“Old Favourites” : a Selective Index
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I'll Hang Around As Long As You Will Let Me : Hard Country Music, the White Working Class, and the Experience of Loss in the American Neoliberal Context
Smith ScholarWorks Theses, Dissertations, and Projects 2018 I'll hang around as long as you will let me : hard country music, the white working class, and the experience of loss in the American neoliberal context Nicholas Johnston Smith College Follow this and additional works at: https://scholarworks.smith.edu/theses Part of the Politics and Social Change Commons, Psychology Commons, and the Sociology of Culture Commons Recommended Citation Johnston, Nicholas, "I'll hang around as long as you will let me : hard country music, the white working class, and the experience of loss in the American neoliberal context" (2018). Masters Thesis, Smith College, Northampton, MA. https://scholarworks.smith.edu/theses/2096 This Masters Thesis has been accepted for inclusion in Theses, Dissertations, and Projects by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected]. I’LL HANG AROUND AS LONG AS YOU WILL LET ME: HARD COUNTRY MUSIC, THE WHITE WORKING-CLASS, AND THE EXPERIENCE OF LOSS IN THE AMERICAN NEOLIBERAL CONTEXT A project based upon an independent investigation, submitted in partial fulfilment of the requirements for the degree of Master of Social Work. Nicholas S. Johnston Smith College School for Social Work Northampton, Massachusetts 01063 2017 Nicholas S. Johnston I’ll Hang Around as Long as You Will Let Me: Hard Country Music, the White Working-Class, and the Experience of Loss in the American Neoliberal Context ABSTRACT This paper utilises the object relations theories of Ronald Fairbairn to conceptualise the narratives of Hard Country music, and understand how they relate to the shifting experiences of the male, white working-class in America in the latter half of the twentieth century. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Kansas History and Folksong
KANSAS HISTORY AND FOLKSONG by Bill and Mary Koch America's musical heritage is a strange mixture, but from its songs, and especially its folksongs, we can relive our historical past. As our ter ritories developed and new states came into the union, songs were made and sung which purported to tell of life and conditions in the new state. Kansas was a crucial area a hundred years ago, and the whole nation's at tention was directed toward her and toward what might transpire on these prairies. The Civil War slowed down the westward movement, but only temporarily, for a new hope had already been fired in the hearts of people, especially those from the old northwest and from the eastern seaboard. Walt Whitman, America's great poet of democratic principles, real ized early in the 19th century the part that music would play in this west ward movement and the settlement of America's great heartland. He praised the west and foresaw what Frederick Jackson Turner, the eminent historian, was to say later about the west\vard movement-that the natural processes of settlement in succeeding new areas afforded the opportunity to slough off undesirable, non-democratic principles and institutions. Both Turner and Whitman were romanticists; that well-known phrase, "The American Dream," meaning the idea of the freedom of opportunity to all, is the theme of much of their literary output. Only a vast public domain and free land could spark this dream to a reality, so men would actually point their covered wagons westward with kids, dogs, hogs, and all, -
A Narrative Approach to the Philosophical Interpretation Of
