DOCSLIB.ORG

Steve Lavere Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Steve Lavere Bibliography LaVere, Steve. The Blues: A Book of Postcards. San Francisco: Pomegranate Artbooks, 1989. Cuscuna, Michael; LaVere, Steve. “Ammons & Lewis on Mosaic.” Disc’Ribe no. 3 (Fall 1983): 31–32. LaVere, Steve. “Earl Bell.” Living Blues no. 36 (Jan/Feb 1978): 31 LaVere, Steve. “Son Blakes.” Blues Unlimited no. 85 (Oct 1971): 18. LaVere, Steve. “Charlie Booker.” Living Blues no. 89 (Nov/Dec 1989): 38–39. LaVere, Steve; Eagle, Bob. “Boy Blue.” Living Blues no. 50 (Spring 1981): 47–48. LaVere, Steve; Eagle, Bob. “Roy Brown.” Living Blues no. 50 (Spring 1981): 48. LaVere, Steve. “Dewey Corley.” Living Blues no. 18 (Autumn 1974): 7. LaVere, Steve. “Hacksaw Harney.” Living Blues no. 18 (Autumn 1974): 7. LaVere, Steve. Lightnin’ Hopkins: Mad Blues. Denmark:Official 6054, 1989. LaVere, Stephen. “The Death of Robert Johnson.” Living Blues no. 94 (Nov/Dec 1990): 8–20. LaVere, Steve. Robert Johnson: The Complete Recordings. USA: Columbia C3 46222, 1990; UK: CBS 467246, 1991. LaVere, Steve. “Tying Up a Few Loose Ends.” Living Blues no. 94 (Nov/Dec 1990): 31–33. LaVere, Stephen C. “Alexander George: Papa Lightfoot!” Blues Unlimited no. 68 (Dec 1969): 12. Lavere, Steve; Broven, John. Papa George Lightfoot: Goin’ Back to the Natchez Trace. UK: Ace CDCHD 548, 1994. LaVere, Steve. Papa George Lightfoot: Natchez Trace. USA: Vault LP 130, 1969; UK: Liberty LBS 83353, 1969; Germany: Crosscut CCR 1001, 1982. Leadbitter, Mike; LaVere, Steve. “Mike’s Blues: Papa Lightfoot.” Blues Unlimited no. 81 (Apr 1971): 18. LaVere, Steve. “Papa Lightfoot.” Living Blues no. 13 (Summer 1973): 6. LaVere, Steve. “Joe Hill Louis: The Be Bop Boy.” Whiskey, Women, and ... no. 18/19 (Fall 1989): 66–71. LaVere, Steve. Joe Hill Louis: The One Man Band. USA: Muskadine M 101, 1971. LaVere, Steve; Sax, Dave. Joe Hill Louis with Walter Horton & Mose Vinson: The Be-Bop Boy. Germany: Bear Family BCD-15524, 1992. Leadbitter, Mike; LaVere, Steve. Joe Hill Louis and Willie Nix: Blue in the Morning. UK: Polydor 2383- 214, 1973. LaVere, Steve. “Hot Shot Love.” Living Blues no. 50 (Spring 1981): 47. LaVere, Steve. “Memphis Minnie.” Living Blues no. 14 (Autumn 1973): 5. Also published in an edited form in Blues-Link no. 2 (Oct/Nov 1973): 31–32. Also published in an edited form in Blues Unlimited no. 104 (Oct/Nov 1973): 21. Eagle, Bob; LaVere, Steve. “Hard Working Woman: Mississippi Matilda: Matilda Witherspoon.” Living Blues no. 8 (Spring 1972): 7. LaVere, Steve. “Willie Nix.” Living Blues no. 11 (Winter 1972/73): 17–19. Strachwitz, Chris; LaVere, Steve; Eagle, Bob. Dr. Ross: His First Recordings. USA: Arhoolie 1065, 1972. Updated notes issued with Boogie Disease. USA: Arhoolie CD 371, 1992. LaVere, Steve. “Schoolboy Cleve!” Blues Unlimited no. 69 (Jan 1970): 22. Napier, Simon A.; LaVere, Steve; Curtiss, Lou. “Thomas Shaw.” Blues Unlimited no. 75 (Sep 1970): 14. LaVere, Stephen C. Houston Stackhouse: Cryin’ Won’t Help You. USA: Genes GCD 9904, 1994. O’Neal, Jim; LaVere, Steve. “Too Tight Henry.” Living Blues no. 34 (Sep/Oct 1977): 17. (NOTE: With corrections in Living Blues no. 35 (1977): 4.) LaVere, Steve. Bukka White: Big Daddy. USA: Biograph BLP 12049, 1974. LaVere, Steve. The Memphis Blues Again. USA: Adelphi AD-1009-S, c1971. LaVere, Stephen C. Memphis Blues Caravan. Vol. 1. USA: Memphis Archives MA7008, 1994. Vol. 2. Memphis: Memphis Archives MA7009, 1994..
