Nels Anderson's the Hobo and Other Work
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Johnny Cash by Dave Hoekstra Sept
Johnny Cash by Dave Hoekstra Sept. 11, 1988 HENDERSONVILLE, Tenn. A slow drive from the new steel-and-glass Nashville airport to the old stone-and-timber House of Cash in Hendersonville absorbs a lot of passionate land. A couple of folks have pulled over to inspect a black honky-tonk piano that has been dumped along the roadway. Cabbie Harold Pylant tells me I am the same age Jesus Christ was when he was crucified. Of course, this is before Pylant hands over a liter bottle of ice water that has been blessed by St. Peter. This is life close to the earth. Johnny Cash has spent most of his 56 years near the earth, spiritually and physically. He was born in a three-room railroad shack in Kingsland, Ark. Father Ray Cash was an indigent farmer who, when unable to live off the black dirt, worked on the railroad, picked cotton, chopped wood and became a hobo laborer. Under a New Deal program, the Cash family moved to a more fertile northeastern Arkansas in 1935, where Johnny began work as a child laborer on his dad's 20-acre cotton farm. By the time he was 14, Johnny Cash was making $2.50 a day as a water boy for work gangs along the Tyronza River. "The hard work on the farm is not anything I've ever missed," Cash admitted in a country conversation at his House of Cash offices here, with Tom T. Hall on the turntable and an autographed picture of Emmylou Harris on the wall. -
Centennial Bibliography on the History of American Sociology
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 2005 Centennial Bibliography On The iH story Of American Sociology Michael R. Hill [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Family, Life Course, and Society Commons, and the Social Psychology and Interaction Commons Hill, Michael R., "Centennial Bibliography On The iH story Of American Sociology" (2005). Sociology Department, Faculty Publications. 348. http://digitalcommons.unl.edu/sociologyfacpub/348 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Hill, Michael R., (Compiler). 2005. Centennial Bibliography of the History of American Sociology. Washington, DC: American Sociological Association. CENTENNIAL BIBLIOGRAPHY ON THE HISTORY OF AMERICAN SOCIOLOGY Compiled by MICHAEL R. HILL Editor, Sociological Origins In consultation with the Centennial Bibliography Committee of the American Sociological Association Section on the History of Sociology: Brian P. Conway, Michael R. Hill (co-chair), Susan Hoecker-Drysdale (ex-officio), Jack Nusan Porter (co-chair), Pamela A. Roby, Kathleen Slobin, and Roberta Spalter-Roth. © 2005 American Sociological Association Washington, DC TABLE OF CONTENTS Note: Each part is separately paginated, with the number of pages in each part as indicated below in square brackets. The total page count for the entire file is 224 pages. To navigate within the document, please use navigation arrows and the Bookmark feature provided by Adobe Acrobat Reader.® Users may search this document by utilizing the “Find” command (typically located under the “Edit” tab on the Adobe Acrobat toolbar). -
Ain't Goin' Nowhere — Bob Dylan 1967 Page 1
AIN 'T GOIN ' NOWHERE BOB DYLAN 1967 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , RELEASES , TAPES & BOOKS . © 2001 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Ain't Goin' Nowhere — Bob Dylan 1967 page 1 CONTENTS: 1 INTRODUCTION..................................................................................................................... 2 2 THE YEAR AT A GLANCE ................................................................................................... 2 3 CALENDAR .............................................................................................................................. 2 4 RECORDINGS ......................................................................................................................... 3 5 JOHN WESLEY HARDING ................................................................................................... 3 6 SONGS 1967 .............................................................................................................................. 5 7 SOURCES .................................................................................................................................. 6 8 SUGGESTED READINGS ...................................................................................................... 7 8.1 GENERAL BACKGROUND ..................................................................................................... -
MARCH 20, 2006 ARTIST GENE AUTRY TITLE That Silver Haired
