha Last Meal. 2,240,000. U.S
2002: Paid tha Cost to Be the Boss 1,300,000. U.S.
2004: R&G (Rhythm & Gangsta): The Masterpiece 2,500,000. US
2006: Tha Blue Carpet Treatment. 1,500,000. U.S
2008: Ego Trippin' 700,000. U.S
2009: Malice n Wonderland 200,000 U.S
2011: Doggumentary. 200,000
2013: Reincarnated. 75,000
2015: Bush 50,000
2016: Coolaid 41,000
2017: Neva Left. 37,000
2018: Bible of Love. 33,000
2019: I Wanna Thank Me. 31,000
2021: From tha Streetz to da Suites
Collaborative albums[]
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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Snoop Dogg, Wiz Khalifa, Cypress Hill playing Red Rocks Amphitheatre
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[
"arts & entertainment",
"arts and entertainment",
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"coloradosprings.com",
"jennifer mulson",
"cypress hill",
"hip hop genres",
"hip hop music",
"west coast hip hop",
"gin and juice",
"black and yellow",
"wiz khalifa",
"snoop dogg"
] | null |
[
"Jennifer Mulson"
] |
2020-02-05T11:30:00-07:00
|
A trifecta of rap and hip-hop artists will make its way to Red Rocks Amphitheatre this spring.
|
en
|
https://gazette.com/content/tncms/site/icon.ico
|
Colorado Springs Gazette
|
https://gazette.com/arts-entertainment/snoop-dogg-wiz-khalifa-cypress-hill-playing-red-rocks-amphitheatre/article_69d7e3e4-46a0-11ea-8405-cfff6d5abcd4.html
| |||||
4521
|
dbpedia
|
3
| 19
|
https://www.goupstate.com/story/news/local/2022/02/11/super-bowl-2022-snoop-dogg-halftime-show-family-union-south-carolina/6748777001/
|
en
|
Snoop Dogg's ties to SC: Super Bowl 56 halftime performer, rapper visited family in Union
|
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[
"Janet T. Spencer, Spartanburg Herald Journal"
] |
2022-02-11T00:00:00
|
A look back to a 2003 Herald-Journal article when Snoop Dogg visited his family - they know him as Calvin Broadus - in Union between tour dates.
|
en
|
Herald-Journal
|
https://www.goupstate.com/story/news/local/2022/02/11/super-bowl-2022-snoop-dogg-halftime-show-family-union-south-carolina/6748777001/
|
This story first published in the Spartanburg Herald-Journal on June 9, 2003. Snoop Dogg's grandmother, Corrine Broadus, died in 2005.
His secret might have been safe if Snoop Dogg hadn't jumped off the tour bus and strolled into the Li'l Cricket on Pinckney Street.
His aunt, Earleen Broadus, said that was all it took.
"Then everybody seemed to know he was in town," she said Sunday afternoon.
The rap star/actor was between engagements in Charlotte, N.C., and Myrtle Beach and stopped in to visit his 90-year-old grandmother, Corrine Broadus, late Saturday afternoon.
Super Bowl 2022: Everything to know about the halftime show and other musical performances
It was his first trip since 1974, and his grandmother described it as a surprise, although the family and the Union Public Safety Office had been coordinating the visit for some time.
"The buses got lost," Earlene Broadus said, laughing. "We didn't expect what happened."
The result was as many as 500 to 600 anxious residents showing up at the grandmother's house on Monroe Street.
The majority brought along cameras.
Crews touring with Snoop Dogg told local authorities they drew a much larger crowd in Union than they had in a shopping mall in Charlotte earlier in the day.
More Snoop Dogg in the SHJ: Snoop's kin can't wait for 'Father Hood'
Snoop Dogg, 30, whose real name is Calvin Broadus, was born in California and has never lived in Union.
Since she does not get to see him often, Corrine Broadus took the time to tell her well-known grandson a thing or two.
She said the visit was great, and she was glad to see him. But she let him know right away what she thinks of his music.
Hip-hop icons: Dr. Dre, Snoop Dogg say Super Bowl 2022 halftime show will be 'all the way real'
"It's twice he's come to see me. Bless his heart. Some of his music is all right. But I believe in the church. I told him he could just leave some parts of that other out. He said, 'Oh, Big Momma, nothing wrong with it. I gotta make a living.' He looked good and healthy," she said.
Snoop Dogg's uncle, Ireanus Broadus, said the family has received numerous telephone calls about the visit, which, drew the large crowd to their street.
"Oh, boy. Did they show up?" he said. "I think everybody who came had a camera or video going. They took momma's picture with him and mine, too. He talked about a new CD they're making."
The family says Calvin's mother gave him the nickname "Snoop," and that's what they all call him. He took time to pose for photographs with family members during the two-hour visit before he faced his fans in the street where he handed out promotional CDs and had more photos taken.
Union Public Safety Officers on hand to assist in controlling the large group reported no problems.
More: Why you should expect greatness from this year’s Super Bowl halftime show
"Everything went well," said Officer Mickey Parker, 31, who said he's not thinking about changing his choice of music because of the visit.
"But he seemed like a nice enough guy," Parker said. "It's not something that happens every day in Union."
Local officers coordinated outside the residence with Snoop Dogg's security crews, which include policemen from Los Angeles who sign on for the tours as a part-time job.
The crowd was respectful of the family visiting inside and stayed clear of the front entrance, authorities said.
"But getting him on the bus was crazy. Everybody wanted to touch him," Parker said.
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en
|
2024 Olympics: Snoop Dogg Is Team USA’s Biggest Fan
|
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2024-08-01T20:14:12+00:00
|
Snoop Dogg has been feeling young, wild and free since becoming NBC’s Special Correspondent for the 2024 Paris Olympics.
|
/images/icon.png
|
E! Online
|
https://www.eonline.com/news/1405691/2024-olympics-snoop-dogg-is-team-usas-biggest-fan-with-his-medal-worthy-commentary
|
It’s a “Doggy Dogg World,” and Snoop Dogg’s in charge.
The rapper dove into the role of special correspondent for the 2024 Paris Olympics, and it’s safe to say he’s won gold with his Team USA looks and commentary.
And that started even before the games officially began when he carried the Olympic torch through the streets of Sain-Denis as one of the final torchbearers ahead of the Opening Ceremony. Though in this circumstance, he made sure to not, as his iconic song states, “drop it like it’s hot” while carrying the famous flame alongside actress Laetitia Casta and rapper MC Solaar.
"I felt like Muhammad Ali," he told NBC News after the ceremony. "I found out that when you hold the torch, you're a peace messenger."
"I was waving, shaking hands, kissing the babies—doing what I do, you understand me,” Snoop continued. “Putting my foot in the pavement, letting the people know that we're here. We're here for peace, love, unity and great sportsmanship."
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https://www.facebook.com/snoopdogg/
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Facebook
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https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
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https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
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"https://facebook.com/security/hsts-pixel.gif"
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
|
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https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
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https://www.facebook.com/login/
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https://www.cbsnews.com/news/snoop-dogg-daughter-cori-broadus-stroke-says-severe-instagram/
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Snoop Dogg's 24-year-old daughter Cori Broadus says she suffered a severe stroke
|
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] |
[] |
[] |
[
""
] | null |
[
"Caitlin O'Kane"
] |
2024-01-18T14:00:51-05:00
|
Cori Broadus wrote on Instagram the stroke was "severe" and she started to "break down crying" when she was told what happened.
|
en
|
https://www.cbsnews.com/news/snoop-dogg-daughter-cori-broadus-stroke-says-severe-instagram/
|
Snoop Dogg's 24-year-old daughter, Cori Broadus, says she suffered a stroke. Broadus wrote on her Instagram story on Thursday that the stroke was "severe" and she started to "break down crying" when she was told what happened.
"Like, I'm only 24 what did I do in my past to deserve all of this," she wrote in another story.
Broadus is the daughter of Snoop Dogg, whose real name is Calvin Cordozar Broadus Jr., and his wife, Shante Taylor. She is the CEO of CHOC, a makeup and apparel company.
What are the symptoms of a stroke?
There are two types of stroke: ischemic stroke, when a blood clot that blocks the flow of blood to an artery in the brain; or a hemorrhagic stroke, caused when a blood vessel in the brain bursts.
If either of these things happen, brain cells can start to die within minutes, because the brain needs oxygen and is use to receiving oxygen-rich blood from arteries.
Someone going through a stroke might feel numbness, confusion, trouble seeing or walking and a headache. The key to preventing damage is act fast – literally. The Centers for Disease Control and Prevention says the F.A.S.T. method – which stands for face, arms, speech, time – is the best way to help someone going through a stroke.
Ask the person to smile and see if their face droops. Ask them to raise their arms to see if one drifts downward. Ask them to say a simple phrase to gauge if their speech is slurred. And take timely action – call 911 right away.
How are strokes treated, and what causes them?
Stroke treatment is most effective if the person is diagnosed within the first three hours of having symptoms, the CDC says. Ischemic strokes can be treated with medicine called tPA, which increases chances of recovery. Unfortunately, many patients don't make it to the hospital in time for this treatment.
Surgery and other medications can also be used to treat hemorrhagic stroke.
Having one stroke increases your risk of having another and the chance of having a stroke increases with age. After the age of 55, your risk can start to double every 10 years, according to the CDC. But even younger people can have strokes and one in seven strokes occurs in people 15 to 49. Doctors believe this is because more young people have diabetes, obesity and high blood pressure.
These conditions, as well as tobacco and alcohol use, eating a diet high in saturated fats and not getting enough physical activity may also contribute to your risk of stroke, as can genetics and family history.
In September, Broadus opened up to People magazine about being diagnosed with lupus, an autoimune disease that can cause inflammation and pain in any part of the body. Strokes can occur in lupus patients, often occur early in the course of the disease, according to NIH. Younger patients with systemic lupus erythematosus, the most common form of lupus, have an increased risk of stroke.
Broadus, however, did not elaborate on the circumstances surrounding the stroke or blame her lupus. CBS News has reached out to her for comment and is awaiting response.
Other stroke sufferers
In 2022, model Hailey Bieber revealed she suffered stroke-like symptoms and was taken to the hospital, where doctors found she had experienced a "very small blood clot" to her brain that resulted in a "small lack of oxygen." Bieber, who was 25 at the time, said she recovered completely.
Actor Luke Perry suffered a massive stroke in 2019 and was rushed to the hospital, where he died five days later. The actor, known for "Beverly Hills, 90210" and "Riverdale," was just 52. His death was a reminder that strokes can kill people at any age.
"Real Housewives of Atlanta" alum Nene Leakes revealed in 2022 that her 23-year-old son, Brentt Leakes, had survived a stroke and congestive heart failure. In several Instagram stories, the reality star and actress spoke candidly about the incident, saying her son does not drink or do drugs and the doctors were trying to determine the cause.
|
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0
| 76
|
https://www.metacritic.com/tv/snoop-doggs-father-hood/season-2/episode-7-snoop-on-the-move/
|
en
|
Snoop Dogg's Father Hood season 2 Snoop on the Move
|
[
"https://www.metacritic.com/a/neutron/images/logos/imdb_logo.png",
"https://www.metacritic.com/a/neutron/images/logos/imdb_logo.png"
] |
[] |
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2007-12-09T00:00:00+00:00
|
Join rap star Snoop Dogg as he gives you an inside look at his home and family. Meet his wife Shante, his sons Cordell and Corde, and daughter Cori. See Snoop stress out trying to balance the roles of father, husband, rap superstar, and businessman.
|
en
|
https://www.metacritic.com/tv/snoop-doggs-father-hood/season-2/episode-7-snoop-on-the-move/
|
Summary Join rap star Snoop Dogg as he gives you an inside look at his home and family. Meet his wife Shante, his sons Cordell and Corde, and daughter Cori. See Snoop stress out trying to balance the roles of father, husband, rap superstar, and businessman.
Directed By: Danni Conner
Summary Join rap star Snoop Dogg as he gives you an inside look at his home and family. Meet his wife Shante, his sons Cordell and Corde, and daughter Cori. See Snoop stress out trying to balance the roles of father, husband, rap superstar, and businessman.
|
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| 23
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https://www.nickiswift.com/195941/snoop-doggs-celebrity-relatives-may-surprise-you/
|
en
|
Snoop Dogg's Celebrity Relatives May Surprise You
|
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] |
[] |
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[
""
] | null |
[
"Naaz Modan"
] |
2020-03-23T13:14:21+00:00
|
Snoop Dogg is a living legend in the music biz, but he's not the only talented artist in his family tree.
|
en
|
Nicki Swift
|
https://www.nickiswift.com/195941/snoop-doggs-celebrity-relatives-may-surprise-you/
|
Snoop Dogg recently checked in on his fans amid the coronavirus crisis. The "Drop It Like It's Hot" rapper made a public service announcement on his Instagram, saying, "Stay safe. Stay close to your loved ones." He told fans this wouldn't be last they'd be hearing from him during the outbreak. "I'll be checking in, making sure you good," he said.
In typical Uncle Snoop fashion, the living legend showed his fans how much he cares, but the D-O-Double-G doesn't get his caring bone from just anywhere — he's a core part of a seemingly close-knit family, which includes his daughter and three sons, grandchildren, a brother of his own, and many, many cousins. In fact, some of the names of Snoop's relatives might surprise you, considering they're celebrities in their own right.
According to The Post and Courier, professional wrestler Sasha Banks (real name: Mercedes Kaestner-Varnado) is Snoop Dogg's first cousin. The rap icon even had a hand in inspiring her career.
"I remember in 2008 when I took her to WrestleMania in Orlando," he said when he was inducted into the celebrity wing of the WWE Hall of Fame in 2016. "She was just a young little teenager, and I took her around to meet everybody that she wanted to meet, and you could just see her face light up. You could tell this is where she belonged. This is what she wanted to be."
In May 2019, Banks even made an appearance on Snoop's Instagram in a photo featuring the rapper; his son, Cordell Broadus; and Banks. The post included a simple but telling caption: "Family."
Snoop Dogg isn't the only one in the family with a knack for music. Brandy and her brother, Ray J, are also cousins.
Brandy Norwood — producer, singer, actress, and Broadway star all in one — has sold more than 40 million albums worldwide since the release of her self-titled debut project in 1994. She's also collaborated with Snoop Dogg and appeared in one of his music videos, according to The Independent.
Ray J (aka William Raymond Norwood Jr.) is best known for his hit tune: "Sexy Can I" and for his appearances on reality TV shows Love & Hip Hop: Hollywood and the Norwood family's own Brandy & Ray J: A Family Business. Oh, and he's sorta kinda known for that other thing too. Yes, Ray J was Kim Kardashian's co-star in the infamous tape that preceded her Keeping up with the Kardashians stardom. He's currently entangled in a rocky marriage with Love & Hip Hop co-star Princess Love, but in good times and bad, Snoop Dogg is there. When Ray J appeared as a guest on the rapper's YouTube show, he introduced him as "my cousin, my family, my familia."
Rapper and record producer Daz Dillinger (aka Delmar Drew Arnaud) is not only Snoop Dogg's cousin, but he's also somewhat of a colleague. The two have recorded music together on multiple occasions. According to Pitchfork, Daz's record label even released an album with Snoop titled ... wait for it ... Cuzznz.
Daz may also have Snoop to thank for some of his music biz success. On an episode of the HipHopDX series Crook's Corner, Snoop said he wrote some music specifically for Daz and pushed hard for Dr. Dre to include his cuz on The Chronic — considered by many to be "the most influential rap work ever made."
"Daz first song he was on, "Deez Nuts," I wrote that whole song 'cuz I wanted him on the song 'cuz I liked his voice," Snoop recalled. Dre took some convincing, but after hearing Daz rap the now-classic "chiggy-check" verse, the producer came around. As Snoop tells it: "Dre was like 'Oh, that's hard!'" After that, Daz was in, and he reportedly got right to work making great music.
Snoop Dogg's cousin, Nathaniel "Nate Dogg" Hale, made a lasting impact on his life. The rapper, songwriter, and actor died in 2011 from complications following multiple strokes. He and Snoop got their start together as members of the OG rap trio 213 with Warren G, and they rose to fame on The Chronic. Nate Dogg also starred with Warren G on "Regulate," which "became one of the defining songs of the 1990s," per Rolling Stone.
His cousin's death at age 41 hit Snoop Dogg hard. On Twitter, he referred to Nate as a brother and a best friend. "I love you buddy. You will always be with me forever and a day. You put the 'G' in 'G funk', you put the '1' in '213' and you put your stamp on everybody you ever did it with." He added (per NME,) "I miss you because I am so sad but so happy I got to grow up with you, and I will see you again in heaven, because you know the slogan about 'all doggs go to heaven.'"
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https://www.nbcnews.com/sports/olympics/snoop-dogg-rides-declares-mvp-olympics-traveling-us-mens-basketball-te-rcna164620
|
en
|
Snoop Dogg declares himself the MVP of the Olympics after traveling with U.S. men's basketball team
|
[
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[
"Phil Helsel"
] |
2024-08-01T03:12:28+00:00
|
Special NBC Olympics correspondent Snoop Dogg has been all over the Games, carrying the torch, getting a swim lesson from Michael Phelps, traveling by bus and train with the U.S. men’s basketball team.
|
en
|
https://nodeassets.nbcnews.com/cdnassets/projects/ramen/favicon/nbcnews/all-other-sizes-PNG.ico/favicon.ico
|
NBC News
|
https://www.nbcnews.com/sports/olympics/snoop-dogg-rides-declares-mvp-olympics-traveling-us-mens-basketball-te-rcna164620
|
Special NBC Olympics correspondent Snoop Dogg has been all over the Games, carrying the torch, getting a swim lesson from Michael Phelps, traveling by bus and train with the U.S. men’s basketball team.
“Man, this is a grind out here,” Snoop told NBC’s Mike Tirico on Wednesday's prime-time Paris Games broadcast. “But I’m having so much fun.”
“Mike, I may be the MVP of the Olympics, just saying,” Snoop said.
Stream every moment and every medal of the 2024 Paris Olympics on Peacock.
Snoop joined the men's basketball team on its bus and train journey down to Lille, where group phase games are being played.
It’s only natural that the hip-hop icon would play music while traveling with some of the best NBA players in America who are now in the Olympics. But Father Time waits for no one.
He at first played the “Super Fly” soundtrack, a classic by Curtis Mayfield released in 1972.
“LeBron, naturally, nodded his head, because he understands old school,” Snoop said.
“But I had to switch it up, I had to put on some rap, because [22-year-old Timberwolves player] Anthony Edwards was sitting right next to me, and he’s not moving. Let me get him to move,” Snoop said.
Snoop said that even though the men’s basketball players are on competing teams in the NBA, “I felt a lot of brotherhood, of camaraderie. I felt them ego-checking themselves at the door.”
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https://www.nytimes.com/2003/01/07/nyregion/drug-dealer-s-tie-to-hip-hop-label-is-investigated.html
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en
|
Hop Label Is Investigated
|
[] |
[] |
[] |
[
""
] | null |
[
"The New York Times"
] |
2003-01-07T00:00:00
|
Federal agents and New York City police are investigating possible ties between hip-hop record label Murder Inc's Irv Gotti and convicted Queens drug dealer Kenneth McGriff; issue is whether McGriff gave Gotti seed money for Murder Inc from his drug profits; executives of Def Jam records say Gotti did not take drug money (M)
|
en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
|
https://www.nytimes.com/2003/01/07/nyregion/drug-dealer-s-tie-to-hip-hop-label-is-investigated.html
|
Hip-hop insiders said yesterday that the investigation into the Murder Inc. label and its brash mogul, Irv Gotti, will involve separating fact from fiction in an industry of blurs, where the songs often read like police blotters.
Federal agents and the police raided the Eighth Avenue offices of Mr. Gotti, 31, on Friday morning, investigating his relationship with a convicted Queens drug dealer, Kenneth McGriff, 42, who is known as Supreme on the Hollis streets where he and Mr. Gotti grew up.
Mr. McGriff went to prison for 10 years after his 1988 arrest on federal narcotics conspiracy charges, and was arrested on Dec. 28 on federal firearms charges.
Mr. Gotti brought artists like Ja Rule, Ashanti and DMX to Island Def Jam records, a part owner of Murder Inc., and is seen by many as a standout -- even in an industry of I'm-badder-than-you braggadocio.
''Irv is a great producer who turns labels in, who is a little confused about which direction to take with stardom,'' said Antoine Clark, publisher of F.E.D.S. magazine, which profiles rappers and drug dealers alike.
Phone messages left for the spokeswoman for Murder Inc. yesterday were not answered. A spokesman and a spokeswoman at Def Jam would not comment.
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| 94
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https://www.tiktok.com/%40hiiiphopheads1/video/7328600096017337631
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Make Your Day
|
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https://www.justjared.com/2024/08/03/snoop-dogg-discusses-special-relationship-with-queen-elizabeth-says-she-was-a-fan/
|
en
|
Snoop Dogg Discusses Special Relationship With Queen Elizabeth, Says She was a Fan
|
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2024-08-03T00:00:00
|
Snoop Dogg Discusses Special Relationship With Queen Elizabeth, Says She was a Fan Snoop Dogg has fans everywhere, including Buckingham Palace! The 52-year-old
|
en
|
Just Jared
|
https://www.justjared.com/2024/08/03/snoop-dogg-discusses-special-relationship-with-queen-elizabeth-says-she-was-a-fan/
|
Snoop Dogg has fans everywhere, including Buckingham Palace!
The 52-year-old “Drop It Like It’s Hot” rapper is currently in Paris, France to attend the 2024 Olympic Games. Before that, he stopped over in the United Kingdom.
During an interview there, he reflected on his relationship with the late Queen Elizabeth, revealing that she was a fan of his.
Keep reading to find out more…
During an interview on Capital FM, Snoop revealed that he was hoping to visit the palace while he was in Europe.
“Hopefully I can get in,” he told the radio host, who pointed out that Prince William was reportedly a fan of the rapper.
“Well, the Queen was a fan too,” Snoop replied. “Rest in peace to the Queen, that was my girl. You know what I’m saying? So, just may want to go up and, you know, see what you do.”
People noted that Snoop has previously talked about the Queen, revealing that she helped him enter the country when he was banned in the ’90s.
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https://www.vibe.com/news/entertainment/snoop-dogg-suge-knight-secret-society-1234860794/
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Snoop Dogg Responds To Suge Knight’s Claim That He, Diddy, And Dr. Dre Are In “Secret Society”
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2024-03-14T16:23:02+00:00
|
Snoop Dogg responds to Suge Knight alleging that he, Dr. Dre, and Sean "Diddy" Combs and other celebrities are part of a secret society.
|
en
|
VIBE.com
|
https://www.vibe.com/news/entertainment/snoop-dogg-suge-knight-secret-society-1234860794/
|
Suge Knight has accused Snoop Dogg, Dr. Dre, and Sean “Diddy” Combs with being members of a “secret society,” an assertion which Snoop himself seemingly finds comical.
On Saturday (March 9), Breakbeat Media released the latest episode of Knight’s Collect Call podcast, on which he claimed that the trio was under the control of powerful forces beyond themselves. The Death Row Records founder, who is currently serving a prison sentence stemming from a manslaughter conviction, spoke of alleged public displays of affection shown amongst that particular group.
“Once they start painting they fingernails and wearing women’s clothes, they got you,” Knight said of his antagonists. He also recalled instances in which Diddy received lavish gifts from the late Andre Harrell and rapper The Game that gave him cause to pause.
“I remember when they was giving Puffy an award at the ASCAP Awards — Andre went up there and got him an expensive watch and gave it to him in front of everybody. He basically confessed his love to this man,” the legendary mogul said. “Then Puffy and Snoop became besties. Every time you see one, you seen the other one. Next thing you know, they start painting they fingernails. Didn’t make sense.”
Knight continued, “[The] Game bought Puffy a Lamborghini when Puffy got more money than Game. Why you buying this man a Lamborghini? You know your homies don’t even got a Lamborghini. But once again, it’s that secret society. For this thing to work and fix it, they gotta start all the way over in these major record labels and these big buildings. They need to get rid of all the guys who was connected to the poison and the snake.”
Upon catching wind of Knight’s claims, Snoop Dogg issued a response by simply reposting an AllHipHop report of the embattled mogul’s allegations along with a laughing emoji and a shrugging emoji, seemingly expressing his humor and bewilderment regarding his former CEO’s assertion.
See Snoop Dogg’s response to Suge Knight below.
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https://www.marieclaire.com/celebrity/snoop-dogg-martha-stewart-birthday-surprise-olympics/
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Snoop Dogg Surprises BFF Martha Stewart in Honor of Her 83rd Birthday During Paris Olympics
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2024-08-03T14:43:22+00:00
|
How Old Is Martha Stewart? Snoop Dogg Surprised His BFF For Her Birthday During the Paris Olympics
|
en
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Marie Claire Magazine
|
https://www.marieclaire.com/celebrity/snoop-dogg-martha-stewart-birthday-surprise-olympics/
|
Snoop Dogg had a special surprise (and a special guest) for his BFF and television icon Martha Stewart in honor of her 83rd birthday.
On Friday, Aug. 2, Snoop and Stewart reunited during the 2024 Paris Summer Olympics, before the rapper brought out a special someone to wish his partner in crime a happy birthday.
"Martha! Hi! Happy birthday,” Cookie Monster—yes, that famous cookie-gobbling monster from Sesame Street—shouted after surprising Stewart when he popped up from behind a table.
"You're so gorgeous," the forever-gracious Stewart replied.
"Thank you. You, too," Cookie Monster said, because living on Sesame Street means you mind your manners, folks!
Never one to be left out, Snoop Dogg also gave Cookie Monster a proper hello after the unconventional duo pulled off their covert birthday surprise.
“What’s happening, baby?” Snoop Dogg asked the blue furry monster.
“We got D-o-double-g meets C-double-o-k-i-e.” Cookie Monster replied.
@accesshollywood ♬ original sound - Access Hollywood
"I'm the biggest Cookie Monster fan in the world," Snoop Dogg admitted. "I can't believe Cookie is right next to me."
"In Paris!" Stewart chimed in, clearly delighted by her super secret birthday surprise. "In Paris, Snoop!"
Access Hollywood shared a TikTok of the birthday surprise, to the delight of adults everywhere...because no one outgrows Sesame Street (or gets tired of Martha Stewart and Snoop Dogg's unconventional friendship).
For the uninitiated, Stewart and Snoop first met on the set of the Stewart's cooking show, The Martha Stewart Show, in 2008. In a recent interview with Sports Illustrated, Stewart confessed that she was instantly and initially drawn to the rapper because of his “nice giggle” and “quest for learning."
“Well, Snoop came on my show, and what was really charming about Snoop, first of all, was his giggle. He giggles in a very, very nice way,” she told the publication at the time. “And his quest for learning! He is a real student, and that’s what really appealed to me.”
Stewart went on to explain that the pair's relationship was "cemented" in 2015, when they sat next to each other during the Comedy Central Roast of Justin Bieber in 2015.
“All he did was smoke, and everybody was in such a good mood and we were all roasting each other,” she explained. “And luckily, Snoop’s secondhand smoke really kind of eased the pain for me a lot, and it was hysterical because I just felt, ‘Okay! I’ll go with the flow here.’
“After, like, six billion views around the world, it turned out to be one of the best things," she continued. "And it cemented my relationship with Snoop."
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2024-07-29T22:27:06+00:00
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Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg, is an American rapper, singer, songwriter, record producer, television personality and actor. His music career began in 1992 when he was discovered by Dr. Dre and featured on Dre's solo debut, "Deep Cover...
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en
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Rap Wiki
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https://rap.fandom.com/wiki/Snoop_Dogg
|
Calvin Cordozar Broadus Jr. (born October 20, 1971), known professionally as Snoop Dogg, is an American rapper, singer, songwriter, record producer, television personality and actor. His music career began in 1992 when he was discovered by Dr. Dre and featured on Dre's solo debut, "Deep Cover", and then on Dre's solo debut album, The Chronic. He has since sold over 23 million albums in the United States and 35 million albums worldwide.
Snoop's debut album, Doggystyle, produced by Dr. Dre, was released in 1993 by Death Row Records. "Hyped" or influenced by Snoop's featuring on The Chronic, the album debuted at number one on both the Billboard 200 and Billboard Top R&B/Hip-Hop Albums charts. Selling almost a million copies in the first week of its release, Doggystyle became certified 4× platinum in 1994 and spawned several hit singles, including "What's My Name?" and "Gin & Juice". In 1994 Snoop released a soundtrack on Death Row Records for the short film Murder Was the Case, starring himself. His second album, Tha Doggfather (1996), also debuted at number one on both charts, with "Snoop's Upside Ya Head" as the lead single. The album was certified double platinum in 1997.
After leaving Death Row Records, Snoop signed with No Limit Records, where he recorded his next three albums, Da Game Is to Be Sold, Not to Be Told (1998), No Limit Top Dogg (1999), and Tha Last Meal (2000). Snoop then signed with Priority/Capitol/EMI Records in 2002, where he released Paid tha Cost to Be da Boss. He then signed with Geffen Records in 2004 for his next three albums, R&G (Rhythm & Gangsta): The Masterpiece, Tha Blue Carpet Treatment, and Ego Trippin'. Malice 'n Wonderland (2009), and Doggumentary (2011) were released on Priority. Snoop Dogg has starred in motion pictures and hosted several television shows, including Doggy Fizzle Televizzle, Snoop Dogg's Father Hood, and Dogg After Dark. He also coaches a youth football league and high school football team. In September 2009 Snoop was hired by EMI as the chairman of a reactivated Priority Records.
In 2012, after a trip to Jamaica, Snoop announced a conversion to Rastafarianism and a new alias, Snoop Lion. As Snoop Lion he released a reggae album, Reincarnated, and a documentary film of the same name, about his Jamaican experience, in early 2013. His 13th studio album, Bush, was released in May 2015 and marked a return of the Snoop Dogg name. His 14th solo studio album, Coolaid, was released in July 2016. Snoop has 17 Grammy nominations without a win. In March 2016, the night before WrestleMania 32 in Arlington, Texas, he was inducted into the celebrity wing of the WWE Hall of Fame, having made several appearances for the company, including as Master of Ceremonies during a match at WrestleMania XXIV. In 2018, he released his first gospel album, Bible of Love.
Early life[]
Calvin Cordozar Broadus Jr. was born in Long Beach, California, the second of three sons. He was named after his stepfather, Calvin Cordozar Broadus Sr. His mother is Beverly Broadus (née Tate).[13][14][15] His father, Vernell Varnado, was a Vietnam veteran, singer, and mail carrier who was frequently absent from his life. As a boy, Broadus's parents nicknamed him "Snoopy" because of his appearance but usually addressed him as Calvin at home. His mother and stepfather divorced in 1975. When he was very young, Broadus began singing and playing piano at Golgotha Trinity Baptist Church. In sixth grade, he began rapping.[18][19] Broadus's father left the family when he was three months old. A DNA test read by George Lopez on Lopez Tonight revealed Broadus to be of 71% African, 23% Native American, and 6% European descent.
As a teenager, Broadus frequently ran into trouble with the law. He was a member of the Rollin' 20 Crips gang in the Eastside area of Long Beach, although he stated in 1993 that he never joined a gang. Shortly after graduating from high school, he was arrested for possession of cocaine, and for the next three years was frequently in and out of prison (including Wayside Jail). With his cousins Nate Dogg and Lil' ½ Dead and friend Warren G, Snoop recorded homemade tapes as a group called 213, named after the Long Beach area code. One of his early solo freestyles over En Vogue's "Hold On" made it to a mixtape that was heard by influential producer Dr. Dre, who called to invite him to an audition. Former N.W.A associate The D.O.C. taught him how to structure his lyrics and separate the thematics into verses, hooks, and chorus.
Career[]
1991–1997: Death Row, Doggystyle, and Tha Doggfather[]
When he began recording, Broadus took the stage name Snoop Doggy Dogg. Dr. Dre began working with Snoop Dogg, first on the theme song of the 1992 film Deep Cover, and then on Dr. Dre's debut solo album The Chronic with the other members of his former starting group, Tha Dogg Pound. The huge success of Snoop Dogg's debut Doggystyle was partially because of this intense exposure.
Fueling the ascendance of West Coast G-funk hip hop, the singles "Who Am I (What's My Name)?" and "Gin and Juice" reached the top ten most-played songs in the United States, and the album stayed on the Billboard charts for several months. Gangsta rapbecame the center of arguments about censorship and labeling, with Snoop Dogg often used as an example of violent and misogynistic musicians. Unlike much of the harder-edged gangsta rap artists, Snoop Dogg seemed to show his softer side, according to music journalist Chuck Philips. Rolling Stone music critic Touré asserted that Snoop had a relatively soft vocal delivery compared to other rappers: "Snoop's vocal style is part of what distinguishes him: where many rappers scream, figuratively and literally, he speaks softly." Doggystyle, much like The Chronic, featured a host of rappers signed to or affiliated with the Death Row label including Daz Dillinger, Kurupt, Nate Dogg, and others.
A short film about Snoop Dogg's murder trial, Murder Was the Case, was released in 1994, along with an accompanying soundtrack. On July 6, 1995, Doggy Style Records, Inc., a record label founded by Snoop Dogg, was registered with the California Secretary of State as business entity number C1923139.
After Snoop Dogg was acquitted of murder on February 20, 1996, he, the mother of his son, and their kennel of 20 pit bulls moved into a 5,000-square-foot (460 m) home in the hills of Claremont, California and by August 1996 Doggy Style Records, a subsidiary of Death Row Records, signed the Gap Band's Charlie Wilson as one of its first artists. He collaborated with fellow rap artist Tupac Shakur on the 1996 single 2 of Amerikaz Most Wanted. This was one of Shakur's last songs while alive; he was shot on September 7, 1996, in Las Vegas, dying 6 days later.
By the time Snoop Dogg's second album, Tha Doggfather, was released in November 1996, the price of living (or sometimes just imitating) the gangsta life had become very evident. Among the many notable hip hop industry deaths and convictions were the death of Snoop Dogg's friend and labelmate Tupac Shakur and the racketeering indictment of Death Row co-founder Suge Knight. Dr. Dre had left Death Row earlier in 1996 because of a contract dispute, so Snoop Dogg co-produced Tha Doggfather with Daz Dillinger and DJ Pooh.
This album featured a distinct change of style from Doggystyle, and the leadoff single, "Snoop's Upside Ya Head", featured a collaboration with Charlie Wilson. The album sold reasonably well but was not as successful as its predecessor. Tha Doggfather had a somewhat softer approach to the G-funk style. After Dr. Dre withdrew from Death Row Records, Snoop realized that he was subject to an ironclad time-based contract (i.e., that Death Row practically owned anything he produced for a number of years), and refused to produce any more tracks for Suge Knight other than the insulting "Fuck Death Row" until his contract expired. In an interview with Neil Strauss in 1998, Snoop Dogg said that though he had been given lavish gifts by his former label, they had withheld his royalty payments.
Stephen Thomas Erlewine of Allmusic said that after Tha Doggfather, Snoop Dogg began "moving away from his gangsta roots toward a calmer lyrical aesthetic": for instance, Snoop participated in the 1997 Lollapalooza concert tour, which featured mainly alternative rock music. Troy J. Augusto of Variety noticed that Snoop's set at Lollapalooza attracted "much dancing, and, strangely, even a small mosh pit" in the audience.
1998–2006: Signing with No Limit and continued success[]
Snoop signed with Master P's No Limit Records (distributed by Priority/EMI Records) in 1998 and debuted on the label with Da Game Is to Be Sold, Not to Be Told that year. His other albums on No Limit were No Limit Top Dogg in 1999 (selling over 1,503,865 copies) and Tha Last Meal in 2000 (selling over 2,000,000).[11] In 1999, his autobiography, Tha Doggfather, was published.
In 2002, he released the album Paid tha Cost to Be da Bo$$, on Priority/Capitol/EMI, selling over 1,300,000 copies. The album featured the hit singles "From tha Chuuuch to da Palace" and "Beautiful", featuring guest vocals by Pharrell. By this stage in his career, Snoop Dogg had left behind his "gangster" image and embraced a "pimp" image.
In 2004, Snoop signed to Geffen Records/Star Trak Entertainment, both distributed by Interscope Records; Star Trak is headed by producer duo the Neptunes, which produced several tracks for Snoop's 2004 release R&G (Rhythm & Gangsta): The Masterpiece. "Drop It Like It's Hot" (featuring Pharrell), the first single released from the album, was a hit and became Snoop Dogg's first single to reach number one. His third release was "Signs", featuring Justin Timberlake and Charlie Wilson, which entered the UK chart at No. 2. This was his highest entry ever in the UK chart. The album sold 1,724,000 copies in the U.S. alone, and most of its singles were heavily played on radio and television. Snoop Dogg joined Warren G and Nate Dogg to form the group 213 and released The Hard Way in 2004. Debuting at No.4 on the Billboard 200 and No.1 on the Top R&B/Hip-Hop Albums, it included the single "Groupie Luv". Snoop Dogg appeared in the music video for Korn's "Twisted Transistor" along with fellow rappers Lil Jon, Xzibit, and David Banner,
Snoop Dogg appeared on two tracks from Ice Cube's 2006 album Laugh Now, Cry Later, including "Go to Church", and on several tracks on Tha Dogg Pound's Cali Iz Active the same year. His song "Real Talk" was leaked on the Internet in the summer of 2006 and a video was later released on the Internet. "Real Talk" was dedicated to former Crips leader Stanley "Tookie" Williams and a diss to Arnold Schwarzenegger, the governor of California. Two other singles on which Snoop made a guest performance were "Keep Bouncing" by Too $hort (also with will.i.am of the Black Eyed Peas) and "Gangsta Walk" by Coolio.
Snoop's 2006 album Tha Blue Carpet Treatment debuted on the Billboard 200 at No.5 and sold over 850,000 copies. The album and the second single "That's That Shit" featuring R. Kelly were well received by critics. In the album, he collaborated in a video with E-40 and other West Coast rappers on the single "Candy (Drippin' Like Water)".
2007–2012: Ego Trippin', Malice n Wonderland and Doggumentary[]
In July 2007, Snoop Dogg made history by becoming the first artist to release a track as a ringtone before its release as a single, "It's the D.O.G." On July 7, 2007, Snoop Dogg performed at the Live Earth concert, Hamburg. Snoop Dogg has ventured into singing for Bollywood with his first ever rap for an Indian movie, Singh Is Kinng; the song title is also "Singh is Kinng". He appears in the movie as himself. The album featuring the song was released on June 8, 2008 on Junglee Music Records. He released his ninth studio album, Ego Trippin' (selling 400,000 copies in the U.S.), along with the first single, "Sexual Eruption". The single peaked at No. 7 on the Billboard 100, featuring Snoop using autotune. The album featured production from QDT (Quik-Dogg-Teddy).
Snoop was appointed an executive position at Priority Records. His tenth studio album, Malice n Wonderland, was released on December 8, 2009. The first single from the album, "Gangsta Luv", featuring The-Dream, peaked at No.35 on the Billboard Hot 100. The album debuted at No.23 on the Billboard 200, selling 61,000 copies its first week, making it his lowest charting album. His third single, "I Wanna Rock", peaked at No.41 on the Billboard Hot 100. The fourth single from Malice n Wonderland, titled "Pronto", featuring Soulja Boy Tell 'Em, was released on iTunes on December 1, 2009. Snoop re-released the album under the name More Malice.
Snoop collaborated with Katy Perry on "California Gurls", the first single from her album Teenage Dream, which was released on May 11, 2010. Snoop can also be heard on the track "Flashing" by Dr. Dre and on Curren$y's song "Seat Change". He was also featured on a new single from Australian singer Jessica Mauboy, titled "Get 'em Girls" (released September 2010). Snoop's latest effort was backing American recording artist, Emii, on her second single entitled "Mr. Romeo" (released October 26, 2010 as a follow-up to "Magic"). Snoop also collaborated with American comedy troupe the Lonely Island in their song "Turtleneck & Chain", in their 2011 album Turtleneck & Chain.
Snoop Dogg's eleventh studio album is Doggumentary. The album went through several tentative titles including Doggystyle 2: Tha Doggumentary and Doggumentary Music: 0020 before being released under the final title Doggumentary during March 2011.Snoop was featured on Gorillaz' album Plastic Beach on a track called: "Welcome to the World of the Plastic Beach" with the Hypnotic Brass Ensemble, he also completed another track with them entitled "Sumthing Like This Night" which does not appear on Plastic Beach, yet does appear on Doggumentary. He also appears on the latest Tech N9ne album All 6's and 7's (released June 7, 2011) on a track called "Pornographic" which also
2014–present: Bush, Coolaid, Neva Left and Bible of Love[]
In August 2014, a clip surfaced online featuring a sneak preview of a song Snoop had recorded for Pharrell. Snoop's Pharrell Williams-produced album Bush was released on May 12, 2015, with the first single "Peaches N Cream" having been released on March 10, 2015.
On June 13, 2016, Snoop Dogg announced the release date for his album Coolaid, which was released on July 1, 2016.
He headlined a "unity party" for donors at Philly's Electric Factory on July 28, 2016, the last day of the Democratic National Convention.
Released March 1, 2017 through his own Doggy Style Records, "Promise You This" precedes the release of his upcoming Coolaid film based on the album of the same name.
Snoop Dogg released his fifteenth studio album Neva Left in May 2017. He released a gospel album titled Bible of Love on March 16, 2018.Snoop was featured on Gorillaz' latest album The Now Now on a track called: "Hollywood" with Jamie Principle.
Style and rap skills[]
Kool Moe Dee ranks Snoop at No. 33 in his book There's a God on the Mic, and says he has "an ultra-smooth, laidback delivery" and "flavor-filled melodic rhyming". Peter Shapiro describes Snoop's delivery as a "molasses drawl" and AllMusic notes his "drawled, laconic rhyming" style. Kool Moe Dee refers to Snoop's use of vocabulary, saying he "keeps it real simple...he simplifies it and he's effective in his simplicity".
Snoop is known to freestyle some of his lyrics on the spot for some songs – in the book How to Rap, Lady of Rage says, "Snoop Dogg, when I worked with him earlier in his career, that's how created his stuff... he would freestyle, he wasn't a writer then, he was a freestyler," and The D.O.C. states, "Snoop's [rap] was a one take willy, but his shit was all freestyle. He hadn't written nothing down. He just came in and started busting. The song was "Tha Shiznit"—that was all freestyle. He started busting and when we got to the break, Dre cut the machine off, did the chorus and told Snoop to come back in. He did that throughout the record. That's when Snoop was in the zone then."
Peter Shapiro says that Snoop debuted on "Deep Cover" with a "shockingly original flow – which sounded like a Slick Rick born in South Carolina instead of South London" and adds that he "showed where his style came from by covering Slick Rick's 'La Di Da Di'". Referring to Snoop's flow, Kool Moe Dee calls him "one of the smoothest, funkiest flow-ers in the game". How to Rap also notes that Snoop is known to use syncopation in his flow to give it a laidback quality, as well as 'linking with rhythm' in his compound rhymes, using alliteration, and employing a "sparse" flow with good use of pauses.
Snoop re-popularized the use of -izzle speak, particularly in the pop and hip-hop music industry.
Filmography[]
Films Year Title Role Notes 1994 Murder Was the Case Himself Main role 1996 A Thin Line Between Love and Hate Himself Cameo appearance 1998 Half Baked Scavenger Smoker 1999 The Wrecking Crew Dra-Man Main role 2000 Hot Boyz C-Dawg 2000 Up in Smoke Tour Himself Concert film 2001 Training Day Blue 2001 Baby Boy Rodney 2001 Bones Jimmy Bones Main role 2001 The Wash Dee Loc Main role 2003 Old School Himself Cameo 2003 Malibu's Most Wanted Ronnie Rizzat Voice role 2004 Starsky & Hutch Huggy Bear Brown 2004 Soul Plane Captain Antoine Mack 2005 Racing Stripes Lightning Voice role 2005 The Tenants Willie Spearmint Main role 2007 Arthur and the Invisibles Max Voice role 2009 Futurama: Into the Wild Green Yonder Himself Voice role 2009 Falling Up Raul 2009 Brüno Himself 2009 Arthur and the Revenge of Maltazard Max Voice role 2011 The Big Bang Puss 2012 We the Party Big D 2012 Mac & Devin Go to High School Mac Johnson Main role 2013 Turbo Smooth Move Voice role 2013 Reincarnated Himself Documentary 2013 Scary Movie 5 Ja'Marcus 2014 The Distortion of Sound Himself 2015 Pitch Perfect 2 Himself 2015 Dispensary Mac Johnson Main role 2015 The Culture High Himself 2016 Popstar: Never Stop Never Stopping Himself 2017 Grow House Himself 2018 Future World Love Lord 2019 The Beach Bum In post-production
Television Year Title Role Notes 1997 The Steve Harvey Show Himself Episode "I Do, I Don't" 2001 King of the Hill Alabaster Jones Episode "Ho Yeah!" 2001 Just Shoot Me Himself Episode "Finch in the Dogg House" 2002–2003 Doggy Fizzle Televizzle Himself 8 episodes 2003 Playmakers Big E Episode "Tenth of a Second" 2003 Crank Yankers Himself Episode "Snoop Dogg & Kevin Nealon" 2004 Chappelle's Show Puppet Dangle/Himself Episode 10 2004 Las Vegas Himself Episode "Two of a Kind" 2004 The Bernie Mac Show Calvin Episode "Big Brother" 2004 The L Word Slim Daddy Episodes "Luck, Next Time" & "Liberally" 2004 2004 Spike Video Game Awards Host/Himself TV special 2006 Weeds Himself Episode "MILF Money" 2007–2009 Snoop Dogg's Father Hood Himself 2 seasons, 18 episodes 2007 Monk Murderuss Episode "Mr. Monk and the Rapper" 2008, 2010, 2013 One Life to Live Himself 3 episodes, wrote and produced theme song[1] 2009 Dogg After Dark Himself 1 season, 7 episodes 2009 WWE Raw Host/Himself TV special 2010 The Boondocks Macktastic Episode "Bitches to Rags" 2010 Big Time Rush Himself Episode "Big Time Christmas" 2011 90210 Himself Episode "Blue Naomi" 2011 The Cleveland Show Himself Episode "Back to Cool" 2014 Love & Hip Hop: Atlanta Himself Guest Appearance 2014 Love & Hip Hop: Hollywood Himself Guest Appearance 2015 Snoop & Son, a Dad's Dream Himself 1 season, 5 episodes 2015 Sanjay and Craig[2] Street Dogg Episode "Street Dogg" 2015 Show Me the Money 4[3] Himself Episode 4 2016 Trailer Park Boys Himself Episode "Up In Smoke We Go", "The Super Bling Cowboy", "Thugged out Gangsta Sh*t" 2016–present Martha & Snoop's Potluck Dinner Party Himself Co-host 2017 The Simpsons Himself Episode "The Great Phatsby" 2017 Growing Up Hip Hop: Atlanta Himself Guest Appearances 2017 The Joker's Wild Presented by Snoop Dogg Himself Host 2018 Sugar Himself Episode: "Snoop Dogg surprises a young father who is working to turn his life around."
Video games Year Title Role Notes 2003 True Crime: Streets of LA Himself Voice role and likeness 2004 Def Jam: Fight for NY Crow Voice role and likeness 2012 Tekken Tag Tournament 2 Himself Snoop Dogg Stage 2013 Way of the Dogg Himself Voice role and likeness 2014 Call of Duty: Ghosts Multiplayer Announcer (DLC) Voice role and likeness 2015 Family Guy: The Quest For Stuff Himself Voice role and playable character
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https://www.vibe.com/news/entertainment/boldy-james-family-snoop-dogg-relative-1234786125/
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Boldy James Told By Family That Snoop Dogg Is His Long Lost Relative
|
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"Marc Griffin"
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2023-08-31T17:48:45+00:00
|
Boldy James opened up about Snoop Dogg being a long lost relative of his, according to family members.
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en
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VIBE.com
|
https://www.vibe.com/news/entertainment/boldy-james-family-snoop-dogg-relative-1234786125/
|
Boldy James has revealed he’s related to Snoop Dogg. During an interview with Acton Entertainment, the Detroit emcee detailed how he found out, stating that his family used to tell him that Uncle Snoop was his blood relative. Boldy also spoke about the physical comparisons he would get to the West Coast icon.
“My people used to always tell me that we was related to [Snoop and his family] even before I was doin’ music,” the Griselda artist said. “A lot of people tell me the ‘Speed Demon’ video with me and Alchemist, they tell me, with that Supreme jersey I had on, I looked like Snoop in ‘Gin and Juice’… and I don’t see the similarities a lot, but I get it.”
“There’s word from my family that that’s really my family. I just never met him or we never bumped into each other.”
The rapper, né James Clay Jones III, also spoke about Eminem reaching out to him earlier this year. After he was injured in a car accident, Em tweeted he was hoping for him to pull through. “Sending out best wishes for a quick recovery for The D’s own @boldyjames!!!,” Slim Shady xweeted at the time.
Jones, 41, opened up about that moment and expressed that it “meant a lot.”
“The Eminem shoutout, wishing me a speedy recovery, it definitely meant a lot because a lot of people that was close to me didn’t even wish me well in my situation, so that meant the world to me.”
On January 9, 2023, Boldy James was in a car accident, initially leaving the rapper in critical condition. His accident required him to have surgery for an injury to his neck.
“Boldy James was involved in a serious two-car accident in the Detroit metropolitan area,” a statement read. “I can confirm that Boldy arrived at the hospital in critical condition, suffering from broken vertebrae in his neck and orthopedic injuries. After undergoing extensive surgery on his neck, Boldy has been removed from the intensive care unit and is now in stable condition…Boldy and his family would like to express their gratitude to the incredible doctors and nurses that are taking care of him, and also to the communities’ emergency medical personnel and first responders.”
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https://www.revolt.tv/article/19-intriguing-rapper-stage-names-and-the-backstories-behind-them
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19 of Hip Hop's most unique stage names and where they came from
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REVOLT collected the intriguing tales behind the stage names of artists like Lil Uzi Vert, Silkk The Shocker, JPEGMAFIA, and more. Check them out here.
|
/icons/revolt-r-logo-32x32.png
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REVOLT
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https://www.revolt.tv/article/19-intriguing-rapper-stage-names-and-the-backstories-behind-them
|
Rappers often adopt unique or unusual stage names to create a distinct identity that resonates with their audience. One of the most intriguing aspects of the rap world is the creativity that goes into these names, which often reflect personal stories, cultural references, or sheer (and random) originality. For instance, Lil Uzi Vert, born Symere Woods, chose their name because a friend remarked that their rapid rap style was reminiscent of a machine gun. That led them to combine "uzi" with "vert," a play on the word "vertical" and a symbol of their aspirations to rise to the top.
Another notable example is Childish Gambino, the stage name of Donald Glover, a comedian and actor who found his rap moniker using an online Wu-Tang Clan name generator. His choice of an alias with such a whimsical origin story underscores the often-serendipitous path to crafting a memorable persona in the Hip Hop world.
Even more interesting is how the rapper Lil Dicky, born David Burd, chose his humorous and catchy name from a very real medical issue involving his genitals. Meanwhile, Tauheed K. Epps has backstories for both his current stage name, 2 Chainz, and the professional alter ego that he used during the earlier parts of his career.
Below, check out 19 different rap names and the reasons for their creation -- some of which might surprise you more than others.
1. Plies
A XXL blog entry previously shared what was claimed to be a quote from VIBE – one that saw Plies explaining the origin of his name in the most unconventional way possible. In the above interview, the Florida talent gave a much more sensible meaning. “It’s a term from Ft. Myers that we call street cats that was gettin’ money,” he explained in the clip.
2. Waka Flocka Flame
In an interview with the Black Lips’ Jared Swilley, Waka Flocka Flame explained how the first part of his rap moniker was a nickname given to him by his cousin, a callback to a famous “Muppet Babies” catchphrase. Answering a fan in another sit-down, the New York-born, Georgia-bred talent gave credit to longtime collaborator Gucci Mane for the rest.
3. XXXTentacion
Before his unfortunate passing, XXXTentacion translated his alias to “unknown temptation.” “For some time, the ‘X’ was the only unknown numeral to me,” he stated during a radio appearance. “It’s like John Doe; John Doe stands for unknown.” “Tentación” means “temptation” in Spanish.
4. Lil Uzi Vert
Lil Uzi Vert’s name isn’t as complicated as one might think. As they explained above, a peer gave them props by comparing their fast rap flow to a machine gun, which led to the use of “uzi.” “Vert” is simply short for “vertical,” or – as the Philly rhymer put it -- “straight to the top.”
5. Ski Mask The Slump God
As he revealed in Office Magazine, all aspects of this Florida star’s name was derived from a wild lifestyle as a youth and during the earlier stages of his career. “I guess Slump God came from taking too much Xanax when I was younger,” he admitted. “I stopped taking them – me making music on Xanax is not a pretty thing. Ski Mask is just skiing, I guess being fast.”
6. Jadakiss
Speaking to China Mac, Jadakiss went into detail about how his moniker was created seemingly at random by one of his homeboys (he used to rap as J. Ski during his days in Catholic school). “He just called me [Jadakiss] by mistake and I was smart enough to experiment with it,” The LOX emcee added in a Q&A with The Harvard Crimson. “I took it and ran with it ‘cause I was looking for a name at the time anyway.”
7. Lil Ugly Mane
It’s not particularly clear where Lil Ugly Mane got such an odd moniker, but it should be noted that Travis Miller had a slew of nicknames that he utilized during different times of his career. Pseudonyms like Shawn Kemp, Bedwetter, and Vudmurk were all notable for an individual who made waves in a variety of genres, including Hip Hop, punk, metal, and even jazz.
8. Papoose
While sharing an Instagram video of his Native American-inspired chain, Papoose used the opportunity to explain where his alias was derived from. “When I was born, my grandmother gave me the nickname,” he revealed. “She felt I resembled an Indian baby. Instead of saying baby, the Indians would say papoose. She later died from cancer. So, when I became [an emcee], instead of creating a fictitious name, I kept the name she gave me.”
9. Lil Yachty
As he revealed in a HOT 97 interview, Lil Yachty’s beginnings were as a part of the Yacht Club collective, and it’s from there that he found his name. He also began using the more simplistic Lil Boat, which served as a title for his popular album and mixtape series.
10. Juice WRLD
The late Juice WRLD came upon his moniker through his love for Tupac Shakur and Juice, the film that Pac starred in. The second half represented his intent to “take over the world,” a notion he made clear to Atlanta’s Hot 107.9. Later on, the Chicago talent told Big Boy that his name also refers to Soulja Boy, who released his Juice mixtape in honor of the aforementioned movie, and MC Juice, a hometown peer who’s largely known for defeating the likes of Rhymefest and Eminem in hotly contested rap battles.
11. Childish Gambino
Donald Glover's stage name, Childish Gambino, came from a Wu-Tang Clan name generator, which makes it one of the most fascinating. “I talked to RZA, and he said, ‘Yo, the computer had a brain,’” Glover partly joked in an interview with Fuse. “For me, it’s kind of, like, silliness and kind of seriousness.” Whatever the case, the multitalent would go on to wow Hip Hop fans and even top Billboard charts using that pseudonym.
12. JPEGMAFIA
In an interview with VICE, JPEGMAFIA explained how his name was created, which appeared to be based on ASAP Mob and its members, but only in reverse. “I lived in Japan for a little bit, and we would just get nicknames off of internet s**t,” he stated. “One n**ga was PNG, one n**ga was Dropbox, and I was just JPEG. My band out there was called Ghost Pop, and one day we were f**king around like, ‘We the mafia now,’ so one was PNGMAFIA, and I was JPEGMAFIA.” Over time, his core fans and peers shortened the name to Peggy as an alternative.
13. Ol’ Dirty Bastard
Like the majority of the Wu-Tang Clan, Ol’ Dirty Bastard pulled his moniker from a martial arts film – specifically, the Chinese flick Ol' Dirty and the Bastard. As a testament to his genius, he flipped the name into another meaning, as Method Man explained how “there ain’t no father to [ODB’s] style” during an intermission on Enter the Wu-Tang (36 Chambers).
14. 2 Chainz
Before he was 2 Chainz, the Disturbing Tha Peace alum was known as Tity Boi, a nod to his relationship with his family. “The name Tity Boi actually came from my big mama, from me being spoiled and an only child – breastfed,” he explained to VIBE. To make things more family-friendly, he switched to 2 Chainz. In an interview with Shade 45, he also likened his current nickname to having a “second chance.”
15. Noname
Noname initially used the stage name Noname Gypsy, which she chose during her transition from poetry to music because she admired the nomadic lifestyle associated with gypsies. She later dropped "Gypsy" from her name after learning about its racial connotation, as she did not want to offend Romani people. Speaking to The FADER, Noname’s current moniker reflects her aversion to labels, allowing her creative freedom and the potential to pursue various roles and forms of art without being confined to any single identity.
16. Desiigner
As revealed in an MTV bio, Desiigner began his music career under the name Dezolo. He then switched things up to Designer Royel – with Royel being his middle name – before his sister advised him to drop the second half and add an extra “i,” making his pseudonym what it remains today.
17. Bubba Sparxxx
While it’s not entirely clear where the “Sparxxx” was derived from, the Georgia emcee did explain the other half of his name in an interview with SPIN. “For a while, I was Little Devil, when I was in a group called 1 Card Shi,” he said. “’Bubba’ in the South is really just a random nickname. It’s a good-ole-boy name.”
18. Silkk The Shocker
At first, the brother of No Limit Records’ Master P and C-Murder went as just Silk before adding a ‘k’ to avoid being confused with the R&B group of the same name. After his debut album, The Shocker, the New Orleans legend took that title and expanded his moniker to what fans know today.
19. Lil Dicky
|
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"Celebrity Family Feud" Snoop Dogg vs. Sugar Ray Leonard/Laila Ali vs. George Hamilton (TV Episode 2016)
|
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[] |
[] |
[
"Reviews",
"Showtimes",
"DVDs",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
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[] |
2016-07-10T00:00:00
|
Snoop Dogg vs. Sugar Ray Leonard/Laila Ali vs. George Hamilton: Directed by Ken Fuchs. With Steve Harvey, Burton Richardson, Hana Ali, Laila Ali. Snoop Dogg and family square off against Sugar Ray Leonard and family; and Laila Ali and family battle George Hamilton and family.
|
en
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IMDb
|
https://www.imdb.com/title/tt5857794/
|
Snoop Dogg and family square off against Sugar Ray Leonard and family; and Laila Ali and family battle George Hamilton and family.Snoop Dogg and family square off against Sugar Ray Leonard and family; and Laila Ali and family battle George Hamilton and family.Snoop Dogg and family square off against Sugar Ray Leonard and family; and Laila Ali and family battle George Hamilton and family.
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https://www.nbc.com/nbc-insider/2024-paris-olympics-host-snoop-dogg-height-family-age-real-name
|
en
|
All About Rapper and Olympic Commentator Snoop Dogg
|
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2024-04-22T17:45:11+00:00
|
Learn more about Snoop Dogg ahead of the 2024 Olympic Games in Paris.
|
en
|
/sites/nbcblog/themes/custom/nbcblog/images/icons/apple-touch/apple-touch-icon.png
|
NBC Insider Official Site
|
https://www.nbc.com/nbc-insider/2024-paris-olympics-host-snoop-dogg-height-family-age-real-name
|
There is no entertainer on Earth quite like Snoop Dogg – and thanks to his involvement in NBC's coverage of the 2024 Summer Olympics, the world is about to see the competition through the eyes of one of the most successful hip-hop artists in history!
The entertainment world has been buzzing ever since Snoop was chosen — alongside icons like Peyton Manning and Kelly Clarkson — as one of the official hosts of the Paris Olympics. According to NBC, Snoop Dogg will explain many aspects of the Summer Games that may not be apparent to American audiences, from historic Paris landmarks to the rules of unfamiliar sports. Snoop will have a golden opportunity to show off his chops on the microphone, too — he's slated to interview many Olympic athletes throughout NBC's award-winning coverage.
RELATED: Snoop Dogg and His Dad Look Like Literal Twins in This Throwback Photo
There's never been an Olympic host that has piqued fans' interest worldwide — so with that in mind, here's everything viewers need to know about Snoop Dogg ahead of the 2024 Summer Olympics in Paris.
How old is Snoop Dogg?
For many people it seems like Snoop Dogg has been around forever, but he's only 52 years old – he was born on October 20, 1971. Snoop was barely 21 when he was unleashed to an unsuspecting hip-hop world as a guest rapper on the seminal Dr. Dre album, The Chronic.
Seemingly overnight, Snoop Dogg climbed the hip-hop charts and catapulted the West Coast Rap genre to new heights. It wasn't long before he became an American cultural icon, with influence extending far beyond the music industry.
He's a longtime basketball fan, so it wouldn't surprise us if he has a few chats with Team USA throughout the Olympics as they march toward yet another basketball gold medal in Paris.
What is Snoop Dogg's real name?
Snoop Dogg's real name is Calvin Cordozar Broadus Jr.
(Talk about the answer to one of the most challenging trivia questions we can think of.)
We must admit, the name "Snoop Dogg" is a bit easier for potential music fans to remember, but there's something about "Calvin Cordozar Broadus Jr." that seems almost… majestic. (Okay, we're putting way too much thought into this.)
RELATED: Snoop Dogg Shares Precious Photo of His 3 Granddaughters in Matching Bows
As it turns out, it's all about sacrifice and compromise.
