![]() And I heard somebody say, Los Angeles, California. And I was in this Greyhound bus station, cause they had two counters, white and Black. But I hitchhiked from there to Denver, Colorado. And that was the end of that, because I didn’t want to be any place that was cold. I asked him, does it snow there? And he said yes. He was saying that he could get me a job and a place to stay and all this. Now, the first place I remember being is in Detroit. What was that process like, hitchhiking as a Black man in America in the 1940s? I had to be crazy. Wherever I could get a ride to, that’s where I was headed to. I didn’t want no parts of that part of the country. But it was something that stayed with me because I knew then when I got of age I was going to leave there. Why are you calling my dad a boy? And Daddy would answer him, sir, yes sir, no sir. And he would go up to my dad and say, what could I get for you, boy? That stuck with me forever. But when Dad would walk in the store, this kid about my size, small kid - How old were you about this point? Like how old? I probably was 6 or 7 years old. People in that area was, the Blacks were Bowers, and the whites was Beavers. And there were people, I don’t know how they could hear it that far, would come drive in the front yard and listen to us sing at night. How all of us stayed in two rooms, I don’t know. All 13 of you all grew up in that house? Mm-hm. Bascom, Florida, as far back as I can remember, I think the plantation was the Bowers plantation. Growing up in the South was quite a thing for me. We’re going to make it real handsome here. Do what? Getting this seamed out for the show. My grandfather, who I found out has cancer a little while ago, I wanted to spend some more time with him and talk to him about his life, about our family, ask him as much as I can before he passes. Cause you wouldn’t be there if you wasn’t supposed to be there. Never think that you’re not supposed to be there. I’m very aware of the fact that I’m a Black composer, and lately actually I’ve been wondering whether or not I’m supposed to be in the spaces that I’m in, or supposed to have gotten to the point that I’ve gotten to. Did you ever picture yourself doing what you’re doing now? Huh. And it really depends on how the composer wants to, or how I want to frame that conversation. Sometimes the conversation - It’s a question. And so sometimes that conversation can be this person speaking, and now this person speaking. Can you tell me, just what is a concerto? So it’s basically this piece that has a soloist and an ensemble, an orchestra. Can I ask a question? All right, Granddaddy. ![]() It’s a real pleasure to welcome Kris Bowers, our composer, who has written a concerto, “For a Younger Self.” Welcome. Transcript A Concerto Is a Conversation A virtuoso jazz pianist and film composer tracks his family’s lineage through his 91-year-old grandfather from Jim Crow Florida to the Walt Disney Concert Hall.Īll right. ![]() For each topic, we suggest several films to watch, questions for discussion and activities to go further. Or, if you’re looking for specific ways to make short documentaries a part of your curriculum, below, we present eight ideas for teaching with the series. You might use Film Club weekly in your class as a tool for regular writing and discussion. And, they can serve as a refreshing break from print media to help students explore curriculum themes and practice important literacy skills. And each one is typically under 12 minutes.Īs with other short texts like stories, poems and articles, mini-documentary films can stimulate discussion, debate, thinking and writing. These films - drawn from Times Video series like Op-Docs, Modern Love, Diary of a Song and Conception - offer viewers an intriguing and unique perspective of the world and ask students to think deeply about themes like ethics, human rights, gender identity and scientific discovery. These are just a few stories and themes we have explored in our weekly Film Club since it began in 2015.Įvery Thursday during the school year, we feature a short documentary film from The New York Times and a set of five open-ended questions intended to encourage thoughtful and honest dialogue, either in your classroom or in the comments section. The whereabouts of smooth-voiced, permed-haired Bob Ross’s vast collection of lost paintings. The dangers of “sharenting.” Coming-of-age with autism. ![]() Gravity-defying dancers on nine-foot stilts. ![]()
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