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| jelly roll document: Love Jelly Roll Quilts Jo Avery, Susan Briscoe, Nicola Dodd, Carolyn Forster, Alice Hadley, Natalie Santini, 2020-02-25 Create colorful jelly roll quilts with 13 projects in a range of sizes and complexity. From the pages of Love Patchwork & Quilting and Today’s Quilter comes a delicious collection of 13 bright, bold quilts that feature the perennially popular jelly roll strips. Strip piecing, basketweave, pinwheels, appliqué, and more—use 2 1/2-inch pre-cut fabric strips in exciting and unexpected ways. Whip up quilts in a range of project sizes and complexity, including a suite of baby projects, a pillow, wall hangings, and bed quilts. Top designers like Susan Briscoe and Jo Avery are featured. Finally, get the best from the pages of the UK’s most popular quilting magazines! Jelly rock-’n’-roll! This project-stuffed book is an easy and affordable way to own stylish patterns from the bestselling modern quilting magazines in the United Kingdom. Piece thirteen projects from 2 1⁄2” precut strips, ranging from bed-size beauties to quick-sew projects Take strip-piecing a step further with innovative techniques and tons of variety |
| jelly roll document: Field Recordings of Black Singers and Musicians , 2018-06-28 Traditional African musical forms have long been accepted as fundamental to the emergence of blues and jazz. Yet there has been little effort at compiling recorded evidence to document their development. This discography brings together hundreds of recordings that trace in detail the evolution of the African American musical experience, from early wax cylinder recordings made in West Africa to voodoo rituals from the Carribean Basin to the songs of former slaves in the American South. |
| jelly roll document: Document Boston (Mass.), 1904 |
| jelly roll document: Documents Boston (Mass.). School Committee, 1927 |
| jelly roll document: Legislative Document New York (State). Legislature, 1926 |
| jelly roll document: The Original Blues Lynn Abbott, Doug Seroff, 2017-02-27 Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage. |
| jelly roll document: School Document , 1927 |
| jelly roll document: City document Worcester (Mass.), 1906 |
| jelly roll document: August Wilson Alan Nadel, 2010-05-16 Contributors to this collection of 15 essays are academics in English, theater, and African American studies. They focus on the second half of Wilson's century cycle of plays, examining each play within the larger context of the cycle and highlighting themes within and across particular plays. Some topics discussed include business in the street in Jitney and Gem of the Ocean, contesting black male responsibilities in Jitney, the holyistic blues of Seven Guitars, violence as history lesson in Seven Guitars and King Hedley II, and ritual death and Wilson's female Christ. The book offers an index of plays, critics, and theorists, but not a subject index. Nadel is chair of American literature and culture at the University of Kentucky. |
| jelly roll document: Dead Man Blues Phil Pastras, 2001-07-02 When Ferdinand Jelly Roll Morton sat at the piano in the Library of Congress in May of 1938 to begin his monumental series of interviews with Alan Lomax, he spoke of his years on the West Coast with the nostalgia of a man recalling a golden age, a lost Eden. He had arrived in Los Angeles more than twenty years earlier, but he recounted his losses as vividly as though they had occurred just recently. The greatest loss was his separation from Anita Gonzales, by his own account the only woman I ever loved, to whom he left almost all of his royalties in his will. In Dead Man Blues, Phil Pastras sets the record straight on the two periods (1917-1923 and 1940-1941) that Jelly Roll Morton spent on the West Coast. In addition to rechecking sources, correcting mistakes in scholarly accounts, and situating eyewitness narratives within the histories of New Orleans or Los Angeles, Pastras offers a fresh interpretation of the life and work of Morton, one of the most important and influential early practitioners of jazz. Pastras's discovery of a previously unknown collection of memorabilia—including a 58-page scrapbook compiled by Morton himself—sheds new light on Morton's personal and artistic development, as well as on the crucial role played by Anita Gonzales. In a rich, fast-moving, and fascinating narrative, Pastras traces Morton's artistic development as a pianist, composer, and bandleader. Among many other topics, Pastras discusses the complexities of racial identity for Morton and his circle, his belief in voodoo, his relationships with women, his style of performance, and his roots in black musical traditions. Not only does Dead Man Blues restore to the historical record invaluable information about one of the great innovators of jazz, it also brings to life one of the most colorful and fascinating periods of musical transformation on the West Coast. |