Load more

Recommended publications
  • Students Still Alleged Knife Chair Protesting Fire Kills Seven
    A Newspaper PRICE With A 5c Constructive PER COPY Policy riT^I CTTT-V VOLUME 19, NUMBER M PRICE FIVE CENTI MEMPHIS, TENÑESSSEE, TUESDAY, NOVEMBER 21, 1950 i u , Students Still William And Mary Alleged Knife Out Of School Slayer Goes Io i To Admit Negroes In Miss., La. By CARTER JEWEL , plicant was qualified would l»c Chair Protesting WI1JJAMSBURGH, Va. .(ANP)-1 forwarded la the attorney general CHICAGO-1 ANP l-Willard Tru- NEW ORLEANS. La. «-t(ANP>— — The College of William and ' of Virginia for his legal opinion According to statistic» released this love. 31, convicted of .Jaytng a white Mary, the second oldest liwtitu- 1 If he should ruic-fhaf the college week, the foreign »Indent enroll­ tion of higher learuinc in Amer-[ is obligated tjiider the law to ar- woman during a purre-snatehing ment in Louisiana and Mississippi attempt on Oct 26. 1949. went to Ute ica. Is ready to admit qualified , cept the student, thr wltage would has doubled since, the 1944-45 Negro law student*. Thu» phticy do so witlipul a court control__ _ electric chair at 12 02 a. m.. • school sesaions Negro student* still was disclosed Monday afternoon, j Nov 10th struggling and protests o*nnot enter white schools in these November 13. by I)t Dudley W Dean Woodbridge who spoke in hi» "innocence " states Woodbridge, dean nf the instilu- Norfolk of problems nf eriucntiuii Five minutes and three jolts of The greatest number of foreign i lion’s Sclvml of Jurisprudence in »listed scgregalKHi a* one of tli^ clecrWcity later, he was pronounc­ students is at Louisiana state uni­ I an nddre s before the Norfolk and I current problems in legal educa ’ ed dead versity.
    [Show full text]
  • JUNE 09, 2008 ARTIST RUFUS THOMAS TITLE the Sun Years, Plus…
    SHIPPING DATE: MAY 26, 2008 (estimated) STREET DATE: JUNE 09, 2008 ARTIST RUFUS THOMAS TITLE The Sun Years, plus….. His R&B recordings 1949 - 1956 LABEL Bear Family Records CATALOG # BCD 16695 PRICE-CODE AH EAN-CODE 4000127 166951 ISBN-CODE 978-3-89916-410-7 FORMAT CD digipac with 68-page booklet GENRE R&B TRACKS 29 PLAYING TIME 85:19 KEY SELLING POINTS • 29 tracks including all known surviving recordings from 1949 - 1956 • 2 recently discovered sides from his first recording session for Star Talent • all 8 original 78 rpm discs for Star Talent, Bullet, Chess, Sun, and Meteor. Some of these now for the first time ever from the first generation-tape • 3 recordings from the Memphis Recording Service, not originally issued • 2 original versions of songs Rufus covered (1 by Joe Hill Louis, 1 by Rosco Gordon; previously unissued) • the original version of Hound Dog by Big Mama Thornton • 2 bonus recordings by Rufus's fellow DJ, Moohah Williams • 2 extracts from Rufus on radio WDIA in the 1950s • a rare radio interview with Daddy Cool • mastered as only Bear Family can do it SALES NOTES A newly researched 68-page booklet by Martin Hawkins largely based on interviews by himself and Dave Booth, plus rare photos and adverts. Rufus Thomas was a one-off: a larger than life character who made as great a contribution to the performance and style of American music as he did to the recording of it. He saw it all from black vaudeville to rap... and played a major role in the evolution of African American music.
