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PABL003 Tampa Red Front.Std
c TAM PA RED c PABL003 PABL003 THE M AN W ITH THE GOLD GUITAR TTaammppaa / She's Love Crazy (3:00) 24/6/41 @ Love With A Feeling (2:58) 16/6/38 RReedd 0 Delta Woman Blues (3:07) 11/10/37 A Travel On (2:24) 11/10/37 1 Bessemer Blues (2:48) 15/5/39 B Deceitful Friend Blues (3:02) 11/10/37 2 It's A Low Down Shame (2:57) 24/6/41 C When The One You Love Is Gone (3:08) 4/5/37 3 Hard Road Blues (2:57) 27/11/40 D It Hurts Me Too (2:32) 10/5/40 4 So Far, So Good (2:43) 24/6/41 E Witchin' Hour Blues (3:13) 27/10/34 5 You Missed A Good Man (3:34) 1/11/35 F Grievin' And Worryin' Blues (3:05) 14/6/34 6 Anna Lou Blues (2:53) 10/5/40 G Let Me Play With Your Poodle (2:39) 6/2/42 7 Got To Leave My Woman (3:19) 14/3/38 H She Wants To Sell My Monkey (3:20) 6/2/42 ? Kingfish Blues (3:08) 22/3/34 I Why Should I Care? (3:26) 14/3/38 All songs written and performed by Tampa Red (vocals, guitar, electric guitar, piano, kazoo) with Carl Martin (guitar, 17), Henry Scott (guitar, 16), Black Bob (guitar, 7, 10, 11?) Willie B. James (guitar, 2, 12, 13, 14, 20), Blind John Davis (piano, 3, 8, 15), Ransom Knowling (bass, 1, 3, 4, 6) Big Maceo Merriweather (piano, 1, 4, 6, 18, 19), Clifford 'Snags' Jones (drums, 18, 19), and others TThhee MM aann All recorded in Chicago except tracks 2, 9, 11, 12, 14, 20, Aurora, Illinois Restoration and XR remastering by Andrew Rose at Pristine Audio, January 2008 WW iitthh TThhee Cover artwork based on photographs of Tampa Red Total duration: 60:13 ©2008 Pristine Audio. -
Backlash Over Blair's School Revolution
Section:GDN BE PaGe:1 Edition Date:050912 Edition:01 Zone:S Sent at 11/9/2005 19:33 cYanmaGentaYellowblack Chris Patten: How the Tories lost the plot This Section Page 32 Lady Macbeth, four-letter needle- work and learning from Cate Blanchett. Judi Dench in her prime Simon Schama: G2, page 22 Amy Jenkins: America will never The me generation be the same again is now in charge G2 Page 8 G2 Page 2 £0.60 Monday 12.09.05 Published in London and Manchester guardian.co.uk Bad’day mate Aussies lose their grip Column five Backlash over The shape of things Blair’s school to come revolution Alan Rusbridger elcome to the Berliner Guardian. No, City academy plans condemned we won’t go on calling it that by ex-education secretary Morris for long, and Wyes, it’s an inel- An acceleration of plans to reform state education authorities as “commissioners egant name. education, including the speeding up of of education and champions of stan- We tried many alternatives, related the creation of the independently funded dards”, rather than direct providers. either to size or to the European origins city academy schools, will be announced The academies replace failing schools, of the format. In the end, “the Berliner” today by Tony Blair. normally on new sites, in challenging stuck. But in a short time we hope we But the increasingly controversial inner-city areas. The number of acade- can revert to being simply the Guardian. nature of the policy was highlighted when mies will rise to between 40 and 50 by Many things about today’s paper are the former education secretary Estelle next September. -
Women's History Can Be Taught As a Unit in a United States History Class Or As a United States Women's History Elective
