Blues Et Féminisme Noir
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Memphis Jug Baimi
94, Puller Road, B L U E S Barnet, Herts., EN5 4HD, ~ L I N K U.K. Subscriptions £1.50 for six ( 54 sea mail, 58 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff. Frank Sidebottom and Alan Balfour. Issue 2 — October/November 1973. Particular thanks to Valerie Wilmer (photos) and Dave Godby (special artwork). National Giro— 32 733 4002 Cover Photo> Memphis Minnie ( ^ ) Blues-Link 1973 editorial In this short editorial all I have space to mention is that we now have a Giro account and overseas readers may find it easier and cheaper to subscribe this way. Apologies to Kees van Wijngaarden whose name we left off “ The Dutch Blues Scene” in No. 1—red faces all round! Those of you who are still waiting for replies to letters — bear with us as yours truly (Mike) has had a spell in hospital and it’s taking time to get the backlog down. Next issue will be a bumper one for Christmas. CONTENTS PAGE Memphis Shakedown — Chris Smith 4 Leicester Blues Em pire — John Stretton & Bob Fisher 20 Obscure LP’ s— Frank Sidebottom 41 Kokomo Arnold — Leon Terjanian 27 Ragtime In The British Museum — Roger Millington 33 Memphis Minnie Dies in Memphis — Steve LaVere 31 Talkabout — Bob Groom 19 Sidetrackin’ — Frank Sidebottom 26 Book Review 40 Record Reviews 39 Contact Ads 42 £ Memphis Shakedown- The Memphis Jug Band On Record by Chris Smith Much has been written about the members of the Memphis Jug Band, notably by Bengt Olsson in Memphis Blues (Studio Vista 1970); surprisingly little, however has got into print about the music that the band played, beyond general outline. -
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, 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 Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
Provided by the Internet Classics Archive. See Bottom for Copyright
Provided by The Internet Classics Archive. See bottom for copyright. Available online at http://classics.mit.edu//Homer/iliad.html The Iliad By Homer Translated by Samuel Butler ---------------------------------------------------------------------- BOOK I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant's wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. "Sons of Atreus," he cried, "and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove." On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away. -
Aug. 1977 Vol. 7 No.8 PRJC Special for August
Aug. 1977 Vol. 7 No.8 PRJC Special for August: The Jazz Minors At Marriott Twin Bridges Sat. Aug. 6, 1977 9-1 Members $4, nonmemhers $5 W t £ & ^ G a & wPjgfflk ^ b F k 5^j^R ^ w P ^ 5f\jj^ -^otk *9\®?^ *%?** ^Sof^ •^Sbt^- ^tuP* ^Sor^ ^T®r^ MEMBERSHIP APPLICATION, POTOMAC RIVER JAZZ CLUB (Please print or type) NAME STREET CITY STATE $ ZIP PHONE NO. OCCUPATION (Opt.) RECORD COLLECTOR ( ) YES MUSICIAN? (What instruments?) * MEMBER OF ORGANIZED BAND? '^ 5 '" INTERESTED IN ORGANIZING OR JOINING ONE? INTERESTED IN JAMMING OCCASIONALLY?_ — READ MUSIC? ( ) YES DESCRIBE YOUR JAZZ INTERESTS BRIEFLY (What styles interest you, etc.) [ ] Individual membership - $7.50 per year. Member is eligible for all benefits of the PRJC, including all discounts offered and the right to vote in the general election and to hold office in the club. [ ] Family membership - $10.00 per year. Both husband and wife are eligible for benefits described above. Children under 18 are eligible for all discounts. (A single person buying a family membership is eligible for all benefits described above; discounts offered will be extended to one guest when that guest accompanies the member.) I enclose check payable to the Potomac River Jazz Club for the option checked above. Signature________________ Mail to: Doris B. Baker Membership Secretary 7001+ Westmoreland Rd. Falls Church, Va. 2201+2 Buzzy's Gig Ends Tail gate Rambling: One of the longest running gigs in PRJC history, long predating the club's exis Vol. 7 No. 8 tence, came to an apparent end in mid- August 1977 July, when the Stutz Bearcat JB got the Editor - Ted Chandler pink slip from Buzzy's Pizza Warehouse Contributing Editors - A1 Webber in Annapolis. -
