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Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos. -
General Music Responding to and Creating Blues Music—Grade 5
General Music Creating through Responding Unit Grade 5 Responding to and Creating Blues Music A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources ACKNOWLEDGMENTS PERSONNEL, LIBRARY OF CONGRESS GRANT — WRITING RESPONDING UNITS 2018–2019 PROJECT DIRECTOR • Johanna J. Siebert COMPOSITION/THEORY WRITING TEAM • Carolyn Bennett, North Stonington, CT, Team Chair • Terrence E. Bacon, North Chili, NY • Lisa Cookson, Wichita, KS GENERAL MUSIC WRITING TEAM • Wendy Barden, Minnetonka, MN, Team Chair • Steve Kennedy, New Orleans, LA • Richard Maxwell, Phoenix, AZ • Susan Osborn, Bear, DE • David Potter, Lansing, MI • Matt Warren, Webster, NY Special thanks to the Library of Congress for the generous grant on Teaching with Primary Sources (TPS), which made this resource possible. GENERAL MUSIC RESPONDING UNIT | GRADE 5 | NATIONAL ASSOCIATION for MUSIC EDUCATION 2 TABLE OF CONTENTS Overview of NAfME/Library of Congress Responding Units ........... 4 Overview of Grade 5 General Music Unit on Responding to and Creating Blues Music ............................................ 4 Prerequisite Knowledge and Experiences ........................... 5 Instructional Goals ............................................. 5 Embedded Inquiry Model: KWL ................................... 6 National Core Arts Standards in Music (2014) ....................... 7 Formative/Summative Assessments ............................... 9 Library of Congress Resource Links .............................. -
The Steel Guitar in Early Country Music Part Two: Jimjimmiei Er Rooddggerrs ’S Steel Guitarists
lis 14/04/2013 12:57 Page 1 Chapter Eight: Billy Burkes Revisited The Steel Guitar in Early Country Music Part Two: JimJimmiei eR Rooddggerrs ’s Steel Guitarists This ongoing series of articles—which began in the March 2008 issue—has been examining the ten steel guitarists who recorded with American country mWuislliica pmio nTeheero dore (“Billy”) Bu(1r8k9e7s -1933) between 1928 and 1933. (The first solo “hillbilly music” star, Rodgers did much to popularize the acoustic steel guitar throughJ ohsise tphhir Ktya-aoaniea V Kicatiopro sides including the instrument.) Rodgers’s eighth steel guitarist, (1912-1989) was originally discussed in the September 2008 and March 2009 issues, in connection with Hawaiian steel-player (1896-1964). Hookena-born Kaipo—the third steel guitarist to record with Rodgers—played a west-Dallas supper-club gig with Billy and his middle brother Weldon before meeting Rodgers; Billy and Joe Kaipo continued collaborating when Billy participated in five of Kaipo’s fall 1929 recordings with Rodgers. WNAX radio Yankton Since March 2009, I have continued researching Billy Burkes’s life (particularly his post-Rodgers years) while preparing Burkes-related presentations to give at libraries, museums, and meetings of service-clubs in the eastern part of my home state of South Dakota. (These presentations have centered around a three-month residency Burkes served on in the far-southeastern South Dakota town of , in the late-summer-and-early-fall of 1938.) This installment will correct some of the errors/misstatements inadvertently made about Burkes in the September 2008 and March 2009 issues, plus add some of my newWly-icahcqitua ired information (including—where possible—any Burkes activities related to Hawaiian music). -
MUNI 20071004 – St. Louis Blues C D 1 01 Original Dixieland Jazz Band; Al Bernard-Voc New York, May 25, 1921. 78 Rpm Victor