"I think because we were both young and we were both willing to sacrifice for each other. She knew what my dreams and goals was, and at the same time, I knew what hers were," he explained to TODAY in 2023. "To have a family and to be who we are. We both wanted to get to that goal, and when we reached it, it was hard, definitely, because you got so many different things pulling you away from marriage, and people divorcing every other day. But when you truly love somebody, there ain't nothing you can do to break that up and I feel like that was true love at first sight."
Unsurprisingly, his kids have a penchant for success. Cori is following in her dad's footsteps in the music world, even contributing guest vocals to her father's 2012 album, Reincarnated. She is a talented artist in her own right, with countless original tracks found on streaming services like Spotify and Apple Music. Corde is also heavily involved in the music world and enjoys being a family man alongside his longtime girlfriend and three children.
While Cori and Corde are the only children to capitalize on the musical talent found in her DNA, the rest of the family are no slouches — Julian currently enjoys a successful career in real estate, while Cordell is a rising star in the business world.
In other words, they're busy making their parents proud.
RELATED: What Will Snoop Dogg’s Role Be at the Paris Summer Olympics? “The OG” Just Gave Fans a Taste
Where is Snoop Dogg from?
Throughout countless iconic hip-hop records, Snoop Dogg never passes up an opportunity to give his hometown a shout-out — it's ingrained in the minds of millions of hip-hop fans, after all — Long Beach, California. It's safe to say that Snoop's success put this Southern California city on the map in more ways than one.
Thanks to the efforts of Snoop, Dr. Dre, the late Nate Dogg, and other prominent Long Beach rappers, the West Coast style of hip-hop is a genre of music that will live on in music history for years to come.
The 2024 Paris Games are well on their way to becoming the most entertaining, competitive, and memorable Olympics ever – and we're looking forward to Snoop Dogg helping viewers on NBC unpack everything they witness.
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Make Your Day
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https://open.spotify.com/album/4Ud83EYUCs4TTNtb4iQ9wl
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en
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Ghetto Organized
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https://i.scdn.co/image/ab67616d0000b273e2755813f6f8f0541eca021e
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https://i.scdn.co/image/ab67616d0000b273e2755813f6f8f0541eca021e
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[] |
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1998-10-20T00:00:00
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Listen to Ghetto Organized on Spotify · Album · Gambino Family · 1998 · 18 songs
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en
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Spotify
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https://open.spotify.com/album/4Ud83EYUCs4TTNtb4iQ9wl
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https://apnews.com/article/snoop-dogg-olympics-torch-bearer-opening-ceremony-c03807effd42a14b8747ddbb80b677cb
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en
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Snoop Dogg aims to inspire global audience at Paris Olympics as torch bearer before opening ceremony
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2024-07-24T18:11:24+00:00
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When Snoop Dogg agreed to become an Olympic torch bearer, the hip-hop star recalled an emotional, iconic moment watching Muhammad Ali light the cauldron at the 1996 Atlanta Games.
|
en
|
/apple-touch-icon.png
|
AP News
|
https://apnews.com/article/snoop-dogg-olympics-torch-bearer-opening-ceremony-c03807effd42a14b8747ddbb80b677cb
|
PARIS (AP) — When Snoop Dogg agreed to become an Olympic torch bearer, the hip-hop star recalled an emotional, iconic moment watching Muhammad Ali light the cauldron at the 1996 Atlanta Games.
Now, Snoop Dogg hopes to recreate some of that magic for a global audience watching the Paris Olympics. He’ll be one of the final torch bearers of the Olympic flame ahead of the Games’ opening ceremony on Friday.
It’s an opportunity he never imagined.
“It was emotional for all of us to see the champ holding that torch and walking up there,” Snoop Dogg said Wednesday of the late Ali, who surprised the crowd when he lit the cauldron because he had Parkinson’s disease.
Snoop Dogg will carry the torch in the Parisian suburb of Saint-Denis, according to the town’s mayor, Mathieu Hanotin.
“This is my own version of it,” Snoop Dogg said. “I don’t want to get too emotional, but I know that this is special.”
Snoop Dogg said he’s thankful for being a representative from the U.S. and France’s support in him taking part. He spoke during a call with sportscaster Mike Tirico and Molly Solomon, executive producer and president of NBC Olympics Production.
“This says a lot about America as far as where we’re at in this world,” he said. “At the same time, it says a lot about France as far as connecting the dots and allowing me to do this. I look at this as a prestigious honor and something I truly respect. I would have never dreamed of nothing like this. I’m going to be on my best behavior. I’m going to be on my best athleticism. I’ll be able to breathe slow to walk fast and hold the torch with a smile on my face, because I realize how prestigious this event is.”
Along with his torch-bearing duties, Snoop Dogg will serve as a prime-time NBC correspondent during the Games. He’ll be on the ground exploring the city’s landmarks and attending competitions and events.
The ultra-smooth entertainer already has had casual on-video interviews with a few Olympians about their sports, including women’s basketball player A’ja Wilson, gymnast Sunisa Lee, skateboarder Jagger Eaton and beach volleyball players Sara Hughes and Kelly Cheng. Last month, he met with track star Noah Lyles and participated in a 200-meter race — clocking in at 34.44 seconds — with NBC analyst Ato Boldon and former national champion Wallace Spearmon.
Snoop Dogg arrived in Paris about 10 days before the opening ceremony, meeting with athletes and their family members along with learning their back stories. He has gone to the practice facilities to visit various teams such as judo, weightlifting, 3x3 basketball and fencing.
“I’m going to show you why they made me the man to do it,” he said. “I’m going to put all of my resources and energy around it with peace, love and harmony. That’s what the Olympics is all about. I feel like that’s why they chose me. That’s what I represent.”
___
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Snoop Dogg’s metaverse stands out among the rapper’s brands—for being uncool
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[
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[
"Marco Quiroz-Gutierrez",
"Niamh Rowe",
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2023-07-27T00:00:00
|
The bottom fell out of the virtual real estate market. Can Snoop’s plan to create an “NFT label” help fill that void?
|
en
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/icons/favicons/favicon.ico
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Fortune Crypto
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https://fortune.com/crypto/2023/07/27/for-snoop-dog-web3-metaverse-land-sandbox-nfts/
|
His net worth, according to the latest available data from Forbes, is about $124 million. Snoop emphasized in a 2021 New York Times interview that when it came to the business side of things, “It’s got to be fun. And it’s going to make funds. So long as the word ‘fun’ is involved, it’s cool.”
But in the case of the metaverse, Snoop may have met his match when it comes to making things cool. The rapper embraced the new Web3 world—which still exists largely in theory—with big bets on projects like the Sandbox, and became potentially its biggest evangelist outside of Meta’s Mark Zuckerberg. But after a short-lived burst of hype, Snoop’s would-be digital empire is looking about as hip as a failed shopping mall.
Playing in the Sandbox
The Sandbox, one of the most prominent projects in the metaverse, first partnered with Snoop in September 2021. After having orchestrated several smaller collaborations, including with video game company Atari and the Cloudco Entertainment–owned Care Bears brand, Snoop lent the startup early legitimacy.
The Sandbox hosted five sold-out presales for land in its metaverse, and later hosted a sixth that unloaded about 80% of its land despite technical issues—all before it launched its first public sale on Feb. 11, 2021. At that time, a piece of metaverse real estate in the Sandbox could be yours for about $400.
As part of Snoop’s partnership with the Sandbox, he got his own space in the game called the Snoopverse. The company rushed to offer up more than 800 digital plots of land near his large estate, some of which included special access to the Snoopverse.
By the time of the first Snoop Dogg land sale, the cheapest plot in the Sandbox would set an investor back at least 15 times what it originally cost in February after the price of SAND, the platform’s cryptocurrency, skyrocketed to a high of almost $7.
The company held its first Snoop-related sale of 192 parcels on Dec. 2, 2021, and within a day someone had paid $450,000 to become his neighbor. To justify a nearly $20,000 higher price tag for so-called “premium plots,” the company also threw in several free Snoop NFTs.
“The real enticing point is the fact that you’re going to have access to somebody’s party, you’re going to have access to somebody’s group,” said Jason Chung, an attorney and the director of the e-sports and gaming initiative at the NYU SPS Tisch Institute for Global Sport. “That’s really what was for sale.”
By the end of December 2021, the Sandbox claimed it had sold $1.66 million worth of metaverse land in just a few weeks, in part because of the Snoop-related sales, according to VentureBeat.
But as the once-white-hot blockchain industry slumped into so-called Crypto Winter, the exorbitant prices that some investors paid to own virtual property near Snoop cratered.
“Regular” plots of land had sold for about $6,773 when the Sandbox’s native cryptocurrency, SAND, was near its all-time-high of about $6.70, according to CoinMarketCap. At today’s price, about 42 cents, each of those plots is worth just $424, a whopping 94% decrease. The “premium” parcels, offered up at about $31,300 in 2021, are now worth about $2,000.
Several of the parcels recently have received lowball offers, below the price floor, which means a bidder is offering an amount in crypto lower than what the cheapest plot of land is being offered for on third-party exchanges. The lowest-priced piece of land was being offered by a seller at $559 as of Thursday, a far cry from the $13,200 price floor around the time of the first Snoop-related land sale, according to data from CoinGecko.
The anonymous NFT investor who paid nearly half a million dollars to become Snoop’s neighbor could have gotten the same plot today for just under $30,000. Another Snoop NFT collection released in February, “The Doggies,” a series of 10,000 avatar NFTs modeled after Snoop that users could play as in the Sandbox, were sold for $500 when they debuted. Their price floor at time of publication was hovering near $80.
A spokesperson for the Sandbox acknowledged the market slowdown, adding that “the utility provided” by virtual land parcels “has given it strong resilience,” and that the “success we’ve had on our LAND offerings throughout the first half of 2023 is a testament to this.”
Snoop’s metaverse investment is a dog
Investors who rushed in to be near Snoop in the Sandbox have gotten soaked, but the performance of the rapper’s own Web3 portfolio is hardly any better.
Because of the anonymous nature of the blockchain, where a decentralized crypto wallet can stand alone without being associated with an individual, it’s difficult to identify with certainty the the full extent of Snoop’s personal Web3 holdings. Crypto data firm DappRadar, for instance, identifies two wallets as tied to Snoop, but some have cast doubt on whether one of the accounts, associated with anonymous crypto investor Cozomo de’ Medici, is his at all.
Still, DappRadar data for the non–Cozomo de’ Medici wallet tied to Snoop suggests he currently owns about $540,000 dollars in crypto and NFTs. This is nearly half of the $1.2 million his wallet was worth just in January, according to DappRadar. The rapper owns an estimated 6,976 different NFTs across 346 collections. At least 21 collections are worth less than what he originally paid, and his purchases in just three collections, including the most popular NFT series Bored Ape Yacht Club, have earned him any money. The vast majority of his NFTs were airdropped or transferred to him. By reviewing DappRadar’s data on profit and loss numbers for the NFTs in Snoop’s crypto wallet, Fortune found that of the collections where he has lost money, he has an estimated average loss of 81%.
The rapper owns an estate made up of what would otherwise be 144 plots of land in the Sandbox. Fortune reached out to Snoop, who did not respond to requests for comment on this story, but a Sandbox spokesperson said the company controls Snoop’s virtual plots because it’s “leading the development of his experiences” and needs “access to the LAND to publish them.”
Some still believe
Although 2021 led to a mania of speculation for metaverse land, this year investors and users alike have shifted their attention to A.I. and other technologies, causing the price of virtual land to collapse.
“Ultimately, it wasn’t fun enough,” said NYU’s Chung. “It wasn’t advanced enough, and it wasn’t something that was ready for prime time.”
As for the investors who bought land in metaverse platforms like the Sandbox and Decentraland, the future of those plots is unclear. According to a report by DappRadar, there were only 8,000 sales of digital land in June, and transaction volume in all of the second quarter was about $58 million. This was an 81% decrease from the first three months of the year, in which trading of digital land included more than 140,000 sales and reached $311 million in transaction volume.
Two big reasons virtual land became so highly priced were its artificial scarcity and the fact that many of the parcels were near others owned by companies or celebrities like Snoop, Steve Aoki, or Paris Hilton.
Martha Bennett, principal analyst at Forrester Research, said these motivations in themselves were flawed. If land is scarce and the price goes too high on one platform, she said to Fortune, what’s to stop a consumer from switching to another? And does proximity really matter in cases where you can simply transport from one area to another, as is common in video games?
Still, Bennett added that the staying power of virtual worlds is clear, although incorporating crypto may not be necessary.
“Let’s take Roblox—you’ve got 60 million daily active users there,” she said. “You’re lucky to get a few hundred, or a few thousand, on those Web3-connected environments.”
The price of metaverse land is now a fraction of what it was worth at its peak, and it’s unclear if it will ever rebound. There is a spot of hope for owners in the Sandbox, at least: The company announced this month that by the end of 2023, it plans to open the game up to its estimated 23,000 virtual land owners and enable them to publicly launch their own experiences, like games, on their land.
Up until now, the game has only been open on select occasions for “alpha seasons.” Adding more users could create a renewed interest in virtual land, which could drive up prices.
Other metaverse land buyers said they’re less concerned with the decline. Ruben Santa, a senior UX designer at YouTube, bought a plot of land close to the Snoopverse for tens of thousands of dollars in 2022. As of Wednesday, the best offer for his parcel on OpenSea was less than $1,000.
Despite that, Santa said he cares less about the devaluation than he does its potential. “I don’t check how much my land is worth today versus how much it was worth last month,” he said.
He was convinced to buy it in part because he saw the potential for Snoop to bring new music-related immersive experiences to the metaverse, such as digital concerts. Santa is holding on to it because he may eventually build something on it, or use it—or flip it—for a profit. Maybe one day brands will pay him to post billboards there, or he could rent some or all of it to another user, he said.
“I didn’t invest because I said, ‘I want to buy this land, and then I want to sell it next week and make a buck,'” he said. “I invested because I saw a long-term vision of what this platform can become.”
Salvaging some cool
Elsewhere in Web3, some of Snoop’s efforts have paid off. After being turned down once by its former owner, eOne Music, the rapper finally bought the first label that signed him, Death Row Records, from its new owner, MNRK Music Group, in February 2022. Just days after buying it, the label released its first line of NFTs, B.O.D.R. Stash Boxes, which included a mix of NFTs from the artist and launch partner Gala Games. The sale raked in at least $45 million in less than a week.
The rapper has since said that he wants to make Death Row “an NFT label” and bring artists into the metaverse. Just this month, Snoop also launched a new collection called Passport Series that evolves as he progresses on his tour this year.
Cait Lamberton, a marketing professor at the University of Pennslyania, said Snoop’s reputation is not likely to take a hit for his association with NFTs or metaverse land, despite the recent market declines.
“I think there are so many enormous brands playing in this space right now that no one will be faulted for experimenting there,” she said. “In the end, that’s really all we’re doing right now.”
|
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4521
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dbpedia
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https://www.blackpast.org/african-american-history/snoop-lion-snoop-doggy-dogg-broadus-calvin-cordozar-1971/
|
en
|
Calvin Cordozar "Snoop Lion/Snoop Doggy Dogg" Broadus (1971
|
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2013-11-03T21:59:15+00:00
|
Snoop Lion, also known as Snoop Doggy Dogg, was born Calvin Cordozar Broadus to Beverly Tate and Vernell Varnado in Los Angeles, California, on October 21, 1971. Named for his adoptive stepfather Cordozar Calvin Broadus, Sr., Snoop was nicknamed “Snoopy” as a child by his … Read MoreCalvin Cordozar “Snoop Lion/Snoop Doggy Dogg” Broadus (1971- )
|
en
|
https://www.blackpast.org/african-american-history/snoop-lion-snoop-doggy-dogg-broadus-calvin-cordozar-1971/
|
Snoop Lion, also known as Snoop Doggy Dogg, was born Calvin Cordozar Broadus to Beverly Tate and Vernell Varnado in Los Angeles, California, on October 21, 1971. Named for his adoptive stepfather Cordozar Calvin Broadus, Sr., Snoop was nicknamed “Snoopy” as a child by his mother, who thought her son resembled the character from the classic Peanuts comic strip.
Snoop began rapping in middle school, and after graduating from Long Beach Polytechnic High School in 1989, he formed a group named 213 (the area code for Long Beach at the time) with his friends Warren G (Warren Griffin) and Nate Dogg (Nathaniel Hale, 1969-2011). During this time, Snoop was also loosely associated with the Crips, a Los Angeles street gang, arrested on cocaine possession charges and spent time in and out of prison.
Dr. Dre, of the West Coast gangsta rap group N.W.A., became aware of Snoop through his step-brother, Warren G. Dre was impressed enough with Snoop to feature him on his first solo release following his departure from N.W.A., the title track to the film Deep Cover (1992). When Dre released his debut solo album, The Chronic (1992), Snoop emerged as the star of the record.
Snoop’s performances on “Deep Cover” and The Chronic bred high expectations for his own debut album, Doggystyle (1993). Produced by Dr. Dre, the album featured what was becoming known as the “G-Funk” sound, made up of multiple samples from “P-Funk” records by rhythm and blues artists such as George Clinton and Parliament-Funkadelic. Doggystyle was certified platinum multiple times, reached number one on the Billboard chart, and produced two top-ten singles (“What’s My Name” and “Gin & Juice”).
While Snoop was recording Doggystyle in 1993, he was arrested and charged with murder after his bodyguard McKinley Lee shot and killed Phillip Woldermarian from the passenger seat of a car Snoop was driving. In the aftermath of this incident, Snoop made a short film and released an accompanying soundtrack called Murder Was the Case (1994). Snoop pled not guilty on the grounds of self-defense, claiming that the victim was a rival gang member who had been stalking him. With attorney Johnnie Cochran leading the defense, both Snoop and Lee were acquitted in 1996.
Snoop’s second album, The Doggfather (1996), also reached number one despite the absence of Dr. Dre, who had left Death Row Records in a contract dispute. Snoop would also depart soon after the death of his friend and label mate Tupac Shakur in late 1996, signing with New Orleans-based No Limit Records. He has continued to release successful records and has collaborated with numerous artists such as Justin Timberlake, Katy Perry, and R. Kelly.
Snoop has developed an acting career spanning two decades. He has well over a dozen movies to his credit, including roles in Training Day (2001), Starsky & Hutch (2004), and Scary Movie 5 (2013). Snoop has also made guest appearances on numerous television shows and starred in his own reality series. In 2012, Snoop announced that he had experienced a spiritual awakening at the hands of a Rastafarian priest in Jamaica and came away with a new stage name, Snoop Lion.
Snoop married his high school sweetheart, Shante Taylor, in 2007. The couple have three children: sons Corde (born 1994), Cordell (born 1997), and daughter Cori (born 1999).
|
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https://www.acclaimmag.com/culture/snoop-doggs-appearance-on-family-feud-went-pretty-much-as-expected/
|
en
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Snoop Dogg's appearance on Family Feud went pretty much as expected — Acclaim Magazine
|
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2016-07-12T02:32:20+00:00
|
AUS TO THE WORLD.
|
en
|
Acclaim Magazine
|
https://acclaimmag.com/culture/snoop-doggs-appearance-on-family-feud-went-pretty-much-as-expected/
|
When our beloved Uncle Snoop isn’t busy French inhaling, being the host with the most, or dropping gangsta shit, he’s a bit of a family man, appearing on Celebrity Family Feud to take on American former professional boxer, Sugar Ray Leonard.
Not surprisingly, at some points it was difficult to comprehend exactly where Snoop’s mind was at. When asked to fill in the blank for “pie in the –”, Cordozar promptly replied, “pie in the horse” … I’m sorry, what? Seems like someone’s had a bit too much bubonic chronic. (Don’t worry, we aren’t judging but if Snoop does offer you pie, don’t eat it.)
The most shocking part of this episode however, occurred in a fast money showdown between Snoop and Sugar Ray. Upon being asked, “Name something grandma would do if she caught grandpa smoking weed,” Snoop managed to beat the lightning fast boxer to the buzzer, answering “put hands on him” (hit him). It was not enough to win the round though, with Leonard’s answer “she would scream at him” scoring higher than Snoop. What is the world coming to when the man that smokes weed everyday loses a question about Mary Jane?
But it turned out all right for the Doggfather with the Broadus family eventually walking away with $25,000 for the Snoop Youth Football League. Check out more Snoop on Family Feud below.
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https://www.siliconvalley.com/2024/07/30/gangsta-rapper-to-grandfather-the-olympic-gold-rebranding-of-snoop-dogg/
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en
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Gangsta rapper to grandfather: The Olympic gold rebranding of Snoop Dogg
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2024-07-30T00:00:00
|
Had Snoop Dogg pretended to take a toke from the Olympic torch he helped carry to open the 2024 games, few people would have been surprised.
|
en
|
Silicon Valley
|
https://www.mercurynews.com/2024/07/30/gangsta-rapper-to-grandfather-the-olympic-gold-rebranding-of-snoop-dogg/
|
Had Snoop Dogg pretended to take a toke from the Olympic torch he helped carry to open the 2024 games, few people would have been surprised.
But the now cannabis entrepreneur and elder statesman of hip-hop is in his respectable era – he’s a little older, a little wiser and a whole lot more lovable.
The 52-year-old rapper’s transformation – from superstar on trial for murder in the 1990s to Martha Stewart bestie on “grandpa’s duties” at the Olympics – has been so slow and shrewd that it’s very natural to ask: How did we get here?
P. Frank Williams covered Snopp Dogg’s murder trial for the Los Angeles Times and co-wrote the book “Chosen by Fate: My Life Inside Death Row Records” with the musician’s co-defendant McKinley Lee Jr.
Williams told CNN the answer is actually quite simple.
“He worked hard and loves what he does,” said Williams, who most recently directed Hulu’s “Freaknik: The Wildest Party Never Told” documentary. “Snoop has this likability and charm that you can’t buy.”
Not to mention an arc that’s a testament to the power of reinvention.
Tough start in Long Beach
Born Calvin Cordozar Broadus Jr. in Long Beach, California, Snoop Dogg earned the family nickname “Snoop” because of his resemblance to the Peanuts character.
He came up during a time when gang violence and crack were devastating inner city neighborhoods in Los Angeles. Despite being a star athlete in high school, Snoop fell into that life, selling drugs and getting into trouble as a teen.
“I was always scared. That’s why I believe I survived because you have to have either fear or respect. And I didn’t understand respect, so I feared everything,” Snoop Dogg told Howard Stern in 2021. “A lot of times I got shot at; a lot of times I had a gun in my possession and could have shot back but I was too scared to shoot back because I was so concerned for my life. It’s either fight or flight and most of time when you’re out there, it’s flight.”
That “gangsta” persona would follow him when he first found fame in 1992 as the guest rapper on producer and NWA member Dr. Dre’s debut solo single “Deep Cover,” for the movie of the same title.
That led to working with Dre on his now iconic album “The Chronic.”
Snoop Dogg’s debut album, “Doggystyle,” would follow. A critical and commercial success, the album cemented him as the premiere artist with Death Row Records and one of the rappers most associated with West Coast rap.
But by that point, trouble was brewing.
A trial and trying something different
The rapper and his bodyguard Lee Jr. were accused of murder in the 1993 death of 20-year-old Philip Woldermariam whom Lee, Jr. admitted to shooting, but claimed self defense.
Woldemariam’s death happened shortly before the release of Snoop Dogg’s debut album and brought a great deal of attention to one of the singles, “Murder Was the Case,” which Snoop Dogg later said was written a year prior and highly prophetic.
“My peers, we wrote about death. You see, and I wrote that song ‘Murder Was the Case’’ where I was like, ‘I came when my booboo’s ‘bout to have my baby,’” he told Audible’s “Words + Music” last year. “[His then-girlfriend now wife Shante Broadus] wasn’t even pregnant, and I hadn’t even caught the murder case.”
Famed O.J. Simpson defense attorney Johnnie Cochran represented Snoop Dogg and Lee Jr. when the case went to trial in 1996 and resulted in an acquital.
That same year, Snoop Dogg released his second studio album, “Tha Doggfather,” which featured a softer version of the rapper, which he has since said his record label was not happy about.
It was so noticeably different from his debut album that years later people were still talking about how it felt more restrained and less hardcore than his debut.
“What Snoop tries to do throughout ‘Doggfather’ is exhibit the sort of maturation that was probably taking place in his life: he was 25 now, a father, had successfully navigated a terrifying legal gauntlet, had adjusted enough to the money and fame and constant paranoia,” Paul Thompson wrote for Fader in 2019. “But instead of making a hard break into a new, constructed persona –– or, instead of flitting between familiar fare and songs that were radically different –– he mostly just dials his old style down to 80 percent.”
At the time, Snoop Dogg has said, Death Row Records was not happy about his pivot.
“They wanted me to keep it gangsta,” he told Jemele Hill in 2019 during an episode of her “Unbothered” podcast. “They wanted me to, like, remain gangsta and still be, you know, f**king s**t up, but I just went through a murder case and I couldn’t.”
He said, “My heart and my spirit wasn’t in the place” to continue to embody his former persona. So, he rejected his label’s advice to go that direction.
He told Hill he’s been determined to be authentic and that meant growing as his life has changed because, “Me being me is all I know how to do.”
“As you grow older and you learn how to be a man, you have a family, things that you living for than that becomes the scope,” he said. “And I’ve never been afraid to position my life and say that I have a family now.”
Building an empire
Married to his high school sweetheart Shante Broadus since 1997, Snoop Dogg and his wife are the parents of sons Corde, 29, Cordell, 27 and Julian, 26 and daughter Cori, 25, as well as a dozen grandchildren.
Earlier this year he told Jennifer Hudson on her daytime talk show that his grandkids call him “Papa Snoop.”
Having a growing family meant he also needed to grow his paycheck, and he has certainly done that.
His portfolio now includes everything from his own line of wine with 19 Crimes to his Snoop Loopz cereal brand and, of course, a line of cannabis products.
Along the way, he has also managed to indulge in his passion for both sports and entertainment with his youth football league and acting gigs.
Along the way he’s gotten a little help from his friends, including domestic arts doyenne Martha Stewart.
The unlikely pair even had their own reality show, “Martha & Snoop’s Potluck Dinner Party” which launched in 2016 and ran for two seasons.
The rapper did all that while still managing to keep his large footprint in the music industry with current major acts including K-Pop superstars BTS recruiting him to collaborate.
Going for the gold
Yet nothing is as indicative of Snoop Dogg’s place as a national treasure as his selection to be one of the bearers of the Olympic torch at this year’s games held in Paris.
There was Snoop Dogg, not only running with the torch, but also sparking delight as he helped conduct interviews for NBC (which is airing the games), offering spot on and hilarious commentary about competitions and fawning over athletes.
There was precedence given that in 2021 he and friend Kevin Hart hosted “Olympic Highlights with Kevin Hart and Snoop Dogg” for NBC’s streamer Peacock, in which they conducted interviews and offered some laugh-out-loud commentary during the competitions.
This year, Snoop Dogg talked to NBC about what it meant to him to carry the torch during the opening ceremony’s relay.
“I felt like Muhammad Ali. It was extraordinary, it was excellent,” he said. “I found out that when you hold the torch you a peace messanger so I really felt good about that.”
Williams, who as a journalist covered Snoop Dogg for years, shared what he believes other stars can learn from Snoop’s arc as a celebrity.
“Trust your gift and be yourself,” he told CNN. “People love Snoop because of his authenticity! He’s is the same backstage and onstage.”
Fo shizzle.
The-CNN-Wire™ & © 2024 Cable News Network, Inc., a Warner Bros. Discovery Company. All rights reserved.
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Freshmen of the 105th Congress
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Virginia - 5th District
Representative-Elect
Virgil H. Goode Jr. (D-Va.)
Born: Oct. 17, 1946, Richmond, Va.
Education: U. of Richmond, B.A. 1969; U. of Virginia, J.D. 1973.
Military Service: Va. National Guard, 1969-75.
Occupation: Lawyer.
Family: Wife, Lucy; one child.
Religion: Baptist.
Political Career: Va. Senate, 1973-97; sought Democratic nomination for U.S. Senate, 1982, 1994.
Capitol Office: 1520 Longworth Bldg. 20515; 225-4711.
By Congressional Quarterly
Goode was able to retain a conservative district with historic Democratic roots by campaigning in an old-fashioned manner on old- fashioned conservative Southern issues: guns, abortion and tobacco.
At the same time, Goode, who represented a state Senate district toward his new district's southern end, held appeal among more liberal constituents with his longstanding support of civil rights. He also echoed Democrats around the country in pledging support for Medicare and federal support of education.
His Republican opponent, attorney George C. Landrith III, attempted to link Goode to the tobacco regulations proposed in 1996 by the Clinton administration. But Goode was quick to distance himself from those plans, saying, "If it regulates tobacco, is the [Federal Drug Administration] going to regulate sunshine next? People get skin cancer from too much sun."
Goode will be able to watch out for the interests of the district's tobacco growers from his new perch on the Agriculture Committee.
He didn't have to stretch to prove his bona fides as a party maverick. After the state legislative elections of 1995, in which Goode ran unopposed for the fifth consecutive time, the state Senate was deadlocked. Democrats retained effective control because the Democratic lieutenant governor held a tie-breaking vote, and the party sought to retain total control of the committee system.
But Goode insisted on an "equitable division" and cast his lot with the Republicans, forcing a power-sharing arrangement in which the GOP gained control of four committees. Goode himself surrendered a gavel to a Republican to help grease the deal. But under the new order, he earned a slot on the conference committee that determines the state budget. Goode reportedly disapproved of the Democrats who were in line to chair some committees, thinking them hostile to gun rights and the tobacco industry.
Goode sponsored a state law that allows sane Virginia residents over age 21 to have permits to carry concealed weapons. As a precaution, the law prohibited carrying hidden guns in places where alcohol is publicly served.
Goode campaigns in a low-key style, winging most speeches and driving to small-town events in a phone-free car. He habitually hands out emery boards and pencils with his name embossed on them. His father, who served as a prosecutor and state delegate, used to give out kitchen implements.
Goode says that he remains in the Democratic Party because his "Daddy was a Democrat," citing his father's appreciation for New Deal programs that aided rural areas. A product of public schools, Goode has opposed tuition tax credits and school vouchers.
His stances on other issues, though, are sufficiently in line with social conservative thought that Christian Coalition Executive Director Ralph Reed hailed Goode's victory at a news conference after the election. Goode supports term limits and opposes abortion in most cases. He immediately joined the so-called Blue Dog Coalition of conservative, mostly Southern, House Democrats and was named chairman of their task force on transportation.
Goode immediately won the support of elected area Democrats, arranging for most prominent legislators in the 5th District to appear at his side as he announced his bid. Goode held the news conference the day after Democrat L.F. Payne Jr. stepped down. Since winning his state Senate seat at age 27, Goode had made no secret of his ambitions for higher office, twice pursuing U.S. Senate seats without success, in 1982 and 1994.
The GOP had a good candidate in Landrith, who had barely lost to Payne in 1994. But this time around, Landrith was distracted by bad publicity over a libel suit that he had lost and a dispute between his wife and a pet store owner. And Goode left too little running room to his right.
© 1997, Congressional Quarterly Inc. All rights reserved.
Washington - 9th District
Representative-Elect
Adam Smith (D-Wash.)
Born: June 15, 1965, Washington, D.C.
Education: Fordham U., B.A. 1987; U. of Washington, J.D. 1990.
Occupation: City prosecutor; lawyer.
Family: Wife, Sara.
Religion: Christian.
Political Career: Wash. Senate, 1991-97.
Capitol Office: 1505 Longworth Bldg. 20515; 225-8901.
By Congressional Quarterly
At 31, Smith comes to Washington already equipped with significant political savvy and extensive legislative experience at the state level.
But Smith, who is the second Democrat and third person to represent this swing district in as many terms, will need his vaunted political skills to stay at least one step ahead of shifting winds and a changeable constituency.
A former state senator from the southeastern Seattle suburb of Kent, Smith was first elected to the Legislature in 1990, scoring an upset victory over a 16-year incumbent.
That victory, at age 25, made Smith the youngest state senator in the country at that time. In 1994, when many Democratic officeholders in the state were summarily swept out of office by a Republican tide, Smith ran for a second term and won re-election.
In both races, Smith earned a reputation as a strong and active campaigner by personally visiting more than 40,000 homes in his district, giving dozens of speeches at area schools and holding almost two dozen town meetings.
Smith, a former prosecutor in populous King County (Seattle), also won respect as being tough on crime for specializing in cases of domestic violence, spousal abuse and drunk driving.
Drawing on his criminal justice experience, Smith became known as a champion of education and justice issues during his service in Olympia. In 1992, he was appointed chairman of the state Senate's Law and Justice Committee, a position he held for four years.
Smith, who is a native of Washington, likes to point out that he is a lifelong resident of the community who worked his way through undergraduate school by loading trucks and earned his law degree at the University of Washington in Seattle.
To further illustrate his working-class roots and his empathy for working families, Smith seldom misses a chance to mention that his father worked for 30 years as a baggage handler at Seattle- Tacoma International Airport and was an active union member in the International Association of Machinists and Aerospace Workers.
As a member of Congress, Smith has pledged to continue emphasizing issues such as education, with particular emphasis on job training and economic development. And indeed, his committee assignments could not be better tailored to the economic concerns of the Puget Sound region: He was named to the Resources Committee and the National Security Committee.
A rising star among Washington Democrats, Smith had long been considered a strong contender for higher elected office when he announced in July 1995 that he would challenge freshman Republican Rep. Randy Tate.
Much like Smith, Tate was a veteran of the state Legislature, and he had defeated one-term Democrat Mike Kreidler in 1994. A vocal supporter of Republican House Speaker Newt Gingrich, Tate was a strong supporter of the House GOP's "Contract With America" and an advocate of reducing the size and scope of the federal government.
But singling out GOP proposals to alter such programs as college student loans, worker safety programs and environmental protection laws, the AFL-CIO launched an 18-month barrage of television and radio commercials aimed at unseating Tate.
While the AFL-CIO ads did much of the dirty work by attacking Tate, Smith spent the majority of his time and resources defining himself as a moderate, common-sense candidate, who would seek to make government work better and more efficiently. In an early indication that the messages were taking hold with voters, Smith bested Tate by 2 percentage points in a trial-run primary in September in which both candidates appeared on the same ballot.
Tate, who frequently denounced the AFL-CIO media campaign but had largely ignored Smith to that point, shifted his re-election campaign into high gear in an attempt to turn around public opinion. But it was too little, too late. Smith actually increased his margin of victory in November.
© 1997, Congressional Quarterly Inc. All rights reserved.
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Louisiana House of Representatives 24
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Adams, Roy Daryl
District 62
Democrat
P. O. Box 217 Jackson, LA 70748
(225) 634-7470
hse062@legis.la.gov
Senate Dist. 6, 15 and 17
Bagley, Larry A.
District 7
Republican
671 Hwy. 171 Suite E Stonewall, LA 71078
(318) 925-9588
bagleyl@legis.la.gov
Senate Dist. 31 and 38
Bayham, Jr., Michael Robert
District 103
Republican
100 Port Boulevard Suite 40 Chalmette, LA 70043
(504) 512-3628
hse103@legis.la.gov
Senate Dist. 1 and 3
Boyd, Delisha
District 102
Democrat
3401 General De Gaulle Drive Suite 5076 New Orleans, LA 70114
(504) 223-3077
hse102@legis.la.gov
Senate Dist. 7
Brass, Ken
District 58
Democrat
22140 Highway 20 Suite C Vacherie, LA 70090
(225) 265-9005
brassk@legis.la.gov
Senate Dist. 2, 18 and 19
Braud, Jacob
District 105
Republican
8114 Hwy 23 Suite 103 Belle Chasse, LA 70037
(504) 230-2360
hse105@legis.la.gov
Senate Dist. 7 and 8
Cox, III, Vincent E.
District 85
Republican
200 Derbigny GGB, Suite 4300 Gretna, LA 70053
(504) 361-6013
hse085@legis.la.gov
Senate Dist. 7 and 8
DeWitt, Jason Brian
District 25
Republican
Physical Address: 7050 LA-1 Boyce, LA, 70409 Mailing Address: P.O. Box 1406 Tioga, LA 71477
(318) 277-7475 or (318) 277-7475
hse025@legis.la.gov
Senate Dist. 28, 29, 30, 31, and 32
Dickerson, Kellee Hennessy
District 64
Republican
32350 La Hwy 16 Building F, Suite 2 Denham Springs, LA 70706
(225) 380-4232
hse064@legis.la.gov
Senate Dist. 6 and 13
Freeman, Aimee Adatto
District 98
Democrat
Physical Address: 200 Broadway Street Suite 212 New Orleans, LA 70118 Mailing Address: P.O. Box 850901 New Orleans, LA 70185
(504) 861-1614
hse098@legis.la.gov
Senate Dist. 5 and 9
Freiberg, Barbara Reich
District 70
Republican
5800 One Perkins Place Suite 7A Baton Rouge, LA 70808
(225) 763-3500
hse070@legis.la.gov
Senate Dist. 6, 14 and 16
Gallé, Jr., Jack "Jay" William
District 104
Republican
790 Florida St. (US 190) Suite 3B Mandeville, LA 70448
(985) 624-4603
hse104@legis.la.gov
Senate Dist. 1 and 11
Green, Jr., Kyle M.
District 83
Democrat
6641 Westbank Expwy. Suite D Marrero, LA 70072
(504) 349-8788
hse083@legis.la.gov
Senate Dist. 5, 8 and 19
Hilferty, Stephanie
District 94
Republican
3331 Severn Ave. Suite 206 Metairie, LA 70002
(504) 885-4154
hilfertys@legis.la.gov
Senate Dist. 4 and 9
Hughes, Jason
District 100
Democrat
P. O. Box 872461 New Orleans, LA 70187
(504) 246-9707
hse100@legis.la.gov
Senate Dist. 1, 3 and 4
Illg, Jr., John R.
District 78
Republican
6387 Jefferson Highway Harahan, LA 70123 *Not ADA accessible. Please call to make accommodations.
(504) 737-0315
hse078@legis.la.gov
Senate Dist. 10
Jackson, Steven
District 2
Democrat
Physical Address: 101 Milam Street Suite 100 Shreveport, LA 71101 Mailing Address: P. O. Box 2113 Shreveport, LA 71166
hse002@legis.la.gov
Senate Dist. 36 and 39
Knox, Alonzo L.
District 93
Democrat
1239 Baronne Street New Orleans, LA 70113
(504) 568-3101
hse093@legis.la.gov
Senate Dist. 3, 4 and 5
Lyons, Rodney
District 87
Democrat
5201 Westbank Expressway Suite 114 Marrero, LA 70072
(504) 510-5417
lyonsr@legis.la.gov
Senate Dist. 5, 7 and 8
Mack, Shane
District 95
Republican
Physical Address: 29724 S. Magnolia Suite 3 Livingston, LA 70754 Mailing Address: P. O. Box 1354 Livingston, LA 70754
225-686-7500
hse095@legis.la.gov
Senate Dist. 6, 13 and 37
McCormick, Danny
District 1
Republican
P. O. Box 160 Oil City, LA 71061
(318) 995-8040
hse001@legis.la.gov
Senate Dist. 38 and 39
Mena, Shaun Raphael
District 23
Democrat
4603 South Carrolton Ave Suite E New Orleans, LA 70119
(504) 396-4105
hse023@legis.la.gov
Senate Dist. 4 and 5
Newell, Candace N.
District 99
Democrat
New Orleans Lake Front Airport Terminal Building Suite 149 6001 Stars and Stripes New Orleans, LA 70126
(504) 240-3435
hse099@legis.la.gov
Senate Dist. 3 and 4
Orgeron, Joseph A.
District 54
Republican
Physical Address: 15063 East Main Street Cut Off, LA 70345 Mailing Address: P. O. Box 1746 Larose, LA 70373
(985) 693-9000
hse054@legis.la.gov
Senate Dist. 8, 19 and 20
Phelps, Tammy T.
District 3
Democrat
810 E. 70th Street Suite A Shreveport, LA 71106
(318) 862-3080
hse003@legis.la.gov
Senate Dist. 38 and 39
|
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https://artsandsciences.syracuse.edu/news-all/news-2018/2018-humanities-center-fellows/
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The Humanities Center in the College of Arts and Sciences (A&S) celebrates the accomplishments of its 2017-18 fellows. The cohort consisted of semester-long Faculty Fellows, as well as yearlong Dissertation Fellows and Graduate Student Public Humanities Fellows.
Vivian May, director of the Humanities Center, is proud of this year's awardees. “They exhibited scholarly excellence for which the University is known,” says May, also a professor of women’s and gender studies in A&S. “Their projects ranged from the traditional to the interdisciplinary, and included narratives, histories, genres and communities that often have been overlooked or underappreciated.”
This year’s Faculty Fellows were Mike Goode, associate professor of English; Radha Kumar, assistant professor of history in A&S and the Maxwell School of Citizenship and Public Affairs; and James Gordon Williams, assistant professor of African American studies. Sascha Scott, associate professor of art history in the Department of Art and Music Histories (AMH), was a Syracuse Symposium Faculty Fellow.
The Dissertation Fellows were Maria Carson, a Ph.D. candidate in religion, and Thomas J. (T.J.) West III G’11, G’18, who graduated in May with a Ph.D. in English.
The Graduate Student Public Humanities Fellows, supported in partnership with the Mellon-sponsored Central New York Humanities Corridor and Humanities New York, were Hugh Burnam, a Ph.D. candidate in Cultural Foundations of Education in the School of Education, and Matthew Stewart, a Ph.D. candidate in history in the Maxwell School.
“The fellows’ work exuded disciplinary rigor, interdisciplinary creativity and ethical engagement with issues of social justice and global citizenship—the hallmarks of a 21st-century liberal arts education,” May continues.
Every spring, the Humanities Center supports up to four Faculty Fellows: three from A&S (one of whose research embodies the Syracuse Symposium theme) and one from Maxwell.
Mike Goode
“Romantic Capabilities: The Media Behaviors of William Blake, Jane Austen and Walter Scott”
Goode used his Faculty Fellowship to examine how Romantic texts theorize reader participation and prefigure ways they are embraced after publication. His research concerned the viral dissemination of William Blake’s proverbs and pictures, the phenomenon of Jane Austen-based fan fiction and the early virtual reality media experiments with Walter Scott’s historical novels.
“Any given media behavior of a text can advance a wide range of interpretations and political agendas, bringing to life latencies in a text’s form. These latencies often force us to rethink the text’s significance at the time it was written,” says Goode, who studies the impact of British Romantic literature on culture, gender, media and intellectual history.
Goode is parlaying his fellowship research into a similarly titled book project. “The book will examine how new media forms can extend the lives of certain British Romantic texts, causing us to reconsider the texts’ political potentials in their original historical contexts,” he says.
Radha Kumar
“Police, Everyday Violence and Governmentality in Colonial India”
A historian of colonial and post-colonial South Asia, Kumar relied on her Faculty Fellowship to research and write an article titled “Police, Everyday Violence and Governmentality in Colonial India.”
To appreciate Kumar’s project is to understand Michel Foucault’s concept of “governmentality.” (He was a 20th-century French philosopher who studied how relationship and power worked together to create social control.) “While the operation of colonial power in British India mostly conformed to Foucault’s delineation of governmentality, there were important differences that, instead, indicated the operation of a particularly ‘colonial governmentality,’” she says. “For instance, governmentality in the European context presupposed the development of the freedoms of civil society and a self-regulating economy, both independent of state authority and regulation.”
Coercive policing, however, was part of the colonial Indian economy. Such authority, Kumar explains, often led to economic repression. "It also produced alternative sites of power in colonial society," she adds.
James Gordon Williams
“Crossing Bar Lines: Improvising Humanity in the 21st Century”
Williams is a creative musician and critical musicologist who studies the improvisational, compositional and technological practices of African American musicians. While most of the music that Williams researches is relatively new, he considers it an extension of the "archives and repositories" of Black life and the Black community.
“African American improvised and popular music reflects, critiques and sparks dialogue about the complex, structural issues in American society that concern racial inequality, systemic violence, gender bias, segregation and unequal access to quality education," Williams says. "Black music is not the solution to these problems, and is not always about resistance. Yet it creates a vital, inclusive space for envisioning a better way of existing in the world and thinking through these historically situated challenges."
He illuminates this point by comparing how African American musicians have responded to today's Black Lives Matter movement versus the Civil Rights Movement of the 1950s and '60s. "A new generation of artists is using jazz improvisation, hip-hop and R&B to address a whole host of human rights issues,” says Williams, adding that new technologies are changing the way artists create, promote and distribute their music. "Community across races, genders and sexualities is being fostered like never before."
Sascha Scott
“Modern Pueblo Painting: Art, Colonization and Aesthetic Agency”
A Syracuse Symposium Faculty Fellow, Scott examined how notions of “Belonging”—the theme of the 2017-18 symposium—interfaced with different perspectives and genres. She researched five 20th-century Pueblo painters who asserted their aesthetic agency amid ongoing colonialism. “Native artists have a history of creatively adopting, confronting, transforming and subverting colonial culture and structures,” she says. “Their art serves the creative, economic and political needs of the artists themselves and often their communities.”
Scott works at the nexus of art history, anthropology and Native American and indigenous studies, with an eye toward redefining the ethics and ethos of art history. She says that, during the early 1900s, Pueblo artists created objects for outsider markets that sometimes contained sensitive, esoteric information, which their descendants have since tried to conceal. Thus, Scott seeks permission from the artists’ communities and relatives to study their objects and solicit feedback.
“Consultation also helps foster dialogue with indigenous communities about my work. It leads to a more polyphonic narrative," says Scott, a recipient of a 2018 National Endowment for the Humanities Summer Stipend and a George A. and Eliza Gardner Howard Foundation Fellowship from Brown University for 2018-19. "Writing about this process highlights the complex cultural and political issues at play.”
Every year, the Humanities Center awards up to two Dissertation Fellowships to Ph.D. students in A&S. These competitive one-year awards support doctoral students completing their dissertations. Each fellow’s project must exhibit strong evidence of humanities content and methods, as well as advance humanistic scholarship.
Maria Carson
“A Tzaddik Sighs: Abraham Joshua Heschel, Affect and Nostalgia”
Carson is based in the Department of Religion, where she pursues a graduate concentration in “Critique, Image and Politics.” The concentration addresses the relationship between religion and aesthetics, ethics, psychology, sociology, philosophy, and political and cultural theory. Carson describes it as the “perfect setting” for building on her interest in Rabbi Abraham Joshua Heschel.
A postwar theologian and philosopher, Heschel wrote numerous books about basic questions of religious faith. He called his task “Depth Theology,” in an attempt to explain what happens within a person to bring about faith. His best-known books, which were integral to Carson’s fellowship, are “Man Is Not Alone” and “The Sabbath,” both from 1951, and “God in Search of Man,” published in 1955.
“These books provide new ways of thinking about transcendence, immanence and the Jewish post-Holocaust experience in the United States,” says Carson, who studies American gender roles of the 1950s and ’60s. “I am interested in the way Heschel addressed gender in his work and how affect theory [the subjective experience of emotions] permeated his theology.”
The fellowship enabled Carson to travel to Duke University to conduct research at the world-renowned David M. Rubenstein Rare Book & Manuscript Library. There, she pored over many of Heschel’s and his wife’s effects, including holiday cards and letters he wrote, in search of his family after the Holocaust.
“They revealed a glimpse into the private life of one of the 20th-century’s greatest minds,” she says.
Thomas J. (T.J.) West III G’11, G’18
“History’s Perilous Pleasures: Experiencing Antiquity in the Postwar Hollywood Epic”
A scholar of Hollywood cinema, West specializes in the historico-biblical epic, a film genre that flourished in the 1950s and ’60s with its grandiose depictions of the ancient world. Classic examples include “The Ten Commandments” (1956), “Ben-Hur” (1959) and “Cleopatra” (1963), to name a few.
“I argue that the historico-biblical epic confronts the terrifying possibility of the end of human history, engendered by the atomic bomb, by transmuting this existential fear into a series of dialectics, between agency and powerlessness, embodiment and transcendence, desire and death, imperial splendor and its impending decline,” says West, who completed and defended his dissertation during the fellowship.
Recently, West earned a master’s degree in English and a certificate of advanced studies from the Department of Women’s and Gender Studies. Working in multiple departments in A&S, he says, helped him approach film studies more holistically. “Film offers an experience of the terrifying nature of history through an appeal to the ancient world, while also seeking—though never quite succeeding—to ameliorate that terror,” says West, the 2018 recipient of the Graduate School’s All-University Doctoral Prize.
In March, West won the Libraries Associates’ Mary Hatch Marshall Essay Award for “The Spirit is Willing, but the Flesh is Weak: Embodied Transcendence and Sacred Spectatorship in ‘The Robe.’” The paper, which draws on the titular 1953 film, will appear later this year in Material Religion: The Journal of Objects, Art and Belief (Taylor & Francis).
He also is working on various articles and chapters about the “Ben-Hur” reboot (2016), “Rise of the Planet of the Apes” (2011), the HBO series “Rome” (2005-07) and the Starz show “Spartacus” (2010-13).
Graduate Student Public Humanities Fellowships are one-year awards, highlighting creativity and experimentation in the public sphere and engaging wider publics with humanities lenses and ideas in socially relevant ways.
Hugh Burnam
"The Haudenosaunee Thought Project"
Burnam is a member of the Mohawk Nation Wolf Clan, with personal ties to the Skä•noñh—Great Law of Peace Center, a Haudenosaunee heritage center near campus. He used his fellowship to foster meaningful dialogue among members of Syracuse, the Skä•noñh Center and the Haudenosaunee territories on whose ancestral lands the University now stands.
“We generated critical intergroup and intragroup conversations about indigenous identities within the Haudenosaunee Confederacy and neighboring communities,” Burnam says. “All three entities [the University, Skä•noñh and the Haudenosaunee] are committed to education, diversity and inclusivity in public and private spheres. There are various challenges, however, to collaborating within and among each community. My project created spaces of conversation across the differences, provoking a transformational dialogue among all concerned.”
In addition to social justice in education, Burnam studies oral histories, environmental advocacy and Indigenous gender issues.
Matthew Stewart
“The Onondaga Earth Corps Community in Conversation”
A member of the Maxwell School, Stewart uses humanities research to address fundamental questions about citizenship. Witness his involvement with Onondaga Earth Corps (OEC), which engages urban youth in various hands-on projects, including urban forestry, storm water management, private property management, and community environmental education and outreach.
Stewart used his fellowship to design a series of readings of essays and poetry that, in turn, fostered a dialogue among OEC crewmembers about the environment and civic health of the City of Syracuse. “I used the idea of place to bring fresh insight and imagination into understandings of citizenship and community,” says Stewart, whose Ph.D. dissertation views the intellectual life of the American West through the lens of author Wallace Stegner.
Stewart’s fellowship considered the effect of place—past and present—on people. “OEC builds community within the organization and the city, in general. It imagines ways to bridge the social divisions of race and class that have plagued us for so long," he adds.
Located in the Tolley Humanities Building, the Humanities Center cultivates diverse forms of humanities scholarship, sponsors a range of dynamic programming and partnerships, highlights the humanities as a public good, and underscores the relevance of the humanities for addressing enduring questions and pressing social issues.
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2012 Presidential General Election Candidates & Questions
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Question Information Question 1 - Constitutional Amendment (Ch. 394 of the 2011 Legislative Session)
Qualifications for Prince George's County Orphans' Court Judges Requires judges of the Orphans' Court for Prince George's County to be admitted to practice law in this State and to be a member in good standing of the Maryland Bar.
(Amending Article IV, Section 40 of the Maryland Constitution) Question 2 - Constitutional Amendment (Ch. 146 of the 2012 Legislative Session)
Qualifications for Baltimore County Orphans' Court Judges
Requires judges of the Orphans' Court for Baltimore County to be admitted to practice law in this State and to be a member in good standing of the Maryland Bar.
(Amending Article IV, Section 40 of the Maryland Constitution) Question 3 - Constitutional Amendment (Ch. 147 of the 2012 Legislative Session)
Suspension and Removal of Elected Officials Changes the point at which an elected official charged with certain crimes is automatically suspended or removed from office. Under existing law, an elected official who is convicted or pleads no contest is suspended and is removed only when the conviction becomes final. Under the amended law, an elected official is suspended when found guilty and is removed when the conviction becomes final or when the elected official pleads guilty or no contest.
(Amending Article XV, Section 2 of the Maryland Constitution)
Question 4 - Referendum Petition
(Ch. 191 of the 2011 Legislative Session)
Public Institutions of Higher Education - Tuition Rates Establishes that individuals, including undocumented immigrants, are eligible to pay in-state tuition rates at community colleges in Maryland, provided the student meets certain conditions relating to attendance and graduation from a Maryland high school, filing of income taxes, intent to apply for permanent residency, and registration with the selective service system (if required); makes such students eligible to pay in-state tuition rates at a four-year public college or university if the student has first completed 60 credit hours or graduated from a community college in Maryland; provides that students qualifying for in-state tuition rates by this method will not be counted as in-state students for purposes of counting undergraduate enrollment; and extends the time in which honorably discharged veterans may qualify for in-state tuition rates.
Question 5 - Referendum Petition
(Ch. 1 of the 2011 Special Session)
Congressional Districting Plan Establishes the boundaries for the State's 8 United States Congressional Districts based on recent census figures, as required by the United States Constitution. Question 6 - Referendum Petition
(Ch. 2 of the 2012 Legislative Session)
Civil Marriage Protection Act Establishes that Maryland's civil marriage laws allow gay and lesbian couples to obtain a civil marriage license, provided they are not otherwise prohibited from marrying; protects clergy from having to perform any particular marriage ceremony in violation of their religious beliefs; affirms that each religious faith has exclusive control over its own theological doctrine regarding who may marry within that faith; and provides that religious organizations and certain related entities are not required to provide goods, services, or benefits to an individual related to the celebration or promotion of marriage in violation of their religious beliefs. Question 7 - Gaming Expansion Referendum
(Ch. 1 of the Second 2012 Special Session)
Gaming Expansion
Do you favor the expansion of commercial gaming in the State of Maryland for the primary purpose of raising revenue for education to authorize video lottery operation licensees to operate "table games" as defined by law; to increase from 15,000 to 16,500 the maximum number of video lottery terminals that may be operated in the State; and to increase from 5 to 6 the maximum number of video lottery operation licenses that may be awarded in the State and allow a video lottery facility to operate in Prince George's County?
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Here I Have Lived: Home in Illinois
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[
"Here I Have Lived: Home in Illinois"
] | null |
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Through their stories and objects, we invite you to explore our shared roots and what it means to truly find a place of belonging.
|
en
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https://online-exhibits.presidentlincoln.illinois.gov/exhibit/
|
Home is more than a structure…
Reflecting on his life in Springfield, President-elect Abraham Lincoln departed for his trip to Washington D. C. with
bittersweet notes,
“To this place, and the kindness of these people, I owe everything. Here I have lived a quarter of a century, and have passed from a young to an old man. Here my children have been born, and one is buried.”
In this simple and eloquent statement, Lincoln exposed a profound understanding that home is more than a structure. It is a sense of self, shaped by the land and the community. Lincoln recognized that his experiences of life in Springfield and Illinois would influence the path he was about to lead during one of our nation’s most challenging periods.
For centuries the land that has become Illinois has been home. Here our region’s earliest indigenous residents built powerful, lasting communities. And for generations afterward, though immigration, migration, and settler colonialism, Illinoisans have changed the world
. . . by starting at home.
Through their stories and objects, we invite you to explore our shared roots and what it means to truly find a place of belonging.
Finding Home
We all seek a place to call home. Here, Illinoisans struggle to find ideal homes, and this struggle becomes a fundamental part of their identities.
Finding Home
Ronald Reagan
Reagan Defines Home
Home was an elusive concept for young Ronald Reagan. The only president born in Illinois, his childhood was marked by continual displacement. As his father sought work, Reagan’s family changed homes an astounding 7 times in 5 years—moving from Tampico to Chicago to Galesburg to Monmouth and back to Tampico, before finally finding stability in Dixon.
White suburban Dixon became Reagan’s ideal home. He immersed himself in community life and his gregarious personality made him a popular resident. In high school and later at Eureka College, Reagan dove into extracurriculars, becoming captain of his football team and working as a community lifeguard. This idyllic, aspirational image of a white, middle-class life shaped his view of America and future politics. Reagan later called small town Illinois “a small universe where I learned standards and values that would guide me for the rest of my life.”
Finding Home
Family Photo
Ronald Reagan with his older brother, his father and his mother.
Finding Home
Reagan the Lifeguard
Photo from 1927 when Regan served as a lifeguard on the Rock River in Dixon, IL
Finding Home
The Gipper
Ronald Reagan as American football player George Gipp 'The Gipper' in a publicity portrait from 'Knute Rockne All American' 1940
Finding Home
Ronald Reagan's Sweater
Reagan's letterman sweater from Eureka College
Courtesy Eureka College
Finding Home
Ronald Reagan's College Yearbook
Reagan's college 1921 yearbook from Eureka College
Courtesy Eureka College
Finding Home
Joseph Jordan
Pullman, a Home for Workers
Joseph Jordan decided to leave behind the violent racism of the Jim Crow South. In the 1880s, he led his family out of Virginia and found work as a teamster for the Pullman Palace Car Company. Joseph, his wife Martha, and their children made their home in a rowhouse in the town of Pullman.
Company founder George Pullman created the town to rent homes to workers like Jordan who enjoyed access to parks, schools, and entertainment. The town even had indoor plumbing with a sewage system that made Pullman one of the cleanest towns in America. George Pullman envisioned the town as an idyllic home for workers. The town fell short of this vision during the economic depression of 1893, as Pullman decreased wages without lowering rents. His refusal to meet with a delegation of workers resulted in a nationwide strike in 1894. Though not perfect, Pullman was home to Joseph and Martha Jordan for the rest of their lives—Martha passed in 1923 and Joseph followed in 1940 at the age of 79.
Finding Home
Jordan Family
Joseph Jordan is third from the left in this family portrait
Finding Home
Pullman Factory
Interior of the Pullman manufacturing shop
Finding Home
Pullman Homes
Street view of the original Pullman homes
Finding Home
Ritta DeFreitas
Madeira's Central Illinois Exiles
In the mid-1800s, hundreds of Portuguese residents on the island of Madeira, off the coast of Morocco, converted to Presbyterianism. This created conflicts with their Catholic neighbors, so they set out to build a safer community in the English Protestant colony of Trinidad. They soon began looking for a less tropical location where they could live more independently. Central Illinoisans, especially in Springfield and Jacksonville, offered them a new home.
Among the Madeira exiles in Springfield was young seamstress Ritta de Silva. In 1856, she married Francisco (Frank) DeFreitas, a painter and fellow Portuguese Protestant. DeFreitas' clients included the Lincolns and she appears to have grown close to the future First Family—borrowing money and receiving two items from their home when they moved to Washington. Ritta and her fellow exiles carved out homes for themselves in Central Illinois and many of their descendants remain here today.
Finding Home
Newspaper Advertisement
Classified ad for Ritta DeFreitas’s seamstress business.
Finding Home
The Lincoln Home
The Lincoln family were clients of Ritta DeFreitas in their Springfield, Illinois, home
Finding Home
Madeira district
Map of Springfield in 1855 showing the location known as “Madeira,” where Portuguese refugees settled.
Finding Home
Lincoln’s Mirror
Abraham Lincoln’s shaving mirror, given to Ritta DeFreitas when he moved to Washington.
ALPLM Collection
Finding Home
Jean Baptiste Point de Sable
Chicago, Home in a Contested Space
Jean Baptiste Point de Sable was the first permanent non-Native settler of what is now called Chicago. A free, Haitian-born descendent of an enslaved African mother and a French father, he moved to the Chicago area from what is now Peoria in the 1780s. At his new home he cultivated a farm consisting of 30 head of livestock and nine buildings, including a chicken house and a dairy. By 1790, Point de Sable and his Potawatomi wife, Kitihawa (also known as Catherine), had created a prosperous home on the northern bank of the Chicago River.
Point de Sable constructed his home during the Revolution Era when Chicago was a contested space. He navigated a complicated existence between Native nations and the French, British, and upstart American empires. His kinship through marriage to the Potawatomi made his home a regional hub that welcomed both Native and European traders. Point de Sable likely foresaw the collapse of this cosmopolitan existence as the United States asserted its growing power in the region, and he sold his home in 1800, moving to French territory on the west bank of the Mississippi.
Finding Home
The Kinzie house, built by de Sable in the 1780s.
Finding Home
Raoul Varin's imagining of the de Sable cabin in Chicago.
Finding Home
DuSable Receipt
1796 transaction document showing Point de Sable making a barter payment on his account through his son-in-law
Courtesy of St. Charles County Historical Society
Finding Home
Benjamin Driggs
The Mormon Quest for Home
Throughout their history, the Latter-day Saints have searched for a home where they are free to practice their faith. In 1839, they fled persecution in Missouri to create such a place in Nauvoo, Illinois. Led by Joseph Smith, the Mormons formed a local government and set about building a massive temple. In all, they spent a million dollars on the structure. Yet it was never completed because less than a decade later internal and external forces had pushed them out of Nauvoo.
Three generations of the Driggs family lived in Nauvoo during its short time as a Mormon sanctuary. Young Benjamin Driggs grew up there while his father Shadrach built wagons to help families moving further west. Benjamin became a folk hero for donating his own treasured wagon—made by his father—to workers building the temple. Like his fellow Mormons, Benjamin eventually fled his home in Nauvoo, living for a brief time in Iowa before settling in Utah.
