WGLT Program Guide, January-February, 2005

Total Page:16

File Type:pdf, Size:1020Kb

WGLT Program Guide, January-February, 2005 Illinois State University ISU ReD: Research and eData WGLT Program Guides Arts and Sciences Spring 1-1-2005 WGLT Program Guide, January-February, 2005 Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/wgltpg Recommended Citation Illinois State University, "WGLT Program Guide, January-February, 2005" (2005). WGLT Program Guides. 198. https://ir.library.illinoisstate.edu/wgltpg/198 This Book is brought to you for free and open access by the Arts and Sciences at ISU ReD: Research and eData. It has been accepted for inclusion in WGLT Program Guides by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Staff extraordinaire 2004 -The Year in Review Local business support is by General Manager Bruce Bergethon as critical to our financial health as individual listener Fiscal Growth contributions, and the new face joining our veteran As I tum over the events of 2004 in my mind, it is difficult staff this year is all about to find anything in our local efforts to match the magnitude 2% FY'89 I improving that trend. Aaron of the Presidential election that transfixed us for much of 7% Wissmiller, who used a the year. But, with the faith that all politics ultimately is 2002 Day Sponsorship to local, I hope that the quiet work of public radio stations (successfully) propose to his like GLT continues to have an impact in the sweep 38% wife, is our new Corporate of national and international activity. Certainly, many Support Coordinator read Linda Healy, Honeyboy Edwards, & Jon Norton at Noth in' But The Blues Fest, 2004. of you told us that the station's coverage of such events, his profile in the Nov/Dec as well as our cultural programming, provided you with 2004 guide]. He joins a group of long-term (alright, I mean "middle-aged") GLT staffers a welcome haven for thought and reflection in a time who are well known to you. of increasingly screechy public discourse. 1% Maybe one of the best known, and loved, is the Delta Doctor, who will commemorate We are grateful that many of you also backed 11 % his 20th anniversary on the air at GLT in February 2005 - and you'll soon learn more about that appreciation with financial support. how you can join the celebration. See pg 22 for an article about Frank's nomination for a Individual investments in GLT continued to 17% 40% national award recognizing contributions to keeping the blues alive. We couldn't prouder. grow throughout the year, with our annual be listener contributions for fiscal year 2004 A Newsroom of Note nearing $300,000 - an amount equivalent to the 31 % continued strong commitment of Illinois State We're also proud of the continuing dominance of the GLT news team in downstate University to our operations. As you can see from Illinois. Once again, we took a half dozen awards from the Associated Press for the accompanying charts depicting our income over journalistic excellence, including first place citations for "Best Feature" and "Best the past 15 years, the burden of paying for GLT services Newswriter" (Charlie Schlenker); and "Best Reporter" (Willis Kern). These local awards has shifted from tax based dollars (ISU and governmental complement the outstanding national and international reporting from National Public grants) toward community sources. In those fifteen years, Radio that continued to be vital in this year of war and unrest in the Middle East, and an we've changed our format, increased in power, gone to election here at home. 24-hour operations, installed a repeater station in Peoria, begun web streaming, added two full time reporters, and Special Programming and Live Music tripled the size of our budget. The legacy of Count Basie proved its vitality in 2004, as GLT happily celebrated his 24% centennial throughout the summer with extensive special programming. But we were not With over 1 million dollars in revenue necessary to only about the history of past jazz masters. The second in our series of living Jazz Masters operate GLT this year, local support is over 50% of concerts in February brought composer-pianist Mose Allison and guitarist Jimmy Ponder our budget. This is a good sign for the future health to the stage of ISU's Center for the Performing Arts. Plans for the upcoming 2005 Jazz of the station - and we thank you for putting us Masters