| jelly roll document: The Ghost of the Cuban Queen Bordello Peggy Hicks, 2011 The account begins as a true ghost story based on actual events. After an unsettling, modern day, ghostly encounter at a crumbling 1920's bordello in Jerome, Arizona, the author sets out on a quest and uncovers some deplorable secrets regarding the attractive, but devious Madam that once resided there. This curvaceous Madam began her career in the early 1900's in the red light district of Storyville in New Orleans. It was there where she met and eventually married the famous Jelly Roll Morton. She frequently changed her name and even her race in order to accommodate g=her ever-changing circumstances. She bleached her skin and straighten her hair as if to deny her African heritage ... or was it just a trick of her trade? Constantly on the move, she operated the Arcade Saloon in the pioneer town of Las Vegas, Nevada, and then a jazz club in San Francisco. Moving on to the rich mining town of Jerome, Arizona, she ran a house of pleasure called the Cuban Queen Bordello. Much went on behind her closed doors, where gambling, prostitution, and bootlegged whiskey were always on the menu. Late one night in 1927, one of her working girls was murdered in her own bed. This cunning madam, along with her handsome accomplice, kidnapped the dead girl's baby boy and slipped out of town never to be heard from again.... until now.--Back cover. |
| jelly roll document: Black Recording Artists, 1877-1926 , 2013-01-03 This annotated discography covers the first 50 years of audio recordings by black artists in chronological order, music made in the acoustic era of recording technology. The book has cross-referenced bibliographical information on recording sessions, including audio sources for extant material, and appendices on field recordings; Caribbean, Mexican and South American recordings; piano rolls performed by black artists; and a filmography detailing the visual record of black performing artists from the period. Indexes contain all featured artists, titles recorded and labels. |
| jelly roll document: A Historical Guide to Ralph Ellison Steven C. Tracy, 2004-05-13 Ralph Ellison has been a controversial figure, both lionized and vilified, since he seemed to burst onto the national literary scene in 1952 with the publication of Invisible Man. In this volume Steven C. Tracy has gathered a broad range of critics who look not only at Ellison's seminal novel but also at the fiction and nonfiction work that both preceded and followed it, focusing on important historical and cultural influences that help contextualize Ellison's thematic concerns and artistic aesthetic. These essays, all previously unpublished, explore how Ellison's various apprenticeships--in politics as a Black radical; in music as an admirer and practitioner of European, American, and African-American music; and in literature as heir to his realist, naturalist, and modernist forebears--affected his mature literary productions, including his own careful molding of his literary reputation. They present us with a man negotiating the difficult sociopolitical, intellectual, and artistic terrain facing African Americans as America was increasingly forced to confront its own failures with regard to the promise of the American dream to its diverse populations. These wide-ranging historical essays, along with a brief biography and an illustrated chronology, provide a concise yet authoritative discussion of a twentieth-century American writer whose continued presence on the stage of American and world literature and culture is now assured. |
| jelly roll document: Frankie and Johnny Stacy I. Morgan, 2017-04-18 Winner, Wayland D. Hand Prize, American Folklore Society, 2018 Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown. In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well. |
| jelly roll document: Louis Armstrong, in His Own Words Louis Armstrong, 2001 Louis Armstrong has been the subject of countless biographies and music histories. Yet scant attention has been paid to the remarkable array of writings he left behind. Louis Armstrong: In His Own Words introduces readers to a little-known facet of this master trumpeter, band leader, and entertainer. Based on extensive research through the Armstrong archives, this important volume includes some of his earliest letters, personal correspondence with one of his first biographers in 1943-44, autobiographical writings, magazine articles, and essays. Here are Armstrong's own thoughts on his life and career--from poverty in New Orleans to playing in the famous cafes, cabarets, and saloons of