Finding Home
Mormon temple built in Nauvoo, Illinois
Finding Home
A children’s book about Driggs written by his son.
Finding Home
A bucket reportedly owned by Benjamin Driggs and used by him while helping rescue other Mormons migrating away from Nauvoo.
Courtesy of The Church of Latter-day Saints
Finding Home
"Free" Frank McWorter
Building a Free Home
Among the many freedoms stripped from enslaved Black Americans was a stable sense of home. Indeed, the very concept of home became contorted as enslaved families faced harsh living conditions and the constant threat of forced separation and removal. Yet, despite these obstacles, some people took risks to secure their freedom and build a home
“Free" Frank McWorter was one such person. Enslaved until his 42nd year, he earned enough money “hiring out” himself to purchase his freedom. Over time, more and more members of the family earned their freedom in this way and then in turn purchased freedom for others. McWorter moved from Kentucky to Illinois in 1830 and settled on 80 acres in Pike County. He did well, eventually expanding his holdings and apportioning part of them into the community of New Philadelphia—the first American town legally platted by a Black person. The biracial community McWorter built offered the same sense of freedom and home to others that he had carved out for his own family.
Finding Home
New Philadelphia daily life.
Finding Home
A map of New Philadelphia.
Finding Home
New Philadelphia Table
A table built by Solomon McWorter, Frank McWorter’s son, at New Philadelphia.
Courtesy of the McWorter Family
Finding Home
Finding Home Question:
How many times in your life have you moved to a new house / apartment?
Envisioning Home
Discovering an ideal home has always been a process of imagination. These stories show people taking an imaginative leap to recraft what home means to better meet their needs.
Envisioning Home
R. Buckminster Fuller
Less is More
It took seven hours to build R. Buckminster “Bucky” Fuller’s home in Carbondale. The new home used the conservationist design that had made Fuller famous – a geodesic dome that was easy to build, could withstand great weights, and required few resources. Comprised of 60 isosceles-triangle plywood panels, Fuller’s unique Carbondale home was the only dome he ever lived in and owned. The one downside to the geodesic home, his wife Anne claimed, was that “you could not hang paintings because they would be just sort of dangling out from the curve.”
Though Fuller’s design is most recognized as the key feature of Walt Disney’s Epcot Center, the geodesic dome was only part of Fuller’s larger vision for humanity. He was adamant that “man can be a success on this planet” and Earth’s resources were adequate to take care of everyone who called it home for generations to come.
Envisioning Home
Blue Prints
Design for the Fuller Dome Home
Envisioning Home
Dome Home
A "dome home" under construction inspired by Fuller's concepts
Envisioning Home
Fuller Dymaxion Car Replica
This example of Fuller's 1933 Dymaxion Car #1 demonstrates his forward-thinking design prowess
Courtesy of the Lane Motor Museum
Envisioning Home
Fuller Design Model
A model of Fuller's design for a geodesic sphere created by Charles B. Ryan, a professor at the University of Oregon, in collaboration with Fuller in the 1960s.
Courtesy of Special Collections / Morris Library, Southern Illinois University Carbondale
Envisioning Home
Margaret Burroughs
The Home of Black History
In the time when white supremacy renders other histories invisible, they need to find unconventional homes. In 1961, Margaret Burroughs and her husband Charles transformed their Chicago home into such a place – the first iteration of the DuSable Museum. At that time, there were few outlets for Black Americans to explore art and history from their perspective, and Burroughs paved the way by carving her own path.
Born in Louisiana, Burroughs moved to Chicago as a child, eventually earned degrees at Chicago Normal College (now Chicago State University) and the Art Institute. Making her career as an artist and educator, Burroughs immersed herself in the broader Black intellectual activist community. Grounded in her activism to help form the South Side Community Art Center and her insistence on the teaching of Black History, Burroughs established the Ebony Museum of Negro History and Art (now DuSable Museum) in her home, which had once been a boardinghouse for African American rail workers. From the Museum’s beginning, Burroughs focused on collecting the material culture of Black History and would often place ads in The Chicago Defender soliciting artifacts. Burroughs’s pioneering work establishing the DuSable Museum became a roadmap for other Black History museums to follow, eventually leading her to co-found the Association of African American Museums.
Envisioning Home
Original DuSable Museum
The original location of the DuSable Museum was in Margaret Burrough's home in Chicago.
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Burroughs in the DuSable Museum
Burroughs (second to the left) leads a tour in the museum
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Margaret Burroughs Art
A linoleum-scratched print portrait of Harriet Tubman by Margaret Burroughs
Courtesy of the DuSable Black History Museum and Education Center
Envisioning Home
Fred Francis
Envisioning Accessibility
Fred Francis designed and built Woodland Palace in the 1890s as a home for him and his wife, Jeanette. He endeavored to make the house accessible for Jeanette, who suffered from tuberculosis, and since fresh air was considered important for treating her disease, he built Illinois’s first ever air conditioner. In the solarium, a room Fred dedicated to Jeanette, he created a system that cycled the air every minute.
Indeed, Woodland Palace sprang from a place of love, but it was also a testament to Fred’s imagination. A mathematical and engineering genius, Fred created a refrigeration room that never rose above 50 degrees and designed a complex water filtration system that purified rainwater as it flowed underground through sand, gravel, and charcoal before reaching Woodland’s cistern. Above all, Woodland was a place for Fred and Jeanette to grow old together. When Jeanette passed, Fred honored her memory by installing a marble sculpture in the solarium.
Envisioning Home
Woodland Palace
Francis' home exterior in Kewanee, IL
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Woodland Palace Drawings
Fred Francis drew these architectural designs himself
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Fred Francis and wife Jeanette
Fred and Jeanette posed for this studio photo with his modified bicycle
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Fred Francis' Custom Bicycle
Fred adapted this bicycle to carry his wife to church as well as construction materials
Courtesy of the City of Kewanee
Envisioning Home
Robert Todd Lincoln
Robert Retires
In 1903, Robert Todd Lincoln purchased a 392-acre estate near Manchester, Vermont. The only one of Abraham Lincoln’s four children to survive to adulthood, Robert had lived a busy life in the shadow of his father’s reputation and his family’s enormous grief. All these factors made home an elusive idea for Robert, as his personal and professional obligations often forced him into an exceptionally itinerate life.
The estate, which he called Hildene (old English for hill and valley with stream), became Robert’s refuge for the remainder of his life. There he found the privacy he had always sought, overlooking his favorite golf course. Yet Robert also found solace in claiming one of America’s founding myths—the nobility of the farmer. Although a large estate with a Georgian-revival mansion, Robert defined his new home as a farm, where he owned about 40 cows. As he pointedly told a friend, “I am now a Vermont farmer! and beginning to enjoy life.”
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Hildene
The gardens and rear facade of Hildene
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Retired Life
Robert Todd Lincoln playing golf in his later years.
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Hildene Place-Setting
A place-setting from Hildene inscribed with Robert Todd Lincoln's initials.
ALPLM Collection - Gift of Robert Todd Lincoln Beckwith, 1976
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Susan Lawrence Dana
Heiress of the Prairie (Style)
Susan Lawrence Dana’s extravagant lifestyle was fueled by heartache. She became an heiress upon the 1901 death of her beloved father and chose to renovate his Springfield home to cater to her progressive lifestyle. For that, Dana hired burgeoning architect Frank Lloyd Wright and he transformed the structure into a masterpiece of modernity. The grandiose result embodied their partnership and Dana’s multifaceted identity as she hosted women’s rights activists, orphans for story time, and local celebrities at parties.
Wright’s vision and architectural style are apparent throughout the entire home, but each room was built to complement Dana’s passions, ideals, and unlimited budget. From the local lumber used to structure the home to the motif of butterflies—referencing her as a “social butterfly”—neatly woven throughout the house, Dana’s various roles are constantly apparent to visitors. Wright captured the essence of the Midwestern landscape through his Prairie Style and Dana’s progressivism in the home’s design.
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Dana Thomas House Gallery
Interior of the gallery space and barrel ceiling
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Dana Thomas House Exterior
The unique front entrance as designed by Frank Lloyd Wright
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Susan Lawrence Dana
Portrait of Susan Lawrence Dana in front of her home c. 1915
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Dana / Wright Art Table and Art
A Frank Lloyd Wright table design for displaying Dana's artwork because his architectural plan did not allow for hanging anything on the walls. Water color paintings signed by E. Pike from the Lawrence family.
Courtesy of the Dana Thomas House, Illinois Department of Natural Resources
Envisioning Home
Envisioning Home Question:
When you think of home, what do you think of first?
Familial Home
Home can be a place, but it can just as often be found in family—both the family of our blood and the family we choose. These stories show the power family has to create and remake homes.
Familial Home
Michelle Obama
“We Were Their Investment”
Michelle Robinson Obama called the White House her home from 2009-2017 but grew up in an apartment of less than 800 square feet on Chicago’s South Shore. It was the second story of her Great Aunt Robbie’s house. Robbie was a piano teacher, and the sound of her students playing often filled the home. Michelle and her brother Craig shared a room with a makeshift partition providing limited privacy.
Yet the smallness of the Robinson home in part reflected a choice made by Michelle’s parents, Fraser and Marian. Instead of investing their modest income in a house, they chose to invest in their children. Michelle and Craig thrived in this environment, with both eventually attending Princeton University. After receiving a law degree at Harvard, Michelle returned home to Chicago where she worked as a lawyer and later invested in her own family.
Familial Home
Robinson Family
Fraser and Marian Shields Robinson and children, Craig and Michelle
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School photo
Young Michelle Robinson Obama at Bryn Mawr Elementary School.
Familial Home
Michelle Obama's Piano Trophy
A trophy won by Michelle (Robinson) Obama as a young girl for her piano playing
Familial Home
Cahokia Commoner
The Mississippian Home
Between about 700-1200 CE, a group of Indigenous tribes – now commonly referred to as Mississippians – built a vast trading network across the Mississippi Valley and American Southeast. The hubs for this network were communities built around earthen mounds, potentially housing thousands of people. The largest was Cahokia, located near present-day Collinsville. At its peak between 100-1150. As many as 40,000 people lived there and in the surrounding communities, making it one of the largest cities in the world.
Women ran Cahokia homes cooperatively. Their houses often surrounded plazas and courtyards, indicating they traversed the lines between households easily, and nearby residents intermingled with and supported each other. Thus, the people of Cahokia likely viewed their homes as extending outside their walls to the broader community. In doing so, they provide one of our earliest glimpses of people conceptualizing living spaces in the Illinois Country.
Familial Home
Cohokia Mounds
Mural painted of Cahokia Mounds by Lloyd K Townsend.
Familial Home
Cahokia Mounds
Painting by William R. Iseminger depicting Cahokia Mounds.
Familial Home
Cahokia Tablet
Original “Birdman” Tablet from Cahokia.
Familial Home
Cahokia Pot
A pot from a Cahokia home recovered during an archaeological dig.
Courtesy of the Illinois State Museum
Familial Home
Lowney Handy
The Handy Writers Colony
Lowney Handy of Robinson was one of the most influential literary mentors of the mid-20th century but her approach to teaching the craft of writing involved a unique concept of home. Having mentored and shared an adulterous relationship with James Jones while he wrote From Here to Eternity in the aftermath of World War 2, Handy then founded a “writers colony” in nearby Marshall to mentor young aspiring authors.
Handy immersed her all-male colony residents in a spartan, masculine world of writing. They lived on strict daily schedules, with only limited weekly “leave” from the grounds. After weeks of copying literary works by famed authors, the men then split the afternoons. Through its 1950s lifespan, the colony’s unique concept of home – shaped almost entirely by Handy’s vision of an ideal, rugged male writer – produced over a dozen books, including four adapted into Hollywood films. The colony ended with Handy’s death in 1964.
Familial Home
Handy Colony
The barracks at the Handy Colony
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Lowney Handy and James Jones
Lowney Handy with James Jones (right) at the Handy Colony.
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From Here To Eternity
Swedish version
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From Here to Eternity
French version
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From Here to Eternity
Dutch version
Familial Home
Jane Addams
The Heart of Hull-House
Hull-House stands as a testament to the progressive social campaigns that its affluent co-founder Jane Addams orchestrated. A converted mansion, which eventually expanded into a 13-building settlement complex housing low-income, mostly European immigrant Chicagoans, Hull-House also provided women with skills and education to break into male-dominated fields and support for low-income mothers. Hull-House staff advocated for women’s right to work and a safe home environment, which were vital components of Addams’s identity as she helped shift conversations about poverty away from moral rebuke to focus more of social welfare.
A queer woman, Addams carved an unconventional path for herself by maintaining a long-term relationship with fellow Hull-House benefactor Mary Rozet Smith. For Addams, home was a person and where she could be herself completely. Outside of her home, there was always a risk of society rejecting her for who she loved. Addams’s private domesticity and her philanthropic work show how she believed women should be loved and respected within their own home, regardless of status or sexual orientation.
Familial Home
The Hull House
Founded in 1889 on Chicago's Near West Side
Familial Home
Jane Addams and Mary Rozet Smith
Jane Addams never married and never had children yet was in a long-term relationship with her life partner Mary Rozet Smith.
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Jane Addams bronze bust
A 1964 bust of Addams by Lawrence Taylor, commissioned by the Illinois General Assembly to commemorate her 100th birthday.
Abraham Lincoln Presidential Library and Museum
Familial Home
Elizabeth “Buffie” Ives
Siblings Fashion a Home
Elizabeth “Buffie” Ives had always been close with her brother Adlai Stevenson, even at their childhood home in Bloomington. Early in life while their father was often away, they found a sense of home in each other. Even the lifelong nickname “Buffie” grew from Adlai’s childhood mispronunciation of her name. After Buffie married Earnest Ives, she and Adlai remained close confidantes. It was a relationship built on an unbreakable foundation.
When Adlai became Illinois’s governor in 1949, his marriage was already under stress and completely fell apart later that year. Buffie stepped in to fulfill the formal duties of first lady as her brother’s hostess, spending much of her time at the Illinois Governor’s Mansion. A major part of this role included furnishing and redecorating the Mansion. Her eye for decorating added comfort to their new surroundings, but the enduring bond between sister and brother made it a home.
Familial Home
Buffie and Adlai
Buffie Ives and her brother Adlai Stevenson in the governor’s mansion.
Familial Home
Adlai and Buffie
Adlai Stevenson and Buffie Ives.
Familial Home
Stevenson-Ives Christening Gown
A christening gown worn by Buffie and likely by Adlai.
Courtesy of the McLean County Museum of History
Familial Home
Familial Home Question:
Aside from the actual structure, what is another concept that you most associate with home?
Surviving Home
Home is not always a comfortable place. It can be a dangerous space where harmful forces seek to oppress. Here we see Illinoisans resisting and escaping the brutality of places they once called home.
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Richard Pryor
The Absurdity of Racism
In his early days as a comic, Richard Pryor would joke about his childhood in mid-20th century Peoria and its unofficial color line. “Peoria’s a model city,” he would say. “That means they’ve got the Negroes under control.” His experiences in Peoria were unique, but also exemplified the second-class status forced on many Black families in the Midwest.
Pryor’s parents, a pimp and a prostitute, divorced when he was young. He then lived with his grandmother, Marie Carter, who owned three houses in the city – two brothels and a nightclub. While there is hardship embedded in his story, Pryor was acutely aware of the absurdity inherent in it and its broader context, especially that his skin color could deny him the same rights as a white person. Pryor’s comedy career pushed boundaries to expose the absurdity and made him one of the most influential comics in history.
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Pryor's Home
300 Block of N. Washington in Peoria (1938), housing brothels (third from the left, lower level, and fourth from the left, upper level) run by Pryor’s grandmother, father, uncle, and aunt.
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Field trip to Springfield
Richard Pryor visiting the Illinois State Capitol as a young student.
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Mary Lincoln
Mary Adrift
The idea of home looms large in Mary Lincoln’s story. Growing up in relative opulence due to profits from the labor of enslaved people in Lexington, Kentucky, Mary spent much of her adult life trying to reclaim that sense of comfort and position. She and Abraham’s Springfield home became an expression of Mary’s ambition and domestic priorities—literally growing the longer she lived in it, including the addition of an entire second floor.
In Washington, Mary obsessed over the Executive Mansion and worked hard to make its appearance match its status after years of neglect. Yet Abraham’s assassination disrupted everything, and Mary never again reclaimed her sense of domesticity and stability. Mary resented the unwanted attention drawn by her widowhood and as a figure of controversy. To escape her immense grief and anxiety, Mary even relocated to Europe. Yet the comforts of home continued to elude her as she continued to move from place to place, including a tragic, forced stay in an insane asylum.
Surviving Home
The Lincoln Home
413 South Eighth Street at the corner of Jackson Street in Springfield, IL
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Mary and children
Mary Lincoln with sons Willie (left) and Tad (right).
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Mary's Memento
A pocket watch with its mechanical parts removed that Mary used to carry photographs of her husband and children.
Abraham Lincoln Presidential Library and Museum,
Gift of Alice B. Colonna, 2005
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Hazel Johnson
The Mother of Environmental Justice
Hazel Johnson, her husband John, and their seven children lived in the Altgeld Gardens public housing project on Chicago’s South Side. Their homelife was shattered by John’s death in 1969 from lung cancer at 41 years old. Johnson’s children, as well as neighbors, suffered from a variety of illnesses that made her suspect the factories surrounding their home were endangering their health.
After conducting her own research, Johnson discovered that not only was Altgeld Gardens built on a toxic industrial waste dump and surrounded by 50 landfills (as she called it, the “toxic doughnut"), but that political leaders refused to intervene on behalf of low-income Black families anywhere in the city. Johnson founded the People for Community Recovery (PCR) initially to address tenant issues but pivoted after discovering that her community had the highest cancer rates in the region. She organized her neighbors against polluting companies and the Chicago Housing Authority, which resulted in key victories, such as the new health clinic, asbestos removal, a moratorium on new or expanding landfills in Chicago, and extending water and sewage service. Johnson mentored young activists, including her daughter Cheryl, who now serves as PCR’s executive director, and President Barack Obama.
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Recognition
President George H. W. Bush recognizing Hazel Johnson for her environmental justice work.
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Recognition
Hazel Johnson with Vice President Al Gore at the White House.
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Award Plaque
The Chicago Audubon Society Protector of the Environment Award, 1986
Courtesy of People for Community Recovery
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Certificate
A certificate from the Environmental Protection Agency for being a charter member of the National Environmental Justice Advisory Council, 1995
Courtesy of People for Community Recovery
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Betty Friedan
“The Problem that had No Name”
Betty Friedan grew up in Peoria the daughter of a jeweler and a stay-at-home mom. When she married in 1947, the breadwinner husband and wife with kids at home was still widely considered the middle-class ideal.
Friedan began interrogating this ideal after the birth of her second child while also balancing her career as a journalist. She surveyed her Smith College classmates and Friedan’s findings led her to write The Feminine Mystique, in which she critiqued white, middle-class women’s roles in 1960s society. In her book she asks, “Who knows what women can be when they are finally free to become themselves? Who knows what women’s intelligence will contribute when it can be nourished without denying love?” The book became a sensation, causing women around the world to reexamine their own ideas of home and limited gender roles. Friedan’s activism led her to join with Pauli Murray and Aileen Hernandez in establishing the National Organization for Women (NOW) in 1966.
Surviving Home
NOW Organization
Kathryn Clarenbach and Betty Friedan announcing NOW’s adoption of a Bill of Rights for Women.
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SCAN
Smith College Associate News (SCAN) members 1941/1942. Friedan is seated at the table, 5th from the left with her hands on the table.
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The Feminine Mystique
A first edition of Betty Friedan’s groundbreaking The Feminine Mystique.
Courtesy of the Illinois State Library
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Tina Turner
Tina Turner Breaks Free
Anna Mae Bullock arrived in St. Louis in 1956. She was 16 – the perfect age to jump into the thriving Black nightclub scene across the Mississippi. “East St. Louis had action” she would later recall. “It never seemed to stop.” Bullock became part of that action when she pushed her way onto the stage during a performance by Ike Turner’s band – immediately becoming its new lead singer.
Ike and Anna’s partnership shaped the direction of American music but also immersed Anna – renamed Tina Turner to better market the act – in a horrifying home life dominated by Ike’s physical, sexual and psychological abuse. Tina tried to build a family home with Ike and their four children, but his abuse only grew until she walked out in 1976. Tina had to restart her career but soon reemerged as one of America’s biggest music stars and set about building a happier and healthier home life.
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Ike and Tina
Tina and Ike Turner performing at the Imperial Club in East St. Louis.
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Turner Family
Ike and Tina Turner with their four children.
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Tina Turner's Dress
A dress Turner wore during a 1982 appearance on The Tonight Show.
Courtesy of the Tina Turner Museum, West Tennesse Delta Heritage Center
Surviving Home
Surviving Home Question:
Which of the following events would most likely cause you to leave home?
a. A natural catastrophe
b. A better paying job
c. To care for an ailing loved one
d. Anything...you are always looking for a reason to leave
e. Nothing could convince you to leave
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Louisa Phifer
For All the World Be Careful
For most of America’s history, only men could serve as combat soldiers – often making wartime homes the province of women. In the final year of the Civil War, 39-year-old Louisa Phifer balanced caring for her 7 children (including patriotically named newborn Atlanta Sherman) with managing the family’s farm near Vandalia, as her husband George served in the 32nd Illinois Infantry. The couple wrote frequently, and Louisa’s letters are a mix of anxiety over George’s fortunes and updates on the farm.
In one letter, Louisa frets she will become a widow if George doesn’t keep himself safe. In his reply, he can only encourage her to “show the spirit of a soldiers wide.” Yet Louisa’s effective management of their home is also clear as she reports on crop yields, well repairs, and sale prices. Like many women on the home front, Louisa’s life was a constant series of challenges to avoid personal or economic disaster.
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Phifer Cabin
Ink sketch of the Phifer cabin, drawn by Mary Phifer Stone.
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Louisa and Child
Louisa and Atlanta Sherman
Copy of the original ambrotype Louisa mailed in a letter to her husband George Phifer.
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Brothers
Washington Irving and Simon Bolivar
Copy of the original ambrotype Louisa mailed in a letter to her husband George Phifer.
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George and Ulrica
George Aurelius and Ulrica
Copy of the original ambrotype Louisa mailed in a letter to her husband George Phifer.
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Letter from Louisa to George
Transcription page 1 :
Vandalia Fayette Co Ills March 8th /65
Dear Husband & Father
We seat ourselves this evening to answer your very kind letter of the 4th which came to hand last night it found us all well & as far as I know the neighbors are all well with the exceptions of Colds which is common now you said it had rained a great deal there in the last ten days & that the river was very high it has rained a great deal here in the last two weeks by times and for 2 or 3 days past it has rained almost all the time it is raining torrents now but I suppose it is colder here than it is there the road is more than bad Father I will tell you who all has volunteered since the tax was levied first. Schuyler Bascom. Naaman Bascom. William Mabry. Abraham Slusser. David George. William Starnes. [Coen] Starnes. William Meeks.
Reporting Home
Letter from Louisa to George
Transcription of page 2 - 3:
& a great many more that I cant think of now O [gus Mcgnew] got in a notion to go and went and got a horse, fed & watered it & got ready to start to town and then backed out he took a scary spill I guess but all that went has not filled, the quota so there was a draft which, went off to day George you said there was, twenty Widows made in Nashville a day, O my God grant that it may not be, my lot to thus become a widow for it such a thing should happen I would go Crazy and die before an hour
I think it is the best thing you can do to leave there as soon as possible I am afraid you will not get home very soon having to Change hospitals so much but George any way to get home as soon as possible you told how much I would take to get a Discharge or Furlough if I had of known it I would not of been quite so determined in my writing but you must excuse me for being so impetuous
Page 3: but George I wanted to see you and made up a great deal after we got your letter in which you said you would try & Come home soon we almost looked every day for you do not stay there on account of getting your money alone for we do not need it but as soon as you can get relieved leave there and go to another hospital but get home as get quick as possible George the things all looks very well the oxen looks about as well as they did when you left it is very wet here now so we can not do much but as soon as you it dries off some we will haul out the manure & get the other work done. Father I think the gray mare will, have a Colt first & I will take the best care of them when they do have A Colt that I can they are both in good order they do not fight & seem
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Letter from Louisa to George
Transcription page 4:
to be mated together very, well they Colt is not in quite as good order as the mare he is a little lousy but I think he is getting rid of them now we have not much to write to night that would interest you we are glad you got a letter from Clara and that they was all well, we will have to Close by hoping for your health & Happiness & by Sending you our love
From L J Phifer & Children to G B Phifer
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Cradle
This cradle is from an 1860s Illinois home.
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Oscar Micheaux
The Homesteader
The quest for home consumed Oscar Micheaux, a writer, filmmaker, and creator of the first Black-owned independent film company. Born in Metropolis, a de facto Jim Crow town in a Northern state, Micheaux left for Chicago as a young man in 1902. He found work as a Pullman railway porter, and as he traveled the country, the vast prairies tugged at his imagination. He admired the “fine country homes so characteristic of the great middle west” and claimed a homestead in South Dakota. For ten years, Micheaux farmed and battled the elements before losing his home to foreclosure.
Micheaux had turned to his new passions – writing and filmmaking – and the search for home haunted his work. Micheaux’s first book, The Conquest, explores his experience in South Dakota. His films, often informed by his years homesteading, cathartically grapple with racism in the United States but maintain hope for the future. The name Oscar Micheaux now resides on the Hollywood Walk of Fame.
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Homestead Claim
Oscar Micheaux’s homestead claim in South Dakota.
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The Homesteader
Advertisement for Micheaux’s first film, The Homesteader, in the Kansas City Sun newspaper.
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Film Director
Oscar Micheaux with his film camera.
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Mieczyslaw Haiman
Forging a Polish America
Mieczyslaw Haiman spent his life forging the idea of the United States as a second Polish homeland. Born near Lviv in the former Austro-Hungarian Empire in 1888, Haiman emigrated to the United States in 1913. After years of writing poetry and editing Polish language newspapers, he embarked upon a career mapping the historical connections between his ancestral homeland and the U.S as librarian for the Polish Roman Catholic Union of America (PRCUA). As he grew the PRCUA’s collection, he became the founder, first archivist, and curator of the Polish Museum of America in Chicago.
As archivist and curator, Haiman seized an opportunity to physically link Poland to his new American home. In September 1939, five months into the New York World’s Fair, the cloud of war loomed over the festivities as Germany invaded Poland. Determined to preserve the Polish items at the Fair, Haiman and his colleagues purchased three-fourths of the Polish Pavilion’s exhibits. They remain in the Polish Museum’s collection where Haiman continued his work identifying objects and writing to ensure the storied of Polonia were preserved and widely shared.
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Creating a Museum
Polish Museum of America employees: Mieczyslaw Haiman,
Dr. A.Wolanin, and Sabina Logisz.
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Polish Pavilion
Polish Pavilion at New York World’s Fair.
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“Kolednicy” (“Carolers”) Sculpture
Sculpture by Karol Tchorek from Polish Pavilion at the 1939 World’s Fair.
Courtesy of The Polish Museum of America
Reporting Home
Don Alonzo Spaulding
Remaking Places
Don Alonzo Spaulding spent much of the 1830s traveling and surveying land in Illinois – dividing it based on the grid system. This survey method created townships and ranges split into 640-acre sections that ignored natural boundaries and artificially flattened territory to make it easier to understand for prospective settler colonizers.
Native nations like the Potawatomie had made Illinois home for generations before the existence of a single 640-acre square on a survey map. These maps helped rationalize Native places into unoccupied territory ready to be claimed by white settler colonizers. Spaulding was part of this process. He prepared land for white settler colonization in the wake of the violent removal of Native peoples.
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Surveying Map
Spaulding’s map of Illinois that aided him while surveying.
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Compass
Spaulding would have used a survey compass like this one to map territory in Illinois.
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Martha Douglas
Enslaving the Home
Martha Martin grew up the daughter of Robert Martin – Congressman and one of the richest enslavers in North Carolina, claiming more than 800 African America people as property. The enormous wealth accrued from forced labor afforded Martha a robust education and access to some of the most powerful suitors in America. Among them was Stephen A. Douglas of Quincy – a fast-rising-star when he married her at her father’s North Carolina slave labor camp in 1847.
The Martins also oppressed and enslaved Black people at their Mississippi slave labor camp, which they offered to Douglas as a dowry. Douglas declined because of the political implications, but Martha claimed as inheritance the Mississippi slave labor camp the following year. Neither Stephen nor Martha ever lived there, but Stephen was an active participant in its maintenance – including supervising the violent oppression and sale of enslaved people. Their situation presents a stark image of an antebellum white enslaver’s conception of home as a remote location where residents were claimed as mere chattel property.
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Stephen A. Douglas
Stephen A. Douglas, husband of Martha Douglas.
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Will
Image of Robert Martin’s Will.
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A Letter from Mississippi
A letter to Stephen A. Douglas from Martha’s Mississippi slave-labor-camp manager detailing the violent methods used to control and oppress enslaved people.
Transcription page 1:
Martinsville, Miss. Jan 25th 1853.
My Dr Judge.
Yours of the 4th Inst. has been recd. I was vary glad to hear from you & that you will be hear soon or at least this spring. it is vary nesesary that you should come as soon as you can. I find that I can not do any thing towards administering in your name. the best way is for you to come & administer on the estate. & and put me in possession with sefishent power so that I can protect your property. Buckley has stoped me again from all roads & pass ways to the lower plantation. I have nough to do my pasing by skifts up & down the river. though mr Goode tells me that the Injunction is still in forse & and I shall make the attempt to morrow to pass again on the road though they for bid any one passing. I understand their grounds is that they is no proper representive here to answer for the estate & thare fore they shall be no passing. the above throughbly causes me a grate many disadvantages pleas to come as soon as you can.
Reporting Home
A Letter from Mississippi
A letter to Stephen A. Douglas from Martha’s Mississippi slave-labor-camp manager detailing the violent methods used to control and oppress enslaved people.
Transcription page 2:
Buckley is Chancelor him self. thare for our biziness would have to be taken before chancelor Scott of Jackson whitch would gaive us more troughble & expense. thare for I must do the best I can & let every thing by still until you come. he Run as a states man states rites man & against paying the union bank bonds &C. against 4 other small Lawyers that was union democrats except one was a whig. thare fore the weeke party of this district elected Buckley. I have not had any opertunity of shiping the crop yet but think I will soon.
I am geting on vary well with my work. I think I have got the best oversear I have had yet. some of the negroes has bin troughblesome lately Nezer drew his ax on the oversear & driver & has run a way the oversear set my dog on him that I have trained for negroes he cut him nearly in 2 with his ax.
Mrs Branch of Gorgia the sister of Mrs Martin has sent her negroes hear by her yougest son & sonen Law Mr Morris. to settle them in this neighborhood or to sell them as they think best & they have concluded not to settle them but to sell them & is vary
Reporting Home
A Letter from Mississippi
A letter to Stephen A. Douglas from Martha’s Mississippi slave-labor-camp manager detailing the violent methods used to control and oppress enslaved people.
Transcription page 3:
anxious to trade them to you as tho negroes begs them to so had to trade them to you as you have their relations. 2 of them are sisters to Joe & Julia one of them has 6 Children the other has 7 makes 15 in the 2 families & then one likely youg wooman besides makes 16 in all and all vary likely. your negroes also begs for you to by them. they say for the sake of selling them to you to be with their relations they would take any of your negroes in place of theirs. I would think this to be a good arrangement. they are willing to have theirs & yours priced by any 2 or 3 disentered rested men that would be good Judges of negro property. you owns the mother Brothers & sisters of the 2 wooman that has 13 children this would be all of Yeakes family. I think this would be a good arrangement for your children as you can have the power to act for your children same as your self after being appointed gurdend. as it is likely they will [crep] them in the neighborhood afiew weeks they want you to wright them as early as possible, they boath apear to be fine men. John Broash has bin dead abote 2 year that use to live on this place. Mrs. S & children joins me in our best regards
Jas Strickland
Reporting Home
A Letter from Mississippi
A letter to Stephen A. Douglas from Martha’s Mississippi slave-labor-camp manager detailing the violent methods used to control and oppress enslaved people.
Transcription page 4:
MONTICELLO, Il
JAN 27
FREE
Hon Stephen. A. Douglas. U.S.S.
Washington, DC
Via New Orleans
Martinsville, Miss
James Strickland About your plantation
Jany 28/53
Reporting Home
Reporting Home Question:
When away from home, what do you miss most?
Fighting for Home
Fighting for Home
Lorraine Hansberry
Exposing Chicago’s South Side
Lorraine Hansberry was only 8 years old when a brick burst through the window of her South Side home, almost striking her. Angry white neighbors had thrown it to stop her family from desegregating Chicago’s Washington Park subdivision. A lawsuit was filed against the Hansberrys. The case concerned racially restrictive housing covenants, which barred Black Americans from leasing or purchasing land in the subdivision – a common tool of de facto racial segregation reinforced by banks and real estate agents. The dispute reached the U.S. Supreme Court in 1939, which affirmed the Hansberry’s right to live in the neighborhood.
This struggle traumatized Lorraine and she later poured that trauma into the script of “A Raisin in the Sun.” Set entirely in a South Side apartment, it tells the story of a Chicago South Side family navigating the inherent racism of 20th Century American life and the affect it has on the Black community. In 1959, it became the first play written by a Black Woman to be staged on Broadway and later as a Hollywood film – exposing thousands of audience members to the reality of Black home life in urban America.
Fighting for Home
Critic's Circle Award
John McClain presents the 1959 New York Drama Critics’ Circle Award for best play to Lorraine Hansberry.
Fighting for Home
Press Coverage on Battle
Illinois State Journal, February 12, 1939, article about the Hansberrys’ battle to remain in their Washington Park home.
Fighting for Home
Best American Play
Freeport Journal-Standard, April 10, 1959, article reviewing Hansberry’s production “A Raisin in the Sun.”
Fighting for Home
The Hansberry Decision
The State of Illinois’s received copy of the U. S. Supreme Court’s decision regarding the Hansberry case.
Courtesy of the Illinois State Archives and Illinois Supreme Court
Fighting for Home
Charles Gibbs
Witness a House Divided
Recognized as one of the most prominent Black lawyers in Central Illinois, Tennessee-born Charles S. Gibbs made Springfield his home for nearly half his life after working as a coal miner in Kentucky and Southern Illinois. Labor activism led him to pursue a career in law. Gibbs passed the bar exam in 1908 and established his office above Harry Loper’s restaurant on South 5th Street. Weeks later, Loper’s became the first business targeted by white aggressors during the 1908 Springfield Race Riots.
Mere blocks from the house Gibbs rented for his family on North 14th Street, rioters attempted to suppress the economic advancement of Black residents by looting and burning homes or prosperous families. After experiencing the terror of the riots, Gibbs remained in Springfield to fight for justice for all in Abraham Lincoln’s hometown. In 1929, Gibbs would join a local group to combat the Ku Klux Klan, a terrorist organization Gibbs denounced as a “menace to the administration of justice in the courts.”
Fighting for Home
Passing the Bar
Newspaper article announcing Gibbs’s admittance to the bar.
Fighting for Home
Devastation
Example of damage to a Black residence during the 1908 Race Riot in Springfield.
Fighting for Home
Aftermath
Aftermath of the 1908 Springfield Race Riot.
Fighting for Home
Remains of a Dresser
Limestone top and wheeled furniture casters from a dresser in a home burned in the 1908 Springfield Race Riots.
Courtesy of the Illinois State Museum
Fighting for Home
Harvey Clark
A Home Denied
Chicagoans Harvey and Johnetta Clark planned to make a home in the suburbs in the summer of 1951. As Black Americans moving into an apartment in all-white Cicero, a process known as pioneering, they walked into a storm of hate and intimidation. The Clarks’ new neighbors stood across the street shouting racial slurs and throwing rocks. The next night the couple fled, and while the apartment sat vacant, a mob of approximately 4,000 white people ransacked the Clarks’ new home.
It took three days for the National Guard to put down the mob that rioted against the Clark family, but only the Clarks’ landlord and the rental agent were indicted, both for inciting a riot by renting a home to a Black family. The Clark family’s ordeal served as a reminder of northern hostility to migrating African Americans and echoed Illinois’s long history of “sundown towns” – places that violently enforced Black exclusion. Towns like Anna, Pekin, and Villa Grove often had warning signs, sirens, or a strong Klan presence that indicated that Black people should leave by sunset. Other places like Cicero posted no sign but enforced the racist policies just the same.
Fighting for Home
The Clark Family
Fighting for Home
Cicero Riots
Chicago Defender July 21, 1951, reporting on the Cicero Riots.
Fighting for Home
Time Magazine cover, 1951
Fighting for Home
Time Magazine article page 1
The July 23, 1951, issue of Time magazine including the Clark’s harrowing story.
Fighting for Home
Time Magazine article page 2
The July 23, 1951, issue of Time magazine including the Clark’s harrowing story.
Fighting for Home
Ida B. Wells–Barnett
Fighting for Black Security
Ida B. Wells-Barnett threw herself and her powerful command of language into many causes, but they all reflected a desire for safe and secure Black homes. Born with a slave status during the Civil War and losing her parents due to a yellow fever epidemic at 16, she had a keen sense of the fragility of Black life in a white supremacist society. In 1884, Wells filed a lawsuit for unfair treatment after she was forcibly removed from a first-class train despite holding up a paying ticket. She channeled her frustration about segregation into writing as a prolific newspaper reporter and owner – criticizing racial discrimination and Jim Crow policies.
After her friend Thomas Moss and two other Black businessmen were lynched, Wells began investigating other racial terror lynchings and writing about the injustice in her newspaper. As she reasons, “There is therefore only one thing left to do; save our money and leave a town which will neither protect out lives and property, nor give us a fair trial in the courts, but it takes us out and murders us in cold blood when accused by white persons.” Angered by these editorials, a white mob destroyed her newspaper office and she likely only survived because she was out of town. Wells did not return to Memphis, but continued to focus on documenting and describing the high rates of lynching since the issuance of the Emancipation Proclamation. In 1895, she married Ferdinand Barnett, a prominent civil rights activist, journalist, and attorney in Chicago, with whom she had four children. The couple’s Chicago home became a dual living and work space – with paternal responsibilities happening concurrently with Wells-Barnett’s crusade against white supremacy. In 1910, she provided a home space for other African Americans by founding the Negro Fellowship League – initially providing rooms for Black men but evolving into a center for Black uplift, social interaction, and activism.
Fighting for Home
Family Photo
Ida B. Wells-Barnett and her children.
Fighting for Home
Ferdinand Barnett
Fighting for Home
Pamphlet
In her pamphlet Southern Horrors: Lynch Law in All Its Phases, Black journalist Ida B. Wells-Barnett reports on the rising violence of lynchings in the United States.
Fighting for Home
Wells-Barnett Funeral Program
A program from Wells-Barnett’s funeral after she died in Chicago of kidney disease on March 25, 1931.
Courtesy the Amistad Research Center
Fighting for Home
Black Hawk
Resisting Cultural Genocide
Black Hawk stood watching his followers cross the Mississippi River eastward. The Sauk leader might have used that moment to reflect on his years in Saukenuk, a village near present day Rock Island where his people had lived since before the American Revolution. During the 1820s, white American colonizers increasingly pressured the Sauk to leave their home and move west of the Mississippi River. The U.S. government warned them not to return the Saukenuk after their winter hunt. Nevertheless, on this spring day in 1832, Black Hawk was coming home.
Knowing that Black Hawk disputed the U.S.’s claim to Saukenuk, Governor John Reynolds of Illinois expected conflict and called up the state militia. This assumption of hostility put Black Hawk and the U.S. military on a collision course. Months of fighting ensued and led to Black Hawk’s surrender. While imprisoned, he dictated his autobiography, arguing that “land cannot be sold. The Great Spirit gave it to his children to live upon, and cultivate, as far as is necessary for their subsistence; and so long as they occupy and cultivate it, they have the right to the soil.”
Fighting for Home
Battle Map
Map of battles between Black Hawk and the U.S. Army.
Fighting for Home
Depiction of Black Hawk.
Fighting for Home
Black Hawk’s Autobiography
A first edition of Life of Black Hawk or Má-ka-tai-me-she-kiá-kiák Dictated by Himself.
IN THEIR OWN WORDS
Throughout the exhibit, you have read about how people conceived of home in Illinois. Here, Illinoisans speak to you in their own words.
They discuss childhood memories of home, how they found home in the Prairie State, and some will even tell you about trials that challenged the way they imagined home.
In Their Own Words
Dr. Patrick Lam
In Their Own Words
Onyx Montes
In Their Own Words
Dr. Nicole Florence
In Their Own Words
Bryan Crain
In Their Own Words
Gabriela Ramirez
In Their Own Words
Mehul Trivedi
In Their Own Words
Bonnie Ho
In Their Own Words
Monica Boutwell
Original Soundtrack
Original Soundtrack
About the Soundtrack:
The music featured in the gallery was composed specifically for the “Here I Have Lived: Home in Illinois” exhibit. ALPLM’s composer, Randy Erwin, created this music as a response to the six themes presented in the exhibit. The music was recorded by a chamber orchestra of musicians from our community under the direction of Mary E. Myers, conductor. The musicians were recorded on the stage of ALPLM’s Union Theater by our Tech Team.
Original Soundtrack
Soundtrack Orchestra:
Randy Irwin, Composer / Arranger
Mary E. Myers, Musical Director
Melissa Blankestyn, Clarinet
Ann W. Collins, Violin
Gina R. Coonrod, French Horn
Karen Frost, Viola
Brian J. Kern, Trombone
Dia R. Langellier, Flute
Chet Lord-Remmert, Cello
Parnelle Miller, Contrabass
Kamen Petkov, Violin
Thomas E. Philbrick, Tuba
Garrett West, Sound Engineer
Original Soundtrack
Gallery Performances
During the run of the exhibit, a string quintet and a flute ensemble performed in the entry of the exhibit
String Quintet:
Ann W. Collins, Violin
Karen Frost, Viola
Kamen Petkov, Violin
Sharon Lombard, Cello
Parnelle Miller, Contrabass
Flute Ensemble:
Anne Catherine Elshoff
Christina Louisa Spa
Danise J. Keltner
Donna Lerch
Lucinda Garretson
Megan Chrisler
Sally McDaniel-Smith
Exhibit Credits
Exhibit Credits
Curator / Creator:
Christina Shutt, Executive Director
Producer / Project Director:
Lance Tawzer, Director of Exhibits and Shows
Content Development:
Brian Mitchell, PhD - Director of Research and Interpretation
Christian McWhirter, PhD – Lincoln Historian
Jake Friefeld, PhD – Midwest Historian
Transcriptions Provided by Papers of Abraham Lincoln Staff
Additional Content Provided by Gabriella Antonacci,
Katie Brethorst-Stockwell, and Amanda Riggenbach
Design, Fabrication & Installation Team:
Shannon Murphy, Exhibit Design
Amanda Flatt, Graphic Design
Tom Conway, Carpenter Foreman
Kevin Koebler, Carpenter
Dan Casson, Electrician
Tim Antonacci, installation support
Exhibit Credits
Tech / Production Team:
Jeff Nevins, Technical Director
Kurt Williams
Kevin Cline
Garrett West
Wes Abbott
Nick Williams
Additional Interactive development by Craig Williams
Accessibility:
Ed MacMurdo, Attractions Coordinator
Reggie Guyton, Narrator
Jeramy Teadrow, Web / IT
Gallery Soundtrack composed by: Randy Erwin
Loans, Artifact Prep, & Imagery:
Lisa Horsley
Carla Smith
Bonnie Parr
Ginny Lee
Megan Klintworth
Exhibit Credits
Object - Artifact Partners / Lenders:
Amistad Research Center
Barak Obama Foundation
Monica Boutwell
The Church History Museum, Salt Lake City, UT
City of Kewanee
Dana Thomas House, Illinois Department of Natural Resources
The DuSable Black History Museum and Education Center
Fever River Research
Illinois State Archive
Illinois State Library
Illinois State Museum
Illinois Supreme Court
McLean County Historical Society
McWorter Family
Special Collections/Morris Library, Southern Illinois University Carbondale
People for Community Recovery
Ronald Reagan Museum, Eureka College
St. Charles County Historical Society, St. Charles, MO
Tina Turner Museum, West Tennessee Delta Heritage Center
University of Illinois, University Archives & Special Collections
Exhibit Credits
In Their Own Words:
Thank you for sharing your stories
Monica Boutwell
Bryan Crain
Nicole Florence
Bonnie Ho
Patrick Lam
Onyx Montes
Gabriela Ramirez
Mehul Trivedi
Fuller Dymaxion Auto partnership:
Lane Motor Museum, Nashville, TN
Isringhausen Imports, Inc – Support and transportation
Exhibit Credits
Image Credits and Citations:
The Library of Congress
Atlanta Journal-Constitution Photographic Archives. Special Collections and Archives, Georgia State University Library.
Delar Studio Rockefeller Center, Smith College Special Collections, Northampton, Massachusetts.
Special Collections/Morris Library, Southern Illinois University Carbondale
Lloyd K Townsend, Cahokia Mounds State Historic Site
William R. Iseminger, Cahokia Mounds State Historic Site
Cahokia Mounds State Historic Site
Directory of Sangamon County’s colored citizens: A history of the Negro in Sangamon County
Sangamon Valley Collection, Lincoln Library
Illinois Historical Survey Collections, University of Illinois, Urbana-Campaign
McWorter Family
Kewanee Historical Society
Chicago Defender July 21, 1951
The People for Community Recovery Archives at the Chicago Public Library
Hanna Holborn Gray Special Collections Research Center, University of Chicago Library
Swarthmore Peace Collection, Swarthmore College
History of Chicago by A.T. Andreas
Chicago Historical Society
Billy Rose Theatre Division, The New York Public Library
Illinois State Historical Society
The Lowney Turner Handy Writers’ Colony Collection, Cunningham Memorial Library, Indiana State University
The Handy Colony Collection, University of Illinois
The DuSable Black History Museum and Education Center
Belvidere Daily Republican
General Research and Reference Division, the New York Public Library
Eureka College
Metro St. Louis Live Music Historical Society
Michael Ochs
Exhibit Credits
EXHIBIT END
The name of the track
The Spirit of Possibility Moves Us
Generations of musicians have come to Illinois by train, bus, and automobile. The Land of Lincoln has offered the promise of jobs, housing, and a new way of looking at things. Rhythms and lyrics that carried these desires shaped a sound that has a global reach. This community of Illinois music reflects our American diversity: Spiritual and Blues, Country, Soul and Rock, International, and Hip–Hop and House.
This music helps us imagine who we are. And through the boundless energy of our imagination, we can reach our potential. In this beautiful hall in the center of the country, you will discover how the sound of the heartland lives within all of us.
You will celebrate who we can be when we sing a song together.
– Dave Hoekstra
Gospel Music
Gospel Music
Gospel Music
Sound of Higher Ground
The sonic description of Gospel music is a harvest of all that comes from the heart: love, pain, memory and hope. The voice is the vessel to deliver the news. The voice can be solo or it can shape rainbows in a choir. Like a centerpiece on a table, this declaration is surrounded by instrumentation that ranges from an earth-shaking guitar to a cresting organ.
Video: Gospel Music in Illinois
Dr. Lena McLin
Gospel Music
Sound of Higher Ground
Chicago is the birthplace of American gospel. Chicagoan Thomas A. Dorsey — "The Father of Gospel Music" — wrote songs that touched Dr. Martin Luther King and Elvis Presley. Chicago's Soul Stirrers illustrated the bridge between gospel and soul music with young members like Sam Cooke, Lou Rawls and Johnnie Taylor. The Gospel spirit traveled into Chicago area homes from 1963 to 1984 through the popular Jubilee Showcase television show.
Audio: The Preservation of Gospel Music
Thomas A. Dorsey
Gospel Music
Title
The Gospel sound is precious and timeless. It bends notes and walks the mainline. The most deliberate hymn contains a wide range of expression. All Gospel music contains unparalleled devotion.
It celebrates the purity of the soul.
Gospel Music
Mahalia Jackson 1957 Performance Contract
By 1957, Mahalia Jackson stood at the pinnacle of her career as the country's top gospel singer and was now on Columbia Records. This contract to perform at New York City's prestigious Town Hall in 1957 provides a glimpse into Jackson's famed business acumen, as she notes to increase her performance fees.
Courtesy of Robert M. Marovich
Gospel Music
Curtis Mayfield Performance Music Score of "It's Alright"
Curtis Mayfield regularly included his 1963 Impressions hit, "It's Alright," in his live shows. This is a marked-up performance "Rhythm" score for the song, which has been covered by Etta James, Phil Collins, Huey Lewis, Bruce Springsteen, and was recently featured in the Disney movie Soul.
Courtesy of the Curtis Mayfield Estate
The Blues
The Blues
The Blues
The Blues Grew into its Wings in Illinois
The blues are a sparrow that flew north over the Mississippi River and landed in Illinois.
Out of the nest came the electricity of Muddy Waters and the haunting call of Howlin' Wolf. Waters (McKinley Morganfield) carried the muscle of mother earth while Wolf (Chester Burnett) was possessed by a wicked bolt of "Smokestack Lightning."
The Blues
Title
Chicago bandleader, songwriter, and bassist Willie Dixon dispatched his profound rhythms across the world. Dixon's sound was a passport to rock n' roll. Led Zeppelin never would have had "Whole Lotta Love" without Dixon's "You Need Love." Dixon was also an early architect at Chess Records before flying off to Chicago's Cobra Records in the late 1950s where he produced nascent tracks for Buddy Guy, Otis Rush, and Magic Sam.
The Blues
Sound of Higher Ground
Buddy Guy's electricity and business acumen delivered the blues to a new generation while the Chicago-based record labels Alligator and Delmark Records preserved the blues for the future. The earliest recordings of boogie guitarist Hound Dog Taylor at Alligator (1971) and nine-string guitarist Big Joe Williams (in 1961) at Delmark kept the blues pumping through the advent of pop and rock music.
The Blues
Fender Stratocaster Guitar Owned and Played by Buddy Guy
Buddy Guy's electricity and business acumen delivered the blues to a new generation while the Chicago-based record labels Alligator and Delmark Records preserved the blues for the future. The earliest recordings of boogie guitarist Hound Dog Taylor at Alligator (1971) and nine-string guitarist Big Joe Williams (in 1961) at Delmark kept the blues pumping through the advent of pop and rock music.
Courtesy of Buddy Guy's Legends
Music Poster
Mahalia Jackson 1957 Performance Contract
Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Non diam phasellus vestibulum lorem. Lorem mollis aliquam ut porttitor leo a diam. Quis commodo odio aenean sed adipiscing diam donec adipiscing tristique. Aliquet enim tortor at auctor urna.
Courtesy of Robert M. Marovich
The Blues
Howlin' Wolf's Personal Effects
Howlin' Wolf (Chester Burnett) had a big striking voice and was also an imposing figure at 6 foot 3. He carried a firearm for protection, for which he needed this 1960s-era firearms license. Also featured is his personal shaving brush with a wooden handle, a common item for someone born in 1910.
Courtesy of Bettye Kelly
The name of the track
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dbpedia
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1
| 74
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https://cornerstone.lib.mnsu.edu/speaker-gavel/vol45/iss1/3/
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en
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"I am a Candidate for President": A Functional Analysis of Presidential Announcement Speeches, 1960-2004
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This study investigates the nature of presidential announcement speeches, messages that introduce the current crop of contenders for the White House to voters and the news media. Announcement speeches are typically voters‘ initial exposure to these politicians as candidates for the White House. Seventy-five presidential announcement speeches from 1960 through 2004 were analyzed with the Functional Theory of Campaign Discourse. Acclaims were over three times as common as attacks; defenses were quite rare. Republicans and winners were more positive than Democrats or losers. These speeches were evenly split between policy and character. Democrats discussed policy more, and character less, than Republicans. Candidates emphasized issues owned by their political party more than candidates from the opposing party.
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en
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/favicon.ico
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Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato
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https://cornerstone.lib.mnsu.edu/speaker-gavel/vol45/iss1/3
|
Abstract
This study investigates the nature of presidential announcement speeches, messages that introduce the current crop of contenders for the White House to voters and the news media. Announcement speeches are typically voters‘ initial exposure to these politicians as candidates for the White House. Seventy-five presidential announcement speeches from 1960 through 2004 were analyzed with the Functional Theory of Campaign Discourse. Acclaims were over three times as common as attacks; defenses were quite rare. Republicans and winners were more positive than Democrats or losers. These speeches were evenly split between policy and character. Democrats discussed policy more, and character less, than Republicans. Candidates emphasized issues owned by their political party more than candidates from the opposing party.
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6276
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dbpedia
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0
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https://kbjournal.org/kuypers_1832_debate_on_slavery
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en
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The January 1832 Debate on Slavery in Virginia: Clashing Scenes and Terministic Screens
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https://kbjournal.org/kuypers_1832_debate_on_slavery
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Jim A. Kuypers, Virginia Tech
Abstract
Following the Nat Turner rebellion, the Virginia State Legislature held a debate in early 1832 over the abolition of slavery in the state. Two sides, pro-abolitionists and traditionalists, sparred over a two-week period. Using dramatistic analysis, I undertake a case study of the debate, looking specifically for the terministic screens used by each side to ascertain their worldviews that ultimately led to a narrow defeat of the pro-abolitionists.
FOR TWO WEEKS, RICHMOND WAS AWASH WITH CITIZENS OF ALL CLASSES AND SLAVE-HOLDING STATUS.1 They came to witness a spectacle new to the American South; in January 1832, members of the State Legislature formally debated the abolition of slavery in Virginia. Newspapers described the momentous event, claiming, "we have never heard any debate so eloquent, so sustained, and in which so great a number of speakers had appeared and commanded the attention of so numerous and intelligent an audience. . . . Day after day, multitudes thronged to the capitol, and have been compensated by eloquence which would have illustrated Rome or Athens" (Dew 8). Governor John Floyd wrote in his diary that, "Nothing now is talked of or creates any interest but the debate on the abolition of slavery" (Ambler 172). The openness and candor of the delegates, coupled with the intense public and press scrutiny, produced an attention the likes of which Virginia never again lavished on the charged subject.
The deliberations represent only a footnote in history, overshadowed by the growing abolitionist movements in the North and the Nullification Crisis in the South. It is, however, a defining moment in the history of Southern oratory. Political oratory on the slavery issue, particularly the urgent calls for gradual emancipation, presaged many of the arguments and debates that constituted the "Rhetoric of Desperation" characterizing the South up until the War Between the States (Eubanks 19-72). The catalyst for this event, however, remains more than a historical note.
It occurred in late 1831, when Virginia witnessed the bloodiest slave insurrection in American history. Nat Turner, a slave and self-proclaimed prophet, met with six other slaves on August 22 ("The Confessions of Nat Turner"). That night he and his followers tore through Jerusalem, Va., leaving fifty-seven whites—mostly women and children—shot, axed, and bludgeoned to death (Pleasants 64). Rumor of the uprising spread quickly, fueled by grisly reports such as that published in Richmond's Constitutional Whig on August 22, 1831: "It was hardly in the power of rumor itself, to exaggerate the atrocities which have been perpetrated by the insurgents: whole families, father, mother, daughters, sons, sucking babes and school children, butchered, thrown into heaps, and left to be devoured by hogs and dogs, or to putrify on the spot. At Mr. Levi Waller's, his wife and ten children, were murdered and piled in one bleeding heap on the floor . . ." (Pleasants 64).
Fear of similar revolts from slaves viscerally gripped the outlying slave states Maryland, New Jersey, Delaware, and Kentucky through to the Deep South. Virginians dreaded a second rebellion, and no attempt by politicians and newspapers could soothe the public's apprehension at the thought of approximately 470,000 slaves (almost 40% of the state's total population) in open revolt ("U.S Census Office" tables 10-13).2 Joseph Robert wrote that until Nat Turner's capture on October 31, the whites living in heavily black populated sections of Virginia "hung dangerously near the panic stage," ready to spring to action at the slightest provocation (Robert 7). In the following months, other slave states took action to curb growing slave populations, attempting to avert rebellions. Georgia and Louisiana passed resolutions forbidding the importation of slaves from other states, and other regions considered similar measures (Robert 13). Virginia was a slave exporting state, and with a rapidly shrinking export market, Virginians realized that the black population would continue to grow faster than the white.
On December 5, 1831, Governor Floyd declared his commitment to ending slavery in Virginia ("The Diary of John Floyd" qtd. in Whitfield 63). The House of Delegates responded promptly, creating a committee of thirteen members to discuss the "insurrectionary movements of the slaves, and the removal of the free persons of color" (qtd. in Robert 15-16). After laborious proceedings, committee chairman William Brodnax requested that eight additional men join his ranks; thus, the final composition of the committee was sixteen easterners and five westerners (eastern Virginia had more representatives because it was more populous and heavily dependent upon slave labor). As discussion continued, the delegates coalesced into two main factions, labeled here as traditionalists—those who believed that slavery should remain in place—and the activists—who urged change, generally in the form of gradual emancipation. On January 10, 1832, traditionalist William Goode inquired after the progress of the committee. Brodnax replied that "any apparent tardiness…consisted of two main problems: the removal of the free Negroes and gradual emancipation" (Robert 18). On January 11, Goode, feeling the interests of his slave-holding constituents threatened, designed a resolution that he believed could keep the issue from reaching the floor (Robert 19). Thomas Jefferson Randolph moved immediately to amend the resolution, which, contrary to Goode's intention, opened the floor to debate. For the next two weeks, the delegates engaged in a historic sparring match over the merits and morality of slavery, its open discussion, and abolition.
Rhetorical Insights
Historians have been long aware of the 1832 slavery debate, and traditionally held that the results of the debate confirmed Virginia's acceptance and defense of the "Deep South's pro-slavery philosophy. . . . Supposedly, only the westernmost portions of the state seriously proposed emancipation in some form. The eastern areas with ease defeated the proposals and henceforth closed all further discussion of the issue" (Campbell 322). This traditional view has not gone unchallenged, with some, notably Alison Goodyear Freehling, writing that the debate was actually one act in a long struggle between conservative planter class aristocrats and democratic reformers who wished for more equitable participation in state and local affairs. Freehling stressed that the debate was "part of an ongoing contest between a white community irrepressibly divided by slavery. The struggle for political power . . . centered on slavery. Again and again, as democratic reformers challenged aristocratic conservatives for control of Virginia's government . . . a fundamental question recurred: Is slavery compatible with majority rule? Or must Virginia, to safeguard slavery, forever deny white men equal political rights?" (Freehling xii).3 Although these works focus on the historical and sociopolitical contexts, they do not engage in close rhetorical reading of the texts of the orations (Root; Aptheker; Curtis). A rhetorical analysis complicates some historical claims, notably one made by Freehling that the debate was but an additional act in a continuing struggle between democratic reformers and their aristocratic enemies. Viewed rhetorically, however, no such struggle ensued during the debate; instead, we find that many slave owners participated in substance with the activists and voted for emancipation. Viewed rhetorically, we also discover that "acceptance and defense of the 'Deep South's pro-slavery philosophy . . .'" was not as widespread or homogenous as some historians believed. The activists took great pains to identify with slave owners, and attempted to create a new vision of shared substance; traditionalists actively participated in the creation of this vision. Both sides expressed nuanced understanding of the issue, and acknowledged slavery's evil and impractical nature.
Through the analysis that follows, I reveal the historical moment's predominant attitudes and beliefs, as rhetorically expressed through the delegates' public discourse during the slavery debate. The aftermath of the Turner rebellion left Virginia in a complex and fragile state, one calling for bold yet delicate responses to the sociopolitical, material, and rhetorical dynamics. However, the way in which the speakers in this situation, the traditionalists and the activists, created their responses shows a very different understanding of the nature of the crisis, one that, when viewed rhetorically, transcends historical accounts of the debates.
A fruitful way of exploring the different understandings expressed during the debate is through the analysis of the terministic screens used by the delegates. Explaining terministic screens, Kenneth Burke wrote, "even if any given terminology is a reflection of reality, by its very nature as a terminology, it must be a selection of reality; and to this extent it must function also as a deflection of reality" (Language as Symbolic Action 45). Certainly, a speaker's choice of words and phrases orients listeners' attention to some aspects of reality over others. Importantly, "whatever terms we use … constitute a … kind of screen…." This screen "directs [our] attention to one field rather than another." Within that field there can be different screens, each "directing attention in different ways." According to Burke, "there are two kinds of terms: terms that put things together, and terms that take things apart" (Language as Symbolic Action 49). In short, continuity and discontinuity; composition and division; for Burke, all "terminologies must implicitly or explicitly embody choices between the principle of continuity and the principle of discontinuity" (Language as Symbolic Action 50).
Looking at the debate, we see how terms open up possibilities for unity, for consubstantial co-existence even while representing different political views on emancipation; or, alternatively, we see how terms diminish the strength of a consubstantial moment by stressing division. According to Lawrence Prelli and Terri S. Winters, the "notion of terministic screens enables us to scrutinize how efforts to come to terms with problematic situations often involve similarities and differences about what meanings to reveal and conceal, disclose and foreclose. At stake in efforts to 'screen' meanings terminologically is the adequacy of underlying perspectives in depicting a situation's reality" (Prelli and Winters 226). Along these lines, Burke stressed that "much that we take as observations about 'reality' may be but the spinning out of possibilities implicit in our particular choice of terms" (Language as Symbolic Action 46). Expanding on this notion, Paul Stob wrote that terministic screens "speak to the point at which language and experience move together. They emphasize the way that terms push us into various channels and fields, which continually shape and reshape our vision and expression" (146). Terministic screens allows us to infer the various means whereby identification occurs, so we can see how they open up or close down possibilities for consubstantiality.
