A Formulaic Analysis of Robert Johnson's Recorded
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Gayle Dean Wardlow Bibliography
Gayle Dean Wardlow Bibliography -Wardlow, Gayle Dean. Really! The Country Blues. USA: Origin Jazz Library OJL-2, c1962. -Klatzko, Bernard; Wardlow, Gayle Dean. The Immortal Charlie Patton, 1887–1934. Number 2: 1929– 34. USA: Origin Jazz Library OJL-7, 1964. Reprinted in Chasin’ That Devil Music, by Gayle Dean Wardlow, pp. 18–33. San Francisco: Miller Freeman, 1998. Reprinted as notes with Screamin’ and Hollerin’ the Blues: The Worlds of Charley Patton. USA: Revenant 212, 2001. -Wardlow, Gayle Dean. Country Blues Encores. USA: Origin OJL-8, c1965. -Wardlow, Gayle Dean. “Mysteries in Mississippi.” Blues Unlimited no. 30 (Feb 1966): 10. Reprinted in Chasin’ That Devil Music, pp. 110–111. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean. “Legends of the Lost. Pt. 1.” Blues Unlimited no. 31 (Mar 1966): 3–4; “Pt. 2.” Blues Unlimited no. 34 (Jul 1966): 3; “Pt. 3.” Blues Unlimited no. 35 (Aug 1966): 3; “Pt. 4.” Blues Unlimited no. 36 (Sep 1966): 7. Reprinted in Back Woods Blues, ed. S.A. Napier, pp. 25–28. Oxford: Blues Unlimited, 1968. Reprinted in Chasin’ That Devil Music, pp. 126–130. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean; Evans, David. The Mississippi Blues, 1927–1940. USA: Origin OJL-5, 1966. -Wardlow, Gayle Dean. “Son House (Collectors Classics, 14: Comments and Additions).” Blues Unlimited no. 42 (Mar/Apr 1967): 7–8. -Wardlow, Gayle Dean; Roche, Jacques. “Patton’s Murder: Whitewash? or Hogwash?” 78 Quarterly no. 1 (Autumn 1967): 10–17. Reprinted in Chasin’ That Devil Music, pp. 94–100. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean. “King Solomon Hill.” 78 Quarterly no. -
Erotic Language As Dramatic Action in Plays by Lyly and Shakespeare
ABSTRACT Title of Dissertation: EROTIC LANGUAGE AS DRAMATIC ACTION IN PLAYS BY LYLY AND SHAKESPEARE Gillian Knoll, Doctor of Philosophy, 2012 Dissertation directed by: Professor Theodore B. Leinwand Department of English This study closely examines the language of desire in the dramatic works of John Lyly and William Shakespeare, and argues that contemplative and analytical speeches about desire function as modes of action in their plays. Erotic speeches do more than express desire in a purely descriptive or perlocutionary capacity distinct from the action of the play—they incite, circulate, and create eros for characters, exposing audiences to the inner workings of the desiring mind and body. For many of Lyly’s and Shakespeare’s characters, words come to constitute erotic experience. My approach to dramatic language draws from the work of cognitive linguists such as George Lakoff and Mark Johnson who argue that our basic conceptual system, according to which we think, speak, and act, is metaphorical in nature. My focus on primary metaphors, which are based on sensorimotor experience, foregrounds the interdependence of erotic language and early modern notions of embodiment. Since language, thought, and action are all subject to this embodied metaphorical system, conceptual metaphors allow Lyly and Shakespeare to dramatize the often invisible, paradoxical, and potentially unknowable experience of erotic desire. My understanding of language as dramatic action derives from a theory about the attribution of human motives that Kenneth Burke, in The Grammar of Motives (1945), called dramatism. Burke uses five key terms to address human motivation—Act, Scene, Agent, Agency, Purpose—and I in turn use each of these terms to make sense of erotic desire on the early modern stage. -
What the Experts Say About Mississippi Music
What The Experts Say Blues in Mississippi *Alan Lomax in his book , The Land Where the Blues Began, said, AAlthough this has been called the age of anxiety, it might better be termed the century of the blues, after the moody song style that was born sometime around 1900 in the Mississippi Delta.@ Lomax goes on to credit black Delta blues musicians by saying, ATheir productions transfixed audiences; and white performers rushed to imitate and parody them in the minstrel show, buck dancing, ragtime, jazz, as nowadays in rock, rap, and the blues.@ *While there was indeed anxiety between blacks and whites in Mississippi, at least one venue demanded mutual respect - - - - music. Robert M. Baker, author of A Brief History of the Blues, said, A...blues is a native American musical and verse form, with no direct European and African antecedents of which we know. In other words, it is a blending of both traditions.