Why Celebrate Woman's History Month by Alan Singer Throughout human history, including most of the history of the United States, women have been treated as second-class citizens. Their continuing second-class status is reflected in many social studies classrooms, where the roles played by women in society and their achievements in the past and present, continue to remain virtually invisible. Although women's names and faces now appear more frequently in social studies textbooks, their inclusion is generally an addition to an already existing curriculum. Female heroes were discovered and fit into previous topics and categories. There is little exploration of the role of women in earlier societies; the ways they lived, the accommodations they were forced to make to patriarchal and oppressive social mores, the familial and community networks and institutions they built, or the struggles women engaged in to achieve legal, political, and economic rights. In an article published by the National Council for Social Studies, Nel Noddings argued that a completely reconceptualized social studies curriculum should focus on women's culture, the realm of the home and family, the idea of women's work, and the role of women as community and international peacemakers.1 In his book, The Disuniting of America, Reflections on a Multicultural Society , Arthur Schlesinger, Jr. argues that the attention given to difference by multiculturalists and ethnocentrists threatens to reinforce "the fragmentation, resegregation, and tribalization of American life." He is particularly concerned that school curricula that focus on specific ethnic or aggrieved social groups are celebratory rather than academic and critical. -
Famous People from Michigan
APPENDIX E Famo[ People fom Michigan any nationally or internationally known people were born or have made Mtheir home in Michigan. BUSINESS AND PHILANTHROPY William Agee John F. Dodge Henry Joy John Jacob Astor Herbert H. Dow John Harvey Kellogg Anna Sutherland Bissell Max DuPre Will K. Kellogg Michael Blumenthal William C. Durant Charles Kettering William E. Boeing Georgia Emery Sebastian S. Kresge Walter Briggs John Fetzer Madeline LaFramboise David Dunbar Buick Frederic Fisher Henry M. Leland William Austin Burt Max Fisher Elijah McCoy Roy Chapin David Gerber Charles S. Mott Louis Chevrolet Edsel Ford Charles Nash Walter P. Chrysler Henry Ford Ransom E. Olds James Couzens Henry Ford II Charles W. Post Keith Crain Barry Gordy Alfred P. Sloan Henry Crapo Charles H. Hackley Peter Stroh William Crapo Joseph L. Hudson Alfred Taubman Mary Cunningham George M. Humphrey William E. Upjohn Harlow H. Curtice Lee Iacocca Jay Van Andel John DeLorean Mike Illitch Charles E. Wilson Richard DeVos Rick Inatome John Ziegler Horace E. Dodge Robert Ingersol ARTS AND LETTERS Mitch Albom Milton Brooks Marguerite Lofft DeAngeli Harriette Simpson Arnow Ken Burns Meindert DeJong W. H. Auden Semyon Bychkov John Dewey Liberty Hyde Bailey Alexander Calder Antal Dorati Ray Stannard Baker Will Carleton Alden Dow (pen: David Grayson) Jim Cash Sexton Ehrling L. Frank Baum (Charles) Bruce Catton Richard Ellmann Harry Bertoia Elizabeth Margaret Jack Epps, Jr. William Bolcom Chandler Edna Ferber Carrie Jacobs Bond Manny Crisostomo Phillip Fike Lilian Jackson Braun James Oliver Curwood 398 MICHIGAN IN BRIEF APPENDIX E: FAMOUS PEOPLE FROM MICHIGAN Marshall Fredericks Hugie Lee-Smith Carl M. -
Inhaltsverzeichnis
Inhaltsverzeichnis Vorwort 19 Einführung 21 Weshalb Sie dieses Buch lesen sollten 21 Wie man dieses Buch lesen sollte 21 Teil I: Was ist der Blues, und wie kann ich ihn erkennen? 22 Teil II: Wer ist wer im Blues 22 Teil III: Den Blues hören 22 Teil IV: Eine Zehner-Liste für Ausgebuffte 22 Teil V: Den Blues spielen 22 Icons in diesem Buch 22 Teitl Was ist Blues, und Wie kann ich ihn erkennen) 25 Kapitel 1 Wie man Sound und Stit des Blues erkennt 27 Weg mit überkommenen Vorstellungen! 