DOCSLIB.ORG

The Parton Paradox: a History of Race and Gender in the Career of Dolly Parton

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Parton Paradox: a History of Race and Gender in the Career of Dolly Parton Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2017 The Parton Paradox: A History of Race and Gender in the Career of Dolly Parton Lindsey L. Hammers Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, Film and Media Studies Commons, History of Gender Commons, Music Performance Commons, Social History Commons, Television Commons, United States History Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Hammers, Lindsey L. "The Parton Paradox: A History of Race and Gender in the Career of Dolly Parton." Master's thesis, Georgia Southern University, 2017. This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. THE PARTON PARADOX: A HISTORY OF RACE AND GENDER IN THE CAREER OF DOLLY PARTON by LINDSEY HAMMERS (Under the Direction of Christina Abreu) ABSTRACT With a career that has spanned over five decades, country music artist Dolly Parton has continually redefined her image and her music to remain relevant. By incorporating the musical and lyrical stylings of disco and other popular music genres into her songs, Parton moved beyond music’s color line to increase her popularity as an artist. This thesis shows how Parton established a distinct career that catered to different audiences as she traversed the musical color line and repackaged what feminism looked like to country music fans during the Women’s Movement of the 1960s. Placing Parton’s actions in conversation with music’s color line demonstrates how she embraced racial and musical diversity, not just within her music, but also on her television shows of the late 1970s and 1980s. This analysis also examines Parton’s career in relation to the Women’s Movement by looking at the ways in which she used her position and popularity as a country and crossover entertainer to chip away at the traditional structure of country music. Parton presented herself as a more palatable feminist to country music fans and used her image as the genre’s buxom blonde to distract her audience from her messages of gender equality. Through this combination, Parton challenged traditional racial, cultural, and gender boundaries within country music but at other times and for different reasons she conformed to them. INDEX WORDS: Dolly Parton, Country Music, Musical Color Line, Disco, Pop, Race, Gender, Feminism, Antifeminism, The Women’s Movement. THE PARTON PARADOX: A HISTORY OF RACE AND GENDER IN THE CAREER OF DOLLY PARTON by LINDSEY HAMMERS B.S., Campbellsville University, 2012 A Thesis Submitted to the Graduate Faculty of Georgia Southern University in Partial Fulfillment of the Requirement for the Degree MASTER OF HISTORY STATESBORO, GEORGIA 2017 LINDSEY HAMMERS All Rights Reserved 1 THE PARTON PARADOX: A HISTORY OF RACE AND GENDER IN THE CAREER OF DOLLY PARTON by LINDSEY HAMMERS Major Professor: Christina Abreu Committee: Michelle Haberland Eric Hall Electronic Version Approved: May 2017 2 ACKNOWLEDGMENTS This project would not have happened without the continual support of my parents, Debbie and Doug Hammers, who have always encouraged me to be better. I would also like to thank Charity Powell, Natalie Buckley, Dr. Jackie Sandifer, Kelli Bacon, and Brittany Sealey for the laughs and their perceived interest in hearing my endless chatter about Dolly Parton and country music. Their willingness to help with commas, titles, and sentences that did not meet my satisfaction undoubtedly made this thesis better. I am also grateful for the funding I received from Georgia Southern University’s Department of History that allowed me to travel to the Country Music Hall of Fame and Museum in Nashville, Tennessee, where I was welcomed by Print Collection Librarian Kathleen Campbell and hosted by my friend Hillary Anderson. I would also like to thank my aunt Becky Dunn who served as my research assistant and my uncle Steve Dunn who nurtured my love for history as a young child and did not blink twice when I crawled into a muddy cave for historical purposes. I must also thank the focus of my work: Dolly Parton. Even though we have never met (although I hope one day we do), she has assured me that there is nothing wrong with big hair, big dreams, big sleeves, and a big personality. For that I will always love and be grateful for her. Lastly, I am indebted to Dr. Christina Abreu who spent countless hours editing this thesis and served as my advisor, sounding board, critic, encourager, source of wisdom, and sarcastic match. Her skills as an educator and historian are exceptional and her contribution to this work is beyond measure. 