Storyville, from his big break in 1922 with the King Oliver band to his storming of New York, from his breaking of color barriers in Hollywood to the infamous King of the Zulus incident in 1949, and finally, to his last days in Queens, New York. Along the way Armstrong recorded touching portraits of his times and offered candid, often controversial, opinions about racism, marijuana, bebop, and other jazz artists such as Jelly Roll Morton and Coleman Hawkins. Indeed, these writings provide a balanced portrait of his life as a musician, entertainer, civil rights activist, and cultural icon. Armstrong's idiosyncratic use of language and punctuation have been preserved to give the reader an unvarnished portrayal of this compelling artist. This volume also includes introductions to the writings, as well as an annotated index of names and places significant to Armstrong's life. |
| jelly roll document: Jazz Cultures David Ake, 2002-01-07 From its beginning, jazz has presented a contradictory social world: jazz musicians have worked diligently to erase old boundaries, but they have just as resolutely constructed new ones. David Ake's vibrant and original book considers the diverse musics and related identities that jazz communities have shaped over the course of the twentieth century, exploring the many ways in which jazz musicians and audiences experience and understand themselves, their music, their communities, and the world at large. Writing as a professional pianist and composer, the author looks at evolving meanings, values, and ideals--as well as the sounds--that musicians, audiences, and critics carry to and from the various activities they call jazz. Among the compelling topics he discusses is the visuality of music: the relationship between performance demeanor and musical meaning. Focusing on pianists Bill Evans and Keith Jarrett, Ake investigates the ways in which musicians' postures and attitudes influence perceptions of them as profound and serious artists. In another essay, Ake examines the musical values and ideals promulgated by college jazz education programs through a consideration of saxophonist John Coltrane. He also discusses the concept of the jazz standard in the 1990s and the differing sense of tradition implied in recent recordings by Wynton Marsalis and Bill Frisell. Jazz Cultures shows how jazz history has not consisted simply of a smoothly evolving series of musical styles, but rather an array of individuals and communities engaging with disparate--and oftentimes conflicting--actions, ideals, and attitudes. |
| jelly roll document: Democracy of Sound Alex Sayf Cummings, 2017 Democracy of Sound tells the story of the pirates, radicals, jazzbos, Deadheads, and DJs who challenged the record industry for control of recorded sound throughout the twentieth century. A political and cultural history, it shows how the primacy of intellectual property gradually eclipsed an American political tradition that was suspicious of monopolies and favored free competition. |
| jelly roll document: In Search of the Blues Marybeth Hamilton, 2009-06-30 Leadbelly, Robert Johnson, Charley Patton-we are all familiar with the story of the Delta blues. Fierce, raw voices; tormented drifters; deals with the devil at the crossroads at midnight. In this extraordinary reconstruction of the origins of the Delta blues, historian Marybeth Hamilton demonstrates that the story as we know it is largely a myth. The idea of something called Delta blues only emerged in the mid-twentieth century, the culmination of a longstanding white fascination with the exotic mysteries of black music. Hamilton shows that the Delta blues was effectively invented by white pilgrims, seekers, and propagandists who headed deep into America's south in search of an authentic black voice of rage and redemption. In their quest, and in the immense popularity of the music they championed, we confront America's ongoing love affair with racial difference. |
| jelly roll document: The Exile's Song Sally McKee, 2017-01-03 The extraordinary story of African American composer Edmond D d , raised in antebellum New Orleans, and his remarkable career in France In 1855, Edmond D d , a free black composer from New Orleans, emigrated to Paris. There he trained with France s best classical musicians and went on to spend thirty-six years in Bordeaux leading the city s most popular orchestras. How did this African American, raised in the biggest slave market in the United States, come to compose ballets for one of the best theaters outside of Paris and gain recognition as one of Bordeaux s most popular orchestra leaders? Beginning with his birth in antebellum New Orleans in 1827 and ending with his death in Paris in 1901, Sally McKee vividly recounts the life of this extraordinary man. From the Crescent City to the City of Light and on to the raucous music halls of Bordeaux, this intimate narrative history brings to life the lost world of exiles and travelers in a rapidly modernizing world that threatened to leave the most vulnerable behind. |