Rhythm Posse Occasionally Worked with Bukka White in Local Juke Facebook.Com/Rhythmposse Joints
father of the Memphis blues guitar style. By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar All shows begin at 6:30 In case of inclement weather, Tuesday Night Blues with Don Sane, with whom he developed a long- is held at the House of Rock, 422 Water Street. term musical partnership. Together, they busked on *August 7 will be held at Phoenix Park. the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street. Sane rejoined Stokes May 28 Howard ‘Guitar’ Luedtke & Blue Max for the second day of an August 1928 session for HowardLuedtke.com June 4 Revolver Victor Records, and they produced a two-part RevolverBand.net version of "Tain't Nobody's Business If I Do", a song August 20, 2013 at Owen Park June 11 Bryan Lee well known in later versions by Bessie Smith and BrailleBluesDaddy.com Jimmy Witherspoon, but whose origin lies June 18 Tommy Bentz Band somewhere in the pre-blues era. RhythmRhythm PPosseosse TommyBentz.com In 1929, Stokes and Sane recorded again for June 25 Code Blue with Catya & Sue Catya.net Paramount, resuming their 'Beale Street Sheiks' July 2 Left Wing Bourbon billing for a few cuts. In September, Stokes was back LeftWingBourbon.com on Victor to make what were to be his last July 9 Charlie Parr recordings, this time without Sane, but with Will Batts CharlieParr.com on fiddle. Stokes and Batts were a team as July 16 Deep Water Reunion MySpace.com/DWReunion evidenced by these records, which are both July 23 Steve Meyer with the True Heat Band traditional and wildly original, but their style had (featuring Ben Harder) fallen out of favor with the blues record buying July 30 Ross William Perry public. -
Ernest Elliott
THE RECORDINGS OF ERNEST ELLIOTT An Annotated Tentative Name - Discography ELLIOTT, ‘Sticky’ Ernest: Born Booneville, Missouri, February 1893. Worked with Hank Duncan´s Band in Detroit (1919), moved to New York, worked with Johnny Dunn (1921), etc. Various recordings in the 1920s, including two sessions with Bessie Smith. With Cliff Jackson´s Trio at the Cabin Club, Astoria, New York (1940), with Sammy Stewart´s Band at Joyce´s Manor, New York (1944), in Willie ‘The Lion’ Smith´s Band (1947). Has retired from music, but continues to live in New York.” (J. Chilton, Who´s Who of Jazz) STYLISTICS Ernest Elliott seems to be a relict out of archaic jazz times. But he did not spend these early years in New Orleans or touring the South, but he became known playing in Detroit, changing over to New York in the very early 1920s. Thus, his stylistic background is completely different from all those New Orleans players, and has to be estimated in a different way. Bushell in his book “Jazz from the Beginning” says about him: “Those guys had a style of clarinet playing that´s been forgotten. Ernest Elliott had it, Jimmy O´Bryant had it, and Johnny Dodds had it.” TONE Elliott owns a strong, rather sharp, tone on the clarinet. There are instances where I feel tempted to hear Bechet-like qualities in his playing, probably mainly because of the tone. This quality might have caused Clarence Williams to use Elliott when Bechet was not available? He does not hit his notes head-on, but he approaches them with a fast upward slur or smear, and even finishes them mostly with a little downward slur/smear, making his notes to sound sour. -
Fuckeverything-Manifesto
