The Life and Legend of Leadbelly Free Ebook

Total Page:16

File Type:pdf, Size:1020Kb

The Life and Legend of Leadbelly Free Ebook FREETHE LIFE AND LEGEND OF LEADBELLY EBOOK Charles K. Wolfe,Kip Lornell | 360 pages | 06 May 1999 | The Perseus Books Group | 9780306808968 | English | Cambridge, MA, United States The Life And Legend Of Leadbelly - Charles Wolfe, Kip Lornell - Google книги Lead Belly usually played a twelve-string guitar, but he also played the pianomandolinharmonicaviolinand windjammer. Lead Belly's songs covered a wide range of genres and topics including gospel music ; blues about women, liquor, prison life, and racism; and folk songs about cowboys, prison, work, sailors, The Life and Legend of Leadbelly herding, and dancing. He also wrote songs about people in the news, such as Franklin D. Though many releases credit him as "Leadbelly", he himself wrote it as "Lead Belly", which is also the spelling on his tombstone [3] [4] and the spelling used by the Lead Belly Foundation. There is uncertainty over his precise date and year of birth. The Lead Belly Foundation gives January 20,[9] and his grave marker gives the year His draft registration card states January 23, However, the United States Census lists "Hudy Ledbetter" as 12 years old, born Januaryand the and censuses also give his age as corresponding to a birth in The census lists his age as 51, with information supplied by wife Martha. His parents had cohabited for several years, but they legally married on February 26, When Huddie was five years old, the family settled in Bowie County, Texas. Aletha is registered as age 19 and married one year. Others say she was 15 when they married in It was in Texas that Ledbetter received his first instrument, an accordionfrom his uncle Terrell. By his early twenties, having fathered at least two children, Ledbetter left home to make his living as a guitarist and occasional laborer. Between andLedbetter served several prison and jail terms for a variety of criminal charges. Inwhen Lead Belly was released from one of his last incarcerations, the The Life and Legend of Leadbelly States was deep in the Great Depressionand jobs were very scarce. In September of that year, in need of regular work in order to avoid cancellation of his release from prison, Lead Belly asked John Lomax to take him on as a driver. For three months, he assisted the year-old in his folk song collecting The Life and Legend of Leadbelly the South. Alan Lomaxhis son, was ill and did not accompany The Life and Legend of Leadbelly on this trip. ByHuddie was already a "musicianer", [12] a singer and guitarist of some note. He performed for nearby Shreveport audiences in St. Paul's Bottoms, a notorious red-light district there. He began to develop his own style of music after exposure to various musical influences on Shreveport's Fannin Street, a row of saloons, brothels, and dance halls in the Bottoms, now referred to as Ledbetter Heights. While in prison, Lead Belly may have first heard the traditional prison song " Midnight Special ". Deeply impressed by Ledbetter's vibrant tenor and extensive repertoire, the Lomaxes recorded him in on portable aluminum disc recording equipment for the Library of Congress. They returned with new and better equipment in Julyrecording hundreds of his songs. On August 1, Ledbetter was released after having again served nearly all of his minimum sentence, following a petition the Lomaxes had taken to Louisiana Governor Oscar K. Allen at his urgent request. It was on the other side of a recording of his signature The Life and Legend of Leadbelly, " Goodnight Irene ". A prison official later wrote to John Lomax denying that Ledbetter's singing had anything to do with his release from Angola state prison records confirm he was eligible for early release due to good behavior. However, both Ledbetter and the Lomaxes believed that the record they had taken to the governor had hastened his release from prison. In DecemberLead Belly participated in a "smoker" group sing at a Modern Language Association meeting at Bryn Mawr College in Pennsylvaniawhere the senior Lomax had a prior The Life and Legend of Leadbelly engagement. He was written up in the press as a convict who had sung his way out of prison. On New Year's Day,the pair arrived in New York Citywhere Lomax was scheduled to meet with his publisher, Macmillanabout a new collection of folk songs. The Life and Legend of Leadbelly newspapers were eager to write about the "singing convict," and Time magazine made one of its first March of Time newsreels about him. The following week, he began recording for the American Record Corporationbut these recordings achieved little commercial success. He recorded over 40 sides for ARC intended to be released on their Banner, Melotone, Oriole, Perfect, and Romeo labels and their short-lived Paramount