Tyler Dewayne Moore
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rhythm Posse Occasionally Worked with Bukka White in Local Juke Facebook.Com/Rhythmposse Joints
father of the Memphis blues guitar style. By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar All shows begin at 6:30 In case of inclement weather, Tuesday Night Blues with Don Sane, with whom he developed a long- is held at the House of Rock, 422 Water Street. term musical partnership. Together, they busked on *August 7 will be held at Phoenix Park. the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street. Sane rejoined Stokes May 28 Howard ‘Guitar’ Luedtke & Blue Max for the second day of an August 1928 session for HowardLuedtke.com June 4 Revolver Victor Records, and they produced a two-part RevolverBand.net version of "Tain't Nobody's Business If I Do", a song August 20, 2013 at Owen Park June 11 Bryan Lee well known in later versions by Bessie Smith and BrailleBluesDaddy.com Jimmy Witherspoon, but whose origin lies June 18 Tommy Bentz Band somewhere in the pre-blues era. RhythmRhythm PPosseosse TommyBentz.com In 1929, Stokes and Sane recorded again for June 25 Code Blue with Catya & Sue Catya.net Paramount, resuming their 'Beale Street Sheiks' July 2 Left Wing Bourbon billing for a few cuts. In September, Stokes was back LeftWingBourbon.com on Victor to make what were to be his last July 9 Charlie Parr recordings, this time without Sane, but with Will Batts CharlieParr.com on fiddle. Stokes and Batts were a team as July 16 Deep Water Reunion MySpace.com/DWReunion evidenced by these records, which are both July 23 Steve Meyer with the True Heat Band traditional and wildly original, but their style had (featuring Ben Harder) fallen out of favor with the blues record buying July 30 Ross William Perry public. -
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. -
Michael Downs Trying to Find My Li'l All 'N All (Sitting on Top of the World)
Michael Downs Trying to Find My Li’l All ’n All (Sitting on Top of the World) campground in Mississippi, a cold December dawn: I climbed from a A sleeping bag, befuddled by the clarity of morning. Blinking into sun-glare off the steady surfaces of ponds. Stumbling across frozen, heaved ground that had been mud the night before. Coffee could have helped, but I didn’t have any. My old dog nosed through dry leaves for the best place to piss. For two weeks she and I had traveled, a road-trip start to my fiftieth year. I’ d envisioned back roads from Baltimore to Austin, campgrounds and books, barbecue, reunion with loved ones—my parents, especially, given Mom’s flagging health and chronic pain. Kaimin would gain canine prestige by marking territory at the Clinton Library in Little Rock and Faulkner’s Rowan Oak in Oxford. That had been the plan, and much of it had come to pass. But this day involved a different agenda. Today I’ d see a man about a song—and not just any song, but one that for more than two decades had held me with an inex- plicable grip. On its face, “Sitting on Top of the World” is just an old blues tune, first recorded in 1930 by the Mississippi Sheiks. But it’s a shapeshifter, too, having been performed or recorded hundreds of times in everything from jazz to bluegrass to Texas swing, folk, and rock. Ray Charles, Jack White, the Carter Family, the Carolina Chocolate Drops, Bill Frisell, The Grateful Dead—even the “Bye, bye, Miss American Pie” guy: they’ve all done it. -
Curriculum Vitae
Curriculum Vitae Faculty Name: Tyler DeWayne Moore Work Address: P.O. Box 519; MS 1060 Prairie View, TX 77446 Position Title: Lecturer of History Office Location: 207 Woolfolk Bldg. / Phone: 936-261-2555 / twitter: @MtZionFund / Email:[email protected] Education: Degree and Area of Study Institution Name Degree Date Ph.D., History (African Diaspora, US) University of Mississippi 2018 M.A., Public History Middle Tennessee State University 2010 B.S., Mass Communications Middle Tennessee State University 2001 Teaching Position Title Institution Name Position Dates Experience (Beginning and End) Lecturer Prairie View A&M University Aug 2020 - Assistant Professor of History Bowling Green State University Aug 2019–May 2020 Graduate Instructor University of Mississippi Jan 2014-June 2018 Teaching Assistant University of Mississippi Aug 2010-Dec 2014 Professional Publications: 2021 In press, Old Time Mississippi Fiddle Tunes & the Segregation of Sound (Jackson, MS: University Press of Mississippi, 2021). 2021 In press, “‘Lightning Struck Him’: Walter Rhodes, the Delta’s Crowing Rooster, and the Influence of Accordion on the Blues,” The Frog Blues & Jazz Annual 6 (2021). 2020 In press, “‘Degrading ‘God’s Acre’: The Alleged Disinterment of Mississippi’s Only African American Secretary of State James D. Lynch,” The Journal of Mississippi History 82:2 (Fall 2020). 2020 “Worth Westinghouse Long Jr.: Creating Dangerously in The Land Where the Blues Began,” Southern Cultures 26:1 (Spring 2020): 54-77. 2020 “Ripped Spike, Tie and Rail from its Moorings’: Racial Reconciliation, Public History, and the ‘Yellow Dog’ of the Mississippi Blues Trail,” The Public Historian 42:2 (May 2020): 56-77. 2018 “Revisiting Ralph Lembo: Complicating Charley Patton, the 1920s Race Record Industry, and the Italian American Experience in the Mississippi Delta,” Association for Recorded Sound Collections Journal 49:2 (Dec 2018): 153-184. -
WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (Sp?)