    [Show full text]
  • ELECTRIC BLUES the DEFINITIVE COLLECTION Ebenfalls Erhältlich Mit Englischen Begleittexten: BCD 16921 CP • BCD 16922 CP • BCD 16923 CP • BCD 16924 CP
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] PLUG IT IN! TURN IT UP! ELECTRICELECTRIC BBLUESLUES DAS STANDARDWERK G Die bislang umfassendste Geschichte des elektrischen Blues auf insgesamt 12 CDs. G Annähernd fünfzehneinhalb Stunden elektrisch verstärkte Bluessounds aus annähernd siebzig Jahren von den Anfängen bis in die Gegenwart. G Zusammengestellt und kommentiert vom anerkannten Bluesexeperten Bill Dahl. G Jede 3-CD-Ausgabe kommt mit einem ca. 160-seitigen Booklet mit Musikerbiografien, Illustrationen und seltenen Fotos. G Die Aufnahmen stammen aus den Archiven der bedeutendsten Plattenfirmen und sind nicht auf den Katalog eines bestimmten Label beschränkt. G VonT-Bone Walker, Muddy Waters, Howlin' Wolf, Ray Charles und Freddie, B.B. und Albert King bis zu Jeff Beck, Fleetwood Mac, Charlie Musselwhite, Ronnie Earl und Stevie Ray Vaughan. INFORMATIONEN Mit insgesamt annähernd dreihundert Einzeltiteln beschreibt der Blueshistoriker und Musikwissenschaftler Bill Dahl aus Chicago die bislang umfassendste Geschichte des elektrischen Blues von seinen Anfängen in den späten 1930er Jahren bis in das aktuelle Jahrtausend. Bevor in den Dreißigerjahren Tonabnehmersysteme, erste primitive Verstärker und Beschallungssysteme und schließ- lich mit Gibsons ES-150 ein elektrisches Gitarren-Serienmodell entwickelt wurde, spielte die erste Generation der Gitarrenpioniere im Blues in den beiden Jahrzehnten vor Ausbruch des Zweiten Weltkriegs auf akustischen Instrumenten. Doch erst mit Hilfe der elektrischen Verstärkung konnten sich Gitarristen und Mundharmonikaspielern gegenüber den Pianisten, Schlagzeugern und Bläsern in ihrer Band behaupten, wenn sie für ihre musikalischen Höhenflüge bei einem Solo abheben wollten. Auf zwölf randvollen CDs, jeweils in einem Dreier-Set in geschmackvollen und vielfach aufklappbaren Digipacks, hat Bill Dahl die wichtigsten und etliche nahezu in Vergessenheit geratene Beispiele für die bedeutendste Epoche in der Geschichte des Blues zusammengestellt.
    [Show full text]
  • Rabbit Johnson
    RABBIT JOHNSON Bobo Jenkins and Rabbit Johnson, Detroit 1979. Photo: Mike Rowe. ay back in B&R 117 we published an interview with some LP with B.B. a long time ago. But anyway, one time I remember with Detroit bluesman James ‘Rabbit Johnson’ (aka ‘Brer B.B. was when he made his record ‘Three O’Clock In The Morning’. He was Rabbit’) by the late George Paulus under the title of ‘Old showing me this big old wide disc, you know, and I looked at it, you know, ‘so what?’ (laughs). WDetroit’ in which Rabbit talked about his days in Memphis and his I wasn’t interested in no music at the time, you know. But I ran into him on recollections of the Detroit music scene in the 1950s and 1960s. numerous occasions after then. I’d never get to really sit down and talk to In August 1979 Mike Rowe met Rabbit (along with Bobo Jenkins) him, ‘cause I used to try to sing with a little group called The Teen Towners, part of their conversation was recorded. The tape commenced in Memphis at WDIA radio station. And every year at The Veterans’ Hall with Rabbit talking about a Memphis sax player called Gilmore they’d give a benefit, you know. They would have guys like B.B. King, Ford Daniels. Nelson, or Nelson Ford. RJ: This saxophone player, name of Gilmore Daniels, he was with the NB: The Teen Towners were under eighteen years old singers selected from original Rufus Thomas and The Bearcats. And he played with B.B.