A NARRATIVE APPROACH TO THE PHILOSOPHICAL INTERPRETATION OF DREAMS, MEMORIES, AND REFLECTIONS OF THE UNCONSCIOUS THROUGH THE USE OF AUTOETHNOGRAPHY/BIOGRAPHY A Dissertation by ANTONIO RIVERA ROSADO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Major Subject: Curriculum and Instruction A NARRATIVE APPROACH TO THE PHILOSOPHICAL INTERPRETATION OF DREAMS, MEMORIES, AND REFLECTIONS OF THE UNCONSCIOUS THROUGH THE USE OF AUTOETHNOGRAPHY/BIOGRAPHY A Dissertation by ANTONIO RIVERA ROSADO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Co-Chairs of Committee, Stephen Carpenter Patrick Slattery Committee Members, Valerie Hill-Jackson Toby Egan Head of Department, Dennie Smith May 2011 Major Subject: Curriculum and Instruction iii ABSTRACT A Narrative Approach to the Philosophical Interpretation of Dreams, Memories, and Reflections of the Unconscious Through the Use of Autoethnography/Biography. (May 2011) Antonio Rivera Rosado, B.A., Interamerican University of Puerto Rico; M.Ed., The University of Texas at El Paso Co-Chairs of Advisory Committee, Dr. Stephen Carpenter Dr. Patrick Slattery The purpose of the present study aimed to develop a comprehensive model that measures the autoethnographic/biographic relevance of dreams, memories, and reflections as they relate to understanding the self and others. A dream, memory, and reflection (DMR) ten item questionnaire was constructed using aspects of Freudian, Jungian, and Lacanian Theory of Dream Interpretation. Fifteen dreams, five memories, and five reflections were collected from the participant at the waking episode or during a moment of deep thought. -
Hâfez and Betinis: a Conductor’S Approach to Ancient Persian Poetry As Voiced by a Twenty-First Century, Western Composer
HÂFEZ AND BETINIS: A CONDUCTOR’S APPROACH TO ANCIENT PERSIAN POETRY AS VOICED BY A TWENTY-FIRST CENTURY, WESTERN COMPOSER Peter C. Steenblik, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Dr. Jerry McCoy, Major Professor and Director of Choral Studies Dr. Stephen Austin, Committee Member and Director of Vocal Studies Dr. Richard Sparks, Committee Member and Chair of the Division of Conducting and Ensembles Dr. Benjamin Brand, Director of Graduate Studies, College of Music Dr. John C. Scott, Dean of the College of Music Dr. Costas Tsatsoulis, Dean of the Toulouse Graduate School Steenblik, Peter C. Hâfez and Betinis: A Conductor’s Approach to Ancient Persian Poetry as Voiced by a Twenty-First Century, Western Composer. Doctor of Musical Arts (Performance), December 2015, 91 pp., 1 table, 20 illustrations, bibliography, 67 titles. The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. -
University of Sheffield Library
FOLK MUSIC & WORLD MUSIC The University of Sheffield Library RECORDINGS OF FOLK MUSIC AND WORLD MUSIC UNI - ZIM 1 The Garland encyclopedia of world music The following Compact Discs have been removed from the Recordings collection. CD 507 Southeast Asia [Vol.4] CD 508 Africa [Vol. 1] CD 509 Australia and the Pacific Islands [Vol.9] CD 522 South America, Mexico, Central America and the Caribbean [Vol.2] CD 746 South Asia : the Indian Subcontinent [Vol.5] CD 752 Europe [Vol.8] CD 1018 Middle East [Vol.6] CD 1019 East Asia: China, Japan and Korea [Vol.7] They are now to be found accompanying the volumes of the Garland encyclopedia of world music, kept at REF 780.91 (G). Garland encyclopedia of world music is also available online; see http://www.shef.ac.uk/library/cdfiles/garland.html 2 United Kingdom God save the queen E 3 The Voice of the People collection of cds - also includes material from Ireland A M Shinnie CD 819 The bonnie lass o ’Fyvie CD 801 Abroad as I was walking CD 801 The bonnie wee lass who never Adieu unto all true lovers CD 810 said no CD 813 The Aghalee heroes CD 808 The bonnie wee lassie fae Gouroch CD 801 Airlin’s fine braes CD 820 The bonnie wee tramping lass CD 810 The American stranger CD 811 The bonny bunch o’ roses CD 808 An spailpin fanach (the migrant Bonny Kate CD 814 labourer) CD 820 Bonny North Tyne: waltz CD 819 Another man’s weddin CD 806 Bonny Tavern green CD 815 Australia CD 804 The Boscastle breakdown: stepdance CD 809 The Aylesbury girl CD 815 The bottom of the punchbowl CD 813 Bacca pipes: morris jig -
662 D3L8FLO1 1 UNITED STATES DISTRICT COURT 1 SOUTHERN DISTRICT of NEW YORK 2 ---X 2 3 DA
