Dating Twice Divorced Man
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Women, Gender, and Music During Wwii a Thesis
EDINBORO UNIVERSITY OF PENNSYLVANIA PITCHING PATRIARCHY: WOMEN, GENDER, AND MUSIC DURING WWII A THESIS SUBMITTED TO THE FACULTY OF THE DEPARTMENT OF HISTORY, POLITICS, LANGUAGES, AND CULTURES FOR THE DEGREE OF MASTER OF ARTS SOCIAL SCIENCES-HISTORY BY SARAH N. GAUDIOSO EDINBORO, PENNSYLVANIA APRIL 2018 1 Pitching Patriarchy: Women, Music, and Gender During WWII by Sarah N. Gaudioso Submitted in Partial Fulfillment of the Requirements For the Master of Social Sciences in History ApprovedJjy: Chairperson, Thesis Committed Edinbqro University of Pennsylvania Committee Member Date / H Ij4 I tg Committee Member Date Formatted with the 8th Edition of Kate Turabian, A Manual for Writers of Term Papers, Theses and Dissertations. i S C ! *2— 1 Copyright © 2018 by Sarah N. Gaudioso All rights reserved ! 1 !l Contents INTRODUCTION 1 CHAPTER 1: HISTORIOGRAPHY 5 CHAPTER 2: WOMEN IN MUSIC DURING WORLD WAR II 35 CHAPTER 3: AFRICAN AMERICAN WOMEN AND MUSIC DURING THE WAR.....84 CHAPTER 4: COMPOSERS 115 CHAPTER 5: CONCLUSIONS 123 BIBLIOGRAPHY 128 Gaudioso 1 INTRODUCTION A culture’s music reveals much about its values, and music in the World War II era was no different. It served to unite both military and civilian sectors in a time of total war. Annegret Fauser explains that music, “A medium both permeable and malleable was appropriated for numerous war related tasks.”1 When one realizes this principle, it becomes important to understand how music affected individual segments of American society. By examining women’s roles in the performance, dissemination, and consumption of music, this thesis attempts to position music as a tool in perpetuating the patriarchal gender relations in America during World War II. -
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Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air -
Calontir Post-Revel Songbook Primer
fl Calontir Post-ReiJef "- CREDITS ' .. Songs edited by Chrystofer Kensor Typed by Chrystofer Kensor Proofread by Katr~<ina op den Dijk Andreas of Green Village Rhianna of Ceffyl TWr Collated by Chrystofer Kensor Edward of Wyvern' s Keep Printed by Edward of Wyvern's Keep Additional Printers Kinko's Copies Easy Print Printing Cover Art by William Blackfox This is the Calontir Post-Revel Songbook Primer. It is not an offical publication of the Society for Creative Anachronism, and does not delineate SCA policies. It is available from the editior for $1.00 I volume {$5.00 for the complete set) at 2818 Michigan, Topeka, KS 66605. This is a non-prophit publication for the benifit of the populace. A.CA.LONTJR -pEoplEs SON). )J~JO)OJRE . volumE 1 CALONTIR'S TOP FIFTY Another Tournament Fight D-1 Conn McNiel Ball of Ball)'Noor C-1 various Bare is the Brotherless Back E-1 Aeruin ni hEarain 6 Chonemara Bastard King of England C-2 traditional y Brom' s Reign D-2 Brom Blackhand Calontir Game E-2 Ekaterina Zvyosdosomtzeva Kievskaya ' Calontir Stands Alone A-1 Brom Blackhand Catalan Vengeance E-3 Moses Ben Eldad :. Coeur d' fnnui Song D-3 William Coeur du Boeuf 1 Duchess and the Lecher C-4 Dun CCM D-4 traditional Finnegan' s Wake B-2 traditl.onal FollCM Me Up To Car lCM B-3 Patrick Joseph Me Call Gang Bang Song C-5 various Gcx::ld Ship Venus C-6 traditional Great God Tyr D-5 Ruyard Kipling Greyhound Bound for Pennsic E-4 Koshka Hampster Song A-2 Chrystofer Kensor Hot Spur A-3 Andrew Lyon of Wol venwood Johnny I Hardly Knew You B-4 traditional Jolly -
Title "Stand by Your Man/There Ain't No Future In