@ However, there is no question that rhythmic dance tunes brought over by slaves influenced greatly the development of the blues. Blacks took the instruments and church music from Europe and wove them with their ancestral rhythms into what we know as the blues. *Christine Wilson, in the Mississippi Department of Archives publication, All Shook Up, Mississippi Roots of American Popular Music, said, A Music that emerged from Mississippi has shaped the development of popular music of the country and world. Major innovators created new music in every form - - - gospel, blues, country, R&B, rock, and jazz.@ *William Farris in Blues From the Delta wrote, ABlues shape both popular and folk music in American culture; and blues-yodeling Jimmie Rodgers, Elvis Presley, and the Rolling Stones are among many white performers who incorporate blues in their singing styles.@ For another example, Joachim Berendt=s book, The Jazz Book, outlines the development of jazz from its blues roots. -
Eric Clapton
ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album. -
1 in the UNITED STATES DISTRICT COURT for the MIDDLE DISTRICT of TENNESSEE ESTATE of ARMETIA CHATMON, ) A/K/A ARMENTER CHATMON
IN THE UNITED STATES DISTRICT COURT FOR THE MIDDLE DISTRICT OF TENNESSEE ESTATE OF ARMETIA CHATMON, ) a/k/a ARMENTER CHATMON, ) p/k/a “BO CARTER” or “BO CHATMON” ) ) Plaintiff, ) Case No.: ) v. ) Judge: ) WARNER MUSIC GROUP CORP., ) Magistrate: SONY/ATV MUSIC PUBLISHING, ) EMI MILLS MUSIC, INC., RHINO ) ENTERTAINMENT COMPANY, d/b/a ) RHINO RECORDS, VIACOM, INC., d/b/a ) VIACOM INTERNATIONAL, INC, ) FOLKWAYS MUSIC PUBLISHERS, INC. ) HAL LEONARD LLC, J.W. PEPPER & ) & SONS, INC., ERIC CLAPTON, AND ) JOHN DOE NOS. 1-10. ) ) Defendants. ) JURY DEMAND COMPLAINT The Plaintiff, the Estate of Armetia Chatmon, p/k/a Bo Carter1 (hereinafter sometimes collectively referred to the “Plaintiff”), by its attorneys, as and for its complaint, alleges as follows: 1 Armetia Chatmon is variously referred to in underlying documents as “Armenter Chatmon” or professionally as “Bo Chatmon” or “Bo Carter.” Mr. Chatmon is also referenced using the variant spelling of the last name “Chatman.” As used in the facts of this Complaint, the intention is to use either “Plaintiff” when referring to the estate and “Chatmon” when referring to the author/artist, Armetia Chatmon, p/k/a “Bo Carter” or “Bo Chatmon.” To deflect confusion, all of these names should be read interchangeably to refer to the Plaintiff or its interests. 1 Case 3:16-cv-02722 Document 1 Filed 10/13/16 Page 1 of 32 PageID #: 1 NATURE OF THE ACTION 1. In this action, Plaintiff seeks damages for, inter alia, copyright infringement, false designation of origin, violation of personal rights and the right to claim authorship, as well as multiple other common law claims for acts engaged in by Defendants under the laws of the United States and the State of Tennessee as more fully set forth below in the claims for relief. -
The Estate of Claud L. Johnson, Deceased
IN THE COURT OF APPEALS OF THE STATE OF MISSISSIPPI NO. 2018-CA-00260-COA THE ESTATE OF CLAUD L. JOHNSON, APPELLANT DECEASED: MICHAEL JOHNSON, EXECUTOR v. THE KITCHENS LAW FIRM, P.A. APPELLEE DATE OF JUDGMENT: 02/15/2018 TRIAL JUDGE: HON. WILLIAM R. BARNETT COURT FROM WHICH APPEALED: COPIAH COUNTY CHANCERY COURT ATTORNEYS FOR APPELLANT: ALAN M. PURDIE CHRISTOPHER H. CORKERN ATTORNEY FOR APPELLEE: ROBERT W. LAWRENCE NATURE OF THE CASE: CIVIL - CONTRACT DISPOSITION: AFFIRMED - 08/27/2019 MOTION FOR REHEARING FILED: MANDATE ISSUED: BEFORE BARNES, C.J., McDONALD AND C. WILSON, JJ. C. WILSON, J., FOR THE COURT: ¶1. Claud L. Johnson passed away on June 30, 2015. In a sense, however, the disputes in this case arise more because of Claud’s father, legendary blues singer Robert L. Johnson, who passed away on August 16, 1938. During Claud’s lifetime, and after years of litigation handled by his attorneys, the appellee here, Claud was adjudicated to be the now world- renowned bluesman’s son. After Claud’s death, his last will and testament was admitted to probate in the Chancery Court of Copiah County, Mississippi. On October 20, 2016, the Kitchens Law Firm P.A. filed a “Motion to Authorize and Direct Executor to Turn Over Monies and Render an Accounting and Order Turn Over of Future Monies” in the probate matter. Claud’s estate responded to the law firm’s motion and asserted affirmative defenses. Both parties filed motions for summary judgment. Special chancellor William Barnett granted Kitchens’s motion and denied the estate’s motion. -