SHIPPING DATE: MARCH 20, 2006 ARTIST GENE AUTRY TITLE That Silver Haired Daddy Of Mine LABEL Bear Family Records CATALOG # BCD 15944 PRICE-CODE IL EAN-CODE 4000127 159441 ISBN-CODE 3-89916-180-7 FORMAT 9-CD Box-Set (LP-size) with 100-page hardcover book GENRE Western TRACKS 225 PLAYING TIME 659:06 SALES NOTES Very few people know that Gene Autry...America’s beloved Singing Cowboy, began his career as the writer and performer of authentic white country blues. While working as a telegrapher for the St. Louis and San Francisco Railroad - the Frisco Line - he used a railroad pass to travel to New York in 1929, hoping to follow his dream of competing with the top pop singers of the day. Instead, on the advice of Frankie and Johnny Marvin, and legendary producer Arthur Satherley, Autry used his talent to emulate Jimmie Rodgers. No other performer caught the essence of Jimmie Rodgers as Autry did. He could match Rodgers' yodel, Mississippi dialect and guitar runs so closely that it was often hard to tell the two apart. Yet, as he performed more and more original songs in the Rodgers style, he began to develop a sound of his own. Producing records for a variety of labels such as Gennett, Victor, and Columbia, as well as various low budget labels ('dime-store platters') owned by ARC, Gene sold lots of records during the Depression when people could least afford to buy them. In the early 1930s, Gene with the guidance of his mentor Jimmy Long and Art Satherley, moved from blues to the more traditional hillbilly music of the time. -
The Ladies Vanish? American Sociology and the Genealogy of Its Missing Women on Wikipedia Wei Luo, Julia Adams and Hannah Brueck
The Ladies Vanish? American Sociology and the Genealogy of its Missing Women on Wikipedia Wei Luo, Julia Adams and Hannah Brueckner Working Paper # 0012 January 2018 Division of Social Science Working Paper Series New York University Abu Dhabi, Saadiyat Island P.O Box 129188, Abu Dhabi, UAE https://nyuad.nyu.edu/en/academics/divisions/social-science.html 1 The Ladies Vanish? American Sociology and the Genealogy of its Missing Women on Wikipedia Wei Luo Yale University [email protected] Julia Adams Yale University [email protected] Hannah Brueckner NYU-Abu Dhabi [email protected] Acknowledgements The authors gratefully acknowledge support for this research from the National Science Foundation (grant #1322971), research assistance from Yasmin Kakar, and comments from Scott Boorman, anonymous reviewers, participants in the Comparative Research Workshop at Yale Sociology, as well as from panelists and audience members at the Social Science History Association. 2 The Ladies Vanish? American Sociology and the Genealogy of its Missing Women on Wikipedia Wei Luo, Julia Adams and Hannah Brueckner “People just don't vanish and so forth.” “But she has.” “What?” “Vanished.” “Who?” “The old dame.” … “But how could she?” “What?” “Vanish.” “I don't know.” “That just explains my point. People just don't disappear into thin air.” --- Alfred Hitchcock, The Lady Vanishes (1938)1 INTRODUCTION In comparison to many academic disciplines, sociology has been relatively open to women since its founding, and seems increasingly so. Yet many notable female sociologists are missing from the public history of American sociology, both print and digital. The rise of crowd- sourced digital sources, particularly the largest and most influential, Wikipedia, seems to promise a new and more welcoming approach. -
The Chicago School of Sociology 1915-1940 Between 1915 And
Mapping the Young Metropolis: The Chicago School of Sociology 1915-1940 Between 1915 and 1940, a small faculty in the University of Chicago Department of Sociology, working with dozens of talented graduate students, intensively studied the city of Chicago . They aspired to use the approaches of social science in developing a new field of research, and they took the city as their laboratory. Chicago was the ideal place for such an effort: in the last half of the nineteenth century it had grown from a population of 30,000 in 1850, to 1,700,000 in 1900, probably faster than any city in history. More than one-third of the population had been born abroad, in Germany, Poland, Ireland, Italy, and dozens of other countries. It had a panoply of social problems, such as prostitution, drunkenness, hoboes, and boys' gangs. The Department of Sociology faculty sent students out into Chicago's "real world" to collect information. They employed all sorts of research methods—they refined existing ones, such as censuses, surveys and mapping, and they invented new ones, such as the personal life history. They described and analyzed what they had seen. The Chicago sociology faculty wrote books, such as The Polish Peasant in Europe and America. Graduate students in sociology wrote dissertations, many of which became books published by the University of Chicago Press. Notable among them are The Ghetto, The Hobo, The Gang, and The Gold Coast and the Slum. Many of the books became sociological classics. Prior to this work, sociology was for the most part a combination of history and philosophy, an armchair discipline. -
Still on the Road Session Pages 1967