662 D3L8FLO1 1 UNITED STATES DISTRICT COURT 1 SOUTHERN DISTRICT OF NEW YORK 2 ------------------------------x 2 3 DAVID FLOYD, et al., 3 4 Plaintiffs, 4 5 v. 08 CV 1034(SAS) 5 6 CITY OF NEW YORK, et al., 6 7 Defendants. 7 8 ------------------------------x 8 New York, N.Y. 9 March 21, 2013 9 10:05 a.m. 10 10 Before: 11 11 HON. SHIRA A. SCHEINDLIN, 12 12 District Judge 13 13 APPEARANCES 14 14 BELDOCK LEVINE & HOFFMAN, LLP 15 Attorneys for Plaintiffs 15 BY: JENN ROLNICK BORCHETTA 16 JONATHAN MOORE 17 COVINGTON & BURLING, LLP 17 Attorneys for Plaintiffs 18 BY: KASEY MARTINI 18 GRETCHEN HOFF VARNER 19 ERIC HELLERMAN 19 BRUCE COREY 20 20 CENTER FOR CONSTITUTIONAL RIGHTS 21 Attorneys for Plaintiffs 21 BY: DARIUS CHARNEY 22 SUNITA PATEL 22 BAHER AZMY 23 24 25 SOUTHERN DISTRICT REPORTERS, P.C. (212) 805-0300 663 D3L8FLO1 1 APPEARANCES (Cont'd) 2 2 MICHAEL A. CARDOZO 3 Corporation Counsel for the City of New York 3 Attorney for Defendants 4 BY: HEIDI GROSSMAN 4 BRENDA E. COOKE 5 JOSEPH MARUTOLLO 5 MORGAN D. KUNZ 6 SUZANNA PUBLICKER 6 LINDA DONAHUE 7 LISA M. RICHARDSON 7 JUDSON VICKERS 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 SOUTHERN DISTRICT REPORTERS, P.C. (212) 805-0300 664 D3L8FLO1 1 (Trial resumed) 2 PEDRO SERRANO, resumed. 3 MR. MOORE: Good morning, Judge. 4 DIRECT EXAMINATION (Cont'd) 5 BY MR. MOORE: 6 Q. Officer Serrano, I remind you you are still under oath. -
Eloise Hubbard Linscott Collection [Finding Aid]. Library of Congress
Eloise Hubbard Linscott collection Guides to the Collections in the Archive of Folk Culture American Folklife Center, Library of Congress Washington, D.C. June 2013 Contact information: http://hdl.loc.gov/loc.afc/folklife.contact Additional search options available at: http://hdl.loc.gov/loc.afc/eadafc.af013006 LC Online Catalog record: http://lccn.loc.gov/2008700340 Prepared by Marcia K. Segal Collection Summary Title: Eloise Hubbard Linscott collection Inclusive Dates: 1815-2002 Bulk Dates: 1932-1955 Call No.: AFC 1942/002 Creator: Linscott, Eloise Hubbard Extent (Manuscripts): 34 boxes (18 linear feet); 198 folders. Extent (Sound Recordings): 11 sound cylinders : analog. Extent (Sound Recordings): 441 sound discs : analog ; various sizes. Extent (Sound Recordings): 32 sound tape reels : analog ; various sizes. Extent (Sound Recordings): 1 sound cassette : analog. Extent (Graphic Materials): circa 200 photographs : photographic prints, negatives ; various sizes. Extent (Graphic Materials): 12 drawings. Language: Manuscripts in English; songs sung in English, French, Navajo, Passamaquoddy, Wabanaki, and Wampanoag. Location: Archive of Folk Culture, American Folklife Center, Library of Congress , Washington, D.C. http://hdl.loc.gov/ loc.afc/folklife.home Summary: Eloise Hubbard Linscott’s collection of research materials for her book, Folk Songs of Old New England (1939) and other folk music research through about 1955. The collection includes correspondence; music transcriptions; sound recordings of folk music, lectures, and radio broadcasts; photographs of Linscott's informants; documentation of events and trips within New England; plus some materials from her estate, dated circa 1815-2002. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. -
English Songs
English Songs 18000 04 55-Vũ Luân-Thoại My 18001 1 2 3-Gloria Estefan 18002 1 Sweet Day-Mariah Carey Boyz Ii M 18003 10,000 Promises-Backstreet Boys 18004 1999-Prince 18005 1everytime I Close My Eyes-Backstr 18006 2 Become 1-Spice Girls 18007 2 Become 1-Unknown 18008 2 Unlimited-No Limit 18009 25 Minutes-Michael Learns To Rock 18010 25 Minutes-Unknown 18011 4 gio 55-Wynners 18012 4 Seasons Of Lonelyness-Boyz Ii Me 18013 50 Ways To Leave Your Lover-Paul S 18014 500 Miles Away From Home-Peter Pau 18015 500 Miles-Man 18016 500 Miles-Peter Paul-Mary 18017 500 Miles-Unknown 18018 59th Street Bridge Song-Classic 18019 6 8 12-Brian McKnight 18020 7 Seconds-Unknown 18021 7-Prince 18022 9999999 Tears-Unknown 18023 A Better Love Next