DOCSLIB.ORG

GEM 55 03 Last Updated: 4/17/2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GEM 55 03 Last Updated: 4/17/2012 HARVARD UNIVERSITY PRESS • 79 Garden Street • Cambridge, MA 02138 GEM_55_03 Last updated: 4/17/2012 PROJECT INFORMATION AUTHOR TITLE COMMENTS PAGE LAYOUT — 4/16/2008 Trim: 51/2 ″ × 81/4″ Head: 5/8″ Back: 13/16″ GENERAL INFORMATION — 4/7/2009 Tracking (letter spacing) is given in InDesign (InD) units: please match. For general makeup follow HUP’s house style for anything not covered here. FONTS— 4/7/2009 LegacySerITC-BookItalOS; LegacySerITC-BookOS; LegacySerITC-BookSC; LegacySerITC-MediSC; LegacySerif-Book; TNTSets; TNTTrixieExtra-Regular; TNTTrixieLight-Regular; TNTTrixiePlain-Regular KEYMARK ELEMENT SPECIFICATIONS T Body Text 10.25/14.5 LegacySerifBookOS × 24P just. • Text lines per page: 30 • Figures: oldstyle 4/16/08 throughout (except in note reference numbers) • Paragraph indent: 10pt, none following space breaks. Running Heads Head is measured to top of Running head. See attached mock ups for measurements regarding 10/19/09 folios, rules, and running heads. 8.5 pt LegacyMediumSerifSC, even sc, centered—LRH; letterspace 550 InD units, RRH; 270 InD units. note: when RHs match, use spec for LRH Folio: 9pt LegacySerifBookOS, centered, 30pts b/b from last line of standard 30 line text block. Note: Folio position remains fixed regardless of where last line falls. Front Matter FM_HT Half Title 12/18 Legacy Serif ITC, Medium SC, Centered, letterspace InD Track 150, 168.41pts trim to base. 4/8/09 FM_TP_TITLE Title Page 21/21 Legacy Serif ITC, Medium SC, Centered, letterspace InD Track 150, 168.41pts trim to base. 4/8/09 FM_TP_AU 14.5/14.5 Legacy Serif ITC, Book OS, Centered, letterspace InD Track 50, 160.5pts b/b from above. 4/8/09 FM_TP_HUP 10.5/14.5 Legacy Serif ITC, Medium SC, Centered, letterspace InD Track 150, 143.5pts 4/8/09 FM_TP_ADD1 8/14.5 Legacy Serif ITC, Book OS. 4/8/09 FM_DED Dedication 12/14.5 Legacy Serif ITC, Book Italic OS, Centered, 136.91pts trim to base, 78.26pts extra below. 4/8/09 FM_CRITE1 Copyright 8.25/10.5 Legacy Serif ITC, Book OS, Centered, 1 line space between sections, aligned at base of 4/8/09 regular page. FM_CRITE2 8.25/10.5 Legacy Serif ITC, Book SC, Centered, letterspace InD Track 150, 21pts b/b from above. 4/8/09 FM_CRITE3 8.25/10.5 Legacy Serif ITC, Book Italic OS, Centered, 21pts b/b from above. 4/8/09 FM_CRITE4 8.25/10.5 Legacy Serif ITC, Book OS, Centered. 4/8/09 FM_CONT_CT Contents 9.75/14.5 Legacy Serif ITC, Book OS, Flush Left, 30pts in from left, folios align right at 24pts from 4/8/09 flush right. FM_CONT_PT 9.5/24 Legacy Serif ITC, Medium SC, Centered, letterspace InD Track 100, 4.5pts extra below. 4/8/09 GEM Design GEM_55_03 1 Filename:005881_GEM_55_03_010_Specs_TXT_APP.indd KEYMARK ELEMENT SPECIFICATIONS PART OPENER PN Part Number All part titles start on new recto. 12p head margin to base, 25 pt LegacySerifBookSC, 50% black. 