STILL ON THE ROAD 1967 RECORDING SESSIONS MARCH – MAY Byrdcliffe, New York Red Room, Bob Dylan's Home MAY – OCTOBER West Saugerties, New York Big Pink's Basement, Stoll Road OCTOBER Woodstock, New York Wittenberg Road, Rick Danko's & Levon Helm's Home 17 Nashville, Tennessee Columbia Studio A, 1st John Wesley Harding session NOVEMBER 6 Nashville, Tennessee Columbia Studio A, 2nd John Wesley Harding session 29 Nashville, Tennessee Columbia Studio A, 3rd John Wesley Harding session Bob Dylan recording sessions 1967 1620 Red Room Bob Dylan's Home Byrdcliffe, New York March-May 1967 1. Edge Of The Ocean 2. My Bucket's Got A Hole In It (Clarence Williams) 3. Roll On Train 4. Mr. Blue 5. Spanish Is The Loving Tongue (Charles Badger Clark / Billy Simon) 6. Under Control 7. Ol' Roison The Beau (trad, arr. by Bob Dylan) 8. I'm Guilty Of Loving You 9. Cool Water (Bob Nolan) 10. The Auld Triangle (Brendan Behan) 11. Poor Lazarus (trad, arr. by Bob Dylan) 12. Johnny Todd (trad, arr. by Bob Dylan) 13. Rock, Salt And Nails (Bruce Phillips) 14. Confidential (Dorinda Morgan) 15. Confidential (Dorinda Morgan) 16. 2 Dollars And 99 Cents 17. Jelly Bean 18. Any Time 19. Down By The Station 20. Hallelujah, I've Just Been Moved (trad, arr. by Bob Dylan) 21. That's The Breaks 22. Pretty Mary 23. Will The Circle Be Unbroken (A.P. Carter) 24. King Of France 25. She's On My Mind Again 26. On A Rainy Afternoon 27. I Can't Come In With A Broken Heart 28. -
The Chicago School of Sociology
Sociology 915 Professor Mustafa Emirbayer Spring Semester 2011 O f fice: 8141 Sewell Social Science Thursdays 5-8 PM Office Telephone: 262-4419 Classroom: 4314 Sewell Social Science Email: [email protected] Office Hours: Thursdays 12-1 PM http://ssc.wisc.edu/~emirbaye/ The Chicago School of Sociology Overview of the Course: This course will encompass every aspect of the Chicago School: its philosophic origins, historical development, theoretical innovations, use of ethnographic and other methods, and contributions to such areas as urban studies, social psychology, race relations, social organization and disorganization, ecology, and marginality. Chronologically, it will cover both the original Chicago School (interwar years) and the Second Chicago School (early postwar period). Readings: Because of the open-endedness of the syllabus, no books will be on order at the bookstore. Students are expected to procure their own copies of books they wish to own. A number of books (dozens) will be on reserve at the Social Science Reference Library (8th floor of Sewell Social Science Building). In addition, many selections will be available as pdf files at Learn@UW. For future reference, this syllabus will also be available at Learn@UW. Grading Format: Students’ grades for this course will be based on two different requirements, each of which will contribute 50% to the final grade. First, students will be evaluated on a final paper. Second, they will be graded on their class attendance and participation. More on each of these below. Final Paper: One week after the final class meeting of the semester (at 5 p.m. that day), a final paper will be due. -
Bob Dylan's Hoboism in John Wesley Harding
ENGLISH DEPARTMENT, FU JEN CATHOLIC DEPARTMENT GRADUATION PROJECT 2016 Bob Dylan’s Hoboism in John Wesley Harding Research Paper, English Composition III Ying Chen Chen 1 Ying Chen 401110066 Composition and Conversation III 2 July 2015 Bob Dylan’s Hoboism in John Wesley Harding I. Introduction A. Introduction B. Thesis Statement: To answer these questions, this paper chooses to focus on Bob Dylan’s album John Wesley Harding and analyze how self-reliant hoboism and nonconformity are at the core of the album through a sequence of ideas stemming from the establishment of self-reliance, implied pity for the hobos, restoration of justice, to, finally, a simple assurance of human relation and restatement of self-reliance. II. Dylan’s musical career A. Introduction to the 4 stages of Dylan’s career (Bio. ; Williams) 1. 1962 – 1965: Folk Singing 2. 1965 – 1974: Reinventing His Image 3. 1974 – 1989: Touring and Religion 4. Post 90s: Rock Star Status B. The significance of John Wesley Harding (1967) 1. The motorcycle accident and retreat from public sight 2. Dylan’s changed songwriting technique a. Most prominent use of the hobo persona (Gibbens 257) b. Rural myths fused with biblical references 1. Dylan’s self-reliant choice in writing the album a. Going country-folk despite the raging rock n’ roll trend (Hughes 177) b. Self-reliance in reestablishing identity, reemerging into public sight (James 55) III. Hobo characters as motifs in Dylan’s works A. The origin of hobos and two types of hoboism 1. The origin of hobos: transient workers (Liberman) 2. Nonelective transience: homelessness (wanders due to perils in life) (Elkholy) 3. -
The Chicago School of Sociology
