Category Music

Festival Gnaoua et Musiques du Monde 2011

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Festival Gnaoua et Musiques du Monde 2011
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Image by herr_S

Armin Van Buuren concert with Jochen Miller @ Abu Dhabi – 30/06/2011 – 01/07/2011
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Armin Van Buuren concert with Jochen Miller @ Abu Dhabi – 30/06/2011 – 01/07/2011

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Image by connie5001

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Universal Responsibility in a Matrixed Economic World
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Image by Wonderlane
Written in 2006

I am concerned that Obama and his staff are not aware enough of the danger and that his planned policies do not go far enough.

Reading up on America’s depression era New Deal of the 1930’s and the times leading up to it are remarkably like the times we are going though, except no one bailed out the fat cats then (as you know).

Agreed bailing out the rich will help prevent some suicides like Adolf Merckle, the German billionaire who slipped from #44 most wealthy person on the planet to number #77 or Thierry Magon de La Villehuchet, a fund manager who invested with Bernie Madoff and apparently committed suicide at his office – to me these people’s death are no laughing matter – not any different than those overleveraged investors who committed suicide on Black Thursday in 1929 or thereabouts by jumping from the buildings they were in. And what is it that Merckle could see that was so scary?

Some people actually laughed in 1929 to see or hear of the suicides, as if those folks deserved it or were somehow different than they were – a few months later, out of a job — they stopped laughing.

My feeling is that we may be lucky by the end of Obama’s first term in office to see any real strides. The only capital that he can really bank on is who he IS, and that the govt at least is out of the hands of incompetents (from our standpoint) and warmongering profiteers. Ugh! the sick thing is industrial war complex oldsters really don’t get that the world has changed – we ARE in this together just as HH the Dalai Lamas and HH the Popes have long preached. We communicate on an entirely different level, more frequently and around the world. Arguably there is universal responsibility and we are just getting a clue.

"The Google" Bush said! Hissss! Boo! speaking of getting a clue.

For just one example every night that I post a new image on Flickr – I know, no, no, I expect people from around the world will comment on it by the next morning – in one day – all around the world. And the comments in foreign languages I will translate to read and my reply I will translate and respond with – nearly instantly in their language. Even my requests are posted by Flickr in the native language of the person I am requesting their photo from – all with a drop down menu – no effort on my part.

Another example is that of the late Oscar Grant, an unarmed African-American man shot in the back and killed in Oakland by the police (by accident or purposely) is instantly seen over the Web from every recording cell phone present – police authorities – placed in their roles to "serve and protect" absolutely can not hide any more behind some story when everyone anywhere can see what occured. Happy, satisfied people don’t protest.

Franklin Roosevelt tried a lot of things to stabilize the economy. The stuff he did that was dismantled appears to be the root cause of the suffering in the country now, as the rich continue to amass profits while the lower classes lose a place to live. Political leaders, can’t hide any more either and the results of their efforts for good or bad will be known sooner and in more detail than ever before.

There is also an issue more complex than it first appears, of the average age of baby boomers, as they retire and there are not enough educated people coming into the working social system who can earn enough because education was gutted — either to make sure that there was no opposition to the will of the wealthy greedy or because self-serving politicos were also too short sighted to see what the results of not funding education would be.

Not everyone is like us, not everyone takes joy in educating themselves, and some education, like primary research is beyond the costs of a single individual to bear, or one person to complete.

Poorer middle-classed housing such as San Francisco’s Daly City has inexplicably one of the highest forced foreclosure rates in the country. Economists are researching why but *hey* that is way, way past a dollar short and a day late.

When I asked a religious leader about the causes of being out of work he said "stabilize your mind" and I think that to a large extent – that is the basic root cause of the US current troubles. The fears we have are based on tainted emotions. "The only fear we have is fear itself" another realization by US President Franklin D. Roosevelt that sounds like a call to arms once again with deeper meaning.