3 TABLE OF CONTENTS ACKNOWLEDGMENTS ........................................................................................................ 2 CHAPTER ONE: INTRODUCTION ....................................................................................... 4 DOLLY PARTON: A BRIEF BIOGRAPHY .................................................................................. 9 TIMELINE ............................................................................................................................. 10 THE GROWTH OF A GENRE .................................................................................................. 12 HISTORIOGRAPHY ................................................................................................................ 18 CHAPTER TWO: DISCO DOLLY CROSSES AND COMPLICATES MUSIC’S COLOR LINE ....................................................................................................................................... 23 COUNTRY MUSICIANS REACT .............................................................................................. 27 EXCEPTIONS AND NOT BLACKNESS TRIUMPH ..................................................................... 31 DOLLY PARTON’S GENRE BENDING .................................................................................... 35 AFRICAN AMERICANS CONNECTING WITH PARTON ............................................................ 40 PARTON’S TROUBLES IN SOUTH AFRICA ............................................................................. 44 PARTON’S IMAGE IN THE BLACK PRESS............................................................................... 49 DOLLY AGAIN ...................................................................................................................... 53 CHAPTER THREE: PALATABLE PARTON: REPACKAGING FEMINISM .................. 59 BRIEF BACKGROUND ON COUNTRY MUSIC ......................................................................... 62 COUNTRY MUSIC MEETS THE WOMEN’S MOVEMENT ......................................................... 64 THEMES IN PARTON’S MUSIC .............................................................................................. 71 IMAGE AS AGENCY .............................................................................................................. 80 PROBLEMATIC PAIRINGS...................................................................................................... 92 THE PARADOX DISPLAYED IN MOVIE ROLES ...................................................................... 97 CHAPTER FOUR: CONCLUSION ..................................................................................... 108 BIBLIOGRAPHY ................................................................................................................. 113 4 CHAPTER ONE: INTRODUCTION On the night of November 2, 2016, an unexpected lineup would take the stage at the 50th Country Music Association Awards: Beyoncé and Dolly Parton. Beyoncé would be joined by the Dixie Chicks to perform “Daddy Lessons,” a new song off her album, Lemonade. On its own, Beyoncé’s pairing with the Dixie Chicks was controversial (if not entirely unpopular) given that the all-girl band fell from country music royalty in 2003 after Natalie Maines, the group’s lead singer, spoke ill of then President George W. Bush at an event in London.1 But the performance was not wholly out of place: “Daddy Lessons” is a very country-sounding tune with “yee-haws” and its share of brass instruments, harmonica, percussion, and, on this night, a banjo, mandolin, and fiddle, all country music’s staple instruments. With