27 Wir hören die wichtigsten Zutaten 28 Die Instrumente im Blues 28 Gitarre 29 Mundharmonika 29 Klavier 29 Schlagzeug 30 Baß 30 Blasinstrumente 30 Ein Wort zu den Texten des Blues 30 Kein Kneipenbummel: Wir untersuchen den 12-Bar-Blues 31 Wie Takte und Taktschläge definiert werden 31 Und was hat das mit der 12 zu tun? 32 Turnarounds 33 Den Takt halten 33 Shuffle 33 Slow Blues 33 Rock Beat 34 Titel mit allen drei Beats 34 Bibliografische Informationen digitalisiert durch http://d-nb.info/988248085 gescannt durch • Blues für Dummies • Kapitel 2 Der Blues hat Viele Schattierungen 35 Der klassische Female Blues 35 Jump Blues 37 Country Blues 38 Piano Blues 39 British Blues 40 Moderner elektrischer Blues 41 Moderner akustischer Blues 42 Rhythm & Blues und Soul-Blues 42 Regionale Blues-Stile 43 Chicago Blues 43 Delta Blues 45 Texas Blues 46 Memphis Blues 47 West Coast Blues 48 Louisiana Blues 49 New Orleans Blues 50 Kapitel 3 Die Verbindungen des Blues zu anderen Musikrichtungen 51 Jazz: Was war zuerst da - das Huhn oder das Ei? 51 R&B: Etwas Rhythmus für den Blues 52 Rock 'n' Roll: Der Blues bekam ein Kind.. -
March 2003, Vol
March 2003, Vol. 6 No. 1 Judges Retirement System enters 2003 Our Mission financially sound We deliver pensions, related his issue of Connections includes the percent. The higher the percentage, the financial summary of your stronger the pension system. The benefits and retirement system for fiscal year calculation of this percentage is explained services to promote T 2002. Although 2002 was a volatile year on in detail in the financial section of the the future financial Wall Street, the retirement system funds Comprehensive Annual Financial Report security of our were well cared for over the course of the which can be found at customers. year. The financial summary can be found www.michigan.gov/ors. on page 4. During fiscal year 2001-2002 the retire- Our Vision While the funds have not performed as ment system’s net assets decreased to well as they have in the past, the retire- $234.8 million. The major sources of Fast, easy access ment system invests for the long run in revenue were investment income and to complete both a responsible and prudent manner. contributions. The major expenditures and accurate Therefore, investments are made in a were benefit payments. broad diversified group of assets. This information and As of September 30, 2002, there were 535 strategy helps to limit losses during exceptional service. retirees and beneficiaries receiving turbulent times. For example, while the monthly benefits. Approximately 367 stock market investments are down, the active employees were reported during current bond and real estate investments In this issue fiscal year 2001-2002. Of these, about 270 are up. -
The Jones Tones
Davey J and the Jones Tones are a veteran band of four musicians, all with a distinctive style and personality that The Chippewa Valley Blues Society presents blends into a powerful whole. As bandleader, Davey J's approach to the blues is all about the shuffle, a style and tempo pioneered in acoustic Delta blues and electric Chicago blues. When the four-piece band gets its groove on, you can hear the foot-tapping acoustic-electric sounds from the era of rockabilly, Nashville country and western, early rock and roll, and of course, classic Chicago blues. And in the midst of the traditional shuffle tempos and rich vocals, Davey J also uses processing tools of the 21st century to add an edge to his acoustic guitar sound. So, as the Jones Tones perform songs that range from the 1930s Delta blues to the blues styles of our time, the band pays tribute to blues traditions as well as creating an original new sound. Davey J (aka David Jones) is a native of Omaha, Nebraska. Calling himself a first-generation Midwesterner with family roots in Arkansas, David grew up hearing the sounds of soul, rock and roll, and folk from the 1960s and 70s, and is an avid listener and fan of several genres of music. After picking up a bit of piano and guitar as a child and teen, David's first band was "The Earplugs," a folk-punk band formed in 1982 when he was a college student in Iowa City, Iowa. He then taught high school in Las Vegas, Nevada, spent a lot of time songwriting, and after moving to Minneapolis, Minnesota in 1989, spent the decade of the 90s performing in several blues, reggae, and variety August 25, 2009 and Every Tuesday bands. -
