1 Music 262: Rock Music, History and Social Analysis, Memphis Renegades [Music Playing on Piano] [Brian Ward]: So Many Historia

Total Page:16

File Type:pdf, Size:1020Kb

1 Music 262: Rock Music, History and Social Analysis, Memphis Renegades [Music Playing on Piano] [Brian Ward]: So Many Historia Music 262: Rock Music, History and Social Analysis, Memphis Renegades [Music Playing on Piano] [Brian Ward]: So many historians believe that the true birth of rock n’ roll happened in Memphis. In fact, it happened on July 5th in 1954. Elvis Presley, a young country singer came into Sun Records and recorded for Sam Phillips, some songs for his mom and he ended up blowing off some steam between takes and he was doing this song called, That’s Alright Mama. What happened was, Sam Phillips heard Elvis doing this song, That’s Alright Mama, which was kind of a rhythm and blues type country boogie song and Elvis had a distinctive way of doing this. He probably didn’t know it at the time, but Sam Phillips recognized it and that’s how it all started. So he recorded it and put it out at Sun Records. So Sun Records is a company in Memphis and it’s very famous for early rock n’ roll. A lot of the great artists came out of there, Johnny Cash, Jerry Lee Lewis, and Elvis Presley of course. They really started this style and Elvis really invented it, called rockabilly. Now rockabilly is an early form of rock n’ roll. It’s a frenzied mix of country, blues, gospel music, and pop. It’s played on the guitar, bass, and it’s sung. Originally, rockabilly had no drums. All of the percussion was done from the bass, slapping the strings against the fret board and also the guitar playing really percussively. Rockabilly is a very distinctive form of music and Elvis invented it. It had this distinctly southern, pervasive youthfulness to it. It was very brief in its popularity, but it was a crucial sound in the image of rockabilly and the rebellious spirit of this music really appealed to teenagers. Now you have to understand, before this there was really no teenaged culture in the United States. This was in the 1950s, after World War Two. It was when this culture of the teenager starts becoming important and people start to cash in on it. That’s how rock n’ roll kind of grew up with that whole idea. So what are the style traits of rockabilly? Well they use very simple arrangements. There’s no horns, there’s no strings, no extra instruments. There’s no drummer in the band originally, and the use of that slapping bass is very important. They alternate between a country kind of two- beat style and a blues walking four-beat style. They play the acoustic guitar very hard, kind of like Hank Williams. I mentioned Sam Phillips. He is the owner and operator of Sun Records. Now Sam Phillips was a huge fan of blues music and rhythm and blues. He knew then that he needed to find a white artist that could play this music and do it effectively and convincingly. Then he would really have something. That’s actually a paraphrase of a quote of his. He’s a very important figure in the development of rock n’ roll and a huge proponent for musicians, which is important to say. In fact, he was the first guy to record B.B. King, first guy to record Ike Turner, Rufus Thomas, Willie Mae Thornton. He loved the black music for its intensity and its vitality. So when he found Elvis, he really knew he had something. The recordings of early Sun Records really reflect this discovery. In fact, at the very beginning, Elvis was dubbed the hillbilly cat, which is a slang term. Hillbilly meaning white, and cat was a slang term for a black man. So he was the white black man. That was the whole thing about Elvis. Some important observations about Elvis Presley. Elvis remains the most indelible image of rock n’ roll. You 1 see the image of Elvis Presley everywhere: on a postage stamp, on a black velvet poster, and everything in between. He was the first rock hero and he was known as the king of rock n’ roll. The thing about Elvis though, is that he was a singer. He was not a song. He only recorded other people’s music. He never wrote any songs, but he was very popular and he was on TV in the 1950s. TV was new. Elvis was new. Rock n’ roll was new. They all kind of grew up together. Elvis appeared on the Ed Sullivan show and created quite a stir. He was so popular with the youth, he kind of forced rock