this song and performance Beyoncé dipped into the genre of country, and some country fans did not appreciate her presence. Negative reactions to Beyoncé’s performance from country music entertainers and country music fans demonstrate that the musical color line and racialization of musical genres were still firmly in place.2 Other pop stars have shared the stage with country acts and generated less controversy. For example, when Justin Timberlake performed with Chris Stapleton at the 1 “Dixie Chicks Pulled from Air After Bashing Bush,” CNN, March 14, 2003; ABC News, “Dixie Chicks Speak Out on ‘Primetime,’” ABC News, April 24, 2003; Greg Mitchell, “Ten Years Ago Today a Dixie Chick Dared to Hit Bush on War—and a Hate Campaign Began,” The Nation, March 10, 2013; Andrew Leahey, “Flashback: The Dixie Chicks Are Ashamed of
Load more

Recommended publications
  • RHYTHM & BLUES...63 Order Terms
    5 COUNTRY .......................6 BEAT, 60s/70s ..................71 AMERICANA/ROOTS/ALT. .............22 SURF .............................83 OUTLAWS/SINGER-SONGWRITER .......23 REVIVAL/NEO ROCKABILLY ............85 WESTERN..........................27 PSYCHOBILLY ......................89 WESTERN SWING....................30 BRITISH R&R ........................90 TRUCKS & TRAINS ...................30 SKIFFLE ...........................94 C&W SOUNDTRACKS.................31 AUSTRALIAN R&R ....................95 C&W SPECIAL COLLECTIONS...........31 INSTRUMENTAL R&R/BEAT .............96 COUNTRY AUSTRALIA/NEW ZEALAND....31 COUNTRY DEUTSCHLAND/EUROPE......32 POP.............................103 COUNTRY CHRISTMAS................33 POP INSTRUMENTAL .................136 BLUEGRASS ........................33 LATIN ............................148 NEWGRASS ........................35 JAZZ .............................150 INSTRUMENTAL .....................36 SOUNDTRACKS .....................157 OLDTIME ..........................37 EISENBAHNROMANTIK ...............161 HAWAII ...........................38 CAJUN/ZYDECO ....................39 DEUTSCHE OLDIES ..............162 TEX-MEX ..........................39 KLEINKUNST / KABARETT ..............167 FOLK .............................39 Deutschland - Special Interest ..........167 WORLD ...........................41 BOOKS .........................168 ROCK & ROLL ...................43 BOOKS ...........................168 REGIONAL R&R .....................56 DISCOGRAPHIES ....................174 LABEL R&R
    [Show full text]
  • IV. We Find No Violation of Ferdinand's Right to Effective
    THREE BOYS MUSIC CORP. v. BOLTON 477 Cite as 212 F.3d 477 (9th Cir. 2000) IV. of substantial similarity was not clearly erroneous; (3) defendants did not rebut We find no violation of Ferdinand’s right presumption of copying with evidence of to effective assistance of counsel or any violation of the Ex Post Facto Clause, and independent creation; (4) jury could find therefore Ferdinand’s § 2254 petition was that plaintiff deposited complete copy of properly denied. Accordingly, we affirm song with copyright office; (5) jury’s attri- the judgment of the district court. bution of profits was not clearly erroneous; (6) record company was not entitled to deduct its Net Operating Loss Carry-for- ward (NOL) in connection with award of , profits; and (7) defendants were not enti- tled to new trial. Affirmed. THREE BOYS MUSIC CORPORA- 1. Copyrights and Intellectual Property TION, Plaintiff–Appellee, O51 Copyright plaintiff must prove (1) v. ownership of the copyright; and (2) in- Michael BOLTON, individually and fringement, meaning that the defendant d/b/a Mr. Bolton’s Music, Inc.; An- copied protected elements of the plaintiff’s drew Goldmark; Non–Pareil Music, work. Inc.; Warner–Chappell Music Limit- 2. Copyrights and Intellectual Property ed; Warner–Tamerlane Publishing 83(3.1) Corp.; WB Music Corp.; and Sony O Music Entertainment, Inc., Defen- Absent direct evidence of copying, dants–Appellants. proof of copyright infringement involves fact-based showings that the defendant Nos. 97–55150, 97–55154 had access to the plaintiff’s work and that United States Court of Appeals, the two works are substantially similar.