We really have to get rid of tainted emotions such as greed and the desire by even those with education and money to willingly inflict pain and suffering on others – such as by torture or slavery – where we can not root it out of ourselves we need to legislate it and make it clear that it is a common goal, a community of the world standard to commit to rid ourselves of afflictive emotions; we need to root out fear itself, greed, and ignorance.

We can’t stand aside and look any more; stabilizing our own minds, taking universal individual responsibility – that is where the future is really at; only then we will have something we can rely on, ourselves as well as each other.

"We’ll forward in this generation
Triumphantly …
Emancipate yourself from mental slavery
None but ourselves can free our minds"

Redemption Song
-Bob Marley

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7. April 2017 bei Free! Music im Haus der Kulturen der Welt, Berlin

Alchimist der Klänge: In Balojis Sound fließen kongolesische Rumba Lingala und Clubbeats, französischsprachiger Rap und Konsumkritik zusammen. Seine ebenso poetischen wie kämpferischen Texte thematisieren aktuelle Politik im Kongo, den Stellenwert von Telekommunikationsunternehmen oder was es bedeutet, wenn Bier billiger als Gemüse ist. Live begleitet vom Orchestre de la Katuba um Dizzy Mandjeku, dem legendären Gitarristen von Franco & TPOK Jazz, wird daraus sehr heutige Tanzmusik – uplifting und politisch.

Fender Guitar 13
Image by Larry Ziffle

Gibson Guitars 30
Image by Larry Ziffle

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John Wesley Work Home at Fisk University
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Image by (aka Brent)
According to the historic marker:
In 1937, this Victorian-style house became the home of John W. Work III. A teacher and composer for 39 years, he served his alma mater by enriching the Fisk musical traditions. Director of the Jubilee Singers, Work III, a serious composer, completed more than 100 compositions. He was not only an acclaimed composer and choral conductor, but also a recognized author, educator and ethnomusicologist.

His father, John W. Work II, composer of the Fisk alma mater, "The Gold and Blue," was known as rescuer and preservationist of Negro religious music. Work II’s book, Folk Songs of the American Negro, was one of the first extensive studies on the origin and development of religious African-American music be a descendant of an ex-slave who lived during the time many of the songs has their beginnings.

Senegal Fast Food
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Image by 10b travelling
Every time I drove past a restaurant with this offer I thought of Amadou & Mariam’s song "Senegal Fast Food"

Matilda Sissieretta Joyner Jones “The Black Patti”
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Image by roberthuffstutter

Matilda Sissieretta Joyner Jones
From Wikipedia, the free encyclopedia
(Redirected from The Black Patti)
"Black Patti" redirects here. For the record label, see Black Patti Records.
Matilda Sissieretta Joyner Jones

Background information
Birth nameMatilda Sissieretta Joyner
Also known asThe Black Patti
BornJanuary 5, 1868
Portsmouth, Virginia, U.S.
DiedJune 24, 1933 (aged 65)
Providence, Rhode Island
Genresgrand opera, light opera, popular music
Years active1887–1915

Matilda Sissieretta Joyner Jones, known as Sissieretta Jones, (January 5, 1868 or 1869[1] – June 24, 1933[2]) was an African-American soprano. She sometimes was called "The Black Patti" in reference to Italian opera singer Adelina Patti. Jones’ repertoire included grand opera, light opera, and popular music.[3]

Matilda Sissieretta Joyner was born in Portsmouth, Virginia, United States, to Jeremiah Malachi Joyner, an African Methodist Episcopal minister, and Henrietta Beale.[2] By 1876 her family moved to Providence, Rhode Island,[4] where she began singing at an early age in her father’s Pond Street Baptist Church.[2]
In 1883, Joyner began the formal study of music at the Providence Academy of Music. The same year she married David Richard Jones, a news dealer and hotel bellman. In the late 1880s, Jones was accepted at the New England Conservatory of Music.[1] In 1887, she performed at Boston’s Music Hall before an audience of 5,000.[2]