TITLE "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC by S. DIANE WILLIAMS Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Liberal Studies in American Culture Date 98 8AUGUST 15 988AUGUST Firs t Reader Second Reader "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC S. DIANE WILLIAMS AUGUST 15, 19SB TABLE OF CONTENTS Preface Introduction - "You Never Called Me By My Name" Page 1 Chapter 1 — "Would Jesus Wear A Rolen" Page 13 Chapter 2 - "You Ain’t Woman Enough To Take My Man./ Stand By Your Man"; Lorrtta Lynn and Tammy Wynette Page 38 Chapter 3 - "Think About Love/Happy Birthday Dear Heartache"; Dolly Parton and Barbara Mandrell Page 53 Chapter 4 - "Do Me With Love/Love Will Find Its Way To You"; Janie Frickie and Reba McEntire F'aqe 70 Chapter 5 - "Hello, Dari in"; Conpempory Male Vocalists Page 90 Conclusion - "If 017 Hank Could Only See Us Now" Page 117 Appendix A - Comparison Of Billboard Chart F'osi t i ons Appendix B - Country Music Industry Awards Appendix C - Index of Songs Works Consulted PREFACE I grew up just outside of Flint, Michigan, not a place generally considered the huh of country music activity. One of the many misconception about country music is that its audience is strictly southern and rural; my northern urban working class family listened exclusively to country music. As a teenager I was was more interested in Motown than Nashville, but by the time I reached my early thirties I had became a serious country music fan. -
“The Stories Behind the Songs”
“The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992. -
WORKING CLASS EXPRESSION THROUGH KARAOKE SONG SELECTION Mark T. Gerolami a Thesis Submitted To
"I LOVE THIS BAR": WORKING CLASS EXPRESSION THROUGH KARAOKE SONG SELECTION Mark T. Gerolami A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2007 Committee: David Harnish, Advisor Steven Cornelius ii ABSTRACT David Harnish, Advisor This thesis probes the meaning and processes of karaoke song selection at Whiskey Dick’s, a working-class bar in Bowling Green, Ohio. Through research, observations, and interviews conducted from 2005 to 2006, it examines how working-class identity manifests itself in karaoke song selection. As part of positioning the author into the study, I introduce my own background and discuss my history with both karaoke music and working-class culture. An analysis of a single night at Whiskey Dick’s creates a framework for specific observations and gives the reader greater context, while the lengthy enthnography provides for more generalized observations. In interviews and discussions with the singers I attempt to uncover the meaning behind each song selected, discovering how conscious singers are of their choices. For some participants my research eventually impacted how they pick songs thus raising issues of intrusion by the ethnomusicologist. I examine several of the most popular songs at Whiskey Dick’s and analyze the lyrics of each, focusing on class representation within the lyrics. In addition, the difficulties of speaking about music and our musical preferences are explored and discussed in reference to the singers at Whiskey Dick’s. iii This thesis is dedicated to everyone who enjoys making music a part of life. -
Best of the Blog
Robertson + Associates A Divorce and Family Law Firm The Blog 2010 - 2015 About Divorce: Mississippi Temporary Hearings in Mississippi….………………………………………………………….5 Mississippi Hates Divorce…………………………………………………………………….….7 Ten Things About Divorce in Mississippi………….…………………………………………...8 Legal Separation in Mississippi………………………………………………………………...10 Elements Irreconcilable Differences……………………………………………………………………….11 Fault……………………………………………………………………………………………….13 Habitual Cruel and Inhuman Conduct………………………………………………………..14 Prenuptial Agreement? How Romantic ………………………………………………………15 All My Money…………………….………………………………………………………………17 Reasons and Choices Adultery………………………………………………………………………………...19 Cell Phone Bills Can Talk………………........................................…………………...20 Note to Self: Close the Blinds………………………….………………………………22 Moth to a Flame………………………………………………………………………...24 Top 5 Places People That Cheat Meet………………………………….……………..26 The Strongest Drug Known to Man…………..….……………………………...……28 Uber and Technology in Divorce...................................................................................30 The Jig is Up………………………..……………………………………………………32 A Bird in the Hand is Worth Two in the Bush………………………………………………...33 It is Cheaper to Keep Her…………………………………………………….………………….34 Supply and Demand………………………………......................……………………………….36 Psychos, Sociopaths and Narcissists…………………………………...………………………..38 What to Expect A Straight Razor Shave and Divorce……………………..………………………………..……40 The Grief Cycle in Divorce……..…………………………………………………...……………42 A Man and His -