4/16/08 PT Part Title 6p from PN, 12 pt. LegacyMediumSerifSC, C/sc. 4/8/09 CHAPTER OPENER — 1st chapter and chapters following PTs start recto, all other chapters run- in to preceding text. Note: There must be at least 5 lines after CT on same page, otherwise start chap on next page. CN Chapter Number 8p1 from head margin to base when at top of page, otherwise, 4p10 from last line of preceding 4/16/08 chapter, 21pt LegacyMediumSerifSC, ctrd. CT Chapter Title 2p5 (b/b from CN), 12/14.5 pt LegacyMediumSerifSC, C/sc, letterspace 150 InD units, ctrd. 4/17/12 note: when CT requires 2- lines, try to break at colon. EP1 Epigraph 3p8 (b/b) from ET or CT, 9.5/14.5 LegacySerifBookOS, indents 1p2.5 left and right, justified 4/8/09 (except verse—which should set fl. left). EP2 Epigraph 2p5 (b/b) from preceding EPS, 9.5/14.5 LegacySerifBookOS, indents 1p2.5 left and right, justified 4/8/09 (except verse—which should set fl. left). EPS Epigraph Source 1p2 (b/b) from EP above, fl. right at 2p5 from right margin, 9.5 LegacySerifBookSC, even sc. 4/8/099 DI First para on opener 3p8 (b/b), first line indents 4p10, Initial cap: 20.5 pt LegacyMediumSerifSC. 4/16/08 HEADINGS 1 1 Head 11.5/14.5 LegacySerifBookOS, centered. Hold 1- 1/2LS above, 1/2LS below. 10/19/09 2 2 Head 10.25/14.5 LegacySerifBookOS italic, centered. Hold 1LS above, 1/2LS below. 10/19/09 MISC. TEXT ELEMENTS EXT1 Extract 9.5/14.5 LegacySerifBookOS, ragged right, 1/2LS above and below, indents 10pts left and right. 10/19/09 Extract (letter) Set letters same as regular exts, except set last lines (as needed) to indent extra 10pts from left. DLG1 Dialogue Extract 9.5/14.5 LegacySerifBookOS, ragged right, 1/2LS above and below, indents 10pts left and right. 10/19/09 Speaker’s names set flush left x measure in italic ulc. En space to dialogue. Turnovers to dialogue indent 2 ems under line above, and align throughout. UL1 Unnumbered List Set in same size as context, FLRR x measure. Para indent left and right. Turnovers indent 1 em 10/19/09 under line above and align throughout. 1/2LS above and below. SPCBRK1 Spacebreak Set 2LS for any spacebreak then set new paragraph to indent on first line 4p10. Min. 2 text lines at 4/16/08 bottom of page after spacebreak, otherwise set new para. to start on 3rd line of next page. NL1 Numbered list 9.5/14.5 Legacy, flush L at 2ems. Number flush right at 1p4. 1/2 line space between first and last 10/11/10 item in NL and running text. V Verse 9.5/14.5 LegacySerifBookOS, fl. left., 1/2LS above and below, indents 1p9.75 left and turnovers 4/8/09 indent 6pts. Note: when punctuation is a start of line of verse hang the mark into the indent (also on EPs). FIGURES — All 6 figures are set in sample pages—follow mark- ups for sizing and positioning. CAP1 Captions 9/12 LegacySerifBookOS, fl. left, indents 1p2, sets 1p2 (r/b) from figure above. Rule below: 1/4 pt 4/8/09 thick, sets to caption width, leave at least 2p5 (b/b) from caption to std. text below. • Must be at least 5 lines of std. text below caption, otherwise set figure and caption on page with no std. text. GEM Design GEM_55_03 2 Filename:005881_GEM_55_03_010_Specs_TXT_APP.indd KEYMARK ELEMENT SPECIFICATIONS ENDMATTER 10/19/09 EMHT Sink 8p1 to first line. Set 13/29 LegacySerifBookSC, centered. Letterspace 250 InD units. ET EM Title 10p6 head margin to top, 12 pt LegacyMediumSerifSC, C/sc, letterspace 150 InD units, centered. 