Fifty years ago this June, Mississippi Freedom Summer began. Under the direction of Bob Moses, the Student Nonviolent Coordinating Committee (SNCC) organizer who had been doing voter registration in Mississippi since 1961, Freedom Summer sought to challenge the racism of the state that with its long history of lynching (534 between 1882 and 1952) epitomized how far the Deep South would go to preserve segregation.
In the summer of 1964 Moses sought to build on the fall freedom-vote campaign. This time a presidential election, not simply statewide elections, would be at issue, but the publicity the freedom vote had won earlier was not all that led Moses to favor the Mississippi Summer Project, despite the doubts many in COFO had about the values of bringing large numbers of white college students to Mississippi.
The Johnson administration even reached out to Moses. John Doar, the deputy attorney general for Civil Rights Division in the Justice Department, arranged for Moses to meet with former CIA director Allen Dulles, who had been sent to Mississippi to help set up a new FBI operation there. Moses still remembers the meeting in Jackson, which included among others Mississippi civil rights leaders Aaron Henry and Charles Evers. Dulles, Moses recalls, sat as silent as a sphinx, and the meeting ended inconclusively.
Marshall was worried, Moses recalls, about the rumors that the Summer Project was interested in provoking more violence for the sake of publicity. The meeting gave Moses the chance to remind Marshall, whom he had met with before, that COFO was not going to be carrying out demonstrations that were sure to result in mass arrests and expensive legal fees the alliance could not afford.
The violence would not, however, accomplish its purpose of ending the Summer Project. Moses can recall only one volunteer deciding to go home after Chaney, Goodman, and Schwerner disappeared. And in Mississippi, volunteers quickly accustomed themselves to the dangers they faced. As the summer wore on, Mississippi officials, not the Freedom Summer workers, were the ones put on the defensive.
Additionally, new genre stations will be added including Blacksmith Radio from Corey Smyth, industry veteran and manager to renowned talent such as De La Soul, Vince Staples, Mos Def and Dave Chappelle. Smyth will give listeners a behind-the-scenes look at his unprecedented career with reflections and lessons from his years in the industry, intimate conversations with his closest collaborators and of course, his favorite tracks.
It's the latest in a long line of famous soundtracks that almost get as much attention as the football itself, with the likes of Oasis, Radiohead, Swedish House Mafia and Fatboy Slim all playing in the virtual stands over the years.
Sure, Moses was a great leader, an emancipator of his people and a prophet. Most people don't know that he also was the Biblical equivalent of Splinter Cell's Sam Fisher--a well-honed killing machine, able to slay from the shadows without pity or remorse. Martin Luther King may have had a dream, but Moses had a body count.
You can almost picture the scene: An Egyptian soldier is wailing on a hapless Hebrew when Moses, clothed in head-to- toe black, drops down from the ceiling. Moving with cat-like grace, he sneaks up behind the soldier and, taking his head in his hands, snaps the man's neck with one savage twist. As the lifeless body slumps to the ground, Moses lights up a cigar. "Well," he quips, "looks like someone bit off more than he could Jew."
Moses later defeated the Egyptian Pharaoh, who, if we remember correctly, had been using Hebrew slaves to construct a 40-foot-high armored battle suit capable of launching nuclear missiles to anywhere in the world.
This passage creates a problem for many new Bible readers. Once you've read this, it is impossible to go back and read the above story of Moses killing the Egyptian guy the same way. When it speaks of the Egyptian beating the Hebrew slave, you have no choice but to imagine him turkey slapping the man. If anything, however, it makes Moses' deadly intervention all the more justified.
The above happened years after Moses killed the Egyptian guy and led a country's worth of Hebrews into the desert where they wandered aimlessly for several decades (as seen in The Ten Commandments). At some point, a troublemaker named Korah and 250 supporters banded together and aired a series of complaints about the fact that they were wandering aimlessly in the desert.
Ladies, when a man finally proposes to you, ask him one simple question: "How many dongs would you mutilate for me?" If you demand a hundred and he doesn't blink, he's a keeper. But, if he's David, who was sent after a hundred and then came back with twice that many just for the hell of it, well, you've got a love for the ages.
Songs were used in everyday life by African slaves. Singing was tradition brought from Africa by the first slaves; sometimes their songs are called spirituals. Singing served many purposes such as providing repetitive rhythm for repetitive manual work, inspiration and motivation. Singing was also use to express their values and solidarity with each other and during celebrations. Songs were used as tools to remember and communicate since the majority of slaves could not read.
Unnamed song sung by Harriet Tubman when approaching her group after taking a detour to get food for the day. This song lets them know it is safe to approach her. Source: Harriet Tubman, the Moses of her People by Sarah Hopkins Bradford.
Another unnamed song sang in the same situation but letting them know it is not safe to come out, there is danger in the way. Source: Harriet Tubman, the Moses of her People by Sarah Hopkins Bradford.
Paganini was giving a concert when one by one his violin's strings began to break, so the tale goes, until all that remained for him to play on was the lowest, G string. Far from putting him off, the mishap inspired the virtuoso to write his Moses Fantasy, based on Rossini's opera Mosè in Egitto, and written exclusively for the G string,
Moses begins the second half of his speech by stressing that the people saw no image at Sinai but had instead only heard the sounds and seen the fire of God. Moses then proceeds to run through a list of six examples of images the people must not worship upon arrival in Canaan. In particular, Moses tells them that they must not worship the form of a) a male or a female [person] (4:16); b) a land animal or c) a winged bird in the sky (4:17); d) anything that creeps on the ground or e) any fish that swims in the sea (4:18); or f) the sun or the moon or stars (4:19). Moses concludes this speech a few verses later on the same theme: by reemphasizing the importance of not forgetting the covenant and coming to make graven images. He also reminds them that God is a consuming fire, a jealous God (4:23-24). 2b1af7f3a8