| jelly roll document: Photoshop® CS Timesaving Techniques For Dummies® Phyllis Davis, 2004-05-03 This guide will probably change your image of Photoshop. Many users tend to use it to do certain things in certain ways and don’t even explore additional features and capabilities. Photoshop cs Timesaving Techniques For Dummies gives you more than 60 timesaving techniques that will speed up the way you do the things you do now and inspire you to do lots more. You’ll discover how to: Install and use peripheral devices such as digital cameras, scanners, tablets, and printers Customize Photoshop to fit your needs with custom keyboard shortcuts, a color management system, presets, and more Create custom palette groups and workspaces Use a drawing tablet and stylus to easily double your output Create sketches, water colors, and silkscreens and paint with oils Create professional-quality separations for high-quality offset printing, including using the CMYK prepress settings, soft proofing, adding printer’s marks and more Create action sets so you can perform repetitive tasks that would take an hour in seconds Organize, color code, and lock layers and create layer sets Use Blending Modes (there are more than 20 to choose from) to enhance images Written by Phyllis Davis, a writer, graphics and Web designer, teacher, and graphics software expert , this guide features a Color Insert so you can see the results of many of the techniques explained, and a companion Web site (www.dummies.com/go/photoshopcstt) where you can download many of the images and follow along and experiment. You’ll discover how to get results like a pro as you experiment with: Creating great effects with layer styles, using the five types of bevel and emboss, inner and outer glows, blending, and more Using the Brush and Pencil painting tools and the Blur, Sharpen, Smudge, Burn, and Sponge editing tools Enhancing photos, creating montages and panoramas, recoloring, retouching, and more Creating shadow type, knock-out type, liquid type, metal type, and more Creating GIF animations, hotspots, and rollovers for the Web You’ll save steps and discover exciting new possibilities with these 60-plus timesaving, image-saving techniques. |
| jelly roll document: Jim Crow's Counterculture R. A. Lawson, 2010-11 In the late nineteenth century, black musicians in the lower Mississippi Valley, chafing under the social, legal, and economic restrictions of Jim Crow, responded with a new musical form -- the blues. In Jim Crow's Counterculture, R. A. Lawson offers a cultural history of blues musicians in the segregation era, explaining how by both accommodating and resisting Jim Crow life, blues musicians created a counterculture to incubate and nurture ideas of black individuality and citizenship. These individuals, Lawson shows, collectively demonstrate the African American struggle during the early twentieth century. Derived from the music of the black working class and popularized by commercially successful songwriter W. C. Handy, early blues provided a counterpoint to white supremacy by focusing on an anti-work ethic that promoted a culture of individual escapism -- even hedonism -- and by celebrating the very culture of sex, drugs, and violence that whites feared. According to Lawson, blues musicians such as Charley Patton and Muddy Waters drew on traditions of southern black music, including call and response forms, but they didn't merely sing of a folk past. Instead, musicians saw blues as a way out of economic subservience. Lawson chronicles the major historical developments that changed the Jim Crow South and thus the attitudes of the working-class blacks who labored in that society. The Great Migration, the Great Depression and New Deal, and two World Wars, he explains, shaped a new consciousness among southern blacks as they moved north, fought overseas, and gained better-paid employment. The me-centered mentality of the early blues musicians increasingly became we-centered as these musicians sought to enter mainstream American life by promoting hard work and patriotism. Originally drawing the attention of only a few folklorists and music promoters, popular black musicians in the 1940s such as Huddie Ledbetter and Big Bill Broonzy played music that increasingly reached across racial lines, and in the process gained what segregationists had attempted to deny them: the identity of American citizenship. By uncovering the stories of artists who expressed much in their music but left little record in traditional historical sources, Jim Crow's Counterculture offers a fresh perspective on the historical experiences of black Americans and provides a new understanding of the blues: a shared music that offered a message of personal freedom to repressed citizens. |