Jones made her New York debut on April 5, 1888, at Steinway Hall.[1] During a performance at Wallack’s Theater in New York, Jones came to the attention of Adelina Patti’s manager, who recommended that Jones tour the West Indies with the Fisk Jubilee Singers.[2] Jones made successful tours of the Caribbean in 1888 and 1892.[1]

In February 1892, Jones performed at the White House for President Benjamin Harrison.[2] She eventually sang for four consecutive presidents — Harrison, Grover Cleveland, William McKinley, and Theodore Roosevelt — and the British royal family.[1][2][3]

Jones in an 1889 poster[5]
Jones performed at the Grand Negro Jubilee at New York’s Madison Square Garden in April 1892 before an audience of 75,000. She sang the song "Swanee River" and selections from La traviata.[3] She was so popular that she was invited to perform at the Pittsburgh Exposition (1892) and the World’s Columbian Exposition in Chicago (1893).[4]
In June 1892, Jones became the first African-American to sing at the Music Hall in New York (renamed Carnegie Hall the following year).[1][6] Among the selections in her program were Charles Gounod’s "Ave Maria" and Giuseppe Verdi’s "Sempre libera" (from La traviata).[1] The New York Echo wrote of her performance at the Music Hall: "If Mme Jones is not the equal of Adelina Patti, she at least can come nearer it than anything the American public has heard. Her notes are as clear as a mockingbird’s and her annunciation perfect."[1]
In 1893, Jones met composer Antonín Dvo?ák, and in January 1894 she performed parts of his Symphony No. 9 at Madison Square Garden. Dvo?ák wrote a solo part for Jones.[1]
Jones met with international success. Besides the United States and the West Indies, Jones toured in South America, Australia, India, and southern Africa.[1] During a European tour in 1895 and 1896, Jones performed in London, Paris, Berlin, Cologne, Munich, Milan, and Saint Petersburg.[7]

1898 newspaper advertisement for the Black Patti Troubadours

In 1896, Jones returned to Providence to care for her mother, who had become ill.[1] Jones found that access to most American classical concert halls was limited by racism. She formed the Black Patti Troubadours (later renamed the Black Patti Musical Comedy Company), a musical and acrobatic act made up of 40 jugglers, comedians, dancers and a chorus of 40 trained singers.[2]
The revue paired Jones with rising vaudeville composers Bob Cole and Billy Johnson. The show consisted of a musical skit, followed by a series of short songs and acrobatic performances. During the final third of each show, Jones performed arias and operatic excerpts.[7] The revue provided Jones with a comfortable income, reportedly in excess of ,000 per year. Several members of the troupe, such as Bert Williams, went on to become famous.[1]

Jones retired from performing in 1915. She devoted the remainder of her life to her church and to caring for her mother. Jones was forced to sell most of her property to survive.[1][2] She died penniless on June 24, 1933.[2]

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RIver of soul – Marcomé – New World Music
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Image by Marcome : Ambient New Age Music
River of Soul is the second New World music album by Marcomé.
This pivotal sophomore release successfully fuses the dreaminess of New Age music, the sultriness of World and boasts an exotic palette of Latin sounds, Middle-Eastern instrumentation, jazz and African rhythms.

get your free songs at

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Nokia 5800 Xpress Music

Nokia 5800 Sim Free

As a true member of the Xpress Music series, the Nokia Xpress 5800 aims for the music lovers. It is one of the first Nokia devices that supports the innovative â??Comes with Musicâ?? service, which allows users to have a full access to music downloads for a year. The device features all those characteristics that will allow the users to enjoy their favourite music on the go.

The 5800 comes with a vast in built memory of 8GB expandable up to 16GB, great sound quality and easy access to all the main features. Nokia 5800 will enable the users to store more than 6000 music files, listen to them using the 3.5 jack and ensure superb quality with equalizer and audio surround.

Following the example of its competitors Nokia allows its users to access the Nokia Music Store, downloading albums, singles or simple mp3 files for their phone. Using the new software, Nokia Music PC for the personal computers, the users can achieve the perfect synchronization of their PC and mobile phone with a simple drag and drop.