MUNI 20071004 – St. Louis Blues C D 1 01 Original Dixieland Jazz Band ; Al Bernard -voc New York, May 25, 1921. 78 rpm Victor 18772 / CD RCA ND 90650 02 Paul Whiteman Orchestra New York, March 29, 1926. 78 rpm Victor / CD RCA 7432 1 35547 2 03 Bessie Smith -voc; Louis Armstrong -co; Fred Longshaw-harmonium New York, January 14, 1925. 78 rpm Columbia / CD Masters of Jazz MJCD 38 04 Louis Armstrong Orchestra Chicago, April 26, 1933. 78 rpm Victor / CD RCA 09026 63694 2 05 Louis Armstrong All Stars ; Velma Middleton -voc July 13, 1954. LP Columbia CL 591 / CD Columbia CK 64925 06 Vincent Lopez and His Casa Lopez Orchestra New York, March 29, 1928 78 rpm Brunswick 20065 / CD MaZe 07 Duke Ellington Orchestra (Warren Mills and His Blue Serenaders), Adelaide Hall -voc New York, December 20, 1928 78 rpm Victor / CD Masters of Jazz MJCD 52 08 Duke Ellington Orchestra New York, September 3, 1946 78 rpm Victor 20-2327 / CD RCA 09026-63386-2 09 Dorsey Brothers’ Orchestra London, July 15, 1930. 78 rpm Decca F.1878 / CD Jazz Oracle BDW 8051 10 Dave Nelson’s Hot Shots , Dave Nelson-voc New York, June 9, 1931. 78 rpm / CD MaZe 0021 11 Art Tatum -solo piano New York, March 21, 1933. 78 rpm Brunswick / CD Affinity AFS 1035-3 12 Django Reinhardt Trio Paris, September 9, 1937 78 rpm Swing 7 / CD Gallery GALE 421 13 Billie Holiday -voc; Benny Carter Orchestra . New York, October 15, 1940. 78 rpm Okeh 6064 / CD Columbia CK 47031 14 Lena Horne -voc, with Henry Levine and the Dixieland Jazz Group of NBC’s Chamber Music Societz of Lower Basin Street New York, June 25, 1941 78 rpm Victor 27542 / CD Recall 15 Peggy Lee -voc; Quincy Jones Orchestra . -
Al Oh a D Re Am
AAlloohhaa DDrreeaamm March 2007 Vol. 5. Issue 1. Contents 1. ‘Bali Hi’ By Reggie & Rebecca De Roos 2. Contents Page 3. Welcome. The Editor’s usual pleadings for articles, clothing / food etc. 4. Ron Whittaker’s Big Birthday 5. “ “““ 6. The Waikiki Hawaiians 7. ““ “ 8. ““ “ 9. Paul “Bud” Tutmarc Jr. 10. A Mystery solved by Fate :- Arthur Layfield 11. “ “ “ “ “ 12. We Will Remember You Don Ho 13. “ “ “ “ “ “ 14. “ “ “ “ “ “ 15. “ “ “ “ “ “ 16. My Adventures as a Musician :- Mike Broad 17. Santo & Johnny 18. “ “ 19. Basil’s Steelin’ Tricks of the Trade (The Bear Facts) 20. Sleep Walk Tab. 21. “ “ “ 22. Sleep Walk analysis continued ... 23. The Birthday one at Shustoke Sailing Club 24. “ “ “ “ “ “ “ 25. “Sneaky” Pete Kleinow 26. “ “ “ 27. Readers Letters 28. “ “ 29. “ “ 30. Hawaiian Guitarists’ Convention Brecon 2007 All ads and enquiries to :- Pat Henrick Editorial and design:- Subscriptions:- Morgan & Thorne Pat and Basil Henriques U.K. £16:00 per year 286. Lichfield Road Honorary members Europe €25:00 Overseas $35:00 Four Oaks John Marsden (U.K.) Sutton Coldfield (U.S. dollars or equivalent) Pat Jones (Wales.) All include P+P (S+H) Birmingham B74 2UG Keith Grant (Japan) West Midlands. Phone No:- 0182 770 4110. Payment by UK cheque, cash or E Mail:- [email protected] money order payable to:- web page www.waikiki-islanders.com “Pat Henrick” Published in the U.K. by Waikiki Islanders Aloha Dream Magazine Copyright 2007 2 AA LL OO HH AA TO YOU ALL Firstly I must apologise for being late with this issue, as some of you know we have moved house, and as those of you who have done it will know it certainly isn’t an easy thing to do. -
The Choo Choo Jazzers and Similar Groups: a Musical And
The Choo Choo Jazzers and Similar Groups: A Musical and Discographical Reappraisal, Part Two By Bob Hitchens, with revised discographical information compiled and edited by Mark Berresford Correction to the preamble to Part 1 of this listing. The words “the late” in connection with Johnny Parth should be deleted. Happily Johnny is going well at around 85 years of age. My apologies for the mistake and for any upset caused. Bob H. Please see Part One (VJM 175) for index to abbreviations and reference sources. GLADYS MURRAY, Comedienne Acc. By Kansas Five Clementine Smith (vcl, comb and paper) acc by: poss Bubber Miley (t) unknown (tb) Bob Fuller (cl) Louis Hooper (p) Elmer Snowden (bj) New York, c. November 24, 1924 5740-5 EVERYBODY LOVES MY BABY (Williams - Palmer) Regal 9760-A Rust: LM? or BM,BF,LH,ES. B&GR: LM or BM??,BF,LH,ES. Kidd: u/k,BF,LH,u/k. Miley disco: BM,u/k (tb)BF,LH,ES. Rains: BM. May be pseudonym for Josie Miles. (David Evans, notes to Document DOCD5518) Miley disco emphasises that other commentators have missed the trombone. So did I. I don’t think BM is here but Rains implies that the label states Miley (VJM157). I agree with KBR and feel that this is the same team as the 21 Nov Edisons. JOSIE MILES – JAZZ CASPER Josie Miles, Billy Higgins [Jazz Casper] (vcl duet) acc by: Bubber Miley (t) Louis Hooper (p) Elmer Snowden (bj) New York, c. November 24, 1924 5741-1-2 LET'S AGREE TO DISAGREE (Smith - Durante) Ban 1499-A Rust: BM or LM,LH,ES. -
Bob Wills: the King of Western Swing Contributors Gary Hartman Rush Evans Rush Evans
et al.: Contents Letter from the Director The beginning of the Fall Wylie Hubbard, have been very successful. Our third CD, which 2002 semester marks the will feature Jerry Jeff Walker, Rosie Flores, The Flatlanders, and third year since the Center others, will be available soon. Proceeds from the CDs have been for Texas Music History vital in helping fund our ongoing educational projects. We are very (formerly the Institute for grateful to the musicians and everyone else who contributed. the History of Texas Music) We are very pleased to be working closely with the Bob Bul- was officially established in lock Texas State History Museum, the Country Music Hall of the History Department at Fame and Museum, and others to help present the “Country Southwest Texas State Music from the Lone Star State” exhibit, which will run through University. During those January 2003. This issue of the Journal of Texas Music History three years, the CTMH has features an in-depth article about the exhibit. I strongly en- compiled an impressive list courage all our readers to visit the Bullock Museum to experi- of accomplishments. ence this wonderful presentation on Texas music history. With the help and I am very grateful to the following people for their hard work support of many good people and businesses throughout the and generous support: Kathryn Ledbetter, Gregg Andrews, Vikki Southwest, we have built a unique and important program Bynum, Jenni Finlay, Dawn Shepler, Ann Marie Ellis, Gene focusing on the preservation and study of the region’s complex Bourgeois, the entire SWT History Department, the CTMH and diverse musical heritage. -
~ MANY EVENTS in STAGE SETTING ~[I for WOMEN's DAY SATURDAY
Tuesday-TWICE-A--WEEK-Friday A!'SOCiatcd Students Election Vote for Student Officers Thursday Tbut·sday VOL. :XXVIII. STATE COLLEGE OF WASHINGTON, PULLMAN, WASHINGTGN, TUESDAY, MAY 23, 1922 No. 59 / 4 CONffRENCf GAMES I:~ ·:· ·:· ·:· ·:· + ·~ + + + + : PROMINENT WOMEN ·:· CHINOOK HOURS •!• ~ MANY EVENTS IN STAGE SETTING Holders of Chinook tags A student rece1vmg no REMAIN ON SCHEDUlf :·:· and receipts must claim their :; SPEAK AT CONfERENCfl:~: grade below "B" and not less books this week, since those ·:· -- 1.:. than 40 points shall ha\·e one ..:. 1.:. 0:• remaining at the end of the hour of credit added to the ~[ I fOR WOMEN'S DAY SATURDAY W. S. C. Will Also Play Two Non- ••• ·:· Successful Business Women Tell .:. week will be put on general I • total number of hours for the ... Conference Games With sale. Prep and College Students ·:· semester. The office will be open at of Woman's Field l·r The Program, as Announced Includes Tennis Matches, Track Gonzaga the following hours: Events, Baseball Finals, Archery, Quoits, Volley Ball Games, Tuesday, May 23-9:30- I+ ·:· ·l+ + ·l+ + •l+ + ·:· + + •l+ +t· + •l+ II 12 m ; 1:10-4:45 p. m. 4 I + May Fete and Big D&nce COUGARS NOT OUT OF RACE I~ Wednesday ~ 9:30-12; ·!· STYLE SHOW A FEATURE I::. GRADB POSTALS ·!· 1:10-4:45. ~~ Thursday-9-12; 1:10- + I·:· All students who wish to "THE PINE NEEDLE," WOMEN'S EVERGREEN Huskies Drop in Percentage From I:;: 4:45. ·!· Campus Models Display Garments j•r obtain their grades before the ., APPEARING DURING DURING DAY AS FEATURE Loss of Game to Vandal ·:· Fariday-1:10-4:00 p.m. -