BERNARD QUARITCH LTD 36 BEDFORD ROW, LONDON, WC1R 4JH Tel.: +44 (0)20 7297 4888 Fax: +44 (0)20 7297 4866 e-mail: [email protected] Web: www.quaritch.com Bankers: Barclays Bank PLC 1 Churchill Place London E14 5HP Sort code: 20-65-90 Account number: 10511722 Swift code: BUKBGB22 Sterling account: IBAN: GB71 BUKB 2065 9010 5117 22 U.S. Dollar account: IBAN: GB19 BUKB 2065 9063 9924 44 Euro account: IBAN: GB03 BUKB 2065 9045 4470 11 VAT number: GB 322 454 331 Covers adapted from no. 29 Park © Bernard Quaritch Ltd 2020 THE CHICAGO SCHOOL OF SOCIOLOGY The famous ‘Chicago School’ of sociology began with the foundation in 1892 of Albion Woodbury Small’s ‘School of Social Science’, at the newly-founded University of Chicago. The School’s thought developed from Small’s close association with William James, John Dewey, George Herbert Mead and Charles Cooley; all of whom emphasised the individual and the importance of that individual’s empirical perception or experience, and subscribed to a Darwinian view of evolution and natural history. The School’s early links with anthropology (exemplified chiefly by the work of William Isaac Thomas) and economics, would contribute to the development of an easily recognisable methodology. This was field-based statistical research, for the most part carried out within the urban locality of Chicago, which viewed criminality – especially juvenile delinquency – as the product of purely sociological factors. The University of Chicago Press’s Sociological Series (characterised by its distinctively modern and attractive book design, which influenced the nearby Free Press of Glencoe, Illinois) was responsible for distributing much of the School’s core work, beginning with Nels Anderson’s The Hobo in 1923. -
Journal of Contemporary Ethnography-2006-Anderson-373-95
Journal of Contemporary Ethnography 10.1177/0891241605280449JournalAnderson of /Contemporary Analytic Autoethnography Ethnography Volume 35 Number 4 August 2006 373-395 © 2006 Sage Publications Analytic Autoethnography 10.1177/0891241605280449 http://jce.sagepub.com Leon Anderson hosted at Ohio University http://online.sagepub.com Autoethnography has recently become a popular form of qualitative research. The current discourse on this genre of research refers almost exclusively to “evocative autoethnography” that draws upon postmodern sensibilities and whose advocates distance themselves from realist and analytic ethnographic traditions. The dominance of evocative autoethnography has obscured recog- nition of the compatibility of autoethnographic research with more traditional ethnographic practices. The author proposes the term analytic autoethnography to refer to research in which the researcher is (1) a full mem- ber in the research group or setting, (2) visible as such a member in published texts, and (3) committed to developing theoretical understandings of broader social phenomena. After briefly tracing the history of proto-autoethnographic research among realist ethnographers, the author proposes five key features of analytic autoethnography. He concludes with a consideration of the advan- tages and limitations of this genre of qualitative research. Keywords: autoethnography; analytic ethnography; qualitative research ver the past fifteen years, we have seen an impressive growth of Oresearch that has been variously referred to as auto-anthropology, auto- biographical ethnography or sociology, personal or self-narrative research and writing, and perhaps most commonly, autoethnography. This scholar- ship has been linked, explicitly and implicitly by different authors, to various “turns” in the social sciences and humanities: the turn toward blurred genres of writing, a heightened self-reflexivity in ethnographic research, an increased focus on emotion in the social sciences, and the postmodern skep- ticism regarding generalization of knowledge claims. -
Riding the Freight Trains in Boxcar Bertha (Martin Scorsese, 1972), Emperor of the North (Robert Aldrich, 1973), and Bound for Glory (Hal Ashby, 1976)*
DUTRIAUX FILM JOURNAL 3 (2016) Outcasts, Hoboes, and Freight-hoppers: Riding the Freight Trains in Boxcar Bertha (Martin Scorsese, 1972), Emperor of the North (Robert Aldrich, 1973), and Bound for Glory (Hal Ashby, 1976)* Claire DUTRIAUX Université Paris-Sorbonne In the late 1960s to the mid-1970s several American films whose core subject was peculiarly similar were released, tackling either the economic conditions of poor whites and/or the lives of transients on the railroads during the Great Depression. The consistency of this movie cycle –which featured Sydney Pollack’s This Property is Condemned (1966), Martin Scorsese’s Boxcar Bertha, Robert Aldrich’s Emperor of the North, Hal Ashby’s Bound for Glory, Martin Ritt’s Sounder (1972), Walter Hill’s Hard Times (1975) and Robert Altman’s remake of Nicholas Ray’s 1948 They Live by Night into Thieves Like Us in 1974 – was reinforced by two specific traits. First, the release date of each movie (the late 1960s to mid- 1970s) and the chosen context of these movies (the 1930s) made them stand together as a cluster. Second and most of all, the actors starring in these movies contributed to the construction of the movie cycle, via their own intertextuality. Members of the Carradine “acting dynasty” appeared in four of the seven movies – John Carradine in Boxcar Bertha, his son David Carradine in Boxcar Bertha and Bound for Glory, and his other son Keith Carradine in Emperor of the North and Thieves Like Us. The intertextual link1 between the Carradine family of actors was made even stronger in Bound for Glory, as the movie frequently referenced John Ford’s The Grapes of Wrath (1940), in which John Carradine had played former preacher Jim Casy.