The New Nokia 5800 Xpress Music is a device that boasts a resistive touch screen, with a selection of input methods. Users can choose from finger touch, stylus or plectrum, while there are some amazing features on, such as a handwriting recognition and mini QWERTY keyboard.

Thanks to the quite small size, the Nokia 5800 Xpress Music reminds us more of a candy bar phone than a typical rectangle smart phone. It comes at 111 x 51.7 x 15.5 mm and 102gr. The main advantage of this shape and size is that it gives people the chance to use it with one hand; this is actually very practical for those who want to enjoy its amazing features on the go. Combined with the hand shake control the 5800 seems a really practical and flexible device.

The Nokia 5800 XpressMusic boasts a 3.2 megapixel camera with an amazing Carl Zeiss lens; users can share their images and videos with friends online in Facebook or FlickR.  They also have the chance to share their favourite music using the in built Bluetooth, the online sharing abilities and of course the regular MMS application. 

Nokia promised music for the masses and it seems that it managed to do so, introducing the 5800 Sim Free XpressMusic. Sleek design, flexibility and a vast array of specifications in Sim Free mode, with no contract limitations and restrictions: What more can a modern user ask from a mobile phone?

I live and work in the South East of England I am married with 4 children. I am the publisher of several websites my latest being Sim Card & mobile phones

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Podcast Safe Music

Podcasting is the new thing in broadcasting nowadays. Practically anyone can create his own podcast and make himself known to the world. Perhaps the best thing about podcasting is that it is meant to be free. In addition to that, podcasts transcend the boundaries of traditional broadcasting. You may be from the US but anyone with access to the internet can listen to your podcast. A person may be in Timbuktu and yet have access to your podcast.

Music is inherent to the success of any podcast. It adds spice and flavor to an otherwise bland broadcast. That is why a large pool of resources has been developed by people in the podcasting community. Beginners and veterans a like search for the perfect background music or filler sounds for every podcast they make. So how do you go about looking for that spice?

Despite the freedom provided by podcasting, there are some issues you must address before jumping into the bandwagon and creating your own podcast. Copyright and intellectual property rights have been a main concern in all aspects of broadcasting for some time now and podcasting is not exempt from that. As a result, the term podsafe has come into existence. What exactly is podsafe? This term encompasses any material that may be used for podcasts without violating any copyright or license. A special thing about podsafe material is that the very same material might require some sort of license in other media but totally safe for podcasting. Due to the open community nature of podcasting, many songs, music, and other type of materials are allowed to be used for free exclusively for podcasts. While you might have to acquire the permission of the copyright holder for other broadcasting media, with podsafe material, you can use it freely in podcasts.

Some specific kinds of work are inherently podsafe. Works that fall under the public domain or some works with Creative Commons licenses can be used in podcasts without any issues. They are meant to be used, and used freely.

There are some entities on the web that license music especially for podcasts. Their podcast safe music is generally available to anyone for downloading and for use in free broadcasts over the internet. The only restriction they have is for the user to duly acknowledge the source. Anyone may also post music on their sites as long as the piece of work is totally original.

Some sites make their music available for no fee at all. On the other hand there are sites which promote artists â?? particularly independent ones â?? and charge a small fee for downloading their songs. Notably, these sites also offer labeled artists and are supposed to split the downloading fees with them.

The important thing to bear in mind when looking for podcast safe music is that most of the groups offering materials make them available to the general public for free. The caveat is that your podcast must not be used for commercial purposes. If that is the case, then you will have no problems finding the right track for your podcast. supplies a complete podcasting solution including podcast safe music and tips on creating podcasts.

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Let Music Convey: Background Music

Music is universal and music is impactful. It is very difficult to remain absolutely inert to the soothing and addictive effect of music. It is sometimes the words of the composition, sometimes the mood of the composition, or may be even sometimes exclusively the melody and rhythm that appeal to one. It therefore becomes not just a piece of composition but actually a means of venting and articulation, a release for both the composer and the listener. The background music in fact adds to an otherwise mundane occasion or happening. It kind of pulls up the value and impact of the respective occurrence of situation in whichever form or content it may be placed. The new bands that are emerging with the broadening of scopes also have a significant contribution to make pertaining to the same.

