Congressional Record—Senate S8196
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EXTENSIONS of REMARKS, Vol
October 19, 2012 EXTENSIONS OF REMARKS, Vol. 158, Pt. 11 15025 EXTENSIONS OF REMARKS HONORING MR. WILLIE ‘‘SONNY and cotton picking in Tallahatchie County and the owners. In 1955, he began recording for BOY’’ WILLIAMSON started becoming a familiar voice and blues Chess Records in Chicago, Illinois after Trum- artist on the local circuits. He played on the pet Records went bankrupt. His years at HON. BENNIE G. THOMPSON street corners, at church socials, fish fry’s, and Chess Records were his most successful in OF MISSISSIPPI anywhere he could attract a crowd, sometimes his career as a blues artist. In fact, he re- IN THE HOUSE OF REPRESENTATIVES getting paid. Sonny Boy made friends with corded about 70 songs from 1955 to 1964 for other blues artists like Big Joe Williams, Checker Records, a subsidiary of Chess Friday, October 19, 2012 Elmore James, Joe Willie ‘‘Pinetop’’ Perkins, Records. In 1959 he finally got the opportunity Mr. THOMPSON of Mississippi. Mr. Speak- Robert Lockwood, Jr., and Robert Johnson. to record a compilation of stories about the er, I rise today to honor a blues musician and He was always looking for ways to entertain blues with his first LP record titled Down and legend of the Mississippi Delta, Mr. Willie besides just singing, so he started doing what Out Blues. It featured such hits as Dissatis- ‘‘Sonny Boy’’ Williamson. some might call impossible until they saw him fied, Your Funeral and My Trial, Don’t Start Mr. Speaker, the ‘‘Blues’’ is not just a song, do it—he would put his entire harmonica in his Me to Talkin, and All My Love in Vain. -
Updates & Amendments to the Great R&B Files
Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the -
Congressional Record—Senate S7887
August 1, 2002 CONGRESSIONAL RECORD — SENATE S7887 KFFA and Helena are even ‘‘must see’’ that time, and King Biscuit pianist [From the Fresno Bee, July 24, 2002] stops for Japanese and European tour- ‘‘Pine Top’’ Perkins gave him lessons CALLING IT A CAREER ists who want to learn about the cul- in his trademark boogie woogie style. JIM COSTA’S VALUABLE SERVICE IN THE STATE tural roots of the blues. The program also influenced other LEGISLATURE COMING TO AN END. ‘‘First things first,’’ recalls Sonny stations to put the blues on the radio. Democrat Jim Costa will make his polit- ‘‘Sunshine’’ Payne, the program’s host Its initial popularity convinced adver- ical curtain call next month at a testimonial for over eleven thousand broadcasts; tisers that the blues had commercial dinner that is expected to draw some of Cali- King Biscuit Time started when potential. ‘‘It was a major break- fornia’s most powerful politicians. It will be guitarist Robert Junior Lockwood and through,’’ explains folklorist Bill Fer- a fitting send-off recognizing a 24-year legis- harmonica player Sonny Boy lative career that began with youthful exu- ris, director of the Center for the Study berance and is ending with a record of ac- Williamson were told they would have of Southern Culture at Ole Miss; ‘‘King complishments that you’d expect from a sea- to get a sponsor to get on the air.’’ Biscuit Time was a discovery of an au- soned veteran. That was 1941, when Payne was a teen- dience and a market . that hitherto The dinner on Aug. -
King Biscuit Time”--Sonny Boy Williamson II and Others (1965) Added to the National Registry: 2017 Essay by Edward Komara (Guest Post)*
“King Biscuit Time”--Sonny Boy Williamson II and others (1965) Added to the National Registry: 2017 Essay by Edward Komara (guest post)* Sonny Boy Williamson II This King Biscuit show is about flour and the blues, not about flowers and rock music. “King Biscuit Time” was born when the blues harmonica master Sonny Boy Williamson (1899- 1965, born Aleck Miller) visited the newly opened KFFA radio studios in Helena, Arkansas. Seeing radio as a means of promoting his upcoming performances, Williamson pitched the idea of a regular show during the noon hour when his working audiences were taking their lunch breaks. KFFA agreed, securing Max Moore, owner of the Interstate Grocer Company and King Biscuit Flour, as the sponsor. “King Biscuit Time” debuted on November 21, 1941 at 12:15 pm, with Williamson and guitarist Robert Lockwood playing for 15 minutes. The success was immediate, allowing the musicians to maintain their time-slot every weekday. They