4/17/12 AN/AT Appendix Number Set to ET spec. 10/11/10 AT Appendix Title Set to ET spec. 10/11/10 A A 9.25 pt LegacySerifBookSC, centered, even sc. 1p11 b/b from preceding line, 1p4 to new text 4/8/09 below. Must be two lines at bottom of page following A- Head. ENOT_V Verse in Notes Indent extra 6pts, 1/2 LS before and after. 4/16/08 ENOT Endnotes 9.5/13 LegacySerifBookOS, Numbers flush right at 1p2, text flush left 7 pts from numbers. 4/8/09 BIB Bibliography 9.5/13 LegacySerifBookOS, fl. left, 1/2 LS between entries, turnovers indent 2P. 4/8/09 4/8/09 Index 8/10 LegacySerifBookOS, fl. left, 2 col. 11p6 x 1p x 11p6. Indents 1 em where nec. 2 line spaces between alphabet breaks. GEM Design GEM_55_03 3 Filename:005881_GEM_55_03_010_Specs_TXT_APP.indd FM_HT Stagolee Shot Billy S R L 005881_GEM_55_03_020_Samp_TXT_APP • 11/10/17 10:23:33 AM • i S R L 005881_GEM_55_03_020_Samp_TXT_APP • 11/10/17 10:23:33 AM • ii FM_TP_ Stagolee Shot Billy TITLE Cecil Brown FM_TP_AU Harvard University Press FM_TP_HUP S Cambridge, Massachusetts, and London, England FM_TP_ ADD1 R L 005881_GEM_55_03_020_Samp_TXT_APP • 11/10/17 10:23:33 AM • iii FM_DED To Alan Dundes, with great admiration FM_CRITE1 Copyright © 2003 by Cecil Brown FM_CRITE2 all rights reserved Printed in the United States of America FM_CRITE1 Publication of this book has been supported through the generous provisions of the Maurice and Lula Bradley Smith Memorial Fund First Harvard University Press paperback edition, 2004 FM_CRITE3 Library of Congress Cataloging- in- Publication Data Brown, Cecil, 1943– FM_CRITE4 Stagolee shot Billy / Cecil Brown. p. cm. Includes bibliographical references and index. ISBN 0- 674- 01056- 6 (cloth) ISBN 0- 674- 01626- 2 (pbk.) 1. Stagolee (Legendary character) 2. African Americans—Songs and music—History and criticism. 3. Ballads, English—United States—History and criticism. 4. Literature and folklore—United States. 5. African American criminals—Folklore. 6. African American men in literature. 7. African American men—Folklore. 8. Saint Louis (Mo.)—Folklore. 9. African Americans—Folklore. I. Title. S PS478.B76 2003 813.54—dc21 2002192241 R L 005881_GEM_55_03_020_Samp_TXT_APP • 11/10/17 10:23:33 AM • iv ET Acknowledgments Many people helped in the making of this book. It was Alan Dundes who first urged me to write a complete history of Stagolee. Further encouragement came from Charles Henry, Jan Mohammed, Olly Wilson, and Amin Sweeney. Tom Luddy gave the manuscript to Greil Marcus, who in turn gave it to Lindsay Waters at Harvard University Press, and Lind- say’s perseverance and patience brought the project to completion. Zachary Taylor helped me organize the chapters. My ideas about Stagolee were refined in the course of valuable discussions with Al Young, Ishmael Reed, Mel Watkins, Steve Jami- son, David Henderson, Quincy Troupe, Billy Woodberry, Phil Kaufman, Paul Wilner, Leon Litwack, Sterling Stuckey, George La- kov, Quincy Troupe, Big John Henry, Jürgen Streeck, Dr.