| jelly roll document: Chasin' that Devil Music Gayle Wardlow, 1998 Traces the development and characteristics of the Delta blues, and describes the most influential blues musicians and recordings of the 1920s and 1930s |
| jelly roll document: United States Army in the World War, 1917-1919 United States. Department of the Army. Office of Military History, 1948 |
| jelly roll document: The United States Army in the World War, 1917-1919 United States Historical Division (Army)., 1948 |
| jelly roll document: United States Army in the World War, 1917-1919: Reports of the commander-in-chief, AEF, staff sections and services , 1988 A seventeen-volume compilation of selected AEF records gathered by Army historians during the interwar years. This collection in no way represents an exhaustive record of the Army's months in France, but it is certainly worthy of serious consideration and thoughtful review by students of military history and strategy and will serve as a useful jumping off point for any earnest scholarship on the war. --from Foreword by William A Stofft. |
| jelly roll document: Write Me a Few of Your Lines Steven Carl Tracy, 1999 A major anthology of writings on the blues published between 1911 and 1998, this collection includes sections by folklorists, literary artists, musicians, critics and aficionados. |
| jelly roll document: The Cambridge Companion to Blues and Gospel Music Allan Moore, 2003-03-13 From Robert Johnson to Aretha Franklin, Mahalia Jackson to John Lee Hooker, blues and gospel artists figure heavily in the mythology of twentieth-century culture. The styles in which they sang have proved hugely influential to generations of popular singers, from the wholesale adoptions of singers like Robert Cray or James Brown, to the subtler vocal appropriations of Mariah Carey. Their own music, and how it operates, is not, however, always seen as valid in its own right. This book provides an overview of both these genres, which worked together to provide an expression of twentieth-century black US experience. Their histories are unfolded and questioned; representative songs and lyrical imagery are analysed; perspectives are offered from the standpoint of the voice, the guitar, the piano, and also that of the working musician. The book concludes with a discussion of the impact the genres have had on mainstream musical culture. |
| jelly roll document: Luck's In My Corner Todd Bryant Weeks, 2014-06-11 Luck’s in My Corner is a comprehensive biography of one of the most compelling jazz musicians of the Swing Era, Oran Hot Lips’ Page. Page was the greatest of the Kansas City trumpeters, whose crackling, growling solos made him the go-to man during Count Basie’s earliest days as a bandleader. Page went on to be a featured trumpeter with Artie Shaw, a star of New York’s 52nd street, and a pioneer of the R & B scene of the 1950s. This book presents an in-depth chronology of Page’s career, with special attention paid to the development of his trumpet style. Luck’s in My Corner examines the life and music of a forgotten figure of the Swing Era and returns him to his rightful place as a leading light in the world of jazz. Todd Bryant Weeks has combined genealogical, musicological, discographical and historical research, resulting in a revealing and entertaining examination of a life that spanned major changes in American popular music. This book includes a new and complete discography by the author and dozens of unpublished photos. |
| jelly roll document: Music at Michigan , 1986 |
| jelly roll document: Classic Jazz Floyd Levin, 2002-04-30 Floyd Levin's half-century collection of reportage, reviews and recollections are an irreplaceable and totally enjoyable trove of writing about the vibrancy, past and still-present, of traditional American jazz.—Charles Champlin, author of Back There Where the Past Was I've known Floyd and his wife Lucille for more than fifty years. Floyd's book is a colorful, intimate account of his lifelong love affair with jazz. I'm especially fascinated when he writes about his personal encounters with some of the jazz legends of the Century. This book is essential reading for anyone concerned about jazz - its present, its past, and his evolution.—Milt Hinton Floyd Levin's dedicated and unselfish life-long work for the cause of jazz has illuminated many a corner that would otherwise have remained in the dark. All who care about the music are in his debt. Classic Jazz, like Floyd himself, is a classic.—Dan Morgenstern, Director, Institute of Jazz Studies, Rutgers University What a rich, passionate and human book this is! Drawing on fifty years of devotion to classic, New Orleans jazz and the artists who performed it, Floyd Levin brilliantly weaves anecdotal material, primary research, intimate personal observations, and analyses to create an historical goldmine of the music's evolution in New Orleans and on the West Coast. In rendering portraits of legendary musicians in such a beautifully moving, honest way, he offers not just standard history, but a strong sense of the emotional core of the music as well.—Steve Isoardi, co-author of Central Avenue Sounds |
