Pint Prophecy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Aesthetic Evolution of Melvin B. Tolson : a Thematic Study of His Poetry
RICE UNIVERSITY THE AESTHETIC EVOLUTION OF MELVIN B. TOLSON: A THEMATIC STUDY OF HIS POETRY by HERMINE D. PINSON A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY APPROVED, THESIS COMMITTEE /?. U-G Terrence A. Doody, Professor of English, Chakman * mL ysL. Wesley Mojpris, Professor of English Bernard Aresu, Associate Professor of French Lorenzo Thomas, Writer-In-Residence, Uniyersity of Houston / /O 12. on, Associate Professor of Eng' outhern University THE AESTHETIC EVOLUTION OF MELVIN B. TOLSON: A THEMATIC STUDY OF HIS WORKS by Hermine D. Pinson ABSTRACT Within the context of Euro-American and Afro-American modernism Toison is an enigmatic figure. Only in recent years have critics and students begun to reappraise the works of a poet whose body of work reveals the varied influences of the writers of the Harlem Renaissance, the Symbolists, and the Euro-American modernists. Toison shares with Afro-American modernists, from Langston Hughes to Ralph Ellison, an indebtedness to Afro-American music and culture, from the blues to black vernacular speech to the tradition of "signifying," whether in the service of citing or "righting history." On the other hand, he shares with Euro-American modernists, from Ezra Pound to T. S. Eliot to W. B. Yeats, a predilection for symbolism, imagism, obscure allusions, and a preoccupation with confronting the chimeras of history and consciousness. To understand how Toison manages to incorporate elements of aesthetic approaches that are often politically and stylistically antithetical, this study traces the poet’s developing aesthetic, from his first manuscript, Portraits in a Harlem Gallery, to his last work, Harlem Gallery. -
Jump Blues, Club Blues, and Roy Brown Rob Bowman
Document generated on 09/27/2021 9:27 p.m. Canadian University Music Review Revue de musique des universités canadiennes Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown Rob Bowman Volume 17, Number 1, 1996 Article abstract The classification of different styles of North American popular music has URI: https://id.erudit.org/iderudit/1014691ar often been problematic. This paper investigates some of the music referred to DOI: https://doi.org/10.7202/1014691ar as rhythm and blues (r & b) in the late 1940s and early 1950s by specifically looking at the works of one of the music's leading practitioners of the time, Roy See table of contents Brown. Brown recorded both jump and club blues between 1947 and 1955, placing fifteen records in the Top 20 of the Billboard rhythm and blues charts. For the purposes of this paper fifty-four of the seventy-four songs that Brown Publisher(s) recorded in this period were analyzed with respect to structure, performing force, performance style, tempo, arrangement, bass lines, approach to the beat, Canadian University Music Society / Société de musique des universités rate of singing, vocal ornamentation, and lyric content and structure. Three canadiennes main subdivisions were found within Brown's repertoire, all connected to social behaviour, namely, dance. In the process, a basic biography of Brown is ISSN provided and his influence on many subsequent rhythm and blues and rock and roll performers is contextualized. 0710-0353 (print) 2291-2436 (digital) Explore this journal Cite this article Bowman, R. (1996). Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown. -
Absoluteabsolute08 Absolute 2008 Absolute Is Published Annually by the Arts and Humanities Division of Oklahoma City Community College
AbsoluteAbsolute08 Absolute 2008 Absolute is published annually by the Arts and Humanities Division of Oklahoma City Community College. All creative pieces are the original works of college students and community members. The views expressed herein are those of the writers and artists. Editorial Board Student Editors Jeffrey Miller Cynthia Praefke Johnathon Seratt Robert Smith Faculty Advisors Jon Inglett Marybeth McCauley Clay Randolph Publications Coordinator April Jackson Graphic Design Michael Cline Cover Art Jennifer Ohsfeldt Cover Design Randy Anderson Doug Blake Cathy Bowman Special Thanks J.B. Randolph, Dr. Cheryl Stanford, Susan VanSchuyver, Ruth Charnay, Dr. Felix Aquino, Dr. Paul Sechrist All information supplied in this publication is accurate at the time of printing; however, changes may occur and will supersede information in this publication. This publication, printed by DPS Printing Services, Inc., is issued by Oklahoma City