UNDERSTANDING the PURPOSE and POWER of MEN a Book for Men and the Women Who Love Them
Unless otherwise indicated, all Scripture quotations are from the Holy Bible, New International Version®, NIV®, © 1973, 1978, 1984 by the International Bible Society. Used by permission of Zondervan. All rights reserved. All Scripture quotations marked (NKJV) are from the New King James Version, © 1979, 1980, 1982, 1984 by Thomas Nelson, Inc. Used by permission. All rights reserved. Scripture quotations marked (KJV) are from the King James Version of the Holy Bible. Scripture quotations marked (NASB) are from the New American Standard Bible ® , NASB ®, © 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1988 by The Lockman Foundation. Used by permission. (www.Lockman.org) UNDERSTANDING THE PURPOSE AND POWER OF MEN a book for men and the women who love them Dr. Myles Munroe Bahamas Faith Ministries International P.O. Box N9583 Nassau, Bahamas e-mail: [email protected] websites: www.bfmmm.com; www.bfmi.tv; www.mylesmunroe.tv ISBN-13: 978-0-88368-725-3 ISBN-10: 0-88368-725-9 Printed in the United States of America © 2001 by Dr. Myles Munroe Whitaker House 1030 Hunt Valley Circle New Kensington, PA 15068 www.whitakerhouse.com Library of Congress Cataloging-in-Publication Data Munroe, Myles. Understanding the purpose and power of men / by Myles Munroe. p. cm. ISBN 0-88368-725-9 (pbk. : alk. paper) 1. Men (Christian theology) 2. Sex role—Religious aspects—Christianity. I. Title. BT703.5 .M86 2002 261.8'3431—dc21 2001007727 No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical—including photocopying, recording, or by any information storage and retrieval system—without permission in writing from the publisher. -
American Country Music of the Second Half of the Twentieth Century
PALACKÝ UNIVERSITY OLOMOUC FACULTY OF ARTS Department of English and American Studies Martin Hujčák AMERICAN COUNTRY MUSIC OF THE SECOND HALF OF THE TWENTIETH CENTURY Master thesis Supervisor: Mgr. Jiří Flajšar, Ph.D. Olomouc 2015 UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Martin Hujčák AMERICKÁ COUNTRY HUDBA DRUHÉ POLOVINY 20. STOLETÍ Diplomová práca Vedúci práce: Mgr. Jiří Flajšar, Ph.D. Olomouc 2015 Prehlásenie Prehlasujem, ţe som diplomovú prácu na tému: American country music of the second half of the twentieth century vypracoval samostatne pod odborným dohľadom vedúceho diplomovej práce a uviedol som všetky pouţité podklady a literatúru. V Olomouci dňa……. ….……….. Podpis ……………………… Ďakujem vedúcemu mojej diplomovej práce Mgr. Jiřímu Flajšarovi, Ph.D. za uţitočné rady a pripomienky. Ďalej pánu doktorovi ďakujem za podnetné diskusie a trpezlivosť pri odpovedaní mojich otázok. V Olomouci 2.12.2015 Martin Hujčák Contents: Introduction ....................................................................................... 8 1 Country music background ............................................................... 10 1.1 American Folk music ..................................................................... 10 1.2 Society and the birth of Folk music ................................................ 11 1.3 Western music ................................................................................ 13 1.4 The beginning of commercial development ................................... 14 1.5 The -
Country Music
Travelin Soldier Johnny Horton Hello Mary Lou Wide Open Spaces The Battle Of New Orleans Ricky Van Shelton COUNTRY Dolly Parton Kasey Chambers From A Jack To A King 9 To 5 Cry Like A Baby Roger Miller Coat Of Many Colours Kathy Mattea King Of The Road MUSIC Here You Come Again Eighteen Wheels & A Dozen Roses Sammi Smith Jolene Keith Whitley Help Me Make It Through The Night sold in mixed Don Gibson Dont Close Your Eyes Shania Twain Oh Lonesome Me artist sets Kenny Rogers Any Man Of Mine Donna Fargo Coward Of The County Man I Feel Like A Woman Funny Face Lady That Dont Impress Me Much Capital Chartbuster Eddy Arnold Lucille Whose Bed Have Your Boots Been Under Make The World Go Away Ruby Dont Take Your Love To Town