Burke ascribed a strong influence to terminological screens; not so much in the sense of once uttered that they impose or compel a particular way of viewing the world, but rather they are indicative of the internal thinking of the communicator. These screens potentially have an influence upon those hearing the discourse: the nature "of our terms affects the nature of our observations, in the sense that the terms direct the attention to one field rather than to another.
Also, "many of the 'observations' are but implications of the particular terminology in terms of which the observations are made" (Language as Symbolic Action 46). Thus, these words and phrases can deflect, reflect, and select attention toward or away from a particular element of the Burkean pentad (Bello 243–52). Just as descriptions of acts, for instance, when viewed as representative anecdotes for a situation, are terministic screens, so too can we view descriptions of other elements of the pentad (Burke, A Grammar of Motives 199). Thus, discovering terministic screens allows us to track pentadic elements—act, scene, agent, agency, purpose—and better understand the larger, and sometimes background understanding of a situation expressed by the communicator. By examining the key terms and phrases used, we can answer very real questions concerning the nature of the observations "implicit in the terminology" chosen (Burke, Language as Symbolic Action 47). We can discover how the terminologies direct attention to affect a particular quality of observation. Moreover, by determining the nature and inner workings of the terministic screens operating, we can shed insight into the Motives, or underlying worldviews, operating to shape the delegates' understanding of the situation.
In our present case, there is a strong underlying current of scenic elements throughout the debate. Scene is essentially a container of sorts for all the action in a situation; it is both context and physical location, encompassing both time and events. With a focus on scene, we have a link to the philosophy of materialism. In describing materialism, Burke cited Friedrich Paulsen, who wrote that the "reduction of psychical processes to physical is the special thesis of materialism" (Baldwin 45). Of note, texts that emphasize scene, thus having a materialistic influence, "emphasize the power of the surrounding environment or the coercive power of circumstance . . ." (McGeough and King 153). Thus, by examining the discourse, we can assess the degree to which scene, which exists outside of an agent or an agent's act, influences the actions and thoughts of that agent. Ryan Erik McGeough and Andrew King stressed the potentially deterministic nature of such discourse:
Texts that emphasize scene downplay free choice and emphasize situational determinism. They tend to emphasize the power of circumstances over individual choice. Clarence Darrow excused the behavior of many criminals by arguing that they were victims of bad heredity and merciless environment. Supporters of social welfare programs point to bad schools and failing local economies as reasons that such programs are needed. Speakers who advise accommodating to circumstances emphasize the deterministic power of scene. (156)
As will be shown later, scene is an important element in the slave debates, yet even with such a deterministic influence, the delegates were able to work against it to stress their own moral action and agency.
I demonstrate in the pages that follow how the debaters' construction of past, present, and future scenes framed their perspectives and accounts for the differences in their deployment of terministic screens. Marguerite Helmers suggested that traditional notions of Burkean scene are temporally bound (77-94); in so far as this is true, the present case study extends our notion of scene since it highlights shifting constructions and interanimations of past, present, and future scenes. As will be shared, the terministic construction of scene is central to understanding the debate's outcome, and allows us to better understand the terministic strategies used within the four distinct themes addressed by the delegates, ultimately contributing to an understanding of scene that is supportive of competing views and, ultimately, policies. Moreover, the examination of the debate shows how even in the face of an overwhelmingly coercive power of scene, willful agent-centered moral action is attainable.
The Virginia debate offers a unique opportunity to view the clashing of terministic screens on a stunningly important topic. By examining the screens used, we can see just how close the sides came to a truly consubstantial moment; additionally, identifying these contending screens allow us to see how the political actors viewed the situation, and imbued it with meaning. Such an examination of the debate can reveal the speakers' thoughts and assessments of the political climate, latent feelings, attitudes toward slavery, and a multitude of related issues. Because the activists had the larger rhetorical burden in this debate, I focused primarily on them. I began this study by examining each speech for major themes, and then determined which themes were conveyed terministically throughout the debate.4 There are four themes, each with contrasting screens: discussion of slavery, the economy, public safety/property, and morality.
The Debate
The Discussion about a Slavery Debate
For traditionalist members of the Legislature, the debate itself seemed unwise, a foolish endeavor they needed to curtail as quickly as possible. Ironically, it was traditionalist William Goode's resolution to bar the discussion of any plans for manumission that inadvertently allowed members of the Legislature to spar. The activists' first order of business, then, addressed this issue: should the Legislature even discuss slavery? Some of the activists dwelled on this subject for large portions of their orations, making it a focal point in the debate, and an issue with which they easily attacked traditionalists. James McDowell offers a telling example in his forceful introduction:
And, sir, I would not break [the silence] now; I would not open the lips which discretion should seal, were it not that the question which we are discussing, and the discussion itself, have brought a crisis on the country; have brought up a measure for decision here, of such eventful influence over the social structure and condition of the State, as to demand . . . that, guided only by his judgment and his conscious, he should stand forth, firmly and deliberately, and take his position upon it (McDowell 3).
McDowell claimed that the debate had "long been repressed by unmanly apprehensions or smothered as the dream of impracticable benevolence" (4). Like many others, he argued that every representative—by the nature of his position—had a right and obligation to fully address an issue of such great concern to the populace. The activists appealed to a common sense of duty, patriotism, and manliness, all virtues lauded in antebellum Southern rhetoric.5 Robert Powell cried: "Sir, a crisis is at hand; this great question is obliged to be met; it can no longer be evaded; and it becomes to us, as men, and as patriots, to meet it with firmness and decision, yet with caution and circumspection" (1). William Summers called the debate a "duty to ourselves"; William Roane claimed it was the "bar of patriotism"; Philip Bolling demanded "open, bold and manly" discussion (Summers; Roane; Bolling 3). Further, Bolling claimed that, "No man, who is firmly convinced that he is sustained by reason and justice, hesitates to confront his adversary," because that was "a tacit admission that reason and justice are against him" (3). Thomas Jefferson Randolph, the grandson of Thomas Jefferson, chided the representatives, claiming they had the "sagacity of the Ostrich who, if it hides its eye behind a pebble, imagines its huge body concealed from its enemies" (2). Stressing norms of virility, James Chandler acknowledged the attending females, noting the "mirth and happiness in their eye." He then goaded the men, proclaiming: "And shall man, fearless man, whose boast and pride it is to be regardless of danger, shrink from the discussion of that, which woman, lovely woman, with all her tender sensibilities and timid apprehensions, smiles at?" (Chandler 4).
Appeals to manly virtues did serve as motivational leverage, but did not squelch the opposition. The traditionalists wished to avoid discussion because they felt it would lead to widespread malcontent, and possibly incite additional slave revolts. William O. Goode described this position: The debate "is creating great pain and anxiety among a large portion of the citizens of the State, and it will raise expectations in the minds of the colored population—doomed to a disappointment which could not fail to endanger feelings highly injurious and dangerous to all parties" (1).
Charles Faulkner, a preeminent orator in the Legislature, cleverly reversed this sentiment: "There is not a county—not a town—not a newspaper—not a fireside in the state where the subject is not fully and fearlessly canvassed . . . shall we alone be found to shrink from this inquiry?" (6). Many of the state newspapers had written as much; now that the issue was in the open, they expected debate. For Faulkner and others, silence on the issue would amount to blithe neglect of their duties to their constituents, to democracy, and to Virginia. Samuel Moore admitted the debate was a "duty I owe to my constituents and to myself," so he could ensure the "future prosperity of [his] country" (1-2). These men believed their constituents deserved faithful representatives to speak for them, especially since so many Virginians considered this a crisis. By calling for direct public involvement, the representatives drew upon the ideals of democracy. Henry Berry gladly conceded, "[L]et the decision of the people be what it may, I shall cheerfully submit. I bow with submission to the will of the majority, in all matters of state" (8).
The debate was even more complex for politicians from western Virginia. The West had far fewer slaves, and most citizens wanted to maintain this balance. Western representatives, outnumbered approximately 3-to-1, had a twofold task. They had to convince the House to debate and explain how they, as Westerners—ostensibly with little vested interest—could proclaim their views on slavery. Once again, ideals of democracy and duty came to the fore; speakers also described the state as one entity, a tactic to lessen perceived differences. Faulkner defended his position by connecting the tenets of democracy and the notion that slavery directly impacted western Virginia: "I am disposed to accord to the east, exclusive legislation upon this and every other question, where the consequences of that legislation can alone affect themselves, so, in the same spirit of liberality and justice, do I claim to be heard upon any and every subject, where the effect of your legislation most fundamentally and vitally concerns my own people" (7). According to Faulkner slavery had become "a measure of vital policy with the west" for "self defense" (8). Since many slave markets had closed, and others were threatening to do so, these politicians feared that the expanding slave population would move over the mountains and into their domain. The West was now "in the same situation that the East was 100 years earlier—slaves are being imported, but [the West] wish[ed] they weren't" (Faulkner 7).
The idea of unity and community rallied the Westerners to call for the entire state to remain, in Summers's words, part of the "same political family." He further asserted that the Westerners had "come at [the Easterners'] request, not to lead and conduct the struggle, but to labor side by side, with them, to contribute whatever we may, to the success of the good cause in which we find them embarked, and which we feel to be the cause of all. I hope, Sir, that the people of the West, are yet permitted to entertain a kindly interest in the common safety, prosperity, and happiness of this Old Dominion, of which they form an integral part" (1-2).
Summary
For activists, the situation was "a crisis" of "eventful influence," one with a force such as to "demand imperatively" action; it "obliged" the assembled men to embrace their "duty" to "future prosperity." This action of discussion would enact democratic ideals: "the people," "the majority," and "public will." The public would see fear of such discussion as a "disease," "an evil." In such a scene, men must act with "judgment," and be "conscious" of allowing "unmanly" apprehensions to prevent them from discussion. They must discuss the difficult issue "as men," with a "duty" to themselves "as patriots," and with "firmness" in their decision. True men act in an "open, bold, and manly" manner, with "reason" and "justice." Certainly, if women could smile viewing the debates, men could discuss the issue with "caution and circumspection." Certainly outside the legislature the issue was being "fully and fearlessly" discussed; thus, the debate was their duty to themselves as men, to their constituents as elected officials, and finally to their state as proponents of democracy.
Ignoring these concerns could result in abhorrent consequences, even the division of the state, a prospect none found appealing. To continue the debate, the activists realized they first had to highlight their right to speak on the subject, and convince the House that the time was ripe to act.To this end, Western Virginians, although not slave owners to any large degree, were "one of the community," an "integral part," could act "disinterested," and "labor" with Easterners to contribute to the "common safety, prosperity, and happiness" of all Virginians.
Should discussion continue, traditionalists projected a future that would cause pain, anxiety, and "raise expectations." Failure to meet such expectations would lead to "feelings highly injurious" to others, "dangerous" and potentially leading to greater damage than that spawned by the rebellion. Certainly, those advocating discussion presented powerful arguments steeped in democratic tradition. In answer to such concerns, the traditionalists could only muster the specter of hurt feelings and disappointment, and a vague idea of further rebellion. Of note is that such sentiment simply begs the question of a failed emancipation. For the activists, we see a strong dominance of the present scene pressuring true men to act now for the purpose of a better future scene. For traditionalists, we see the present scene as one of relative peace, and concerns of the act of discussion leading to a future scene of chaos.
The Economy
The amended resolution proposed by Randolph had at its heart a plan conceived to alter slavery without negatively impacting Virginia's economy: "the children of all female slaves, who may be born in this state, on or after the 4th day of July 1840, shall become the property of the commonwealth, the males at the age of twenty-one years, and females at the age of eighteen, if detained by their owners within the limits of Virginia, until they shall respectively arrive at the ages aforesaid, to be hired out until the net sum arising therefrom, shall be sufficient to defray the expense of their removal, beyond the limits of the United States, and that said committee have leave to report by bill or otherwise" (Berry 8). This plan of gradual emancipation, which was not unlike many Northern states' gradual emancipation plans, sought to minimize the economic impact upon Virginia's citizens, which would have been colossal.6 An individual slave in the 1830s was worth approximately $80,000 in 2015 dollars, and the overall economic value of slaves in the entire South was over 7.4 trillion in 2015 dollars, with Virginia claiming about 28%, or almost 2.1 trillion (Williamson and Cain; Historical Census Browser).
Delegates from both sides were concerned about Virginia's economic progress. According to the 1830 Federal census, Virginia had slipped from the most populous state in 1810 to the third most populated, and could soon lose clout in the national political arena (Robert 11). Even worse, some delegates saw Virginia slipping into an economic depression, and they sought to highlight this context within the debate, ascribing the economic woes to slavery. Philip Bolling lamented of the slaveholding areas of the state: "it seems as if some judgment from heaven had passed over it and seared it; fields once cultivated, are now waste and desolate—the eye is no longer cheered by the rich verdure that decked it in other days. No, sir, but fatigued by an interminable wilderness of worn-out, gullied, piney old fields" (5).
Activists saw Randolph's adaptation of Thomas Jefferson's emancipation scheme as the best remedy. Slavery, they said, was a system that "converts the energy of a community into indolence—its power into imbecility—its efficiency into weakness," that "puts an effectual extinguisher upon all the humble aspirations of their [white laborers'] ambition," and that creates "masters [who] are prodigal, [and] slaves [who] are wasteful" (Faulkner 17; Bolling 4; Berry 8). They maintained that the only way to increase Virginia's productivity was through a system based upon free white labor. Henry Berry painted a vivid portrait of this: "Every individual . . . is stimulated by a desire to become wealthy, distinguished, independent, and powerful. All the faculties of each individual are expanded, and fully developed; each acquiring all he can, and taking care of what he does acquire; hence the mass of production of all that is essential to the comfort and happiness of man, is infinitely greater in a free, than in a slave population" (Berry 8). James McDowell echoed Berry's ideal, stating that "no proposition can be more easily or conclusively established . . . than this, that the labor of a free white man, in the temperate latitude of Virginia, is more productive than that of a slave—yielding a larger aggregate for public and for private wealth" (McDowell 4). Thus, as profitable as slaves could be, labor of free whites would be as much or more so. Traditionalists framed Randolph's proposal in opposite light. Even in gradual abolition, they saw great peril. John Thompson Brown warned that, "A few bankruptcies may go unnoticed, but it is a fearful thing to drag down an entire community from affluence and ease, to abject poverty" (Brown 8; Bolling 6).
Summary
The activists frequently pointed to Virginia's economic plight. McDowell stressed that, "it is true of Virginia, not merely that she has not advanced but that in many respects she has greatly declined; and what have we got for a compensation for this decline? Nothing but the right of property in the very beings who have brought this disparity upon us" (9). With a rapidly increasing black population and an uncertain economy, Virginia must abandon slave labor for its more efficient counterpart. The plan itself was meant to incorporate the issue in a manner respecting property rights—hence the proposed time lag of decades. Moreover, the economic burden would be non-existent since slaves would labor until they reached a specified age, and then they would work to pay their passage to Africa. For the activists, the future scene with slavery compelled a change due to "duty" and the desire for "future prosperity." They contrasted this with a past scene of Virginia as a "rich verdure" and the present scene of a Virginian "wilderness" as a "judgment from heaven." Pushing a dichotomy of existential states, activists suggested that slavery turned "energy" to "indolence," "power" to "imbecility," "efficiency" to "weakness," and was the "extinguisher of ambition." Stressing free will, the activists linked "human nature" as "free" to a "more productive" state. A free society would be a "wealthy" and "powerful" society, one in which its members would be "distinguished," "independent," living in "comfort" and with "happiness." Traditionalists countered the activists' images of Virginia's economy with specific references to successful and flourishing plantations and cities. The primary focus, however, was upon a future scene where emancipation would lead to "bankruptcies," and from "affluence and ease" to "abject poverty." "Desolation" would result even from gradual emancipation.
The economic portion of the debate thus spawned dueling scenes of both present and future Virginia. The activists' screen involves a present with slavery causing the blight existing in Virginia; emancipation would lead to a prosperous future scene. The traditionalists' framing presents a present scene in which slave holders and the state are particularly well off with slaves, contrasted to a future scene where that aspect of society, and the benefits of culture and economy, would be ruined without slaves. Thus, a future without slavery would cause an even greater blight than that envisioned by the activists should their vision hold true.
The Question of Safety/Property
Any complete discussion of emancipation necessitated debating the problem of constitutional property rights versus public safety. Traditionalists constructed their argument around a defense of private property, whereas activists viewed slavery as a threat to the public safety that outweighed any individual's right to property. Although some activists—notably William Preston—argued that slaves were not property at all, most refused to debate the issue of slaves' humanity in the eyes of the law, realizing the futility at that time of such an argument. Traditionalist Willoughby Newton epitomized the entrenched commitment of his faction to their beliefs: "I [shall not] attempt to answer the arguments of gentlemen who maintain that our property is not our own—that slaves are not property. I mean no disrespect to the gentlemen who have urged these arguments; but, sir, I would as soon attempt to convince, by argument, the midnight assassin, that my life is my own—or the highway robber that my purse is my property" (Robert 98). Some delegates, in the same breath that they admitted slavery was an evil, claimed that a man's right to property should take precedence. James Bruce asserted that slavery's "glaring and palpable defects serve to show us the difficulty, or rather the impossibility, of devising any scheme of emancipation which shall be practicable, and not at the same time in direct violation of the rights of property" (2). The next day, William Daniel took this argument one step further by asserting that no matter how terrible the evils of slavery, he would not allow the Legislature to interfere with their status as possessions. "You may prove, if you can," he stated, "that slavery is immoral, unjust and unnatural; that it originated in avarice and cruelty, that it is an evil and a curse, and you still do not convince me that our slaves are not property, and as such, protected by our Constitution" (1).
In order to increase their ranks, activists had to present the argument in a manner that would accept slaves as property, while simultaneously proving it a violable right. They thus designed their responses to counter the traditionalists' argument that any effort to abolish slavery—whether immediately, or in twenty years—would undermine the sacred right to property granted by the Constitutions of both the United States and Virginia. They chose to advance their case delineating the government's role in public safety, increasing the salience of this point by referencing as often as possible slavery's intolerable danger to the public. The recently released census that warned of an increasingly large proportion of blacks in Virginia bolstered this context; men on both sides of the debate expressed concern at the extent to which the black population was growing.
Rives, a delegate not firmly aligned with either camp, estimated that with closing borders for export, "the disproportion [of blacks to whites] would become as ten or twenty to one" (2). Activist John Chandler assumed that by 1880, Virginia would have over one million slaves, "an amount too great, too appalling for a statesman not to apprehend some danger from" (Chandler 9). Faulkner asked his audience to consider the effect this huge black population could have upon the whites of Virginia: "If this immense negro population were now in arms—gathering into black and formidable masses of attack—would that man be listened to, who spoke about property—who prayed you not to direct your artillery to such or such a point, for you would destroy some of his property?" (4). Such emphasis on the rapid growth of the state's black population added an extra degree of salience to the issue, and implied a timeframe after which action would be impossible and the system inextricably entrenched.
Activists asked their audience to prioritize the main purposes of government, and in arguing for personal safety, they agilely circumvented an individual's natural right to property. Henry Berry epitomized this stance when he posited: "The use and enjoyment of all property, is always controlled by a regard for the safety of the public, as the paramount law of every state" (Berry 5). James McDowell concurred that "security is the primary purpose for which men enter into government; property, beyond a sufficiency for natural wants, is only a secondary purpose" (McDowell 15). Berry later derided the traditionalists who claimed that nothing warranted the violation of property rights: "[R]aising young tigers… might be a very lucrative business; but, sir, it probably would be very dangerous to the public; and will it be pretended that the legislature could not check it?" He warned that, "it is probably that the raising [of] young slaves will be come equally dangerous" (Berry 5). Speaking in the wake of the Southampton tragedy, activists had a readily available emotional resource. Philip Bolling capitalized on this, seeking to prove conclusively that slaves are, beyond doubt, a grave danger to the public: "Fanaticism, of all the horrid passions with which man is cursed, is the most wild and ungovernable in its character, and is the peculiar child of ignorance. Ignorance is the necessary consequence of slavery; and we all know, sir, that our slaves are not only extremely ignorant, but extremely fanatical; and, therefore, always dangerous" (4). To buttress advocates' claim about slaves' threat to the public, John Chandler invoked Southampton directly: "Has slavery interfered with our means of enjoying LIFE, LIBERTY, PROPERTY, HAPPINESS, and SAFETY? Look at Southampton. The answer is written IN LETTERS OF BLOOD, upon the floors of that unhappy county" (7). Randolph felt that the uprising was just an indicator of bloodshed to come if things did not change.
In stark contrast to the doomsday rhetoric of the activists, traditionalists gave considerable effort to paint a scene populated by docile, happy, peaceful, and harmless slaves (Gholson). They accused activists of attempting to instill paranoia in the public: "these alarmists do injustice to Virginia, and the character of our people—The dangers they imagine, do not exist—the general alarm and apprehension of which they speak, do not exist" (Gholson 2). In another attempt to minimize the perceived threat to public safety, Rice Wood made the bold claim that even the Southampton massacre should hearten Virginians and convince them of their slaves' loyalty and contentment because the majority of slaves did not turn on their masters during the massacre: "They are obedient and tractable, and most of them, as recent events show, will not only put them upon their guard against meditated danger, but will shed their blood, in their defense when it comes. In the period of two hundred years, only one instance has occurred in which a black man has been so far misguided and deluded, as to attempt to assassinate the master and his family . . ." (qtd. in Robert 81). Committee Chairman William Brodnax turned the table of argument further and depicted activists' plan of gradual emancipation as a scheme that would lead to far more bloodshed than the current situation could ever yield. Citing the arbitrariness of the July 4, 1840 cut-off for emancipation, he asked, "Will this inequality of condition, do you suppose, excite no restlessness and dissatisfaction among them? Will they not feel that the same principle which gives freedom to one entitles the others to it? Will they quietly submit to such unmerited distinctions? Will this not also lead to lawless efforts and insurrections?" (Brodnax 16).
Summary
Depicting Southampton either as anomaly or tragedy, and choosing to focus on either property rights or public safety, created widely diverging pictures of the same events and institution. The activists stressed that the growing number of slaves was simply "too great" and "too appalling," thus delegates must apprehend immediate "danger." Should the numbers continue to rise, it would lead to "formidable masses of attack." Because of this immanent danger, the "safety" of the "public" trumped property rights. Safety was a "paramount law," with public "security" the primary purpose for the state. Slaves are a "danger" since "ignorance" is a consequence of slavery; slaves are "fanatical," and ignorance and fanaticism breed danger. Because of Southhampton, slavery has interfered with Constitutional guarantees to "life," "liberty," "property" (beyond slaves themselves), "happiness," and safety. There would be bloodshed to come. Traditionalists claimed that "alarm" and "apprehension" simply did not exist. Slaves, as a people, were "happy," "contented," "peaceful," and "harmless." Moreover, they had a 200 year history of being "faithful," obedient" and "tractable," demonstrating support to the assertion that Southhampton was an aberration. The state did not have the right to "confiscate" the property of citizens. It would be "impossible" to take property without "violation" of Constitutional "rights of property." Importantly, the proposed emancipation would introduce "inequalities" of condition in the slave population, and this would led to "restlessness" and "dissatisfaction." Non-emancipated slaves would become "lawless" and provoke "insurrection."
Although there is certainly a clash between the themes of property and safety, the real clash, as in the themes of the discussion of slavery and economic impact, lies between present and future visions of order and disorder. The traditionalists have one version of the character of the slave population. They point to a dearth of insurrections and violence, which acts as an anchor for a future scene. Activists use the tragedy of Southhampton as an anchor for a future scene as well, although one in direct contrast to that depicted by the traditionalists; additionally, they point to a different character of the slave population, one closer to a common human failing, that of ignorance within humans that leads to fanaticism and danger. So there exists a clash of the nature and character of slaves within the present scene following Southhampton. Activists see an ignorant, fanatical, and growing population turning violent, with no changes leading to insurrection. Traditionalists see a generally happy, protective slave nature continuing into a future based on a 200 year past lacking violence.7 For them, change will lead to other insurrections.
Morality and the Sins of the Father
Both activists and traditionalists widely acknowledged that the system as a whole—not necessarily the individuals involved—was evil. For the activists, morality represented a complex rhetorical posture. To convince traditionalists to abolish slavery, activists had to increase the salience of the evils of slavery to spur them to action; however, attacking the morality of slavery could be seen as a personal attack on the slaveholders themselves, something that would only engender bad feelings and resistance to change. To account for this, they referred to slavery and its related issues as evil, characterizing the system in the worst light possible: "the legacy of weakness, and of sorrow," "withering under the leprosy," "the evil of slavery," "the ruin of our best hopes," "deadening oppression," "disease," "a blighting, withering curse," "injustice and oppression," "advancing enemy," "the slothful and degraded African," "cancer," "an increasing curse," and "a hideous deformity" (McDowell 23; Powell; Garland; Bolling; White 7; Campbell qtd. in Robert 104; Faulkner 9; Berry 2; Chandler 7).
The traditionalists couched slavery in much the same terms: "appalling evils of slavery," "it is a mildew," "slavery in Virginia is a . . . transcendent evil," "abhorrence for slavery," and "evils of the system." They admitted the principle of slavery was wrong: "I should be the very last to agree with [the abstract principle of slavery]," the people must "mitigate its evils," and "I acknowledge [it] to be an evil" (Dabney; Brodnax; Gallagher qtd. in Robert 112; Bruce; Brown; Gholson; Wood qtd. in Robert 81). Nevertheless, the traditionalists went on to say eliminating slavery would not be worth the exchange. John B. Shell, for example, said: "I have attempted to show to this House, that whatever the evils of slavery may be—whatever the dangers which accompany its existence—whatever the calamities it is likely to bring upon our country, our pecuniary condition and prospects are such as to render action now totally impracticable" (2). That is, eliminating slavery would cause more material, economic harm than good. The emancipatory goals of the activists demanded that they somehow express the debate in terms of morality, and increase the salience of this issue. The other themes—the merits of the debate, economic arguments, and property rights—represented lesser issues. Morality, however, was the screen through which they desired the entire issue of slavery viewed. For if the immorality was considered pressing and destructive, then the other issues would be more easily resolved.
To avoid directly attacking the traditionalists, the activists delineated a nuanced view of morality. They claimed slavery was responsible for immoral acts, but it was through no fault of the slave owners. Samuel Moore explained that the "species of labor in which slaves are usually employed . . . is very generally regarded as a mark of servitude, and consequently as degrading and disreputable" (1). It was simply by affiliation that slavery's vices were transmitted to their owners and, according to Bolling, "every system of slavery is based on injustice and oppression" (9). Thus, it was not the owner's fault, but the institution's, since one could not escape slavery's inherent shortcomings. Faulkner claimed that slavery "converts the energy of a community into indolence—its power into imbecility—its efficiency into weakness" (17). Bolling elaborated on Falkner's idea: "Slavery always had, and always must produce a great amount of idleness and vice" because freemen will not want to reduce themselves to the level of a slave (15). For these speakers, idleness was a terrible side effect, one rooted in biblical prose known to all. Bolling deplored the system as well, pointing to the sheer number of slaves as a compounding factor for the immorality: "If one half of those inhabitants are slaves, one half of the mind, and moral susceptibilities of that society, is lost to all useful purposes . . . which I esteem a greater loss to the state than any amount of money could be" (12).
Perhaps the most emphasized aspect of morality was a theme addressing the sins of the fathers. Although traditionalists initially raised this issue, activists co-opted it quickly. Early in the debate, some traditionalists claimed it was unfair to blame current slave-owners for a system enacted by an earlier generation: "it is as unkind as it is unjust to reproach a generation for misfortunes transmitted to her by generations before her, and from which no exertions of hers could relieve her. . . . We are not responsible for the existence of slavery among us" (Gholson 2). The activists in no way shrank from this assertion; they instead embraced it, and simultaneously deflected criticism from themselves. First, activists redefined the issue by accepting Gholson's posture that the present generation was not responsible for slavery. Bolling referred to the institution as "a curse entailed upon us by our ancestors," and McDowell boldly declared "slavery has come down to us from our fathers" (Bolling 4; McDowell 10). In this sense, the activists avoided blaming the current slave-owners, and removed one of the traditionalists' potential attacks. The activists then used this situation to their advantage, defining the sins of the fathers in a manner that could induce guilt if an emancipation policy remained elusive. McDowell exemplified this idea, making posterity the motivational framework. The person "who could have blotted out this curse from his country . . . would have received the homage of an eternal gratitude, who casting away every suggestion of petty interest, had broken the yoke which, in evil hour, had been imposed and had translated . . . to another continent . . ." (10).
If the arguments of posterity were insufficient, the activists touched on the personal, focusing on the legacy delegates would leave their children. Creating guilt, they claimed that their children would revile them for inaction: "[T]he question now is, shall we, in turn, hand it over to our children? Hand it over to them in every attribute of evil? Shall we perpetuate the calamity we deplore and become to posterity the objects, not of kindness but of cursing? Possessed of slaves as a private property by the act of our ancestors, shall we transmit it as such throughout an indefinite future? This is the question" (McDowell 10). Moore worried about the Legislature's "lasting influence," and Randolph implored, "Are we then prepared to barter the liberty of our children for slaves for them?" (Moore 1; Randolph 9). The sense of posterity was palpable; speakers despaired that they could be the ones who could have averted calamity, and they would be enshrined in this position for eternity. Chandler feared for Virginia's very existence, exclaiming that the delegates could inevitably destroy the State: "Will not the life, liberty, prosperity, happiness and safety, of those who may come after us, be endangered in a still greater degree by [slavery]? How, then, can we reconcile it to ourselves, to fasten this upon them? Do we not endanger our very national existence by entailing slavery upon posterity?" (7).
Summary
For the activists, slavery represented a "weakness" that perpetuated a "sorrow" and an "injustice." Institutionally it had a "withering" effect upon the collective morality; it was a "leprosy," an "evil" that ruined the state's best hope for a resplendent future. Slavery was a "deadening oppression," a "disease," "curse," and "cancer." Left unchecked, it would continue to be an "advancing enemy" that "degraded" all Virginians with "hideous deformity." Activists saw the institution of slavery as a taint that could only infect further their genteel society: it was "disreputable," based on "injustice" and "oppression." Since laborers were not free, it also bred "idleness" and "vice"; yet in a culture steeped in the Puritan work ethic, this would also infect the entire planting class and beyond.
Activists clearly saw the institution as an ancestral curse, yet one to be broken in the name of posterity. The delegates could "blot out" the curse to receive "eternal gratitude" if only they would walk away from "petty interests" and "break the yoke" of actual slavery and its influence on the citizens of the state. The demeaning present scene must not continue; their children must not inherit it. Should they give to their children a "calamity" imbued with the "attribute of evil"? Should the delegates give kindness or a curse? This focus on the negative scene actually opens the door to a prevailing call for action, with "duty" coming first in order to avert the progress of evil. For speakers living in a time when family, history, and community weighed heavily on the psyche, the charge to posterity commanded attention.
Activists, though, intrinsically linked morality to economics and a particular scene. The increase in slaves, and the supposed desolation of the land, represented the catalyst demanding that the Legislature act at this exact moment. Postponing action would only make it more difficult to remove the disease growing daily stronger. This, of course, related to the original crisis and the need to engage in debate now, before it was too late. Having argued that slavery had a deleterious effect on master as well as slave, the activists now depicted emancipation as an act of "liberty" for all of their children. The rights of life, liberty, prosperity, property, and safety would be "endangered" by inaction. Traditionalists, too, framed slavery as an appalling evil, a "mildew," that was "transcendent," "abhorrent," and a systemic evil. The moral high road, emancipation, would rectify these wrongs, but would eventuate in the ruin of the state, which itself had moral implications. They minimized transcendental moral concerns through the foil of a greater practical immorality: of property loss resulting in economic collapse—a worse fate for the children of the state. This line of reasoning raised maintaining the status quo by the traditionalists to an actual moral act. Unlike the previous three themes, with their clashing present scenes, we see the clash between the traditionalists increasingly mired in the scene and inaction, and the activists in a similar scene, stressing the moral nature of human free will and the act.
Discussion
At the beginning of 1832, Virginia and the South stood at a crossroads, with the Nullification crisis ushering in a strife-filled era of rancor characterizing all politics leading up to the War Between the States. The debate in Virginia represented a final moment when slavery was discussed openly and civilly, with all sides listening and issuing sound retorts. Although civil, the political maelstrom elicited fiery orations from both sides; the burden of proof, however, was squarely on the shoulders of the activists, for they attempted to alter the very fabric of Virginia, and proposed what most considered a radical view of government interference and eminent domain. In this respect, activists had to convince the legislature to embrace a plan never attempted, never even seriously considered. The activists showed both a remarkable awareness of their audience and an adroit ability to manipulate the stances of traditionalists into tools to further the cause of gradual emancipation. That they failed should not be a cause for reproach; instead, we might ask how it was they came so close to success. In the end, fifty-eight members voted to enact Randolph's plan for gradual emancipation, and seventy-three voted against it. Out of one-hundred-and-thirty-one votes cast, the outcome would have been different had only eight members changed sides. A compromise did pass; it decried the evils of slavery, supported removal of free blacks, and left open the possibility of future legislation. The activists valiantly attempted to overthrow an institution they felt was antithetical to a glorious future. Ultimately, they failed by a slim margin. Historians view this debate as a power struggle between the rich planter class and democratic reformers, the east versus the west. Viewed rhetorically, this distinction proves problematic; instead, the contest was not so much between planter class and reformers as it was between competing visions of Virginia's present, and what moral action would present the best Virginia future. Although not successful in terms of emancipation, the debate did present a strong consubstantial moment that almost transcended differences in class and economic means.
There were, of course, four interanimated themes whose terministic screens acted to construct their respective themes in a particular manner. In terms of the discussion of slavery, activists saw the scene (present and future) as awesome in power, yet this was less powerful than the free will of the men in the legislature who could act now to change the situation. Traditionalists saw the scene (future) as awesome in power as well, yet such was its power that their acquiescence to activist action would be to abrogate their free will. In a sense, then, their non-act in the face of activists' call for change was actually an act of free will. In terms of the economy, activists did portray the present scene strongly, yet it was this description of a future scene of tragedy that compelled delegates to act for a different future scene of prosperity. Traditionalists painted a scene of relative harmony now, contrasted with a scene of tragedy if the plans of the activists were developed. Taken together, it was the scene (present/future) as awesome in power and avoiding action as an act. In terms of property/safety, the activists saw a present scene of disorder, one becoming intolerable with no action—a future disordered scene. Traditionalists stressed a present scene of order, in danger of the proposed action. Emancipation would lead to a disordered future scene, one with bankruptcy and violation of basic constitutional guarantees. In terms of morality, activists and traditionalists shared a mutual negative present scene (presenting the best opportunity for consubstantiality). Activists stressed a moral act of emancipation steeped in an agency of free will and posterity; traditionalists stressed the present scene of immorality trumped by a worse scene of economic and social ruin should emancipation pass.
Taken together, these terministic screens combined in a nexus of dramatistical importance, and in this place very forcefully point toward clashing worldviews making consubstantial moments difficult. Activists lived in a world were the present scene was one of disorder, and left unchanged would only grow worse. They urged acting now for a positive future scene of order. Traditionalists lived in a world where the present scene was one of order, and any change would be so catastrophic as to lead to devastation and a future scene of disorder. They urged an active act of inaction. Thus we have the grating of inconsubstantial elements: although both activists and traditionalists were operating from a scene-act sense of reality, the grounding understanding of scene was simply too different to fully overcome.
The nexus of these terministic screens seem to coalesce around the issue of morality. Here we see the activists' best chance at winning converts, since traditionalists in general agreed with slavery as an evil. The activists presented this in two parts. First, the area in which traditionalists agreed was the morality tainting scene of slavery that impacted the entire South, and in particular the owners of slaves. In this sense, slavery (scene) affected the person (agent). In the second part, the activists stressed the scene of slavery in which an act of emancipation occurs; thus, the act now would determine a new future scene for Virginia. The traditionalists were strongly entrenched within an unyielding scene, and the vision presented by the activists was ultimately not enough to secure the necessary majority of those opposing emancipation. They failed to provide enough of the enabling aspect to those shaped by the evil of slavery (scene). If anything, it worked to reinforce for some the notion of an intractable scene.
In the discourse of both the activists and traditionalists exists a dominance of scenic elements that suggest a philosophical materialism underpinning the discourse. Burke offers a traditional notion of materialism: "that metaphysical theory which regards all the facts of the universe as sufficiently explained by the assumption of body or matter, conceived as extended, impenetrable, eternally existent, and susceptible of movement or change of relative position" (A Grammar of Motives 131). It is "the theory which regards all the facts of the universe as explainable in terms of matter and motion . . ." (A Grammar of Motives 131). This intimates, according to Jim A. Kuypers, "that action is reduced to motion when scene dominates. In this sense, only the material is significant; that which is observable, touchable, and measurable takes precedence over other concerns. This materialistic motive also allows pressure to be placed upon those interpellated within the scene. We are a part of that which is occurring, but we are not necessarily able to remove ourselves from it" ("From Science" 154-155). This is clearly the case with the traditionalists, who created a scenic understanding of both present and future so compelling that many delegates were simply unable to embrace the morally liberating act offered by the activist discourse. However, the focus on the scene was not of an overwhelming domination, placing crass materialism (love for property) over the moral cleansing offered by the activists. Instead, the traditionalists were, as were the activists, allowing the situation to influence their act. For traditionalists, not joining the activists was itself an act, an act whose purpose represented both acquiescence to the present generational curse of slavery, and the moral act of saving a society and culture whose future was uncertain in the face of the actions of the activists.
The materialism inherent in this domination of scene suggests human action replaced by human motion; the scene is so strong that only what we can observe is important. For Burke: "things are more or less real according as they are more or less energeia [activity] (actu, from which our 'actuality' is derived). [F]orm is the actus, the attainment, which realizes the matter" (A Grammar of Motives 227). Insofar as this is true, we can see both activists and traditionalist enacting their plans in accordance to the form suggested by their respective scenes, the sequence of the act. The scene in this case did not enervate action, because both activists and traditionalists provided for a moral aspect of response, thus embracing that morally vital side of a human agent who can act independently of the scene. In our present case, either act of the activists (emancipation) or traditionalists (status quo), viewed morally, allows for redemption and purification of Virginia society from the guilt caused by the Southhampton tragedy.
In response to the scene, both sides called for a moral agent acting now. Although not dominating the discourse, the strength of the acts described flow well from the scene, and strongly implies a philosophical realism underpinning this aspect of the discourse. This correlates well with the activists' focus on the situation as it is now, and how action is necessary to alter Virginians' shared future. Realism is the belief "in the real existence of matter as the object of perception (natural realism); also, the view that the physical world has independent reality, and is not ultimately reducible to universal mind or spirit." In this sense, a realist motivation suggests "the existence of objects in the external world independently of the way they are subjectively experienced"; thus, a division between the stark facts of a situation and the subjective or idealistic interpretation of those facts ("Realism"). By focusing on the facts, the activists were actually inviting the traditionalists to participate in a potentially consubstantial moment in shaping Virginia's future. As Bernard L. Brock, Robert L. Scott, and James W. Chesebro wrote, "the realist grammar begins with a tribal concept and treats the individual as a participant in substance" (188). In our present case, the activists initially had to overcome the sense that they were all from Western Virginia, and thus distinct from their considerably more numerous, and slave holding, Eastern brethren. The underlying stress on action presented such an opportunity. Here we can see the underlying, although competing, cycles of redemption with activists and traditionalists. Following Burke's notion of Motivation, we can trace how the activists and traditionalists established a redemptive cycle within their discourse, and also how both sides allowed for an agent-centered moral action that worked for the possibility of a redemptive transcendence of the problem. As Burke suggested, by analyzing the terministic screens used to discuss the situation, we determined how the delegates named "their structure and outstanding ingredients, and name[d] them in a way that contain[ed] an attitude toward them" (The Philosophy of Literary Form 1).8 It is within these elements that the motives underpinning the delegates' discourse reside. Ultimately, it is within these motives that we can gain insight and understanding into how the discourse worked to secure action. Put another way, we can see how the delegates allowed opportunity for consubstantial moments on the issue of emancipation.
Importantly, both the traditionalists and activists have calls for action, with both envisioning a moral agent acting now. It is in this action that the third phase of the dramatistic cycle—redemption—will occur. For the activists, if the act is for good (emancipatory; redemptive), the present and future scenes are recast and society is saved. If there is no action, then guilt and pollution remain, the scene will continue to dominate and a moral taint and threat to safety remain. For the activists, there is no need for a scapegoat or mortification, only right action, one that embraces an idealism of a new future scene. In contrast, the traditionalists also envision a moral agent acting now, through which we can also see the third phase of the cycle of redemption. For the traditionalists, if the act is good (preserving social order, culture, and society from the fallout of Southhampton; redemptive), the present and future scenes are recast and society is saved. Their action is actually deliberate inaction, thus empowered by their view of the scene instead of being sheer motion. For the traditionalists, the action of the activists would result in added guilt and pollution, the scene would become even worse with the immoral act of leaving only devastation for their children.
Through this moral struggle, a redemptive transformation is within reach: both activists and traditionalists are the agents of the act, and imbued with certain idealism; they are empowered individuals who exist in a society dominated by a guilt-ridden and polluted scene. To better understand potential consubstantial moments, we can argue that the dialectical pairs (in this case the elements of the pentad) "are not merely to be placed statically against each other, but in given poetic contexts usually represent a development from one order of motives to another" (Burke, A Rhetoric of Motives 11). With this in mind, we can better understand the qualitative progression from scenic domination to a delegate's act. In understanding the power of these envisioned acts, we must pause and look again at the debate as a whole so that we see how the terministic screens employed by the delegates acted to reflect their realities, deflect both their own and others' perceptions of reality, and select certain aspects of reality to highlight. Importantly, we also see how these screens acted to encourage certain notions of continuity and discontinuity with Virginia's past. It is in these moments that we can see where there were true possibilities for consubstantial action, and where the respective terministic screens locked-in certain interpretations of reality that would make consubstantial moments unlikely.
A clash occurred throughout the debate between the scenes embraced between the activists and the traditionalists. Both groups seemed to embrace a notion of action based on human free will that could mitigate the dangers of these scenes; unfortunately, the natures of the scenes were so different as to prevent a consubstantial moment where joint action would act for both groups in a society-wide redemptive moment. The best hope for this redemption was in the area of moral concerns, where both groups shared in the substance of an immoral present scene mired in the degrading spectacle of slavery. It is in this area perhaps, where worldviews coalesced, that both activists and traditionalists were able to jointly operate from a realist grammar. In discussing what act to take to remove the present scene, true persuasion operated and the delegates were able to ensconce their arguments in notions of human free will necessary for true moral action. The activists began the debate heavily outnumbered, and in the end, fell only eight votes shy of achieving their goals. Ultimately their idea of a moral act of free will to step out of the moral quagmire of slavery was overshadowed by a compelling vision of the moral quagmire of slavery replaced by, in the eyes of the traditionalists, a deeper moral quagmire of a future Virginia desolate and ruined by emancipation.
Acknowledgments
This project was a recipient of the South Atlantic Studies Initiative Award, College of Liberal Arts & Human Sciences, Virginia Tech; an earlier version of this paper was presented as the Top Competitive Paper of the Burke Division at the Southern States Communication Association Convention, Tampa, 2015. For their contributions to this project, the author wishes to thank Elsbeth R. Drews and Alston B. Ramsay, both students in his Southern Oratory Seminar at Dartmouth College, Ashley Gellert, his research assistant at Virginia Tech, Nneka Logan, his colleague at Virginia Tech, and the anonymous KBJ reviewers.
Notes
1. Black and Native American slaveholders were not present during this debate. At the time, fewer than 5% of Southern whites owned slaves, and of those who did, only the top 1% of this number owed more than 50 slaves. In 1830, approximately 12% of free blacks in Virginia owned slaves.
2. According to the 1830 census, Virginia's slave population was 469,755.
3. In addition to Freehling, others, as early as Thomas R. Dew, advanced that the debate was not a complete endorsement of slavery, but contained elements of eventual emancipation, and denied slavery as a perpetual good.
4. By themes I mean the subject of discussion, or that which is the subject of the thought expressed. See Kuypers, "Framing Analysis"
5. See Waldo W. Braden, The Oral Tradition in the South (Baton Rouge: Louisiana State UP, 1983); W. Stuart Towns, Oratory and Rhetoric in the Nineteenth-Century South: A Rhetoric of Defense (Westport, CT: Praeger, 1998).
6. In 1830, these Northern states still had slaves: Connecticut, Delaware, Illinois, Indiana, Maine, Maryland, Michigan (territory), New Hampshire, New Jersey, New York, Ohio, Pennsylvania, and Rhode Island.
7. We do know now that there were insurrections in the South before that period, but should resist the urge to suggest duplicitous motives on the part of delegates advancing such argument as those represented here. Without the presence of mass media, many smaller insurrections and violent actions simply never made it out of the boundaries of the county or state in which they occurred. See Aptheker for an overview of such insurrections.
8. See also pages 6, 298-304. For a detailed discussion of Burke's notion of motive see, Andrew King. "Motive." The American Communication Journal vol. 1 no. 3, 1998, http://ac-journal.org/journal/vol1/iss3/burke/king.html. See, too, J. Clarke Rountree, III. "Coming to Terms with Kenneth Burke's Pentad, The American Communication Journal vol. 1 no. 3, 1998, http://ac-journal.org/journal/vol1/iss3/burke/rountree.html.
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Whitfield, Theodore M. Slavery Agitation in Virginia, 1829-1832. Johns Hopkins P, 1930, Baltimore, MD.
Williamson, Samuel H. and Louis P. Cain. "Measuring Slavery in 2011 Dollars," https://www.measuringworth.com/slavery.php Accessed 17 Jan. 2017.
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William Goode, former Representative for Virginia's 4th Congressional District
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Legislative profile for Rep. William Goode [D-VA4, 1859-1861], the former Representative from Virginia
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Goode was the representative for Virginia’s 4th congressional district and was a Democrat. He served from 1859 to 1861.
He was previously the representative for Virginia’s 4th congressional district as a Democrat from Dec 7, 1857 to Mar 3, 1859; the representative for Virginia’s 4th congressional district as a Democrat from Dec 3, 1855 to Mar 3, 1857; the representative for Virginia’s 4th congressional district as a Democrat from Dec 5, 1853 to Mar 3, 1855; and the representative for Virginia’s 4th congressional district as a Democrat from May 31, 1841 to Mar 3, 1843.
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Uncover the Homefront of Virginia's Civil War History.
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http://sovahomefront.org/favicon.ico
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Boyd Tavern
*National Register of Historic Places
449 Washington St. Boydton, Virginia 23917
(434) 738-9300
Hours:
Wed - Fri, 11 a.m. to 4 p.m.; or call for appointment
(hours subject to change)
Fees: Yes
The Boyd Tavern is one of few structures, if not the only structure, surviving within the town limits of Boydton that actually predates the town, which was established in 1812. In 1765, the newly formed Mecklenburg County granted Richard Swepson, Sr. a license to operate an ordinary. Swepson's ordinary is the earliest record of what would become the Boyd Tavern of Boydton.
(Read More, View Additional Photos)
Buffalo Lithia Springs
*National Register of Historic Places
99 Buffalo Springs Road, Buffalo Junction, VA
(434) 738-6143 (John H. Kerr Dam and Reservoir Visitor Assistance Center)
Hours:
Dawn to Dusk
(gate not locked)
Fees: No
The Buffalo Lithia Springs were first brought to the attention of Colonel William Byrd by Native Americans in 1726 while he was surveying the boundary between Virginia and Carolina. Byrd called the site "Buffalo Springs", because when they arrived, they killed a local buffalo for food, which was drinking from one of the springs.
(Read More, View Additional Photos)
Cedar Crest
*National Register of Historic Places—Boydton Historic District
1571 Jefferson Street, Boydton, VA 23917
Hours:
Private home, not open to the public
Fees: not open to the public
William Osborne Goode, son of John Chesterfield Goode, built Cedar Crest in 1821. William Goode, a College of William and Mary graduate, was licensed to practice law in Mecklenburg in 1821. He served as state and national representative. His political career began in 1822 when he was elected to the Virginia House of Delegates. He died in 1859 while serving in the United States Congress.
(Read More, View Additional Photos)
Clark Royster House & Clarksville
*National Register of Historic Places
300 Rose Hill Ave, Clarksville, VA 23927
Hours:
Private, not open to the public
Fees: not open to the public
In September 1792 William Royster deeded his son, Clark, 376 acres in two tracts for "love and affection" and five shillings. [MCDB 8:161] On portions of this property Clark made his home, built several businesses and established the Town of Clarksville.
(Read More, View Additional Photos)
Elm Hill
*National Register of Historic Places
Dick Cross WMA
Location: House remains are located on property adjacent to the Dick Cross Wildlife Management Area (WMA). The WMA entrance is on the east side of Buggs Island Road (Route 4) adjacent to Pino's Pizza (6288 Buggs Island Rd.) House site is surrounded by state-owned Wildlife Management Area (WMA).
Hours:
Dawn to Dusk
Fees/Access: Access care of Dick Cross Wildlife Management Area. Permits and fees apply for visitors to DGIF-owned (WMAs) who are age 17 and older, unless they possess a valid Virginia hunting, freshwater fishing, or trapping license, or a current Virginia boat registration.
This house burned June 25, 2014, the result of a lightning strike.
For over 200 years, on the north bank of the Roanoke River, with a commanding view of a bend in the river, stood the house known as Elm Hill. Historical explanations of the chain of ownership of the land and the origin of the house are often conflicting but apparently the house was built in the late 18th century. At various times in the 18th century it was home to Sir Peyton Skipwith, baronet, and his family.
(Read More, View Additional Photos)
Horseford Mill (a.k.a. Boyd's Mill)
Near intersection of Highway 903 and Fawn Lane, Bracey, VA 23919
Hours:
Private property; demolished (actually underwater)
Building demolished circa 1960s; site, now underwater, was generally near the current Buckhead Subdivision boat ramp (private).
The Horseford Mill (later referred to as Boyd's Mill) stood at the north bank of the Roanoke River, at the "horse ford." The four-story wooden mill, and the land, belonged to Armstead Goode Boyd, who also ran a nearby country store. The mill gave local citizens on the homefront the security of a known and nearby place to continue to get flour ground.
(Read More)
Horseford Plantation
Near intersection of Highway 903 and St. Tammany Drive. Partially viewable from Anchorage Way, Bracey, VA 23919
Hours:
Private home, not open to the public
Planter, merchant, entrepreneur, and local business advisor Armstead Goode Boyd lived at Horseford Plantation, which took its name from the ford on the Roanoke River: the horse ford. The present house ("Isle of Rest") was built for Boyd in 1868 to replace the house, destroyed by fire, that he and his family lived in during the Civil War.
(Read More)
Hugh Garland House
*National Register of Historic Places - Boydton Historic District
1550 Jefferson Street, Boydton, Virginia 23917
Hours:
Private home, not open to the public; please respect the homeowners' privacy with driveways, etc.
Prior to the war Elizabeth (Lizzy) Hobbs, who would eventually become seamstress and confidante to Mrs. Abraham Lincoln, lived briefly in Boydton as a slave of the Armistead Burwell family. Armistead Burwell (1777-1841) moved his family from Hampden Sydney College, where he had been employed as steward, to Boydton in 1830. However, in a practice common in the slave-holding society, Lizzy as she was known, was "loaned" to Armistead's oldest son, Robert, in 1832, and she was moved out of Mecklenburg County to Hillsborough, North Carolina for what she described as ten unhappy years. About 1842 she was returned to Virginia, and eventually she was relegated to Armistead's daughter, Anne, and her husband, Hugh Garland, with whom she was by her own account happiest at least during her slavery years. She was moved with the family to St. Louis, Missouri in about 1847 where she honed her dressmaking skills while actually supporting the Burwell family, and bought her freedom in 1855. She married while in St. Louis, becoming Mrs. Elizabeth H. Keckly.
(Read More)
Judge Henry Wood, Jr. Home
*National Register of Historic Places
105 6th Street, Clarksville, VA 23927
Hours:
Private home, not open to the public
The center section of the two story brick Queen Anne home was originally built around 1829 and the front of the home faced south towards Virginia Avenue. The Wood family bought the home in 1872 and added the south wing in the 1880's essentially as you see it today.
(Read More, View Additional Photos)
Lockett's Foundry & Jones Mill
*National Register of Historic Places
Nothing remains of either structure. They were located near the intersection of Union Level Road and Gordon's Lake Road, South Hill, VA, and in the vicinity of the Virginia Department of Game & Inland Fisheries Lake Gordon Public Boat Access on Route 799 just off Union Level Road (S.R. 664).449 Washington St. Boydton, Virginia 23917
In the nineteenth century a foundry, mill and store were located near the Lombardy Grove Tavern and under the same ownership--the William Jones family from 1828 to 1869 and Harwood A. Lockett from 1869 to 1892.
(Read More)
Logsdale (Hendrick Plantation)
2444 Palmer Springs Road, Boydton, VA 23917
Hours:
Private home, not open to the public
Logsdale was built by Revolutionary War General Samuel Hopkins, Jr. about 1783. The plantation was eventually sold to the heirs of William Hendrick and subsequently also known as the Buck Hendrick Plantation.
(Read More, View Additional Photos)
Lombardy Grove Tavern
4764 Plank Rd. (approximate), South Hill, VA; Near intersection of Union Level Road and Plank Road, South Hill, VA
Hours:
Private property, not open to the public
The community of Lombardy Grove appears on Madison's Map of Virginia dated 1818 and may have originated around the extensive plantation of that name, belonging to William Baskervill, Senior, clerk of court for Mecklenburg County, 1784-1814. His operation, which was about one mile south of Union Level Road, included a tannery, blacksmith shop, an ordinary, and a log store that also housed a post office established in 1807. Advertisements, maps, letters, and diaries indicate that Lombardy Grove was a busy community in the nineteenth century prominently located on major thoroughfares of the nineteenth century.
(Read More, View Additional Photos)
MacCallum More Museum & Gardens
Remains of Stoneland Plantation & nearby Civil War Trails marker for Christiansville at Butler Memorial Library
*National Register of Historic Places
603 Hudgins St., Chase City, VA 23924
(434) 372-0502
Hours:
Monday - Friday: 10:00 am - 5:00 pm
Saturday: 10:00 am - 1:00 pm
Sunday: Closed
Major Holidays: Closed (unless otherwise posted)
Gardens open Daily for self-guided tour.
Fees: Yes. Please contact the MacCallum More office for admission fees, event information, rental information, meetings, educational classes, and group tours. Gardens will be closed for private functions and weddings. The Civil War Trails marker for Christiansville is located at the nearby Butler Memorial Library, 515 N. Marshall Street, Chase City.
In the heart of Chase City are approximately six acres of formal gardens, fountains, and beautiful statuary, including a 1st-century Roman bust, nestled in a woodland setting among 8,000 boxwoods--many from old homes in Southside Virginia, native dogwoods, and azaleas.
(Read More, View Additional Photos)
Mecklenburg County Courthouse & Confederate Monument on Courthouse Square
*National Register of Historic Places
393 Washington Street, Boydton, Virginia 23917
(434) 738-6191
Clerk's Office Hours:
Monday-Friday, 8:30 AM - 5:00 PM
Mecklenburg County Courthouse is located in the heart of Boydton and currently houses the 10th Judicial Circuit of Virginia. After an extensive 10.7 million dollar renovation and expansion, it was re-dedicated with a ceremony on October 23, 2011. This Palladian courthouse was constructed between 1838 and 1842 by William A. Howard and James Whitice, using Thomas Jefferson's architectural principles. It was constructed to replace the eighteenth-century courthouse and 1815 clerk's office. Bricks from the floor and walls of the original clerk's office were used for the walkways in front of the new courthouse. Howard and Whitice constructed the two-story, six-columned building at a cost of $8,000 with local brick and built the columns out of brick, covered with stucco, replete with entasis (the application of a convex curve to a surface for aesthetic purposes), as Thomas Jefferson's builders had often done.
(Read More, View Additional Photos)
Mount Horeb Church - Civil War Trails marker
Marker is in the churchyard of modern-day Mount Horeb Baptist Church on north side of Old Cox Road, 0.1 mile east of Meadows Road, Chase City, Virginia 23924. Church address is listed as 10077 Old Cox Road.
Hours:
Cemetery and Marker Open to the Public
Fees: No
The related marker [View in Link] commemorates a skirmish site where Confederate General Rufus Barringer's North Carolina Brigade struck the rear of the Federal column.
The related Civil War Trails marker includes the subtitle "Confederate 'enraged birds'" along with this description:
"In June 1864, to deny Gen. Robert E. Lee the use of the South Side R.R. and the Richmond and Danville R.R., Gen. Ulysses S. Grant sent Gen. James H. Wilson and Gen. August V. Kautz south of Petersburg on a cavalry raid to destroy track and rolling stock. Following the Union defeat at Staunton River Bridge on June 25, the raiders raced for the safety of the Federal lines at Petersburg, harried all the way by Confederate cavalrymen. One such skirmish occurred here, when about 300 men from Gen. Rufus Barringer's North Carolina Brigade struck the rear of the column to keep the pressure on the Federal force. Meanwhile, Gen. Robert E. Lee directed combined Confederate cavalry, infantry, and artillery to set a trap for the raiders in the vicinity of Ream's Station."
(Read More, View Additional Photos)
Oakley & Aegypt
Locations:
Oakley: 2181 W. Orgainsville Road, Clarksville, Va. 23927 [map]
Aegypt: 3306 Trottinridge Road, Clarksville, Va. 23927 [map]
Hours:
Private Homes, not open to the public. The owners request that passersby respect their privacy.
Robert Alexander Boyd was born in Oakley, Mecklenburg County, Virginia, in 1842, the son of Richard and Lucy Ann Goode Boyd. Robert Alexander enrolled at Randolph-Macon College in 1858, but as did many of his classmates at the onset of the war, he left school to enlist in the Confederate forces. Richard Boyd, wanting his son to enlist as an officer, promptly arranged for Robert Alexander to attend Virginia Military Institute in lieu of immediate service. After graduating from VMI in 1863, Robert joined the 1st Engineers Troop (Col. T. M. R. Talcott commanding) as the 1st Sergeant of Company D and served until the end of the war. Boyd witnessed the surrender at Appomattox Courthouse, where his unit served as bodyguard for General Lee as they stood under the apple tree awaiting the surrender arrangements.
(Read More, View Additional Photos)
Occoneechee State Park
and the remains of Occoneechee Plantation
1192 Occoneechee Park Road, Clarksville VA 23927
(434) 374-2210
Hours:
Open Year Round 8 a.m. to dusk
Fees: State Park fees apply
Around 1839 William Townes made his home on the Roanoke River. His plantation, which covered 3,105 acres including Occoneechee Island, became known as the Occoneechee Plantation. The plantation was named for the Indian tribe that occupied the area prior to their annihilation by Nathaniel Bacon and his followers. The tribe was principally located on the island that bore their name now located under the waters of John H. Kerr Reservoir.
(Read More, View Additional Photos)
Prestwould Plantation
*National Register of Historic Places
*National Historic Landmark
429 Prestwould Drive, Clarksville, VA 23927
(434) 374-8672
Hours:
Call for current schedule.
Fees: Yes
Seat of one of the principal Cavalier families of Virginia, Prestwould was built by Sir Peyton Skipwith for himself and his second wife, Lady Jean. Sir Peyton was an American-born Baronet, third in descent from Sir Grey Skipwith, who emigrated from England to Middlesex County, Virginia during the rule of Oliver Cromwell. An avid book collector and amateur botanist, Jean Miller Skipwith, Lady Skipwith assembled one of the largest libraries owned by a Virginia woman early in the 19th century. Prestwould remained in the Skipwith family for four generations into the 20th century.
(Read More, View Additional Photos)
Randolph-Macon College / Boydton Institute Historic Site
Remains of main building near intersection of Hwy. 58 and West Jefferson St. (behind Triangle Grocery); Viewable from Jefferson St., Boydton, Virginia
Other campus landmarks -- President's House, Steward's Hall and two professors' residences -- are nearby private homes.
On U.S. 58 adjacent the site are historical markers commemorating Randolph Macon College, and, the Boydton Institute as a part of the Virginia Civil Rights in Education Heritage Trail.
Randolph Macon College was organized in 1830 by the Methodist denomination to respond to the need for a liberal arts college for prospective ministers, and remains the oldest incorporated Methodist College in the country.
(Read More, View Additional Photos)
Rosemont
Adjacent and viewable from Rosemont Vineyards and Winery (below)
Hours:
Private home, not open to the public.
Rosemont Vineyards and Winery:
1050 Blackridge Road, La Crosse, VA 23950 [map]
434-636-WINE (9463)
Hours: Monday - Saturday: 11 am to 6 pm, Sundays: 1 pm to 6 pm
While the original structure built by the Thomas family dates back to the late eighteenth century, Rosemont was purchased by Dr. Latinus Irving Rose in 1858. A physician, Dr. Rose remained on the homefront during the war to care for those in the area, including enslaved individuals and "free negroes". Dr. Rose also traveled to Richmond to the Camp of Instruction to care for Company B, 56th Regiment (also known as The Mecklenburg Spartans) as they awaited their deployment and suffered from conditions like measles. He received $108.85 from the Regiment in November 1861 for his services, according to his Medical & Account Journal, 1858-1870.