Waylon Jennings
TABLE OF CONTENTS 3 Introduction 4 About the Guide 5 Pre and Post-Lesson: Anticipation Guide 6 Lesson 1: Introduction to Outlaws 7 Lesson 1: Worksheet 8 Lyric Sheet: Me and Paul 9 Lesson 2: Who Were The Outlaws? 10 Lesson 3: Outlaw Influence 11 Lesson 3: Worksheet 12 Activities: Jigsaw Texts 14 Lyric Sheet: Are You Sure Hank Done It This Way 15 Lesson 4: T for Texas, T for Tennessee 16 Lesson 4: Worksheet 17 Lesson 5: Literary Lyrics 19 “London” by William Blake 20 Complete Tennessee Standards 22 Complete Texas Standards 23 Biographies 3-6 Table of Contents 2 Outlaws and Armadillos: Country’s Roaring ‘70s examines how the Outlaw movement greatly enlarged country music’s audience during the 1970s. Led by pacesetters such as Willie Nelson, Waylon Jennings, Kris Kristofferson, and Bobby Bare, artists in Nashville and Austin demanded the creative freedom to make their own country music, different from the pop-oriented sound that prevailed at the time. This exhibition also examines the cultures of Nashville and fiercely independent Austin, and the complicated, surprising relationships between the two. Artwork by Sam Yeates, Rising from the Ashes, Willie Takes Flight for Austin (2017) 3-6 Introduction 3 This interdisciplinary lesson guide allows classrooms to explore the exhibition Outlaws and Armadillos: Country’s Roaring ‘70s on view at the Country Music Hall of Fame and Museum® from May 25, 2018 – February 14, 2021. Students will examine the causes and effects of the Outlaw movement through analysis of art, music, video, and nonfiction texts. In doing so, students will gain an understanding of the culture of this movement; who and what influenced it; and how these changes diversified country music’s audience during this time. -
Feature Guitar Songbook Series
feature guitar songbook series 1465 Alfred Easy Guitar Play-Along 1484 Beginning Solo Guitar 1504 The Book Series 1480 Boss E-Band Guitar Play-Along 1494 The Decade Series 1464 Easy Guitar Play-Along® Series 1483 Easy Rhythm Guitar Series 1480 Fender G-Dec 3 Play-Along 1497 Giant Guitar Tab Collections 1510 Gig Guides 1495 Guitar Bible Series 1493 Guitar Cheat Sheets 1485 Guitar Chord Songbooks 1494 Guitar Decade Series 1478 Guitar Play-Along DVDs 1511 Guitar Songbooks By Notation 1498 Guitar Tab White Pages 1499 Legendary Guitar Series 1501 Little Black Books 1466 Hal Leonard Guitar Play-Along® 1502 Multiformat Collection 1481 Play Guitar with… 1484 Popular Guitar Hits 1497 Sheet Music 1503 Solo Guitar Library 1500 Tab+: Tab. Tone. Technique 1506 Transcribed Scores 1482 Ultimate Guitar Play-Along Please see the Mixed Folios section of this catalog for more2015 guitar collections. 1464 EASY GUITAR PLAY-ALONG® SERIES The Easy Guitar Play-Along® Series features 9. ROCK streamlined transcriptions of your favorite SONGS FOR songs. Just follow the tab, listen to the CD or BEGINNERS Beautiful Day • Buddy Holly online audio to hear how the guitar should • Everybody Hurts • In sound, and then play along using the back- Bloom • Otherside • The ing tracks. The CD is playable on any CD Rock Show • Use Somebody. player, and is also enhanced to include the Amazing Slowdowner technology so MAC and PC users can adjust the recording to ______00103255 Book/CD Pack .................$14.99 any tempo without changing the pitch! 10. GREEN DAY Basket Case • Boulevard of Broken Dreams • Good 1. -
Robert Johnson, Folk Revivalism, and Disremembering the American Past