CCB1090/25 The England Dan & John Ford Coley CCB1087/25 Youre Still The One Id Really Love To See You Tonight Ultimate Country The Gambler Shelly West Faith Hill Islands In The Stream (duet with Dolly) Jose Cuervo Collection Breathe Kitty Wells Skeeter Davis If My Heart Had Wings CCBS0005 It Wasnt God Made Honkey Tonk Angels The End Of The World There Youll Be 10 disc set - only $155 Its Your Love (duet with Tim McGraw) Leann Rimes Tammy Wynette Blue Divorce or as a single disc from the CCB1084/25 Cant Fight The Moonlight Stand By Your Man set for $25 each Faron Young Lefty Frizzell Your Good Girls Gonna Go Bad (also available as mp3g) Its Four In The Morning If Youve Got The Money Honey Taylor Swift CCB1081/25 Frank Ifield Linda Ronstadt Fifteen Alan Jackson I Remember You Silver Threads & Golden Needles Love Story White Horse -
Is Black Motherhood a Marker of Oppression Or Empowerment? Hip-Hop and R&B Lessons About "Mama"
Chaney and Brown: Is Black Motherhood A Marker of Oppression or Empowerment? Hip-Ho BLACK MOTHERHOOD . Is Black Motherhood A Marker of Oppression or Empowerment? Hip-Hop and R&B Lessons about “Mama” Cassandra Chaney and Arielle Brown A qualitative content analysis was conducted on the lyrics of 59 songs (40 Hip Hop songs; 17 R&B songs; 2 songs that represented the Hip Hop and R&B genre) from 1961-2013 to identify the ways that Black male and Black female artists described motherhood. The songs were determined by Billboard Chart Research Services, and Black Feminist Theory provided the theoretical foundation on which the themes were identified. Qualitative analysis of the lyrics revealed Black motherhood in R&B and Hip Hop to be based on the following four typologies: (1) Motherhood as Source of Emotional Comfort and Support; (2) Motherhood as Source of Strength and Self-Confidence; (3) Motherhood as Superior to Fatherhood; (4) Motherhood as Teacher and Disciplinarian; and (5) Motherhood Instills Unconditional Endless Love. Supporting qualitative lyrics are provided to support each of the aforementioned themes. For most Black women, the ability to create, nurture, and provide for their progeny holds boundless personal, cultural, and social significance. Although racism, sexism, and classism frequently make motherhood difficult,1 becoming a mother is one of the most salient personal and social identity symbols for many Black women. Several years ago, Shirley A. Hill2 wrote, “motherhood is a significant marker of womanhood. It provides a -
Songs of the Ziegfeld Follies
SONGS OF THE ZIEGFELD FOLLIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Ann Ommen, B.M., M.A. The Ohio State University 2007 Dissertation Committee: Professor Graeme Boone, Adviser Approved by Professor Thomas Postlewait Professor Danielle Fosler-Lussier _________________________ Adviser Graduate Program in Music Copyright by Ann Ommen 2007 ABSTRACT Enormously popular in their own time, the Ziegfeld Follies have become an icon of American popular culture. Produced annually by Florenz Ziegfeld, Jr. between 1907 and 1931, these revues were and still are best-known for their lavish production numbers which brought unprecedented attention to members of the chorus. They have served as inspiration for generations of filmmakers, playwrights, and popular authors, but have only been studied by a small number of scholars, primarily those working in cultural studies. For the first time, this dissertation brings a musicological identity to the Follies by examining their songs. It addresses the legends surrounding certain songs so that their performance history can be better understood. It discusses representations of gender, race, and national identity in songs of the Follies, revealing the cultural beliefs Ziegfeld thought would be most acceptable to his largely white, middle-class audiences. It dissects comic song performances to show a specifically musical component to the humor of the Follies. Finally, it analyzes compositional techniques in the lyrics of Gene Buck and in the songs written by Irving Berlin for the Ziegfeld Follies of 1927 , the only Follies production to have been written by a single songwriter.