(Read More, View Additional Photos)
Sunnyside
*National Register of Historic Places
Sunnyside is now operating as a restaurant.
104 Shiney Rock Road, Clarksville, Virginia
(434) 374-4200
Hours: Open for lunch and dinner Tuesday through Friday, and Sunday brunch.
Call for exact hours.
Sunnyside is an estate, including a multi-sectional plantation house, the earliest part of which was built in 1833 for Samuel Hester and Eliza Greenwood Hester, on property inherited from her father. A 1936 Sunnyside survey report, part of the Virginia W.P.A. Historical Inventory Project, indicates, however, that "the back of the house was originally an old inn in Revolutionary days" and that "the old turnpike road went past the well and the stage-coaches used to stop there to water their horses".
(Read More, View Additional Photos)
Patrick Robert "Parker" Sydnor Log Cabin
*National Register of Historic Places
Near the intersection of Wilbourne Road and Morgan Farm Road (Routes 701 & 702); near Clarksville, VA
Hours:
Private site, currently not open to the public
The Patrick Robert "Parker" Sydnor Log Cabin is a tangible representation of the history of African American families in Mecklenburg County. After Reconstruction, Virginia had the highest percentage of freed African Americans who bought real estate and established themselves as small farmers on plots of land often adjacent to former plantations.
(Read More, View Additional Photos)
Tanner's Store
Site was northwest of Belfield Road and present day Marengo Road (formerly Saint Tammany Road) just south of La Crosse. Demolished.
For many years prior to and during the Civil War, Tanner's Store was owned by Evans Tanner (1796-1880s). The store, which also housed the Tanner's Store post office, was strategically located at the intersection of St. Tammany Road and Belfield Road, just south of present-day La Crosse. St. Tammany Road was the main north-south route in eastern Mecklenburg, at one point being the main road north to Petersburg but by the time of the Civil War it connected to the Boydton Plank Road, which had become the main route. Belfield Road was a major east-west stage road, connecting Boydton and Belfield (present-day Emporia).
(Read More)
Max Bagley Crowder Memorial Park at Whittle's Mill
Historic mill, picnic area, and canoe/kayak launch
1793 Bridge Road, South Hill, VA 23970
(434) 447-3191 (South Hill Town Hall)
(434) 447-4547 (South Hill Visitor Center)
Hours:
Dawn to dusk; "primitive" tent camping is available after dusk to those who complete a camping reservation form at the South Hill Town Hall, located at 211 S Mecklenburg Ave., South Hill, VA. Only those with camping reservations are allowed in the park after dusk.
Fees: No fees for most activities; there is a $5.00 per night fee for camping.
Whittle's Mill is the site of a colonial era grist mill on the Meherrin River along the border of Mecklenburg and Lunenburg Counties. The park is among the loveliest small river sites in Southern Virginia, and the history of its namesake family is deeply entwined with the story of America. The scenic old millpond has been Southside Virginia's unofficial park for generations. The Town of South Hill has now made it official as the Max Bagley Crowder Memorial Park, honoring a distinguished Southside Virginia historian.
(Read More, View Additional Photos)
Woburn Plantation Manor House Remains, Burwell Family Cemetery, & Nearby Site of Former Woburn Winery
Hours:
Private properties not open to the public.
Locations: The Woburn Plantation Manor House Remains & Burwell Cemetery are in the vicinity of coordinates 36.542702, -78.463798, accessible via a gravel road that intersects with Ivy Hill Road just south of the Virginia/North Carolina line; the manor house remains include a foundation and chimney, to the east of the gravel road and the Burwell Cemetery to the west.
Former Woburn Winery's site is in the vicinity of 1516 Ivy Hill Road, Clarksville, Virginia. [map]
Woburn Plantation, originally home to Armistead Burwell (1770-1820) and his wife, Lucy Crawley Burwell (1775-1825), was completed circa 1799. The related Woburn property eventually totaled over 1,000 acres in the fertile lowlands of Island Creek. Craftsmen Jacob Shelor (after 1753-around 1840), a stone mason, and John Inge (1748-1820), a carpenter, were employed to build the house.
(Read More, View Additional Photos)
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Missouri Digital Heritage: Dred Scott Case, 1846
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MISSOURI STATE ARCHIVES
Missouri's Dred Scott Case, 1846-1857
In its 1857 decision that stunned the nation, the United States Supreme Court upheld slavery in United States territories, denied the legality of black citizenship in America, and declared the Missouri Compromise to be unconstitutional. All of this was the result of an April 1846 action when Dred Scott innocently made his mark with an "X," signing his petition in a pro forma freedom suit, initiated under Missouri law, to sue for freedom in the St. Louis Circuit Court. Desiring freedom, his case instead became the lightning rod for sectional bitterness and hostility that was only resolved by war.
"Dred Scott, a man of color, respectfully states. he is claimed as a slave."
(Petition to Sue for Freedom, 6 April 1846)
Initially, Scott's case for freedom was routine and relatively insignificant, like hundreds of others that passed through the St. Louis Circuit Court. The cases were allowed because a Missouri statute stated that any person, black or white, held in wrongful enslavement could sue for freedom. The petition that Dred Scott signed indicated the reasons he felt he was entitled to freedom. Scott's owner, Dr. John Emerson, was a United States Army surgeon who traveled to various military posts in the free state of Illinois and the free Wisconsin Territory. Dred Scott traveled with him and, therefore, resided in areas where slavery was outlawed. Because of Missouri's long-standing "once free, always free" judicial standard in determining freedom suits, slaves who were taken to such areas were freed-even if they returned to the slave state of Missouri. Once the bonds of slavery were broken, they did not reattach.
Dred Scott was born to slave parents in Virginia sometime around the turn of the nineteenth century. His parents may have been the property of Peter Blow, or Blow may have purchased Scott at a later date. The mystery of exact ownership is one that would follow Dred Scott, and later his family, throughout their lives as slaves. With few records extant, it is difficult to identify exactly when ownership of the family was transferred to various parties. By 1830, Peter Blow had settled his family of four sons and three daughters and his six slaves in St. Louis. This was after having moved from Virginia to Alabama, to attempt farming near Huntsville, and, when that failed, a move from Alabama to Missouri. In St. Louis, Peter Blow undertook the running of a boarding house, the Jefferson Hotel. Within a year, though, his wife Elizabeth died and on June 23, 1832, Peter Blow passed away.
The Blow children remained in St. Louis after the deaths of their parents and became well established in the city's society through marriage to prominent families. Charlotte Taylor Blow married Joseph Charless, Jr., in November 1831; his father had established the first newspaper west of the Mississippi River and had been a leading opponent of slavery while editor. Charless, Jr., operated a wholesale drug and paint store, Charless & Company (later Charless, Blow, & Company when brothers-in-law Henry Taylor Blow and Taylor Blow became partners). Martha Ella Blow married attorney Charles Drake in 1835. Drake is better known in history for his role in the creation of Missouri's 1865 constitution. As a leader of the Radical Republican Party after the Civil War, he was determined to punish those considered Southern sympathizers; the constitution he helped author took away many of their rights, including enfranchisement. Peter Ethelrod Blow married Eugenie LaBeaume in 1833. She was from an old French banking family; her oldest brother was a wealthy businessman who, in partnership with Blow, formed Peter E. Blow & Company. She had two other brothers; one was the St. Louis County sheriff for a time in the 1840s, and one, Charles Edmund LaBeaume, was a St. Louis attorney who played an important role in Dred Scott's freedom suits. All of these St. Louis connections proved helpful to Dred Scott.
".the said Dr. John Emerson purchased your petitioner."
(Petition to Sue for Freedom, 6 April 1846)
One of Dred Scott's ownership mysteries concerns the date of his sale to Dr. John Emerson. It was sometime after the Blows arrived in St. Louis in 1830 and before Dr. Emerson reported to Fort Armstrong in Illinois on December 1, 1833. There is no extant record of the sale, although several theories have been posited. It is possible that Peter Blow sold Dred Scott to Emerson before his death. It is also possible that Blow's heirs sold him from the estate. On June 30, 1847, Henry Taylor Blow testified in Dred Scott's circuit court trial for freedom that Peter Blow sold Scott to Dr. Emerson. Emerson's attorneys did not object to this testimony or cross-examine Blow on its accuracy, so it is probable this is the manner in which the ownership of Dred Scott passed to Dr. Emerson.
John Emerson came to St. Louis sometime before August 1831. He served as a civilian doctor at Jefferson Barracks for a time before his October 25, 1833, appointment as an assistant surgeon in the United States Army. He left St. Louis on November 19, accompanied by Dred Scott, to report for duty at Fort Armstrong, Illinois (the stay referred to in court documents as Rock Island). Emerson's assignment lasted for nearly three years and, under the conditions of the Northwest Ordinance of 1787, entitled Dred Scott to his freedom. That ordinance prohibited slavery in regions between the Mississippi and Ohio rivers and the Great Lakes, except as punishment for crimes. In addition, when the state of Illinois was created from part of the Northwest Ordinance territory in 1818, the state constitution prohibited slavery.
".and there kept petitioner to labor and service."
(Petition to Sue for Freedom, 6 April 1846)
Living at Rock Island was Dred Scott's first chance to sue for his freedom, assuming he knew he had that right. He did not sue, though, and in May 1836, traveled with Dr. Emerson to Fort Snelling when Emerson was transferred. Fort Snelling was located in the newly created Wisconsin Territory (part of the Iowa Territory after 1838), on the west bank of the Mississippi River. The journey and residence at Fort Snelling was Dred Scott's second chance to sue for freedom. Now he was resident in a territory that was governed by the 1820 Missouri Compromise, which prohibited slavery north of 36° 30' except within the boundaries of the state of Missouri. Again, though, he did not pursue his opportunity to sue for freedom based on this residence.
In either 1836 or 1837, Dred Scott married Harriet Robinson, a teen-aged slave owned by Major Lawrence Taliaferro, Indian agent for the territory. Unusual for slave weddings was the fact that an actual civil ceremony took place. Taliaferro was a justice of the peace and performed the wedding. At some point, ownership of Harriet was transferred to Emerson, although the record is unclear as to how this came about-another ownership mystery of the Scott family.
On October 20, 1837, Emerson left Fort Snelling for assignment to St. Louis, which he had repeatedly requested. He traveled from the fort by canoe because the upper Mississippi River was already frozen and steamboats were not making the trip. Due to the mode of travel, he left behind most of his possessions, including Dred and Harriet Scott. The Scotts were left in the care of someone else, to be hired out until Emerson could make arrangements to send for them. They had opportunity to escape slavery by running away in his absence, but they did not. Nor did they attempt to sue for their freedom during this time.
Almost immediately upon arriving in St. Louis, Emerson was transferred to Fort Jesup, Louisiana. He arrived there on November 22, 1837. The assignment lasted less than a year, but during that time in Louisiana he met Eliza Irene Sanford (known as Irene) of St. Louis; she was visiting her sister Mary, who was married to Captain Henry Bainbridge, also assigned to Fort Jesup at the time. Emerson married Irene on February 6, 1838. In April 1838, at Emerson's request, Dred and Harriet Scott traveled to Louisiana, thus voluntarily returning to a slave state. That September, the Emersons and the Scotts returned to St. Louis for a brief stay, then traveled back to Fort Snelling in October. On that October trip back to Fort Snelling, Eliza Scott, named for her mistress, was born on the steamer Gipsey, captained by Thomas Gray, north of the boundary of 36° 30' , in free territory. The group remained at Fort Snelling until May 1840.
".Emerson was ordered to Florida. and left petitioner."
(Petition to Sue for Freedom, 6 April 1846)
On May 29, 1840, Emerson was transferred to Florida, where the Seminole War was being fought. He left his wife and slaves in St. Louis, where Irene Emerson's father, Alexander Sanford, resided on his plantation, called California, in north St. Louis County; Sanford owned four slaves. Dred and Harriet Scott were hired out to various people during that time. Emerson was honorably discharged from the United States Army in August 1842. He returned to St. Louis but, unable to maintain a successful private practice in the city, settled permanently in Davenport, Iowa, on land he purchased in 1835. He began practice there in the summer of 1843. Irene Emerson joined him and gave birth to their daughter Henrietta in November 1843. On December 29, 1843, Emerson died suddenly; he was forty years old. The official cause of death was listed as consumption, but it is possible he died of complications from syphilis. An inventory of his Iowa estate mentioned slaves, but the inventory is no longer extant, so it is impossible to determine if this reference was to the Scott family. There is no mention of any slaves in Emerson's Missouri estate inventory, although it is likely that Dred and Harriet Scott were living in or around St. Louis, hired out. After Emerson's death, Irene Emerson returned to St. Louis with her daughter and lived with her father. His proslavery sentiments probably influenced many of her decisions after Dred and Harriet Scott filed for freedom.
By March 1846, Dred and Harriet Scott were hired out to Samuel Russell; he was the owner of a wholesale grocery, Russell & Bennett, located on Water Street in St. Louis. At some prior point, Dred Scott had been in the service of Irene Emerson's brother-in-law, Captain Henry Bainbridge. Later reports claim that he traveled with Bainbridge to Corpus Christi, Texas, but returned to St. Louis at the outbreak of the Mexican War. No mention of this travel is made in official court documents. There is no mention of where Harriet and Eliza Scott were during the time that Dred Scott was with Bainbridge.
".He is entitled to his freedom."
(Petition to Sue for Freedom, 6 April 1846)
On April 6, 1846, Dred and Harriet Scott each filed separate petitions in suits against Irene Emerson in the St. Louis Circuit Court to obtain their freedom from slavery. These documents, identical in nature, stated that the petitioners were entitled to their freedom based on residences in the free state of Illinois (Rock Island) and the free Wisconsin Territory (Fort Snelling).
The suits were brought under a Missouri statute that specifically allowed anyone held wrongfully in slavery to sue for their freedom. Specific procedures for filing suit were outlined in the statute. First, a petition to sue was filed in the circuit court. If the petition contained sufficient evidence that the plaintiff was being wrongfully held, the judge ordered that the petitioner be allowed to sue; security for all court costs that might be adjudged had to be presented to the court. The judge would also order that the petitioner have liberty to attend to counsel and court, and not be removed from the jurisdiction of the court, or subjected to any severe punishment because of the freedom suit. Although proslavery in sentiment, Judge John M. Krum approved the form of the petitions, which Dred and Harriet Scott signed with their marks, an "X," and granted them permission to sue.
"It shall be lawful for any person held in slavery to petition the general court."
(Laws of the Territory of Louisiana, 27 June 1807)
The statute required that the action taken be an action of trespass for false imprisonment. It went on to require that "The declaration shall be in the common form of a declaration for false imprisonment, and shall contain an averment, that the plaintiff, before and at the time of the committing of the grievances, was, and still is, a free person, and that the defendant held, and still holds, him in slavery." Clearly, Missouri law accommodated the pursuit of freedom under certain circumstances. As historian Don E. Fehrenbacher stated: "Anyone familiar with Missouri law could have told the Scotts that they had a strong case. Again and again, the highest court of the state had ruled that a master who took his slave to reside in a state or territory where slavery was prohibited thereby emancipated him" (Fehrenbacher 130).
Dred and Harriet Scott had no political motivation to pursue freedom. No one questioned their legitimate right to their freedom based on extended residence in free areas. That uncertainty had been resolved with the Missouri Supreme Court's 1824 decision in Winny v. Whitesides, where a mandate of "once free, always free" became standard judicial practice. Established legal precedents, however, no longer reflected what became an increasingly proslavery judicial attitude. From 1844 to 1846, twenty-five freedom suits had been filed in the St. Louis Circuit Court; only one resulted in freedom.
Dred and Harriet Scott's first attorney, in what became a long legal journey, was Francis B. Murdoch, who had moved to St. Louis from Alton, Illinois, in 1841. Murdoch was Alton's prosecuting attorney when abolitionist newspaperman Elijah Lovejoy was killed by a mob there in 1837. He may have connected with the Scott family through John R. Anderson who was minister of the Second African Baptist Church that Harriet Scott attended in St. Louis. Anderson had also lived in Alton; in fact, he had been Lovejoy's typesetter and was in Alton the night proslavery mobs destroyed the newspaper office and killed Lovejoy. Anderson returned to St. Louis soon after and began helping slaves pursue their freedom whenever he could. There is no definitive evidence of the Murdoch-Anderson connection in assisting the Scott family. However, Murdoch did help the Scotts initiate their freedom suits, and posted the required security for them. For some reason, he moved to California in 1847 before their cases came to trial.
".at the office of Charles D. Drake. depositions will be taken."
(Notice to take Depositions, 10 May 1847)
At this point, the Blow family, children of Dred Scott's former owner, became involved in the freedom suits, providing both financial and legal assistance. There are no known motivations for their involvement in the cases. The family may have felt some obligation to a former slave. It is probable that Charlotte Blow Charless, as the family matriarch, requested her brother-in-law Charles Drake's assistance with Dred and Harriet Scott's freedom suits when Murdoch left. Drake was the widower of Martha Ella Blow and, after her death, his unmarried sister-in-law, Elizabeth Blow, cared for the two young Drake children, keeping Drake in close contact with the Blow family. At this time, the future emancipator, described as intense and intelligent, supported slavery. It is not certain that Drake ever represented the Scotts in court, but he did a thorough job of taking depositions and positioning the case for its St. Louis trial. He temporarily moved to Cincinnati, his family's home, in June 1847, which once more left Dred and Harriet Scott without an attorney.
Again, there is no documentary evidence of how the Scotts' third attorney became involved, but circumstantial facts reveal a possible scenario. Samuel Mansfield Bay, a New Yorker by birth, and former Missouri legislator and attorney general, became the attorney of record in June 1847. He was the attorney for the Bank of Missouri where Joseph Charless, Jr., husband of Charlotte Blow Charless, was an officer. Charless, Jr., signed as security for Dred Scott on legal documents. It is possible Charless asked Bay to become involved in the Scotts' freedom suits.
"You are hereby commanded, that setting aside all manner of excuse and delay,
you appear before our Circuit Court."
(Writ of Summons, 24 June 1847)
The case came to trial on June 30, 1847, in the St. Louis circuit court. Judge Alexander Hamilton presided over the trial. In a fortuitous turn of events, he had replaced the proslavery Judge Krum; Hamilton's general sympathy toward slave freedom suits was favorable to Dred and Harriet Scott. George Goode represented Irene Emerson. Missouri law was clearly on the side of the Scott family. All Bay had to do was prove that Emerson had taken Dred Scott, and then Harriet, to reside on free soil, making them free by Missouri law, and that after Emerson's death, his widow claimed and held them as slaves in Missouri.
There were many precedents in Missouri law upholding the "once free, always free" judicial practice. There was the cornerstone case of Winny v. Whitesides (1824), which held that a person held in slavery in Illinois then brought to Missouri was entitled to freedom based on that residence. That decision was followed just a few years later by Merry v. Tiffin & Menard (1827) which held that residence in any territory where slavery was prohibited by the Northwest Ordinance of 1787 worked a slave's freedom. The validity of the Northwest Ordinance slavery prohibition was upheld by the Missouri Supreme Court in their 1828 decision in LaGrange v. Chouteau and again in Theoteste alias Catiche v. Chouteau (1829). That residence in Illinois worked a slave's freedom was upheld in numerous Court decisions, including Julia v. McKinney (1833) Nat v. Ruddle (1834) and Wilson v. Melvin (1837). The fact that Dr. Emerson was resident at a military post did not prevent emancipation, according to the Court's 1837 determination in Rachel v. Walker. Between 1837 and 1846, there were no new decisions made by the Missouri Supreme Court to overturn the clearly-established doctrine of "once free, always free."
On the day of the trial, Henry Taylor Blow testified that his father had sold Dred Scott to Dr. John Emerson. Witness depositions from both military posts established the fact that Dred and Harriet Scott had resided at the posts as slaves in service to Dr. Emerson. Catherine Anderson, the wife of a Fort Snelling officer, testified in her May 10, 1847, deposition that she had hired Harriet Scott for two or three months and stated that she knew others who had hired the Scotts while Dr. Emerson was stationed at Fort Jesup in Louisiana. Miles H. Clark, deposed on May 13, 1847, stated that while he was stationed at both Fort Armstrong (Rock Island) and Fort Snelling, he knew Emerson claimed Dred Scott as a slave and used him as such. Samuel Russell of St. Louis testified in court that he had hired Dred and Harriet Scott from Irene Emerson and paid her father, Alexander Sanford, for their services.
On cross-examination, though, Goode revealed that Russell's wife Adeline had, in fact, made the arrangements to hire Dred and Harriett from Irene Emerson; all Samuel Russell had done was pay money to Sanford. His testimony was dismissed as hearsay and did not prove to the jury that Irene Emerson held the Scotts as slaves. Because of this technicality, the jury returned a verdict against the Scotts-they remained in slavery. There was no question at this point as to the validity of the Northwest Ordinance slavery prohibition, or the similar prohibition in the 1820 Missouri Compromise. The jury did not deny "once free, always free"-they simply did not hear testimony sufficient to prove that Irene Emerson claimed Dred and Harriet Scott as her slaves. When Hamilton instructed the jury that Samuel Russell's testimony was inadmissible, they returned a verdict for Emerson.
".the plaintiff. moves the Court to set aside the verdict rendered."
(Motion for New Trial, 30 June 1847)
Bay moved for a new trial, arguing that the Scott family should not remain in slavery because of a technicality in the legal proceedings that could be easily remedied. Hamilton granted a new trial in December 1847, but not before Goode filed a bill of exceptions to the motion for a new trial, resulting in the case being taken on a writ of error to the Missouri Supreme Court; sitting were justices William Napton, William Scott, and Priestly H. McBride. A transcript of the circuit court trial was filed in Jefferson City on March 6, 1848. The case was argued on written briefs only; no oral statements were made. At this point, Alexander P. Field and David N. Hall represented Dred Scott. Field was an expert trial lawyer and prominent figure in Illinois and Wisconsin politics; little is known about Hall. Like Bay, the two attorneys had shared office space with Peter E. Blow's brother-in-law, Charles Edmund LaBeaume.
By the time the Missouri Supreme Court was prepared to hear the case on April 3, 1848, Judge Hamilton had already granted the new trial. As a result, Judge William Scott issued the unanimous decision on June 30, 1848, that there was "no final judgment upon which a writ of error can only lie," because the new trial had not taken place yet. Again, there was no consideration of the political implications of slavery in the territories; the case was still simply a suit for freedom, with the outcome still to be determined by St. Louis courts.
On March 17, 1848, before the next trial took place, Irene Emerson had the sheriff of St. Louis County take charge of the Scott family. He was responsible for their hiring out, and maintained the wages until such a time as the outcome of the freedom suit was determined (custody of the Scott family would remain with the St. Louis County sheriff until March 18, 1857). Beginning in 1851, Charles Edmund LaBeaume hired Dred and Harriet Scott from the sheriff; they worked for him for the next seven years. Sometime in 1849 or 1850, Irene Emerson moved to Springfield, Massachusetts, and married Dr. Calvin C. Chaffee in November 1850. Chaffee, an abolitionist apparently unaware of his wife's involvement in a slave freedom suit, was elected to the United States Congress shortly after his marriage to Irene Emerson.
"If the jury believe from the evidence."
(Jury Instructions, 1850)
Although Hamilton had granted a new trial on December 2, 1847, there was a lengthy delay before it actually took place. First, the case's detour to the Missouri Supreme Court took place in the spring and summer of 1848. Upon its return to the St. Louis Circuit Court, it was docketed for February 27, 1849, but postponed because of a heavy court schedule. This happened again when a court date of May 2, 1849, was set. The possibility of a trial in late May was denied when a fire swept through St. Louis on May 17, bringing most business in the city to a complete halt. A cholera outbreak in the summer delayed proceedings further. The case was finally heard on January 12, 1850, with Judge Alexander Hamilton presiding. The attorneys for Dred Scott were Field and Hall, who had represented him in the Missouri Supreme Court. In 1849, Hugh Garland and Lyman D. Norris replaced Emerson attorney George Goode. Garland was a Virginian by birth and had served in that state's legislature. Little is known about Norris' background, except that he was staunchly pro-slavery and never established a residence in St. Louis.
Field and Hall established the Scotts' residence in a free state and territory; at this point, there were still two separate cases, one for Dred Scott and one for Harriet Scott. The depositions of Catherine Anderson and Miles H. Clark were again presented. This time, though, a deposition of Adeline Russell was included, indicating that she made arrangements with Irene Emerson to hire the slaves Dred and Harriet Scott. Samuel Russell appeared in court to testify that he paid for the hiring of the slaves. The technicality that had cost freedom at the 1847 trial was now rectified.
For their case, Garland and Norris claimed that Irene Emerson had every right to hire out her slaves. They stated that while Dr. Emerson was residing at Fort Armstrong (Rock Island) and Fort Snelling, he was under military jurisdiction-not the civil law that prohibited slavery in those areas. Military law, they claimed, superceded civil law and therefore Dred and Harriet Scott were not free. This argument of military and civil law had already been presented to the Missouri Supreme Court in Rachel v. Walker (1837) and the Court determined at that time that the argument did not apply. Garland and Norris ignored this precedent, though, in an effort to protect Emerson's property interests.
With the new testimony from Adeline Russell proving that Irene Emerson claimed and held Dred and Harriet Scott as slaves, and with favorable instructions from Judge Hamilton, the jury found for the plaintiffs. Dred Scott and his family were free. Following the procedures outlined by Missouri law, they won freedom just like many other slaves had done previously in the state. The case was obviously not yet the lightning rod in the fight over slavery politics that it later became.
".the decision of the Supreme Court. shall also decide
and conclude the case of the said Harriet, his wife."
(Stipulation, 12 February 1850)
Emerson's attorneys immediately asked for a new trial, but were overruled. They then appealed to the Missouri Supreme Court, which granted a hearing. It is posited that the justices were waiting for an opportunity to make a pro-slavery judicial pronouncement and Scott v. Emerson provided that chance. On February 12, 1850, an agreement was reached between all parties that only the case of Dred Scott v. Irene Emerson would be advanced; the outcome of that decision would apply to Harriet Scott's case, too. The case was docketed for the March 1850 term in St. Louis. The justices deciding the case were William Napton, who had been on the bench during Emerson's 1848 appeal, James H. Birch, and John F. Ryland.
At the Supreme Court level, Emerson's attorneys continued to maintain that military law was different from civil law when slave property was involved. They claimed this despite the Court's ruling to the contrary in Rachel v. Walker. Hugh Garland's brief, filed in March 1850, had two points: 1) consent of the master and 2) military jurisdiction. He claimed that because Emerson was ordered to the military posts, there was no implied consent on his part that he willingly took his slaves into free areas; therefore, residence in those areas did not work Dred Scott's freedom. The Court had determined in Nat v. Ruddle (1834) that freedom existed only if the slave's residence in free areas is with the master's consent. Garland followed up this argument with his claim that, to a certain extent, military jurisdiction annulled the slavery prohibitions of the Northwest Ordinance and the Missouri Compromise. He did not deny the constitutionality of those provisions; he simply stated they did not apply in this instance.
David Hall prepared the brief for Dred Scott. He used the same arguments that he had promoted in the lower court: residence in a free state/territory worked the freedom of a slave and this was a solid judicial standard in Missouri. He claimed Rachel v. Walker denied the difference between military and civil law, and pointed out that when Dr. Emerson left Fort Snelling for Fort Jesup, he voluntarily left Dred Scott in a free territory, thereby working his freedom.
Because of an overloaded docket, the case was not taken up in the March 1850 term, but postponed until the October term. The decision of the justices to remand Dred Scott to slavery, though, had already been made. According to historian Walter Ehrlich, "For the first time, politics was injected into the case, not by the parties, but by the judges of the Missouri Supreme Court in their intended decision" (Ehrlich 58). He states that the justices made a decision, in the midst of growing sectional tension over the expansion of slavery, to overturn all previous opinions that recognized the validity of slavery prohibitions. Napton and Birch were strongly pro-slavery. While his views were less resolute, Ryland could not be described as anti-slavery. Although the three reached a unanimous decision, their opinion was never written. Napton was to have formulated the written opinion, but postponed his writing while waiting for a particular legal tome to arrive in Jefferson City. Before the book arrived, though, the first opportunity for Missouri voters to elect their judicial officials arose in August 1851. Nine candidates ran in the contested election for the three state Supreme Court seats; according to newspaper articles, the Dred Scott case as such was not a campaign topic. Napton and Birch were both voted off the bench in the August 1851 elections.
"Times now are not as they were,
when the former decisions on this subject were made."
(Missouri Supreme Court Opinion, filed 22 March 1852)
The case, then, came before a new Court comprised of two new justices, Hamilton Gamble, William Scott, and the one remaining justice, John Ryland. Hamilton Gamble, born in 1798 in Virginia, was a St. Louis attorney and Whig; he began legal practice at the age of eighteen and was appointed Missouri's Secretary of State in 1824. His legal technique was clear, brief, and logical. William Scott was a pro-slavery Democrat who had been on the bench during Irene Emerson's appeal in 1848. The new Court met in St. Louis for the October 1851 term, where they examined the Dred Scott case. The election of the two new judges, though, did little to change the political motivation, already in play, for a pro-slavery decision.
In anticipation of the hearing, Alexander Field resubmitted the 1850 briefs to the court. Emerson's attorney, Lyman Norris, not aware of Field's action, was in the process of preparing a new brief for the Court's examination. He obtained permission to file it late. His brief is of particular importance, says Ehrlich, because it marked "a significant change in the legal arguments" (Ehrlich 61). Although the justices questioned the validity of the slavery prohibitions outlined in the Ordinance of 1787 and the Missouri Compromise of 1820, Emerson's attorneys had never made validity of the prohibitions an argument in previous court appearances. In his new brief, Norris did not say the prohibitions were unconstitutional, but he questioned them as legal principles in his challenge of "once free, always free." His "sober second thoughts" on the matter challenged for the first time congressional prohibition of slavery in the territories. Dred Scott's suit for freedom was no longer simply that-the questioning of congressional authority now turned the case into a lightning rod for the slavery controversy.
The Court adjourned on December 24, 1851, and reconvened on March 15, 1852. On March 22, 1852, they rendered their 2-1 decision reversing the lower court decision. Justice William Scott wrote the opinion, with Ryland concurring. Scott did not deny that freedom suits had been presented to the Court previously. He claimed, though, that the decisions in those cases were made on the basis of the constitutions and laws of other states and/or territories without regard to the policies in Missouri. While recognizing that interstate comity could be a positive thing, he did not feel Missouri should have to recognize laws that were in opposition to its own; there should be a limit to the acknowledgment of comity. Scott also did not deny that the Missouri Compromise slavery prohibition was valid; he simply felt it was only valid where it applied, which was not within the boundaries of the state of Missouri. He acknowledged the right of slaves to obtain their freedom when taken to free states and/or territories; he advised, though, that slavery status reattached upon return to a slave state. The racist rhetoric that had surfaced in Norris' brief was also apparent in Scott's opinion when, in his conclusion, he stated that slavery was the will of God and that "Times now are not as they were, when the former decisions on this subject were made." With this statement, Scott all but admitted that racial and sectional prejudices influenced the decision.
In his dissenting opinion, Justice Hamilton Gamble also addressed the issue of comity. He asserted, though, that the differences in achieving emancipation had always been honored among courts of different states and that taking a slave where the institution was expressly prohibited was a tacit act of emancipation. He cited cases from Missouri, Louisiana, Virginia, Mississippi, and Kentucky in his justification of the emancipation force of the 1787 Northwest Ordinance. In concluding, he acknowledged the changing times and the fact that the slavery issue was becoming explosive in American politics and wrote, "Times may have changed, public feeling may have changed, but principles have not and do not change, and in my judgment there can be no safe basis for judicial decisions, but in those principles which are immutable." Nevertheless, Dred Scott was remanded to slavery.
On March 23, the day after the Missouri Supreme Court handed down its opinion, Irene Emerson Chaffee's attorneys appeared in the St. Louis Circuit Court, filing an order for the bonds signed by the Blow family covering the court costs. The attorneys also requested a return of the slaves and the payment of the slaves' wages of four years (at 6% interest). Judge Alexander Hamilton denied the order; no explanation for his ruling was made in the record books.
"This day come again the parties by their attorneys."
(Official Court Record, 15 May 1854)
Not satisfied with the Court's decision, on November 2, 1853, Dred Scott's friends helped him institute a suit in the Circuit Court of the United States for the District of Missouri. The Blow family, though, had made a decision that it could no longer financially support the Scott family's pursuit of freedom, especially since the prevailing attitudes appeared to be hopelessly against such a thing. A new attorney represented Scott since David Hall had died in the spring of 1851, before the Missouri Supreme Court decision, and after the decision, Alexander Field moved to Louisiana. Charles Edmund LaBeaume, who had been hiring the Scotts since 1851, consulted Roswell M. Field (no relation to Alexander Field) about the case. Field was friends with Alexander Hamilton and Hamilton Gamble, both of whom were sympathetic to the Scotts' cause. Field agreed to work on the case, free of charge, and suggested a suit in the federal courts under the diverse-citizenship clause, which governed lawsuits between parties who were residents of different states.
At this juncture in the case, Irene Emerson's brother, John Sanford, claimed ownership of the Scott family. This claim, like many Dred Scott ownership mysteries, has never been solved. There are no papers transferring ownership to Sanford from Chaffee. The Scott family had always been a sort of communal property to the Sanford family, so perhaps John Sanford, as an executor of his brother-in-law's estate, felt he was responsible for the slaves and, in a sense, their owner. Sanford was a West Point graduate and wealthy businessman. Although he had previously resided in St. Louis, by 1853, he was living in New York City. He maintained family ties in St. Louis because of his 1832 marriage to Emilie Chouteau, daughter of Pierre Chouteau, one of St. Louis' largest slave-holding families. Though she died in 1836, Sanford was already an active partner in most of the Chouteau family's business interests. After his wife's death, Sanford moved to New York as the eastern representative of the American Fur Company, acquired from John Jacob Astor. This tie to Chouteau explains in part Sanford's desire to continue fighting against Dred Scott's pursuit of freedom. The Chouteau family were unyielding in their defense of the institution of slavery and had been involved in numerous freedom suits. It is probable the family, especially Pierre Chouteau, encouraged Sanford to continue defending his property rights (or at least those of his sister).
Field's ultimate purpose in continuing Dred Scott's cause was to obtain from the United States Supreme Court a final judicial settlement of one question: Did residence in a free state or territory permanently free a slave? At issue was the Missouri Supreme Court's decision in Dred Scott's case that Missouri law could remand to servitude a person who had been emancipated based on residence in a free state and/or territory. The search for the answer to this question brought other questions to the fore, such as, did a black person have the right to be a citizen of the United States and thus bring suit at all? These legal aspects of slavery interested Field, probably more than the moral and ethical issues. Field claimed that being a Negro of African descent did not bar anyone from citizenship or the right to sue. This was a subject that Chief Justice Taney would address in his 1857 opinion.
The November 1853 suit was similar in most respects to Dred Scott's original plea of trespass against Irene Emerson in 1846. This time, though, the suit mentioned his daughters, Eliza and Lizzie, and claimed damages of $9000. In April 1854, Sanford's attorney, Hugh Garland filed a plea in abatement, which challenged the court's jurisdiction claiming that Dred Scott was not a citizen because he was a "negro of African descent." Field filed a demurrer stating that this fact did not bar Scott from citizenship or the right to sue. Judge Robert W. Wells upheld Field's demurrer. Because the court claimed jurisdiction, Sanford pled not guilty to Dred Scott's charges.
Field and Garland prepared an "Agreed-Upon Statement of Facts" in 1854, which was essentially a biographical sketch of Dred Scott's life from the time he was purchased by John Emerson through the 1852 Missouri Supreme Court decision. Historian Kenneth Kaufman speculates that this joint statement "probably signaled the point at which Dred Scott's freedom no longer depended on proving residence on free soil, but rather on proving that freedom, once gained on free soil, could be retained upon return to slave territory" (Kaufman 187-188). No other witnesses or testimony were offered after the statement was read to the jury on May 15, 1854. The United States Circuit Court found in favor of Sanford, leaving Dred Scott and his family in slavery. Field appealed to the United States Supreme Court at the December 1854 term. Interestingly enough, Judge Alexander Hamilton had already made a notation regarding Dred Scott v. Irene Emerson in the record books of the St. Louis Circuit Court. It read: "Continued by consent, waiting decision of U.S. Supreme Court." Hamilton made this note on January 25, 1854, many months before the federal court handed down its decision averse to Dred Scott. This notation suggests that those involved knew the case was headed to the United States Supreme Court, regardless of the outcome at the U.S. circuit court level (Kaufman 189).
"But no doubt he will find at the bar of the Supreme Court
some able and generous advocate."
(St. Louis Daily Morning Herald, 18 May 1854)
The United States Supreme Court did not hear the case until February 1856. Roswell Field arranged for Montgomery Blair, a St. Louis attorney living in Washington D.C., to argue Dred Scott's case before the Supreme Court. Because the case was becoming more high profile in the bitter conflict over slavery, Field needed a high-profile lawyer to argue it before the Court.
The Blair family was politically influential in St. Louis and Washington, D.C. Though part of the Southern aristocracy, they opposed slavery expansion. The family enjoyed a close friendship with Missouri's long-time United States Senator Thomas Hart Benton and strongly identified with the pro-Benton faction in Missouri. Montgomery Blair was outspoken in his antislavery views and, with his brother Frank, had been a leader in Missouri's Free Soil Movement. After consulting with his father, Francis Preston Blair, and securing a promise to underwrite the court costs from Gamaliel Bailey, editor of the anti-slavery "National Era," Blair agreed to represent Dred Scott.
John Sanford also had new representation in the United States Supreme Court. Hugh Garland died in October 1854; Lyman Norris had already left Missouri. Sanford acquired Reverdy Johnson, a nationally-known constitutional lawyer from Maryland, and Henry S. Geyer, St. Louis attorney and U.S. Senator for Missouri. Geyer, who defeated long-term Senator Thomas Hart Benton in 1850, represented a number of pro-slavery clients in Missouri, including Pierre Chouteau. Both Johnson and Geyer argued the case at no charge to Sanford.
In his brief filed February 7, 1856, Montgomery Blair argued that freedom based on residence in a free state or territory was permanent and slavery did not reattach upon return to a slave state. This had always been the case in Missouri until the state Supreme Court decided to inject current political views into its 1852 majority opinion. He also claimed that a Negro of African descent could be a citizen of the United States. Roswell Field and Blair hoped that the U.S. Supreme Court would uphold Missouri's long-standing legal precedent and laws regarding slave freedom and citizenship.
Oral arguments began on February 11, 1856, with Blair reiterating the points made in his brief. Geyer and Johnson challenged the authority of Congress to make the 1820 Missouri Compromise; they thus denied Dred Scott's right to freedom. They did not question whether Dred Scott could lose freedom gained by living in a free territory. They questioned whether he was ever free in the first place, since their legal interpretation did not recognize the binding force of either the Northwest Ordinance of 1787 or the Missouri Compromise of 1820.
In May 1856, the justices called for the case to be reargued in December. At that time, George Ticknor Curtis, a Boston attorney, Whig, and brother of U.S. Supreme Court Justice Benjamin Curtis, assisted Blair in arguing the constitutional questions of the case. A final decision was delivered on March 6, 1857. Eight of the nine justices wrote separate opinions. Seven justices, primarily pro-Southern, followed individual lines of reasoning that led to a shared opinion that, by law, Dred Scott was still a slave. Chief Justice Roger B. Taney wrote what is considered to be the majority opinion.
".they had no rights which the white man was bound to respect."
(Opinion of the United States Supreme Court, 6 March 1857)
Taney's "Opinion of the Court" stated that Negroes were not citizens of the United States and had no right to bring suit in a federal court. In addition, Dred Scott had not become a free man as a result of his residence at Fort Snelling because the Missouri Compromise was unconstitutional; Congress had no authority to prohibit slavery in the federal territories. Furthermore, Dred Scott did not become free based on his residence at Fort Armstrong (Rock Island), because his status, upon return to Missouri, depended upon Missouri law as determined in Scott v. Emerson. Because Dred Scott was not free under either the provisions of the Northwest Ordinance of 1787 or the 1820 Missouri Compromise, he was still a slave, not a citizen with the right to bring suit in the federal court system. According to Taney's opinion, African Americans were "beings of an inferior order. so far inferior, that they had no rights which the white man was bound to respect." (Kaufman 221). Taney returned the case to the circuit court with instructions to dismiss it for want of jurisdiction.
"Taylor Blow.acknowledges the execution by him
of a Deed of Emancipation to his slaves."
(Court Record, 26 May 1857)
In spite of the United States Supreme Court's decision that Dred Scott was a slave, he did finally receive his freedom. Irene Emerson's abolitionist second husband, Dr. Calvin Chaffee, now a Massachusetts congressman, found out his wife owned arguably the most famous slave in America in February 1857, just shortly before the Court's decision. Unable to intervene in the case at that point, Chaffee suffered "disparaging commentary" in newspapers nationwide and on the floor of Congress because of the seeming hypocrisy of his ardent abolitionist stance while being a slave owner. Chaffee immediately transferred ownership of the Scott family to Taylor Blow in St. Louis; Missouri law only allowed a citizen of the state to emancipate a slave there. Irene Emerson Chaffee agreed to this ownership transfer on the condition that she receive the wages the Scott family earned over the last seven years. The wages amounted to about $750. There is speculation that, in 1857, Dred and Harriet Scott were worth about $350 each on the slave market. Had Irene Emerson Chaffee sold them, her return may have been less than the total of their wages earned (Kaufman 226).
On May 26, 1857, Dred and Harriet Scott appeared in the St. Louis Circuit Court and were formally freed; Judge Alexander Hamilton approved the papers. Dred Scott took a job as a porter at Barnum's Hotel at Second and Walnut streets in St. Louis; he became a sort of celebrity there. The family lived off Carr Street in the city, where Harriet took in laundry, which Scott delivered when he was not working at the hotel. Dred Scott did not live to enjoy his free status very long; on September 17, 1858, he died of tuberculosis. Their daughter, Lizzie Scott, married Wilson Madison of St. Louis, and had two sons, Harry and John Alexander. Harriet Scott died on June 17, 1876, at the home of Lizzie and Wilson Madison. She was buried June 20, 1876, in Section C of Greenwood Cemetery in St. Louis County.
"Sectionalism dead? It was the most intense, bitter,
overshadowing sectionalism that forced
this decree from the Supreme Court."
(New York Tribune, 21 March 1857)
Dred Scott tried to win his freedom at a time when white Americans were struggling to determine the political status of slavery, as well as their attitudes toward black people, slave or free. He was simply in the wrong place at the wrong time. The United States Supreme Court's pro-slavery decision did not surprise the nation. In fact, it outraged much of the population when it was confirmed. When Emerson's attorneys questioned the constitutionality of the 1820 Missouri Compromise, they placed Dred Scott's case directly in the center of sectional political maelstrom. Extending slavery into the territories was a contentious issue with, as the national media reported, often-violent reactions. The hostility and bloodshed of the Missouri-Kansas border troubles only emphasized the sectional chasm between northern and southern states over the slavery issue.
The United States Supreme Court was under increasing pressure to offer a judicial resolution to the slavery issue. In denying Dred Scott his freedom, the Court made one of its most controversial decisions ever. Waves of indignation swept the North. Editorial comments from northern newspapers immediately denounced the decision as wicked, detestable, and cowardly. Individual clergymen sermonized on the evils of a decision that dismissed an entire race as inferior. The furor did not begin or end, though, with the decision's racism. Northerners who were not abolitionists, or even necessarily anti-slavery, protested the pro-Southern bias of the decision. It allowed, virtually unchecked, the spread of slavery into territories and states, threatening the economic aspirations of free white laborers.
Taney intended the Court's decision to end the slavery controversy for all time. Instead, the intense and immediate public reaction accelerated a chain of events that made fighting a civil war unavoidable.
For further reading:
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COUNTY COMMISSIONER
JIM ROOKS (DEM)
LEN CARLMAN (DEM)
NATALIA D. MACKER (DEM)
MELCHOR DYLAN MOORE (REP)
VICKY O'DONOGHUE (IND - PENDING PETITION)
PRECINCT COMMITTEEMAN
BOB LUCAS (REP / 01-01)
ARNE OLAUS JORGENSEN (DEM / 01-02)
JAMES GENZER (REP / 01-02)
JONATHAN BEXTEL (REP / 01-02)
BOB CULVER (REP / 01-02)
JULIEN HASS (DEM / 01-02)
RICHARD JOLLEY (REP / 01-02)
THOMAS SMITS (REP / 01-02)
FRANCIS WARZINIACK (REP / 01-03)
JIM HUNT (DEM / 01-03)
LEE LUCAS (REP / 01-03)
DAVID L. HERMSEN (REP / 01-04)
DAVID SCHEURN (REP / 01-04)
PATRICK CHADWICK (DEM / 01-04)
ANDRES NIELAND (DEM / 01-05)
CORNELIUS KINSEY (REP / 01-05)
DAVID BOTT (REP / 01-05)
LOGAN W. CROCKER (REP / 01-05)
MARK BARRON (REP / 01-05)
MIKE YIN (DEM / 01-05)
NOAH OSNOS (DEM / 01-05)
JOSHUA GILMORE (REP / 01-06)
CHUCK RHEA (DEM / 01-07)
JOHN FOX (REP / 01-07)
KEITH GINGERY (REP / 01-07)
ALEXANDER L. MUROMCEW (REP / 01-10)
DAVID MEANEY (REP / 01-10)
JOHN F. TURNER (REP / 01-10)
MELCHOR MOORE (REP / 01-10)
MIKE WELCH (DEM / 01-10)
RICHARD MERRELL (REP / 01-10)
LUTHER PROPST (DEM / 01-11)
ANDREW P. BYRON (REP / 01-12)
BRETT TROYAN (REP/ 01-12)
JIMMY ANDERSON (REP / 01-12)
JOHN QUALY (REP / 01-12)
KASEY MATEOSKY (REP / 01-12)
JOHN F. TURNER (REP / 02-01)
MARK DEBOER (REP / 02-01)
ERIC SNOW (REP / 03-01)
CORY HERRICK (REP / 04-01)
RICHARD M. WHALEN (REP / 04-01)
CODY M. HANSEN (REP / 04-02)
STEVE GROSSMAN (DEM / 04-01)
JAMES NEISHABOURI (REP / 04-02)
JOHN P. CAREY III (DEM / 04-02)
MARK V. JACKOWSKI (REP / 04-02)
WILLIAM F. KAISER (REP / 04-02)
WILLIAM C. LUSTFIELD (REP / 04-03)
JOHN B. L. HARKNESS (DEM / 04-04)
WERNER E. MINSHALL (REP / 04-04)
HUNTER CHRISTENSEN (REP / 05-01)
PRECINCT COMMITTEEWOMAN
ANNE GOODE STALKER (REP / 01-01)
CAMMY LAWSON (REP / 01-02)
CATHY NUTTER-CULVER (REP / 01-02)
GENEVA CHONG (DEM / 01-02)
KATHARINE A. YOLER (REP / 01-02)
KATIE SMITS (REP / 01-02)
LAURIE GENZER (REP / 01-02)
LEA BONNECAZE (DEM / 01-02)
RAE SUERIG (DEM / 01-02)
REBECCA BEXTEL (REP / 01-02)
JANINE BAY TESKE (REP / 01-03)
JULIA STANLEY (REP / 01-03)
CAITLIN ROSE SHEA (DEM / 01-04)
ROSE ROBERTSON (REP / 01-04)
ASHLEE NADER (DEM / 01-05)
ANNETTE OSNOS (DEM / 01-05)
KATHERINE "KAT" RUECKERT (REP / 01-05)
MAUREEN "MO" MURPHY (REP / 01-05)
MARY M. MARTIN (REP / 01-05)
VALERIE MUSIC (REP / 01-05)
DIANE GILMORE (REP / 01-06)
RENEE KNUTSON (REP / 01-06)
BLAIR COLLINS MAUS (REP / 01-10)
LISA MEANEY (REP / 01-10)
MARGARET MARY ACKERLE (REP / 01-10)
ROBYN HOUSER LUNSFORD (DEM / 01-10)
LIZ STORER (DEM / 01-11)
BAYLESS H. SWORD (REP / 01-12)
LEANNE MATEOSKY (REP / 01-12)
LISA WILSON (REP / 01-12)
REBECCA CLOETTA (REP / 01-12)
SHELBY SCHARP (REP / 01-12)
MARY KAY TURNER (REP / 02-01)
TERRI LIN MOY (REP / 02-01)
SHANNON A. BRENNAN (REP / 03-01)
DAIL E. BARBOUR (DEM / 04-01)
KILEY MAAS (REP / 04-01)
LINDA MCINALLY (REP / 04-01)
LYNNE WHALEN (REP / 04-01)
JOAN GOLDFARB (REP / 04-02)
LAURIE THAL (DEM / 04-02)
LYNNE FRIESS (REP / 04-02)
SHARRY FIRESTONE (REP / 04-02)
CLAIRE FULLER (DEM / 04-03)
NANCY HOFFMANN PASFIELD (REP / 04-03)
NANCY LUSTFIELD (REP / 04-03)
CAROL HARKNESS (DEM / 04-04)
ANITA CHRISTENSEN (REP / 05-01)
MAYOR OF THE TOWN OF JACKSON
ARNE OLAUS JORGENSEN
JESSICA SELL CHAMBERS
TOWN COUNCIL
DEVON VIEHMAN
JASON FRITTS
JESSE RAUCH
KEVIN REGAN
PERRI STERN
SCOTT ANDERSON
AUGUST 20TH, 2024 - PRIMARY ELECTION OFFICES TO BE FILLED.
PARTISAN OFFICES TO BE ELECTED:
38 seats - Democratic Precinct Committeemen and Women TERM: 2 years
78 seats - Republican Precinct Committeemen and Women TERM: 2 years
PARTISAN OFFICES TO BE NOMINATED BY EACH PARTY AT THE PRIMARY:
2 seats - Teton County Commissioners TERM: 4 years
1 seat - State Senator, District 16 TERM: 4 years
1 seat - State Representative, House District 16 TERM: 2 years
1 seat - State Representative, House District 22 TERM: 2 years
1 seat - State Representative, House District 23 TERM: 2 years
1 seat - United States Representative TERM: 2 years
1 seat - United States Senator TERM: 6 years
NON-PARTISAN OFFICES TO BE NOMINATED AT THE PRIMARY:
1 seat - Mayor of the Town of Jackson TERM: 4 years
2 seats - Council Members for the Town of Jackson TERM: 4 years
Click here to see the Primary Election Proclamation (Published May 15th, 2024)
PRESIDENT & VICE PRESIDENT
UNITED STATES REPRESENTATIVE
UNITED STATES SENATOR
STATE SENATOR, DISTRICT 16
STATE REPRESENTATIVE, HOUSE DISTRICT 16
STATE REPRESENTATIVE, HOUSE DISTRICT 22
STATE REPRESENTATIVE, HOUSE DISTRICT 23
COUNTY COMMISSIONERS
MAYOR OF THE TOWN OF JACKSON
COUNCIL MEMBERS FOR THE TOWN OF JACKSON
TETON COUNTY SCHOOL DISTRICT #1 TRUSTEE
BILL SCARLETT
BETSY CARLIN
ST. JOHN'S HOSPITAL DISTRICT TRUSTEE
BILL HOGLUND
JIM HUNT
EVAN JONES
TETON CONSERVATION DISTRICT SUPERVISOR AT LARGE
TETON CONSERVATION DISTRICT SUPERVISOR URBAN
ROBY HURLEY
NOVEMBER 5TH, 2024 - GENERAL ELECTION OFFICES TO BE FILLED.
PARTISAN OFFICES TO BE ELECTED AT THE GENERAL:
1 seat - President and Vice President TERM: 4 years
1 seat - United States Representative TERM: 2 years
1 seat - United States Senator TERM: 6 years
1 seat - State Senator, District 16 TERM: 4 years
1 seat - State Representative, House District 16 TERM: 2 years
1 seat - State Representative, House District 22 TERM: 2 years
1 seat - State Representative, House District 23 TERM: 2 years
2 seats - County Commissioners TERM: 4 years
NON-PARTISAN OFFICES TO BE ELECTED AT THE GENERAL:
1 seat - Mayor of the Town of Jackson TERM: 4 years
2 seats - Council Members for the Town of Jackson TERM: 4 years
4 seats - Teton County School District #1 Trustee TERM: 4 years
3 seats - St. John's Hospital District Trustee TERM: 4 years
1 seat - Teton Conservation District Supervisor At Large TERM: 4 years
1 seat - Teton Conservation District Supervisor Urban TERM: 4 years
QUESTIONS TO BE VOTED UPON AT THE GENERAL:
STATE OF WYOMING CONSTITUTIONAL AMENDMENT A
The adoption of this amendment would separate residential real property into its own class of property for purposes of property tax assessments. The amendment would authorize the legislature to create a subclass of owner occupied primary residences.
FOR or AGAINST
JUSTICE(S) OF THE SUPREME COURT
8 Year term - Shall Justice Kate M. Fox be retained in office? YES or NO
8 Year term - Shall Justice John G. Fenn be retained in office? YES or NO
JUDGE(S) OF THE DISTRICT COURT OF THE NINTH JUDICIAL DISTRICT
6 Year term - Shall Judge Melissa M. Owens be retained in office? YES or NO
6 Year term - Shall Judge Katharine G. McKay be retained in office? YES or NO
JUDGE(S) OF THE CIRCUIT COURT OF THE NINTH JUDICIAL DISTRICT
4 Year term - Shall Judge Daniel M. Stebner be retained in office? YES or NO
4 Year term - Shall Judge John LaBuda be retained in office? YES or NO
Proposed Addition of a one percent (1%) specific purpose excise tax (SPET) within Teton County for the purpose of raising and collecting amounts to fund specific projects as listed below:
Shall Teton County, State of Wyoming, be authorized to adopt an additional one percent (1%) specific purpose excise tax (the “Tax”) within Teton County for the purpose of raising and collecting the amounts set forth below, the proceeds from which, and the interest earned thereon, to be used and applied for a specific project, and to the extent necessary and allowed by law, the pledge to or payment of debt service and/or lease payments thereon:
Teton County Justice Center
$88,000,000 for the purpose of planning, designing, engineering, demolition of the old Jail, demolition of the current courthouse, and construction of the new Teton County Justice Center including but not limited to the Teton County Detention Facility, District Courtroom and accompanying office space, Circuit Courtroom and accompanying office space, Clerk of District Court office space, County and Prosecuting Attorney’s Office space, Teton County Sheriff’s Office, and other space. Any unexpended funds, including any unused contingency funds, shall be placed into a designated account, the principal and interest of which shall be used for operations and maintenance of the Teton County Justic Center.
This project is sponsored by Teton County.
FOR the Proposition
AGAINST the Proposition
Click here to see the General Election Proclamation (Published August 7th, 2024)
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Third party (U.S. politics)
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https://en.wikipedia.org/wiki/Third_party_(U.S._politics)
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US political parties other than the two major parties
Third party, or minor party, is a term used in the United States' two-party system for political parties other than the Republican and Democratic parties.
Third parties are most often encountered in presidential nominations. Third party vote splitting exceeded a president's margin of victory in three elections: 1844, 2000, and 2016. No third-party candidate has won the presidency since the Republican Party became the second major party in 1856. Since then a third-party candidate won states in five elections: 1892, 1912, 1924, 1948, and 1968. 1992 was the last time a third-party candidate won over 5% of the vote and placed second in any state.[1]
Competitiveness
[edit]
With few exceptions,[2] the U.S. system has two major parties which have won, on average, 98% of all state and federal seats.[3] There have only been a few rare elections where a minor party was competitive with the major parties, occasionally replacing one of the major parties in the 19th century.[4][5] The winner take all system for presidential elections and the single-seat plurality voting system for Congressional elections have over time helped establish the two-party system (see Duverger's law). Although third-party candidates rarely win elections, they can have an effect on them through vote splitting and other impacts.
Notable exceptions
[edit]
Greens, Libertarians, and others have elected state legislators and local officials. The Socialist Party elected hundreds of local officials in 169 cities in 33 states by 1912, including Milwaukee, Wisconsin; New Haven, Connecticut; Reading, Pennsylvania; and Schenectady, New York.[6] There have been governors elected as independents, and from such parties as Progressive, Reform, Farmer-Labor, Populist, and Prohibition. After losing a Republican primary in 2010, Bill Walker of Alaska won a single term in 2014 as an independent by joining forces with the democratic nominee. In 1998, wrestler Jesse Ventura was elected governor of Minnesota on the Reform Party ticket.[7]
Sometimes a national officeholder that is not a member of any party is elected. Previously, Senator Lisa Murkowski won re-election in 2010 as a write-in candidate after losing the Republican primary to a Tea party candidate, and Senator Joe Lieberman ran and won reelection to the Senate as an "Independent Democrat" in 2006 after losing the Democratic primary.[8][9] As of 2024, there are only four U.S. senators, Angus King, Bernie Sanders, Kyrsten Sinema, and Joe Manchin, who identify as Independent and all caucus with the Democrats.[10] Sinema may have left the Democratic Party in 2022 because she thought she could not win a democratic primary race in 2024.[11]
The last time a third-party candidate carried any states in a presidential race was George Wallace in 1968, while the last third-party candidate to finish runner-up or greater was former president Teddy Roosevelt's 2nd-place finish on the Bull Moose Party ticket in 1912.[1] The only three U.S. presidents without a major party affiliation upon election were George Washington, John Tyler, and Andrew Johnson, and only Washington served his entire tenure as an independent. Neither of the other two were ever elected president in their own right, both being vice presidents who ascended to office upon the death of the president, and both became independents because they were unpopular with their parties. John Tyler was elected on the Whig ticket in 1840 with William Henry Harrison, but was expelled by his own party. Johnson was the running mate for Abraham Lincoln, who was reelected on the National Union ticket in 1864; it was a temporary name for the Republican Party.
Favorable systems for third parties
[edit]
Electoral fusion
[edit]
Ranked-choice voting
[edit]
Approval voting
[edit]
This section is an excerpt from Approval voting.
Approval voting is a single-winner electoral system in which voters mark all the candidates they support, instead of just choosing one. The candidate with the highest approval rating is elected.
Proportional representation
[edit]
Barriers to third party success
[edit]
Winner-take-all vs. proportional representation
[edit]
See also: Duverger's law
In winner-take-all (or plurality voting), the candidate with the largest number of votes wins, even if the margin of victory is extremely narrow or the proportion of votes received is not a majority. Unlike in proportional representation, runners-up do not gain representation in a first-past-the-post system. In the United States, systems of proportional representation are uncommon, especially above the local level and are entirely absent at the national level (even though states like Maine have introduced systems like ranked-choice voting, which ensures that the voice of third party voters is heard in case none of the candidates receives a majority of preferences).[30] In Presidential elections, the majority requirement of the Electoral College, and the Constitutional provision for the House of Representatives to decide the election if no candidate receives a majority, serves as a further disincentive to third party candidacies.
In the United States, if an interest group is at odds with its traditional party, it has the option of running sympathetic candidates in primaries. Candidates failing in the primary may form or join a third party. Because of the difficulties third parties face in gaining any representation, third parties tend to exist to promote a specific issue or personality. Often, the intent is to force national public attention on such an issue. Then, one or both of the major parties may rise to commit for or against the matter at hand, or at least weigh in. H. Ross Perot eventually founded a third party, the Reform Party, to support his 1996 campaign. In 1912, Theodore Roosevelt made a spirited run for the presidency on the Progressive Party ticket, but he never made any efforts to help Progressive congressional candidates in 1914, and in the 1916 election, he supported the Republicans.
Micah Sifry argues that despite years of discontentment with the two major parties in the United States, third parties should try to arise organically at the local level in places where ranked-choice voting and other more democratic systems can build momentum, rather than starting with the presidency, a proposition incredibly unlikely to succeed.[31]
Spoiler effect
[edit]
Main article: Spoiler effect
Strategic voting often leads to a third-party that underperforms its poll numbers with voters wanting to make sure their vote helps determine the winner. In response, some third-party candidates express ambivalence about which major party they prefer and their possible role as spoiler[32] or deny the possibility.[33] The US presidential elections most consistently cited as having been spoiled by third-party candidates are 1844, 2000, and 2016.[34][35][36][37][38][39] This phenomenon becomes more controversial when a third-party candidate receives help from supporters of another candidate hoping they play a spoiler role.[40][41][42]
Ballot access laws
[edit]
Nationally, ballot access laws require candidates to pay registration fees and provide signatures if a party has not garnered a certain percentage of votes in previous elections.[43] In recent presidential elections, Ross Perot appeared on all 50 state ballots as an independent in 1992 and the candidate of the Reform Party in 1996. Perot, a billionaire, was able to provide significant funds for his campaigns. Patrick Buchanan appeared on all 50 state ballots in the 2000 election, largely on the basis of Perot's performance as the Reform Party's candidate four years prior. The Libertarian Party has appeared on the ballot in at least 46 states in every election since 1980, except for 1984 when David Bergland gained access in only 36 states. In 1980, 1992, 1996, 2016, and 2020 the party made the ballot in all 50 states and D.C. The Green Party gained access to 44 state ballots in 2000 but only 27 in 2004. The Constitution Party appeared on 42 state ballots in 2004. Ralph Nader, running as an independent in 2004, appeared on 34 state ballots. In 2008, Nader appeared on 45 state ballots and the D.C. ballot.