seriesThe Life and Legend of Leadbelly only five sides were actually issued. Part of the reason for the poor sales may have been that ARC released only his blues songs rather than the folk songs for which he would later become better known. Lead Belly continued to struggle financially. Like many performers, what income he made during his career would come from touring, not from record The Life and Legend of Leadbelly. In Februaryhe married his girlfriend, Martha Promise, who came North from Louisiana to join him. Concert appearances were slow to materialize. In MarchLead Belly accompanied John Lomax on a previously scheduled two-week lecture tour of colleges and universities in the Northeast, culminating at Harvard. At The Life and Legend of Leadbelly end of the month, John Lomax decided he could no longer work with Lead Belly and gave him and Martha money to go back to Louisiana by bus. He gave Martha the money her husband had earned during three months of performing, but in installments, on the pretext Lead Belly would spend it all on drinking if given a lump sum. From Louisiana, Lead Belly successfully sued Lomax for both the full amount The Life and Legend of Leadbelly release from his management contract. The quarrel was bitter, with hard feelings on both sides. Curiously, in the midst of the legal wrangling, Lead Belly wrote to Lomax proposing they team up again, but it was not to be. Further, the book about Lead Belly published by the Lomaxes in the fall of the following year proved a commercial failure. He performed twice a day at Harlem's Apollo Theater during the Easter season in a live dramatic recreation of the March of Time newsreel itself a recreation about his prison encounter with John Lomax, where he had worn stripes, though by this time he was no longer associated with Lomax. It included a full-page, color rare in those days picture of him sitting on grain sacks playing his guitar and singing. Neff ; and the "ramshackle" Texas State Penitentiary. The article attributes both of his pardons to his singing of his petitions to the governors, who were so moved that they pardoned him. The text of the article ends with "he Lead Belly failed to stir the enthusiasm of Harlem audiences. Instead, he attained success playing at concerts and benefits for an audience of leftist folk music aficionados. He developed his own style of singing and explaining his repertoire in the context of Southern black culture having learned from his participation in Lomax's college lectures. He was especially successful with his repertoire of children's game songs as a younger man in Louisiana he had sung regularly at children's birthday parties in the black community. He was written about as a heroic figure by the black novelist Richard Wrightthen a member of the Communist Partyin the columns of the Daily Workerof which Wright was the Harlem editor. The two men became personal friends, though some say Lead Belly himself was apolitical and, if anything, was a supporter of Wendell Willkiethe centrist Republican candidate for President, for whom he wrote a campaign song. However, he also wrote the song "Bourgeois The Life and Legend of Leadbelly, which has radical or left-wing lyrics. InLead Belly returned to prison. Alan Lomax, then 24, took him under his wing and helped raise money for his legal expenses, dropping out of graduate school to do so. During the first half of the decade, he recorded for RCAthe Library of Congressand Moe Asch future founder of Folkways Records and in went to Californiawhere he recorded strong sessions for Capitol Records. He lodged The Life and Legend of Leadbelly a studio guitar player on Merrywood Drive in Laurel Canyon. Lead Belly was the first American country blues musician to achieve success in Europe. Later in the year he began his first European tour with a trip to Francebut fell ill before its completion and was diagnosed with amyotrophic lateral sclerosis ALSor Lou Gehrig 's disease a motor neuron disease. Martha also performed at that concert, singing spirituals with her husband. Lead Belly was imprisoned multiple times beginning in when he was convicted of carrying a pistol and sentenced to time on the Harrison County chain gang. He later escaped and found work in nearby Bowie County under the assumed name of Walter Boyd. During his second prison term, another inmate stabbed him in the neck leaving him with a fearsome scar he subsequently covered with a bandana ; Ledbetter nearly killed his attacker with his own knife. In he was pardoned and released after writing a song to Governor Pat Morris Neff seeking his freedom, having served the minimum seven years of a 7-toyear sentence. Combined with his good behavior, which included entertaining the guards and fellow prisoners, his appeal to Neff's strong religious beliefs The Life and Legend of Leadbelly sufficient.