    [Show full text]
  • BRE CONFERENCE '90 UPDATE! Columbia " 01\ TENTS
    BRE CONFERENCE '90 UPDATE! Columbia " 01\ TENTS MAY 18. 1990 VOLUME XV. NUMBER 18 Publisher SIDNEY MILLER Assistant Publisher SUSAN MILLER Editor -in -Chief RUTH ADKINS ROBINSON Managing Editor JOSEPH ROLAND REYNOLDS FEATURES International Editor COVER STORY-BBD 14 DOTUN ADEBAYO STARTALK-The Winans 45 VP/Midwest Editor DOWNLINK 31 JEROME SIMMONS SECTIONS Art Department PUBLISHERS 5 LANCE VANTILE WHITFIELD art director NEWS 6 MARTIN BLACKWELL MUSIC REPORT 8 typography/computers MUSIC REVIEWS 11 Columnists RADIO NEWS 32 LARRIANN FLORES CONCERT REVIEW SPIDER HARRISON 42 JONATHAN KING JAZZ NOTES 43 ALAN LEIGH GRAPEVINE/PROPHET 46 NORMAN RICHMOND CHARTS & RESEARCH TIM SMITH NEW RELEASE CHART 17 ELAINE STEPTER RADIO REPORT 29 Concert/Record Reviews SINGLES CHART LARRIANN FLORES 34 ELAINE STEPTER THE NATIONAL ADDS 37 Reporters PROGRAMMER'S POLL 36 CORNELIUS GRANT JAZZ CHART 43 COY OAKES ALBUMS CHART 44 LANSING SEBASTIAN COLUMNS RACHEL WILLIAMS RAP, ROOTS & REGGAE 10 Production WHATEVER HAPPENED TO? 12 MAXINE CHONG-MORROW GOSPEL LYNETTE JONES 13 FAR EAST PERSPECTIVE Administration 18 ROXANNE POWELL. office mgr. BRITISH INVASION 19 FELIX WHYTE traffic CANADIAN REPORT 20 Media Relations MICHELE ELYZABETH ENT. (213) 276-1067 Printing PRINTING SERVICES. INC. BLACK RADIO EXCLUSIVE USPS 363-210 ISSN 0745-5992 is published by Black Radio Exclusive 6353 Hollywood Blvd.. Hollywood. CA 90028-6363 (2131469-7262 FAX# 213-469-4121 ' MODEM: 213-469-9172 BRE NEWSSTANDS-New York: Penn Book Store. (2121564-6033; Midwest: Ingram Periodicals; Los Angeles: World Book & News; Robertson News & Bookstore. Las Palmas Newsstand. Japan: Tower Records SUBSCRIPTION RATES: 3 Mos.-$90.6 Mos.-5120:9 Mos.-0150. 1 Yr.-S175: 1st Class -$250: Overseas -$250.
    [Show full text]
  • SLS 19RS-33 ORIGINAL 2019 Regular Session SENATE
    SLS 19RS-33 ORIGINAL 2019 Regular Session SENATE CONCURRENT RESOLUTION NO. 132 BY SENATOR PEACOCK COMMENDATIONS. Commends music legend James Burton of Shreveport, on the occasion of his eightieth birthday. 1 A CONCURRENT RESOLUTION 2 To commend James Burton for an outstanding career of over sixty years as a performer, 3 musician, and a Louisiana music legend and to congratulate him on the occasion of 4 his eightieth birthday. 5 WHEREAS, born in Dubberly, Louisiana, on August 21, 1939, James Edward Burton 6 grew up in Shreveport; he received his first guitar as a youngster and was playing 7 professionally by the age of fourteen; he was a self-taught musical phenomenon; and 8 WHEREAS, as he listened to KWKH radio, he was influenced by popular guitarists 9 of the day, such as Chet Atkins, Chuck Berry, Bo Diddley, Elmore James, Lightnin' Hopkins 10 and many others whose genres covered Rock and Roll, Delta Blues, and Country music; and 11 WHEREAS, James was required to obtain a special permit to play in nightclubs due 12 to his age, however, his guitar playing showed such promise that he was asked to join the 13 "staff band" of the legendary radio show, the Louisiana Hayride, and he played backup for 14 the likes of George Jones, Billy Walker, and Johnny Horton and within a few years, James 15 would be a headliner at the show; and 16 WHEREAS, he honed his craft on a variety of guitar types that included acoustic, 17 steel guitar, slide dobro, and electric styles like Fender Telecasters; no matter who played 18 lead guitar, James Burton had the guitar "licks" to complement the lead note for note; and Page 1 of 3 SLS 19RS-33 ORIGINAL SCR NO.