The background music in fact has no specifications as far as the area of usage is concerned. It can be utilized in all or any as per the requirement and the relevance. The music in the backdrop actually enhances the impact on the viewer or listener. It can bring about a remarkable change in the reaction of the audience in the same given framework. It has the catalyst effect that triggers the escalation of both pace and progress. The usage of this type of music can be used for any kind of occasion. All that one needs to keep in mind is that the appropriateness and relevance of the background music is taken care of.

The background music need not always refer to the instrumental music that is playing in the backdrop of some occasion. The performance of the new bands can also provide the perfect backdrop music to an occasion be it personal or professional. The business concerns have quite a number of parties. Either for the purpose of advertisement or product launching or even attracting prospective clients with lucrative opportunities any of them can call for a professional gathering. It is but obvious that the individual in charge of the arranging the entire occasion is under too much pressure to have the adequate time to go through all the different types of music and select the best of the lot.

Under such circumstances the new bands come in to the scenario. In case they give an impressive performance and the clients are pleased with the concern, both the concern and the band is benefitted. The concern gets the deal and the band gets the exposure and the platform to excel and establish. The background music plays an integral part as far as the success or failure of the party is concerned. It can be an ideal way to make the client feel pampered and spoilt. It makes them feel important and thereby in return drives the decision of the deal in favor of the concern.

However since the background music plays such an important role the selection of the right band among numerous new bands is very essential. After all it is the prudent and informative decision that pays off rich dividends for the rest if the life.

Daina Smith is a music lover. She has good knowledge on background music. For more information on new bands she recommends to visit

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MLK Tribute

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MLK Tribute
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Image by jurvetson
Bono working the camera up close….

In the middle of Pride (In the Name of Love), Bono rolls into a characteristic political message mid-song:

“This dream is not just an American Dream.
It’s also an Irish dream.
A European dream. An African dream. An Israeli dream.
[multi-beat pause] Also a Palestinian dream.”

and then the Edge drops into his favorite guitar riff…

ST 24 47
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Image by Jim Surkamp

This post corresponds to the portion of the video called Jasper Thompson’s Destiny Day that begins at 1:47:44 (hour-minutes-seconds)

The illustrated story:…

Robert K. Beecham a white Wisconsin-born officer for the 23rd wrote they had recruited some “pretty hard cases” in Baltimore and Washington, but:

As a rule the men were sober, honest, patriotic and willing to learn and fulfill the duties of soldiers. . . The 2nd Wisconsin was not as sober and temperate as the 23rd U.S. Colored Troops, (in fact) there was never an organization of 1,000 men in all this broad, free America where a woman was held in greater esteem or her honor more sacred.” Beecham added the men “were not filthy, rather the opposite and “for that reason if for no other, I would prefer to command a company of regiment of black, rather than white soldiers.”

The 23rd resumed escorting the infinite train of wagons to the front and returning with wounded to the ships at Belle Plain, facing ambushes en route.

J. Rickard wrote:

There were not ambulances enough for the emergency, and the baggage wagons had to be used. The roads were very rough; it was a most pitiful situation, the shrieks and groans of the men, as the

wheels would strike stumps or sink suddenly into holes in the deep ruts which had been formed. It was necessary to have a strong guard all the way with the teams, to prevent surprise and capture of the trains.

Capt. James H. Rickard wrote of the 19th regiment on the volume of provisions needed:

I shall never forget a sight I beheld that morning. The cattle for the Ninth Corps were herded in a valley a mile or two in diameter, and they completely filled it, and at sunrise it was a magnificent sight as I beheld them from an eminence near by. . . .

Before crossing the James they were all eaten. This gives something of an idea what it took to supply provisions for such an army.

The first sight for central Virginians of black men in blue coats with muskets and bayonets drew violence,

consternation, fear or sublime joy for those enslaved. Their Redeemer had arrived.