| jelly roll document: The Second Line Edmond Souchon, 1982 |
| jelly roll document: Continuum Encyclopedia of Popular Music of the World, Volume 1 John Shepherd, David Horn, Dave Laing, Paul Oliver, Peter Wicke, 2003-03-06 The Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians. |
| jelly roll document: A Historical Guide to Langston Hughes Steven Carl Tracy, 2004 Langston Hughes has been an inspiration to generations of readers and writers seeking a passionate and socially responsible art. In this text, Steven Tracy has gathered a range of critics to produce an interdisciplinary approach to the historical and cultural elements reflected in Hughes's work. |
| jelly roll document: Alan Lomax John Szwed, 2010-12-30 The remarkable life and times of the man who popularized American folk music and created the science of song Folklorist, archivist, anthropologist, singer, political activist, talent scout, ethnomusicologist, filmmaker, concert and record producer, Alan Lomax is best remembered as the man who introduced folk music to the masses. Lomax began his career making field recordings of rural music for the Library of Congress and by the late 1930s brought his discoveries to radio, including Woody Guthrie, Pete Seeger, and Burl Ives. By the 1940s he was producing concerts that brought white and black performers together, and in the 1950s he set out to record the whole world. Lomax was also a controversial figure. When he worked for the U. S. government he was tracked by the FBI, and when he worked in Britain, MI5 continued the surveillance. In his last years he turned to digital media and developed technology that anticipated today's breakthroughs. Featuring a cast of characters including Eleanor Roosevelt, Leadbelly, Carl Sandburg, Carl Sagan, Jelly Roll Morton, Muddy Waters, and Bob Dylan, Szwed's fascinating biography memorably captures Lomax and provides a definitive account of an era as seen through the life of one extraordinary man. |
| jelly roll document: Public History Jennifer Lisa Koslow, 2021-02-02 PUBLIC HISTORY PROVIDES A BACKGROUND IN THE HISTORY, PRINCIPLES, AND PRACTICES OF THE FIELD OF PUBLIC HISTORY Public History: An Introduction from Theory to Application is the first text of its kind to offer both historical background on the ways in which historians have collected, preserved, and interpreted history with and for public audiences in the United States since the nineteenth century to the present and instruction on current practices of public history. This book helps us recognize and critically evaluate how, why, where, and who produces history in public settings. This unique textbook provides a foundation for students advancing to a career in the types of spaces–museums, historic sites, heritage tourism, and archives–that require an understanding of public history. It offers a review of the various types of methodologies that are commonly employed including oral history and digital history. The author also explores issues of monuments and memory upon which public historians are increasingly called to comment. Lastly, the textbook includes a section on questions of ethics that public historians must face in their profession. This important book: Contains a synthetic history on the significant individuals and events associated with museums, historic preservation, archives, and oral history. Includes exercises for putting theory into practice Designed to help us uncover hidden histories, construct interpretations, create a sense of place, and negotiate contested memories Offers an ideal resource for students set on working in museums, historic sites, heritage tourism, and more Written for students, Public History: An Introduction from Theory to Application offers in one comprehensive volume a guide to an understanding of the fundamentals of public history in the United States. |