    [Show full text]
  • Colonial Concert Series Featuring Broadway Favorites
    Amy Moorby Press Manager (413) 448-8084 x15 [email protected] Becky Brighenti Director of Marketing & Public Relations (413) 448-8084 x11 [email protected] For Immediate Release, Please: Berkshire Theatre Group Presents Colonial Concert Series: Featuring Broadway Favorites Kelli O’Hara In-Person in the Berkshires Tony Award-Winner for The King and I Norm Lewis: In Concert Tony Award Nominee for The Gershwins’ Porgy & Bess Carolee Carmello: My Outside Voice Three-Time Tony Award Nominee for Scandalous, Lestat, Parade Krysta Rodriguez: In Concert Broadway Actor and Star of Netflix’s Halston Stephanie J. Block: Returning Home Tony Award-Winner for The Cher Show Kate Baldwin & Graham Rowat: Dressed Up Again Two-Time Tony Award Nominee for Finian’s Rainbow, Hello, Dolly! & Broadway and Television Actor An Evening With Rachel Bay Jones Tony, Grammy and Emmy Award-Winner for Dear Evan Hansen Click Here To Download Press Photos Pittsfield, MA - The Colonial Concert Series: Featuring Broadway Favorites will captivate audiences throughout the summer with evenings of unforgettable performances by a blockbuster lineup of Broadway talent. Concerts by Tony Award-winner Kelli O’Hara; Tony Award nominee Norm Lewis; three-time Tony Award nominee Carolee Carmello; stage and screen actor Krysta Rodriguez; Tony Award-winner Stephanie J. Block; two-time Tony Award nominee Kate Baldwin and Broadway and television actor Graham Rowat; and Tony Award-winner Rachel Bay Jones will be presented under The Big Tent outside at The Colonial Theatre in Pittsfield, MA. Kate Maguire says, “These intimate evenings of song will be enchanting under the Big Tent at the Colonial in Pittsfield.
    [Show full text]
  • SENATE JOINT RESOLUTION 803 By
    SENATE JOINT RESOLUTION 803 By Henry A RESOLUTION to honor the memory of Earl Scruggs, an American musical treasure. WHEREAS, the members of this General Assembly and music fans around the globe were greatly saddened to learn of the passing of bluegrass music legend and American treasure, Mr. Earl Scruggs; and WHEREAS, Earl Scruggs was revered around the world as a musical genius whose innovative talent on the five-string banjo pioneered modern banjo playing and he crafted the sound we know as bluegrass music. We will never see his superior; and WHEREAS, born on January 6, 1924, in Flint Hill, North Carolina, Earl Eugene Scruggs was the son of George Elam Scruggs, a farmer and bookkeeper who played the banjo and fiddle, and Lula Ruppe Scruggs, who played the pump organ in church; and WHEREAS, after losing his father at the age of four, Earl Scruggs began playing banjo and guitar at a very young age, using the two-finger picking style on the banjo until he was about ten years old, when he began to use three - the thumb, index, and middle finger - in an innovative up-picking style that would become world-renowned and win international acclaim; and WHEREAS, as a young man, Mr. Scruggs' banjo mastery led him to play area dances and radio shows with various bands, including Lost John Miller and His Allied Kentuckians. In December of 1945, he quit high school and joined Bill Monroe's band, the Blue Grass Boys; and WHEREAS, with his magnificent banjo picking, the group's popularity soared and Earl Scruggs redefined the sound of bluegrass music, as evidenced on such classic Bill Monroe and the Blue Grass Boys tracks as "Blue Moon of Kentucky," "Blue Grass Breakdown," and "Molly and Tenbrooks (The Race Horse Song)"; and WHEREAS, with his mastery of the banjo and guitar matched only by his beautiful baritone, Mr.
    [Show full text]
  • Voices in the Hall: Sam Bush (Part 1) Episode Transcript
    VOICES IN THE HALL: SAM BUSH (PART 1) EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest is a pioneer of New-grass music, Sam Bush. SAM BUSH When I first started playing, my dad had these fiddle albums. And I loved to listen to them. And then realized that one of the things I liked about them was the sound of the fiddle and the mandolin playing in unison together. And that’s when it occurred to me that I was trying on the mandolin to note it like a fiddle player notes. Then I discovered Bluegrass and the great players like Bill Monroe of course. You can specifically trace Bluegrass music to the origins. That it was started by Bill Monroe after he and his brother had a duet of mandolin and guitar for so many years, the Monroe Brothers. And then when he started his band, we're just fortunate that he was from the state of Kentucky, the Bluegrass State. And that's why they called them The Bluegrass Boys. And lo and behold we got Bluegrass music out of it. PETER COOPER It’s Voices in the Hall, with Sam Bush. “Callin’ Baton Rouge” – New Grass Revival (Best Of / Capitol) PETER COOPER “Callin’ Baton Rouge," by the New Grass Revival. That song was a prime influence on Garth Brooks, who later recorded it. Now, New Grass Revival’s founding member, Sam Bush, is a mandolin revolutionary whose virtuosity and broad- minded approach to music has changed a bunch of things for the better.