..^ WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (sp?) ^A^ry/^-^ <1 II [of 3-N. f ^^r^^^^^^fl^^^ ^\ '/ ^ ^ sr r^, / r f \ May 25. 1960 \ <. ; .i:' S / /v;, /' f/- ^ L- Lv-^. Also presents Richard B. Alien, William Claxton (Will Shade talking first) [See Memphis folder.] Some of the bands playing around [Memphis] when WS was a boy t \ were led by W. C. Handy, Howard Yandey, and Bea [sp?] Smith. Yancey ^ was a man when WS "was a "kid in Knee pants;" Yancey, who is now at [operates?] the pool room just around tte corner, had a musicians' "headquarters, a club, at one time. The bands of that time were playing ragtime music and Dixieland, tunes such as "Way D%3»n Yonder In New Orleans." [Perhaps suggested by tlie fact that RBA was from N.O.] When WS began playing music for money, instrumentatdxan .and personnel of the band were: "Roundhouse" (real name, Elijah), jug? Ben Ramey, kazoo; WS, lead guitar and harmonica; Will Weldon, second guitar. WS made up his own tunes and wrote his own songs. The group was called the Memphis Jug Band. The first records WS made were with the persons listed above; the recordings were "Newport News," "Memphis Jug Band Blues," [Cf. discographies] "Stingy Woman Blues" and "Sun- brimmer's Blues." The original personnel have been replaced in the last ten or fifteen years as they died; Weldon was replaced by Robert Carter, guitar [Cf. discographies.]? Jones j'oined the band to play jug and piano. [Jab Jones?] WS recorded with Sleepy Sohn Estes around [19]26 or [19]27; they titles inciLuded "Diving Duck" and "[ ] Jail." Estes was in Brownville [i.e., Brownsville?], Tennessee, the last time WS heard from him; Estes is now blind. -
The Land Where the Blues Began Review
The Land Where The Blues Began: 30th Anniversary Edition Media-Generation.com (DVD) OH, TO BE IN MISSISSIPPI. Back in the summer of 1978, when every sonic manifestation of the blues boasted a handful of revelators, each with personal firsthand experience. Alan Lomax-godfather of song-catchers; finder of Lead Belly, Fred McDowell, and Muddy Waters-led a film team through the holy land's cotton and kudzu, busily hoovering up every such performance in its natural habitat. From down in the Delta to up in the Hills, their camera sniffed out raw truths that shed insight into why the music aches so. Lomax's scholarly narration then sewed together all of the sights and sounds-of which there's a virtual menagerie. Witness a cappella moans, hollers and yarns delivered by muleskinners, railroad liners, riverboat roustabouts, paroled prisoners, jukehouse toastmasters, and a shake-you-to-the-core bawler by the name of Joe Savage. Dance with Saturday sinners at an all-night picnic, naughtily balling-the-jack to the big bang of fife-and-drums. Then repent with Sunday saints inside fevered chapels and waist-deep in baptismal rivers. Attend Lonnie Pitchford's expert how-to-session on the one-string diddley-bow or Napoleon Strickland's fireside searing of cane fifes. And hang with guitarists who've been the soundtrack for decades of house parties. Such as R.L. Burnside, spooling off knotty one-chord groovers like the barbed wire against which he and his pulsing amplifier rest. And Jack Owens, worthy successor to Skip James' throne of Bentonian bleakness. -
Nbr 204 1970 Oct 15 to 28
KRAfl PROGRAM GUIDE NUMBER 204---- TH E JACK STRA¥! MEMORIAL FOU~DATION 9029 ROOSEVELT WAY NORTH EAST SEATTLE WASHDIGTON 98115 LA2- s11I1111 CONTAINING PROGRAM LISTINGS FOR THE NEX Y TIIATS 'lEU TWO ;~EEKS-lOls70 TO 102 870, AS BROADCAST ON KRAB, A LISTENER SUPPORTED RADIO STATlOI! TIIAT LIKES EVEN MARGINS BUT OOESNT GET 1,1UCH O1ANCE TO IfSE TIIEH, OKAY ? This !veek ' s ?Togram guide cover is bv Alice Gant. and last issue's cover was the work of L'im Hat "'ield . ~la ybe the D~ i lY won't steal them this time, but when YOUT a c0u :fagj~£, hard-hitting journalist, well ...... The sUbscription rates are: $15 a year mini mum $25 a y~ar regQlar $500 a year swell Make all checks payable to the .TACK STRAW MEMORIAL FOUNDATION And remember, its TAX DEDUCTIBLE!! 2 BACKGROUND OF THE HEARING The KRAB 'obscenity hassle,' as we've come to call it, began on August 5, 1967, with the scheduled broadcast of a thirty hour long 'autobiographical novel on' tape' by Reverend Paul Sawyer. Lorenzo Milam, then station manager, was listening to the program at home and heard words used the Federal Communications Commission c:onsiders . obscene (or at least, what Lorenzo thought the FCC thought was obscene). After a few warnings to Reverend Sawyer (who was at the station playing the pro gram on his own tape recorder) Lorenzo took the program off the air. In December of the same year, another 'obscene' program was broadcast, this with Reverend James Bevel, Reverend Bevel's speech waS played twice, in its entirety . -