Load more

Recommended publications
  • Crime, Law Enforcement, and Punishment
    Shirley Papers 48 Research Materials, Crime Series Inventory Box Folder Folder Title Research Materials Crime, Law Enforcement, and Punishment Capital Punishment 152 1 Newspaper clippings, 1951-1988 2 Newspaper clippings, 1891-1938 3 Newspaper clippings, 1990-1993 4 Newspaper clippings, 1994 5 Newspaper clippings, 1995 6 Newspaper clippings, 1996 7 Newspaper clippings, 1997 153 1 Newspaper clippings, 1998 2 Newspaper clippings, 1999 3 Newspaper clippings, 2000 4 Newspaper clippings, 2001-2002 Crime Cases Arizona 154 1 Cochise County 2 Coconino County 3 Gila County 4 Graham County 5-7 Maricopa County 8 Mohave County 9 Navajo County 10 Pima County 11 Pinal County 12 Santa Cruz County 13 Yavapai County 14 Yuma County Arkansas 155 1 Arkansas County 2 Ashley County 3 Baxter County 4 Benton County 5 Boone County 6 Calhoun County 7 Carroll County 8 Clark County 9 Clay County 10 Cleveland County 11 Columbia County 12 Conway County 13 Craighead County 14 Crawford County 15 Crittendon County 16 Cross County 17 Dallas County 18 Faulkner County 19 Franklin County Shirley Papers 49 Research Materials, Crime Series Inventory Box Folder Folder Title 20 Fulton County 21 Garland County 22 Grant County 23 Greene County 24 Hot Springs County 25 Howard County 26 Independence County 27 Izard County 28 Jackson County 29 Jefferson County 30 Johnson County 31 Lafayette County 32 Lincoln County 33 Little River County 34 Logan County 35 Lonoke County 36 Madison County 37 Marion County 156 1 Miller County 2 Mississippi County 3 Monroe County 4 Montgomery County
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Telling and Retelling the Tale. Adapting the Murder Ballad 'Duncan and Brady'for the Stage As Past and Future Visions of a Folk Crime
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Charlton, James Martin ORCID: https://orcid.org/0000-0001-9066-4705 (2016) Telling and retelling the tale. adapting the murder ballad ‘Duncan and Brady’ for the stage as past and future visions of a folk crime. Writing in Practice: The Journal of Creative Writing Research, 2 . ISSN 2058-5535 [Article] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/18923/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award.
    [Show full text]
  • NUTTALL's" Fri
    Arizona Tribune, Friday August 2\ 1959. page 3 JAZZ STAB 3ITS OF THIS AND THAT Edwards sang • \ He Tommy two songs on Dick Clark’s TV show Saturday night. Gofiikut It is ironical that Billie Holiday’s albums will BY BUCK ROGERS bring more fortune to the recording companies than People she ever received. Stet'Aand fish have a lot in or riffles. In all probability, you common. can find such a stream close Louis Jordan’s ex-wife This fact becomes evident to your home. Fleecie bought a Chicago when you glance around your Then, gather your equipment tavern to add to her real town, and note people’s habits. together. You’ll need a boat, estate holdings. On the hot afternoons you’ll preferably a large canoe or find them in the air-conditioned jazz appear- “John” type boat, a matching That show buildings, huddled around a outboard, ing Regal paddles, sleeping and in Chicago’s whirling fan, or hunkered in cooking equipment, and a sup- Theater cost SIB,OOO. the shade. Only the . foolish ply of food. At this season, The crowds shelled out youngsters will be dashing you’ll also need a cooler full of about in the sun. ; ice. And, don’t forget your fish- $40,000 to shatter an all But, the in evenings things | ing tackle. time record. begin to happen. People move ' If weekend is all the time out a Top vocalist Dinah Wash- into their backyards to bar- you have, select a campsite that becue meal, they ington wed a New York the evening can be reached by road, and put to or flock the drive-in movie, ; your boat in the water Friday cabbie.
    [Show full text]
  • October 1-3, 2017 Greetings from Delta State President William N
    OCTOBER 1-3, 2017 GREETINGS FROM DELTA STATE PRESIDENT WILLIAM N. LAFORGE Welcome to Delta State University, the heart of the Mississippi Delta, and the home of the blues! Delta State provides a wide array of educational, cultural, and athletic activities. Our university plays a key role in the leadership and development of the Mississippi Delta and of the State of Mississippi through a variety of partnerships with businesses, local governments, and community organizations. As a university of champions, we boast talented faculty who focus on student instruction and mentoring; award-winning degree programs in business, arts and sciences, nursing, and education; unique, cutting-edge programs such as aviation, geospatial studies, and the Delta Music Institute; intercollegiate athletics with numerous national and conference championships in many sports; and a full package of extracurricular activities and a college experience that help prepare our students for careers in an ever-changing, global economy. Delta State University’s annual International Conference on the Blues consists of three days of intense academic and scholarly activity, and includes a variety of musical performances to ensure authenticity and a direct connection to the demographics surrounding the “Home of the Delta Blues.” Delta State University’s vision of becoming the academic center for the blues — where scholars, musicians, industry gurus, historians, demographers, and tourists come to the “Blues Mecca” — is becoming a reality, and we are pleased that you have joined us. I hope you will engage in as many of the program events as possible. This is your conference, and it is our hope that you find it meaningful.