    [Show full text]
  • Starr-Waterman American Popular Music Chapter 11: the 1970S: Rock Music, Disco, and the Popular Mainstream Key People Allman
    Starr-Waterman American Popular Music Chapter 11: The 1970s: Rock Music, Disco, and the Popular Mainstream Key People Allman Brothers Band: Most important southern rock band of the late 1960s and early 1970s who reconnected the generative power of the blues to the mainstream of rock music. Barry White (1944‒2004): Multitalented African American singer, songwriter, arranger, conductor, and producer who achieved success as an artist in the 1970s with his Love Unlimited Orchestra; perhaps best known for his full, deep voice. Carlos Santana (b. 1947): Mexican-born rock guitarist who combined rock, jazz, and Afro-Latin elements on influential albums like Abraxas. Carole King (b. 1942): Singer-songwriter who recorded influential songs in New York’s Brill Building and later recorded the influential album Tapestry in 1971. Charlie Rich (b. 1932): Country performer known as the “Silver Fox” who won the Country Music Association’s Entertainer of the Year award in 1974 for his song “The Most Beautiful Girl.” Chic: Disco group who recorded the hit “Good Times.” Chicago: Most long-lived and popular jazz rock band of the 1970s, known today for anthemic love songs such as “If You Leave Me Now” (1976), “Hard to Say I’m Sorry” (1982), and “Look Away” (1988). David Bowie (1947‒2016): Glam rock pioneer who recorded the influential album The Rise and Fall of Ziggy Stardust and the Spiders from Mars in 1972. Dolly Parton (b. 1946): Country music star whose flexible soprano voice, songwriting ability, and carefully crafted image as a cheerful sex symbol combined to gain her a loyal following among country fans.
    [Show full text]
  • Pat Paxton in PHOENIX Airplay Leaders the Interview Page 3 Page 17 Page 33
    POWER Entercom’s IS FORTY 31 PAT PAXTON IN PHOENIX Airplay Leaders The Interview PAGE 3 PAGE 17 PAGE 33 SEPTEMBER 2008 Guitar Heroes: Tim Hattrick (l) and Willy D. Loon (r) don the KNIX logo suits and bookend PD Alan Sledge. KNIX IS 4 In Phoenix hen Buck Owens bought KNIX-FM in Phoenix for $75,000, few could have imagined the extent to which his station’s commitment to country and to its listeners would succeed. At its peak, the station Wwas beyond dominant and, more important, perhaps the most influential and trendsetting Country station ever on the FM dial. As KNIX celebrates its 40th anniversary, Country Aircheck contacted several current and former executives for their favorite recollections of the station Buck built. and 30 Dolly Parton look-alike contestants paraded onstage Michael Owens, KNIX GM 1978-1999: before more than 1,000 listeners who had jammed into the Sometime in early 1979 – about a year after I became General club. Unfortunately, another 500 couldn’t get in because the Manager of KNIX-AM/FM – we were struggling with ratings place was filled! We had a couple people from RCA/Nashville and revenue. We were 10th or 12th at the time, trying hard to (Dolly’s label at the time) as judges, along with local newspaper break through to become a player in this big Phoenix market. We and TV celebrities. Local TV stations covered it live and the came up with an idea for a promotion and teamed with a local Phoenix Gazette newspaper ran a front-page photo plus a two- independent gasoline company to sell gas at 10 cents per gallon.