Debate rules
[edit]
Presidential debates between the nominees of the two major parties first occurred in 1960, then after three cycles without debates, resumed in 1976. Third party or independent candidates have been in debates in only two cycles. Ronald Reagan and John Anderson debated in 1980, but incumbent President Carter refused to appear with Anderson, and Anderson was excluded from the subsequent debate between Reagan and Carter. Independent Ross Perot was included in all three of the debates with Republican George H. W. Bush and Democrat Bill Clinton in 1992, largely at the behest of the Bush campaign.[citation needed] His participation helped Perot climb from 7% before the debates to 19% on Election Day.[44]
Perot did not make the 1996 debates.[45] In 2000, revised debate access rules made it even harder for third-party candidates to gain access by stipulating that, besides being on enough state ballots to win an Electoral College majority, debate participants must clear 15% in pre-debate opinion polls. This rule has continued being in effect as of 2008.[46][47] The 15% criterion, had it been in place, would have prevented Anderson and Perot from participating in the debates in which they appeared. Debates in other state and federal elections often exclude independent and third-party candidates, and the Supreme Court has upheld this practice in several cases. The Commission on Presidential Debates (CPD) is a private company.[48]
Major parties adopt third-party platforms
[edit]
They can draw attention to issues that may be ignored by the majority parties. If such an issue finds acceptance with the voters, one or more of the major parties may adopt the issue into its own party platform. A third-party candidate will sometimes strike a chord with a section of voters in a particular election, bringing an issue to national prominence and amount a significant proportion of the popular vote. Major parties often respond to this by adopting this issue in a subsequent election. After 1968, under President Nixon the Republican Party adopted a "Southern Strategy" to win the support of conservative Democrats opposed to the Civil Rights Movement and resulting legislation and to combat local third parties. This can be seen as a response to the popularity of segregationist candidate George Wallace who gained 13.5% of the popular vote in the 1968 election for the American Independent Party. In 1996, both the Democrats and the Republicans agreed to deficit reduction on the back of Ross Perot's popularity in the 1992 election. This severely undermined Perot's campaign in the 1996 election.[citation needed]
However, changing positions can be costly for a major party. For example, in the US 2000 Presidential election Magee predicts that Gore shifted his positions to the left to account for Nader, which lost him some valuable centrist voters to Bush.[49] In cases with an extreme minor candidate, not changing positions can help to reframe the more competitive candidate as moderate, helping to attract the most valuable swing voters from their top competitor while losing some voters on the extreme to the less competitive minor candidate.[50]
Current U.S. third parties
[edit]
This list does not include political organizations that do not run candidates for office but otherwise function similarly to third parties. For non-electoral political "parties", see here.
Largest
[edit]
Top 5 U.S. political parties by registration (2022) Party No. registrations[51] % registered voters[51] Democratic Party 47,130,651 38.73% Republican Party 36,019,694 29.60% Libertarian Party 732,865 0.6% Green Party 234,120 0.19% Constitution Party 128,914 0.11%
Smaller parties (listed by ideology)
[edit]
This section includes only parties that have actually run candidates under their name in recent years.
Right-wing
[edit]
This section includes any party that advocates positions associated with American conservatism, including both Old Right and New Right ideologies.
Christian Liberty Party
State-only right-wing parties
[edit]
American Independent Party (California)
Conservative Party of New York State
Constitution Party of Oregon
Centrist
[edit]
This section includes any party that is independent, populist, or any other that either rejects left–right politics or does not have a party platform.
Alliance Party
American Solidarity Party
Citizens Party
Forward Party/Forward
No Labels
Reform Party of the United States of America
Serve America Movement
United States Pirate Party
Unity Party of America
State-only centrist parties
[edit]
Moderate Party of Rhode Island
Independent Party of Delaware
Independent Party of Oregon
Keystone Party of Pennsylvania
United Utah Party
Colorado Center Party
Left-wing
[edit]
This section includes any party that has a left-liberal, progressive, social democratic, democratic socialist, or Marxist platform.
Communist Party USA
Democratic Socialists of America
Freedom Socialist Party
Justice Party USA
People's Party
Party for Socialism and Liberation
Peace and Freedom Party
Socialist Action
Social Democrats, USA
Socialist Equality Party
Socialist Alternative
Socialist Party USA
Socialist Workers Party
Working Class Party
Workers World Party
Working Families Party
State-only left-wing parties
[edit]
Charter Party (Cincinnati, Ohio, only)
Green Mountain Peace and Justice Party (Vermont)
Green Party of Alaska
Green Party of Rhode Island
Labor Party (South Carolina Workers Party)
Liberal Party of New York
Oregon Progressive Party
Progressive Dane (Dane county, Wisconsin)
United Independent Party (Massachusetts)
Vermont Progressive Party
Washington Progressive Party
Ethnic nationalism
[edit]
This section includes parties that primarily advocate for granting special privileges or consideration to members of a certain race, ethnic group, religion etc.
American Freedom Party
Black Riders Liberation Party
National Socialist Movement
New Afrikan Black Panther Party
Also included in this category are various parties found in and confined to Native American reservations, almost all of which are solely devoted to the furthering of the tribes to which the reservations were assigned. An example of a particularly powerful tribal nationalist party is the Seneca Party that operates on the Seneca Nation of New York's reservations.[52]
Secessionist parties
[edit]
This section includes parties that primarily advocate for Independence from the United States. (Specific party platforms may range from left wing to right wing).
Alaskan Independence Party
Aloha ʻĀina Party (Hawaii)
California National Party
Single-issue/protest-oriented
[edit]
This section includes parties that primarily advocate single-issue politics (though they may have a more detailed platform) or may seek to attract protest votes rather than to mount serious political campaigns or advocacy.
Grassroots—Legalize Cannabis Party
Legal Marijuana Now Party
Prohibition Party
United States Marijuana Party[citation needed]
State-only parties
[edit]
Approval Voting Party (Colorado)
Natural Law Party (Michigan)
New York State Right to Life Party
Rent Is Too Damn High Party (New York)
Third-party presidential election results (1992–present)
[edit]
Only the top 3 third-party candidates by popular vote are listed.
1992
[edit]
Candidate Party Votes Percentage Best state percentage Ross Perot Independent 19,743,821
18.91%
Maine: 30.44%
Andre Verne Marrou Libertarian 290,087
0.28%
New Hampshire: 0.66%
Bo Gritz Populist 106,152
0.10%
Utah: 3.84%
Other
269,507
0.24%
—
Total
20,409,567
19.53%
—
1996
[edit]
Candidate Party Votes Percentage Best state percentage Ross Perot Reform 8,085,294
8.40%
Maine: 14.19%
Ralph Nader Green 684,871
0.71%
Oregon: 3.59%
Harry Browne Libertarian 485,759
0.50%
Arizona: 1.02%
Other
419,986
0.43%
—
Total
9,675,910
10.04%
—
2000
[edit]
Candidate Party Votes Percentage Best state percentage Ralph Nader Green 2,882,955
2.74%
Alaska: 10.07%
Pat Buchanan Reform 448,895
0.43%
North Dakota: 2.53%
Harry Browne Libertarian 384,431
0.36%
Georgia: 1.40%
Other
232,920
0.22%
—
Total
3,949,201
3.75%
—
2004
[edit]
Candidate Party Votes Percentage Best state percentage Ralph Nader Independent 465,650
0.38%
Alaska: 1.62%
Michael Badnarik Libertarian 397,265
0.32%
Indiana: 0.73%
Michael Peroutka Constitution 143,630
0.15%
Utah: 0.74%
Other
215,031
0.18%
—
Total
1,221,576
1.00%
—
2008
[edit]
Candidate Party Votes Percentage Best state percentage Ralph Nader Independent 739,034
0.56%
Maine: 1.45%
Bob Barr Libertarian 523,715
0.40%
Indiana: 1.06%
Chuck Baldwin Constitution 199,750
0.12%
Utah: 1.26%
Other
404,482
0.31%
—
Total
1,866,981
1.39%
—
2012
[edit]
Candidate Party Votes Percentage Best state percentage Gary Johnson Libertarian 1,275,971
0.99%
New Mexico: 3.60%
Jill Stein Green 469,627
0.36%
Oregon/Maine: 1.10%
Virgil Goode Constitution 122,389
0.11%
Wyoming: 0.58%
Other
368,124
0.28%
—
Total
2,236,111
1.74%
—
2016
[edit]
Candidate Party Votes Percentage Best state percentage Gary Johnson Libertarian 4,489,341
3.28%
New Mexico: 9.34%
Jill Stein Green 1,457,218
1.07%
Hawaii: 2.97%
Evan McMullin Independent 731,991
0.54%
Utah: 21.54%
Other
1,149,700
0.84%
—
Total
7,828,250
5.73%
—
2020
[edit]
Candidate Party Votes Percentage Best state percentage Jo Jorgensen Libertarian 1,865,535
1.18%
South Dakota: 2.63%
Howie Hawkins Green 407,068
0.26%
Maine: 1.00%
Rocky De La Fuente Alliance 88,241
0.06%
California: 0.34%
Other
561,311
0.41%
—
Total
2,922,155
1.85%
—
2024
[edit]
In 2023 and 2024, Robert F. Kennedy Jr. has polled higher than any third-party presidential candidate since Ross Perot[53] in the 1992 and 1996 elections.[54][55][56]
Notes
[edit]
References
[edit]
Further reading
[edit]
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https://www.npr.org/2022/06/13/1104683128/a-new-england-neo-nazi-group-is-attracting-members-using-republican-talking-poin
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A New England neo-Nazi group is attracting members using Republican talking points
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2022-06-13T00:00:00
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A nascent neo-Nazi group in New England is attempting to recruit new members by raising its public profile and by latching onto Republican talking points that were once considered fringe.
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NPR
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https://www.npr.org/2022/06/13/1104683128/a-new-england-neo-nazi-group-is-attracting-members-using-republican-talking-poin
|
MARY LOUISE KELLY, HOST:
A nascent neo-Nazi group in New England is attempting to recruit new members. It's doing this by raising its public profile and latching on to Republican talking points that were once considered fringe. From member station WGBH in Boston, here's senior investigative reporter Phillip Martin.
PHILLIP MARTIN, BYLINE: A video posted last summer on social media provided a rare look inside the strategic planning of an upstart neo-Nazi movement. In the video, Chris Hood, the 23-year-old founder of the Nationalist Socialist Club, or NSC-131, gave instructions to a University of Massachusetts Lowell student named Liam McNeil.
(SOUNDBITE OF ARCHIVED RECORDING)
CHRIS HOOD: Well, if you're in college, you should be getting together with all the other guys on campus that think like you, start going to all the frat parties and bullying the troops that race mix and just start dominating the parties, take over the campus.
LIAM MCNEIL: We could do that.
MARTIN: Hood and 23-year-old McNeil are part of a tiny but growing clique of white nationalists who have begun loudly announcing their presence across New England.
(SOUNDBITE OF ARCHIVED RECORDING)
HOOD: I mean, we're pretty much like a frat but racist.
MARTIN: Oren Segal describes Massachusetts-based NSC-131 differently.
OREN SEGAL: It's a small neo-Nazi group.
MARTIN: Segal is president of the Anti-Defamation League's Center on Extremism.
SEGAL: Those who identify with this group view themselves as soldiers, essentially, who are at war with the Jewish-controlled system that is plotting the extinction of the white race.
MARTIN: Segal says the group appears to have escalated its activities in the wake of last year's attempted insurrection in the U.S. Capitol, where members of NSC-131 were present. This greatly concerns Gregory Fried, professor of philosophy at Boston College and an expert on authoritarianism.
GREGORY FRIED: We should use January 6 as a reality check. Those were the shock troops of an attempted coup on the American political system.
MARTIN: In New England, NSC-131 have hung racist banners from highway overpasses, rallied in front of hospitals and joined mainstream conservatives to protest vaccine mandates and anti-racist education. The group has conducted martial arts and firearms training in state forests.
(SOUNDBITE OF ARCHIVED RECORDING)
UNIDENTIFIED PERSON: White power, white power.
MARTIN: Law enforcement officials have taken notice, including U.S. attorney for Massachusetts Rachael Rollins, who is coordinating with colleagues in the region.
RACHAEL ROLLINS: All of the U.S. attorneys in New England, we've been discussing this not just with guns running through our various states or human trafficking running through our various states. There's also hate running through our various states.
MARTIN: Rollins has suggested that NSC-131 and other far-right extremists should be classified as street gangs. In January, 30 neo-Nazis rallied near Boston's Brigham and Women's Hospital, protesting programs to establish racial equity in medicine. The rhetoric of the far-right demonstrators was identical to a patently false assertion made days earlier by former President Donald Trump at a rally in Arizona.
(SOUNDBITE OF ARCHIVED RECORDING)
DONALD TRUMP: The left is now rationing lifesaving therapeutics based on race, discriminating against and denigrating - just denigrating white people to determine who lives and who dies.
MARTIN: Robert Treston, director of the Anti-Defamation League of New England, fears that Trump's amplification of white grievances has helped NSC-131 boost its membership.
ROBERT TRESTAN: And we know this because their demonstration in front of Brigham and Women's Hospital actually drew more people than we've seen at previous protests.
MARTIN: In March, as floats passed by at the St. Patrick's Day parade in South Boston, two dozen NSC members unfurled a banner reading keep Boston Irish. Some in the crowd reacted with bafflement and curiosity. Others, like lifelong resident William Goode, who is white, were outraged that the group had assumed they would find support in this neighborhood, once a bastion of violent white resistance to school desegregation.
WILLIAM GOODE: I don't like Nazis. This neighborhood's still recovering from an ugly history of racism. And these people aren't part of my community, and they're not welcome.
MARTIN: NSC-131 received a similarly frosty reception on the campus of UMass Lowell, where Liam McNeil hoped to recruit. A sophomore who would only give her first name, Mary, who was white said she's not interested.
MARY: It makes me wildly uncomfortable, and I think it poses a safety risk for the other students here.
MARTIN: But Awa, a member of the Black Student Union who also gave only her first name, said that a white extremist presence on campus was par for the course.
AWA: Once Trump became president, a lot of people got that courage to come out and show their true colors.
MARTIN: The ADL reported that incidents of white supremacist propaganda more than doubled on campuses from 2018 to 2019 to an historic high of more than 600 incidents nationwide that year. Over the past year, dozens of students have protested McNeil's presence on this campus, saying he should be expelled. But the administration said it could not kick him out because of the principle of academic freedom. Still, the pressure seems to have taken a toll. In a recent phone call, McNeil's father told me that the protest had an impact and Liam McNeil is no longer enrolled at the university. For NPR News, I'm Phillip Martin in Boston.
Copyright © 2022 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.
NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.
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MsC 160
Manuscript Register
RECORDS OF THE PROGRESSIVE PARTY
Collection Dates: 1940 -- 1969
(Bulk Dates:1940 to 1955)29.75 linear ft.
This document describes a collection of materials held by the
Special Collections Department
University of Iowa Libraries
Iowa City, Iowa 52242-1420
Phone: 319-335-5921
Fax: 319-335-5900
e-mail: lib-spec@uiowa.edu
Posted to Internet: June 2002
Addenda: 1975 , 2003, 2010, 2012
Acquisition Note:This collection was given to the University of Iowa in 1966 by Curtis MacDougall.
Access and Restrictions:This collection is open for research.
Photographs: Boxes 11, 28
Digital Surrogates: Except where indicated, this document describes but does not reproduce the actual text, images and objects which make up this collection. Materials are available only in the Special Collections Department.
Copyright: Please read The University of Iowa Libraries' statement on "Property Rights, Copyright Law, and Permissions to Use Unpublished Materials"
Use of Collections: The University of Iowa Libraries supports access to the materials, published and unpublished, in its collections. Nonetheless, access to some items may be restricted by their fragile condition or by contractual agreement with donors, and it may not be possible at all times to provide appropriate machinery for reading, viewing or accessing non-paper-based materials. Please read our Use of Manuscripts Statement.
Abbreviations: For an explanation of the abbreviation and dating conventions used in the finding aids, see Abbreviations.
Biographical Notes
Curtis MacDougall was born on February 11, 1903, in Fond du Lac, Wisconsin. He started his career as a journalist there at the Fond du Lac Commonwealth-Reporter at the age of fifteen. He received a BA in English from Ripon College in Wisconsin in 1923. He went on to obtain a Master's from Northwestern University in 1926 and a Ph.D. in Sociology at the University of Wisconsin in 1933. After working at several newspapers, he joined the faculty of Northwestern University in 1935. During the depression, he served as state supervisor of the Illinois Writers Project, a WPA project of the New Deal, in which he edited the works of such Illinois authors as Saul Bellow, Nelson Algren, and Studs Terkel.
MacDougall wrote several books, among them Gideon's Army, a three volume history of the Progressive Party movement that culminated in Henry A. Wallace's run for president in 1948.
Scope and Contents
This collection is apparently the material the MacDougall collected for writing his book Gideon's Army.
Related materials
Manuscript materials
The Henry A. Wallace Collection at the University of Iowa, MsC 177 (http://www.lib.uiowa.edu/scua/msc/tomsc200/msc177/msc177_wallacehenrya.htm)
The Papers of Calvin Baldwin at the University of Iowa, MsC 343 (http://www.lib.uiowa.edu/scua/msc/tomsc350/msc343/msc343.htm)
The Hugh C. MacDougall Progressive Party Papers at the University of Iowa, MsC 482 (http://www.lib.uiowa.edu/scua/msc/tomsc500/msc482/msc482_macdougall.html)
STOVER, FRED W., 1898-1990. Papers of Fred Stover, 13.5 ft.
Hampton, Iowa farm advocate and activist for progressive causes, former head of the Iowa Farmers Union and president of the U.S. Farmers Association. Correspondence, writings, and organizational materials, together with miscellaneous material, documenting his 40 years of political and social activism. MsC 165 (Finding Aid).
Box List
Box 1
Texas:
New World Review. January -- March 1953
Masses & Mainstream. March -- November 1948, January 1949
Wallace, Henry A. Toward World Peace. New York: Reynal & Hitchcock, 1948
Box 30
Proceedings. Illinois State Industrial Union Council CIO. Seventh and eighth Constitution Convention, 1949 -- 1950
Proceedings of the ... Constitutional Convention of the United Steel Workers of America; 1946, 1948, 1950
Official Proceedings of the ... Convention of the International Union of Mine, Mill and Smelter Workers; 1946, 1948
Proceedings of the ... Convention of San Francisco, 1945, 1947, 1949. International Longshoremen's & Warehousemen's Union affiliated with the Congress of Industrial Organizations.
Proceedings. Fifth Constitutional Convention of the United Furniture Workers of America, CIO, 1948
Proceedings of the ... Constitutional Convention of the United Office and Professional Workers of America, CIO; 1946, 1948
Sweezy, Paul M. and Huberman, Leo (eds.) F.O. Mathiessen (1902 -- 1950), A Collective Portrait, New York: Henry Schuman, 1950
Box 31
Proceedings of the ... Annual Convention International Woodworkers of America; 1946, 1947, 1948
Proceedings. United Electrical, Radio & Machine Workers of America, CIO; 1946, 1947, 1948
Proceedings ... Constitutional Convention of the Congress of Industrial Organizations; 1947, 1948, 1949
Investigations of senators Joseph R. McCarthy and William Benton pursuant to S. Res. 187 and S. Res. 304. Report of the Subcommittee on Privileges and Elections to the Committee on Rules and Administration
Rochester, Anna. The Populist Movement in the United States. New York: International Publishers, 1943
Whitman, Alden. Labor Parties 1827 -- 1834. New York: International Publishers, 1943
Lawson, Elizabeth. Lincoln's Third Party. New York: New Century Publishers, 1948
Foster, William Z.; Beware of the War Danger! New York: New Century Publishers, 1948
Dennis, Eugene. The Third Party and the 1948 Elections. New York: New Century Publishers, 1948
Box 32
Press releases, news clippings, articles, letters, 1947 -- 1955. Correspondents include Henry L. Moon (NAACP), Joseph L. Johnson (dean of medicine, Howard University), Clark Foreman (director, Emergency Civil Liberties Committee), Mary McLeod Bethune
Spy Hunter. News clippings, articles, form letters, press releases, fact sheets, 1947 -- 1953
Articles, speeches, clippings, notes, 1946-1952
Henry A. Wallace Breaks With Truman. Form letters, news clippings, letters, articles, 1946 -- 1948. Correspondents include Henry A. Wallace (2 TLS) and James Imbrie
Progressive Party Convention. Articles, platforms, news clippings, speeches, 1948 - 1955. Letter from James Hayford, West Burke, Vermont.
Divisions (Youth-Women-Farmers). Letters, bulletins, clippings, articles, pamphlets, press conferences, news releases, statements, reports, 1948 -- 1955. Correspondents include Harold Buchman, Fred W. Stover, Elmer A. Benson (1 ALS), James M. Youngdale, James Robertson
Box 32A
Labor. Reviews, news clippings, notes, articles, letters, pamphlets, speeches, news releases, fact sheets, 1948 -- 1954. Correspondents include Kermit Eby, Len De Caux, Eugene Cotton, Mrs. Miles Tierney, Leslie Orear, Abner Green
Liberals. Newspaper clippings, press releases, play, fact sheet, notes, pamphlets, articles, 1947 -- 1948
Box 33
South. Speeches, news clippings, articles, press releases, letters, telegrams, 1948 -- 1954. Includes itinerary of southern trip. Correspondents include Harry S. Ashmore and Alan T. Myers
West. News clippings, articles, letters, telegrams, statements, reports, fact sheets, press releases, speeches, 1947 -- 1948. Correspondents include Calvin B. Baldwin, Chet Holifield
Middle West. News clippings, 1948 -- 1955
East. News clippings, editorials, articles, memorandum, 1948
Election. Articles, news clippings, reports, telegrams, letters, speeches, 1948 -- 1953. Radio broadcast of Henry A. Wallace. Letter from Eric Hoffer
Early third parties. Articles, news clippings, 1947 -- 1954
Henry A. Wallace. Articles, news clippings, 1941 -- 1944 (3 folders)
Kansas. Letters, editorials, 1952
Iowa. Letters, news clippings, party platforms, speeches, campaign material, 1948 -- 1953. Correspondents include Henry Wallace and George Mills
Indiana. Letters, campaign material, letterhead stationery, 1947 -- 1948. Correspondents include Louise Gilbert, Laure Spiker (secretary, Indiana Committee to Win the Peace) and Jessica Phine (executive secretary, Indiana Citizens for Wallace)
Kentucky. Letters, campaign material, news clippings, press releases, articles 1948 -- 1953. Correspondents include Herbert H. Monsky
Louisiana. Press releases, campaign material, 1948
Maine. Letters including Louise Hunt and Ray Gailey, 1948 -- 1955
Box 34
Maryland. Letters, campaign material, election results, a petition, news clippings. Correspondents include Walter McManamon, Sen. Millard Tydings, Milton Bate, and A.J. Bourbon (administrative assistant to Sen. O'Connor), 1946 -- 1954
Massachusetts. Letters, news clippings, election results, proceedings of party's founding convention, press releases, articles, 1947 -- 1948. Correspondents include Harlow Shapley
Lansing, Michigan; Massachusetts and New Jersey. Letters, newspapers and clippings, campaign material, petitions 1946 -- 1948. Letter from Henry Wallace
Michigan. Letters, articles, newspapers, clippings, election results, proceedings of conventions, news releases, 1948 -- 1954. Correspondents include Sid Rosen (treasurer of Progressive Party in Michigan), Allen Sayler (state chairman), Harry S. Toy (police commissioner of Detroit), William D. Chase, Albert Cherow, and Edith Lindeman.
Florida. Letters, news clippings, election report, speech analysis, 1947 -- 1955. Interview with Sen. Pepper. Correspondents include Sam Lubell, Nelson Poynter, Clark Foreman, Louis Touby (party treasurer), John Kovace, John M. Coe (state chairman)
Arkansas. News releases, clippings, campaign material, 1948
February 1948. Miscellany of news clippings and campaign sheets
January 1948. Miscellany of news clippings and articles, including Wallace's column. Proceedings of 2nd annual convention
Proceedings of national convention of 1948 then the Shibe Park Meeting. 1948 and 1954. Articles on the death of Vito Marcantonio. Miscellany of articles and campaign material
Miscellany of party platforms and newspaper clippings about them. Campaign material, 1948
Box 35
Colorado. Editorial manuscript by Wallace, letters, news clippings, notes from Vincent File, proceedings of Colorado convention, 1948 -- 1955. Correspondents include Mike Rinn (state chairman), Samuel D. Menin, Michael Straight, Lee Fryer, Rudy Cook (executive secretary of party), Mrs. Herbert Ulmer
March 1948. Miscellaneous news clippings
April 1948. Lists of members of national committee of Wallace for President, news clippings, news releases, articles
Georgia. Letters, news clippings, press releases, articles. Correspondents include Palmer Weber, J.W. Gitt, George J. Roark, M.C. Thompson (governor of Georgia), William Moody, Emerson Hill, and Arnold Goldman
Delaware. News clippings, 1947
Connecticut. Documents of Progressive Party of Connecticut, letters, news clippings, 1948 -- 1953. Correspondents include Thomas Emerson (candidate for governor)
California. Letters, news clippings, 1948
Alabama. Letters, news clippings, 1948
H. A. W. Announces. Letters, Wallace speech, news clippings, articles, 1948. Correspondents H. A. Wallace. Illinois news clippings on death of Mrs. Anita McCormick Blaine
1945. Wallace speech, news clippings, news release
November -- December 1948. Letters, news clippings, news releases, election analysis, articles, party documents. Correspondents include H.A. Wallace (copy)
May 1948. Letters, news releases, news clippings, articles, primary topic: Wallace-Stalin letter. Correspondents include Adam Swartz and George Murphy
Box 36
Convention Press. Letters, news clippings, maps, articles, 1948. Correspondents include Rexford Tugwell, Chuck Roberts, Roland Wolseley, and Clara Vincent
Chapter 3: 1945 and 1946. News clippings, pamphlets, news releases, notes, 1945 -- 1946
Letters, music, news clippings, articles, notes, 1948 -- 1954. Correspondents include Allen Sayler, Joe Scholnick, William H. Miller, and Ruth Frank
MacDougall speeches. Text of speeches and debates, news releases, 1948 -- 1950
Illinois, 1948. Letters, thesis manuscript, news releases, news clippings, article, partydocuments. Correspondents include Edward Barrett (secretary of state), Zalmon H Garfield, and Arthur J. Wetle
Texas. Letters, party documents, news releases, speeches, news clippings, election analyses, 1948. Correspondents include Mandell and Wright, Jessie Floyd O'Connor, and Pearl Fox
Congress --Votes. Congressional vote analyses, news clippings, articles, 1945 -- 1947
Box 37
Wisconsin. Letters, campaign material, party documents, news clippings, election analyses, 1948 -- 1953. Correspondents include Michael J. Essin (executive director of party)
New Mexico. Letters, party documents, 1948 -- 1953
Nebraska. Letters, news notes, 1948 -- 1953. Correspondents include Arthur F. Stearns and John J. Abt
Montana. Letters, campaign material, news clippings, party documents, 1947 -- 1953. Correspondents include John Hellman and Chet Kinsey
New Jersey. News clippings, notes, party documents, campaign material, 1948 -- 1953
New Hampshire. Party documents, campaign material, election laws, news clippings, 1948
Missouri. Letters, party documents, news clippings, 1948. Correspondents include Katherine Shryver
Mississippi. Notes from news articles, 1948
Minnesota. Letters, party documents, campaign material, news clippings, 1948 -- 1954. Correspondents include Elmer Benson, Victor Lawson, and Cy Barnum
Farmers-Ayres. Party documents, campaign material 1948, election reports
Nationalities. Party documents, campaign material, 1948
Republicans. Letters, campaign material, clippings, 1948 -- 1954
Socialism. Documents and articles of and about the Socialist party in America, 1948 -- 1954
Legal. Court documents, articles, clippings, 1948
Liberalism-ADA. Letters, notes, clippings, articles, documents of ADA, 1947 -- 1954. Correspondents include Arthur Schlessinger, Jr., Robert R. Nathan, David C. Williams, Somes V. Cunningham, Mrs. Elliot Dexter
Tennessee. Campaign material, letters, clippings, 1948. Correspondents include KKK
South Dakota. Party documents, letter, 1948. Correspondents include Homer Ayres South
Carolina. Notes from newspapers, 1948
Oregon. Party documents, news clippings, 1947
Rhode Island. Letters, speeches, party documents, clippings, 1948 -- 1955. Correspondents include Ralph C. Lofsky
Idaho. Notes from newspapers, 1948
Ohio. Party documents, campaign material, clippings, 1948
Box 38
Oklahoma. Letters, petitions, clippings, 1948 -- 1954. Correspondents include Roscoe Dunjee
North Dakota. Letters, clippings. Correspondents include Quentin N. Burdick, 1948 -- 1955
War Mindedness. Clippings, 1948
Women. Campaign material, press releases, 1948
Vermont. Letters, election results, articles, news clippings, 1948. Correspondents include Una Buxenbaum, Helen MacMartin, and E.H. Konrad
Wallace-Northwestern Teachers. Letters, petitions, 1948. Correspondents include Ernest Samuels, Edgar S. Brightman, Art Brooke
Pennsylvania. Letters, party documents, campaign material, clippings, petitions, 1948 -- 1952. Correspondents include J.W. Gitt, Gerald Schlaflander, Julia Veinus, Barney Conal, Charlotte Lance
Virginia. Party documents, clippings, 1948
Washington. Party documents, clippings, 1948
West Virginia. Letters, Horace S. Mendahl and Harry Ernst, 1953
Dixiecrats. Documents, campaign material, clippings, manuscripts, speeches, 1948 -- 1953
South. Booklet, 1948
New York. Letters, election analyses, campaign material, press releases, Liberal Party documents, American Labor Party documents. Includes letters of Warren Montrose (Research and Publicity Division Liberal Party), 1948 -- 1953
North Carolina. Letters, clippings, party documents, election analyses, manuscript notes, 1948. Correspondents include Mary Price
Youth. Letters, articles, form letters, clippings, campaign material, newsletter, party documents, includes letters by Herbert Oppenheimer, C.B. Baldwin, Alice D. Nelson
Farmers. Letters, clippings, articles, 1947 -- 1953. Correspondents were CB Baldwin, Somes Patton, Fred Stover
Thesis. Brown, Bill. The Birth of a Party. Winter, 1948
Box 39
Dahl, Genter. Minority Parties and Independents, 1948
Kaufman, Mendel J. The Progressive Party, 1948
Democrats. Letters, articles, clippings, interview with Pres. Truman, 1948 -- 1953. Includes copies of letters from H. S. Truman and J. Frank Dobie
Conference of Progressives, PCA, AND ADA 1946. Form letters, pamphlets, manuscript notes, articles, clippings, newsletters
Europe. Manuscript notes, clippings, greetings to British Progressives, 1945 -- 1947
Miscellany. Manuscript note, 1947
Taft Hartley to Labor Day. UPWA Convention proceedings, 1947. Manuscript notes, 1947
A Labor Party in West, manuscript notes, clippings, 1947
Wallace speeches, manuscript notes, letters, clippings, 1947 -- 1954. Correspondents include William Homes Borders, Clark Foreman, Lyle Stuart
December 1947. Clippings, manuscript notes
Organizational background. Manuscript notes, 1945 -- 1946
Domestic vs. Truman. Manuscript notes, 1945 -- 1947
Peace and the Bomb. Manuscript notes, articles, letters, booklets, 1945 -- 1946
Wallace's background. Manuscript note, articles, news clippings, letters, speeches, 1935 -- 1947. Letters include FDR to Henry Wallace (copy)
Communists. Letters, articles, news clippings, manuscript notes, booklets, 1945 -- 1948. Correspondents include Dorothy Thompson, Alfred Friendly, Louis Adamic, Lee Fryer, J. W. Gitt
Background. Letters, news clippings, broadsides, 1945 -- 1954. Correspondents include Claude Pepper
Issues. Broadsides, manuscript notes, news clippings, articles, campaign material, 1946 -- 1948
Foreign policy. Letters, articles, pamphlet, news clippings, news releases, manuscript notes, 1948
Dixiecrats. Letters, articles, news clippings, news releases, manuscript notes, 1948 -- 1954. Correspondents include J.W. Gitt, Henry Wallace (copy), Clarence Athearn, Ralph Shikes, Ferdinand C. Smith, Rev. Stacy Adams
Colorado and Communists. Press releases, speeches, news clippings, articles, 1948
Box 40
Oklahoma, Ohio, Minnesota. Letters, press releases, articles, news clippings, speeches, 1948 -- 1954
Illinois Party Documents. News letters, 1947
National Citizens Political Action Committee. Pamphlets, news releases, broadsides, newsletters, reports, 1945 -- 1946
Independent Voters of Illinois. Letters, form letters, broadside, documents, news clippings, press releases, reports, speeches, 1947. Correspondents include James Adams, Robert Hurleigh, Irving Flamm, Harry Green, William Volk, Mary Wheeler, Robert Lasch
January -- September 1947. Articles, press releases, form letters, news clippings, speeches, newsletters, broadsides, editorials, letters, manuscript notes. Correspondents include Ralph Shikes and J.W. Gitt
Bell Ringer. Newsletters, 1945 -- 1947
National Citizens Political Action Committee. Pamphlets 1944 -- 1947
Henry A. Wallace. News releases, pamphlets, manuscript notes, news clippings, news releases, letters from Atlantis Marshall, 1940 -- 1966. Biographic sketches
Union for Democratic Action. Organization documents, pamphlets, bulletins, form letters, platforms, newsletters, letters from Frank McCulloch, 1942 -- 1946
Box 41
Independent Voters of Illinois, 1946. Letters, documents, plays, news clippings, booklets, reports, press releases, form letters, newsletters, magazines, platforms. Correspondents include Lillian Milgrom, Edward J. Sparling, Lillian O. Inke, Mrs. Hugh Carmicheal, Mrs. Hedwig Loeb, Julius Jesmer, Leo Lerner, Alex Elson, Howard Williams, Ira Latimer, Joseph Genne, and Frank McCulloch
Independent Voters of Illinois, 1943 -- 1945. Documents, reports, news clippings, editorials, letters, form letters, articles, booklets, bulletins. Correspondents include John Lapp, Irving J. Rosenblum, Leo Lerner, John H. Miller
Students. Pamphlets, broadsides, newsletters, campaign material, form letters, 1946 (2 folders)
Wallace, The Red Issues. News clippings, articles, letters, manuscript notes, campaign material, 1948 -- 1953. Correspondent Arthur Schutzer
Notes from books
Box 42
Vol. 3: Additions. Letters, news clippings, news releases, notes from books, surveys, booklets, articles, speeches, manuscript notes, 1946 -- 1953. Correspondents include Chester Bowles, Leon Henderson, Walter Reuther (copy), Dan J. McCormick, Seymour Pitcher, Henry A. Wallace (copy), F.W. Stover (copy), Barney Conal
Gideon's Army manuscripts chapters I -- XIII (13 folders)
Box 43
Gideon's Army manuscripts chapters XIV -- XXVIII (15 folders)
Box 44
Gideon's Army manuscript chapters XXIX -- XXXVI (8 folders)
Vol. 1: Additions. Speeches, news clippings, letters, campaign material, fact sheets, 1947 -- 1963. Correspondents include Michael Straight
Platform. Letters, form letters, articles, news clippings, newsletters, bulletins, press releases, platforms, 1948 -- 1953. Correspondents include Paul M. Sweezy, Dick Walt, Lee Pressman, Elinor Gimbel, John J. Abt, Scott Buchanan, Rexford G. Tugwell
National Citizens Political Action Committee Research Council
Progressive, Evanston. Form letters, PCA documents, fact sheets, membership lists, newsletters, news clippings, letters from Donald Sweet, Helen Baker, Joan Boe, 1948 -- 1950
Box 45
Progressives, MacDougall. Interviews, letters, broadsides, correspondents include William H. Miller (Illinois PCA state director) and Mrs. Lillian Traugott, 1948 -- 1950
Communists. Articles, news clippings, form letters, manuscript notes, 1948
Newspaper articles of interest to the Progressive Party
General Ideas. Notes, articles, news clippings, biographical notes, interviews, letters, reports
Vol. 2 Additions. Party documents, notes, clippings, letters, articles, platforms, statements, 1948 -- 1963. Correspondents include Clifford Durr and Jim Dumbrowski
Foreman, Clark. Articles, name lists, clippings, pamphlets, party documents, press releases, newsletters, form letters, speeches, campaign material, reports, letters from Clark Foreman, CB Baldwin, Russ Nixon, Hugh Bryson, J.W. Gitt, Mary Price, 1947 -- 1949
1947: October, November, December. Pamphlets, broadsides, campaign material, fact sheets, news clippings, press releases, manuscript notes, party documents, letters from Helen G. Douglas, James Imbrie, Herman Fish, Bert L. Sharp, Charles Shillet, Dr. Robert M. Lindner, Leslie H. Peard, Jr.
Politics, Chicago, Judges. Ballots, press releases, news clippings, telegrams, form letters, speeches, campaign material, election results, pamphlets, manuscript notes, letters from Zal Garfiels, John Hastings, James Mulroy, Maud Slye, Donald Sweet, William Miller, 1947 -- 1948
Box 46
National Citizens Political Action Committee, January -- June 1947. Party documents, form letters, news clippings, press releases, statements, briefs, pamphlets
Progressive Party. Manuscript notes, pamphlets, press releases, speeches, reports, fact sheets, news clippings
Business correspondence 1944 -- 1965. Includes letters from John J. Abt 1949, CB Baldwin, Elmer A. Benson, Vito Marcantonio, Curtis D. MacDougall, Robert Morss Lovett, Vincent Hallinan, Clifford T. McAvoy, and 10 Henry Wallace letters (14 folders)
Speeches by Henry A. Wallace, 1949 -- 1953
Speeches by CB Baldwin, 1949
Speeches by Vito Marcantonio, July 1952
Speeches by Elmer Benson, 1950
Speech by Thomas Emerson, 1950
Speeches by Paul Robeson, 1950
Speeches by Mrs. Charlotta Bass, 1952
Speeches by James Imbrie, O.J. Rogge, Archibald Carey, Dean Acheson, Curtis MacDougall, William S. Gailman, 1950
Speeches by John J. Abt, associate supreme court justice, William O. Douglas, Vincent Hallinan, W.E.B. DuBois, Reuben W. Barough, Charles A. Hill, Vilian Hallinan, Clara Vincent, William D. Smith, Eslanda Goode Robeson
Box 47
Agendas and programs of various events. April 1949 to July 1952
Minutes of meetings of the Progressive Party, January 1949 to September 1950
Reports by various committees and people, 1949 -- 1955
Statements by Henry A. Wallace, 1949 -- 1953
Statements by various committees and people, 1949 -- 1954
Resolutions by various committees, 1949 -- 1951
Press releases, 1949 -- 1953
Memoranda, 1949 -- 1953
Pamphlets on areas relating to the Progressive Party
Newspaper clippings. Many on Henry Wallace
Box 48
Newspaper clippings. Many on Henry Wallace (4 folders)
Forms. Soliciting volunteer help (political campaign), 1944
Biographical notes on 53 people
Progressive Party name list
Bulletins 1949 -- 1950
Invitations
Illinois Progressive Party. State party platform, 1950, and a paper on the Progressive Party of Illinois, 1950
Arms program fact sheet
Progressive Party Convention, 1950. Press coverage, convention rules
Review of the first four months of the Eisenhower administration
Progressive Party, financial data
Box 49
Progressive Party, campaign material
Progressive Party, articles and statements on issues of the party
General articles on the Progressive Party
Miscellaneous material including a radio interview with Henry A. Wallace in 1950
Notebooks 1 -- 23
Box 50
Notebooks 24 -- 48
Boxes 51 -- 54
Index cards
Box 55
Notebooks 49 -- 55
Correspondence dated 1949 -- 1950. Letters by Charles P. Howard, Paul Cunningham, Franklin H. Williams, Russ Nixon and others
Correspondence between MacDougall and others while researching Gideon's Army
Correspondence and other material relating to Glenn H. Taylor. Newspaper clippings
National Council of Arts, Sciences, and Professions, and related groups. Minutes, resolutions and other NCASP papers. Clippings and NCASP publications Newspaper clippings relating to death of Henry Wallace
Typewritten manuscript. Discarded pages from ms. for Gideon's Army
Box 56
Correspondence with CB Baldwin, 1952 -- 1955
Correspondence, pamphlets, newspaper clippings on Progressive Party and on James Imbrie, Progressive Party candidate for governor of New Jersey 1949 -- 1951
Progressive Party of Illinois, 1949. Clippings and political literature
Progressive Party of Pennsylvania, 1948 -- 1949. Correspondence, speeches, clippings. Correspondents include Jess W. Gitt, Louis Adamic, Claric Foreman
Progressive Party of Pennsylvania. Clippings, correspondence, speeches, 1949 -- 1950
Labor Unions. Correspondence, clippings, pamphlets, 1952 -- 1954
Civil Rights. Correspondence, pamphlets, 1947 -- 1954
Progressive Party organizations of Ohio, Oklahoma, Oregon, Tennessee, Texas, Utah, Virginia, West Virginia, and Wisconsin
Henry A. Wallace correspondence and clippings, 1947 -- 1950
Miscellaneous articles
Box 57
Wallace and Taylor speeches. Progressive Party platform. Articles on farm policies, 1948 -- 1953
Material on Young Progressives of America, Wallace campaign, and National Committee on Wallace in Korea
1975 Addendum
Box 58
California and the West. Correspondence, 1948 -- 1965
Colorado correspondence, 1948 -- 1953
East correspondence, 1948 -- 1954
Midwest correspondence, 1947 -- 1955. Includes 1 TLS from Quentin Burdick
Missouri correspondence, 1953 -- 1954. Includes 1 TLS from Harry S. Truman
New England correspondence, 1953 -- 1955
Pennsylvania correspondence, 1948 -- 1965
South correspondence, 1948 -- 1965
Texas correspondence, 1952 -- 1954
Vermont. Correspondence mainly of Helen MacMartin, 1947 -- 1955
West correspondence, 1953 -- 1955
Wisconsin correspondence, 1948 -- 1953
Divisions. Publications Campaign 1948, includes 1 TLS from Pete Seeger. (2 folders)
Lewis Frank Jr. Correspondence, 1952 -- 1970
Box 59
Gideon's Army, Marzini correspondence, 1963 -- 1969 (2 folders)
Gideon's Trumpet, Publishers correspondence, 1954 -- 1974. Correspondents include Corliss Lamont, Carey McWilliams, Harry Ashmore, David A. Shannon, CB Baldwin, Ray A. Billington (3 folders)
Professors for Wallace correspondence, 1948
Progressive Party members since 1948. Miscellaneous material
Oversized Material
Six campaign posters in "Broadsides, Not Cataloged" map case
2003 Addendum
Continuing in Box 59
Whitters, James. "Not So Popular Front: The Progressive Party of Massachusetts and the Elections of 1948."
2010 Addendum
Box 60
The Progressive Party in Tennessee.
Gift of Frank F. Turner. Mr. Turner kept some of the originals for his personal collection, but has graciously provided us with digital images and printouts of these items.
Clippings
Correspondence, mostly with J. T. Sloan, 1948-1956
Documents, including press releases, canned speeches, pamphlets
---. 1948
---. 1949 and undated
CD with images of those items in Mr. Turner's personal collection
2012 Addendum
George McGovern interviewed by Jon Lauck and John Miller on November 25, 2003
Photocopies of news clippings and transcriptions from South Dakota newspapers, mostly the Mitchell Daily Republic
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https://law.wlu.edu/about-wandl-law/leadership/distinguished-alumni
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Distinguished Alumni
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Washington and Lee University
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https://law.wlu.edu/about-wandl-law/leadership/distinguished-alumni
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W&L Law is fortunate to be honored by many notable alumni. Graduates of W&L Law include two Justices of the United States Supreme Court, seven presidents of the American Bar Association, two Solicitors General of the United States, Presidential Cabinet members, as well as numerous state governors, and United States Senators and Representatives. The law school has produced dozens of federal and state judges, including a former Chief Judge of the U.S. Court of Appeals for the D.C. Circuit, and multiple state supreme court justices. W&L Law's alumni further include influential academics, business leaders, and distinguished attorneys. This achievement is particularly noteworthy given the law school's small size.
U.S. Supreme Court Justices
Lewis Franklin Powell, Jr., Class of 1931, Associate Justice of the United States Supreme Court (1972-1987, Appointed by President Richard M. Nixon)
In 1992, the Lewis F. Powell, Jr. Wing was added to Sydney Lewis Hall and the Wilbur C. Hall Law Library at a dedication ceremony attended by Justice Powell and presided over by Chief Justice William H. Rehnquist. The Powell Wing houses the professional and personal papers and archives of Justice Powell, as well as other manuscript collections, rare books, and archives of the law school.
Joseph Rucker Lamar, Class of 1878, Associate Justice of the United States Supreme Court (1910-1916, Appointed by President William Howard Taft)
Joseph Rucker Lamar served in the Georgia House of Representatives from 1886 to 1889, and also served as a Justice of the Supreme Court of Georgia from 1903 to 1905. At the time of his appointment to the Supreme Court, Justice Lamar was only one of three Justices ever nominated by a President of the opposite party. Justice Lamar, together with Frederick W. Lehmann, was selected in 1914 to represent the United States at the ABC Powers Conference convened to avert a war over the Veracruz Incident. Justice Lamar's professional papers, including correspondence concerning his years as a Supreme Court Justice, are archived at the University of Georgia in Athens, Georgia.
Solicitors General of the United States
John W. Davis, Class of 1895, 14th Solicitor General of the United States (1913-1918, Appointed by President Woodrow Wilson)
John W. Davis is the named partner in the international law firm of Davis Polk & Wardell, LLP, a law firm formed in 1849. Over a 60-year legal career, Davis argued 140 cases before the U.S. Supreme Court, 73 cases argued as Solicitor General, and 67 cases argued as a private lawyer. Lawrence Wallace, who retired from the Office of the Solicitor General in 2003, argued 157 cases during his career, however, many believe that few attorneys have argued more cases than Davis in the twentieth century. Davis is best known as the Democratic Party nominee for President of the United States during the 1924 presidential election, losing to Republican incumbent Calvin Coolidge. The W&L Law Annual Davis Moot Court Competition is named in his honor.
Davis served as U.S. Ambassador to the United Kingdom from 1918 to 1921. He was the founding President of the Council on Foreign Relations, formed in 1921; Chairman of the Carnegie Endowment for International Peace; a trustee of the Rockefeller Foundation from 1922 to 1939, and served as American Bar Association President. Davis represented West Virginia in the U.S. House of Representatives from 1911 to 1913.
One of Davis' most influential arguments before the Supreme Court was in Youngstown Sheet & Tube Co. v. Sawyer in May 1952, now referred to as the Youngstown Steel case, when the Court ruled on President Harry S. Truman's seizure of the nation's steel plants. It had been predicted that the President's actions would be upheld. However, the Court decided 6-3 to uphold the injunction, and sided with Davis' arguments on the limits of executive power.
Three years before his death at age 81, in Davis' final appearance before the Supreme Court, he unsuccessfully defended the "separate but equal" doctrine in Briggs v. Elliott, a companion case to Brown v. Board of Education. Briggs v. Elliott, 342 U.S. 350 (1952), on appeal from the U.S. Eastern District of South Carolina, was the first of the five cases combined into Brown v. Board of Education (1954).
John Goode, Jr., Class of 1861, 3rd Solicitor General of the United States (1885-1886, Appointed by President Grover Cleveland as Acting Solicitor General)
Presidential Cabinet Members
John Otho Marsh, Jr., Class of 1951, Secretary of the Army (1981-1989 under President Ronald Reagan) United States Congressman
Newton D. Baker, Class of 1894, Secretary of War (1916-1921, Appointed by President Woodrow Wilson)
State Governors
Spencer Cox, Class of 2001, Governor of Utah (2021-present), Lieutenant Governor of Utah (2013-2021)
Charles L. Terry, Jr., Class of 1924, Governor of Delaware (1961-1965), Chief Justice of Delaware Supreme Court (1963-1964)
Homer A. Holt, Class of 1923, Governor of West Virginia (1937 to 1941)
William M. Tuck, Class of 1921, Governor of Virginia (1946-1950)
George Washington Hays, Class of 1897, Governor of Arkansas (1913 to 1917)
Ruby Laffoon, Class of 1890, Governor of Kentucky (1931-1935)
Thomas Chipman McRae, Class of 1874, Governor of Arkansas (1921-1925); U.S. Congressman from Arkansas (1885-1903)
Henry M. Mathews, Class of 1857, Governor of West Virginia (1877-1891)
James L. Kemper, Class of 1842, Governor of Virginia (1874-1878)
United States Senate
Paul S. Trible, Jr., Class of 1971, U.S. Senator from Virginia (1983-1989); U.S. Congressman from Virginia (1976-1982)
Scott Marion Loftin, Class of 1899, U.S. Senator from Florida (1936) and President of the American Bar Association
William James Bryan, Class of 1899, U.S. Senator from Florida (1907-1908)
Nathan P. Bryan, Class of 1895, U.S. Senator from Florida (1911-1917), Judge on the United States Court of Appeals for the Fifth Circuit (1920-1935, Appointed by President Woodrow Wilson)
Alfred E. Reames, Class of 1893, U.S. Senator from Oregon (1938)
Miles Poindexter, Class of 1891, U.S. Senator from the State of Washington (1911-1923)
United States Congress
Morgan Griffith, Class of 1983, U.S. Congressman from Virginia (2011- present)
Bob Goodlatte, Class of 1977, U.S. Congressman from Virginia (1993-present)
William Fadjo Cravens, Class of 1920, U.S. Congressman from Arkansas (1939-1949)
Clarence J. Brown, Class of 1915, U.S. Congressman from Ohio (1939-1965)
Franklin Brockson, Class of 1896, U.S. Congressman from Delaware (1913-1915)
James Murray Hooker, Class of 1896, U.S. Congressman from Virginia (1921-1925)
Harry M. Wurzbach, Class of 1896, U.S. Congressman from Texas (1921-1929)
Seward H. Williams, Class of 1895, U.S. Congressman from Ohio (1915-1917)
Samuel B. Avis, Class of 1893, U.S. Congressman from West Virginia (1913-1915)
Edward Cooper, Class of 1892, U.S. Congressman from West Virginia (1915-1919)
James Hay, Class of 1877, U.S. Congressman from Virginia (1897-1916)
Henry St. George Tucker III, Class of 1876, U.S. Congressman from Virginia (1888-1896; 1922-1932) and President of the American Bar Association
David Gardiner Tyler, Class of 1869, U.S. Congressman from Virginia (1893-1897)
Robert Murphy Mayo, Class of 1859, U.S. Congressman from Virginia (1883-1884)
John J. Davis, Class of 1856, U.S. Congressman from West Virginia (1871-1875)
Federal Judges
Mark Steven Davis, Class of 1988, Federal Judge, U.S. District Court for the Eastern District of Virginia (2008-present)
Robert E. Payne, Class of 1967, Federal Judge, U.S. District Court for the Eastern District of Virginia (1991-present)
H. Emory Widener, Jr., Class of 1953, Federal Judge, U.S. Court of Appeals for the Fourth Circuit (1969-2007)
Jackson L. Kiser, Class of 1952, Federal Judge, U.S. District Court for the Western District of Virginia (1981-1997)
John Ashton MacKenzie, Class of 1939, Federal Judge, United States District Court for the Eastern District of Virginia (1967-1985)
Harry Jacob Lemley, Class of 1910, Chief Judge (1948-1958), Federal Judge (1939-1948), joint seat for both the United States District Court for the Eastern District of Arkansas and the United States District Court for the Western District of Arkansas
Heartsill Ragon, Class of 1908, US Congressman from Arkansas (1923-1933) and federal judge on the U.S. District Court for the Western District of Arkansas (1933-1940)
Duncan Lawrence Groner, Class of 1894, Chief Judge of the U.S. Court of Appeals for the D.C. Circuit (1937-1948); Federal Judge, U.S. Court of Appeals for the D.C. Circuit (1931-1937); Federal Judge, U.S. District Court for the Eastern District of Virginia (1921-1931); U.S. Attorney for the Eastern District of Virginia (1910-1913)
ABA Presidents
Linda Klein '83L was sworn in as president of the American Bar Association in August 2016. She previously served as president-elect and as chair of the ABA House of Delegates, the association's policy making body. A past president of the State Bar of Georgia, and the first woman to hold that post, Klein worked to increase access to legal services for Georgia's indigent. She devised and executed the plan to achieve the first state appropriation of tax dollars to support legal services. Klein is managing shareholder of the Georgia offices of Baker Donelson. Her practice concentrates on litigation, alternative dispute resolution and counseling business owners.
Robert J. Grey, Jr. '76L was sworn in as the 128th president of the American Bar Association August 9, 2004. He is the sixth alumnus of Washington and Lee University School of Law to serve in this important position. A partner in the Richmond, Va., office of Hunton & Williams, Grey's practice has focused on administrative matters before state and federal agencies, mediation and dispute resolution, and legislative representation of clients.
Lewis F. Powell, Jr. 1929, 1931L
88th president, 1964-65
In 35 years of practice at the Richmond firm of Hunton & Williams, he became both its chief rainmaker and leader in pro bono work. His legacy as ABA president is most evident in the Legal Services Program and the Constitutional amendment on presidential succession. Powell served as an associate justice of the U.S. Supreme Court, 1972-1987. Most closely associated with the Bakke decision, his ability as a consensus builder made him a powerful swing vote on the Court.
Ross L. Malone, Jr. 1932L
82nd president, 1958-59
Deputy attorney general of the United States, 1952-53; vice president and general counsel to General Motors, 1967-74; W&L board of trustees, 1967-74; rector, 1974; and Law Council chair. Malone was one of the principal drafters of the 25th Amendment dealing with presidential succession. He posthumously received the highly prestigious ABA Medal.
Scott M. Loftin 1899 LL.D.
58th president, 1934-35
General counsel for the Florida East Coast Railway, 1931-1941; Attorney General's Advisory Committee on Crime, 1934. He was a member of the National Conference on Commissioners on Uniform State Laws.
John W. Davis 1895
45th president, 1922-23
W&L professor of law, 1896-97; U.S. congressman (D-W.Va.), 1911-13; solicitor general, 1913-18; and U.S. ambassador to Great Britain, 1918-21. He ran as the Democratic presidential candidate in the 1924 election against Calvin Coolidge. At the time of his death in 1955, he had argued more cases (141) before the Supreme Court than anyone else in the 20th Century.
Henry St. George Tucker 1876
27th president, 1904-05
W&L professor of law, 1897-1902; dean of the Law School, 1899-1902; and acting president, 1900-01. U.S. congressman (D-Va.), 1889-96, and again from 1921-32.
Other ABA presidents with ties to W&L include R. William Ide III a 1962 graduate of the College (and graduate of the University of Virginia Law School) who served as the 117th ABA president, 1993-94, and John Randolph Tucker, the first dean of the W&L School of Law (1893-97), who served as the 15th ABA president, 1892-93.
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https://www.cambridge.org/core/journals/modern-american-history/article/most-marketable-political-commodity-oliver-north-irancontra-and-american-domestic-politics/5B4E544B8BD9AF9903CD87562FAFB63B
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“The Most Marketable Political Commodity”: Oliver North, Iran-Contra, and American Domestic Politics
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“The Most Marketable Political Commodity”: Oliver North, Iran-Contra, and American Domestic Politics - Volume 6 Issue 2
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https://www.cambridge.org/core/journals/modern-american-history/article/most-marketable-political-commodity-oliver-north-irancontra-and-american-domestic-politics/5B4E544B8BD9AF9903CD87562FAFB63B
|
In 1990, Lieutenant Colonel Oliver North, the face of the Iran-Contra scandal, found himself in the unusual position of being a convicted felon as well as a prodigious political fundraiser. Of sixteen original counts, a jury had convicted him of three: accepting an illegal gratuity, obstructing justice, and destroying documents. While awaiting sentencing and appealing, North traveled the country, charging $25,000 per speech to rapt audiences. Much of the money paid for his legal defense, but he also raised funds for conservative causes, and conservatives used his likeness and story to bolster their own fundraising. In April, one Republican operative dubbed him “the most marketable political commodity that I know of in the whole United States.”Footnote 1 In July, an appeals court vacated North's conviction on a technicality, and the divisive National Security Council official went on nearly to win the 1994 Virginia Senate race.
North remained popular among conservatives and Republicans not despite his legal persecution but because of it.Footnote 2 From the moment he walked into Congressional hearings in 1987, North embodied a novel, winning New Right populist formula for turning potentially negative scandals into partisan political power.Footnote 3 The formula consisted of fashioning a narrative of victimization and shamelessness in four overlapping steps: first, denying the scandalous nature of Republican behavior and instead blaming the mainstream media and Democrats for “politicization”; second, fabricating “grassroots” support for a public figure and equating that figure's celebrity with impunity; third, community building and fundraising off martyrdom and demonization; and fourth, pardoning any offenses and erasing the memory of the scandal once it stopped reaping benefits.
The Oliver North saga marked an early manifestation of the post–Ronald Reagan New Right's political power within the Republican Party and American politics more generally. While North was a champion of President Reagan, his followers and handlers, in beliefs and methods, moved beyond his mainstream Republican appeal and instead foreshadowed the attack-driven, mass-marketed, and mendacious nature of the post-Reagan era pioneered by figures such as House Speaker Newt Gingrich in the 1990s and brought to full fruition by President Donald Trump in the 2010s. North's political ascent fed off the still-nascent political power of tools of mass outreach such as television and mass-mailing. The zealous man met the moment of Republican desperation for unadorned heroism in a seemingly immoral world, and the means to create, protect, and turn that moment into political capital helped define a new era of populist Republican politics marked by opportunism and denial. Understanding this New Right populist model helps explain how the party, since the 1980s, has remained a viable national entity despite its undemocratic practices and unpopular policies.Footnote 4
Historians have not yet fully explored the domestic political implications of the Iran-Contra episode, for instance its contribution to Republican Party methods. Scholars of the scandal—few of them historians—have struggled to sift through its mountainous paper trail and untangle its mystifying details of Swiss bank deposits, secret meetings, and violations of criminal statutes. In truth, the scandal's offenses were relatively simple. From 1984 to 1986, the Reagan administration, flouting the Boland Amendment passed by Congress, used government resources to fund and help direct the military strategy of the Contra forces against the leftist Sandinista regime in Nicaragua. Concurrently, in violation of U.S. laws and contrary to the president's stated policy of not negotiating with terrorists, the executive traded arms to Iran in hopes of freeing hostages held by Iranian-controlled terrorists and moderating the regime in Tehran. In late 1986, the press revealed these two covert schemes, and the White House discovered a diversion of funds by the National Security Council from the latter to the former, thus giving birth to the hyphenated Iran-Contra scandal.
This three-pronged scheme, which was investigated over the following years by a presidential commission, both houses of Congress, and Independent Counsel Lawrence Walsh and hashed out in a dozen court cases, confounded and quickly bored mass American audiences. Most of the indictments that Walsh filed were not for Iran-Contra itself but for the lying to Congress and investigators and the obstruction of justice that followed, causing the scandal to recede even more in the public consciousness. As the scandal dissolved in 1992, journalist Richard Cohen feared “that the American public will continue to see Iran-Contra as the policy equivalent of quantum physics—hopelessly complicated and of interest only to specialists.”Footnote 5
Scholars who trudged through the minutiae of Iran-Contra drew valuable lessons, but ones unrelated to electoral politics. A first school, led by Harold Hongju Koh, wrote about its impact on national security policy formulation.Footnote 6 A second school, much more populous, focused on the constitutional tug of war between the legislative and executive branches, largely warning of the decreasing power of the former over the latter after gains by Congress in the 1970s.Footnote 7 Other historians have looked at other foreign policy facets of Iran-Contra—its origins and failures, its fit within the Cold War, its illustration of Reagan's style, and more.Footnote 8
The intersection of the domestic political aspects of Iran-Contra and the historiography of modern right-wing political movements thus remains underexplored. To be sure, that latter literature has grown rich and varied in the last decades, beginning with grassroots and social histories of conservatism.Footnote 9 Another trend has been to focus on individuals who galvanized public opinion, such as Barry Goldwater, Richard Nixon, and Reagan.Footnote 10 Historians have also charted the impact of the Right, new and old, on U.S. foreign policy.Footnote 11
Among other insights, historians of conservatism have chronicled the increasing sophistication of Republican arguments and tools for swaying American voters. Among those arguments was the accusation that liberal elites dominated policy making and the media, of which conservative causes were allegedly victims rather than beneficiaries.Footnote 12 The growing scholarship on Republican-led direct mail techniques, fundraising machines, and control over media and law belies this narrative, yet it cries out for specific episodes in which novel techniques drew on current events to jockey for electoral advantage.Footnote 13 The Oliver North story is one such episode.
The increasingly bountiful literature on the rise of the Right in America has yet to situate Iran-Contra within its core narrative of a successful political movement transforming charismatic but flawed characters into political assets. Many surveys on Reagan-era conservatism do not even mention Iran-Contra or North.Footnote 14 Histories of specific conservative institutions such as think tanks and of technologies such as talk radio also fail even to mention Iran-Contra.Footnote 15 Those that do mention the scandal do so in passing, as an embarrassing aberration delaying the otherwise steady triumph of the Right.Footnote 16 Such silences unwittingly reproduce the forgetting of Iran-Contra's scandalousness that Republicans wished for in the 1990s. Other histories briefly include North as a representative of the New Right, noting that his supporters were well to the right of Reagan and that avid conservatives faulted the Republican president for his “abandonment of the Nicaraguan Contras in the wake of the Iran-Contra scandal,” as Marcus Witcher writes.Footnote 17 But there remains no appraisal of North's significance to either Republican or New Right politics.