    [Show full text]
  • Rhythm, Dance, and Resistance in the New Orleans Second Line
    UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
    [Show full text]
  • Torben Amstrup Christensen The
    1 Torben Amstrup Christensen The forgotten ”jazz ballads”. Jazz: A music created mainly by African-Americans in the early 20th century through an amalgamation of elements drawn from European-American and tribal African musics. A unique type, it cannot safely be categorized as folk, popular, or art music, though it shares aspects of all three. (www.oxfordmusiconline.com). Op gennem 1920’erne erobrede grammofonpladerne markedsandele i den hurtigt eksskalerende amerikanske underholdningsindustri. På trods af at mediets muligheder – med vore dages øjne - på mange måder var begrænset, fx af de gamle shellack pladers max spilletid på ca. 3 minutter og en – til tider - meget diskutabel lydkvalitet. Grammofonens succesfærd ramte bredt. Både i storbyerne og i landdistrikterne blev der solgt flere og flere af dem specielt til folk fra middelklassen, og sammen med det ligeledes hurtigt voksende radiomedie gav det nu lytterne muligheder for at høre musik med favoritnavne, der ikke før havde været inden for rækkevidde, hvis de da ikke lige spillede et sted i nærheden og man vel at mærke havde råd til billetten. Det voksende antal pladelabels var dygtige til at afsøge markedets mange muligheder. Man indførte fx kategorierne/etiketterne race records og hillbilly for at markere overfor publikum at kunstnerne enten var afro-amerikanere eller ”hillbillies”. Samtidig fortalte etiketterne, at pladerne primært var tiltænkt et henholdsvist afro-amerikansk eller hvidt landarbejder publikum. Da den tidlige jazz i mange tilfælde blev spillet af afro-amerikanske musikere, hørte de således oftest hjemme i race records kassen. 20’ernes jazzrepertoire var en blanding af sange/ melodier hentet fra mange traditioner, fx marchband repertoiret – High Society, I’ll be Glad When You’re 2 Dead You Rascal You, ragtime og blues – Dippermouth Blues, St Louis Blues, West end Blues, gospel – When The Saints go Marchin’ in og hvad man bredt kunne kalde american popular songs – fx Hoagy Carmichaels Rocking Chair og Lazy River (Carmichael, Arodin).
    [Show full text]
  • Session Abstracts (Final)
    2010 ARSC Conference [FINAL] A&R: JAZZ Thursday 11:15a-12:30p Session 1 Session Abstracts for Thursday Hidden Gems: Preserving the Benny Carter and Benny Goodman Collections Ed- ward Berger, Vincent Pelote, and Seth Winner, Institute of Jazz Studies, Rutgers University, THE SOUNDS OF NEW ORLEANS Newark, NJ Thursday 8:45a-10:45a Plenary Session In 2009 the Institute of Jazz Studies received a major grant from the Andrew W. Mellon Foundation to digitize two of its most significant bodies of sound recordings: the Benny WELCOME David Seubert, President, ARSC Carter and Benny Goodman Collections. The Carter Collection comprises the multi- The opening session introduces us to the music of New Orleans and the rich history of instrumentalist/arranger/composer’s personal archive and contains many unique perform- recording in the city. ances, interviews, and documentation of events in Carter’s professional life. Many of these tapes and discs were donated by Carter himself, and the remainder by his wife, Hilma, shortly after Carter’s death in 2003. The Goodman Collection consists of reel-to- RECORD MAKERS AND BREAKERS: NEW ORLEANS AND SOUTH LOUISIANA, 1940S- reel tapes compiled by Goodman biographer/discographer D. Russell Connor over four 1960S: RESEARCHING A REGION'S MUSIC John Broven, East Setauket, NY decades and donated by him in 2006. It represents the most complete collection of This presentation will be based on Broven’s three books: Walking to New Orleans: The Goodman recordings anywhere. As friend and confidant to Goodman, Connor had access Story of New Orleans R&B (1974, republished as Rhythm & Blues in New Orleans in to the clarinetist’s personal archive, as well as those of many Goodman researchers and 1978), South to Louisiana: The Music of the Cajun Bayous (1983), and Record Makers collectors worldwide.