Community College. A total of 150 copies were printed at a cost of $__________. Oklahoma City Community College complies with all applicable Federal and State laws and regulations and does not discriminate on the basis of race, color, national origin, gender, age, religion, disability or status as a veteran in any of its policies, practices or procedures. This includes, but is not limited to, admissions, employment, financial aid, and educational services. Oklahoma City Community College is accredited by the Commission on Institutions of Higher Education of the North Central Association of Colleges and Schools and holds a prestigious 10-year accreditation as of 2001. Contents FICTION .............................................................................................................1 Death of a Neighbor . Cynthia Praefke Melinda . Lyndsie Stremlow Fish on the Verge of Change . .Nelson Bundrick Billy Ray . -
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. -
Jay's Céilidh Book Vol 2 – the Other Stuff
Jay's Céilidh Book Vol 2 – The Other Stuff Updated: July 5, 2020 If Music be the Food of Love, Play On... Digital versions of this document are available at http://www.cheakamus.com/Ceilidh - if you change it please send alterations to [email protected] for inclusion in future versions. 2 Songs All I Want for Christmas is my Two Front Teeth ...........................................................................26 Always Look on the Bright Side of Life .........................................................................................12 Big River ........................................................................................................................................ 8 Black Fly Song, The .....................................................................................................................19 Dr. Bernice ................................................................................................................................... 17 El Paso ......................................................................................................................................... 22 Eurotrash Girl ...............................................................................................................................13 Everybody Knows ........................................................................................................................ 20 Fever ........................................................................................................................................... -
April 21, 2015 L Uvm, Burlington, Vt Uvm.Edu/~Watertwr L@Thewatertower L Thewatertower.Tumblr.Com
volume 17 - issue 7 tuesday, april 21, 2015 uvm, burlington, vt uvm.edu/~watertwr @thewatertower thewatertower.tumblr.com Editor’s note: This is an account by lynnkeating of a UVM student’s experience with sexual violence on campus Nearing the end of the semester, I don’t and the campus investigation pro- think I have what it takes to fulfill what is cess. To protect their privacy, this expected of me as a college student—which student remains anonymous. In is to sit. I sit in class and then sit to com- honor of Sexual Assault Aware- plete course assignments. I sit at work to ness Month, the wt feels this is an earn money then invest those funds in especially important story to tell, more sitting in college lectures. I sit to eat for this student and for all UVM my meals which give me energy to stay survivors. Trigger warning for seated and use my brain without withering rape and sexual assault. away into the dust. While sitting and reflecting on my aca- demic lifestyle, I realized how much I obey my sitting duties. Prior to college, I thought My story sounds like a lot of others. I would be on my toes so much that I would At college, I thought I’d found my new barely find the time to rest my legs. Wrong. home. I foolishly thought that UVM was Instead, after a day’s worth of sitting, I find safe. I knew that sexual assault was a big myself so completely exhausted that I look problem at college, but this is Vermont, forward to sitting once again when I some- right? what finish my work. -
This Songbook Was Generated at This Songbook Was Generated at Bls
