Miracle on U Street and Bohemian Caverns

Nelson, Daryl. “Wale Goes Go-Go on ‘Miracle on U Street.’” The Boombox, 19 Dec. 2014, http://theboombox.com/wale-miracle-on-u-street/.

 

In his article on the “BoomBox”, Daryl Nelson introduces DC native Wale and his song “Miracle on U Street”. Nelson tells his audience that in addition to his mixtape “Festivus” he released this song as a sort of Christmas present for his hometown. Furthermore, he explains where Wale’s song’s title comes from as he tells us that it is obvious play on the classic holiday film ‘Miracle on 34th Street.’ In addition to that explanation, Nelson provides some of the song’s lyrics in order to relate them to U Street. Finally, he ends with Wale’s next appearances and the names of the cities he will be in.

This article contains a production of a rapper who was brought up by the producers present in U Street. It gives my research an argument/exhibit source that exemplifies the connection between contemporary musicians and the musical U Street. It expands my research to the life of a famous rapper and his music. The article shows that his music contains the rhetoric which was created by a thankfulness and love for U Street. With this research I can show an example of U Street’s success as well as support my argument of its musically rich nature. Lastly, I can use the information present in this source and be sure it is reliable because it contains a contemporary document created by a DC native.   

Musician Quincy Phillips sets up his drums for one last live jazz performance
Stein, Perry. “A Legendary Jazz Club Is the Latest Icon to Close on U Street.” Washington Post, 28 Mar. 2016, https://www.washingtonpost.com/local/bohemian-caverns-hosts-its-final-show-as-u-street-continues-to-change/2016/03/28/8d460ec6-f4ee-11e5-8b23-538270a1ca31_story.html.
Perry Stein describes the end of an era, in his article on the “Washington Post”, as a legendary jazz club opens its doors for one last jazz performance. He explains that the prominent contemporary musician for the Bohemian Caverns, Quincy Phillips, prepares for a bittersweet last jazz performance of the venue. Moreover, Stein portrays the Bohemian Caverns as a centennial venue which has seen many changes to U Street. For example, he tells his audience how the venue withstood the riots in the 20th century and continued to produce live jazz performances for DC. In addition to that, he also takes the feelings of contemporary musicians, which played at the venue, and describes them to us as he quotes their nostalgic words. Finally, he ends with the heart broken remarks in which the owners of Bohemian Caverns describe that they cannot afford to renew the lease.
This article contains a venue which withstood all the eras of U Street but has suffered the consequences of cultural mixing and basically time. It gives my research an argument and describes the effect of multicultural populations in U Street. Likewise, it gives me an example of a centennial venue which could not accommodate the contemporary tastes of music. Therefore, I may also use it as an exhibit in order to help my audience understand my argument. Lastly, it is a credible source of information because it is about a real jazz club in U Street.

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