n’ roll or actually at the time, rhythm and blues music down the mainstreams throat. He made rock n’ roll more than just a passing fad. He kind of distinguished it from rhythm and blues in the kind of way that only Elvis could. By doing so, the positive thing that came out of this, is that he opened the gates for a lot of the rhythm and blues artists to become more popular as well. By popularizing this music. So a little bit about Elvis. He was with Sun records for a little while. Then he signed with RCA, a bigger label, much bigger, and Colonel Tom Parker became his manager. He reached national status when he recorded his song, Heartbreak Hotel. Eventually, he became a movie star. He starred in movies. At one point he joined the army. That was a big deal because it kind of endeared him to the older generation when he did that. At first they were very skeptical of Elvis and shaking his pelvis on TV. When he joined the army it really kind of solidified his clean cut image. He really was these two different people. He had this persona on stage. His performances had this crazy wild man. He was unafraid to really express himself in an uninhibited way. In his private side, he was very polite, shy, country boy. He loved his mom and apple pie just like everyone else. After the army, he went to Hollywood and made some movies. The earlier pictures were much stronger than the later ones. Then he kind of made a comeback in the late 60s. He did a TV special. Then he went to Vegas and kind of made a hit there. After that he declined. He had a lot of health problems, problems with substance abuse, and he died in 1977. Another important artist was this guy named Carl Perkins. Carl Perkins was a real country boy and he had a real country sound to his music. He took rockabilly and really refined it into his own thing. He was known as the king of rockabilly and when Elvis left Sun Records, Sam Phillips really looked to Carl Perkins to fill that void. He did it to a degree. He grew up very poor kind of like Elvis. He loved blues. He loved gospel. And he loved the Grand Ole Opry. He had all this background in blues, gospel, and country music. Unlike Elvis, he wrote his own songs. He always remained true to his style. He didn’t change, ever. A quote for Carl Perkins that kind of sums it up is that “Country music needs the black man’s rhythm.” That’s what he said. So he understood that by combining country music, blues, rhythm and blues, and gospel, he really had something that he could sell. His first recordings were real country kind of weeper songs. He had a famous song called Movie Magg about growing up and going to the movie and riding a donkey with his girlfriend to the movie show. That’s the humble beginnings of Carl Perkins. His music is really an extension of his hillbilly roots and not really a rebellious streak or break from tradition like Elvis. 2 We can’t really talk about Sun Records without talking about this man who was Jerry Lee Lewis. Now Jerry Lee Lewis is from Louisiana and he was a hell raiser. He grew up in a very religious family, but he was very rebellious. He would often sneak away and listen to these barrel house piano players in Louisiana; you know New Orleans and that whole region. Barrel house piano players are the real rough boogie woogie style of piano. They are very hard driving; they play really hard on the piano. That’s the style of music that he picked up. He became known as the killer when he became successful. He came out of Sun Records and did these songs like Great Balls of Fire and he was a great showman. He would do crazy things on stage. He would stand up and play the piano. He would play the piano with his feet. He would hit the piano so hard that he would break strings. He even lit the piano on fire one time. Just a crazy man. He was really viewed as Elvis’ rival because of this. Because he was a really great showman and he had some hit songs that came out of Sun Records. His outlandish image kind of became the foil to Elvis’ more clean cut country boy image. Jerry Lee Lewis kind of had a decline though. He went to England, and in the Southern United States at the time, it wasn’t such a big deal, but he had married his 13 year-old cousin. When he went to England, they found out about that and the English tabloids were just as bad then as they are now. They just jumped all over it and destroyed his career.