Encyclopedia of African American Music Advisory Board
Encyclopedia of African American Music Advisory Board James Abbington, DMA Associate Professor of Church Music and Worship Candler School of Theology, Emory University William C. Banfield, DMA Professor of Africana Studies, Music, and Society Berklee College of Music Johann Buis, DA Associate Professor of Music History Wheaton College Eileen M. Hayes, PhD Associate Professor of Ethnomusicology College of Music, University of North Texas Cheryl L. Keyes, PhD Professor of Ethnomusicology University of California, Los Angeles Portia K. Maultsby, PhD Professor of Folklore and Ethnomusicology Director of the Archives of African American Music and Culture Indiana University, Bloomington Ingrid Monson, PhD Quincy Jones Professor of African American Music Harvard University Guthrie P. Ramsey, Jr., PhD Edmund J. and Louise W. Kahn Term Professor of Music University of Pennsylvania Encyclopedia of African American Music Volume 1: A–G Emmett G. Price III, Executive Editor Tammy L. Kernodle and Horace J. Maxile, Jr., Associate Editors Copyright 2011 by Emmett G. Price III, Tammy L. Kernodle, and Horace J. Maxile, Jr. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Encyclopedia of African American music / Emmett G. Price III, executive editor ; Tammy L. Kernodle and Horace J. Maxile, Jr., associate editors. p. cm. Includes bibliographical references and index. ISBN 978-0-313-34199-1 (set hard copy : alk. -
Black Women's Music Database
By Stephanie Y. Evans & Stephanie Shonekan Black Women’s Music Database chronicles over 600 Africana singers, songwriters, composers, and musicians from around the world. The database was created by Dr. Stephanie Evans, a professor of Black women’s studies (intellectual history) and developed in collaboration with Dr. Stephanie Shonekon, a professor of Black studies and music (ethnomusicology). Together, with support from top music scholars, the Stephanies established this project to encourage interdisciplinary research, expand creative production, facilitate community building and, most importantly, to recognize and support Black women’s creative genius. This database will be useful for music scholars and ethnomusicologists, music historians, and contemporary performers, as well as general audiences and music therapists. Music heals. The purpose of the Black Women’s Music Database research collective is to amplify voices of singers, musicians, and scholars by encouraging public appreciation, study, practice, performance, and publication, that centers Black women’s experiences, knowledge, and perspectives. This project maps leading Black women artists in multiple genres of music, including gospel, blues, classical, jazz, R & B, soul, opera, theater, rock-n-roll, disco, hip hop, salsa, Afro- beat, bossa nova, soka, and more. Study of African American music is now well established. Beginning with publications like The Music of Black Americans by Eileen Southern (1971) and African American Music by Mellonee Burnim and Portia Maultsby (2006), -
Et Si Le Blues Parlaient
Présentation sur l’histoire du blues dans le 20 Siècle Par Bruce Stringkiller du groupe Dr Pickup www.drpickup.com Et si le blues parlait Programme 1 – Et si le blues parlait 6 Séances de 45 minutes Programme 2 – La guitare et le piano dans le blues Programme 3 – L’histoire et l’évolution des chansons classiques du blues Programme 1 – 6 Séances de 45 minutes Et si le blues parlait 1. Le début De l’Afrique jusqu’au l’invention du gramophone. Les Field trips des années 20 à 40 – Les "Spirituals", les "Work-Songs", les "Field Hollers". Les premiers disques – la géographie du blues – les premiers artistes Les années 1920 et 1930 virent l'apparition de l'industrie du disque, des chanteurs et guitaristes tels que Blind Lemon Jefferson et Blind Blake qui enregistrèrent chez Paramount Records, ou