The Fuck Everything Manifesto Table of Contents Introduction………………………………………………………………………………1 Japanese Otaku Culture……………………………………………………………….1- 7 The Dating-Simulation Game…………………………………………………..1 The Superflat Movement…………………………………………………………3 Amateur Manga and Otaku Culture……………………………………………...6 Internet Culture……………………………………………………………………… 7-17 Violating the Syntax of Web Navigation………………………………………... 8 Furries …………………………………………………………………………..12 Online Pornography……………………………………………………………. 13 The Expansion of the Video Game Genre……………………………………... 15 Use of “txt tlk” and Emoji’s…………………………………………………… 16 Feminist Interpretations…………………………………………………….………..18-20 Rap Genres contextualized within Rape Culture, Gender, Cyber-Culture Displacement, Millennial Appropriations and Identity Crisis............................................................ 20-38 Mainstream Hip-hop………………………………………………………….… 21 Otaku Rap…………………………………………………………………….… 23 Horrorcore………………………………………………………………….…… 24 Cultural & Gender Displacement……………………………………………….. 25 Against Censorship………………………………………………………...…… 30 Millennial Appropriations and Mutations of Rap………………………………..32 The Sound Track to Fuck Everything………………………………………..…..35 Greek Life, College Football and Campus Rape Culture…..……………………….. 39-50 Tinder, and the Appropriation of Jameis Winston……………………………… 48 Conclusion……………………………………………………………………………… 50 Introduction Fuck Everything is a browser game which situates Otaku (anime/manga nerd) culture, the Japanese Superflat art movement, fandoms, Internet culture, and hyper-masculine cultures -
Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
Great and Little Osage Indians. Message from the President of The
University of Oklahoma College of Law University of Oklahoma College of Law Digital Commons American Indian and Alaskan Native Documents in the Congressional Serial Set: 1817-1899 6-11-1868 Great and Little sO age Indians. Message from the President of the United States, in reference to a treaty now being negotiated with the Great and Little sO age Indians Follow this and additional works at: https://digitalcommons.law.ou.edu/indianserialset Part of the Indian and Aboriginal Law Commons Recommended Citation H.R. Exec. Doc. No. 310, 40th Cong., 2nd Sess. (1868) This House Executive Document is brought to you for free and open access by University of Oklahoma College of Law Digital Commons. It has been accepted for inclusion in American Indian and Alaskan Native Documents in the Congressional Serial Set: 1817-1899 by an authorized administrator of University of Oklahoma College of Law Digital Commons. For more information, please contact [email protected]. 40TH Oo~GRESS, } HOUSE OF REPRESENTATIVES. Ex.Doc. 2d Session. { No. 310. GREAT AND LITTLE OSAGE INDIANS. MESSAGE FROl\1 THE PRESIDENT OF THE UNITED STATES, IN REFERENCE TO A treaty now being negotiated witli tlie Great and Little Osage Indians. JUNE 11, 1868.-Referred to the Committee on Indian .Affairs, to investigate, with authority to send for persons and papers, and ordered to be printed. To tlze House ef Representatives : In reply to the resolution of the House of Representatives of the 1st instant,. I transmit herewith a report from the Secretary of the Interior in reference to a treaty now being- negotiated between the Great and Little Osage Indians and the special Indian commissioners acting on the part of the United States. -
CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS
CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS 1. Warner Williams with Jay Summerour—BRING IT ON DOWN TO MY HOUSE 2:02 (Bob Wills / Unichappell Music, ASCAP) 2. Pink Anderson—TALKING BLUES 2:26 (Chris Bouchillon/Jaymore Music, BMI) 3. John Jackson—NOBODY’S BUSINESS (IF I DO) 3:15 (Porter Grainger–Everett Robbins; arr. John Jackson) 4. Little Brother Montgomery—ALABAMA BOUND 2:17 (Little Brother Montgomery/Jet Music Publishers, BMI) 5. Brownie McGhee—PALLET ON THE FLOOR 3:09 6. Bill Williams—CHICKEN, YOU CAN’T ROOST TOO HIGH FOR ME 3:16 (Bob Cole-J. Rosamond Johnson) 7. Lead Belly—MY HULA LOVE 2:16 (Edward Madden-Percy Wenrich, arr. Huddie Ledbetter/TRO-Folkways Music Publishers, BMI) 8. Reverend Gary Davis—CANDY MAN 2:32 (Gary Davis / Chandos Music, ASCAP) 9. John Cephas and Phil Wiggins—GOING DOWN THE ROAD FEELING BAD 3:32 10. Peg Leg Sam—FROGGY