Titlebook: No Surrender! No Retreat!; African-American Pio Glenda E. Gill Book 2000 Palgrave Macmillan, a division of Nature America Inc. 2000 20th ce

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tting edge optical, genetic and proteomic tools and their ap.This book introduces the current concepts of molecular mechanisms in synaptic plasticity and provides a comprehensive overview of cutting-edge research technology used to investigate the molecular dynamics of the synapses. It explores curr

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What Shall the Negro Dance About?,r all African American performing artists who faced, throughout the twentieth century, overwhelming discrimination, but triumph on the stage. Those performers who have been most fulfilled and respected were those who had a strong sense of identity as African Americans and who, at some point in their

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Crucible and Community: The Vision of Rose McClendon,y. Her frail, small body and demeanor belied her strong commitment to her vision. An actor and visionary, Rose McClendon created a Negro People’s Theatre that accurately reflects varied black experiences, with a diverse group of actors playing a wide range of roles.

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The Silencing of Paul Robeson,Robeson rose to the pinnacle of fame as an actor/singer, but fell to the nadir as an activist. On 23 January 1976, age 77, Robeson died, but . asserted, in quoting Coretta Scott King, that he had been “buried alive” long before his funeral (Douglas 33). Many people today do not know his name, in spi

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Marian Anderson: A Serene Spirit,was “not equipped for hand-to-hand combat” (. 9 Apr. 1993). Born 27 February 1897, in dire poverty, Marian Anderson chose the quiet, regal way. Scrubbing doorsteps in her native Philadelphia, this strong Christian woman knew that God had given her a unique instrument—her voice. To be a black unmarri

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,Swifter than a Weaver’s Shuttle: The Days of Canada Lee,as dead, dead before his time. Gone at 45, this pioneer actor had given his life as an activist. The working-class man and woman at the funeral sat next to such theatre luminaries as Oscar Hammerstein, II, Noble Sissle, Brooks Atkinson, Dick Campbell, Perry Watkins, Frank Silvera, Sidney Poitier, Fr

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Pearl Bailey: The Black Dolly Gallagher Levi,s present asked the question, “Will there be no more white Othellos?” He believed, strongly, that white actors were losing good roles to minority actors, and especially bemoaned the possibility that the theatre might never again have a Sir Laurence Olivier play Othello. As the only African American