    [Show full text]
  • Kevin Hahn: Pat Hare
    PAT HARE • a blues guitarist • by Kevin Hahn ‘Take The Bitter With The Sweet’ During the decade of the ’50s the name of Pat Hare stood among the front ranks of the many fine guitarists playing in Memphis, Houston, and Chicago. As Sam Phillips’ favorite guitarist he appeared on many of Sun’s blues sessions and his ferocious lead work made classics of records by the young James Cotton, Walter Bradford and Junior Parker; later recordings and performances with Parker, Bobby Bland and Muddy Waters served as tutelage for a new generation of blues players. Bob Koester, of Delmark Records, whose interest in blues is primarily as a vocal music, considered Pat as one of the finest non-singing guitarists and one of the few of interest. 1 By the early ’60s, however, his career was over; his last recorded work dates from 1960 and in early 1964 he was sentenced to life in prison for a double murder in Minnesota. Although he lived until 1980 and continued to perform while incarcerated, he was a forgotten figure in the blues community. This article is intended to bring some attention to his brief but important part in the story of the blues, and especially to shed some light on the events that ended his musical life, a story that has been clouded with myth and misinformation. Auburn Hare was bom on December 20, Parkin/Forrest City/West Memphis area and over a wood-pile behind the juke they 1930 in Cherry Valley, Arkansas at the home (Wolf would come out to the Hare farm and were playing at.
    [Show full text]
  • Bear Family Records
    BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] Exclusive Distribution of Exklusiv-Vertrieb von Bear Family Productions ARTIST Various TITLE The Sun Blues Box Blues, R&B And Gospel Music In Memphis 1950-1958 LABEL Bear Family Productions CATALOG # BCD 17310 PRICE-CODE JK EAN-CODE ÇxDTRBAMy173103z FORMAT 10-CD Box-Set (LP-size) with 184-page hardcover book GENRE Blues / R&B TRACKS 307 PLAYING TIME 830:16 SUN RECORDS AT 60: BEAR FAMILY AT 38 Between 1950 and 1960, SUN RECORDS founder Sam Phillips discovered and produced B.B. King, Howlin' Wolf, Ike Tur- ner, Elvis Presley, Johnny Cash, Carl Perkins, Jerry Lee Lewis, Charlie Rich and Roy Orbison – artists who changed the way popular music was made. With a staff of no more than one or two people, he did this from a small store- front studio in Memphis, Tennessee. Others who made their first recordings at SUN include Rufus Thomas, Bobby Bland, Junior Parker, Little Milton, Conway Twitty, Charley Pride and many more! In 1952, after producing one of the biggest pre-rock 'n' roll hits, Jackie Brenston's Rocket 88, Sam Phillips launched SUN RECORDS with one local release, and then folded the label for a year. In 1953, he relaunched SUN,releasing sin- gles until he folded the label in 1968. BEAR FAMILY has led the way in documenting Sam Phillips' incredible achievement with career- defining box sets on Johnny Cash, Jerry Lee Lewis, Carl Perkins, Roy Orbison, and definitive single or double CDs on every significant SUN artist.