Bradley N. Litwin Programs for Younger Audiences
Bradley N. Litwin Programs for Younger Audiences photo by Jody Kolodzey Ragtime Jazz Stride Blues A Program & Residency Guide For: Presenters, Teachers, Administrators, Parents & Children Bradley N. Litwin Programs for Younger Audiences Ragtime Jazz Stride Blues Information for Presenters, Teachers, Administrators, Parents & Children Table of Contents: 3. Why is this music important? 3. Curriculum Connections 6. The Historical Context 8. Sample Topics & Questions for Classroom Workshops 9. Activity Suggestions 10. Audience Expectations 11. About Bradley N. Litwin 12. What Kids Would Like To Know About Bradley N. Litwin 13. Repertoire Highlights 14. Online Music Listings 15. Historical Writers & Performers 16. Bibliography 16. Online Resource Links 17. Available Funding This document is available as a PDF download at www.jujubee.com/edguide 2 Bradley N. Litwin Programs for Younger Audiences This guide is intended for educational presenters, teachers, administrators, parents and children who will host or attend my presentations. If you have any questions about this material, please feel free to give me a call or email: 215.224.9534 [email protected]. Q. Why are Blues, Ragtime and Jazz music important? In short, they are a common thread that binds much of our shared culture. The unlikely story of these primal art forms is a wide-open window through which we can explore our social heritage, community and historical connections, and celebrate the African- American contribution to mainstream culture. “Roots” music is the basis of much of American popular music, including Blues, Jazz, Rock & Roll, Country, Western, Gospel, Soul, Disco, Rap, Hip Hop and R&B. All these musical styles rely on the melodic, harmonic, and rhythmic components of earlier musical genres. -
American Epic Sessions Song List
Press Contacts: Brian Moriarty, DKC Communications, 212-981-5252; [email protected] Aliza Rabinoff, DKC Communications, 212-981-5157; [email protected] Natasha Padilla, WNET, 212-560-8824; [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://americanepic.com , http://pbs.org/americanepic , http://facebook.com/americanepic , @AmericanEpic , http://instagram.com/americanepic/ , http://google.com/+americanepic , http://youtube.com/americanepic , #AmericanEpic The American Epic Sessions Premieres Tuesday, June 6 at 8 p.m. on PBS (check local listings) Song List Performances “Matrimonial Intentions” Traditional Performed by Jack White Arranged by Jack White Jack White: Vocals and Guitar Dominic Davis: Upright Bass Fats Kaplin: Mandolin Lillie Mae Rische: Vocals and Fiddle Carla Azar: Percussion Produced by Jack White and T Bone Burnett Courtesy of Columbia Records, a Division of Sony Music Entertainment “If The River Was Whiskey” Composed by Charlie Poole and Norman Woodlieff Performed by Frank Fairfield Frank Fairfield: Vocals and Slide Guitar Zac Sokolow: Banjo Produced by T Bone Burnett Published by Charlie Poole Publishing, Inc. and Original Rambler Music Inc., admin. by Bluewater Music Services Corp. Courtesy of Columbia Records, a Division of Sony Music Entertainment “On The Road Again” Composed by J.B. Jones and Will Shade Performed by Nas Nas: Vocals Dominic Davis: Upright bass Jake Faulkner: Jug Fats Kaplin: Banjo Alfredo Ortiz: Drums Lillie Mae Rische: Fiddle -
CBS Newsletter January 2018