NWO This songbook was generated at www.guitarparty.com This songbook was generated at www.guitarparty.com Bls. 2 Table of contents (Sittin' On) The Dock of the Bay . 4 Ain't No Sunshine . 5 Black . 6 Blame it on me . 7 Breezeblocks . 8 Budapest . 9 Crazy . 11 Creep . 12 Feeling Good . 13 Fever . 14 Fever . 15 Fuck her gently . 17 Guaranteed . 18 Hey . 19 Higher and higher . 20 How He Loves . 21 I Alone . 22 Karma Police . 23 Knockin' on heaven's door . 24 Let it be . 25 Little Black Submarines . 27 Ljósvíkingur . 28 Murr Murr . 29 My body is a cage . 30 No Diggity . 31 Nothing Arrived . 32 Rain . 33 Rocket Man . 34 Rómeó og Júlía . 35 Sing . 36 Stúlkan sem starir á hafið . 37 This songbook was generated at www.guitarparty.com Bls. 3 Sumarið er tíminn . 39 Tighten Up . 40 Too close . 41 Use somebody . 42 Wake up . 43 Way down we go . 44 What's up . 45 Where did you sleep last night? (In the Pines) . 47 Where is my mind . 48 While My Guitar Gently Weeps . 49 Wild horses . 50 This songbook was generated at www.guitarparty.com Bls. 4 (Sittin' On) The Dock of the Bay Song by: Otis Redding ásamt fleirum. Lyrics by: Otis Redding ásamt fleirum. ArtistsOtis Redding G B C Bb A E D Cadd9 F G B G E Sittin' in the morning sun watching the tide roll away C B Bb A G A I'll be sittin' when the evening come ooh I'm just sittin' on the dock of the bay G B G E Watching the ships roll in, wasting time C B Bb A then I watch them roll away again, yeah GE G E G E I'm sittin' on the dock of the bay G E watching the tide roll away G A ooh I'm just sittin' on -
Britney Spears, “Tweens,” and the Politics of Reception
Popular Music and Society, Vol. 26, No. 2, 2003 Colliding Feminisms: Britney Spears, “Tweens,” and the Politics of Reception Melanie Lowe Video-games, cartoon violence, and “shoot-em-up” action movies provoke school shootings. Ever-shrinking supermodels and actors encourage eating dis- orders. Heavy metal music lures boys to Satanism and suicide. Hollywood teaches girls passivity and submission. Or so we learn on the nightly news. Scores of studies that seem to support an influence of media content on audience beliefs and behavior drive our ever-current “blame-the-media” political climate. These high-profile studies, many of them policy oriented, typically conclude that the social wellbeing of a particular group is endangered by the frequent depiction of violence, sex, sexism, racism, consumerism, and even light “PG” violence or sexual innuendo. Concerning body image and the health of women and girls, effects researchers tend to concentrate most intensely on the role that advertising, fashion magazines, and celebrities—actors and supermodels in particular—play in shaping female body perception. Feminist writing, particularly in the 1970s and early 1980s, often argues that images of women in subordinate, passive, or even nontechnologically savvy roles encourage societal adherence to patriarchal notions of femininity. The popular press itself, typically the perpetrator in media crimes, now frequently toes the line. The cover of the February 14, 2000 People Weekly, for example, reads: “Pop princess Britney Spears: Too sexy too soon? Little girls love her, but her image makes some moms nervous.” The message is loud and clear: Mom, be nervous; be very, very nervous. Much recent academic literature in communications studies, however, chal- lenges the direct influence of media content suggested by mainstream effects research. -
The Marine Corps
TWENTY-FIVE POEMS ABOUT LIFE IN THE MARINE CORPS THE UNITED STATES MARINE The rnan from the Navy threw up his hands, And said, that it could not be done. The man from the Army gave up in despair Before he had ever b~gun. And still the job was finished on time, As neatly as ever was seen. The man who did it :)gainst all odds Was a UNITED STATES MARINE. The natives had gathered around their chief- .Lnd iavagely held their. own. Their town was stronger fortified 7'llari our Infantry had known. At sunrise next morning, thr Stars and Stripes, hIajestically rose o'er the scene. The man who ran thein up on the staff' Lf'kts a UNITED S't'Arl'ES hlAIt1NIC. The people ot ever) creed atid claw, Of @verycountry and clime Have paid their respects to the Stars and Stripes At one or another time. At times they ral\e trouble among themselves And someone must intervene, Then the best man to send, so Ihe President says, Is a IJNITED STATES MAR[NE. SERGEANT CANAVAN'S OWN TIME: Almost any time in the present. PLAC!E: Marine Corps Recruit Depot. CAST: Sergeant Canavan and recruits. There is one thing I want you men to know And thoroughly understand: That this outfit is no Sunday-school, No party, no guinea-band. This is no place for a box-car-bum, And I want to mention too, That, if you're always faithful to me, I'll b~ kind and faithful to yon. .lnd before very long you will proudly proclaim ']'hat you're one of the men who are known All thru the service, from coast to coast As Sergeant Canavan's Own. -