Recommended publications
  • TN Bluesletter Week 10 080310.Cdr
    (About the Blues continued) offered rich, more complex guitar parts, the beginnings of a blues trend towards separating lead guitar from rhythm playing. Shows begin at 6:30 unless noted Texas acoustic blues relied more on the use of slide, In case of inclement weather, shows will be held just down the and artists like Lightnin' Hopkins and Blind Willie street at the Grand Theater, 102 West Grand Avenue. Johnson are considered masters of slide guitar. Other June 1 Left Wing Bourbon local and regional blues scenes - from New Orleans MySpace.com/LeftWingBourbon June 8 The Pumps to Atlanta, from St. Louis to Detroit - also left their mark ThePumpsBand.com on the acoustic blues sound. MySpace.com/ThePumpsBand When African-American musical tastes began to June 15 The Blues Dogs change in the early-1960s, moving towards soul and August 3, 2010 at Owen Park MySpace.com/SteveMeyerAndTheBluesDogs rhythm & blues music, country blues found renewed June 22 Pete Neuman and the Real Deal popularity as the "folk blues" and was sold to a PeteNeuman.com June 29 Code Blue with Catya & Sue primarily white, college-age audience. Traditional YYoouunngg BBlluueess NNiigghhtt Catya.net artists like Big Bill Broonzy and Sonny Boy Williamson July 6 Mojo Lemon reinvented themselves as folk blues artists, while MojoLemon.com Piedmont bluesmen like Sonny Terry and Brownie MySpace.com/MojoLemonBluesBand McGhee found great success on the folk festival July 13 Dave Lambert DaveLambertBand.com circuit. The influence of original acoustic country July 20 Deep Water Reunion blues can be heard today in the work of MySpace.com/DWReunion contemporary blues artists like Taj Mahal, Cephas & July 27 The Nitecaps Wiggins, Keb' Mo', and Alvin Youngblood Hart.
    [Show full text]
  • Gayle Dean Wardlow Bibliography
    Gayle Dean Wardlow Bibliography -Wardlow, Gayle Dean. Really! The Country Blues. USA: Origin Jazz Library OJL-2, c1962. -Klatzko, Bernard; Wardlow, Gayle Dean. The Immortal Charlie Patton, 1887–1934. Number 2: 1929– 34. USA: Origin Jazz Library OJL-7, 1964. Reprinted in Chasin’ That Devil Music, by Gayle Dean Wardlow, pp. 18–33. San Francisco: Miller Freeman, 1998. Reprinted as notes with Screamin’ and Hollerin’ the Blues: The Worlds of Charley Patton. USA: Revenant 212, 2001. -Wardlow, Gayle Dean. Country Blues Encores. USA: Origin OJL-8, c1965. -Wardlow, Gayle Dean. “Mysteries in Mississippi.” Blues Unlimited no. 30 (Feb 1966): 10. Reprinted in Chasin’ That Devil Music, pp. 110–111. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean. “Legends of the Lost. Pt. 1.” Blues Unlimited no. 31 (Mar 1966): 3–4; “Pt. 2.” Blues Unlimited no. 34 (Jul 1966): 3; “Pt. 3.” Blues Unlimited no. 35 (Aug 1966): 3; “Pt. 4.” Blues Unlimited no. 36 (Sep 1966): 7. Reprinted in Back Woods Blues, ed. S.A. Napier, pp. 25–28. Oxford: Blues Unlimited, 1968. Reprinted in Chasin’ That Devil Music, pp. 126–130. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean; Evans, David. The Mississippi Blues, 1927–1940. USA: Origin OJL-5, 1966. -Wardlow, Gayle Dean. “Son House (Collectors Classics, 14: Comments and Additions).” Blues Unlimited no. 42 (Mar/Apr 1967): 7–8. -Wardlow, Gayle Dean; Roche, Jacques. “Patton’s Murder: Whitewash? or Hogwash?” 78 Quarterly no. 1 (Autumn 1967): 10–17. Reprinted in Chasin’ That Devil Music, pp. 94–100. San Francisco: Miller Freeman, 1998. -Wardlow, Gayle Dean. “King Solomon Hill.” 78 Quarterly no.
    [Show full text]
  • Jazz in America • the National Jazz Curriculum the Blues and Jazz Test Bank
    Jazz in America • The National Jazz Curriculum The Blues and Jazz Test Bank Select the BEST answer. 1. Of the following, the style of music to be considered jazz’s most important influence is A. folk music B. the blues C. country music D. hip-hop E. klezmer music 2. Of the following, the blues most likely originated in A. Alaska B. Chicago C. the Mississippi Delta D. Europe E. San Francisco 3. The blues is A. a feeling B. a particular kind of musical scale and/or chord progression C. a poetic form and/or type of song D. a shared history E. all of the above 4. The number of chords in a typical early blues chord progression is A. three B. four C. five D. eight E. twelve 5. The number of measures in typical blues chorus is A. three B. four C. five D. eight E. twelve 6. The primary creators of the blues were A. Africans B. Europeans C. African Americans D. European Americans E. Asians 7. Today the blues is A. played and listened to primarily by African Americans B. played and listened to primarily by European Americans C. respected more in the United States than in Europe D. not appreciated by people outside the United States E. played and listened to by people all over the world 8. Like jazz, blues is music that is A. planned B. spontaneous C. partly planned and partly spontaneous D. neither planned nor spontaneous E. completely improvised 9. Blues lyrical content A. is usually secular (as opposed to religious) B.