The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past Blaine Quincy Waide A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Folklore Program, Department of American Studies Chapel Hill 2009 Approved by: William Ferris Robert Cantwell Timothy Marr ©2009 Blaine Quincy Waide ALL RIGHTS RESERVED ii Abstract Blaine Quincy Waide: The Green Fields of the Mind: Robert Johnson, Folk Revivalism, and Disremembering the American Past (Under the direction of William Ferris) This thesis seeks to understand the phenomenon of folk revivalism as it occurred in America during several moments in the twentieth and twenty-first centuries. More specifically, I examine how and why often marginalized southern vernacular musicians, especially Mississippi blues singer Robert Johnson, were celebrated during the folk revivals of the 1930s and 1960s as possessing something inherently American, and differentiate these periods of intense interest in the traditional music of the American South from the most recent example of revivalism early in the new millennium. In the process, I suggest the term “disremembering” to elucidate the ways in which the intent of some vernacular traditions, such as blues music, has often been redirected towards a different social or political purpose when communities with divergent needs in a stratified society have convened around a common interest in cultural practice. iii Table of Contents Chapter Introduction: Imagining America in an Iowa Cornfield and at a Mississippi Crossroads…………………………………………………………………………1 I. Discovering America in the Mouth of Jim Crow: Alan Lomax, Robert Johnson, and the Mississippi Paradox…………………………………...23 II. -
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. -
The Devil in Robert Johnson: the Progression of the Delta Blues to Rock and Roll by Adam Compagna
The Devil in Robert Johnson: The Progression of the Delta Blues to Rock and Roll by Adam Compagna “I went down to the crossroads, fell down on my knees, I went down to the crossroads, fell down on my knees, Saw the Devil and begged for mercy, help me if you please --- Crearn, “Crossroads” With the emergence of rock and roll in the late nineteen fifties and early nineteen sixties, many different sounds and styles of music were being heard by the popular audience. These early rock musicians blended the current pop style with the non-mainstream rhythm and blues sound that was prevalent mainly in the African-American culture. Later on in the late sixties, especially during the British “invasion,” such bands as the Beatles, Cream, Led Zeppelin, Fleetwood Mac, and the Yardbirds used this blues style and sound in their music and marketed it to a different generation. This blues music was very important to the evolution of rock and roll, but more importantly, where did this blues influence come from and why was it so important? The answer lies in the Mississippi Delta at the beginning of the twentieth century, down at the crossroads. From this southern section of America many important blues men, including Robert Johnson, got their start in the late nineteen twenties. A man who supposedly sold his soul to the Devil for the ability to play the guitar, Robert Johnson was a main influence on early rock musicians not only for his stylistic guitar playing but also for his poetic lyrics. 1 An important factor in the creation of the genre of the Delta blues is the era that these blues men came from. -
At the Crossroads Pottery by Mark Hewitt Pucker Gallery | Boston 2
1 At the CrossroAds Pottery by Mark hewitt Pucker Gallery | Boston 2 BiG Vase, CArPenter’s eGG, black manganese glaze with revealed salt glaze, yellow, and pink polka dots 43.5 x 24 x 24" Mh101 Cover: ten GAllon vAse, alkaline glaze with blue glass runs and black manganese neck 26 x 17.5 x 17.5" Mh99 All works Are stonewAre. 3 At the CrossroAds Pottery by Mark hewitt essAy By ChristoPher Benfey strAnGe thin Gs hAPPen At A southern Southern potters and comes up with his own distinctive kind of crossroads. Consider the red-clay town of Pittsboro, North ceramic music, utterly new and fresh—and very, very big. Carolina, where Mark Hewitt turns and burns his big-hearted Take a long look at two of Hewitt’s monumental pots, pots, down a winding gravel lane called Johnny Burke Road. Ike’s Peacock (MH102) and Carpenter’s Egg (MH101). These Smack-dab in the center of town, where two highways cross, magnificent pots, in their burgeoning scale, are unprecedented stands the Chatham County Courthouse, built in 1881 of in the North Carolina folk pottery canon. Solemn and seductive, rugged brick made down the highway in Sanford, the self- with their scale providing a thrilling clout, they have an immediate designated “Brick Capital of the U.S.A.” Or rather, the new appeal like that of Martin Puryear’s visionary sculptures, with courthouse stands there, since the old building, except for their own intersection of folk tradition and modernist panache. its façade and its statue of a Confederate soldier standing at They also represent the passage from the past to the present.