Recommended publications
  • SCHOOL BOARD MEETING May 20, 2014 5:00 P.M. School
    Lynchburg City Schools 915 Court Street Lynchburg, Virginia 24504 Lynchburg City School Board SCHOOL BOARD MEETING May 20, 2014 5:00 p.m. Regina T. Dolan-Sewell School Administration Building School Board District 1 Board Room Mary Ann Hoss School Board District 1 A. CLOSED MEETING Michael J. Nilles School Board District 3 1. Notice of Closed Meeting Jennifer R. Poore Scott S. Brabrand. Page 1 School Board District 2 Discussion/Action Katie Snyder School Board District 3 2. Certification of Closed Meetng Scott S. Brabrand. Page 2 Treney L. Tweedy School Board District 3 Discussion/Action J. Marie Waller School Board District 2 B. PUBLIC COMMENTS Thomas H. Webb 1. Public Comments School Board District 2 Scott S. Brabrand. Page 3 Charles B. White Discussion/Action (30 Minutes) School Board District 1 C. SPECIAL PRESENTATION School Administration Scott S. Brabrand 1. Student Recognitions Superintendent Scott S. Brabrand. Page 4 Discussion William A. Coleman, Jr. Assistant Superintendent of Curriculum and Instruction 2. LCS: Why We Stand Out Ben W. Copeland Scott S. Brabrand. Page 5 Assistant Superintendent of Discussion Operations and Administration Anthony E. Beckles, Sr. D. FINANCE REPORT Chief Financial Officer Wendie L. Sullivan 1. Finance Report Clerk Anthony E. Beckles, Sr. .Page 6 Discussion E. CONSENT AGENDA 1. School Board Meeting Minutes: May 6, 2014 (Regular Meeting) F. STUDENT REPRESENTATIVE COMMENTS G. UNFINISHED BUSINESS 1. Carl Perkins Funds: 2014-15 William A. Coleman, Jr. Page 11 Discussion/Action 2. School Board Retreat Scott S. Brabrand. Page 14 Discussion/Action 3. Update Extra-Curricular Supplements and Stipends Ben W.
    [Show full text]
  • Million Dollar Quartet” by Colin Escott & Floyd Mutrux at the Hippodrome Theatre Through December 2
    “Million Dollar Quartet” By Colin Escott & Floyd Mutrux At the Hippodrome Theatre through December 2 By James Cooper MEMORIES ARE MADE OF THIS … PRODUCTION Flashing lights, shimmering jackets and long musical solos radiate through the production of “Million Dollar Quartet,” now at the Hippodrome Theatre. Though the special effects and costumes are beneficial in some instances, the show lacks emphasis in the one area it should stress the most: the music. The whole story focuses on the decisions of four major musicians from the 1950s: Carl Perkins, Johnny Cash, Jerry Lee Lewis and Elvis Presley. Music is the main concept within the script, but it certainly isn’t the main concept within the performance. The show focuses on a single event: the night that all four musicians of the “Million Dollar Quartet” were present in the same space at the same time, the Sun Records Studio in Memphis on December 4, 1956. Elvis (Cody Slaughter) used to be a member of the Sun Records family but then he switched to RCA, a bigger label. Since this change, Elvis has lost contact with his former producer, Sam Phillips (Vince Nappo). As Elvis returns with his girlfriend Dyanne (Kelly Lamont) he makes it clear to Sam that he wishes he had stayed at Sun. Sam too wishes that Elvis had stayed, but his main focus is now on producing Johnny (David Elkins) and the up-and-coming Jerry Lee (Martin Kaye). All the while Carl (Robert Britton Lyons) has to decide whether or not he wants to leave Sun Records or move on to Columbia.
    [Show full text]
  • "World Music" and "World Beat" Designations Brad Klump
    Document généré le 26 sept. 2021 17:23 Canadian University Music Review Revue de musique des universités canadiennes Origins and Distinctions of the "World Music" and "World Beat" Designations Brad Klump Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This article traces the origins and uses of the musical classifications "world Volume 19, numéro 2, 1999 music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, URI : https://id.erudit.org/iderudit/1014442ar Afrobeat, and Latin popular styles. In contrast, the term "world music" was DOI : https://doi.org/10.7202/1014442ar coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and Aller au sommaire du numéro non-Western musics to a marketing category used to sell almost any music outside the Western mainstream. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Klump, B. (1999). Origins and Distinctions of the "World Music" and "World Beat" Designations. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 5–15. https://doi.org/10.7202/1014442ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne.