    [Show full text]
  • Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
    PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection.
    [Show full text]
  • Alan Lomax: Selected Writings 1934-1997
    ALAN LOMAX ALAN LOMAX SELECTED WRITINGS 1934–1997 Edited by Ronald D.Cohen With Introductory Essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew L.Kaye ROUTLEDGE NEW YORK • LONDON Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All writings and photographs by Alan Lomax are copyright © 2003 by Alan Lomax estate. The material on “Sources and Permissions” on pp. 350–51 constitutes a continuation of this copyright page. All of the writings by Alan Lomax in this book are reprinted as they originally appeared, without emendation, except for small changes to regularize spelling. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Lomax, Alan, 1915–2002 [Selections] Alan Lomax : selected writings, 1934–1997 /edited by Ronald D.Cohen; with introductory essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew Kaye.
    [Show full text]
  • The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2010 The Alan Lomax Photographs and the Music of Williamsburg (1959-1960) Peggy Finley Aarlien College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Aarlien, Peggy Finley, "The Alan Lomax Photographs and the Music of Williamsburg (1959-1960)" (2010). Dissertations, Theses, and Masters Projects. Paper 1539626612. https://dx.doi.org/doi:10.21220/s2-b3tk-nh55 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 ALAN LOMAX PHOTOGRAPHS AND THE MUSIC OF WILLIAMSBURG (1959-1960) Peggy Finley Aarlien Niirnberg, Germany Master of Arts, Norwegian University of Sciences and Technology, 2001 Bachelor of Arts, Norwegian University of Sciences and Technology, 1995 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Masters of Arts The American Studies Program The College of William and Mary August 2010 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Masters o f Arts Approved by the Committee, June, 2010 Professor Grey Gundaker The American Studies Program / Dr^Gj/affle^MjbGovern he Anwiqfin SJMdies*4*f©gi2iiT^^ 'w / G' fgG Arthur Rrnignt j” The American Studies Program ABSTRACT PACE On July 19, 2002, folklorist Alan Lomax died at the age of 87.
    [Show full text]
  • Josh White, St. James Infirmary, 1964 The
    blacklisting efforts of Appleton’s infa- its minor key. Scores of musicians have mous rotten scoundrel, Joe McCarthy. recorded some version of St. James over © May 2011 by We also were not aware that White the years. The most well known ver- Peter© 2012 Berryman by ArchivedPeter at louandpeter.comBerryman toured despite increasing physical prob- sion, for good reason, was recorded in Archived at louandpeter.com lems, and died only five years after this 1928 (!) by Louis Armstrong. But Josh Josh White, St. James Infirmary, 1964 concert, in September 1969. White is the man who really brought it to us that afternoon, in a spellbinding The Madison Public Library website Josh White had a unique and compli- rendition, highlighting its beautiful (and maybe all such sites) provides ac- cated life, which took him from travel- weirdness. cess to thousands of online newspaper ing with country blues street musicians archives around the world to anyone as an impoverished boy to eventually If you want a new way to feel the deep with a card. This came in handy lately. appearing on Broadway. Though he strangeness of this song, have a look at considered himself primarily an enter- the 1933 Betty Boop cartoon Snow I've mentioned before that my music tainer, he was legendary as a political White, produced by Max Fleischer, fea- partner Lou and my guitar-playing pal artist and activist. He worked in film, turing Cab Calloway singing a wild in- Paul attended a Josh White concert in including playing himself in the great terpretation of it. The vocal begins a bit Oshkosh in the mid sixties.