    [Show full text]
  • California State University, Northridge the Blue Note: A
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE BLUE NOTE: A GREATER TEXAS REGIONAL BLUES HEARTH A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Geography by Daniel Geringer Summer 2013 The thesis of Daniel Geringer is approved: __________________________________ __________________ James Craine, Ph.D. Date _________________________________ __________________ Ron Davidson, Ph.D. Date _________________________________ __________________ Steven Graves, Ph.D., Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS The author would like to thank his wife, Rowena, and his two children Clarissa and Colin for their unrelenting support during this project. The author would like to thank Professor Graves for his support, inspiration and interest in geographically centered musical studies and this particular thesis. Further thanks are given to Professors Craine whose assistance over the last year is greatly appreciative and without this assistance; this thesis would never have been completed and Professor Ron Davidson. Additional thanks are given to Ed Jackweicz, David Hornbeck and James Allen, whose influence and support were influential to my studies. iii TABLE OF CONTENTS Signature Page ________________________________________________ ii Acknowledgements ____________________________________________ iii Abstract______________________________________________________ vi CHAPTER 1. Introduction and Research Question ____________________ 1 CHAPTER 2. Geographic and Theoretical Context ____________________
    [Show full text]
  • Walter Horton's Recordings
    WALTER HORTON’S RECORDINGS Memphis Jug Band – “Memphis Jug Band – Vol. 1 1927-1928” Memphis, June 9, 1927 Will Shade (Vocal, Guitar), Walter Horton (Harmonica)*, Will Weldon (Guitar), Charlie Polk (Jug) Sometimes I Think I Love You (1 st) Victor 20809, Yazoo 1067 LP, Origin LP OJL 19 LP, Classic Blues CBL 200015, Doc (Au) CD-5021 Sunshine Blues Victor 20781, Doc (Au) CD-5021 *(Note: Goodrich & Dixon list the harmonica player on theses recordings as “Shakey Walter”, and Horton always insisted this was him. Although it is true that Horton was acquainted with, and occasionally gigged with the Memphis Jug Band at this time, his actual participation on this session remains unconfirmed and unlikely. Horton would have been nine years old at the time.) Little Buddy Doyle – “Memphis Harp & Jug Blowers” (8 of 25) Memphis, July 1, 1939 Buddy Doyle (Vocal, Guitar), Walter Horton (Harmonica) Hard Scufflin’ Blues Okeh 05771, RST (Au) BDCD-6028 Grief Will Kill You Voc 05111, RST (Au) BDCD-6028 Slick Capers Blues (1 st) – “Too Late, Too Late Blues – Vol. 1” unissued Doc (Au) CD-5150 Little Buddy Doyle (see above) Memphis, July 14, 1939 As above plus, Jack Kelly or Willie Tango (Guitar) Renewed Love Blues Okeh 05771, RST (Au) BDCD-6028 Bad in Mind Blues Voc 05111,Magpie LP 1810, RST (Au) BDCD-6028 Three-Six-Nine Blues Voc 05246,Magpie LP 1810, RST (Au) BDCD-6028 She’s Got Good Dry Goods unissued, RST (Au) BDCD-6028 Lost Baby Blues unissued, RST (Au) BDCD-6028 Sweet Man Blues Voc 05246,Magpie LP 1810, RST (Au) BDCD-6028 Walter Horton – “Joe Hill Louis – The Be-Bop Boy” (11 of 26) Memphis, c.
    [Show full text]
  • The Memphis and Shelby County Room Music Listening Station Guide
    The Memphis and Shelby County Room Music Listening Station Guide 1 The Memphis and Shelby County Room Music Listening Station Guide Instructions for Use Sign in at the Reference Desk for a pair of headphones Use this Guide to determine which album(s) you would like to listen to Power on the Receiver and the CD Changer Use the scroll wheel to select you album Push “Play” If others are waiting to listen, please limit your time to 2 hours After listening, turn off the Changer/ Receiver and return headphones to the Reference Desk Please do not open the Disc Changer or change any settings on the Changer or Receiver 2 CD Genre Artist Album Title Track Listing # Memphis blues / W. C. Handy - Tiger rag / D. J. LaRocca - Good news / Traditional spiritual, arr. Allen Todd II - A mess of blues / D. Pomus and M. Shuman - Let's stay together / Willie Mitchell, Al Green, Al Jackson - Fight song / Tom Ferguson - String quartet no.3, DRequiem : Oro Supplex/Lacrimosa ; Dies irae / John Baur - Ol' man The University 90 Years of making music river / Jerome Kern, arr. by James Richens - Allie call the beasts : Allie ; To be called Classical of Memphis in Memphis The 1 a bear / John David Peterson - Tender land : Stomp your foot upon the floor / Aaron Band University of Memphis Copland - I'm in trouble / Joe Hicks - MKG variations / Kamran Ince - Pockets : Three solos for double bass : number 1 / John Elmquist - Scherzo no.3 in c-sharp minor, op.39 / Frederic Chopin - Brass quintet : Intrada ; Finale / James Richens - Lucia di Lamermoor / Chi me frena in tal momento / Gaetano Donizetti.