    [Show full text]
  • SUN STUDIO Inspelningsteknik Och Sound
    Högskoleexamen SUN STUDIO Inspelningsteknik och sound Författare: Jacob Montén Handledare: Karin Eriksson Examinator: Karin Larsson Eriksson Termin: HT 2019 Ämne: Musikvetenskap Nivå: Högskoleexamen Kurskod: 1MV706 Abstrakt Detta är en uppsats som handlar om Sun Studio under 1950 talet i USA, hur studion kom till och om dess grundare Sam Phillips och de tekniska tillgångarna och begränsningar som skapade ”soundet” för Elvis Presley, Johnny Cash, Jerry Lee Lewis, Ike Turner och många fler. Sam Phillips producerade många tidlösa inspelningar med ljudkaraktäristiska egenskaper som eftertraktas än idag. Med hjälp av litteratur-, ljud- och bildanalys beskriver jag hur musikern och producenten bakom musiken skapade det så kallade ”Sun Soundet”. Ett uppvaknande i musikvärlden för den afroamerikanska musiken hade skett och ingen skulle få hindra Phillips från att göra den hörd. För att besvara mina frågeställningar har texter, tidigare forskning och videomaterial analyserats. Genom den hermeneutiska metoden har intervjumaterial och dokumentärer varit en viktig källa i denna studie. Nyckelord Sun Records, Sam Phillips, Slapback Echo, Soundet, Sun Studio, Analog Tack Stort tack till min handledare Karin Eriksson för den feedback och stöd jag har fått under arbetets gång. Tack till min familj för er uppmuntran och tålamod. Innehållsförteckning Innehållsförteckning.................................................................................................................1 1.Inledning...............................................................................................................................2
    [Show full text]
  • Pobierz Ten Artykuł Jako
    �������������������������� pop/rock Jerry Lee Lewis Gordon Haskell Hionides The Black Crowes Mean Old Man One Day Soon Croweology Verve 2010 Gordon Haskell Hionides 2010 Silver Arrow Records 2010 Dystrybucja: Universal Music Polska Muzyka: §§§§¨ Muzyka: §§§§§ Muzyka: §§§§§§ Realizacja: §§§§¨ Realizacja: §§§§¨ Realizacja: §§§§¨ Już cztery lata temu Jerry Lee Lewis Na początek trzy mocne punkty. Utwór Album kolejnego wykonawcy sięga- doczekał się dowodu uznania od kolegów otwierający płytę jest godnym następ- jącego w przeszłość, chociaż nie aż tak z branży w postaci albumu „Last Man cą „Harry’s Bar” – hitu, który kilka lat odległą jak ta, do której ostatnio wracają Standing”. Towarzyszyli mu na nim m.in. temu odnowił zainteresowanie słucha- Phil Collins czy Eric Clapton. Grupa ( e Jimmy Page, B.B. King, Bruce Spring- czy angielskim wykonawcą, szczycą- Black Crowes, znana przede wszystkim steen i Neil Young. Płyta okazała się suk- cym się krótką współpracą z zespołem z „Shake Your Money Maker” (1990), cesem, więc Lewis powrócił do koncepcji King Crimson. Piosenki „( e Fools of z okazji 20-lecia ukazania się ich debiu- nagrań z udziałem sław. Yesterday” nie powstydziliby się najlepsi tanckiej płyty, nagrała jeszcze raz swoje Może lista gości na „Mean Old Man” rockmani. Choć należy dodać, że solowe najpopularniejsze piosenki – tym razem jest mniej spektakularna, ale i tak robi dokonania autora „One Day Soon” nie w wersjach akustycznych – i wydała je na wrażenie. Jak na poprzednim krążku mają prawie nic wspólnego z nagraniami podwójnym albumie „Croweology”. usłyszymy tu trzech Stonesów, Erica grupy kierowanej przez Roberta Frippa. Co mamy w efekcie? Kolejny zbiór nie- Claptona i Ringo Starra. Nowi goście to: Gordon Haskell słynie bowiem z melo- co inaczej brzmiących hitów? Ależ skąd! Sheryl Crow, Slash czy John Mayer.