    [Show full text]
  • Folk Music, Internal Migration, and the Cultural Left
    Internal Migration and the Left Futures That Internal Migration Place-Specifi c Introduction Never Were and the Left Material Resources THE SOUTH AND THE MAKING OF THE AMERICAN OTHER: FOLK MUSIC, INTERNAL MIGRATION, AND THE CULTURAL LEFT Risto Lenz In 1940, actor and activist Will Geer organized the “Grapes of Wraths Evening,” a benefi t concert for the John Steinbeck Committee for Agricultural Workers at Forrest Theater in New York City. The pro- gram served as a blueprint for what would later defi ne the American folk music revival: Urban Northerners sharing the stage with “authentic” rural Southerners, together celebrating America’s musical heritage in a politically charged framework (here: helping migrant farmwork- ers). Among the “real” folk were Aunt Molly Jackson, an organizer for the Kentucky coal mines and a singer of union songs, Huddie “Lead Belly” Ledbetter, an African American songster from Louisiana, and Woody Guthrie, a singer from Oklahoma. The three musicians, 1 He is sometimes also who would all spend their subsequent lives in New York as well as referred to as “Leadbelly.” in California, represent the three main migration fl ows of Southerners Both spellings are pos- sible. I will hereaft er use moving out of farms and towns of the American South in great “Lead Belly” since it was numbers and into cities and suburbs of the North and the West: The the preferred spelling of the singer himself as 1 Great Migration of black Southerners (Lead Belly ), the dust bowl well as of the Lead Belly migration (Guthrie), and the Appalachian migration (Jackson).2 The Foundation.
    [Show full text]
  • THE SOCIOLOGY of AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: the 3 Theoretical Perspectives of Sociol
    THE SOCIOLOGY OF AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: The 3 Theoretical Perspectives of Sociology Part II: Origins of 20th Century American Popular Music: Roots of Anglo & African-American Music, Minstrelsy, the Blues & Ragtime Unit 2 Jazz: New Orleans, the Swing era, Bebop & Beyond (1920s-present) Unit 3 Rock & Roll (1950s-present) Unit 4 Country Music & The Urban Folk Revival (1920s-present) Unit 5 Soul, Motown & Funk (1950s-1970s) Unit 6 Hip-Hop & Rap (1970s-present) GRADING Grades will be based on the following: 1. tests/quizzes (50% of semester grade) 2. homework/classwork assignments (20% of semester grade) 3. Artist Spotlight Project (20% of semester grade) 4. class participation/behavior (10% of semester grade) Assignments must be turned in on time to earn full credit. You will receive half credit for assignments turned in one class period after the due date, and no credit will be given for assignments turned in after this point. If you know you are going to miss class, it is your responsibility to contact me regarding make-up assignments or tests. If you have any questions, please see me. STUDENTS WILL NOT BE PERMITTED TO TAKE MAKE-UP UNIT TESTS OR FINAL EXAMS IF THEIR ABSENCE ON THE ORIGINAL TEST DAY IS UNEXCUSED. Test/quiz dates are clearly posted on the board next to the agenda and on the online class calendar (see class website homepage). Therefore, THERE ARE NO EXCUSES FOR NOT KNOWING TEST/QUIZ DATES. IF YOU ARE PRESENT IN CLASS ON A TEST DAY, YOU MUST TAKE THE TEST.
    [Show full text]
  • Jelly Roll Morton Interviews Conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D
    Jelly Roll Morton interviews conducted by Alan Lomax (1938) Added to the National Registry: 2003 Essay by Ronald D. Cohen (guest post)* Jelly Roll Morton Jelly Roll Morton (1885-1941), born Ferdinand Joseph Lamothe in New Orleans, had Creole parents. He began playing the piano at an early age in the New Orleans Storyville neighborhood during the birth pangs of jazz. For a decade, starting in 1907, he traveled the country as a vaudeville musician and singer; in 1915 his composition “The Jelly Roll Blues” became the first published jazz tune. From 1917 to 1923, he continued performing from his base in Los Angeles, then moved to Chicago where he met Walter and Lester Melrose, who had a music publishing company. Along with his sheet music, Morton began recording for Paramount Records in 1923 as well as for Gennett Records in Richmond, Indiana, and for the Autograph label. Backed by various session musicians, particularly the Red Hot Peppers, his most influential recordings came in 1926-30, first for Vocalion, then for RCA-Victor. With the onslaught of the Depression, Morton’s career languished, so he moved to New York, then Washington, D.C., in 1936. He now hosted show “The History of Jazz” on WOL and performed in a local club. Known in 1937 as the Music Box/Jungle Inn, there he met the young, creative, and energetic Alan Lomax. Born in Austin, Texas, the son of the folklorist John Lomax, Alan Lomax (1915-2002) had become assistant-in-charge of the Archive of American Folk Song at the Library of Congress (LC) in 1937.