Yet the North domestic political story presaged how the Republican Party, especially its New Right factions, would embrace scandal as a political strategy. In the Reagan years, the party had a lot of practice. Even absent Iran-Contra, the Reagan administration stands among the most scandal-ridden in American history. Major disgraces marred the Department of Housing and Urban Development, the Environmental Protection Agency, the Savings and Loans industry, and the world of lobbyists. Once 1987 was over, the New York Times passed a damning judgment on the Reagan White House as “one of the most corrupt administrations ever.” In 1988, the Subcommittee on Civil Service counted over 225 Reagan appointees accused of criminal wrongdoing. “The amount of sleaze is awesome,” wrote the Times. “Precise comparisons to the [Ulysses] Grant, [Warren] Harding and Nixon Administrations aren't possible or necessary. The Reagan Administration rivals them all for official lawlessness, contempt for law, and playing loose with the truth.”Footnote 18 One journalist tallied 138 Reagan administration officials investigated, indicted, or convicted “for official misconduct and/or criminal activity. In terms of numbers of officials involved, the record of his administration was the worst ever.”Footnote 19 The actions of North and his collaborators in Central America and Iran dwarfed the outrages of other Reagan scandals.
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The following 50 files are in this category, out of 50 total.
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https://playback.fm/person/william-goode-(politician)
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William Goode (politician)
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Find out where William Goode (politician) was born, their birthday and details about their professions, education, religion, family and other life details and facts.
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Playback.fm
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https://playback.fm/person/william-goode-(politician)
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Fame Ranking
What does "Most Famous" mean? Unlike other sites which use current mentions, follower counts, etc. that tend to call the most famous people YouTube stars or Reality TV stars, we've decided to mark fame as a persons importance in history. We've conducted research scouring millions of historical references to determine the importance of people in History. That being said, we might have missed a few people here and there. The ranking system is a continuing work in progress - if you happen to feel like someone is misranked or missing, please shoot us a message!
Fame Ranking
What does "Most Famous" mean? Unlike other sites which use current mentions, follower counts, etc. that tend to call the most famous people YouTube stars or Reality TV stars, we've decided to mark fame as a persons importance in history. We've conducted research scouring millions of historical references to determine the importance of people in History. That being said, we might have missed a few people here and there. The ranking system is a continuing work in progress - if you happen to feel like someone is misranked or missing, please shoot us a message!
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6276
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https://encyclopediaofalabama.org/article/william-calvin-oates-1894-96/
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William Calvin Oates (1894
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Alabama governor William C. Oates (1835-1910) rose from rough and humble beginnings to run a newspaper, serve as an officer with the Confederate Army at Gettysburg and other major Civil War battles, and won election to the U.S. Congress. A staunch Democrat and white supremacist, he entered state politics to stave off a Populist movement […]
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Encyclopedia of Alabama
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https://encyclopediaofalabama.org/article/william-calvin-oates-1894-96/
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William Calvin Oates Alabama governor William C. Oates (1835-1910) rose from rough and humble beginnings to run a newspaper, serve as an officer with the Confederate Army at Gettysburg and other major Civil War battles, and won election to the U.S. Congress. A staunch Democrat and white supremacist, he entered state politics to stave off a Populist movement that would have placed political power in the hands of small farmers and freedmen. He was a major figure in the Big Mule-Black Belt coalition and successfully derailed investigations into Alabama's questionable election practices, and after leaving office as governor, worked toward the disenfranchisement of blacks and poor whites in the 1901 Constitution.
William Calvin Oates enjoyed neither a comfortable childhood nor an excellent education. The eldest child of William and Sarah Sellers Oates, William was born on November 30, 1835, in Pike County. His father, who had moved to Alabama's Wiregrass region from South Carolina, was a poor farmer who had little to offer his wife and children but a life of isolation and endless toil. Young Oates was ambitious, but his father had no money for his education. Oates attended a few school sessions after scraping together tuition by working on neighboring farms. As a child, he developed a penchant for getting into trouble, and in 1851, after committing assault, he decided to leave home and see more of the world.
Oates embarked on a three-year adventure, earning his keep as a cigar-seller, house painter, deckhand, shingle-maker, and gambler. He stayed briefly in northern Florida, Louisiana, and various Texas towns. Early in 1854 the still-teenaged Oates returned to Alabama and settled in Henry County, in the Wiregrass, where he found a job teaching school. Beginning in 1855, Oates began alternating teaching and studying at Lawrenceville Academy, where schoolmaster William A. Clark and his staff instructed the young man in English composition, mathematics, Latin, and debate. Oates worked hard and excelled, graduating in just two years. With an interest in public affairs, Oates turned to the study of law, which he saw as a means of improving his social position. In 1858, he travelled to Eufaula to read law with the firm of James L. Pugh, Edward C. Bullock, and Jefferson Buford, lawyers who were members of a pro-secession group known as the Regency. In October, Oates earned his license and two months later opened an office in the nearby town of Abbeville.
Thomas J. "Stonewall" Jackson By 1860, Oates was supplementing his income as the editor of a Democratic newspaper. Though not an enthusiastic secessionist, he supported the action of Alabama's January 1861 convention. When the Civil War began, he foresaw that future rank and social position would follow military glory. Accordingly, he raised an infantry company, the Henry [County] Pioneers, and worked hard to provide them uniforms and equipment. The company left Abbeville in July 1861 and was soon in Virginia as Company G of the Fifteenth Alabama regiment. In May and June of 1862, Oates and his men served with Stonewall Jackson in his Valley Campaign. By January 1863, 28-year-old Oates was given the rank of colonel and placed in command of the regiment, a reward he gained not only for bravery but for the care with which he led his troops.
At Gettysburg on July 2, 1863, Oates and the 15th Alabama gained lasting fame by repeatedly assaulting Little Round Top, defended by the men of the 20th Maine. In the brutal and deadly confrontation, the 400 Alabamians suffered 138 casualties in a long day's struggle that ended in defeat for the southern forces. Following Gettysburg, Oates's regiment was transferred to Tennessee, where it performed well at the Battle of Chickamauga in September 1863. Oates was shot in the thigh during the battle. By March 1864, he had returned to his command and was ordered north, where he and his men participated in the battles of the Wilderness and Cold Harbor in May.
In August, Oates was replaced in command by his subordinate, Maj. Alexander Lowther. Oates's most recent biographer suggests that he may have damaged his career by advocating (as early as February 1863) that the Confederacy enlist the South's enslaved population to offset the Union edge in manpower. Years later, Oates was still angry that Confederate leaders had, as he thought, preserved slavery at the cost of victory. He was given command of the 48th Alabama regiment as a consolation prize. But on August 16, 1864, near Petersburg, Virginia, he was wounded seriously in his right arm, necessitating an amputation. When Lee surrendered to Grant, Oates was at home in Abbeville, recuperating from the injury that became his political badge of honor.
William Calvin Oates, ca. 1860s Upon his return to health, Oates picked up the pieces of his life. He reopened his legal practice, which allowed him to harness his combative streak in civilian life. Like many ex-Confederates, Oates was loyal to the Democratic Party and viewed Republicans as enemies and looters of the public treasury. Oates disapproved of the violent methods of the Ku Klux Klan but did not hesitate to endorse ballot-box stuffing, bribery, or other means of controlling the votes of the freedmen—all of which Democrats carried out in the name of white supremacy. Forced to accept the suffrage of black men, he became an architect of the system by which "Bourbon" (ultraconservative) Democrats produced majorities sufficient to defeat Republicans and Independents. The Bourbons were concentrated geographically in the state's Black Belt counties. In cooperation with industrialists and business interests in Birmingham and other cities, known as Big Mules, they dominated Alabama politics during the quarter-century after 1874—the year that Reconstruction ended in Alabama.
In 1880, Oates was rewarded for his service to the Confederacy and loyalty to the Democratic Party with a seat in the U.S. Congress from the Third District. Backed by a network of veterans, he was unbeatable, winning reelection six times. A large part of his success in Washington was owed to the charm and ability of Sarah Toney Oates, whom he married in 1882. The daughter of a Eufaula family, she was 27 years younger than Oates. Despite her youth, she was a natural-born political hostess. In addition, Oates won respect in Congress as a skilled parliamentarian and determined conservative. In the House, he opposed both the Blair bill, which would have spent federal funds on public education, and the Interstate Commerce Act, designed to regulate railroads. In the early 1890s, a time of declining crop prices, widespread foreclosures, and furious anger on southern farms, Oates remained a staunch supporter of the gold standard and a foe of measures intended to promote currency inflation.
Thomas Goode Jones Oates's chief ambition was to advance to a Senate seat, but his plans changed as a result of the state politics of the 1890s. In response to declining prices, thousands of small farmers joined such organizations as the Farmer's Alliance, which urged farmers to buy and sell cooperatively and advocated a greatly inflated national currency. Democratic leaders, in the meantime, split over the stance of the party toward the Alliance and similar groups. Alliance leader Reuben F. Kolb was denied the Democratic gubernatorial nomination in 1890 by a coalition of the Black Belt and pro-business delegates. In 1892, Kolb broke with the party and ran as the candidate of the "Jeffersonian Democrats," openly soliciting the votes of black farmers. His campaign against incumbent governor Thomas Goode Jones and his effort to bypass the politics of white supremacy were both infuriating and frightening to conservatives like Oates.
Kolb lost to Jones by a margin of 126,959 to 115,524, almost certainly as a result of ballot fraud in the Black Belt. Kolb clearly planned to run again in 1894 as the Jeffersonian candidate and expected the support of a radical pro-inflationist party, the People's Party or Populists. The Democratic political bosses united behind Oates as a man who had opposed the Alliance and who could best fight off the challenge of a growing "Silverite" (Free Silver or inflationist) wing within the Democratic Party. Backed by Jones and the Montgomery Advertiser, Oates ran for governor. At the Democratic convention in May 1894, he defeated Birmingham Silverite Joseph F. Johnston on the first ballot. Oates's campaign against Kolb competed for newspaper coverage with Jones's use of troops to put down a strike by Birmingham coal miners. Kolb and his Populist and Republican allies turned their fire against Jones, while Oates ran as the "One-Armed Hero of Henry County," foe of anarchy and disorder, defender of white supremacy.
Reuben F. Kolb In the August 1894 election, Oates defeated Kolb by a count of 111,875 to 83,292 votes. As in 1892, Democratic victory was partly the result of stuffed ballot boxes in the Black Belt. The decline in the number of ballots was probably the result of the Sayre election law of 1893, a measure designed to deprive illiterates of the vote. Kolb and many of his supporters refused to accept the official returns. Kolb declared himself the victor and on inauguration day, December 1, 1894, took an oath of office from a Montgomery justice of the peace. With a band of loyal followers, he marched up Dexter Avenue to the capitol grounds, where under the noses of Governor Jones and incoming Governor Oates, who were protected by state troops, he was forced onto a side street. Kolb delivered an "inaugural" address to his angry supporters, but Oates was peacefully and officially sworn in as governor. His congressional seat was taken by George Paul Harrison Jr.
The 1894-1895 legislature pitted Populists against Democrats, Bourbons against reform Democrats, and Gold Standard men against Silverites. The Populists constituted a substantial minority whose first objective was a passage of an effective election contest law. Eventually the legislature passed a contest act, which though not retroactive, was supported by Populist leaders such as Joseph C. Manning as the best they could get. The legislative session was marked by constant efforts on the part of the Populists to draw the federal government into an investigation of Alabama's 1892 and 1894 election outcomes. Oates and his allies defeated the Populists at every turn.
Oates's chief concern as governor was the financial stability of the state. Previous administrations had successively lowered the rate of ad valorem taxation from 7.5 mills in 1876 to 4 mills in 1889, as state expenditures had doubled. In the economically depressed early 1890s, Governor Jones had been forced to borrow money to keep the government in operation and had approved a half-mill tax increase in 1893. Even so, in 1894 he projected a deficit of nearly $700,000 by September 1896. Oates's allies in the legislature rushed through another half-mill tax in December over the opposition of Populists who hoped to see the Oates administration short of funds. In February 1895, after much debate, the legislature passed bills that authorized Oates to seek refinancing of the state's bonded indebtedness. In the same month, at Oates's request, the lawmakers repealed Governor Jones's plan to phase out the convict-lease system, thus preserving a vital source of revenue for the state and a convenient though brutal form of labor control for industrialists.
In March 1895, Oates travelled to New York to meet with the state's creditors about Alabama's bonded debt. There he was ambushed by Joseph Manning and Populist congressman Milford W. Howard, who were in town to publicize the need for ballot reform in the South. They denounced Oates as governor by fraud, head of an unjust regime. Oates was unable to make satisfactory fiscal arrangements and returned to Alabama in a poor state of health and nerves. Over the next year, hard times persisted, and Oates was forced to borrow money for the state from bankers in New York, Selma, and Mobile. He could take comfort, however, in the knowledge that Populist efforts to overturn the 1894 election had failed. By May 1896, it was clear that Congress would conduct no investigations into Alabama elections.
William Calvin Oates and Men, 1898 Despite this victory, Oates's Democratic allies suffered setbacks. The Silverites were still a strong faction, and Oates could not prevent Johnson, the pro-silver candidate, from winning the Democratic gubernatorial nomination. With his term drawing to an end, Oates still dreamed of a U.S. Senate seat. A vacancy was due to be filled in 1897, and Oates campaigned for it, but without success. The position was given to Edmund W. Pettus, a supporter of free silver. The combative Oates, a Bourbon of great value to the Democrats when political confrontation was necessary, was no longer so useful.
Upon leaving office, Oates returned to his legal practice. In 1898, during the Spanish-American War, he served as brigadier general of volunteers in a company stationed at Camp Meade, Pennsylvania. He also played a role in Alabama's "disfranchisement" Convention of 1901, criticizing some of the measures introduced—particularly the "grandfather clause," an exemption for men whose grandfathers had served in the military. He thought that such provisions were too openly based on racial factors and might be found unconstitutional. He added, characteristically, that not all of the Confederate grandfathers in question had served honorably. Nevertheless, the former governor strongly supported ratification of the 1901 Constitution and the disfranchisement of nearly all African Americans and many poor whites.
Thereafter, Oates applied himself increasingly to Confederate reunions and to writing a well-received account of the war, The War Between the Union and the Confederacy (1905). Having settled in Montgomery, he died on September 9, 1910, and was buried in the city's Oakwood Cemetery.
Note: This entry was adapted with permission from Alabama Governors: A Political History of the State, edited by Samuel L. Webb and Margaret Armbrester (Tuscaloosa: University of Alabama Press, 2001).
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Paul Robeson, Part I: The Making of an International Icon
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https://collaborativehistory.gse.upenn.edu/stories/paul-robeson-part-i-making-international-icon
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Paul Robeson was the world’s most famous African American in the first half of the twentieth century. Part I of this series looks at Robeson’s background and his meteoric rise to international fame as an incomparable bass-baritone singer and pioneering African American actor for stage and screen.
At age 15 in 1860, Paul Robeson’s father, William Drew Robeson (1844–1918), was a fugitive from enslavement on a farm in Martin County, North Carolina. William trekked north to Pennsylvania, found work as a common laborer in the Union Army, and after the Civil War, undertook theology studies at the all-Black Lincoln University, near Philadelphia. In 1878 he married Maria Louisa Bustill, a teacher at Philadelphia’s Robert Vaux School and a member of a prominent family of mixed African, Delaware Indian, and English Quaker descent. By the time their son Paul Leroy Robeson was born on April 9, 1898—the seventh of nine children, five of whom survived infancy—William was pastor of the all-Black Witherspoon Street Presbyterian Church in Princeton, New Jersey. In spiritual matters, Princeton was a Jim Crow town, formed by the all-white university that shared its name. In 1846, whites in the First Presbyterian Church had forced their Black members to form their own church, which William subsequently led.
Judged insufficiently servile by Witherspoon’s white sponsors, William was forced to resign his pastorate in 1901. Another tragedy struck three years later: his wife, Louisa, an invalid in poor health, died from burns endured when a stove coal set her dress aflame. At age six, Paul Robeson was a motherless child.1
Paul and his older brother Ben were the only Robeson children to accompany their father to Westfield, New Jersey, where William worked for a time as a coachman and ash hauler. In 1907, at age 62, he managed to organize an A.M.E. Zion church in Westfield, whose white citizens were kinder than Princeton’s and helped care for Paul and Ben. In 1910, with Ben off to Biddle University (now Johnson C. Smith University) in Charlotte, North Carolina, William established himself as pastor of an A.M.E. Zion parish in Somerville, New Jersey.
Motivated by his demanding father, a master of oratory and English diction, young Paul excelled at Somerville High School, where he was among a handful of Black students. Paul earned accolades as a public speaker and champion debater. He was an exceptional athlete, especially ferocious as a football player. Despite the efforts by Somerville’s racist principal, Mr. Ackerman, to thwart him, Paul won an academic scholarship to Rutgers College, where he arrived in 1915—only the third African American to formally attend this (at the time private) college since its founding in 1766. As New Brunswick was a segregated town, Paul resided in the town’s Black community. Standing 6’2’’ and weighing a muscular 196 pounds, Paul won applause and respect from white students, first as an All-American defensive end on the school’s talented football team, hailed by many sportswriters as the nation’s best player; second as a gifted scholar, debater, and singer.
Yet intimacy with whites was not in his cards. As Martin Duberman, Robeson’s foremost biographer, has written:
Robeson maintained such a consistently high grade average in his course work that he was one of four undergraduates (in a class of eighty) admitted to Phi Beta Kappa in his junior year. A speaker of exceptional force, he was a member of the varsity debating team and won the class oratorial prize four years in succession. His bass-baritone was the chief adornment of the glee club—but only at its home concerts; he was not invited to be a “traveling” member, and at Rutgers sang only with stipulation that he not attend social functions after the performance.2
Paul’s studies were literary and classical. The prestigious Cap & Skull Society selected him as one of four men best representative of the school’s ideals; he was valedictorian of his graduating class, and he delivered the 1919 Commencement Oration, where he spoke about American race relations in an optimistic, conciliatory tone—a stance he would repudiate in the 1930s.
In the summer of 1919, Paul moved from New Brunswick to Harlem in New York City, where he shared an apartment on 135 Street. While attending law school at Columbia University. Harlem, “the Negro capital of the world,” was the major northeastern terminus of the Great Migration of southern Blacks fleeing Jim Crow in search of freedom and jobs. It was also a hub for returning Black veterans from World War I. That fateful summer Harlem was spared the white-supremacist viciousness that ruthlessly claimed Black lives and property in Chicago’s 1919 race massacre. Such violence was in Harlem’s future, however.
It's difficult to imagine how Paul managed to balance the huge demands on his time and energy. For example, to help pay his law school tuition, he played (well-paying) professional football for the Akron Pros and for the Milwaukee Badgers. It was the winter of 1920–21 when Paul met and courted his future wife and business manager, Eslanda Goode, known to her friends as “Essie,” who worked as a technician in the surgery lab at New York’s Presbyterian Hospital.3 Essie and Paul wed August 17, 1921 (their son, Paul Robeson Jr, was born in Nov. 1927). Essie continued to work at Presbyterian Hospital while Paul balanced his law studies with part-time professional football and singing recitals.
Robeson received his law degree in the winter of 1923. He found employment as the only Black attorney in the law office of a Rutgers alumnus in New York. Robeson soon quit this job at Stokesbury and Associates at Law and his law career altogether when a stenographer refused to take dictation from a Black man; she purportedly used a racial epithet. Fortuitously during his brief employment at the law firm, Paul had taken various roles at Harlem’s storefront theaters, learning the fundamentals of acting. The musical Taboo had a short booking on Broadway and played briefly in England during the summer of 1922 with Paul as the male lead. The English version was called Voodoo. It was the story of a wandering Black minstrel, Tim, who, through his transformation as an African Voodoo King, magically removes a curse on the mute granddaughter of the plantation’s mistress and brings rain to the drought-stricken land.
In 1923 Paul leaped at the offer of a role with the avant-garde Provincetown Players as Jim Harris in Eugene O’Neil’s new play All God’s Chillun Got Wings, which opened in New York in 1924 as one of the repertory theater’s alternating plays. Chillun’s treatment of an interracial marriage undermined by hostile social forces provoked a backlash among white politicos.
The O’Neil play best suited to Paul’s immense talents was The Emperor Jones, with Paul in the role of Brutus Jones, a Pullman porter whose criminal activity lands him in prison and hard labor breaking rocks, which he escapes by killing a guard. Reinventing himself, Jones becomes the emperor of an island in the West Indies whose corruption provokes a revolution that culminates in his death by suicide as drumbeats from the jungle boom offstage.
Incredibly, Robeson had to master two roles simultaneously—Jim in Chillun, Brutus in Emperor Jones—with Essie rehearsing him relentlessly. When the Black press criticized him for playing Emperor Jones, which they said pandered to negative stereotypes of African Americans, Robeson replied that his commanding performance as a tragic Black protagonist was a big step above the lackey “Sambo” roles traditionally assigned to Black actors. He considered it a step toward his ultimate goal of portraying authentic Black characters. Chillun and Emperor Jones had profitable runs in alternate weeks in 1924.
After a performance of Emperor Jones, the young sculptor Antonio Salemmé approached Robeson with a lucrative financial offer to pose for the artist. Intermittently for the next two years, Paul sat for Salemmé. A giant statue of Robeson, completed in 1926, stood for a year in the Palace of the Legion of Honor; in 1930, the Philadelphia Art Alliance rejected Salemmé’s offer of the statue, as the executive committee feared a violent white backlash over the public display of a naked Black man. “We sculptors don’t sell many statues in Philadelphia,” Salemmé told reporters.4
The year 1924–25 saw the birth of the Harlem Renaissance, with Robeson and his accompanist and arranger Lawrence Brown, whom he had met in London, counting themselves among the district’s Black cultural luminaries. The Robesons cultivated deep friendships with Walter White of the NAACP and James Weldon Johnson and his wife, Rosamond. Drawn to the historical roots of contemporary Black culture, he adapted his splendid bass baritone voice to interpret Negro spirituals, which bonded him to the Johnsons. Their circle also included white artists and literati. Entranced by Paul’s singing, one of the Harlem Renaissance’s impresarios, Carl Van Vechten, introduced the Robesons to his inner circle of friends which included, among others, the composer George Gershwin and the writer Theodore Dreiser.
In the 1870s the Fisk Jubilee Singers sang spirituals and folk songs composed by African Americans as part of their fund-raising tours for Black education. After they disbanded, the only exposure whites had to African American music was black-face minstrel shows and reviews that mocked the Black experience. Robeson’s first recitals featuring African American spirituals and folk songs were at Boston’s Copley Plaza and New York’s Greenwich Village in the fall of 1924.
Yet racial prejudice was always an obstacle; for example, Robeson, despite his celebrity, was denied entry to every restaurant between Greenwich Village, where he rehearsed Jones, and Penn Station. From 1927 to 1939, Paul and Essie would maintain their primary residence in England, which they found to be, in Paul’s words, “warm and friendly and unprejudiced.” They enjoyed the company of London’s artistic and literary giants; they also imbibed the culture of Ernest Hemingway’s Paris. Here Paul’s rise to international stardom was meteoric on the strength of concert performances (with Larry Brown) that included European folk songs, classics, and popular ballads. During his productive European sojourn, he occasionally returned to the U.S. to record spirituals and for concert tours, including a fall 1929 Carnegie Hall debut. In the early years of his expatriate sojourn, he also acted on Broadway.
In 1928 he performed on the London stage as Joe the Riverman in the Jerome Kern musical Show Boat, where he sang “Ol’ Man River,” a plaintive song that ran throughout the show. The show was a huge success and a financial boon for Paul and Essie. The Prince of Wales invited Paul to give a command performance of “Ol’ Man River” at Buckingham Palace. Paul and Essie’s new circle of friends and admirers included the cultural icons of progressive Britain—H.G. Wells, George Bernard Shaw, and Rebecca West—as well as left-wing members of Parliament.
Marie Seton, Robeson’s British biographer, writing years later, recalled her experience of Show Boat:
Like many other Londoners, I went to see “Show Boat” soon after it opened. [There was] no dramatic build-up for the entrance of the new star, Paul Robeson. The scene shifted from the steamboat to the wharf. Suddenly one realized that Joe the Riverman was Robeson, the silent figure endlessly toting bales of cotton across the stage. [He] filled the whole theater with his presence. Paul Robeson sang about the flowing Mississippi, and the pain of the black [sic] man whose life is like the eternal river rolling toward the open vastness of the ocean. The expression on Robeson’s face was not that of an actor. The pathos of Robeson’s voice called up images of slaves and overseers with whips. How had a man with such a history risen? A most startling quality appeared in Robeson as he accepted the applause. He was visibly touched and yet remote. He seemed to have no greed for applause and he appeared to be a man stripped of mannerisms. The story of romance on a showboat plying the Mississippi suddenly moved into the foreground and Joe, the son of slaves, went back to toting bales of cotton. I have never forgotten the bend in Robeson’s back. It was full of strength, yet it expressed a sorrow which seemed to know no end.”5
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Elected Officials
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https://www.oxforddnb.com/display/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-4279
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Byron, George Gordon Noel, sixth Baron Byron (1788–1824), poet
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"Byron, George Gordon Noel, sixth Baron Byron (1788–1824), poet" published on by Oxford University Press.
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Oxford Dictionary of National Biography
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George Gordon Noel Byron, sixth Baron Byron ( )
© Crown copyright in photograph: UK Government Art Collection
Byron, George Gordon Noel, sixth Baron Byron ( ), poet, was born on 22 January 1788 at 16 (later 24) Holles Street, London, the son of Captain John Byron (1756–1791) and his second wife, Catherine, née Gordon (1765–1811). In the visitations of Nottingham of 1569 and 1615 the family pedigree begins with Sir Richard Byron, of Byron and Clayton in Lancashire, whose son Sir John Byron was rewarded for his services to Henry VIII with the possession of Newstead Abbey in Nottinghamshire. His descendant Sir John Byron was created Baron Byron of Rochdale by Charles I in 1643. The fourth Lord Byron, William (1669–1736), had three children, the second of whom was John, later Admiral Byron (Foulweather Jack) (1723–1786), the poet's grandfather, whose adventures by land and sea were legendary. The admiral had three children, the eldest being Captain Byron (Mad Jack), the poet's father, whose profligacy was so great that he was eventually disinherited by his father. Resigning his commission in the guards by 1778, the handsome captain plunged into the fast world of London fashionable life. He seduced and in 1779 eventually married after her divorce Amelia D'Arcy, marchioness of Carmarthen, later suo jure Baroness Conyers, with whom he had a daughter, Augusta Mary (1783–1851), Byron's half-sister, who later played a central part in his life.
Deprived of his wife's income of £4000 a year by her death in January 1784, Captain Byron went to Bath in search of another rich wife, and settled on Catherine Gordon. She was one of the three surviving daughters of George Gordon, twelfth laird of Gight, Aberdeenshire, and his wife and second cousin, Catherine, daughter of Alexander Innes, sheriff-clerk and provost of Banff. Both her parents died during her infancy and Catherine was brought up near Banff by her grandmother Margaret Gordon, née Duff (1720–1801), known by the courtesy title of Lady Gight. From her grandmother Catherine inherited a love of books but she remained unsophisticated, emotional, and naïve. Also plump and plain, the twenty-year-old Catherine was quickly charmed by the dashing captain and they were married at St Michael's Church, Bath, on 13 May 1785.
By July the newly-weds had settled at Gight where, in no time at all, Captain Byron ran through most of the £23,000 Catherine had brought to their marriage. (Much would have been swallowed up by pre-existing debts.) In March 1786 they went through a second marriage ceremony and Captain Byron took on the family name of Gordon, both events relating to the need to sell the estate of Gight. In July 1787 Captain Byron fled from the Isle of Wight where, to avoid creditors, the couple had been living, to Paris. He was joined there the following September by Mrs Byron who was pregnant. In December she returned to London and rented rooms at 16 Holles Street, off Oxford Street, where Byron was born with a deformed right foot. Harassed by creditors, Byron's father was constantly on the move to remain one step ahead of the bailiffs. He was in Edinburgh on 26 January 1788, when he wrote to Mrs Byron's agent informing him that she had given birth to a son. Byron was baptized George Gordon Byron at the parish church of St Marylebone, St Marylebone Road, on 29 February and his godfathers were named as George Gordon, fifth duke of Gordon, and Colonel Robert Duff of Fetteresso, Aberdeenshire. Byron's forebears on each side were, as he later observed, 'all meridian', and as time passed he constructed an increasingly imaginative relationship to his ancestry. He developed a pride in his lineage which on his father's side can be traced back to the time of William the Conqueror, and on his mother's side descends from James I of Scotland. The motto Crede Byron that appears over the family's arms was one to which Byron adhered throughout his life; it later adorned the ceremonial helmets that helped to define his role as a figurehead in the Greek War of Independence.
Childhood
In March 1788 Mrs Byron received a settlement securing £4222 of her estate against creditors, and in summer 1789 settled with her son and his nurse Agnes Gray, a religious woman with strict Calvinist views, in a furnished apartment in Queen Street, Aberdeen. By August she had been joined by her husband who stayed with her intermittently until September 1790 when Captain Byron abandoned his wife and child and went to live with his sister Fanny (Frances) Leigh in Valenciennes where he died, possibly of consumption, on 2 August 1791 at thirty-five. He appointed his son 'Mr. George Gordon, heir of my real and personal estate, and charge[d] him to pay my debts, legacies, and funeral expenses' ( Marchand, Biography, 1.32). As a small boy Byron was known as George Byron Gordon. Byron preserved a fond memory of his feckless and disgraceful father. He was not yet four when his father died, but according to Medwin he remembered him well, and traced his 'horror of matrimony' to the 'domestic broils' of his parents . Despite everything, Mrs Byron was desolate when her husband died.
For his mother, who was doting, volatile, and capricious, Byron's feelings were deeper and more ambivalent. She was fiercely loyal, proud, and devoted to her son, who was as fiery as she. He grew up in an emotional world that swung between extremes of violence and tenderness. Fond of his nurse and doted on by his mother, Byron spent his formative years in a closed and intense emotional world, its effect heightened by his mother's straitened circumstances and the emotional and physical pain arising from his deformed foot. For this Mrs Byron sought advice from John Hunter, a London surgeon, but her finances prevented her from taking the boy south for treatment. Borrowing money, Mrs Byron moved to 64 Broad Street, a respectable address in Aberdeen new town, where she occupied the whole of the first floor which she furnished herself. At the age of five Byron was sent to the nearby school 'kept by a Mr Bowers—who was called “Bodsy Bowers” by reason of his dapperness.—It was a school for both sexes' ( Letters and Journals, ed. Marchand, 8.107). After about a year he left ('I learned little there') and was instructed by a clergyman called Ross who taught him to read, and then by a young man called Paterson, 'the son of my Shoemaker—but a good Scholar … [and] a rigid Presbyterian also', who taught him Latin . News reached Mrs Byron that William, grandson of the fifth Lord Byron, had been killed at the battle of Calvi in Corsica on 31 July 1794 and that her son, then aged six and a half, was heir presumptive to the Byron title and estates. Byron entered Aberdeen grammar school, where over the next four years he continued to study Latin, and in the afternoons attended Mr Duncan's writing school across the road. His passion for reading, which began with listening to his nurse's readings from the Old Testament and the Psalms and was fostered by his mother, took in 'Knolles, Cantemir, De Tod, Lady M. W. Montague, Hawkins's Translation from Mignot's History of the Turk, the Arabian Nights, all travels or histories, or books upon the East I could meet with … before I was ten years old' ( Marchand, Biography, 1.38). 'When a boy I could never bear to read any Poetry whatever without disgust and reluctance'. Visits during the school holidays to his great-grandmother Lady Gight at Banff, and to the Dee valley where he was taken to convalesce after an attack of scarlet fever in 1795 or 1796, introduced Byron to the splendours of highland scenery to which he formed a lifelong attachment, and which formed a sublime ideal in the landscape of his imagination. At Banff, or at her home near Aberdeen, he met his cousin, Mary Duff, 'my first of flames' ( Letters and Journals, ed. Marchand, 3.210). Years later Byron recalled that 'my love for her was so violent, that I sometimes doubt if I have been really attached since … [she] still lives in my imagination' ( ibid., 222). The intensity of his early reaction to Scottish scenery and of his attachment to Mary Duff fused with his imagination to create ideals that were seldom fully realized in later years. This set a pattern that established a vital creative source for the expression of melancholy to which Byron's letters and journals refer and that famously pervades much of his poetry. These boyhood visits to the country also provided opportunities to learn to swim, ride, and shoot, activities in which he later excelled.
On 21 May 1798 the old Lord Byron died and, at the age of ten, Byron inherited the title of sixth Baron Byron of Rochdale. Through her Aberdeen attorney, Alexander Crombie, Mrs Byron heard that John Hanson, a chancery solicitor in London, had agreed to act for the young heir. Hanson was to remain a lifelong friend and adviser to Byron. His first tasks were to make his charge a ward in chancery and to arrange the appointment of Frederick Howard, fifth earl of Carlisle, son of Admiral Byron's sister Isabella and first cousin of Byron's father, as Byron's legal guardian. Meanwhile, Mrs Byron applied to the chancellor for an allowance, sold her furniture, and at the end of August set forth, with Byron and his nurse May Gray (who had replaced her sister Agnes), for Newstead Abbey. Both abbey and house were in a ruinous condition and the estate was heavily encumbered with debts. Other valuable properties in Rochdale had also been neglected by the old Lord Byron and would need to be recovered at law. After a brief stay at Newstead, when both mother and son were enchanted by its romantic aspect and by the family history it represented, Byron, accompanied by his nurse, went to stay in Nottingham with his great-aunt the Hon. Frances Byron, and afterwards lodged with a Mr Gill. His mother engaged a tutor and arranged for him to receive treatment for his foot; the last, however, caused Byron only pain and distress. In July 1799 he was taken to London where he met John Hanson who introduced him to his guardian and arranged for him to receive long-term treatment for his foot. At this time he also met his cousin the beautiful Margaret Parker ('she looked as if she had been made out of a rainbow'), and his passion for the thirteen-year-old gave rise to his 'first dash into poetry' in 1800. ( For Byron's account of this see his Letters and Journals, ed. Marchand, 9.40.) Hanson engaged the boy's confidence sufficiently for Byron to unburden to him the sexual abuse to which he had been subjected by his nurse May Gray. She was dismissed but her treatment of the boy, combined with her Calvinist religious beliefs, gave him a permanent loathing of religious cant and hypocrisy and contributed to the complex range of attitudes he held towards women in adult life.
Youth
In August 1799 Byron entered the school of a Dr Glennie, an Aberdonian, in Dulwich. During the holidays his time was divided between stays with the Hanson family at their home in Earl's Court and visits to his mother who took lodgings with a Mrs Massingberd at 16 Piccadilly. Hanson secured from the court of chancery £500 a year for Byron's education and his mother's annual pension of £300 was thereby reduced to £200. Medical treatment for Byron's foot amounted to £150 a year with 2 guineas per school visit by the physician. Byron refused to let his lameness prevent him from participating in any of the usual physical activities that schoolboys engage in, and on one occasion threw his leg brace into a pond. In April 1801 he entered Harrow School, where for the first time he mixed with boys of his own social rank. At first, however, the headmaster, Dr Joseph Drury, whose strategy with Byron was to lead this 'wild mountain colt' with a 'silken string', placed him under the individual tutorial guidance of his own son Henry Drury, an assistant master ( Marchand, Biography, 1.66). B. W. Procter recalled that 'There were during his schooltime no symptoms of such a destiny. He was loud, even coarse, and very capable of a boy's vulgar enjoyments. He was then a rough, curly headed boy, and apparently nothing more' ( Procter, 22). At Harrow 'P. Hunter, Curzon, Long and Tattersall were my principal friends. Clare, Dorset, Cs. Gordon, De Bath[e], Claridge and Jno. Wingfield, were my juniors and favourites, whom I spoilt by indulgence' ( Moore, Letters, 21). Others included George John West, fifth Earl De La Warr (who, like Byron, succeeded to his title as a boy), and William Harness. 'My School friendships were with me passions' ( Letters and Journals, ed. Marchand, 9.44). Though not homosexual, these friendships were intense and intimate, and Byron's patronizing of younger boys, a role he maintained in adult life, often led to small jealousies among his favourites.
At Christmas 1802 Henry Edward, nineteenth Baron Grey of Ruthin, a young man of twenty-three, had taken on the lease of Newstead at £50 a year for the remainder of Byron's minority. Mrs Byron took a house in the nearby town of Southwell, Burgage Manor, and in the following summer holidays Byron rode over to Newstead at the invitation of his tenant and lodged with the steward, Owen Mealey. From there he visited, at Annesley Hall, Mary Chaworth whose father was descended from the William Chaworth killed by the ‘Wicked’ Lord Byron in a duel in 1765. In response to his passionate attachment to her, Mary flirted with Byron, but at seventeen (two years his senior) she was already engaged to marry John Musters, a neighbour. Regardless of this, Byron refused to return to school and instead rode over to Annesley where he moodily practised pistol shooting on the terrace. Agonized by a sharp rebuff from Mary, he went hunting and shooting on the Newstead estate with his tenant, but his stay ended abruptly in January 1804, probably following a sexual advance from Grey. Henceforth, Byron, deeply shocked, intended to 'ever consider [him] my most inveterate enemy', but later stated he would be happy 'to meet as friends' ( Letters and Journals, ed. Marchand, 1.49–50, 168).
Byron returned to Harrow and by Easter 1804 he had begun to correspond with his half-sister, Augusta. His early letters to her illustrate his earnest desire to establish an affectionate friendship with 'a Friend to whom I can confide' ( Letters and Journals, ed. Marchand, 1.45). At school, meanwhile, he was 'remarked for the extent and readiness of my general information' and capable of 'great sudden exertions—(such as thirty Greek Hexameters or forty Greek Hexameters) … but of few continuous drudgeries' and later acknowledged that 'my qualities were much more oratorical and martial than poetical' ( ibid., 9.42). Following 'two or three scrapes' he was reprimanded by Henry Drury and stung by some comments from his brother Mark Drury into the ambitious realization that 'the way to riches to Greatness lies before me, I can, I will cut myself a path through the world or perish in the attempt' ( ibid., 1.49). He enjoyed declaiming at speech-days and delighted in the headmaster's notice of his performance, but remained at odds with the established order and led a rebellion among the boys against the new headmaster, the Revd Dr George Butler (the 'Pomposus' of his satire 'On a Change of Masters at a Great Public School'). Though, during the holidays, his relationship with Mrs Byron became increasingly quarrelsome, he found a release in new friendships in Southwell, particularly with Elizabeth Pigot and her brother John, who lived across the green from Burgage Manor. Five years older than he, Elizabeth formed a lively friendship with Byron that was sustained by a shared sense of satirical humour and a mutual interest in writing verse. Her first impression of Byron, as she later described him to Thomas Moore, was of 'a fat bashful boy, with his hair combed straight over his forehead' ( Moore, 1.75). Friendship helped to make Byron's last year at Harrow enjoyable: he later recalled that 'I always hated Harrow till my last year and a half—but then I liked it' ( Letters and Journals, ed. Marchand, 9.37).
'A college life'
Recollecting his university education Byron wrote that:
when I went up to Trinity, in 1805, at the age of seventeen and a half, I was miserable and untoward to a degree. I was wretched at leaving Harrow … wretched at going to Cambridge instead of Oxford (there were no rooms vacant at Christchurch); wretched from some private domestic circumstances of different kinds, and consequently about as unsocial as a wolf taken from the troop.
Letters and Journals, ed. Marchand, 7.230, 19 November 1820, to John Murray
He nevertheless liked his 'Superexcellent Rooms' in the south-east corner of the great court at Trinity (known as Merton-hall corner), and soon wrote to Hargreaves Hanson (the son of his solicitor, who had been with him at Harrow) that 'college improves in everything but Learning, nobody here seems to look into an author ancient or modern if they can avoid it' ( ibid., 1.80). To Hanson he had written with requests for '4 dozen of Wine, Port—Sherry—Claret, & Madeira, one Dozen of Each', and told him that he 'beg[an] to admire a College Life' ( ibid., 78). His comment that 'my appearance in the Hall in my State Robes [on formal university occasions undergraduate noblemen wore an elaborately decorated gown] was Superb, but uncomfortable to my Diffidence' records the beginning of Byron's acute awareness of the impact of his public appearance, which later took on an importance far beyond the immediate social context, but at the same time reveals the self-consciousness of a newly matriculated freshman. During his first term Byron strengthened his friendship with Edward Noel Long who had come up with him from Harrow, and developed a 'violent, though pure passion' for a young chorister, John Edleston, the Thyrza of some of his early poems, who gave him a cornelian heart ( ibid., 8.24). Though (as was usual among undergraduate noblemen) he rarely attended lectures, Byron widened his reading and pursued his enjoyment of swimming and riding. College dissipations, the refurbishment of his rooms, and the expense of keeping horses soon disposed of his allowance and, still a minor, in December he asked Augusta to stand guarantor to the first of the huge debts he contracted with moneylenders. These were arranged by his landlady in Piccadilly, Mrs Massingberd. To the alarm of his mother, Byron wrote to say that, having paid off his debts and with 'a few hundreds in ready Cash lying about me', he had decided not to return to college but to pass a couple of years abroad ( ibid., 1.89). Instead, however, he lingered in London where he took lessons from the fashionable fencing master Henry Angelo, learned to box with ‘Gentleman’ John Jackson, went to the theatre, and sought sexual entertainment from a 'famous French entremetteuse' ( Letters and Journals, ed. Prothero, 5.575). In April he returned to Cambridge, where at the end of term he was detained by the painting of a carriage he had recently acquired. His mounting debts deeply worried his mother and her anxiety further increased the tension in their volatile relationship. To escape from her scolding Byron sought refuge that summer in the home of Elizabeth Pigot where he began to compile a volume of his early poems. With Elizabeth's assistance he gathered together some of his sentimental verses with various school exercises and literary imitations and had them privately printed by John Ridge at Newark in a volume he called Fugitive Pieces. Many of the Southwell inhabitants were shocked by its inclusion of some stanzas 'To Mary'; according to the Revd John Becher, these were 'too warmly drawn' ( Marchand, Biography, 1.97). Byron asked for the return of all copies of the work and, except for four, all were destroyed. Almost immediately he began preparing a revised collection of his poems for a new edition.
In August 1806, following a spectacular quarrel with 'Mrs. Byron furiosa' ( Marchand, Biography, 1.92–3), Byron left Southwell in his carriage in the middle of the night, driving first to London and then on to visit Edward Long who was staying with his family in Littlehampton on the Sussex coast. He put up at a local inn and impressed Long's younger brother Henry, who left an account of Byron and Long's swimming feats which included diving off the high jetty into the river as the tide was racing out and being thus carried at speed far out to sea from where they swam back in a large semi-circle to the shore. Back at Southwell in September he went with John Pigot to visit Harrogate. There he was busy writing verse, and on the return journey dashed off a prologue to The Wheel of Fortune. Lack of funds prevented Byron from returning to Cambridge for the start of the new term and so he agreed to join in some private theatricals in Southwell, taking the part of Penruddock in Richard Cumberland's Wheel of Fortune and Tristram Fickle in J. T. Allingham's The Weathercock. Rehearsals for these brought him into contact with the ‘Southwell Belles’, with one of whom, Julia Leacroft, in a bid by the girl's family to entrap the young lord into marriage, he became briefly entangled.
Poems on Various Occasions, the revised collection of Byron's early poems, appeared in a private edition of about 100 copies in January 1807. For this he received many 'insipid Compliments' and for this reason appreciated the 'Critique' of William Bankes, a Trinity College friend, whom Byron later referred to as his 'collegiate pastor, and master and patron' who was also 'the father of all mischiefs' ( Letters and Journals, ed. Marchand, 1.110 and n. 9). In April he wrote to Hanson that:
I am grown very thin … so much so that people here think I am going, I have lost 18 LB in my weight, that is one Stone & 4 pounds since January … I shall continue my Exertions, having no other amusement, I wear seven waistcoats, & a great Coat, run & play at Cricket in this Dress, till quite exhausted by excessive perspiration, use the hot Bath daily.
ibid., 113–14
A series of ten watercolour drawings by Elizabeth Pigot in her 'The Wonderful History of Lord Byron and his Dog' (dated 26 March 1807, Ransom HRC), a lively pastiche of The Wonderful Adventure of Old Mother Hubbard and her Dog (illustrated 2nd edn, 1805), provides a delightful illustration of Byron's Southwell activities. They show him playing cricket, listening to his dog Boatswain preaching from a pulpit the words 'Repent ye wicked, resist temptation', immersed up to his neck in a hot bath, seated at a table writing, and finally, being driven away in his carriage and four ( some repr., Peach, figs. 6–9).
Following the publication of Hours of Idleness, his first published volume of poetry, Byron returned to Cambridge at the end of June 1807. From there he wrote several amusing letters to Elizabeth Pigot and informed her of his decision to 'reside another year at Granta as my Rooms &c. &c. are finished in great Style, several old friends come up again, & many new acquaintances made' ( Letters and Journals, ed. Marchand, 1.124). These included John Cam Hobhouse and Charles Skinner Matthews, young men with serious intellectual interests. Hobhouse became a lifelong and completely devoted friend. Matthews, who had occupied Byron's rooms in his absence, was mischievous, one of a 'band of profane scoffers' led by Bankes. It was to Matthews that Byron wrote from Falmouth with veiled allusion to intended homosexual encounters, both there and with 'exotics we expect to meet in Asia' ( ibid., 1.206–7). From Gordon's Hotel, London, Byron wrote to Elizabeth Pigot that the copies of Hours of Idleness Ridge had sent to London had all sold and more were in demand. Though he wrote on 20 August from Cambridge to his old schoolfriend the earl of Clare that he was 'now setting off for the Highlands of Scotland' nothing further is known of his movements until he wrote again to Elizabeth from Cambridge on 26 October. Through Matthews and Hobhouse Byron met Scrope Berdmore Davies, a fellow of King's College, and the slightly older Francis Hodgson, former master of Eton College and resident tutor at King's. Davies was a dandy, a friend of Beau Brummell, and renowned for his play for high stakes at the London gaming tables.
With Hodgson, a noted classical scholar, Byron shared an interest in the poetry of Dryden and Pope. The intellectual and political interests and urbane, witty, and often facetious conversation of this sophisticated circle stimulated Byron to expand the range of his poetry and he began to develop his work in satire. He reviewed Wordsworth's Poems (2 vols., 1807) in Monthly Literary Recreations, began to write the satirical poem English Bards and Scotch Reviewers (1809), and joined the Cambridge Whig Club. Prevented by the rules from keeping his new bulldog, Smut, in college he bought a tame bear which, according to J. M. F. Wright, who was admitted to Trinity in 1813, he kept in the tower above his rooms ( J. M. F. Wright, Alma Mater, or, Seven Years at the University of Cambridge, by a Trinity Man, 2 vols., 1827). When asked what he meant to do with him he replied that 'he should sit for a Fellowship … this answer delighted them not' ( Letters and Journals, ed. Marchand, 1.136–7). The bear's fame long outlasted his residence at Trinity. Though praised in the Critical Review, Hours of Idleness was ridiculed by Hewson Clarke in The Satirist (October 1807), and Byron instructed Ridge to omit the preface in the second edition. But this agreeable life in college was short-lived. He left for the Christmas holidays in 1807 and did not return, except to visit his friends, until he went up for his MA in July 1808.
Life in London
Early in 1808 Byron settled at Dorant's Hotel, London. Late in January he met his distant kinsman Robert Charles Dallas, a dull author who had written to Byron praising his poetry. Over thirty years older and lacking the liveliness of his other friends, Dallas assisted Byron in the publication of some of his poetry. Byron resumed friendships with several of his Harrow schoolfellows and, being reconciled with Henry Drury, paid several visits to Harrow. With Scrope Davies he dined, played at hazard, and, as he confessed to Hobhouse, was otherwise 'buried in an abyss of Sensuality' ( Letters and Journals, ed. Marchand, 1.158). This did not prevent him from being devastated by an ad hominem attack in the Edinburgh Review which ridiculed the vanities of the author of the preface to Hours of Idleness. Appalled by this criticism from a whig journal, Byron believed that the review was written by its editor, Francis Jeffrey, though it was actually from the hand of the reformist lawyer and politician Henry Brougham, who incurred Byron's implacable hatred during his marital separation in 1816. Though he later affected nonchalance about the review, Hobhouse, to whom he wrote of it at the time, noted that 'he was very near destroying himself' ( Marchand, Biography, 1.148).
This infamous review is important in the development of Byron's writing for two reasons. First, it led directly to the publication of his first major poem, English Bards and Scotch Reviewers, in 1809. Second, it exposed a number of contradictions which Byron experienced and registered in himself and in contemporary society. Towards the end of March 1808 he received copies of the new edition of Hours of Idleness entitled Poems Original and Translated, but was less sanguine in distributing them to friends. After visiting Cambridge to take his degree, he made a summer visit to Brighton accompanied by a young girl in male attire whom he introduced in society as his younger brother. He was joined there by Davies and Hobhouse, and the latter noticed a despondency in his friend that he attributed to exhausting involvements with women. Tiring of the solace offered by various 'nymphs' and 'cursedly dipped' for cash, Byron returned in September to Newstead following the departure of Lord Grey on the expiration of his lease in June.
Again enchanted by the Romantic, ruinous, appearance of the abbey, Byron resolved not to sell but to restore it. He made preparations to welcome his friends, the first of whom to arrive was Hobhouse. Together they rode and swam in the lake, as refurbishment of a few rooms went ahead. Byron worked on his satirical poem, but was thrown into despondency by the effect on his emotions of a meeting with Mary Chaworth, now Mrs Musters, and the death of his beloved Newfoundland dog Boatswain. He wrote a commemorative poem that was inscribed on an elaborate monument to Boatswain he had erected at Newstead. A plan he had formed earlier in the year to go abroad began to take hold of his imagination. Though he would not invite Mrs Byron to stay while he was in residence at Newstead, he wrote to inform her of his plans and to invite her to be chatelaine during his absence abroad. Lonely and bored after Hobhouse's departure, and with the approach of his twenty-first birthday, Byron left Newstead after the Christmas holidays for London. Before doing so he made provision for a young servant girl, Lucy, who was pregnant with his child.
On his arrival Byron contacted Dallas for assistance in finding a publisher for his satire, and wrote to his guardian for advice on taking his seat in the House of Lords. Lord Carlisle's cool reply, which informed him of procedural details but did not include an offer of a personal introduction, was a slight that wounded Byron deeply. It placed him in the unusual and humiliating position of having to prove his legitimacy to the chancellor before he could take his seat. Dallas settled with James Cawthorn to publish English Bards, which came out in mid-March, a few days after Byron took his seat to 'the left of the throne, on one of the benches usually occupied by the Lords in opposition' ( Marchand, Biography, 1.170).
The production of English Bards was an act of enormous pretension for one who had barely reached his majority. Nevertheless, it forms the all but inevitable conclusion of the process which Byron had set in motion when he first issued Fugitive Pieces. The coy self-consciousness of this work led to the even more personal and self-conscious Hours of Idleness; this in turn produced Brougham's ridiculing notice, the impetus behind Byron's broad-ranging critique of English letters and culture. Byron's intention to attack on all fronts the contemporary literary scene (as signalled in his poem's title) is replicated in the poem's unsparing pursuit of Jacobins, and anti-Jacobins, the lake school (Wordsworth, Coleridge, and Southey), the Della Cruscans, sentimentalists and Gothic writers, romancers (for example, Scott), lyricists, and balladeers. The poem is quintessential Byron in that he includes himself in his charges of cultural degeneracy. 'I was born for opposition' Byron famously declared years later in Don Juan, a truth fully realized in this early work. The poem gained a measure of notoriety—it went through several editions between 1809 and 1811—but Byron did not stay to enjoy its success. Shortly after its publication he went abroad.
Byron's satire served to extend the social context in which he insisted on asserting and defining himself. In so doing, however, he was forced to confront British society in a much larger frame of reference, and to deal with several contradictions of which he had scarcely been aware. When he wrote his early poetry his closest circles and sympathies were reformist and whig. It was therefore a shock to find himself ridiculed in the Edinburgh Review. When he struck back he found his readiest weapons were often supplied by the Anti-Jacobin and by conservative literary voices like William Gifford. As a consequence, the most notable quality of the early satire is the peculiar and idiosyncratic nature of its social critique. Byron singles out a few individuals for praise and honour, but his attack is launched at British culture as a whole, where he is able to see no party, no class, no institution with which to identify. British culture is represented in a state of crisis, and Byron's is a voice crying in the wilderness.
With the publication of his satire Byron completed his preparations for leaving England. He entertained his friends Matthews, Hobhouse, James Wedderburn Webster, and probably Davies at Newstead where, dressed in monks' habits, they 'used to sit up late … drinking burgundy, claret, champagne and what not, out of the skull-cup [and] buffoon[ed] around the house, in our conventual garments' ( Letters and Journals, ed. Marchand, 8.231). Hobhouse agreed to accompany Byron on his travels, and when Hanson's attempt to raise a loan of £6000 to pay for the journey failed to materialize in total, Davies loaned Byron £4800, recently won at the gaming tables. On board the Lisbon packet as it lay in Falmouth Roads on 30 June Byron fired off an exuberant farewell letter in verse:
Huzza! Hodgson, we are going,Our embargo's off at lastFavourable Breezes blowingBend the canvass oer the mast,From aloft the signal's streamingHark! The farewell gun is fired,Women screeching, Tars blaspheming,Tells us that our time's expired …
ibid., 1.211
Grand tour
This famous tour of the Iberian peninsula and the Turkish dominions in the Levant produced Byron's equally famous account of that journey: the first two cantos of Childe Harold's Pilgrimage, published after his return in July 1811. Here for the first time Byron projected his sense of social and cultural crisis to include the whole of Europe. The focus of his analysis is, of course, an English one, but his is an English view that transcended chauvinist, patriotic interpretations of European affairs which were current in England at the time. With this poem all the fundamental lines of Byron's thinking, if not his conclusions, are set in place. Byron often imagined for himself a reformist, if not a revolutionary political career, but his ironical, not to say cynical, view of society, its institutions, and its representatives made such an idea an impossible dream. An epigram he wrote in 1814 conveys Byron's social view with devastating clarity:
'Tis said Indifference marks the present time,Then hear the reason—though 'tis told in rhyme—A King who can't—a Prince of Wales who don't—Patriots who shan't, and Ministers who won't—What matters who are in or out of placeThe Mad—the Bad—the Useless—or the Base?
Complete Poetical Works, 3.91
Byron's grand tour was full of incident and adventure. On 2 July 1809 he sailed from Falmouth with Hobhouse and three servants—his valet, William Fletcher (who stayed with him throughout), ‘Old’ Joe Murray, and the young Robert Rushton, of whom Byron was very fond. (Rushton is the second figure in the double portrait of Byron by George Sanders, 1807–8, in the Royal Collection. The image of Byron in this portrait, suggestive of his grand tour by its inclusion of a yacht moored at anchor before a background of wild, mountainous scenery, has since become a figurehead of Romanticism.) From Lisbon they rode across a peninsula still in the throes of political and military conflict. They went to Cintra, Seville, and Cadiz and thence sailed to Malta on the frigate Hyperion. At that point Murray and Rushton were sent home ('I would have taken him [Rushton] on but you know boys are not safe amongst the Turks'), and on 19 August 1809 Byron, Hobhouse, and Fletcher sailed in the packet for Sardinia, Sicily, and Malta, in the company of the traveller John Galt ( Letters and Journals, ed. Marchand, 1.221–2). At Malta Byron had a brief affair with the celebrated Mrs Constance Spencer Smith, to whom he addressed several poems. He left Malta on the brig of war Spider and arrived in Prevesa, Albania, on 29 September. He went immediately to visit Ali Pasha at his court at Tepelene and was graciously received by the pasha: 'To me he was indeed a father, giving me letters, guards, & every possible accommodation'; 'he said he was certain I was a man of birth because I had small ears, curling hair, & little white hands, and expressed himself pleased with my appearance & garb' ( ibid., 1.228). His travels through Albania were full of adventure, inimitably described in his letters, among the best in the English language, especially those to his mother, which are fully equal to the scenes and events he witnessed:
I shall never forget the singular scene on entering Tepaleen at five in the afternoon as the Sun was going down, it brought to my recollection (with some change of dress however) Scott's description of Branksome Castle in his lay, & the feudal system.—The Albanians in their dresses (the most magnificent in the world, consisting of a long white kilt, gold worked cloak, crimson velvet gold laced jacket & waistcoat, silver mounted pistols & daggers,) the Tartars with their high caps, the Turks in their vast pelises & turbans, the soldiers & black slaves with the horses, the former stretched in groupes in an immense open gallery in front of the palace, the latter placed in a kind of cloister below it, two hundred steeds ready caparisoned to move in a moment, couriers entering or passing out with dispatches, the kettle drums beating, boys calling the hour from the minaret of the mosque, altogether with the singular appearance of the building itself, formed a new & delightful spectacle to a stranger.
ibid.,
Accompanied by a guard of Albanians, Byron went on to visit various sites in Arcanania and western Greece, including, in late November, the fateful Missolonghi. After a fortnight's sojourn in Patras he journeyed to Athens, where he arrived on Christmas day. There he was the guest of Tarsia Macri, widow of the English vice-consul, whose three daughters provided Byron with much entertainment throughout his stay. The eldest, Teresa, was celebrated by Byron in his famous lines on the 'Maid of Athens'. His principal passion, however, was for Greece herself and her antiquities. On 5 March 1810 he left Athens for Smyrna, Ephesus, Constantinople, and the Troad. On 3 May he repeated Leander's legendary feat of swimming the Hellespont from Sestos to Abydos, and commemorated the event in some amusing verses. After visiting Constantinople he and Hobhouse separated, the latter sailing back to England and Byron proceeding on to Zea and thence back to Athens. It was at Athens that Byron was said to have met with the adventure, referred to in The Giaour (1813) and its notes, of saving a girl from being drowned in a sack. There is no doubt that some such event took place, but the part Byron played in her rescue remains unclear. His tour of Greece then took him to the Morea (the Peloponnese) where he contracted a dangerous fever at Patras. Returning to Athens he spent the winter of 1810–11 in a Capuchin convent. During his last months in Greece he met the traveller Lady Hester Stanhope, who later wrote that he 'had a great deal of vice in his looks' ( Memoirs, 3.219).
When he left Piraeus for England in April 1811 on the transport ship Hydra, Byron took Nicolo with him and placed him in a school at Malta. Throughout his life Byron formed attachments to young boys. Though most perhaps were not homosexual, allusions in his letters indicate that he was bisexual. Hotly refuting Hobhouse's cryptic allegation, in a letter he wrote from Cadiz, of an 'unnatural', or homosexual, relationship with his servant Rushton, Byron nevertheless added to his reply from Malta: 'My fantastical adventures I reserve for you and Matthieu [Matthews] and a bottle of champagne' ( Letters and Journals, ed. Marchand, 2.46; see also Peach, 30 and n. 23). Then a capital offence in England, homosexuality was not a subject to be discussed openly in correspondence. Also on board the Hydra was the last large shipment of marbles Lord Elgin was transporting to England, and, by an ironic coincidence, among Byron's numerous poetical manuscripts, his scathing satire on Elgin's work The Curse of Minerva. After spending a month in Malta to renew his liaison with Mrs Spencer Smith, Byron sailed for England on the frigate Volage and arrived in Portsmouth on 14 July 1811.
'Famous in my time'
During his two years abroad Byron's financial problems had grown increasingly acute, as letters from Hanson and his mother had made him aware. Mrs Byron fought off creditors and bailiffs on her son's behalf, though he could hardly have been aware of the extent of her efforts and privations. In this her strong character was a formidable and effective defence. Worried about his affairs and weighed down by debt, shortly after his return Byron heard of the deaths of four of his close friends: Matthews, Edleston, Wingfield, and Hargreaves Hanson. In London he received news that his mother was seriously ill. She died at Newstead on 1 August before he arrived home. He diverted his grief by a new series of dissipations with servant girls at the abbey. Dallas attempted to revive him by urging him to publish the verse he had written on his tour abroad, especially the two cantos of Childe Harold. Byron showed little interest, as did the publishers to whom Dallas showed the manuscript. Cawthorn, who had published English Bards, which had gone through four editions, urged him to a fifth, but Byron held back and eventually suppressed the poem which had attacked some of his new friends, especially the poet Thomas Moore. Byron wanted to publish not the highly original Childe Harold but his imitation of Horace, Hints from Horace, which was set in type but not (then) published. Dallas persisted despite Byron's reluctance and the refusals of two publishers. He eventually prevailed and the first two cantos of Childe Harold were taken by John Murray (1778–1843) [see under Murray family], who had an interest in travel literature. Attempts to persuade Byron to moderate the poem's misanthropy were unsuccessful. It appeared in March 1812 in a handsome quarto, sold out in three days, and overnight he became famous. As important a work in the history of Romanticism as Wordsworth and Coleridge's Lyrical Ballads (1798), Childe Harold marks the special character of Byron's poetry: it deliberately and completely transforms the Spenserian stanza just as English Bards began the process of death and rebirth that Byron forced on the English heroic couplet. Byron consumed an extraordinary range of European verse forms and forced them to bear his signature, to live again only, as it were, under his name and at his insistence.