1 the Words December 2007 Over the Last 15 Years Or So I Have Been
Songbook version January 2008 The Words December 2007 Over the last 15 years or so I have been collecting lyrics to songs - mostly old-time country, bluegrass, cowboy, and old blues songs. I wanted to consolidate these lyrics into one big searchable file that I could use as a reference. I started with the Carter Family, Stanley Brothers, Flatt & Scruggs, Bill Monroe, and Uncle Dave Macon sections, which I had in separate documents, previously downloaded from the web over the last few years. I can’t remember where I got the Carter Family or Uncle Dave songs, but the rest were mostly from Bluegrasslyrics.com. I had the rest of the songs in a huge binder. Excluding those that were already in the existing sections, I searched the web for lyrics that were close to the version I had. Other useful websites: www.mudcat.org www.traditionalmusic.co.uk http://mywebpages.comcast.net/barb923/lyrics/i_C.htm www.cowboylyrics.com http://prewarblues.org/ (not so many lyrics, but a cool site) There is a rough Table of Contents at the start of the document, and a detailed Index at the end. I’d recommend using the Index if you are looking for something in particular, or use your search tool. (There is no reason why some of the song titles are in CAPS but they are mostly Carter Family songs). I haven’t been able to read every song, so there may be lyrics that are insensitive, especially in the Uncle Dave Macon section. I’m sorry if I missed them. -
Prophet Singer: the Voice and Vision of Woody Guthrie Mark Allan Jackson Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Prophet singer: the voice and vision of Woody Guthrie Mark Allan Jackson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Jackson, Mark Allan, "Prophet singer: the voice and vision of Woody Guthrie" (2002). LSU Doctoral Dissertations. 135. https://digitalcommons.lsu.edu/gradschool_dissertations/135 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PROPHET SINGER: THE VOICE AND VISION OF WOODY GUTHRIE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements of the degree of Doctor of Philosophy in The Department of English By Mark Allan Jackson B.A., Hendrix College, 1988 M.A., University of Arkansas at Fayetteville, 1995 December 2002 ACKNOWLEDGEMENTS Many people and institutions should be acknowledged for their help in making my dissertation possible. I have to start off by tipping my hat to certain of my friends, people who first asked me interesting questions or spared with me in argument about music. So I salute Casey Whitt, John Snyder, Cody Walker, Derek Van Lynn, Maxine Beach, and Robin Becker. They helped me see the deep places in America’s music, made me think about its beauty and meaning. -
Sailing to Alluvium by John Pritchard a Third Novel in the Junior Ray Saga Forthcoming from Newsouth Books in Fall 2013
Selections from Sailing to Alluvium by John Pritchard a third novel in the Junior Ray saga Forthcoming from NewSouth Books in Fall 2013 (front cover concept for STA jacket) Praise for Junior Ray “Mississippi tourist officials won’t be handing this book out anytime soon, though they might be surprised by its effectiveness if they did . Not for the squeamish, but its irreverent humor will win over most.” — Publishers Weekly “For all Junior Ray’s ugly talk, the writing here is beautifully crafted. Providing counterpoint to Junior Ray’s perfectly calibrated invective, Pritchard sprinkles the narrative with Leland Shaw’s heartbreaking jour- nal entries about being hunted by Nazis . while not for the squeamish, [Junior Ray] deserves shelf space beside the best southern literature— even if it makes its neighbors blush.” — Barnes & Noble “Junior Ray is an unforgettable narrator: hilarious, rowdy, and stubbornly his own. In life you’d cross the street to avoid him; in Pritchard’s delight- ful fictional debut, you’ll turn the pages to see what that rascal does next.” — Louise Redd, Hangover Soup “Junior Ray Loveblood has taken profanity and made a new language of it, which he uses to tell the often hilarious, often scary, story of life as a poor white in the Mississippi Delta, down its lonely roads and through its dark forests. Not for the squeamish or pure at heart.” — John Fergus Ryan, White River Kid “A whizbang of a book—funny, eccentric in that great Southern tradi- tion, pitch-perfect, and beautifully paced. Junior Ray’s voice, while repugnant, is also beguiling, sorrowful—though he doesn’t know it—and rich in cracker surrealism.