Florida A and M University - Rattler Yearbook (Tallahassee, FL)

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By: Deborah S. Jones How well do you know your Black Op- era Stars? Well, to test your knowledge of music, here are a few black stars and what they are known for. 1. This singer debuted in 1955 at the Metropolitan Opera as the fortune teller in Verdi's Un Ballo En Mas- chera . a. Clamma Dale b. Shirley Verrett c. Marian Anderson d. Carmen Balthrop 2. She sang Vissi d'arte for the in- augural gala for President Reagan in January of '81, a. Grace Melzia Bumbry b. Shirley Verrett c. Clamma Dale d. Leontyne Price 3. This promising young tenor sang Rodolfo in La Boheme for the SantaFe Opera's 25th anniversary season. a. Vinson Cole b. Simon Estes c. George Shirley d. George Robert Merritt 4. The Prima Donna of Black Op- era. f .2 . l 5 4 A ,gk ff, .4 L... ,.., 1 . . --. N 'Cr -L - fl ili A1-555 1 A M sg ' ' 'il' ' if' z 5 ' I- - 5 We fn ' 1 J Sl a. Leontyne Price b. Reri Grist c. Leona Mitchell d. Shirley Verrett This group rose to fame when she starred in the Houston Grand Op- era's revival of George Gershwin's Porgy and Bess . a. Reri Grist b. Leona Mitchell c. Kathleen Battle d. Clamma Dale The first Black male singer to be invited to star at the historic Wag- ner Festivals at Bayreuth, Ger- many. a. George Shirley b. Simon Estes 1- Q- c. Vinson Cole d. Kenn Hicks This beautiful young singer began her career in the Merole Summer Opera Program in San Francisco. a. Martina Arroyo b. Leona Mitchell c. Clamma Dale d. Reri Grist This singer is known for her firey portrayals of mezzo-soprano roles as Carmen, Ameris and Princess Eboli. a. Martina Arroyo b. Hildo Harris c. Leontyne Price d. Grace Melzia Bumbry A former school teacher and fre- quent guest ofthe Johnny Carson Show. . a. Hilda Harris b. Martina Arroyo c. Leontyne Price d. Reri Grist This singer won critical acclaim for his concert and oratorio perfor- mances and was memorable as Andy in the Houston Grand Op- era's production of Treemoni- sha . a. Kenn Hicks b. George Shirley c. Vinson Cole d. George Robert Merritt 11. soloist in the original cast of A West Side Story in 1957. a. Jessye Norman b. Reri Grist c. Hilda Harris d. Marian Anderson 12. Sang and danced in Broadway Musicals and made her recital de- but in Carnegie Hall with the entire cast of Mame. a. Martina Arroyo b. Grace Melzia Bumbry c. Hilda Harris d. Leontyne Price 13. Appeared in a number of operas, including, Faust , La Traviata and Aida . a. Kenn Hicks b. George Robert Merritt c. George Shirley d. Vinson Cole 14. Sang the title role in Scott Joplin's Treemonisha onXBroadway and at the Kennedy Center in Washing- ton in 1975. a. Kathleen Battle b. Shirley Verrett c. Leona Mitchell d. Jessye Norman 15. Mostly records opera and per- forms concerts and a native of Au- gusta, Georgia. a. Kathleen Battle b. Shirley Verrett c. Jessye Norman d. Clamma Dale Venom 83!137

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BLACK PSYCI-IOLQGY: A Return To An African State Of Mind. MARY Mcctsoo emma: BY HERBERT LATNEY Why Black Psychology? This may be a question that many ask when first introduced to the term. ls psychology not simply another objective science which can not be referred to in racial or cultural terms? According to many social scientists, the science of psychology is not objective and is quite vulnerable to variations, socioculturally and cosmologically. It is the contention of some psychologists that psychology, as presented in todays society, is essentially the Western hemisphere's version of psychology. This Western Psychology has been disguised to make students believe that this perspective of psychology is in fact, the Universal and Natural Psychology of the world. Because of this manipulation, Black social scientists believe it is necessary to promote the term Black Psychology in new theories have been presented. The habitual task of regurgitation of material has been changed to the task of studying and critically analyzing material and its' relevance to Black people in America. Black Psychology in its' most basic form has strong ties to African philosophy. Black Psychology takes into account the effects that slavery and the total system of oppression has had on the minds of African- Americans. Black Psychology seeks provocative measures to improve the mental conditions of the community. While not solely committed to pointing the finger Black Psychology does not hesitate to identify and resist antagonistic forces for the Black community. order to negate the idea of the universality of Western The utility of Black Psychology for the African- psychology. Here at Florida A 8. M University during the academic year of 1982-83, the issue of Black Psychology has been extensively addressed by the Department of Psychology behind the thrust of the Association of Black Psychologists. Psychology from the perspective of the African-American takes on cultural differences that has not been addressed by traditional Western psychology. Issues and theories that have been presented as the truth have been questioned and American college student centers around the definition of reality. This perspective of psychology helps us to filter through reality and non-reality for Black people. This discrimination is paramount in the healthy functioning of African-Americans. So as the question of Why Black Psychology is raised the answers come forward. Black Psychology defines and affirms the reality of living for Black people in America. Black Psychology is one of the first steps towards the liberation of our minds.

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8 VANDALISM: NO PRoBLEM ON THis CAMPUS! We Don't Have To Be Concerned With Missing Windows In The Rain, Or Doorless Doorvvays Or Even Hunger Pains That Won't Be Softened By A Bag Of Potatoe Chips Or A Milky Way Bar From The Closest Vending Machine! C3 nag By: Debra M. Kirby lf you sprinkle, when you tinkle, please be neat and wipe the seat. Mary-N-Martin, Pam loves Peter. Graffiti. Buildings, bus seats and public restrooms are full of it. Now, however, it is as much a part of col- lege campuses as exams and Greek organizations. Along with its in- crease, is vandalism and for Florida A 84 M University -thank goodness, it is minimal. True there are some cases of vend- ing machine tamperings, and in vir- tually every classroom in every building on campus, there stands a desk with no table top or a three- legged chair, but these same find- ings can be found on almost every campus in the U.S. and most are not caused by vandalism - or at least, not on FAMU's campus. Donna Miller, a data processing ma- jor from New York, said that broken chairs and desks are found in alot of the classrooms in Tucker Hall, but l've never heard of break- ins and sabotages in anu of FAMU's buildings. Veronica Giles, a junior finance ma- jor from Pompano Beach, reiterated similar sentiments. Fl-XMU has a couple of raggedy desks but I can't see where we suffer from vandalism on anything near a wide scale. The closest I know to actual vandalism is the latest run of panty raids happen- ing in the girls' dorm. she laughed. Said Debra Harper, FAMU's walls are in pretty good condition, l don't know about break-ins or broken glass doors, and I certainly haven't heard anything about any office equipment being stolen. l think van- dalism at FAMU is done on a very small scale if in fact, it is done at all. Well fellow Famuans, I for one an glad that amongst all our other prob- lems, we don' have to be concerned with walking into class one morning and finding NO four-legged chairs or NO desk without tabletops. We don't have to be concerned with missing windows in the rain, or doorless doorways or even hunger pains that won't be softened by a bag of pota- toe chips or a Milky-Way bar from the closest vending machine. Now, if only we would be that there won't be more of those darned pan- ty raids!