WENT A-COURTING 4:10 11. Mississippi John Hurt—MONDAY MORNING BLUES 5:52 (John Hurt/Wynwood Music Inc., BMI) Compiled and Annotated by Barry Lee Pearson and Jeff Place SFW 40211 © 2014 Smithsonian Folkways Recordings 12. Pink Anderson—THE BOYS OF YOUR UNCLE SAM 2:03 13. Brownie McGhee—RAISE A RUCKUS TONIGHT 2:49 14. Marvin Foddrell—RENO FACTORY 2:09 (arr. Marvin Foddrell) 15. John Jackson—DON’T LET YOUR DEAL GO DOWN 3:07 (arr. John Jackson / Tradition Music Co., BMI) 16. Warner Williams with Jay Summerour—HONEYSUCKLE ROSE 2:05 (Fats Waller-Andy Razaf / Chappell & Co., ASCAP-Razaf Music, ASCAP) 17. -
Appalachian Studies Bibliography Cumulation 2013-June 2016 ______
Appalachian Studies Bibliography Cumulation 2013-June 2016 _____________________ CONTENTS Agriculture and Land Use ................................................................................................................3 Appalachian Studies.........................................................................................................................8 Archaeology and Physical Anthropology ......................................................................................14 Architecture, Historic Buildings, Historic Sites ............................................................................18 Arts and Crafts ..............................................................................................................................21 Biography .......................................................................................................................................27 Civil War, Military.........................................................................................................................29 Coal, Industry, Labor, Railroads, Transportation ..........................................................................37 Description and Travel, Recreation and Sports .............................................................................63 Economic Conditions, Economic Development, Economic Policy, Poverty ................................71 Education .......................................................................................................................................82 -
WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (Sp?)
..^ WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (sp?) ^A^ry/^-^ <1 II [of 3-N. f ^^r^^^^^^fl^^^ ^\ '/ ^ ^ sr r^, / r f \ May 25. 1960 \ <. ; .i:' S / /v;, /' f/- ^ L- Lv-^. Also presents Richard B. Alien, William Claxton (Will Shade talking first) [See Memphis folder.] Some of the bands playing around [Memphis] when WS was a boy t \ were led by W. C. Handy, Howard Yandey, and Bea [sp?] Smith. Yancey ^ was a man when WS "was a "kid in Knee pants;" Yancey, who is now at [operates?] the pool room just around tte corner, had a musicians' "headquarters, a club, at one time. The bands of that time were playing ragtime music and Dixieland, tunes such as "Way D%3»n Yonder In New Orleans." [Perhaps suggested by tlie fact that RBA was from N.O.] When WS began playing music for money, instrumentatdxan .and personnel of the band were: "Roundhouse" (real name, Elijah), jug? Ben Ramey, kazoo; WS, lead guitar and harmonica; Will Weldon, second guitar. WS made up his own tunes and wrote his own songs. The group was called the Memphis Jug Band. The first records WS made were with the persons listed above; the recordings were "Newport News," "Memphis Jug Band Blues," [Cf. discographies] "Stingy Woman Blues" and "Sun- brimmer's Blues." The original personnel have been replaced in the last ten or fifteen years as they died; Weldon was replaced by Robert Carter, guitar [Cf. discographies.]? Jones j'oined the band to play jug and piano. [Jab Jones?] WS recorded with Sleepy Sohn Estes around [19]26 or [19]27; they titles inciLuded "Diving Duck" and "[ ] Jail." Estes was in Brownville [i.e., Brownsville?], Tennessee, the last time WS heard from him; Estes is now blind.