    [Show full text]
  • Jay Richardson Brushes Away Snow That's Drifted Around
    When popular Beaumont deejay J.P. Richardson died on Feb. 3, 1959, with Buddy Holly and Ritchie Valens, he left behind more than ‘Chantilly Lace’ … he left a briefcase of songs never sung, a widow, a daughter and unborn son, and a vision of a brave new rock world By RON FRANSCELL Feb. 3, 2005 CLEAR LAKE, IOWA –Jay Richardson brushes away snow that’s drifted around the corpse-cold granite monument outside the Surf ballroom, the last place his dead father ever sang a song. Four words are uncovered: Their music lives on. But it’s just a headstone homily in this place where they say the music died. A sharp wind slices off the lake under a steel-gray sky. It’s the dead of winter and almost nothing looks alive here. The ballroom – a rock ‘n’ roll shrine that might not even exist today except for three tragic deaths – is locked up for the weekend. Skeletal trees reach their bony fingers toward a low and frozen quilt of clouds. A tattered flag’s halyard thunks against its cold, hollow pole like a broken church bell. And not a word is spoken. Richardson bows his head, as if to pray. This is a holy place to him. “I wish I hadn’t done that,” he says after a moment. Is he still haunted by the plane crash that killed a father he never knew? Can a memory be a memory if it’s only a dream? Why does it hurt him to touch this stone? “Cuz now my damn hand is cold,” Richardson says, smiling against the wind.
    [Show full text]
  • Sam Phillips: Producing the Sounds of a Changing South Overview
    SAM PHILLIPS: PRODUCING THE SOUNDS OF A CHANGING SOUTH OVERVIEW ESSENTIAL QUESTION How did the recordings Sam Phillips produced at Sun Records, including Elvis Presley’s early work, reflect trends of urbanization and integration in the 1950s American South? OVERVIEW As the U.S. recording industry grew in the first half of the 20th century, so too did the roles of those involved in producing recordings. A “producer” became one or more of many things: talent scout, studio owner, record label owner, repertoire selector, sound engineer, arranger, coach and more. Throughout the 1950s, producer Sam Phillips embodied several of these roles, choosing which artists to record at his Memphis studio and often helping select the material they would play. Phillips released some of the recordings on his Sun Records label, and sold other recordings to labels such as Chess in Chicago. Though Memphis was segregated in the 1950s, Phillips’ studio was not. He was enamored with black music and, as he states in Soundbreaking Episode One, wished to work specifically with black musicians. Phillips attributed his attitude, which was progressive for the time, to his parents’ strong feelings about the need for racial equality and the years he spent working alongside African Americans at a North Alabama farm. Phillips quickly established his studio as a hub of Southern African-American Blues, recording and producing albums for artists such as Howlin’ Wolf and B.B. King and releasing what many consider the first ever Rock and Roll single, “Rocket 88” by Jackie Breston and His Delta Cats. But Phillips was aware of the obstacles African-American artists of the 1950’s faced; regardless of his enthusiasm for their music, he knew those recordings would likely never “crossover” and be heard or bought by most white listeners.
    [Show full text]
  • Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
    HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ......................................................................................
    [Show full text]
  • 20Questions Interview by David Brent Johnson Photography by Steve Raymer for David Baker
    20questions Interview by David Brent Johnson Photography by Steve Raymer for David Baker If Benny Goodman was the “King of Swing” periodically to continue his studies over the B-Town and Edward Kennedy Ellington was “the Duke,” next decade, leading a renowned IU-based then David Baker could be called “the Dean big band while expanding his artistic and Hero and Jazz of Jazz.” Distinguished Professor of Music at compositional horizons with musical scholars Indiana University and conductor of the Smithso- such as George Russell and Gunther Schuller. nian Jazz Masterworks Orchestra, he is at home In 1966 he settled in the city for good and Legend performing in concert halls, traveling around the began what is now a world-renowned jazz world, or playing in late-night jazz bars. studies program at IU’s Jacobs School of Music. Born in Indianapolis in 1931, he grew up A pioneer of jazz education, a superlative in a thriving mid-20th-century local jazz scene trombonist forced in his early 30s to switch that begat greats such as J.J. Johnson and Wes to cello, a prolific composer, Pulitzer and Montgomery. Baker first came to Bloomington Grammy nominee and Emmy winner whose as a student in the fall of 1949, returning numerous other honors include the Kennedy 56 Bloom | August/September 2007 Toddler David in Indianapolis, circa 1933. Photo courtesy of the Baker family Center for the Performing Arts “Living Jazz Legend Award,” he performs periodically in Bloomington with his wife Lida and is unstintingly generous with the precious commodity of his time.