    [Show full text]
  • Motown the Musical
    EDUCATIONAL GUIDE C1 Kevin MccolluM Doug Morris anD Berry gorDy Present Book by Music and Lyrics from Berry gorDy The legenDary MoTown caTalog BaseD upon The BooK To Be loveD: Music By arrangeMenT wiTh The Music, The Magic, The MeMories sony/aTv Music puBlishing of MKoevinTown B yM Bcerrycollu gorDyM Doug Morris anD Berry gorDy MoTown® is a regisTereD TraPresentDeMarK of uMg recorDings, inc. Starring BranDon vicTor Dixon valisia leKae charl Brown Bryan Terrell clarK Book by Music and Lyrics from TiMoThy J. alex Michael arnolD nicholas chrisTopher reBecca e. covingTon ariana DeBose anDrea Dora presTBonerry w. Dugger g iiior Dwyil Kie ferguson iii TheDionne legen figgins DaryMarva M hicoKsT ownTiffany c JaaneneTalog howarD sasha huTchings lauren liM JacKson Jawan M. JacKson Morgan JaMes John Jellison BaseD upon The BooK To Be loveD: Music By arrangeMenT wiTh crysTal Joy Darius KaleB grasan KingsBerry JaMie laverDiere rayMonD luKe, Jr. Marielys Molina The Music, The Magic, The MeMories sony/aTv Music puBlishing syDney MorTon Maurice Murphy Jarran Muse Jesse nager MilTon craig nealy n’Kenge DoMinic nolfi of MoTown By Berry gorDy saycon sengBloh ryan shaw JaMal sTory eric laJuan suMMers ephraiM M. syKes ® JMuliusoTown Tho isM asa regisiii TereDanielD Tra DJ.eM waraTTK sof uMDgonal recorD wDeingsBBer, i, ncJr.. Scenic Design Costume Design LighStarringting Design Sound Design Projection Design DaviD Korins esosa BranDnonaTasha vic TKoraTz Dixon peTer hylensKi Daniel BroDie Casting Hair & Wig Design valisia leKae Associate Director Assistant Choreographer Telsey + coMpany charlcharles Brown g. lapoinTe scheleBryan willia TerrellMs clarK Brian h. BrooKs BeThany Knox,T icsaMoThy J. alex Michael arnolD nicholas chrisTopher reBecca e.
    [Show full text]
  • The Ballad Hunter: Lectures on American Folk Music: Parts 9 and 10
    Record No. AFS L 53 THE BALLAD HUNTER Song Ti t l e and Singer PART IX THE BLO OD DONE SIGN MY NAME . Sung by Enoch Brown at Livingston, Alabama, 1940. Recor ded by J ohn A. and Ruby T. Lomax. SOON ONE MORNING. Sung by Dock Reed and Vera Hall at Li vi ngston, Al abama, 1940. Recorded by John A. and Ruby T. Lomax. GOING WALK AROUND IN JORDAN , TELL THE NEWS. Sung by Clabe and Mary Amerson, Matti e Belland Mardy Tartt at Boyd, Alabama, 1940. Recorded by John A. and Ruby T. Lomax. JUBILEE. Sung by Rev. B. D. Hall, J oe and Johnny Hall at Livingston, Alabama, 1940. Recorded by John A. and Ruby T. Lomax. STEAMBOAT LOAD ING. Explanation and holler by Richard Amerson at Livingston, Alabama, 1940. Recorded by J ohn A. and Ruby T. Lomax. DOG CAUGHT A HOG . Played on mouth har p by Richard Amerson at Livingst on, Al abama, 1940. Recorded by John A. and Ruby T. Lomax. SERMON ON J OB. Spoken by Richard Amerson, with moaning by Hettie Godfrey and Li l l ie Polk at Livingston, Alabama, 1940. Recorded by John A. and Ruby T. Lomax. J OB , J OB. Sung by Dock Reed and Vera Hall at Livingston, Alabama, 1940 . Recorded by John A. and Ruby T. Lomax. PART X PICK A BALE O'COTTON . Sung by James (Ir on Head) Baker, Will Crosby, R. D. Al len , and Mose (Clear Rock) Platt at Central State Farm, Sugarland, Texas , 193 3. Recorded by John A.
    [Show full text]