concert are outlined on pgs 12-14. in this long-term growth pattern. The GLT Summer Concert 2004 was a huge success in June and remains a totally free afternoon and evening of jazz and blues of the highest caliber. Even with the downtown Bloomington Square partially blocked for courthouse renovation, thousands of people Illinois State University flocked to hear Nate Najar, Los Straitjackets, Eddie "The Chief'' Clearwater, and local Federal/State Grants favorites Sally Weisenburg and The Famous Sidemen. Local jazz musicians were also the spotlight of the summer Jazz at the Riverfront series in Peoria, which we co-sponsored Listeners withCEFCU. Local Business Special Events -3 - The festival season wasn't limited to jazz, of course. GLT was deeply involved in, and Droppin' Names a beneficiary of, two thriving blues festivals in Bloomington and Peoria. Like you, we All of the following engaging individuals were featured in locally-produced programs on thrilled to the performances of Marcia Ball, GLT in 2004. We enjoyed their company, and hope you're impressed by the people who C.J. Chenier and Honeyboy Edwards at the dropped by to see us, and who were heard by you! Nothin' But the Blues Festival in July; over the Labor Day weekend, we rocked out on Mose Allison, jazz singer and pianist the Riverfront with Walter Trout, Carey Barack Obama, US Senator-elect from Illinois Bell and Rooster Alley, and enjoyed more intimate blues from Harry Manx and Brian Greene, leading theoretical physicist Cephas and Wiggins. Keith Bryant, leader of the Sousa Band Kathyrn Carter, Don Berbaum, Sally Weisenburg, Hearts of Gold Dick Durbin, minority whip in the US Senate All of the abovementioned concerts and and Stacy Auer at the Miller Lite Illinois Blues Festival Alison Brown, banjo player and president of Compass Records special programming were made possible by some extraordinary GLT sponsors, without whose generosity we'd be unable to take David Halberstam, journalist and author our brand of blues and jazz to the streets and festival grounds. We'd particularly like to Marcia Ball, blues singer and pianist thank Ronda and Brad Glenn (of the Ronda Glenn Law Offices), Bruce Breitweiser Marcia Ball at the Nothin' But The (of Dunbar, Breitweiser & Company), Dr. Carl Cortese (of Cortese Foot & Ankle Clinic) John Pizzarelli, jazz singer and guitarist Blues Fest in July and Chris and Deb Hoelscher (of Eastland Chiropractic & Wellness Center). All of these Photo companies sponsored multiple events during the year, and they deserve your gratitude in Alan Keyes and Jack Ryan, Republican Senate candidates a big way. Garrison Keillor, public radio host Recylced Music Sale Kevin & Cassie Hart, local jazz musicians "Big" is also the best description of our 13th edition of the Recycled Music Sale. We Susan Werner, singer/songwriter were able to occupy the huge footprint (pun intended) of the old Shoe Carnival, and it made for a very comfortable August sale. As usual, the Recycled Music Sale bolstered our Jennie Finch, Olympic softball gold medallist equipment fund, resulting in enhancements to our digital and production capacity that you can hear on a daily basis. Tim Green, jazz pianist And "daily basis" is the proving Eddie ''The Chief" Clearwater, blues singer ground we're on here at GLT. and guitarist Every morning, evening and Ray LaHood,JerryWeller and Tim Johnson, weekend we try to bring you Congressmen the best in civil and stimulating programming - all of it a Exorna and Bloomsday, local Celtic bands community resource that you've Helen Caldicott, anti-nuclear activist helped to build. For that, again, we thank you, and we look Susie Arioli, jazz chanteuse and star of GLT Summer forward to proving ourselves Concert 2003 Honeyboy Edwards still playing at 85 anew in 2005. George Tenet, former CIA Director George Winston, pianist and guitarist There were bargains and treasures galore at the 13th annual Recycled Music Sale in August Martin Marty, theologian and religious historian photo credit. Todd Phillips David "Honeyboy" Edwards, blues legend -5- In gratitude:GLT Major Donors 2004 from GLT Membership Director Pat Peterson On behalf of thousands throughout central Illinois who depend on this public radio Anonymous (2) Billy Adkisson and Ellen Bourne station, we would like to thank GLT's major donors for their generous financial and moral Douglas Anderson Thomas and