were so successful that, in 1947, while the company’s flour bag continued to have its crown, the corn meal bag began to feature a likeness of Williamson sitting on an ear of corn. As the show continued through the 1940s, additional musicians were brought in to create a band behind Williamson. Chief among them were guitarists Joe “Willie” Wilkins, Earl Hooker and Houston Stackhouse, pianists Robert “Dudlow” Taylor, Willie Love and Pinetop Perkins, and drummer Peck Curtis. During the early broadcasts, Sam Anderson and Hugh Smith served as announcers. John William “Sonny” Payne filled in once in 1941, but he returned in 1951, staying on as the “King Biscuit Time” host until his death in 2018. -
ASA Newsletter 2017 June
Arkansas State Archives Arkansas Digital Archives ASA newsletters ASA newsletter 2017 June Follow this and additional works at: https://digitalheritage.arkansas.gov/asa-newsletters Recommended Citation ASA newsletter 2017 June, Arkansas History Commission/Arkansas State Archives records, Arkansas State Archives, Little Rock, Arkansas. Use and reproduction of images held by the Arkansas State Archives without prior written permission is prohibited. For information on reproducing images held by the Arkansas State Archives, please call 501-682-6900 or email at [email protected]. The Arkansas Archivist AN AGENCY OF THE DEPARTMENT OF ARKANSAS HERITAGE JUNE 2017 How We Will Spend Our Summer Calendar of For most people, the summer is a time of easy living, vacations, and few pressing responsibilities. For the Events staff at the Arkansas State Archives, it is one of our busiest times of the year. Our research room sees April 14—August 16 more traffic during the summertime as avid The Great War: Arkansas genealogists, historians, and even history buffs visit in World War I hoping to fill gaps in their research. For some Historic Arkansas Museum visitors, the State Archives will be the sole destination on a trip while for others, it’s a stop July 3—July 31 along the way in the middle of a larger journey. The Great War: Arkansas Regardless, our research room is open six days a in World War I week for visiting patrons. Arkansas National Guard Museum Camp Robinson But if you aren’t taking a trip and don’t have plans to visit our research room over the summer, we have June 2—July 3 some great material online that you can check out African American Legislators while at home (or for free in our research Traveling Exhibit room). -
Faulkner and Yoknapatawpha Conference July 23–27, 2006
SouthernRegisterSpring06 5/2/06 8:18 PM Page 1 the THE NEWSLETTER OF THE CENTER FOR THE STUDY OF SOUTHERN CULTURE •SPRING 2006 THE UNIVERSITY OF MISSISSIPPI Global Faulkner Faulkner and Yoknapatawpha Conference July 23–27, 2006 The story leading up to the rarely seen photograph on this page has become familiar to many Faulkner readers. On the morning of November 10, 1950, a Swedish journalist telephoned Rowan Oak to give Faulkner the news that the Swedish Academy had decided to award him the Nobel Prize. Faulkner expressed his appreciation, but when asked if he were looking forward to a trip to Stockholm, Faulkner replied, “I won’t be able to come to receive the prize myself. It’s too far away. I am a farmer down here and I can’t get away.” Immediately afterwards, numerous people went into action, ranging from the U.S. State Department and Faulkner’s publisher, Random House, to family and friends in Oxford. The writer’s legendary shyness and his uneasiness in “distinguished” gatherings were genuine, as was his insistence on personal privacy. Somehow, it all came together—perhaps out of Faulkner’s desire, apparent only later with the delivery of his Nobel Prize speech, to say something he thought needed to be said—and on December 6, with his 17-year-old daughter, Jill, he boarded the plane to New York, en route to Stockholm. At that point, William Faulkner, of Oxford, Mississippi, and Jefferson, Yoknapatawpha, officially became Global Faulkner: his work beginning the journey into the minds of readers and writers around the world as a story they would see as in many ways their own. -
CBS Newsletter January 2018