Lonnie Johnson chez Okeh Records. Charlie Patton, Mississippi Sheiks, Tommy Johnson, Mississippi John Hurt, LeadBelly, Robert Johnson, Son House Tampa Red Leroy Carr, Bukka White, Skip James, Sleepy 2. Les années 40 Le rôle de la radio Big Bill Broonzy, T.Bone Walker ou encore Lonnie Johnson, Arthur 'Big Boy' Crudup, Big Joe Williams, Lightnin' Hopkins, Big Maceo Merriweather, Brownie McGhee, Sonny Terry, Floyd Dixon, Lowell Fulson, Jelly Roll Morton, Joe Liggins & His Honeydrippers, John Lee Hooker, Sonny Terry, Sunnyland Slim, Merline Johnson, Pee Wee Crayton, Sleepy John Estes, Son House, Sonny Boy Williamson (30s-40s), Tampa Red, Louis Jordan & His Tympany Five, Josh White Son House s’est enregistré pour Paramount Records en 1930 et pour Alan Lomax à partir du Library of Congress en 1941 et 1942. -
Sanibel-Captiva Tides NOT for NAVIGATION
i CAR-RT 1 'KQCiCii'iC-.'i 00412Cid&-\ "?=.5 THU E^NiBEL 'LIBRARY The island's 770 01 ML OP RD newspaper SANI EEL PL 33957 of record Ei Rec Center plan page 5 Week of October 9-15,2003 SANIBEL & CAPTIVA, FLORIDA VOLUME 30, NUMBER 41, 24 PAGES 75 CENTS Clam Bayou flows free to the sea By Erik Burriss could close it again. Managing editor "This year it's milder weather and we have sufficient depth to keep it open," The western end of Sanibel now fea- Natural Resources Director Rob Loflin tures a healthier Clam Bayou. said. "It's a good thing it's maintaining \ City contractors reconnected the itself." bayou to the Gulf of Mexico last week, Since the bayou was more or less allowing high water threatening man- permanently closed for the last few groves and houses to escape and for the years, with the exception of last year's bayou to be flushed twice a day by the cut and a six-month period after rising and falling tides. Tropical Storm Gabrielle blew by, rain- "It all seems to be chugging along water had no way to escape. Rising nicely," said Tim Gardner, a member of water levels resulted in massive man- the Clam Bayou Preservation grove die off and threatened to flood Association. The association first houses. Homeowners on the bayou also brought the issue of the bayou's high expressed concern about being stranded water to the city's attention in early if flood waters covered the road. 2002. The bayou's fauna also suffered as msm The Sept. -
A History of the Blues
A HISTORY OF THE BLUES Tuesdays, January 10 to March 14, 2017, 10:00 A.M. to 12 Noon Fairfield Seniors' Centre, 81 Lothian Avenue, Etobicoke Coordinator and Presenter: Dr. Rob Bowman, Grammy-Award Winning professor of Music at York University [email protected] January 10 Precursors to the Blues—Music from Sub-Saharan Africa, notion of African retentions, field hollers, work songs and blues ballads January 17 The first appearance of what we know as blues in the 1890s—The first important published blues composer W.C. Handy (often erroneously referred to as the “Father of the Blues”), the first blues recordings by white marching bands and vaudeville and Tin Pan Alley artists—the Victor Military Band (1914), the Peerless Quartet (1915), Nora Bayes (1916) January 24 The first recordings of blues by African American artists in the 1920s—The Classic Blues Tradition—Mamie Smith, Ma Rainey, Bessie Smith January 31 Country Blues Recordings in the 1920s and 1930s—solo male singers such as Charley Patton and Robert Johnson; jug bands (Memphis Jug Band) and string bands (Mississippi Sheiks) February 7 The transition of the rural blues tradition into the city—1930’s blues/piano duets (Leroy Carr & Scrapper Blackwell), the late 1930s/1940s early Chicago sound of artists such as Big Maceo Merriweather, Memphis Minnie, Big Bill Broonzy February 14 Blues and the Folk Revival—Josh White and Leadbelly; The Great Migration leading to post-war urban manifestations of the blues (the rise of independent record labels, the start of black appeal radio in 1948)