Joanne Bierma support. John Blank Tom and Nancy Brokaw Debra and Mark Ciskey Megan Devlin-Petty GLT Leaders Circle 2004 Mercy and Bill Davison Mike Fields The Leaders Circle is comprised of listeners whose annual support for GLT totals $500 Julie Gowen Arturo Garcia and Christina Isabelli or more. Leaders Circle members can designate their contribution as a match for new Mary Graham-Buxton Kenneth and Jan Holder pledges during fund drives, encouraging others to join them in providing financial Bob and Susan Jackson Jon and Linda Johnston support for GLT. Many participate in the Day Sponsorship program and all clearly share John and Diane Jordan Marshall and Marianne Kaisner your commitment to excellent public radio. Willis Kem and Stacy Marshall-Kem Chris Lynch James McKay
Recommended publications
  • OBHOF INDUCTEES Why We Honor Them 2104
    OBHOF INDUCTEES 2104 Why We HonorThem: Dr. Harold Aldridge March 3, 2014 Aldridge sings the blues Dr. Harold Aldridge is a retired professor of psychology at NSU in Tahlequah. Tahlequah Daily Press By RENEE FITE Special Writer TAHLEQUAH — The gray is beginning to cover his once-black hair, and it shows when the tall, lanky musician adjusts his black felt cowboy hat. He’s admits to being a little nervous. To keep his hands busy and mind occupied before the show begins, he tunes his guitar, glancing around the room, waving or nodding to friends. “An Evening of Blues Music,” presented at Webb Tower by Dr. Harold Aldridge, professor emeritus of psychology at Northeastern State University, was in observance of Black History month. After a brief introduction and enthusiastic applause, Aldridge began with a joke. “As the milk cow said to the dairy man, ‘Thanks for the warm hand,’” he said. For the next hour, the audience was taken on a journey through black history via the blues, from deep in the Mississippi Delta, to Alabama, the East Coast, Kansas City, Oklahoma, Texas and California. “I’m going to tell you the history of blues, and hopefully, it will be entertaining,” Aldridge said. “I stick with the old stuff, from Memphis, Mississippi, Alabama, and Tennessee.” According to Aldridge, blues music is evolving. “It’s almost like rock in some places; I guess next we’ll have rap blues,” he said. As his story unfolded, the audience learned the blues has changed with varying locations and situations. “The blues originated in West Africa and came here as a feeling, the soul of it, the spirit of high John the Conqueror,” said the Aldridge.
    [Show full text]
  • Mark Hummel Papers
    http://oac.cdlib.org/findaid/ark:/13030/c8r216s6 No online items Guide to the Mark Hummel Papers Sean Heyliger African American Museum & Library at Oakland 659 14th Street Oakland, California 94612 Phone: (510) 637-0198 Fax: (510) 637-0204 Email: [email protected] URL: http://www.oaklandlibrary.org/locations/african-american-museum-library-oakland © 2013 African American Museum & Library at Oakland. All rights reserved. Guide to the Mark Hummel MS 223 1 Papers Guide to the Mark Hummel Papers Collection number: MS 223 African American Museum & Library at Oakland Oakland, California Processed by: Sean Heyliger Date Completed: 2018-04-27 Encoded by: Sean Heyliger © 2013 African American Museum & Library at Oakland. All rights reserved. Descriptive Summary Title: Mark Hummel papers Dates: 1978-2012 Collection number: MS 223 Creator: Hummel, Mark Collection Size: .25 linear feet(1 box) Repository: African American Museum & Library at Oakland (Oakland, Calif.) Oakland, CA 94612 Abstract: The Mark Hummel Papers consist of photographs, blues show flyers, blues music publications, audio recordings, and newspaper clippings documenting the career of blues musician Mark Hummel and the San Francisco Bay Area blues scene in the 1970s-1990s. Languages: Languages represented in the collection: English Access No access restrictions. Collection is open to the public. Access Restrictions Materials are for use in-library only, non-circulating. Publication Rights Permission to publish from the Mark Hummel Papers must be obtained from the African American Museum & Library at Oakland. Preferred Citation Mark Hummel papers, MS 223, African American Museum & Library at Oakland, Oakland Public Library. Oakland, California. Acquisition Information Donated by blues musician Mark Hummel to the African American Museum & Library at Oakland on March 30, 2018.