    [Show full text]
  • THE U.K. SUN KING by Lyle Ferbrache
    THE U.K. SUN KING THE ‘OTHER’ LARRY WILLIAMS By Lyle Ferbrache The records that I found amazing were Larry’s collection of ‘white label with red lettering’ of some of the classic Sun blues records, including a beautiful copy of Sun 193, Dr. Ross, and an amazing white label with red lettering of the ultra-rare Jimmy Deberry. Where do people find such records? I needed to sit down with Larry and ask some questions about how he accumulated such things. I asked Larry how he got started: “I started collecting records in 1954 or 1955 always over the counter and initially nearly all 78s – we were some time behind your 45s as an option. I bought ‘Under The Bridges Of Paris’ by Eartha Kitt and ‘Rockin’ Through The Rye’ by Bill Haley. I was lucky that in St. Albans (where I attended senior school) there were two wonderful record shops. I asked him did he recall the the first of the Sun blues records he acquired? “Hmmmmm, difficult one – possibly one of Little Junior’s singles. But if you count it as blues, maybe The Prisonaires, ‘Just Walkin’ In The Rain’ which I have only recently obtained on red vinyl. Whichever, it wasn’t until November 1999 that I bought my first Sun record namely #286-45 Warren Smith’s ‘Got Love If You Want It’, but it was autographed. Apart from my regular collection, I now have nearly 200 individual Sun/Flip/Phillips International signed discs. So what were the hardest blues records to acquire? Larry told me “The hardest to find has to be #183 by D.A.
    [Show full text]
  • Black Spirituality and Culture of Resilience in Memphis, Tennessee
    “Something is Happening in Memphis”: Black Spirituality and Culture of Resilience in Memphis, Tennessee Kayla J. Smith Advisors: Dr. Todne Thomas & Ethan Goodnight, PhD Candidate A Senior Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Divinity Harvard Divinity School Cambridge, Massachusetts May 2021 Abstract Memphis, Tennessee is a majority Black city located at the southwestern corner of Tennessee bordering Mississippi and Arkansas. The unique geographic location has created a beautifully urban-country energy that gives Memphis its edginess. There is a spiritual and relational component to the bold lives and culture people in Memphis create. During his last sermon on April 3, 1968, Dr. Martin Luther King Jr. spoke at Mason Temple in Memphis. He said, “Something is happening in Memphis. Something is happening in our world”. There has always been something happening in Memphis, and there exists a profound and distinct culture of resilience that deserves to be acknowledged and complexified. In this study, I will honor that brilliance and explore how a culture of resilience has been the site of innovation in Memphis. Some of Black Memphian life represents Black spirituality. Black spirituality invokes freedom of mind, body, and soul for Black people. Through a womanist lens, I will engage with Memphis’s Black history and culture to highlight its depiction of Black spirituality and deliberate, imaginative resilience for Black survival. I will do this through sections on the genesis of Memphis, creativity, defiance and activism, community and fellowship, and lastly, music, dance, and soul. I understand this city as a predominantly Black city.
    [Show full text]
  • The Mistakes of Yesterday, the Hopes of Tomorrow: Prison, Pop Music, and the Prisonaires
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1997 The Mistakes of Yesterday, the Hopes of Tomorrow: Prison, Pop Music, and the Prisonaires John M. Dougan College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, Criminology Commons, and the Music Commons Recommended Citation Dougan, John M., "The Mistakes of Yesterday, the Hopes of Tomorrow: Prison, Pop Music, and the Prisonaires" (1997). Dissertations, Theses, and Masters Projects. Paper 1539626085. https://dx.doi.org/doi:10.21220/s2-v4cd-kb74 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. THE MISTAKES OF YESTERDAY, THE HOPES OF TOMORROW: PRISON, POP MUSIC, AND THE PRISONAIRES A Thesis Presented to The Faculty of the Department of American Studies The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by John Dougan 1997 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Approved, April 1997 Dale Cockrell TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv. ABSTRACT v. INTRODUCTION 2 CHAPTER I. THE CITY 4 CHAPTER II. PRISON AND THE PRISONAIRES 17 CHAPTER III. THE MAKING AND REMAKING OF MEANING 32 CHAPTER IV. CONCLUSION 45 BIBLIOGRAPHY 48 iii. ACKNOWLEDGMENTS The fingerprints of many people are on this document, but none more important than those of Professor Dale Cockrell.
    [Show full text]