Time-Cruise-Pa 18024 A Certain Smile-Unknown 18025 A Christmas Carol-Jose Mari Chan 18026 A Christmas Greeting-Jeremiah 18027 A Day In The Life-Beatles-The 18028 A dear John Letter Lounge-Cardwell 18029 A dear John Letter-Jean Sheard Fer 18030 A dear John Letter-Skeeter Davis 18031 A dear Johns Letter-Foxtrot 18032 A Different Beat-Boyzone 18033 A Different Beat-Unknown 18034 A Different Corner-Barbra Streisan 18035 A Different Corner-George Michael 18036 A Foggy Day-Unknown 18037 A Girll Like You-Unknown 18038 A Groovy Kind Of Love-Phil Collins 18039 A Guy Is A Guy-Unknown 18040 A Hard Day S Night-The Beatle 18041 A Hard Days Night-The Beatles 18042 A Horse With No Name-America 18043 À La Même Heure Dans deux Ans-Fema 18044 A Lesson Of Love-Unknown 18045 A Little Bit Of Love Goes A Long W- 18046 A Little Bit-Jessica -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference. -
Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy
Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-2-2017 On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy Evan Nave Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, Creative Writing Commons, Curriculum and Instruction Commons, and the Educational Methods Commons Recommended Citation Nave, Evan, "On My Grind: Freestyle Rap Practices in Experimental Creative Writing and Composition Pedagogy" (2017). Theses and Dissertations. 697. https://ir.library.illinoisstate.edu/etd/697 This Dissertation is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. ON MY GRIND: FREESTYLE RAP PRACTICES IN EXPERIMENTAL CREATIVE WRITING AND COMPOSITION PEDAGOGY Evan Nave 312 Pages My work is always necessarily two-headed. Double-voiced. Call-and-response at once. Paranoid self-talk as dichotomous monologue to move the crowd. Part of this has to do with the deep cuts and scratches in my mind. Recorded and remixed across DNA double helixes. Structurally split. Generationally divided. A style and family history built on breaking down. Evidence of how ill I am. And then there’s the matter of skin. The material concerns of cultural cross-fertilization. Itching to plant seeds where the grass is always greener. Color collaborations and appropriations. Writing white/out with black art ink. Distinctions dangerously hidden behind backbeats or shamelessly displayed front and center for familiar-feeling consumption. -
Furuness Final Pages.Indd
DO NOT GO ON Bryan Furuness For Ana From the written statement of D.W. Boxelder: Advance Letter Sometimes people ask me if I’m jaded, or if I’ve stopped caring about our witnesses, and I can honestly say no. Apathy is not an issue. After thir- teen years with WITSEC, I actively hate the witnesses. They’re hustlers and leeches, always looking for an angle on me and the Program and the American taxpayer. If you had this job, Madame Inspector, you’d hate these bastards, too. Then along comes a case like the one in question, and everything feels different. Not only because this case would make or break my career, but because of the family involved. Because of Ana. You already know the skeletal facts of the case, Madame. Which key players ended up dead or gone. How, as the Director-designate of WITSEC, I was responsible for the witness. And how, even though that witness flaked out of the Program, scuttling the case before it could come to trial, I was still confirmed as the permanent Director. I can’t blame you for ordering an investigation; I know how curious these facts must look out of context. But don’t confuse facts with truth. Facts, alone, are lies of omission. I’m not going to dispute your facts. I will put them in context to reveal the truth of the case. I will not, however, grant your request for an interview. Before you take a notion that I’m not cooperating fully with your inves- tigation, take a closer look at Department Administrative Order (DAO) 207- 10, section 6, and Department Organization Order (DOO) 10-10, section 4, which you so thoroughly referenced in your summons.