    [Show full text]
  • Complete John Lee Hooker Session Discography
    The Complete John Lee Hooker Discography: from The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info The Great R&B Files (# 2 of 12) PaRT i Updated July 8, 2019 The John Lee Hooker Session Discography - compiled by Claus Röhnisch The R&B Pioneers Series – Volume Two of twelve The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info page 1 (94) 1 The World’s Greatest Blues Singer The Complete John Lee Hooker Discography: from The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info The John Lee Hooker Session Discography - compiled by Claus Röhnisch John Lee Hooker – The World’s Greatest Blues Singer / The R&B Pioneers Series – Volume Two of twelve Below: Hooker’s first record, his JVB single of 1953, and the famous “Boom Boom”. The “Hooker” Box, Vee-Jay’s version of the Hooker classic, the original “The Healer” album on Chameleon. BluesWay 1968 single “Mr. Lucky”, the Craft Recordings album of March 2017, and the French version of the Crown LP “The Blues”. Right: Hooker in his prime. Two images from Hooker’s grave in the Chapel of The Chimes, Oakland, California; and a Mississippi Blues Trail Marker on Hwy. 3 in Quitman County (Vance, Missisippi memorial stone - note birth date c. 1917). 2 The World’s Greatest Blues Singer The Complete John Lee Hooker Discography: from The Great R&B-files Created by Claus Röhnisch: http://www.rhythm-and-blues.info . December 31, 1948 (probably not, but possibly early 1949) - very rare (and very early) publicity photo of the new-found Blues Star (playin’ his Gibson ES 175).
    [Show full text]
  • Howlin Wolf 1991.Pdf
    FOREFATHERS Howlin’ W olf JUNE 10,1910 - JANUARY 10,1976 BY PETER GURALNICK OWLIN’ WOLF WAS LARGER than life in every respect. As an entertainer, as an individual, and as a bluesman, he was outsized, unpredictable, and always his own man. He was a great blues singer who pos­ sessed that quality of egocentric self-absorption that is the mark of the true showman. To many people this may seem contradictory, but Wolf proved that to its natural audience blues is not all pain and suffering, but is instead a kind of re­ his voice that was his crowning glory, a voice which could lease. When you listen to the blues, you should be moved; fairly be called inimitable, cutting with a sandpaper rasp and doubtless you should take the deep blues of a singer like overwhelming ferocity but retaining at the same time a curi­ Muddy Waters or Howlin’ Wolf with the sense of dignity that ous delicacy of shading, a sense of dynamics and subtlety of is intended. You should also come away with a smile on your approach that set it off from any other blues singer’s in that lips. rich tradition. It combined the rough phrasing of Patton with Howlin’ Wolf was a totally enigmatic personality. He was the vocal filigree of Tommy Johnson and its familial descen­ a man at once complex, driven, and dant: the blue yodel of Jimmie altogether impossible to read. I think WOLF’S RIGHT HAND: Rodgers, a white country singer he was as much a mystery to his HUBERT SUMLIN, LEAD GUITAR whom Wolf always admired.
    [Show full text]
  • The R&B Pioneers Series
    The Great R&B Files (# 11 of 12) Updated March 1, 2019 The R&B Pioneers Series Compiled by Claus Röhnisch Special Supplement: Top 30 Favorites - featuring the Super Legends’ Ultimate CD compilations, their very first albums, * and ± .. plus their most classic singles. Top Rhythm & Blues Records - The Top R&B Hits from 30 classic years of Rhythm & Blues THE Blues Giants of the 1950s THE Top Ten Vocal Groups of the Golden ‘50s Ten Sepia Super Stars of Rock ‘n’ Roll Transitions from Rhythm to Soul – Twelve Original Soul Icons The True R&B Pioneers – Twelve Hit-Makers of the Early Years Predecessors of the Soul Explosion in the 1960s Clyde McPhatter – The Original Soul Star The John Lee Hooker Session Discography The Clown Princes of Rock and Roll: The Coasters Those Hoodlum Friends – The Coasters Page 1 (94) THE R&B PIONEERS Series - Volume Eleven of twelve Compiled by Claus Röhnisch The R&B Pioneers Series: find them all at The Great R&B-files Created by Claus Röhnisch http://www.rhythm-and-blues.info (try the links her on the next page for youtube) Vol 1. Top Rhythm & Blues Records The Top R&B Hits from 30 classic years of Rhythm & Blues Vol 2. The John Lee Hooker Session Discography Complete discography, year-by-year recap, CD-Guide, and more John Lee Hooker – The World’s Greatest Blues Singer Vol 3. The Clown Princes of Rock and Roll Todd Baptista’s great Essay on The Coasters, completed with Singles Discography, Chart Hits, Session Discography, and much more Vol 4.