January 2018 BLUES NEWS Message from the President: Hello and Happy New Year! I’d like to thank those on the previous boards who did not return for their sup- port with moving CBS forward. Our biggest challenge this year is to implement the CBS Scholarship and Edu- cational Fund initiated by John Adams. Currently most of the funding for the “Fund” comes from our annual Blues Cruise. We’re looking forward to our next Cabin Fever Picnic on February 18th. This is an opportunity to meet other members and the CBS board. Hope to see many of you then. Bill Koteles A new year means another beginning. Keeping the Blues alive takes work, takes com- mitment, and it needs YOU. Think about helping us by becoming involved this year. Where else can you volunteer your time to bring live music to our area and have such a sweet payoff! CBS is going to be ten years old in June. Stay tuned for more information. Our newsletter will be published bi-monthly. The next issue will be in March 2018. From all of us at CBS, all the best this New Year, and may live music be a part of your life, always! 2017-2019 Cleveland Blues Society Board Members President: Bill Koteles Vice President: Anthony Lovano Secretary: Kris Diehl Treasurer: Elaine DeStephano Board Member: Mike Kormos Board Member: Dave Rolland Board Member: Bob Dickow Board Member: Susanne Mayer Board Member: Penny Holycross Cleveland Blues Society 1/7/2018 1 Inside this i s s u e : DECEMBER JAM Decembrer Jam Band 2-3 MS. -
October 4, 1973 University of Missouri-51
- October 4, 1973 University of Missouri-51. Louis Issue 177 -------- ------------------'''',-- Veterens aw-arded UNITED - $6"0,000 grant counsels by Paul April veteran who has served in the inner-city armed forces within the last ten A $60,830 veterans defense years. Decisions about how the grant has been awarded to grant is to be used will not be students UMSL with officials offering made until a coordinator has very little information about the been hired . An assistant coor by Dee Gerding grant. The reason for this lack of dinator-recruiter who would be A bewildered student timidly information is that a coordinator responsible for organizing and enters an ominous-looking door must first be hired. The grant a'Ss isting veterans with educa and asks if someone could help was awarded to the University tional services must also be him choose courses for the for this fi scal year by the hired. coming semester. A counsellor Veterans Program Unit of Edu Th e new veterans office, when in Project UNITED willingly cation. This unit is a branch of set up, would be responsible for shows him into her offl,Ce. The the department of Health, Edu explaining available benefits to student discovers that he is an cation, and Welfare. The grant veterans and also would recruit inner city h. g h s c h 0 0 1 was awarded wh en the Univer other veterans for the Univer graduate, has' never been 'to sity met the requirement of sity. The two coordinators will UMSL before, and really does having ten per cent more work in conjunction with the not know what is going on. -
Selling the Blues at Fat Possum Records
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2018 The Same Old Blues Crap: Selling The Blues At Fat Possum Records Jacqueline Sahagian University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the Ethnomusicology Commons Recommended Citation Sahagian, Jacqueline, "The Same Old Blues Crap: Selling The Blues At Fat Possum Records" (2018). Electronic Theses and Dissertations. 886. https://egrove.olemiss.edu/etd/886 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SAME OLD BLUES CRAP: SELLING THE BLUES AT FAT POSSUM RECORDS A Thesis presented in partial fulfillment of requirements for the Master of Arts in Southern Studies The University of Mississippi JACQUI SAHAGIAN MAY 2018 Copyright © 2018 by Jacqui Sahagian All rights reserved ABSTRACT This thesis interrogates the marketing strategies of the Oxford, Mississippi-based record label Fat Possum, which was founded in the early 1990s by Matthew Johnson with the goal of recording obscure hill country blues artists. Fat Possum gained recognition for its raw-sounding recordings of bluesmen, including R.L. Burnside, Junior Kimbrough, Cedell Davis, and T-Model Ford, as well as its irreverent marketing techniques. Adopting the tagline “not the same old blues crap,” Fat Possum asserted that its blues were both different from and superior to all other blues music. This thesis argues that while Fat Possum claimed to be a disruptive force in the blues world, the label actually repeated marketing strategies that have been used to sell the blues since the genre was first sold during the 1920s race records era. -