January 2018 BLUES NEWS Message from the President: Hello and Happy New Year! I’d like to thank those on the previous boards who did not return for their sup- port with moving CBS forward. Our biggest challenge this year is to implement the CBS Scholarship and Edu- cational Fund initiated by John Adams. Currently most of the funding for the “Fund” comes from our annual Blues Cruise. We’re looking forward to our next Cabin Fever Picnic on February 18th. This is an opportunity to meet other members and the CBS board. Hope to see many of you then. Bill Koteles A new year means another beginning. Keeping the Blues alive takes work, takes com- mitment, and it needs YOU. Think about helping us by becoming involved this year. Where else can you volunteer your time to bring live music to our area and have such a sweet payoff! CBS is going to be ten years old in June. Stay tuned for more information. Our newsletter will be published bi-monthly. The next issue will be in March 2018. From all of us at CBS, all the best this New Year, and may live music be a part of your life, always! 2017-2019 Cleveland Blues Society Board Members President: Bill Koteles Vice President: Anthony Lovano Secretary: Kris Diehl Treasurer: Elaine DeStephano Board Member: Mike Kormos Board Member: Dave Rolland Board Member: Bob Dickow Board Member: Susanne Mayer Board Member: Penny Holycross Cleveland Blues Society 1/7/2018 1 Inside this i s s u e : DECEMBER JAM Decembrer Jam Band 2-3 MS. -
Liner Notes to J.D. Short & Son House
SON HOUSE & J. D. SHORT Blues from the Mississippi Delta/Folkways Records FA2467 DESCRIPTIVE NOTES ARE INSIDE POCKET COVER DESIGN BY RONALD CLYNE / PHOTOGRAPH BY DAVID GAHR SIDE ONE SIDE TWO I. J. D. SHORT SON HOUSE c. Re~OJ~ed by Samuel Charters July 3, 1962; st. Louis, Missouri From the Archives of the library of Congress l,Jand 1. SO MUCH WINE Band 1. MY BLACK WOMAN Band 2. TRAIN, BRING MY BABY BACK • Band 2. SUN GOIN' DOWN -Aland 3. YOU BEEN CHEATING ME Band 3. I AIN'T GOIN' TO CRY NO MORE .....I Band 4. CHARLIE PATION Band 4. THE KEY OF MINOR :;:;: '.;J Band 5. FIGHTING FOR DEAR OLD UNCLE SAM Band 5. THIS WAR WILL LAST YOU FOR YEARS --~~.-:' Band 6. WAS I RIGHT OR WRONG? Band 7. COUNTY FARM BLUES FOLKWAYS RECORDS Album if FA 2467 ©1963 by Folkways Records & Service Corp., 165 W. 46th St. NYC USA J. D. SHORT and SON HOUSE The Blues of the Mississippi Delta Samuel Charters Yazoo River. It is good country for cotton. The soil is rich, the fields are flat and easy to work, and the area is near Memphis, with its facilities for market Northwest Mississippi is beautiful in the spring and ing and shipping. The delta has long been one of the the fall. There is a softness to the air, a distant sections of the country with the highest percentage haze that colors the horizon a faint purple. The of Negro population, and bec ause of the brutality of grass covers the earth with a deep, rich green; the the social system there has been a gulf between the dried grass of autumn a mottled brown. -
Samuel B. Charters: Notes to Folkways FS 3823 "Furry Lewis"
FOLKWAYS RECORDS Album No. FA 3823 ©1959 Folkways Records & Service Corp., 43 W. 61st St., N. Y. C., USA FURRY LEWIS Edited by Samuel B. Charters Photo by A. R. Danberg FURRY LEWIS imagination that doesn't depend on technical display. As the singers mature their music often The last time I saw Furry Lewis he was chopping weeds achieves a new expressiveness. on a highway embankment near the outskirts of Memphis, Tennessee, the town he has lived in since he was six years- old. He was wearing faded denim overalls, a khaki work shirt, a bright red handkerchief tied The next afternoon I rented a guitar, a big Epiphone, around his neck. It was a hot day, and his sweat from a pawn shop on Beale Street, and took it over soaked shirt clung to his back. He was chopping at to Furry's room. He had gotten off work early and the heavy plants with a hoe, stopping every now and was sitting on the porch waiting for me. He carried then to wipe off his face. Furry has worked as a the guitar inside, sat down and strummed the strings laborer for the city of Memphis for nearly thirty- to make sure it was in tune, then looked up and five years. He chops weeds, cuts grass, rakes leaves, asked me, "What would you like to hear? " picks up trash, whatever needs done around the city's streets and parks. He limps a little, but watching I was surprised that he didn't want to try the him work it's still a surprise to notice that he has guitar a little first, but I managed to think of only one leg.