    [Show full text]
  • California Soul: Music of African Americans in the West by Jacqueline Cogdell Djedje; Eddie S
    Oral History Association California Soul: Music of African Americans in the West by Jacqueline Cogdell DjeDje; Eddie S. Meadows Review by: Arthur Buell The Oral History Review, Vol. 28, No. 2 (Summer - Autumn, 2001), pp. 164-166 Published by: Oxford University Press on behalf of the Oral History Association Stable URL: http://www.jstor.org/stable/3675791 . Accessed: 19/06/2012 17:24 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press and Oral History Association are collaborating with JSTOR to digitize, preserve and extend access to The Oral History Review. http://www.jstor.org 164 ORAL HISTORY REVIEW Wodiczko used the narratives he gathered to challenge Americans' preconceptions about immigration. What is finally heartening about these artists is simply that they take the concept of public space seriously. They assume that it can exist apart from corporate promotions and commercialized leisure and that it is a sphere in which social issues can still be engaged. Social change is incremental and to a large extent incalculable, and tactics that raise issues at individual moments in individual communities should not be neglected. Dialogues In Public Art uses oral history research methodology brilliantlyto illuminate the individualmoments, the reactions of individual communities.
    [Show full text]
  • MUSICAL COMMUNITY the Blues Scene in North Richmond, California
    MUSICAL COMMUNITY The Blues Scene in North Richmond, California Jeffrey Callen TABLE OF CONTENTS LIST OF ILLUSTRATIONS iii PREFACE iv CHAPTER ONE: INTRODUCTION 1 CHAPTER TWO: HISTORICAL BACKGROUND 16 CHAPTER THREE: THE BLUES COMES TO NORTH RICHMOND CHAPTER FOUR: CHANGING NATIONAL STYLES CHAPTER FIVE: NORTH RICHMOND AND THE “OAKLAND SOUND” CHAPTER SIX: THE MUSICAL COMMUNITY CHAPTER SEVEN: DECLINE OF THE BLUES SCENE CHAPTER EIGHT: CONCLUSION BIBLIOGRAPHY ANNOTATED DISCOGRAPHY i i LIST OF ILLUSTRATIONS Maps of the San Francisco Bay Area & North Richmond Photograph of Little Red and the Dukes of Rhythms Mid-1950s Set List of Little Red and the Dukes of Rhythms 1998 Photograph of the Former Site of Ollie Freeman's Jazzland Records ii i PREFACE The research upon which this book is based is the result of a fortuitous series of seemingly unconnected events. When I moved to the San Francisco Bay Area as a young adult, I was already an avid blues fan and had begun collecting the recordings of such notable artists as B.B. King and Muddy Waters. I settled in Oakland and began to investigate the local music scene. I was soon introduced to the rich blues heritage of the East Bay by friends, teachers and the radio shows of local record producer Chris Strachwitz and music critic Phil Elwood. I also had the occasion to meet three of the older stalwarts of the East Bay blues scene: L.C. “Good Rockin’” Robinson, Teddy Winston and Smiley Winters. When I went to graduate school to study ethnomusicology, I wanted to explore a thesis topic that captured my interest and allowed me the opportunity to gain experience in ethnographic research.
    [Show full text]
  • “Covering” the Bluesman from a Distance
    Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.
    [Show full text]
  • Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll *
    Blues Lyric Formulas in Early Country Music, Rhythm and Blues, and Rock and Roll * Nicholas Stoia NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.20.26.4/mto.20.26.4.stoia.php KEYWORDS: blues, country music, rhythm and blues, rock and roll, lyric formulas ABSTRACT: This article briefly recounts recent work identifying the most common lyric formulas in early blues and then demonstrates the prevalence of these formulas in early country music, rhythm and blues, and rock and roll. The study shows how the preference for certain formulas in prewar country music—like the preference for the same formulas in prewar blues—reflects the social instability of the time, and how the de-emphasis of these same formulas in rhythm and blues and rock and roll reflects the relative affluence of the early postwar period. This shift in textual content is the lyrical counterpart to the electrification, urbanization, and growing formal complexity that mark the transformation of prewar blues and country music into postwar rhythm and blues and rock and roll. DOI: 10.30535/mto.26.4.8 Received May 2018 Volume 26, Number 4, November 2020 Copyright © 2020 Society for Music Theory [0.1] Singers and songwriters in many genres of American popular music rely on lyric formulas for the creation of songs. Lyric formulas are fragments of lyrical content—usually lines or half lines— that are shared among singers and recognized by both musicians and listeners. Blues is the genre for which scholars have most conclusively established the widespread use of lyric formulas, and this study briefly recounts recent work that identifies the most common lyric formulas in commercially recorded blues from the early 1920s to the early 1940s—research showing that the high frequency of certain formulas reflects the societal circumstances of much of the African American population during that period.