    [Show full text]
  • Album Reviews
    Album Reviews I’ve written over 150 album reviews as a volunteer for CHIRPRadio.org. Here are some examples, in alphabetical order: Caetano Veloso Caetano Veloso (A Little More Blue) Polygram / 1971 Brazilian Caetano Veloso’s third self-titled album was recorded in England while in exile after being branded ‘subversive’ by the Brazilian government. Under colorful plumes of psychedelic folk, these songs are cryptic stories of an outsider and traveller, recalling both the wonder of new lands and the oppressiveness of the old. The whole album is recommended, but gems include the autobiographical “A Little More Blue” with it’s Brazilian jazz acoustic guitar, the airy flute and warm chorus of “London, London” and the somber Baroque folk of “In the Hot Sun of a Christmas Day” tells the story of tragedy told with jazzy baroque undertones of “God Rest Ye Merry Gentlemen.” The Clash London Calling Epic / 1979 London Calling, considered one of the greatest rock & roll albums ever recorded, is far from a straightforward: punk, reggae, ska, R&B and rockabilly all have tickets to this show of force that’s both pop and revolutionary. The title track opens with a blistering rallying cry of ska guitar and apocalypse. The post-disco “Clampdown” is a template for the next decade, a perfect mix of gloss and message. “The Guns of Brixton” is reggae-punk in that order, with rocksteady riffs and rock drums creating an intense portrait of defiance. “Train in Vain” is a harmonica puffing, Top 40 gem that stands at the crossroads of punk and rock n’ roll.
    [Show full text]
  • The Sound of Ruins: Sigur Rós' Heima and the Post
    CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima.
    [Show full text]
  • An Historical Policy Analysis of the Carl D. Perkins Legislation: Examining the History, Creation, Implementation and Reauthorization of the Law
    AN HISTORICAL POLICY ANALYSIS OF THE CARL D. PERKINS LEGISLATION: EXAMINING THE HISTORY, CREATION, IMPLEMENTATION AND REAUTHORIZATION OF THE LAW BY AIMEE MICHELLE LAFOLLETTE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Educational Policy Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2011 Urbana, Illinois Doctoral Committee: Associate Professor Yoon Pak, Chair Professor James D. Anderson Professor Debra Bragg Associate Professor Christopher Span ABSTRACT This dissertation explores the historical development of the Carl D. Perkins Vocational Education Act of 1984, with the incorporation of ―special populations‖ as a provision in the law from 1963. From 1917 through 1963, vocational funding primarily supported teacher training, research, program improvement, and expansion of vocational programs, in 1963 acknowledging the social climate of the time Congress included provisions to support services for disadvantaged students. In 1984, Congress established prescriptive provisions attaching funds to serve and address the needs of underserved students described as special populations. Vocational education‘s focus expanded from 1963 -1984 to included provisions to create programs eliminating sexual bias and stereotyping. This dissertation traces the foundations by which Congress was led to focus on access to vocational education programs and prescribe funding to serve handicapped, single parents, displaced homemakers, economically disadvantaged, academically disadvantaged, students with limited English proficiency, and gender equity. ii To my children James and Jacob iii ACKNOWLEDGEMENTS I believe Malcolm Gladwell, author of Tipping Point, said it best when he stated that, ―…the people we surround ourselves with have a profound effect on who we are.‖ Personal success can never be attributed to a single individual.
    [Show full text]