Wrote Sergeant John C. Brock:

The slaves come flocking to us from every part of the country. You see them coming in every direction, some in carts, some on their master’s horses,

and great numbers on foot, carrying their bundles on their heads. They manifest their love for liberty by every possible emotion.
As several of them remarked to me, it seemed to them like heaven, so greatly did they realize the difference between slavery and freedom.

They were all sent to White House Landing in wagons. From hence they are to be taken to Washington in transports.

We have been instrumental in liberating some five hundred (152) of our brothers and sisters and brethren from the accursed yoke of human bondage

June, 1864 – Pvt. William Johnson of the 23rd confessed his guilt to the charges of desertion and rape and was executed within the outer breast works at Petersburg, on an elevation, and in plain view of the enemy, a white flag covering the ceremony. The site is near where the current visitor center sits.

Wrote blogger historian James Price:

June 15-18, 1864 – 23rd participates in the opening battles outside of Petersburg. Rebels under P.G.T. Beauregard hold on to the city, however, and a siege begins. The 23rd is engaged in building fortifications until late June.

In July, Gen. Burnside’s proposed mine attack against the Confederate lines along the Jerusalem Plank Road was underway.

“Towards the end of the digging, members of the 23rd United States Colored Troops were employed to carry dirt from the mine in sacks.

They also hauled timber to the gallery [of the mine] for framing its sides.”

On the Eve of the Battle of the Crater – July 29th, 1864:

Music notation of the song the African American troops sang to prepare for battle written down by Henry Gordon Thomas.

The black men in blue were in high spirits on the eve of the battle outside Petersburg. But when Gen. Thomas told them higher-ups took away their planned position as the leading attack division – the African-American division – of the four – they stopped singing that song.

Henry G. Thomas:
Until we fought the battle of the crater they sang this song (563) every night to the exclusion of all other songs. After that defeat they sang it no more.

About 3 AM, the morning of the battle we were up after a short sleep under arms. Then came the soldiers’ hasty breakfast. ” This morning our breakfast was much like that on other mornings when we could not make fires: two pieces of hard-tack with a slice of raw, fat salt pork between, not a dainty meal, but solid provender to fight on. And black coffee.


When all preparations were made, we lay down for a little sleep, and were awakened

shortly after daylight by the explosion and the terrible discharge of cannon, that made the ground tremble as by an earthquake.

At 4:45 came a dull, heavy thud, not at all startling;

it was a heavy, smothered sound, (but) here was a mine blown up, making a crater from 150 to 200 feet long, 60 feet wide, and 30 feet deep,


The First Division only went as far as the crater and stopped, and it was nearly an hour before the colored troops were ordered in, having been standing crowded in the covered ways leading up to the breastworks.

Montage: Federal divisions jammed around the Crater, face fire from both sides in the breastworks, and artillery to the right and front, and seek safety in the crater.

The First Division of white soldiers advanced with little opposition but jammed in the narrow, six foot passageway beside the crater, unable to advance. The 2nd Division, now under fire became stuck similarly and were being fired upon from along the breastworks and artillery in front,

driving them for the safety inside the crater. The same occurred with the 3rd Division of white soldiers. Their orders did not anticipate the jam in the passageways and close range gunfire

and their commander Gen. Ledlie who commanded the lead division was not there.

The Charge of the USCT 23rd to the Crater

Hurd remembered that “it seemed [to take] forever [to move forward]. The whole [division]…filed through a single parallel…

we were hindered by officers and orderlies coming to the rear, the parallel being only six feet wide.” – Diary of Warren H. Hurd, 30 July 1864, Private Collection


The crater was already too full; that I could easily see. . . My brigade moved gallantly on right over the bomb-proofs and over the men of the First Division & as we mounted the pits, a deadly enfilade from eight guns on our right and a murderous cross-fire of musketry met us. Among the officers, the first to fall was the gallant Fessenden of the 23d Regiment

Zelotis Fessenden

John Hackhiser

William Flint

H.H. Aiken

Theodore Rockwood

. . . Liscomb of the 23d then fell to rise no more; and then Hackhiser of the 28th and Flint and Aiken of the 29th. Major Rockwood of the 19th then mounted the crest and fell back dead, with a cheer on his lips.