    [Show full text]
  • Elvis and Me, 1985, Priscilla Beaulieu Presley, Sandra Harmon, 0099507609, 9780099507604, Putnam, 1985
    Elvis and Me, 1985, Priscilla Beaulieu Presley, Sandra Harmon, 0099507609, 9780099507604, Putnam, 1985 DOWNLOAD http://bit.ly/1rpTwav http://goo.gl/RH1sg http://www.barnesandnoble.com/s/?store=book&keyword=Elvis+and+Me DOWNLOAD http://t.co/2wmCumHFRk http://bit.ly/1lPXi80 Elvis , Albert Goldman, 1981, Biography & Autobiography, 598 pages. Illuminates the man and the myth, the life and the times of the "King of the Age of Rock.". Elvis From Memphis to Hollywood, Alan Fortas, Alanna Nash, 2008, Biography & Autobiography, 322 pages. When in June 1968, clad in black leather, a nervous Elvis Presley made his now legendary '68 Comeback Special, Alan Fortas was one of the five friends asked to be on stage with. The inner Elvis a psychological biography of Elvis Aaron Presley, Peter O. Whitmer, 1996, Biography & Autobiography, 480 pages. A clinical psychologist offers a detailed psychological probe into Elvis's life, examining the agony and pain of his inner psyche and providing keen insights into his personal. If I can dream Elvis' own story, Larry Geller, Elvis Presley, Joel Spector, Patricia Romanowski, Mar 1, 1989, Biography & Autobiography, 331 pages. A long-time confidante of Elvis reveals intimate details of the legendary performer's dreams and disillusionments, showing his disintegration due to drugs and the harm to which. Elvis and Gladys , Elaine Dundy, 1985, Rock musicians, 288 pages. The complete idiot's guide to Elvis , Frank Coffey, 1997, Biography & Autobiography, 348 pages. Places Presley in his times and in musical history, profiles the people in his life, and provides details about his music, his films, his tastes, his death, and other aspects.
    [Show full text]
  • Maryland Historical Magazine, 1976, Volume 71, Issue No. 3
    AKfLAND •AZIN Published Quarterly by the Maryland Historical Society FALL 1976 Vol. 71, No. 3 BOARD OF EDITORS JOSEPH L. ARNOLD, University of Maryland, Baltimore County JEAN BAKER, Goucher College GARY BROWNE, Wayne State University JOSEPH W. COX, Towson State College CURTIS CARROLL DAVIS, Baltimore RICHARD R. DUNCAN, Georgetown University RONALD HOFFMAN, University of Maryland, College Park H. H. WALKER LEWIS, Baltimore EDWARD C. PAPENFUSE, Hall of Records BENJAMIN QUARLES, Morgan State College JOHN B. BOLES, Editor, Towson State College NANCY G. BOLES, Assistant Editor RICHARD J. COX, Manuscripts MARY K. MEYER, Genealogy MARY KATHLEEN THOMSEN, Graphics FORMER EDITORS WILLIAM HAND BROWNE, 1906-1909 LOUIS H. DIELMAN, 1910-1937 JAMES W. FOSTER, 1938-1949, 1950-1951 HARRY AMMON, 1950 FRED SHELLEY, 1951-1955 FRANCIS C. HABER 1955-1958 RICHARD WALSH, 1958-1967 RICHARD R. DUNCAN, 1967-1974 P. WILLIAM FILBY, Director ROMAINE S. SOMERVILLE, Assistant Director The Maryland Historical Magazine is published quarterly by the Maryland Historical Society, 201 W. Monument Street, Baltimore, Maryland 21201. Contributions and correspondence relating to articles, book reviews, and any other editorial matters should be addressed to the Editor in care of the Society. All contributions should be submitted in duplicate, double-spaced, and consistent with the form out- lined in A Manual of Style (Chicago: University of Chicago Press, 1969). The Maryland Historical Society disclaims responsibility for statements made by contributors. Composed and printed at Waverly Press, Inc., Baltimore, Maryland 21202,. Second-class postage paid at Baltimore, Maryland. © 1976, Maryland Historical Society. 6 0F ^ ^^^f^i"^^lARYLA/ i ^ RECORDS LIBRARY \9T6 00^ 26 HIST NAPOLIS, M^tl^ND Fall 1976 #.
    [Show full text]
  • AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
    AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s.
    [Show full text]