Finding Aid for the Blues Archive Poster Collection (MUM01783)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library April 2020 Finding Aid for the Blues Archive Poster Collection (MUM01783) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Part of the African American Studies Commons, American Material Culture Commons, American Popular Culture Commons, and the Other Music Commons Recommended Citation Blues Archive Poster Collection (MUM01783), Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding Aid for the Blues Archive Poster Collection MUM01783 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Scope and Content Creator - Collector Arrangement Cole, Dick "Cane"; King, B. B.; Living Blues Administrative Information (Magazine); Malaco Records; University of Mississippi; Miller, Betty V. Related Materials Controlled Access Headings Title Blues Archive Poster Collection Collection Inventory ID Series 1: General Posters MUM01783 Series 2: B. B. King Posters Date [inclusive] 1926-2012 Series 3: Malaco Records Posters Date [bulk] Series 4: Living Blues Bulk, 1970-2012 Posters Extent Series 5: Dick “Cane” 3.0 Poster cases (16 drawers) Cole Collection Location Series 6: Betty V. Miller Blues Archive Collection Series 7: Southern Language of Materials Ontario Blues Association English Broadsides Abstract Series 8: Oversize These blues posters, broadsides, and oversize Periodicals printings, collected by various individuals and Series 9: Blues Bank institutions, document the world of blues advertising. -
The Year That (Certainly) Made Me John Henshall LFPIA
• Need spatial indicators; tation provided audience members with much food for • Have Federal performance indicators; thought. It was a most timely input to remind us that cities • National data standards; are constructed by people and she invited as to all become • Five yearly reviews; and architects of Hobart’s future. What will the citizens of Hobart see in seventy years’ time? Will they hail and commemorate a • Metropolitan governance. modern day Abercrombie? Clearly some of these are more within Hobart’s control than Indra Boss MPIA is a town planner with JMG Engineers others, but even so the fundamental questions remain – where and Planners and a PhD Candidate within the School of do we want to go? And is there sufficient vision and leadership Technology, Environment and Design at UTAS. She can be amongst the key stakeholders? Professor Giles-Corti’s presen- contacted at [email protected] or [email protected] The year that (certainly) made me John Henshall LFPIA Many of us will be familiar with the ABC Radio National segment on Sunday mornings called ‘The year that made me’. The radio host interviews individuals about their time on earth, so to speak, and what it is that has guided them through the years. Many times I have reflected on the ‘year that made me’. Until now, I had never really identified that point in time. Perhaps it was the year I was born. Or the year I started school. Or the year I somehow passed the ‘Accountancy A’ exam at uni. Or got my first job. -
Blow My Blues Away Vol. 2
Mississippi Delta Blues "BLOW MY BLUES AWAY” Vol. 2 Recorded by GEORGE MITCHELL in the 1960s MISSISSIPPI DELTA BLUES in the 1960s -V o l. 2 An Introduction - by George Mitchell (1968) It was our fifth day in Mississippi. for the members of the band, watching My wife and I were whiling away the the headlights as they crept by on the time on a bench in the "downtown" highway, hoping they might turn into section of Como. The town, popula the field in front of the house and head tion 789, was strangely quiet to urban toward us. It was past midnight when ears. Interstate 55 streamed past on the outdoor recording session finally one side, while old Highway 51 got underway. And three hours more rambled along the other. Half the store before the drums were lying on the fronts along the lifeless business dis ground among the lard buckets in trict were boarded up. The only public which Annie Mae McDowell had bathroom was in the one-room city planted sunflowers. Then Othar hall across the street. A hand scrawled Turner, one of the drummers, walked sign in the window of Mrs. M. Perkins' over and propped his leg on the porch store read: "Pay your burial dues here. " where I was sitting. "If you want a So far, we had had no luck in locat man who can flat lay down the blues, " ing unrecorded blues singers— the pur he said nonchalantly, "I know who pose of our trip. We had been up half that be.