EDDIE LANG – the FORMATIVE YEARS, 1902-1925 by Nick Dellow
167 Eddie Lang Part One_Layout 1 05/09/2013 12:07 Page 1 EDDIE LANG – THE FORMATIVE YEARS, 1902-1925 By Nick Dellow Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally. Whether his guitar was imparting a rich chordal support for other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since. As is often the case with musicians who are prolific, there are gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music. -
The Transformation of the Steel Guitar from Hawaiian Folk Instrument to Popular Music Mainstay
Across the Pacific: The transformation of the steel guitar from Hawaiian folk instrument to popular music mainstay by R. Guy S. Cundell B Mus (Hons.), Grad Dip Ed A thesis submitted in fulfilment of the requirements for the degree of Master of Philosophy Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide April 2014 ii Table of Contents I. List of Music Examples ..................................................................................................... v II. Abstract ......................................................................................................................... vii III. Declaration .................................................................................................................. viii IV. Acknowledgements ....................................................................................................... ix V. Notes on Transcriptions and Tablature ........................................................................... x Introduction ............................................................................................................................... 1 Literature Review ...................................................................................................................... 5 Chapter 1: Origins of the Steel Guitar ....................................................................................... 9 1.1 A Mode of Performance ................................................................................................. -
Lo Ha D Re Am
AAll oo hh aa DDrr ee aa mm April 2018 Vol. 16. Issue 1. C o n t e n t s 1. Cover photo: ‘The Perfect Spot’ by Pete Tillack 2. Contents Page 3. The Editor’s comments and usual apologies 4. Compassion in Action—Jeff Apaka 5. “ “ “ “ 6. “ “ “ “ 7. “ “ “ “ 8. “ “ “ “ 9. Hawaiian Soundies from the 1940’s by alan Morgan 10. “ “ “ “ “ “ “ 11. “ “ “ “ “ “ “ 12. Anthony Lis Analysis of Guy Cundell’s Thesis. Part Six section 2 13. “ “ “ “ “ “ “ “ “ 14. “ “ “ “ “ “ “ “ “ 15. “ “ “ “ “ “ “ “ “ 16. “ “ “ “ “ “ “ “ “ 17. “ “ “ “ “ “ “ “ “ 18. “ “ “ “ “ “ “ “ “ 19. Pioneer of the Hawaiian Guitar in England by Les Cook 20. “ “ “ “ “ “ “ “ 21. “ “ “ “ “ “ “ “ 22. The Arthur Layfield Collection by John Marsden 23. “ “ “ “ “ “ 24. “ “ “ “ “ “ 25. There’s no Steelin’ The Spotlight by Bill Wynne / Santo Farina 26. “ “ “ “ “ “ 27. “ “ “ “ “ “ 28. “ “ “ “ “ “ 29. Readers Letters 30. “ “ 31. Steel Guitar Sounds Slowly Fading away / Barney Isaacs 32. Richard Ho’opi’i / Peter Moon all enquires to :- Editorial and design:- Subscriptions:- per year Pat Henrick ‘aloha Dream’ Pat and Basil Henriques U.K: £20:00 38. Greenacre Park Honorary members :- on-line £8.00 Coton in the Elms Pat Jones (Wales.) Europe: €30:00 Swadlincote DE12 8HB Keith Grant (Portugal) on-line €10.00 Derbyshire --------------------------------- Overseas: $40:00 web address:- Hawaiian Musicologists on-line $15.00 http://www.waikiki-islanders.com John Marsden (U.K.) (U.S. dollars or equivalent) Prof. Anthony Lis (USA) All include P+P (S+H) E Mails :- [email protected] Bill Wynne (USA) ONLY STERLING CHEQUES, [email protected] Bill’s mentioned recordings or UK postal order payable to:- Phone No:- 01283 763399 can be found at his “PaT HENRICK” or Mobile No:- 07800-646-645.