Byron rapidly became the most brilliant star in the dazzling world of regency London. He was sought after at every society venue, elected to several exclusive clubs including the Alfred, the Cocoa Tree, and Watiers, and frequented the most fashionable London drawing-rooms, especially at Holland, Devonshire, and Melbourne houses. The dandies 'were always very civil' to Byron even 'though in general they disliked literary people' ( Letters and Journals, ed. Marchand, 9.22). Literary friendships and acquaintances were soon formed, first with Moore, and then with Samuel Rogers, Sir Walter Scott, Coleridge, and Madame de Staël. Fascinated by the theatre, he attended often and became friends with the tragedian Edmund Kean and many other actors and actresses, eventually becoming a member of the committee of the Drury Lane Theatre in 1815. He visited Leigh Hunt in prison, and twice spoke in the House of Lords on the side of reform, once in February 1812 to oppose the repressive legislation against the frame-breakers in Nottingham, and once in April that year in support of Catholic emancipation. He was a member of the whig opposition, and his views grew increasingly radical until in 1814 he came under attack in the government papers. This hostility came to a head in 1815–16 in the campaign of vilification that surrounded the ‘separation controversy’ which drove Byron out of England forever.
Loves … and marriage
In 1812, however, the duchess of Devonshire recorded that 'Childe Harold … is on every table, and himself courted, visited, flattered and praised wherever he appears' ( Foster, 375–6). She also noted Byron's 'handsome countenance … animated and amusing conversation … in short, he is really the only topic almost of every conversation—the men jealous of him, the women of each other'. Over the next few years he formed a number of more or less intense and sometimes reckless liaisons, the most famous being with Lady Caroline Lamb, wife of William Lamb (later second Viscount Melbourne). Shortly after meeting Byron in spring 1812 Caroline wrote in her diary 'That beautiful pale face is my fate' ( Marchand, 1.331). With her fashionably short blond hair and slim, boyish figure she did not immediately appeal to Byron, but what she lacked in 'roundness' she made up for in vitality and startling conversation. At the height of their affair he wrote to her describing her as 'a little volcano … the cleverest most agreeable, absurd, amiable, perplexing, dangerous, fascinating little being that lives' ( Letters and Journals, ed. Marchand, 2.170–71). But the boldness of her behaviour and reckless disregard for social conventions eventually alarmed and then bored Byron who turned instead to the more soothing 'autumnal charms' of Lady Oxford. Lady Caroline's famous diary description of Byron as 'Mad, bad and dangerous to know' is one that has been applied by several later commentators to herself. In autumn 1813 Lady Oxford, wife of Edward Harley, fifth earl of Oxford, whose children's varied paternity led to their being sometimes referred to after the famous collection of manuscripts in her husband's library as 'the Harleian miscellany', provided Byron with a calm refuge at Eywood, Herefordshire, away from Caroline's increasingly frantic attempts to see him. She encouraged his whig interests and Byron formed a plan to go abroad with the Oxfords the following summer.
In 1813 Annabella Milbanke (1792–1860) [see Noel, Anne Isabella, Lady Byron] opened a correspondence with Byron that was to culminate in their marriage in January 1815. In the same year Byron and his half-sister, Augusta, rediscovered each other. Since her marriage to Colonel George Leigh in 1807 Augusta had had little contact with Byron, but on meeting again they quickly became intimate friends. Although, as Leslie Marchand stated, 'the extant evidence that Byron had sexual relations with Augusta does not amount to legal proof', their relationship 'cannot be explained sensibly in any other terms' ( Marchand, Portrait, 148n.) That Byron was the father of Augusta's daughter Medora, who was born in 1814, is a recurrent theme of speculation. With no other woman did Byron feel more at ease, more able to get on, as he put it in his 'Epistle to Augusta' (1816) 'without a mask'.
During this time Byron's poetry poured forth—in satire, in various lyric forms, but mostly in the sequence of remarkable narratives that began with The Giaour and The Bride of Abydos (1813) and culminated with Parisina and The Siege of Corinth (1815). These were the works that defined and perfected the Byronic hero, whose initial incarnation was Childe Harold. Brooding throughout nineteenth-century European literature, the Byronic figure—usually an aristocrat—embodied a culturally alienated anti-hero, bearing within a dark secret that seemed as threatening to others as to himself. The popularity of Byron's oriental tales, which were coded with political allegory and personal references, was unprecedented. Ten thousand copies of The Corsair (1814)—the complete edition—sold out on the day of publication. All were written 'con amore and too much from existence' ( Letters and Journals, ed. Marchand, 3.243). Murray, Byron's publisher and later friend, was growing rich from these successes and pressed Byron to accept payment for his poems. Despite his extreme financial difficulties Byron nobly refused. By 1814, however, he was so troubled by the severity of his debts that he accepted Murray's offer of £700 for the copyright of Lara which had just been published anonymously with Rogers's Jacqueline. Henceforth Byron drove increasingly hard bargains for the copyright of his work.
The climax of these tumultuous years came with Byron's marriage, separation, and departure from England. In the midst of his affair with Lady Caroline Lamb he had told Lady Melbourne, who was his epistolary confidante, of his interest in her niece Annabella Milbanke: 'I never saw a woman I esteemed so much' ( Letters and Journals, ed. Marchand, 2.195). Keen to put an end to the affair between Byron and her daughter-in-law, Lady Melbourne made discreet enquiries to Annabella about the qualities she would look for in a husband. Her cool, analytical reply was unpromising but Byron was not put off and sent her a proposal of marriage. Taken by surprise, but doubtless flattered, for Byron had piqued her interest, she sent him a refusal. This he regarded as a 'mutual escape.—That would have been but a cold collation, & I prefer hot suppers' ( ibid., 2.246). She none the less encouraged Byron to maintain 'an acquaintance that does me honour and is capable of imparting so much rational pleasure' ( Marchand, Biography, 1.370). In view of her interest in mathematics, but in retrospect, prophetically, Byron referred to her as the 'Princess of Parallelograms': 'her proceedings are quite rectangular, or rather we are two parallel lines prolonged to infinity side by side but never to meet' ( Letters and Journals, ed. Marchand, 2.231).
Their correspondence continued into 1814 when Annabella let Byron know that she would be willing to consider another proposal of marriage. Just at this time his financial situation improved as a result of a legal settlement in his favour. In 1812 Thomas Claughton had reneged on his offer to purchase Newstead and then refused to pay the £25,000 penalty he incurred for so doing. When the matter was settled in 1814 Byron's interest in marriage cooled somewhat. Hesitating between a visit to Italy and a renewal of his offer of marriage he finally proposed again—and was accepted. A marriage settlement of about £60,000 was arranged with the addition of handsome prospects from Annabella's uncle Thomas Noel, second Viscount Wentworth. Byron went to Seaham, co. Durham, in November to stay with Annabella and her parents, Sir Ralph and Judith, Lady Milbanke, who were uneasy about the match. Byron and Annabella were married on 2 January 1815 and spent their 'treaclemoon' (as Byron later referred to their wedding holiday) at Sir Ralph's property, Halnaby Hall, in Yorkshire.
The next thirteen months brought home the realization on both sides that for all their good intentions and fondness for each other (in his letters Byron addressed her as Pip and she called him 'dearest Duck') they had each made an appalling error of judgement. On their return journey to London Byron took his bride to meet his half-sister, Augusta, at her home in Six Mile Bottom, near Newmarket. In conversation he made several innuendoes that alarmed both women. At their London home at 13 Piccadilly Terrace, leased from the duchess of Devonshire, Byron became moody and behaved erratically, sometimes wildly, and Annabella became fearful and apprehensive. He taunted her cruelly with tales of his profligate past, and formed a liaison with the actress Susan Boyce. Still heavily encumbered with debt, Byron found no refuge from creditors and bailiffs in his marital home. Lady Byron, who had become pregnant in March, gave birth to a baby daughter, (Augusta) Ada [see Byron, (Augusta) Ada, countess of Lovelace] on 10 December 1815. The baby brought no respite to their domestic tension, and even Augusta Leigh, to whose appeals Byron was usually susceptible, was unable to relieve the black moods which nightly drove him out to the theatre and its green-room distractions. In early January 1816 Annabella decided that her husband was insane. She went through his private papers looking for evidence and began to plan a separation. Maintaining an appearance of affection, on 15 January she left with her child to visit her parents at Kirkby Mallory in Leicestershire. Byron never saw either of them again.
At the beginning of February Byron received a letter from Annabella's father (who had taken the name Noel on the death of Lord Wentworth the previous April) proposing that he agree to an amicable separation from his wife. Separation proceedings were undertaken, and afraid that Byron would claim custody of their child, Annabella determined to threaten Byron with infamous crimes. Her charge was inexplicit but rumours abounded. Byron was riven with tension and Augusta's fears of some terrible exposure were carefully nurtured by Annabella. Eventually his public and political enemies turned to the press to increase pressure on Byron and he was pilloried, much to Lady Byron's satisfaction. A deed of separation was signed on 15 April and Byron immediately left England, bitterly believing henceforward that he had been driven from his homeland.
Geneva
Byron sailed from Dover to Ostend on 24 April 1816 seen off by his friends Hobhouse and Scrope Davies. He was accompanied by the physician Dr John Polidori, a Swiss named Berger, and two servants, Fletcher and Rushton. His equipage was elaborate and included a large Napoleonic coach with bed, library, and kitchen. He visited Waterloo and then travelled up the Rhine to Geneva where he settled in mid-June at the Villa Diodati on the south side of the lake. As he was travelling he had begun writing the third canto of Childe Harold on scraps of paper, and finished it during that summer. At Lake Geneva he met Shelley, Mary Shelley, and her stepsister Claire Clairmont. Earlier in the spring Claire had besieged Byron in London and the association between the two poets that summer gave her the opportunity to come 'prancing to [him] at all hours', as the Shelleys had taken the Villa Montalègre just along the lake shore from the Villa Diodati ( Letters and Journals, ed. Marchand, 5.162). Byron grew tired of her before she returned at the end of August with the Shelleys to England. There she gave birth to a daughter, (Clara) Allegra Biron ('to distinguish her from little Legitimacy'), in January 1817 ( ibid., 6.7).
The summer had been 'tempest-tost'. Shelley and Byron had become good friends, to the annoyance of Byron's more conservative circle of friends at home. They toured the lake visiting places associated with Rousseau in La nouvelle Héloïse, and spent much time together writing and talking. One evening in June the party gathered in Byron's villa to tell each other ghost stories, a famous occasion that inspired Mary Shelley to write Frankenstein and Byron to begin writing a vampire novel. When he abandoned it, Polidori took up the idea and wrote The Vampyre. Byron finished the third canto of Childe Harold and wrote The Prisoner of Chillon and many shorter poems, including 'Darkness' and 'Prometheus'. A visit from the Gothic novelist M. G. ‘Monk’ Lewis spurred his interest in the story of Faust and he began Manfred (finished the following spring), in which the character of the Byronic hero is exposed to a deeper level than is manifest in Childe Harold.
When Hobhouse and Davies arrived in August the three made a tour of the Bernese Oberland which Byron recorded in his stunning 'Alpine journal' written for Augusta. Elegant, intimate, precise, and with an uncanny tonal flexibility, the journal is typical of Byron's prose writing:
Arrived at the Grindelwald—dined—mounted again & rode to the higher Glacier—twilight—but distinct—very fine Glacier—like a frozen hurricane—starlight—beautiful—but a devil of a path—never mind—got safe in—a little lightning—but the whole of the day as fine in point of weather—as the day on which Paradise was made.—Passed whole woods of withered pines—all withered—trunks stripped & barkless—branches lifeless—done by a single winter—their appearance reminded me of me & my family.
Letters and Journals, ed. Marchand, 5.102
Venice
Byron was making plans for Italy. Davies returned to England with Rushton, and Byron and Hobhouse set off together on 5 October and visited Milan before arriving in Venice. Captivated by the city which 'has always been (next to the East) the greenest island of my imagination … I like the gloomy gaiety of their gondolas—and the silence of their canals' ( Letters and Journals, ed. Marchand, 5.129, 132), Byron took lodgings with the Segatis. He fell in love with Marianna Segati, writing to Augusta that 'we are one of the happiest—unlawful couples this side of the Alps' ( ibid., 5.141). At about the same time Murray published the third canto of Childe Harold which Shelley had taken to him (together with other poems Byron had written in Switzerland) in manuscript. Byron improved his Italian (the 'soft bastard Latin' of which he wrote in Beppo) with Marianna and studied Armenian with Father Aucher at the monastery on the island of San Lazzaro. December saw the publication of The Prisoner of Chillon and Other Poems, and Hobhouse's departure for a tour of Italy with his brother and sister—he planned to meet Byron in Rome. Byron attended the conversazioni of the Countess Albrizzi, and feeling contented with his way of life he remained in Venice through the carnival, finally leaving for Rome via Arqua, Ferrara, Bologna, and Florence the following April. During the journey he began writing the autobiographical Lament of Tasso. At Rome he sat, at Hobhouse's request, to the Dane Bertel Thorvaldsen for a bust. The city 'delighted [him] beyond everything since Athens—& Constantinople' but he did not intend to remain long on this first visit, and by the end of May was back with Marianna in Venice ( ibid., 5.219). He had begun to sketch the fourth canto of Childe Harold.
Now that he was selling his poetry—Murray had paid £2000 for the works that Shelley brought back from Lake Geneva—Byron's finances began to improve. When Newstead was sold to Major Thomas Wildman for £94,500 in November 1818 he was able to clear his debts and begin to live well in Italy. His financial situation continued to improve for he was able to reach very favourable terms with Murray for all his writings. On the death of his mother-in-law, Lady Judith Noel, in 1822 he received an additional £2500 per annum from the Wentworth estate, so that by the end of 1822 his total income came to about £6000 a year. On returning to Venice he took a six-month lease on the Villa Foscarini at La Mira where he settled down to write for the summer. He finished the draft of canto 4 of Childe Harold in late June, just before Hobhouse and Monk Lewis came to stay. During August the tranquillity of his affair with Marianna Segati (who was staying with him at the Villa Foscarini) ruptured when she heard of Byron's infatuation with the beautiful Margarita Cogni (‘La Fornarina’), the wife of a baker. The complications of these amorous adventures form the source of much amusement in his letters home, but more importantly, they initiated a sequence of events that culminated in the writing of Beppo ('in two nights') early in October. Byron had read John Hookham Frere's Whistlecraft and, following Beppo, went on to study the Italian tradition of ottava rima serio-comic narrative medley poetry. This led him to translate the first canto of Pulci's Morgante Maggiore and, crucially, to begin his masterpiece Don Juan, the first canto of which was completed in September 1818.
Hobhouse left for England early in January 1818. Alone again, Byron plunged more deeply into the voluptuous life of Venice. From the conversazioni of the Countess Albrizzi he migrated to the more informal and literary parties of the Countess Marina Benzoni. In May he took on a three-year lease of the Palazzo Mocenigo on the Grand Canal in Venice, and shortly afterwards his natural daughter Allegra and her nurse Elise came to stay with him. (Desperately unhappy at giving up her daughter to Byron's care, Claire Clairmont was nevertheless bitterly aware that this would provide the child with a more socially secure future than to remain with her mother.) In August that year Byron placed Allegra in the care of his new friends, Richard Belgrave Hoppner, British consul at Venice, and his wife—his life at the Palazzo Mocenigo provided an unsuitable environment in which to care for a child. His household included fourteen servants, including Fletcher, his ferocious-looking gondolier, ‘Tita’ Falcieri, and Margarita Cogni, who acted as his housekeeper, as well as a menagerie of animals. Byron spent the summer indulging himself in food, conversation, and lovemaking. In August Claire and Shelley arrived in Venice. Allegra was sent to visit her mother at Este, and Byron and Shelley rode out on the Lido (an experience that was to form the basis of Shelley's poem 'Julian and Maddalo'). Though he gained in weight—Newton Hanson who brought out papers relating to the sale of Newstead for Byron to sign recorded that 'Lord Byron could not have been more than 30, but he looked 40. His face had become pale, bloated and sallow' ( Peach, 14)—Shelley thought he had 'changed into the liveliest, & happiest looking man I ever met' ( letter to T. L. Peacock, 8 October 1818, The Letters of Percy Bysshe Shelley, ed. F. L. Jones, 1964, 2.483).
By November Byron had sent off the first canto of Don Juan to Murray. He was well aware that the work was as provocative as it was brilliant and he wanted to test the reactions of his publisher and his friends. To Moore he wrote 'It is called 'Don Juan', and is meant to be a little quietly facetious upon every thing' ( Letters and Journals, ed. Marchand, 6.67). The response from every quarter, including Hobhouse and his banker and urbane friend Douglas Kinnaird, was the same: unpublishable. Byron protested 'Don Juan shall be an entire horse or none … I will not give way to all the Cant of Christendom', but to no avail, and early in 1819 seemed to acquiesce ( ibid., 6.91). With the return of the carnival, however, Byron flared up against the timidity of Murray and his London circle. When his publisher wrote to beg him to continue with Childe Harold or some other similar 'work and subject worthy of you' Byron retorted 'you have so many “divine” poems, is it nothing to have written a Human one?' ( ibid., 6.105). Threatening to find another publisher, Byron forced Murray's hand, and the first two cantos finally appeared, anonymously, and with some late and unauthorized expurgations, in July 1819. Murray also kept his name, as publisher, from the title-page of the handsome (and expensive) quarto volume, but this attempt to protect himself backfired badly for it left the work open to the maraudings of pirate printers who soon deluged the market with cheap reprints. Byron was more saleable than ever, in circumstances that promised scandal. Virginia Woolf described Don Juan as the most readable poem in the language, a view that few would gainsay. It is an opinion that can, however, obscure the poem's greatness. In English only The Canterbury Tales can compare in terms of stylistic brilliance, and no English poem—perhaps no novel—has aspired to, or achieved, such a comprehensive interpretative grasp of a period and a world. It is also the funniest poem in the language. To Kinnaird Byron wrote:
As to 'Don Juan'—confess—confess—you dog—and be candid—that it is the sublime of that there sort of writing—it may be bawdy—but is it not good English?—it may be profligate—but is it not life, is it not the thing?—Could any man have written it—who has not lived in the world?—and tooled in a post-chaise? in a hackney-coach? in a Gondola? Against a wall? in a court carriage? in a vis a vis?—on a table?—and under it?
ibid., 6.252
And he reassured Murray:
D[on] Juan will be known by and bye for what it is intended a satire on abuses of the present states of Society—and not a eulogy of vice;—it may be now and then voluptuous—I can't help that.
ibid., 10.68
Byron used Don Juan as a vehicle to survey and explain the historical import and meaning, as he saw it, of the years 1788–1824: that is to say, the meaning of one of the defining moments in English and European history.
While the struggle over Don Juan continued in the spring of 1819, Byron met the young and beautiful Countess Teresa Guiccioli (1798–1873) one early April evening at the Countess Benzoni's. They were immediately attracted to each other and discussed Dante, Petrarch, and Italian literature with equal enthusiasm. Byron was taken with her lack of ‘bluestocking’ seriousness and wrote of his passion for this 'Romagnuola Countess from Ravenna—who is nineteen years old & has a Count of fifty … What shall I do! I am in love, and tired of promiscuous concubinage' ( Letters and Journals, ed. Marchand, 6.107–8). They met privately and plunged quickly into an intense, if highly sentimental, affair. After ten days or so Count Guiccioli left with his young wife for his palazzo in Ravenna. Following their departure on 18 April they travelled slowly, stopping at several of the count's houses on the way. Under the cover of her maid, Fanny Silvestrini, Teresa and Byron exchanged passionate love letters, though they were unable to make arrangements to see one another. Byron chafed under the uncertainties, which became more troubling when Teresa fell ill in May. She had been pregnant for several months and her illness precipitated a miscarriage. Unable to tolerate these strained circumstances Byron left Venice for Ravenna at the beginning of June and arrived on 10 June.
Ravenna
Though Teresa had been seriously ill her health improved and soon she and Byron renewed their affair, cuckolding her husband even in his own house. Despite gossip about the lovers, Count Guiccioli maintained friendly relations with Byron. For his part, Byron became transfixed by contradictory feelings. His letters to England narrated his relations with Teresa in his inimitable prose, at once elegant and coarse: 'She is fair as Sunrise—and warm as Noon—we had but ten days—to manage all our little matters in beginning middle and end. & we managed them;—and I have done my duty—with the proper consummation' ( Letters and Journals, ed. Marchand, 5.114). But he was deeply attached to his young amorosa. When the count left with his wife for Bologna early in August, Teresa commanded Byron to follow them. He obeyed and spent the next month fulfilling the role of cavaliere servente.
When Teresa suffered a relapse Byron offered to accompany her back to Venice and arrange medical attention. Count Guiccioli agreed and the lovers set off together, eventually settling into his house at La Mira. They spent the next two months more or less completely together, appearing little as Venetian society was scandalized by the openness of their affair. Teresa's father was concerned about her conduct and urged her to return to her husband. When Count Guiccioli arrived in Venice in October he demanded that his wife choose between himself and her lover, and when she chose Byron the affair reached a crisis. Byron persuaded Teresa to return with her husband to Ravenna, and she agreed only if he would follow. He did, late in December, as a consequence of a letter from Teresa's father whose opposition to the affair collapsed in the face of his daughter's unhappiness. Byron's decision to follow his mistress, however, might easily not have happened. Having grown restless and unsure of the stability of his own feelings, that autumn he began making plans to leave Italy. He toyed with various ideas—going to South America, buying a Greek island, or returning to England to join a revolution after the Peterloo massacre. But he hesitated, stopped by love, by inertia, and by circumstances including the sudden illness of his daughter Allegra. He completed the first instalment of his memoirs, begun the year before in Venice, and when Moore came on a short visit in October gave him the manuscript stipulating that it was only for posthumous publication. Notoriously, after his death the memoirs were burnt by a group of friends in a disastrous act of good intentions.
When Byron arrived in Ravenna he arranged to rent the upper floor of the Palazzo Guiccioli, and for several months this unusual arrangement superficially alleviated tension. Settling into a routine, Byron was writing at a remarkable rate. Two new cantos of Don Juan were completed as well as various other works, including his translation of the first canto of Pulci's Morgante Maggiore and The Prophecy of Dante. He also began the first of his plays at this time, Marino Faliero (Manfred is not a play but what Byron himself called a 'dramatic poem'). He completed Marino Faliero in July, and by the end of the year had finished a fifth canto of his masterpiece. Count Guiccioli's acquiescence in the domestic arrangements came to an end in the spring, when he seems to have become threatening towards Byron. He had a reputation for ruthlessness and cruelty, and although Byron had never experienced this facet of the count's behaviour, he grew cautious. With the aid of Teresa's father, Count Ruggiero Gamba, and her brother Pietro, he moved to bring to an end the volatile situation. He was prepared to give up Teresa, but she would not give up Byron. When the Guicciolis' separation decree arrived in July, Teresa returned to her father's country house in Filetto. Byron placed Allegra in a villa nearby, an arrangement that allowed him easily to visit both his lover and his daughter. The Gamba household was relaxed and happy. Their staunch liberal politics and Pietro's passionate and active involvement in the secret revolutionary society, which had recently spread to the Romagna, the Carbonari, reinvigorated Byron's political interests and drew him into a new set of less personal intensities. He began to spend more time at the Gamba house in Ravenna and reduced his visits to Teresa at Filetto. Unhappy in her country retreat, she moved back to her father's house in Ravenna in November. The end of the year 1820 saw Byron a nightly visitor to the Gamba household, deeply involved in love and politics.
The clashes between the Carbonari and the authorities brought severe counter-revolutionary measures, and the consequence was a series of set-backs for the insurgents. The Neapolitan revolution failed and the resistance movement in the Romagna collapsed, partly from internal problems. Byron became cynical with disappointment and began to think of pursuing his political ideals elsewhere, perhaps in Greece, where the struggle for independence had broken out in March 1821. His poetry at this time became a vehicle for interrogating and developing his ideas about love, society, politics, and culture. He wrote Sardanapalus, The Two Foscari, and Cain successively between January and July and published all three together in December 1821. Cain caused an immense furore and was vehemently attacked by religious and conservative writers. Between August and October he continued to produce important work, including 'The Vision of Judgement' and 'Heaven and Earth'. The last of his programmatic efforts to revive what he called a 'mental theatre' came in December 1821 and January 1822 when he began writing Werner and The Deformed Transformed.
Two crises precipitated out of this spiral of activity. The first was in July 1821 when Pietro Gamba was arrested while returning from the theatre. Together with about a thousand other families the Gambas were banished from the Romagna for their revolutionary activities. In these circumstances Count Guiccioli moved to recover his wife. Teresa fled to Florence where her father and brother had been given asylum. Byron was active in trying to persuade the government to repeal its order against the Gamba family, but the authorities also wanted to get rid of him and hoped that Byron would follow his friends. When Shelley arrived in August to visit Byron in Ravenna, Byron spoke of moving to Switzerland with the Gambas, but Shelley proposed instead that they all move to Pisa and stay in Italy. An important concern was the future of Allegra, whom Byron had placed in a convent at Bagnacavallo, near Ravenna, the previous spring. Shelley offered to find everyone accommodation in Pisa and Byron agreed. At the end of October he left Ravenna to join the Shelleys and the Gambas in Pisa. The move was exasperatingly ponderous. As Shelley later wrote to T. L. Peacock, Byron's household included comical complexities of transporting 'Besides servants', 'ten horses, eight enormous dogs, three monkeys, five cats, an eagle, a crow, and a falcon … five peacocks, two guinea hens, and an Egyptian crane' ( Marchand, Biography, 2.923).
The second crisis was literary. Byron's new writings, especially Cain and 'The Vision of Judgement', signalled his renewed determination to 'throw away the scabbard' as he wrote in his preface to Don Juan, cantos 7–8, and to engage in a serious intellectual war with the forces of reaction in England and Europe. He had stopped writing Don Juan at the request of Teresa, who found it too cynical, but in 1821 was making plans to resume work on the poem, which he did (secretly) in 1822, exactly at the moment the storm broke over Cain in England. His publisher and friend John Murray, cautious and conservative, was being drawn into embarrassing legal conflicts by his famous author. These had begun with the publication of the first two cantos of Don Juan and erupted again with Cain; others threatened with each new work Byron sent him. Murray had received 'The Vision of Judgement' but refused to publish it, and he procrastinated over other works such as 'The Blues'. He was beginning to find Byron's work intolerable and when he received the three new cantos of Don Juan in autumn 1822 he pronounced them 'outrageously shocking' and flatly refused to publish. The break at that point was complete and Murray turned the cantos over to John Hunt, brother of (James Henry) Leigh Hunt, who henceforth served as Byron's publisher.
Pisa
But 1822 brought other turbulent and even more painful events. In 1821 Southey had published his turgid apotheosis of George III, A Vision of Judgement, which carried a preface attacking Byron as the chief exponent of what Southey called 'the Satanic School' of poetry. Byron had immediately written his own 'Vision' in response. A few months later Byron read Southey's more personal attack printed in The Courier (5 January 1822). This, combined with earlier reports of Southey's malicious gossip about him, caused Byron to issue the poet laureate a challenge through his friend Kinnaird, who wisely did not deliver it. Shortly afterwards, late in March 1822, Byron and the whole ‘Pisan circle’ had a violent altercation with a government soldier, Sergeant-Major Stefani Masi. As other soldiers came to Masi's aid, serious blows were exchanged and several arrests were made, though an uneasy settlement was finally reached. On 22 April came the terrible news that the five-year-old Allegra had died two days previously in the convent at Bagnacavallo. Her death was mourned by the whole circle in Pisa which, besides the Shelleys (with whom Allegra's mother, Claire Clairmont, then lived) and Byron, included an interesting, if also volatile, set of people. Among the residents and visitors were Edward and Jane Williams, E. J. Trelawny, Thomas Medwin, Captain John Hay, and (later) Leigh Hunt and his family.
Byron sought relief in his writing. He leased a house, the Villa Dupuy, in Montenero, near Leghorn, which at first was occupied by Trelawny and Captain Daniel Roberts who were overseeing the construction of two boats, a small sloop for Shelley (the Don Juan, which Shelley called the Ariel) and an elaborate schooner, complete with guns, for Byron (the Bolivar). Byron stayed at the villa from May until July while Leigh Hunt arrived with his family and moved into apartments in the Casa Lanfranchi, Byron's house in Pisa. Hunt was preparing to launch, with Shelley and Byron, a radical journal to be called (at Byron's suggestion) The Liberal. Byron's relations with the Hunts were strained, however, largely because, following his return, he found their children unruly and did not hesitate to complain. He later wrote to Mary Shelley that they were 'dirtier and more mischievous than Yahoos' ( Letters and Journals, ed. Marchand, 10.11).
With the drowning of Shelley, Williams, and Charles Vivian in the Bay of Spezia on 8 July the ‘Pisan circle’ was broken. The news reached Byron at the Casa Lanfranchi on 11 July, and the bodies of Shelley and Williams were washed ashore on 16 July, near Viareggio. They were buried in the sand by the authorities on 18 July, but were exhumed and cremated on 15 August, at Mary Shelley's request, in a ceremony that has now become one of the legends of Romanticism. Byron was deeply affected and wrote to Moore:
We have been burning the bodies of Shelley and Williams on the sea-shore, to render them fit for removal and regular interment. You can have no idea what an extraordinary effect such a funeral pile has, on a desolate shore, with mountains in the back-ground and the sea before, and the singular appearance the salt and frankincense gave to the flame. All of Shelley was consumed, except his heart, which would not take the flame, and is now preserved in spirits of wine.
Letters and Journals, ed. Marchand, 9.197
Afterwards Byron swam out, in the midday sun, to his yacht the Bolivar and back, a distance of about 3 miles, and was badly sunburnt. 'But it is over,—and I have got a new skin, and am as glossy as a snake in a new suit'. His letters home included eloquent tributes to Shelley whom he defended as 'the best and least selfish man I ever met' ( ibid., 9.189–90). 'Shelley is truth itself—and honour itself—notwithstanding his out-of-the-way notions about religion' ( ibid., 8.132). Byron kept his promise to Hunt and contributed substantially to the four issues of the journal that were published from October 1822 to July 1823. The satirical 'Letter to my Grandmother's Review', 'The Vision of Judgement', 'The Blues', 'Heaven and Earth', and the Morgante Maggiore translation all first appeared in The Liberal. With Byron's agreement the modest profit went entirely to Hunt. Since the death of his mother-in-law, Lady Noel, in January 1822, Byron had taken the name Noel (and used the signature Noel Byron); his share in the Wentworth estate had increased further his by now substantial income.
Genoa
Though famous for his travels, Byron was reluctant to move when he had found an agreeable place, and the Casa Lanfranchi was certainly to his taste. Events, however, made it impossible for him to stay, and so in September, after a brief visit from his old friend Hobhouse, he set off by boat for Genoa with Teresa, Trelawny, and the Hunts. He moved into the palatial Casa Saluzzo situated on a hill at Albaro, where it overlooked Genoa harbour. There he settled into a comfortable life with Teresa, writing and receiving visits from old friends such as James Wedderburn Webster, and new acquaintances including Lady Blessington. He continued writing Don Juan (cantos 10–16 were written between October 1822 and May 1823) and also wrote his last tale, The Island, and last formal satire, The Age of Bronze, a dark meditation on the post-Napoleonic condition of Europe. The arrival of the Blessington party in April 1823 enlivened his desultory existence with some brief, if trivial, pleasures, later described in Lady Blessington's Conversations of Lord Byron (1834). Events in London, however, were moving towards a point where they would have a decisive impact on the last year of Byron's life and initiate the movement that brought his spectacular career to its famous climax.
In February the London Greek Committee, established to promote the cause of Greek independence, held its first meeting and decided that Edward Blaquiere should go to Greece to see what practical help might be given. Hobhouse, one of the committee's organizers, suggested that Blaquiere should stop off in Genoa to sound out Byron's interest. Byron had been thinking about Greece ever since the war for independence had broken out, and Blaquiere's visit fired his determination to 'go up to the Levant in July, if the Greek provisional Government think that I could be of any use' ( Letters and Journals, ed. Marchand, 10.142). In April he was formally elected to the committee which enthusiastically endorsed his plan to go to Greece. On hearing from Byron of his plans Teresa was distressed, the more so as her brother Pietro determined to accompany Byron, and feared the worst. Her distress made departure difficult, but Byron was set on his course. He wrote to Kinnaird asking him to consolidate as many of his assets as possible, and Kinnaird put together a sum of about £10,000 for expenses, which included a plan to equip a small fighting force that would serve directly under Byron's command. His knowledge of the campaigns of Napoleon, his own great hero, had given him an understanding of the need of the Greeks for a figurehead. Like Napoleon he understood the value of impressive visual propaganda and ordered several splendid uniforms including a fine Homeric helmet (Newstead Abbey collections). Beneath the display, however, he also recognized the force of will that underpinned the politics of Napoleon.
'That Greece might still be free'
In mid-July Byron sailed for Greece aboard the Hercules. His party included Pietro Gamba, Trelawny, a young physician, Dr Francesco Bruno, Count Constantine Skilitzy (Schilizzi), who had asked for a passage to Greece, and five or six servants (including the faithful Fletcher, Tita, and his steward Lega Zambelli). Four of Byron's horses, two dogs (one of them Byron's Newfoundland Lyon), and other livestock took up the rest of the space. Byron's friend and banker in Genoa Charles Barry stayed behind to take care of his affairs in Italy while he was gone, for despite Teresa's fears, Byron's intention was to return. In the meantime, Teresa went to the house of her old friend and teacher, Paolo Costa, in Bologna.
Byron's original plan was to sail to Zante, but he decided instead on Cephalonia during a brief stopover in Leghorn where the party was joined by James Hamilton Browne, a Scot who had served in Ionia and was sympathetic to the revolutionary cause. They arrived at Argostoli, Cephalonia, on 2 August. Byron settled into quarters in Metaxata and sought information about the military and political situation from various English and Greeks. The British resident, Colonel Charles Napier, was especially helpful, as were George Finlay and Colonel Leicester Stanhope (who arrived slightly later). Byron quickly saw how vexed circumstances were because of the conflicts between different revolutionary leaders. As the representative of the London Greek Committee Byron had to proceed with caution, which irked Browne and Trelawny, who set out early in September on their own to join the Greek forces in the Morea. Byron remained in Cephalonia with Pietro Gamba multiplying his Greek contacts and assessing information he was gathering as a prelude to action. When Prince Alexander Mavrocordatos, who eventually became first president of independent Greece, moved to Missolonghi in December he invited Byron to join him and his forces. Byron decided that this was the right move and left shortly after Christmas to join the forces of western Greece. The short journey proved harrowing because their passage was intercepted by a Turkish vessel, and Byron was forced to seek shelter near Dragomestre. Arriving at Missolonghi on 4 January 1824 Byron met with a great reception. As he sailed into the harbour each ship in the Greek squadron fired a salute as his small vessel passed by.
Byron, eager for action and pleased with Mavrocordatos, undertook to support a force of 500 Suliote soldiers for a year. Plans were made for various expeditions including an assault on Lepanto to be led by Byron. But the Greeks were difficult to deal with, particularly the fiercely independent Suliotes, and Byron began to chafe under delays and complications that increased daily. His mood is captured in the memorable lines 'On this day I complete my thirty-sixth year', which he wrote on 22 January, thinking of the conflicting claims of love and war, and particularly of Loukas Chalandritsanos, the Greek boy he brought with him from Cephalonia. When the firemaster William Parry arrived in February with long-awaited and much needed supplies, Byron's enthusiasm for the cause revived, not least because of Parry's own energetic character.
In the midst of these changes of mood came an ominous incident. Conversing with Parry and others on the evening of 15 February, Byron collapsed in a violent convulsion. Though he slowly recovered, his constitution was severely weakened, and his spirits continued to be discouraged by the ineffectual state of the Greek military situation. The Lepanto expedition was abandoned and many of Byron's Suliote troops decided to leave. To Parry and Findlay, Byron despaired of ever being able to give practical help to the Greek cause. The weather was wet and the low-lying area of marshy land around Missolonghi did nothing to improve Byron's precarious state of health.
On the rainy morning of 10 April, after returning from a ride, Byron complained of pain and fever. His physicians attended him closely but he slipped into a decline. On 14 April he suffered bouts of delirium which became increasingly severe. By 16 April it was clear that he was dangerously ill and his room became the focus of a large and various group of worried friends, servants, and physicians. The next day Byron told one of his medical attendants that:
Your efforts to preserve my life will be vain. Die I must: I feel it. Its loss I do not lament; for to terminate my wearisome existence I came to Greece.—My wealth, my abilities I devote to her cause.—Well: there is my life to her.
Marchand, Biography, 3.1224
As he slipped in and out of consciousness over the next two days he talked of his sister Augusta and his daughter Ada and made provision for Tita and Loukas and others; and he rambled, as if he were in battle, fighting for Greece. Glimpsing Tita weeping at his bedside he smiled and said 'Oh questa è una bella scena' ( ibid., 1225). It was his old servant, Fletcher, who heard his last words: 'I want to sleep now'. A tremendous storm broke on the night Byron died.
The news of his death on the evening of 19 April was a heavy blow to the Greek forces, but it proved a turning point in their fortunes and helped them unite as they came together to honour a man who gave his life 'that Greece might still be free'. News of his death did not reach England until mid-May, but it shook the nation. Contrary to his wish to be buried in Greece, Byron's body was sent home to England where it arrived in the Thames estuary aboard the Florida on 29 June. Some wanted Byron buried in Westminster Abbey but the dean, Dr Ireland, refused. Augusta, however, had determined that he should be buried in the family vault at Hucknall Torkard church near Newstead; after a lying in state for two days (on 9–10 July) a cortège of forty-seven carriages accompanied Byron's hearse out of London. Many were empty and had been sent out of courtesy to Hobhouse who wrote in his diary (12 July 1824) that 'He was buried like a nobleman—since we could not bury him as a poet' ( Marchand, Biography, 3.1260). In an important sense, however, a new life began for Byron in 1824. No English writer except Shakespeare acquired greater fame or exercised more world influence.
'Pretensions to permanency'
Images of Byron circulated widely during his lifetime and after his death rapidly became more widely distributed in Europe than those of any other individual except perhaps Napoleon. 'Lord Byron's head', wrote Scott's son-in-law J. G. Lockhart, 'is without doubt the finest in our time. It is better on the whole than either Napoleon's, or Goethe's, or Canova's or Wordsworth's' ( Lockhart, 2.338). These images have been of central importance to the cultural transmission of his life and of Byronism more broadly conceived.
The most celebrated portraits are those by George Sanders (mentioned above), whose Romanticized figure of Byron, based on the famous Apollo Belvedere (Vatican Museum, Rome), became widely known in the nineteenth century through its engraving by William Finden for Moore's Life of Byron; Richard Westall (1813; NPG), whose portrait, painted shortly after he completed a series of illustrations for Childe Harold, cantos 1 and 2, depicts a pale, melancholic Byron, clearly identifiable with the narrative hero of the Pilgrimage; Thomas Phillips (half-length, 1813; several versions, including one at Newstead Abbey; and in Albanian dress, 1814; Gov. Art Coll., HM embassy, Athens; half-length copy, NPG). Both Phillips's portraits were exhibited at the Royal Academy in 1814 and caused a sensation. The glamorous, exotic portrait in Albanian dress re-emerged via engravings after the original passed to Byron's daughter, Ada, in 1835, but it was not until the second half of the twentieth century when it entered a national collection that it acquired the status of a cultural icon. The American painter William Edward West, who painted Byron at Montenero in 1822 (versions in Scot. NPG and Harrow School), took a version of his portrait back to America and there painted more copies that helped to make this image one that became, through engravings, perhaps more familiar to American readers than those at home.
Of the two well-known busts of Byron that by Lorenzo Bartolini (1822; plaster model, Gipsoteca Bartoliniana, on loan to Pitti Palace, Florence; first marble version, the South African Library, Cape Town) Byron thought made him look like 'a superannuated Jesuit' ( Letters and Journals, ed. Marchand, 9.214). (Byron had sat to Bartolini at the sculptor's request, and probably because he was intrigued to meet an artist who had served in Napoleon's army and to whom the emperor himself had sat for a bust.) The other, by Bertel Thorvaldsen (1817; plaster model, Thorvaldsens Museum, Copenhagen; first marble copy, Royal Collection), forms, in neo-classical terms, an ideal head, and its beauty recalls Scott's description of Byron's head as 'an alabaster vase lit from within' ( Peach, 43). Thorvaldsen later sculpted the fine memorial statue of Byron in the handsome library, designed by Sir Christopher Wren, at Trinity College, Cambridge.
'As for fame and all that': posthumous reputation
'Famous in [his] time', Byron became a legend after his death. His influence on the art, music, and literature of the nineteenth century can scarcely be calculated, eclipsing even that of Sir Walter Scott. This influence is more notable perhaps in Europe and America than in England, however, partly because of the evangelical moralism that was gaining momentum even in Byron's lifetime and which went on to mould the Victorian ethos. Satire itself—Byron's stylistic signature—went out of fashion in the age of Victoria. Byron and his work thus reflect the contradictions within Victorian England—as the ambivalent responses of Carlyle, Tennyson, and Arnold to his work illustrate. The ambivalence is explicit in Carlyle's Sartor Resartus and in Arnold's famous essay on the poet; it is implicit—if unmistakable—in all Tennyson's poetry, perhaps especially in his Maud.
Middle-class Victorian moralism preserved for Byron a twentieth-century afterlife, as one may see in the scandalous event of 1924, the centenary of Byron's glorious death fighting for the freedom of Greece. A petition for a Byron memorial in Westminster Abbey was refused by Herbert Ryle, the dean at the time, despite the strong support of notable figures like Thomas Hardy, Rudyard Kipling, and three former prime ministers. 'The Abbey is not a mere literary Valhalla', Ryle declared: 'Byron, partly by his openly dissolute life and partly by the influence of licentious verse, earned a world-wide reputation for immorality among English-speaking people' ( M. H. Fitzgerald, Herbert Edward Ryle, 1928, 321–2). Not until 1968 did Eric Abbott as dean at last endorse a petition from the Poetry Society for a memorial, for which a ceremony of dedication was held on 8 May 1969.
In the nineteenth century Byron's fame and influence flourished 'among English-speaking people', quite apart from those who were most responsible for perpetuating the official culture: that is to say, among the working classes, on one hand, and on the other hand among those who struggled against the growing power of the middle-class values of imperial Britain. Byron's uncompromising commitment to liberty of thought, word, and act made him a heroic figure to those who opposed the growth of the power of the state, not least among the Chartists during the 1830s and 1840s. The mid-century defeat of that movement marks a watershed in Byron's English afterlife. Whereas his name, his words, and his image were inspiring presences during the years of the Chartist struggle, afterwards Byron's contempt for the established order shaped him as the figure 'in the wilderness' that Blake had already recognized and addressed in 1822 in his brief prophetic work The Death of Abel. Byron's Romantic, aristocratic, and fiercely independent character thereafter made him an equivocal presence even among those, like the suffragists, who might have enlisted him in their causes. This was at least as true inside as outside the orbit of 'English-speaking people'. In the British labour movement, for example, Michael Foot's steady and passionate adherence to Byronic values has been the exception rather than the rule. From the middle of the twentieth century, however, Byron emerged once again as a figure of real inspiration in a broad social context. This signal change was clearly driven by the emergence of the gay rights movement, where the idea and ideal of heroism itself was finally stripped of its bourgeois trappings. In the domain of ideology the change was forecast in the remarkable work of G. Wilson Knight, whose writings in the 1930s (The Christian Renaissance, 1933, and The Burning Oracle, 1939) must now be seen as prophetic.
But if Victorian unease moulded the contradictions of Byron's fame in England and, in the twentieth century, 'among English-speaking people', a very different story emerges elsewhere. No fastidious moralism infects the majestic and clearly Byronic power of Emily Brontë's work, but in England she represents a band of angels who were following a different drummer—a heterogeneous group of libertarians, atheists, and activists for human and individual rights. That band largely mustered elsewhere: in America, for example, with authors like Poe and Melville, or on the continent among the host of Byron-influenced European writers, musicians, and artists from Goethe and Pushkin and Stendhal, Delacroix and Verdi, through Baudelaire, Berlioz, Wagner, Lautréamont, Nietzsche. In Britain Byron's impact remained strong in all Gothic writing as well as in the fiction of the ‘silver fork’ and dandy tradition, including Disraeli, Bulwer Lytton, and Thackeray (who abused Byron for his lack of ‘sincerity’); within this group, Byronic appearance in dress and hairstyle was important. Disraeli secured Giovanni Falcieri (‘Tita’), Byron's gondolier, as a family servant, and as prime minister in 1875 arranged for his widow to receive a pension. Most of Byron's nineteenth-century English inheritors, however, were marginal figures like Letitia Elizabeth Landon, John Clare, and Arthur Hugh Clough.
Celebrity and influence were always connected to the mythology of Byron's extraordinary life. Whether through admiration or disgust, Byron in propria persona was seen—is still correctly seen—as an essential figure in the written work, so ‘biographical criticism’ has established the framework for the reception and evaluation of his literary works. This begins with the first of the biographies, Thomas Moore's magnificent Letters and Journals of Lord Byron, with Notices of his Life (2 vols., 1830). Fascination with Byron spawned a host of subsequent biographies, many excellent, which show no sign of abatement. The standard life is Leslie Marchand's magisterial Byron: a Biography (3 vols., 1957; rev. in 1 vol. as Byron: a Portrait, 1970).
As Britain consolidated her imperial power Byron's cultural status slowly shed its notoriety. A cultural ideology emerged, not least in the literary world, flowing through Arnold from sources in Wordsworth and Coleridge. Emphasizing formal and moral-thematic concerns and devaluing political, historical, and biographical issues, this tradition peaked in the mid-twentieth century. During that period, significant Byron scholarship was firmly located in textual, historical, and biographical areas. E. H. Coleridge's edition of the Poetry appeared together with R. E. Prothero's edition of Letters and Journals under the uniform title The Works of Lord Byron (12 vols., 1898–1904) and both superseded the great early edition of the prose and poetry edited by Thomas Moore and John Wright (17 vols., 1832–3). The new edition, which dominated Byron studies for more than fifty years, provoked and underwrote a series of key scholarly works.
Despite such scholarship, the early twentieth-century critical and interpretative lines of work left Byron at the margin of cultural and literary studies. This happened because Byron seemed an inappropriate writer for academic and pedagogical purposes. His influence remained strong largely in the genre work he so strongly marked—the Gothic—and in the writing of a few key cultural figures like Wilde and Joyce. The emergence of film as an artistic form—perhaps the major art form of the twentieth century—preserved Byron's influence and presence in some of its key genres: adventure, film noir, and the inexhaustible Gothic. Visual aspects of the Byronic combined with mood and tone to create in the 1950s and 1960s a strongly defined anti-heroic attitude or stance apparent in roles played by actors such as James Dean and Marlon Brando. Byronism made an impact, too, on the images assumed by some of the more outrageous rock stars of the 1960s. The fast rhythm and excesses of his life that became synonymous with Byron are now recognized as part of the pattern of celebrity. The continuing appeal of this glamorous aspect of Byronism reflects the intense cultural interest in the individuality of the self that lies at the heart of Romanticism. Byron's afterlife in popular culture was a crucial factor in his re-emergence after the Second World War in the high-cultural venue of post-modernism where parody, satire, wit, and an ethos of irony regained cultural authority.
Two scholarly events of 1957 mark the year as an epoch in the history of Byron's reception: the publication of Leslie Marchand's biography, and T. G. Steffan and W. W. Pratt's variorum edition of Don Juan (4 vols., 1957; rev. 1971). These two works stimulated and inspired, first, the complete re-editing of the works of Byron, and second, a massive re-evaluation of Byron's significance as a writer and cultural force. Marchand went on to re-edit Byron's Letters and Journals (12 vols., 1973–82; supp. vol., 1994); Jerome McGann edited Lord Byron: the Complete Poetical Works (7 vols., 1980–93); and Andrew Nicholson edited Lord Byron: the Complete Miscellaneous Prose (1991). After 1957 critical and interpretative Byron scholarship gained a new freedom t
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5 Examples of Third Parties in the United States
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[
""
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[
"GoodParty.org Politics Team"
] |
2023-11-29T00:00:00
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The American electoral system has historically favored two dominant parties at any one time, but third parties have always played an important role in politics.
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en
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GoodParty.org
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https://goodparty.org/blog/article/5-examples-third-parties-united-states
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When the founders initially wrote the Constitution, many of them had envisaged a minimal role for political factions in government. They could not entirely predict what the system would evolve into within just a few decades.
The American electoral system has historically favored two dominant parties at any one time, pushing third-party contributions to the margins of American politics. However, there is still a rich and interesting history of alternative parties dating all the way back to the early days of the Republic. Both the Democrats and Republicans began as alternative political movements that offered a different perspective on the important issues of the day.
This article will explore five examples of third parties prevalent in the United States today from across the political spectrum. It will provide a robust description of third-party platforms, election results, and notable figures in each party. Third-party democracy in the United States might sometimes be limited, but it has never entirely gone away.
#1: The Libertarian Party
The Libertarian Party is the largest non-major political party in the United States. Founded in 1971 by activist David Nolan, who opposed the price controls imposed by Richard Nixon and other departures from free-market orthodoxy, the party emphasizes the values of limited government, free markets, private property, balanced budgets, and expansive civil liberties.
Given its strong stances on social tolerance and economic freedom, the Libertarian Party has attracted adherents from both the left and the right side of the political spectrum, even though today it shares the strongest association with the right. Libertarianism often appeals to members of the Republican Party who are disenchanted with the more restrictive criminal justice and civil liberty planks of its platform. Nobel-winning economist Friedrich Hayek and popular novelist Ayn Rand have traditionally supplied the intellectual ballast for modern libertarianism in the United States. Ludwig von Mises is another popular libertarian figure who emerged from the individualistic and laissez-faire-oriented Austrian School of economics.
Given these strong influences, libertarian third-party principles sometimes diverge from the right. Unlike the traditional tough-on-crime approach advocated by the Republican Party, libertarians tend to believe that the criminal justice system should be limited in its scope; the modern party advocates for the legalization of victimless crimes, the end of harsh and overly long sentences, and the abolition of the death penalty. It also opposes most forms of censorship on free speech grounds, and internationally, it tends to favor a non-interventionist foreign policy. However, due to secular-religious differences in the party, it has historically been split on the matter of abortion rights.
As of 2023, the Libertarian Party boasts some 700,000 registered members, which makes it the third largest among all United States political parties. It has elected hundreds of elected members at the local level, representing everything from city treasurer to judge to mayor. House Representative Justin Amish became the first serving member of the Libertarian Party in Congress after switching from the Republicans in 2020, but he would later decline to run for office again.
On the national level, the party’s fortunes have ebbed and flowed with the changes in the political tide. Although it hasn’t yet mounted a serious challenge to the presidency, the libertarians have put forward a few notable third-party campaigns. During the 2016 election, former New Mexico Governor Gary Johnson and former Massachusetts Governor William Weld earned nearly 4.5 million votes, equivalent to around 3.3 percent of the electorate, for its best ever finish. During the 2020 election, the combined party ticket of Clemson Professor Jo Jorgensen and businessman and activist Spike Cohen also delivered a strong showing of more than 1.8 million votes.
#2: The Green Party
The origins of the modern-day Green Party date back to 1987, when the First National Green Gathering met at Hampshire College in Massachusetts. From there it would gradually evolve into the Association of State Green Parties in 1996, which brought together the disparate collection of local green parties from around the country under the aegis of a single organization. With the growing salience of climate change and environmental sustainability, the group officially became the Green Party of the United States in 2001. Activist Howie Hawkins and political scientist John Rensenbrink were instrumental in the party’s foundation.
While many aspects of American politics are unique, the Green Party is actually a global movement united by a common progressive cause. Like its counterparts from around the world, the American manifestation of the Green Party favors strong environmental protection, good ecological stewardship, worker’s rights, fairer income distribution, a reduction in corporate power, social justice, gender equality, lower military spending, and limitations of arms proliferation abroad. It tends to place a strong emphasis on grassroots organization and local community input to solve important issues over national decision-making.
By some metrics, the Green Party is the second largest among the non-major political organizations in the country, with more than 200,000 members nationwide. The party experienced some early success in state races with wins by Audi Bock of California, John Eder of Maine, and Matt Ahearn of New Jersey. Gayle McLaughlin also served as mayor and city county member of Richmond, California. The party currently boasts more than a hundred elected officials from around the country, mostly at the local level.
The Green Party has made an impact on presidential elections too. Under the candidacy of Ralph Nader and Winona LaDuke, the Association of State Green Parties had an unexpectedly strong showing in 2000 with 2.8 million votes, equivalent to 2.7 percent of the total electorate. After the official formation of the modern party, Jill Stein and Ajamu Baraka led the way to a result of more than 1.4 million votes for 1.1 percent of the electorate in 2016.
#3: The Reform Party
The Reform Party is the creation of Texas business magnate Ross Perot, who was responsible for one of the most interesting and unexpected independent political movements in American history. In 1992, Perot hoped to create an alternative to the two major parties. After entering the election against Bill Clinton and George H.W. Bush, Perot briefly seized control of the polls on a wave of disenchantment that some pundits have attributed to the rising national debt and the signing of the North American Free Trade Agreement, but it’s also possible that the surging unemployment rate, which peaked at 7.8 percent at the exact same time, may have contributed to his surprise showing.
Just as his popularity was peaking, however, Perot then made the surprise decision to briefly drop out of the race in July. His poll numbers never quite recovered from that moment. He finished the election with 18.9 percent of the vote but no electoral votes, which still made him one of the most successful candidates in independent political history.
Following the end of the election, Perot officially founded the Reform Party in 1995 upon a self-described ethic of fiscal prudence and opposition to free trade. The Reform Party generally favors balanced budgets, the expansion of economic opportunities, ethical and responsive government, and a middle ground approach to many other social and fiscal issues.
With his party firmly established, Ross Perot and running mate Pat Choate mounted one of the more impressive third-party elections in history with 8.4 percent of the vote in the 1996 election. Although his campaign eventually fizzled out, the Reform Party then had a major breakthrough when Jesse Ventura won the election for Governor of Minnesota in 1998. However, presidential candidate Pat Buchanan, who tacked the party somewhat rightward, couldn’t capitalize on that momentum and finished the 2000 race with around half a million votes. Ralph Nader, who had previously run under the banner of the Green Party, became the presidential candidate of the Reform Party in 2004 and again secured around half a million votes. In both 2016 and 2020, businessman Rocky De la Fuenta ran as the Reform Party candidate, winning less than a hundred thousand votes each time.
#4: The Forward Party
The Forward Party is the brainchild of entrepreneur Andrew Yang, who ran for the Democratic presidential nomination in 2020 and Mayor of New York in 2021. His most distinctive and audacious idea was to establish a universal basic income of around $1,000 a month for American families as a potential response to the threat of rising automation. Although it remains to be seen whether automation will indeed displace workers any time soon, a universal basic income is actually a popular idea among many academics and activists as a means of solving poverty. Pilot schemes for a UBI have been trialed all over the world, including in Ontario and Stockton, California, with varying results.
The Forward Party was initially conceived upon a unique premise. Although some independent political platforms mostly cater to a narrow niche of the electorate, the Forward Party, by contrast, is more of a big tent that aims to bridge the country’s ideological divides and unify the nation. Founded in 2021 by merging with the Renew America Movement and Serve America Movement, the party has a centrist bent that focuses on electoral and government reform, citizen engagement, and innovative solutions to America’s problems. It has advocated for several powerful minor party initiatives such as ranked choice voting, independent redistricting commissions, and Congressional term limits. It has also supported the idea of giving citizens a voucher that they can spend on a political campaign of their choice.
While the party is still in its nascent phase, it has already attracted some big names, including former New Jersey Governor Christine Todd Whitman, former Pennsylvania Representative Joe Sestak, and former Florida Representative David Jolly. The next big step for the party is to recruit enough existing or prospective third-party candidates who can run for office and win under its banner. The Forward Party is also interested in supporting distinctive candidates from across the political spectrum who may agree with elements of their platform.
#5: The Constitution Party
The Constitution Party was born from an infamous broken pledge by George H.W. Bush that he would not raise taxes during the 1988 election. In response to this perceived betrayal, political activist Howard Phillips formed the U.S. Taxpayers’ Party and began competing in presidential elections by 1992. In order to better reflect the originalist position it had adopted (which claims to adhere to the original meaning of the U.S. Constitution), the party officially changed its name to the Constitution Party in 1999.
The Constitution Party is best described as a more ideologically rigid manifestation of the Republican Party. It expresses the far-right principles of Christian nationalism, including limited government, the reduction or even outright abolition of certain taxes, lower spending, balanced budgets, expansive gun rights, a robust military presence, and stricter regulation of legal immigration. It also opposes abortion rights on any grounds. Many of these principles it shares in common with the similarity rightwing nationalist American Independent Party. However, unlike the AIP or the traditional Republican Party, it tends to oppose direct intervention in foreign affairs.
As of 2023, the Constitution Party has more than 100,000 members across the nation. Most of its elected officials have served on the local level, but over the years it has won a few statewide races in Montana, Colorado, and elsewhere. Candidate Tom Tancredo also finished second in the 2010 Colorado gubernatorial election with 36.38 percent of the vote, ahead of the Republican candidate. The party still competes at every presidential election on a national level as well. Lawyer Darrell Castle led the party to its best result in 2016 with more than 200,000 votes for 0.2 percent of the total electorate. Other notable third-party leaders for the presidency include former Representative Virgil Goode in 2012 and businessman Don Blankenship in 2020.
The History of Third Parties and the Two-Party System
The middle of the 19th century was perhaps the apotheosis of the multi-party system. With the decline of the Whigs and the growing question of whether to restrict the expansion of slavery into the territories, minor political parties such as the Free Soil Party, the Constitutional Union Party, and the American Party, as well as the rising force of the Republican Party, all made an important mark on the American political landscape. However, following the end of the Civil War and Reconstruction, the Republicans and Democrats had solidified their status as the two main U.S. political parties on the national level, leaving minimal room for any third-party impacts on American society.
By the end of the 19th century, the tumultuous battle over worker’s rights and monopoly power gave rise to a series of successive parties that threatened to upend the dominance of the two-party political system. The Greenback Party and the more successful agrarian People’s Party, epitomized by William Jennings Bryan and his “Cross of Gold” speech, advocated for fiat money, collective bargaining, and more extensive federal regulation.
This tumultuous phase culminated in 1912 with one of the most infamous third-party challenges in American history when the Progressive Party, co-opted for a time by Theodore Roosevelt’s “bull moose” platform, received 27.4 percent of the vote and temporarily eclipsed even the Republicans, while Eugene V. Debs of the Socialist Party of America received an additional 6 percent of the votes. This made it one of the most significant moments in third-party history in the United States.
Since this high watermark, however, third-party influence over American politics has waned slightly. Only a few American third parties have managed to win a large number of Electoral College votes in the latter part of the 20th century. Perhaps the most significant challenge to the two-party system in this era came from the American Independent Party in 1968. The combined ticket of Alabama Governor George Wallace and former Air Force General Curtis LeMay, both of whom ran on a pro-segregation platform, carried 46 electoral votes on the strength of nearly 10 million votes and 13.5 percent of the electorate.
While these results on the national level would seem to demonstrate the limitations of third-party influence on elections, they are still important for the alternative political perspectives and political diversity in the United States. Third-party beliefs and ideas that began on the margins of the political system often eventually spread to the center.
Third-party politics are also an important and thriving force at the local level. Today, even though the two-party system still remains the dominant force in American politics, organizations such as the Democratic Socialists of America function as a kind of bulwark and support system for candidates who don’t fit the traditional political mold.
The Conundrum for Third Parties
Although in certain exceptional moments third-party influence on American elections has been strong, minor political parties still often struggle for relevance in the country’s diminished third-party system. Third parties have tried to solve this conundrum in various ways. Some have attempted to compete on the state or national level by recruiting big-name candidates from the major two parties. However, others focus largely on local issues. For example, the progressively-oriented Working Families Party tends to associate with elected Democratic officials such as Ayanna Pressley on the national level while only running its own candidates for local office.
Nevertheless, there isn’t an easy way out of this conundrum, because the system itself narrows the level of political choice in the United States. Compared to the vibrant multi-party parliamentary system of European governments, the winner-take-all nature of American elections certainly disadvantages political alternative movements that want to make an impact upon the country. Intra-party coalitions between different factions (such as business-minded Republicans and culturally conservative Republicans) also tend to be emphasized over coalitions between disparate parties.
The unfair structure of the American political system shouldn’t discourage independent political participation. Instead, third-party supporters may need to focus on changing the rules of the game. Ranked choice voting or proportional representation would give greater power to United States third parties across the entire country. This in turn would be good for political diversity as a whole and could make third-party voting more common, which will also greatly increase third-party significance. Electoral reform has been implemented on a limited scale in many cities or states, but some feel the idea needs to be taken nationwide. This is the most likely path to relevance going forward.
If you’re ready to help put an end to the dysfunction of the United States’ two-party system, learn more about how you can volunteer and become part of GoodParty.org’s growing movement.
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