    [Show full text]
  • Sewing Exhibit on Display at Cherokee Strip Museum in Perry Pawnee Bill Ranch to Host Annual Easter Events May Day Celebration
    Vol. 46, No. 4 Published monthly by the Oklahoma Historical Society, serving since 1893 April 2015 Pawnee Bill Ranch to host Sewing exhibit on display at annual Easter events Cherokee Strip Museum in Perry On Saturday, April 4, the Pawnee Bill Ranch will host its The Cherokee Strip Muse- annual Easter Egg Hunt. The egg hunt is cosponsored by the um is pleased to announce local Pawnee Lions Club and it will begin promptly at 10 a.m., their newest temporary signaled by Pawnee Bill firing his pistol. The egg hunt attracts exhibit, A Stitch in Time. hundreds of children and their families and is spread out The sewing exhibit will be over many acres of the historic site. Thousands of eggs will be displayed from January hidden, including prize eggs containing money and vouchers for 2015 through the end of treats. Pawnee Bill started an egg hunt at his ranch more than May 2015. It encompasses one hundred years ago. It is in that tradition that the ranch several areas of the museum continues to be a place where families can make memories with and includes a great variety their children in a beautiful environment. Kevin Webb, who of objects, such as sewing portrays Pawnee Bill, will offer rides on his horse after the egg machines, samplers, hand- hunt is over. stitched quilts, and lace. On Sunday, April 5, the Pawnee Bill Ranch will host its The items displayed have been selected from the museum’s annual Sunrise Service and Easter Fundraiser Breakfast. The collection to provide a visual understanding of the importance nondenominational service begins at approximately 6:45 a.m.
    [Show full text]
  • Finding Aid for the Blues Archive Poster Collection (MUM01783)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library April 2020 Finding Aid for the Blues Archive Poster Collection (MUM01783) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Part of the African American Studies Commons, American Material Culture Commons, American Popular Culture Commons, and the Other Music Commons Recommended Citation Blues Archive Poster Collection (MUM01783), Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding Aid for the Blues Archive Poster Collection MUM01783 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Scope and Content Creator - Collector Arrangement Cole, Dick "Cane"; King, B. B.; Living Blues Administrative Information (Magazine); Malaco Records; University of Mississippi; Miller, Betty V. Related Materials Controlled Access Headings Title Blues Archive Poster Collection Collection Inventory ID Series 1: General Posters MUM01783 Series 2: B. B. King Posters Date [inclusive] 1926-2012 Series 3: Malaco Records Posters Date [bulk] Series 4: Living Blues Bulk, 1970-2012 Posters Extent Series 5: Dick “Cane” 3.0 Poster cases (16 drawers) Cole Collection Location Series 6: Betty V. Miller Blues Archive Collection Series 7: Southern Language of Materials Ontario Blues Association English Broadsides Abstract Series 8: Oversize These blues posters, broadsides, and oversize Periodicals printings, collected by various individuals and Series 9: Blues Bank institutions, document the world of blues advertising.
    [Show full text]
  • Please Accept My Love: Race, Culture, and B.B. King's Live in Cook County Jail Eugene Brinson Polk III University of Mississippi
    University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2017 Please Accept My Love: Race, Culture, and B.B. King's Live in Cook County Jail Eugene Brinson Polk III University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the History Commons Recommended Citation Polk, Eugene Brinson III, "Please Accept My Love: Race, Culture, and B.B. King's Live in Cook County Jail" (2017). Honors Theses. 332. https://egrove.olemiss.edu/hon_thesis/332 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. 1! of !91 Please Accept My Love: Race, Culture, and B.B. King’s Live in Cook County Jail by: Tre Polk A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2017 Approved by: _____________________________ Advisor: Professor Darren Grem ______________________________ Reader: Professor Adam Gussow _____________________________ Reader: Professor Ted Ownby 2! of !91 Dedication I would like to dedicate to this thesis to my late aunt, Julie Walker, who passed away during the process of writing of this work. I hope you understood how much we all loved you. You will, forever, be missed. 3! of !91 Acknowledgements First, I would like to thank Dr. Grem for advising me throughout the entire process of creating, organizing, and drafting this thesis.
    [Show full text]