Nor were these all; for at that time hundreds of heroes “carved in ebony” fell. These black men commanded the admiration and respect of everyone who beheld. (564)

About eight hundred feet from the crater, having been reached, we leaped from the works and endeavored to make a rush for the crest. . . .

Lieutenant Christopher Pennell, hastened down the line outside the pits. With his sword uplifted in his right hand and the banner in his left, he sought to call out the men along the whole line of the parapet. In a moment, a musketry fire was focused upon him, whirling him round and round several times before he fell. . . (and he

probably sleeps among the unknown whom we buried (unrecognized) in the long deep trench we dug.)

ize-medium wp-image-17393? />After being driven back into the crater, Thomas reorganized his men and followed orders to charge and capture the Confederates at the crest.

I then directed the commanders of the 23d, 28th, and 20th regiments to get their commands . . . together. As I gave the order, Lieutenant-Colonel John A. Bross, taking the flag into his own hands, was the first man to leap from the works into the valley of death below. He had attired himself in full uniform, evidently with the intent of inspiring his men.

John A. Bross 1826-1864

Memorial of Colonel John A. Bross, Twenty-Ninth U.S. Colored Troops, Who Fell in Leading the Assault on Petersburgh, July 30, 1864. 20 October 2003 Web. 10 February 2017.

He had hardly reached the ground outside the works before he fell to rise no more. He was conspicuous and magnificent in his gallantry. The black men followed into the jaws of death, and advanced until met by a charge in force from the Confederate lines. (566)

The 23rd charged forward but could not get past the crater itself.

Lt. Beecham remembered of the crater:

Pvt. George Washington – Henry Kurtz Collection – USAMHI.

“The black men formed up promptly. There was no flinching on their part. They came to the shoulder like true soldiers, as ready to face the enemy and meet death on the field as the bravest and best soldiers that ever lived.”

John Elder’s famous painting of the 12th Virginia

Beecham and the rest of the 23rd held a portion of the crater until around 2 p.m. when the Confederates counterattacked and swept over them, killing many men who were attempting to surrender.

The 23rd sustained the heaviest losses of the entire Fourth Division.

Of this last scene in the battle the Confederate General Bushrod R. Johnson says in his official report:

I proceeded to concert a combined movement on both flanks of the crater.
A third charge a little before 2 PM gave us entire possession of the crater and adjacent lines.

These movements were all conducted by General Mahone, while I took the 22d and 23d South Carolina into the crater and captured three colors and 130 prisoners.


One little band, after my second charge was repulsed, defended the entrenchments we had won from the enemy, exhibiting fighting qualities that I never saw surpassed in the war. This handful stood there without the slightest organization of company or regiment, each man for himself, until the enemy’s banners waved in their very faces. Then they made a dash for our own lines, and that at my order.

B&L 2 p. 675 two image charging line and firing line

It was now too late, as their second line of works was full of men, brought up from each flank, and our men were not only exposed to the terrible musketry fire in front, but to an enfilading fire of shell, grape and canister that no troops could withstand, and the charge was made through a line of white troops going to the rear. The slaughter was terrible….

Gen. H. G. Thomas, who commanded a brigade of colored troops at Petersburg says:
“I lost in all thirty-six officers and eight hundred seventy-seven men; total, nine hundred and thirteen. The Twenty-third Regiment entered at the charge with eighteen officers, it came out with seven. The Twenty-eighth entered with eleven officers, it came out with four. The Thirty-first had but two officers for duty that night.
Had the colored troops led the assault, their subsequent attack proved they would have led the way clear through the enemy’s entire line, on to Cemetery Hill, and the other troops would have followed, and the awful slaughter by an enfilading fire at the crater been prevented.

Hereafter let no man say that black troops, led by graduates of Harvard and Yale, and the sons of the first families of the North, will not fight.

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