    [Show full text]
  • The Man Who Invented Jazz? C O on the Surface, It May Seem a Stretch; on Closer Inspection, It’S an Entirely Appropriate Honor
    EARLY NFL B B N C E JELLY ROLL MORTON IN THE ROCK AND ROLL HALL OF FAME? The man who invented jazz? C o On the surface, it may seem a stretch; on closer inspection, it’s an entirely appropriate honor. A music that has always borrowed liberally from other streams in its ongoing evolu­ tion would and should embrace as one of its own an artist imbued with the sensibility that bespeaks great art in general, rock & roll in specific: a zeal for adventure, disdain of the status quo, an innate drive to push the boundaries of convention until the artist breaks on through to the other side with something so new and brazen it’s virtually indefinable -I but talismanic to all the daring souls courageous enough to follow the same path. C o Remember that in the late 1920s, when Louis Armstrong was cutting his monumental sessions with his Hot Five and Hot Seven ensembles, Morton was charging ahead with his equally formidable Red Hot Peppers recordings. Ceding nothing to Satchmo, Morton made sure everyone knew of his achievements and even wrote a song about himself, called “Mr. Jelly Lord,” that pretty much said it all. He was styling at every turn, surrounding himself with Leader of the Band: beautiful women, dazzling the commonfolk with ° conducts his Red Hot his expensive, tailored suits and sporting a million- Peppers, circa 1928 dollar smile that revealed a diamond embedded in one tooth. C o But attitude will get you only so far. Jelly Roll backed up his braggadocio with a body of work that reveals him to be an extraordinary, even visionary, composer, bandleader, arranger and musician.
    [Show full text]
  • 2004 Annual Report
    2004 ANNUAL REPORT JEFFREY G LANGSTON JUSTIN LANGSTON WILLIAM KENNETH LANHAM III PATSY A LANIER SCOTT J LANIER MICHAEL K LANINGHAM MELVIN C LANINGHAM JR BETTY M LANKFORD CHARLES S LANKFORD JAMES D LANMAN JERI D LANO WILLIAM E LANO MASON R LANTRIP MARK S LAPINSKY BRYAN GILBERT LAPOINT JOHN D LARGE TERESA L LARGENT GREGORY LARK ERIC D LARMORE DAVID S LARRABEE DEON G LARSEN DESIRAY LARSEN ERIK D LARSEN JERAD J LARSEN JOHN LARSEN KENT H LARSEN KEVIN D LARSH REBECCA G LARSH DANIEL E LARSON DWAIN E LARSON KEN D LARSON MARK S LARSON RAYMOND K LARSON TERRY D LARSON LONNIE K LARUE VENITA LARUE BRAD ROBERT LASHER MARIO ANTRONE LASHLEY JOHNNIE LASSITER LEROY LASSITER TYLER L LAST JERRY W LASTER JR GIL A LASTRAPES ANDREW K LATHROM STEVEN M LATRAY GILLIAN LATSHAW DANNY LATTY JAMES P LAUDENKLOS SCOTT J LAURENTI KELLY C LAURITZEN RONNIE LAUTZENHEISER JEREMY M LAUZON JEROME W LAVOIE MICHAEL T LAWHON DAVID M LAWLER ROBERT JOHN LAWLER JOSEPH C LAWLESS D R LAWRENCE GLENN A LAWRENCE JAMES LAWRENCE JARON O LAWRENCE TONY E LAWRENCE ROBERT LAWRENCE JR ROBERT W LAWRENCE SR LARRY D LAWSON CHARLES S LAWSON DONNA LAWSON JACK E LAWSON KAITLIN LAWSON MICHAEL L LAWSON RICHARD B LAWSON T O LAWSON STEVE LAXTON JOHN P LAY JR J MICHAEL LAYDEN RICHARD W LAYDING BARRY LAYNE LINDA K LAYTON ROGELIO LAZARO JOHN N LE SONET LE ROUX BILLY H LEACH LAWRENCE LEADY DANIEL LEAL GREG D LEAL BRANDON W LEATHERBERRY THOMAS F LEATHERS TIMOTHY G LEATHERS ROBERT T LEBO JR AARON R LECOMPTE CARLA DENISE LEDBETTER JENNIFER LANETT LEDBETTER KEITH N LEDBETTER MAURICE LEDFORD TRICIA M LEDO ASHLEY
    [Show full text]
  • The State of Sex: Tourism, Sex and Sin in the New American Heartland
    THE STATE OF SEX The State of Sex is a study of Nevada’s legal brothels that situates the nation’s only legal brothel industry in the political economy of con- temporary tourism. Nevada is part of the “new American heartland,” as its pastimes, people, and politics have become more central to the nation. The rise of a service and leisure economy over the past 60 years has propelled sexuality into the heart of contemporary markets. Yet, neoliberal laws in the United States promote business but limit sexual commerce. How have Nevada’s legal brothels survived, while the rest of the country criminalizes prostitution? How do the brothels operate? Who works in them? This book brings social theory on globalizing econ- omies, politics, leisure consumption, and emotional labor in interactive service work together with research on contemporary prostitution and sexual commerce. The authors employ an innovative, multi-method sociological approach, combining historical analysis of how the brothels came to be with over a decade’s worth of ethnographic research on the current state of the industry. Barbara G. Brents, Ph.D., is Associate Professor of Sociology and Faculty Affiliate in Women’s Studies at the University of Nevada, Las Vegas. Crystal A. Jackson, M.A., is a Ph.D. student in the Department of Sociology at the University of Nevada, Las Vegas. Kathryn Hausbeck, Ph.D., is Senior Associate Dean of the Graduate College and Associate Professor in Sociology at the University of Nevada, Las Vegas. Edited by Valerie Jenness, University of California–Irvine and Jodi O’Brien, Seattle University This innovative series is for all readers interested in books that provide frameworks for making sense of the complexities of contemporary social life.
    [Show full text]
  • Stagger Lee How Violent Nostalgia Created an American Folk Song Standard
    Essay Stagger Lee How Violent Nostalgia Created an American Folk Song Standard Duncan Williams University of York Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. ~ Attr. Gustav Mahler (1860-1911, German composer) Tradition is tending the flame, not worshipping the ashes (Translation by author) Tending the Flame There is a long tradition of storytelling in folksong. Before methods for transcribing and later for recording definitive versions existed, the oral tradition was used to pass on tales and deeds. And, as anyone familiar with ‘Chinese whispers’ will know, this process is not always accurate. Even when transcription methods had become available, the accuracy of the record can be questioned, as is the case in Sabine Bearing-Gould (1834-1924), an 18th century Anglican reverend, perhaps most famous for his earnest documentation of werewolves (Baring-Gould 1973), as well as many collections of English folk song, which were often unsurprisingly edited from the pious perspective of a religious man of the time, likely due to the collectors profession. Often, such songs are cautionary or moral tales, and thus the process of collecting and editing can change an oral history dramatically. This essay will consider how one such instance, the song Stagger Lee, reflects changing attitudes of the audience and the narrator towards violence and masculinity in its portrayal of an initially real-world, and later supernatural, violent protagonist. How, and why this paean to violence, with its fetishistic vision of extreme masculinity, has become something of a standard in the American folk canon. It considers both the retelling of Stagger Lee’s tale in song, and subsequent appropriation by cinema in depictions of race, sex, and violence as admirable or heroic qualities.
    [Show full text]