| jelly roll document: The Penguin Guide to Blues Recordings Tony Russell, Chris Smith, 2006 From its roots in the American South to today's world stage, the journey of the blues has encompassed countless artists and recordings. But how can you find the best of them? The Penguin Guide to Blues Recordingsis a uniquely informative, insightful and easy-to-use guide through the jungles of the record shop and the online music store. It surveys the recorded work of more than a thousand blues artists, from towering figures of the past like Charley Patton, Bessie Smith and Robert Johnson to stars of the modern era such as B.B. King, Buddy Guy and Stevie Ray Vaughan, providing crisp, expert and witty reviews of almost six thousand CDs. Whether you're a blues aficionado or just starting a collection, this is required reading. |
| jelly roll document: All Music Guide to the Blues Vladimir Bogdanov, Chris Woodstra, Stephen Thomas Erlewine, 2003 Reviews and rates the best recordings of 8,900 blues artists in all styles. |
| jelly roll document: Exploring American Folk Music Kip Lornell, 2012-05-29 The perfect introduction to the many strains of American-made music |
| jelly roll document: Magic City Burgin Mathews, 2023-11-28 Magic City is the story of one of American music’s essential unsung places: Birmingham, Alabama, birthplace of a distinctive and influential jazz heritage. In a telling replete with colorful characters, iconic artists, and unheralded masters, Burgin Mathews reveals how Birmingham was the cradle and training ground for such luminaries as big band leader Erskine Hawkins, cosmic outsider Sun Ra, and a long list of sidemen, soloists, and arrangers. He also celebrates the contributions of local educators, club owners, and civic leaders who nurtured a vital culture of Black expression in one of the country’s most notoriously segregated cities. In Birmingham, jazz was more than entertainment: long before the city emerged as a focal point in the national civil rights movement, its homegrown jazz heroes helped set the stage, crafting a unique tradition of independence, innovation, achievement, and empowerment. Blending deep archival research and original interviews with living elders of the Birmingham scene, Mathews elevates the stories of figures like John T. “Fess” Whatley, the pioneering teacher-bandleader who emphasized instrumental training as a means of upward mobility and community pride. Along the way, he takes readers into the high school band rooms, fraternal ballrooms, vaudeville houses, and circus tent shows that shaped a musical movement, revealing a community of players whose influence spread throughout the world. |
| jelly roll document: Big Ears Nichole T. Rustin, Sherrie Tucker, 2008-11-07 In jazz circles, players and listeners with “big ears” hear and engage complexity in the moment, as it unfolds. Taking gender as part of the intricate, unpredictable action in jazz culture, this interdisciplinary collection explores the terrain opened up by listening, with big ears, for gender in jazz. Essays range from a reflection on the female boogie-woogie pianists who played at Café Society in New York during the 1930s and 1940s to interpretations of how the jazzman is represented in Dorothy Baker’s novel Young Man with a Horn (1938) and Michael Curtiz’s film adaptation (1950). Taken together, the essays enrich the field of jazz studies by showing how gender dynamics have shaped the production, reception, and criticism of jazz culture. Scholars of music, ethnomusicology, American studies, literature, anthropology, and cultural studies approach the question of gender in jazz from multiple perspectives. One contributor scrutinizes the tendency of jazz historiography to treat singing as subordinate to the predominantly male domain of instrumental music, while another reflects on her doubly inappropriate position as a female trumpet player and a white jazz musician and scholar. Other essays explore the composer George Russell’s Lydian Chromatic Concept as a critique of mid-twentieth-century discourses of embodiment, madness, and black masculinity; performances of “female hysteria” by Les Diaboliques, a feminist improvising trio; and the BBC radio broadcasts of Ivy Benson and Her Ladies’ Dance Orchestra during the Second World War. By incorporating gender analysis into jazz studies, Big Ears transforms ideas of who counts as a subject of study and even of what counts as jazz. Contributors: Christina Baade, Jayna Brown, Farah Jasmine Griffin, Monica Hairston, Kristin McGee, Tracy McMullen, Ingrid Monson, Lara Pellegrinelli, Eric Porter, Nichole T. Rustin, Ursel Schlicht, Julie Dawn Smith, Jeffrey Taylor, Sherrie Tucker, João H. Costa Vargas |
How To Make Jelly and Other Jellied Fruit Products
Aug 18, 2021 · Before cooking the jelly, take the temperature of boiling water with a jelly, candy, or deep-fat thermometer. Then cook the jelly mixture to a temperature 8 degrees F. higher than …
Jellyfish in Alabama - Alabama Cooperative Extension System
Nov 15, 2018 · Jellyfish are regular inhabitants of the saltwater bays, bayous, and Gulf beaches of Alabama. As many as sixty different kinds of jellyfish might be found in Alabama waters. …
"Jam And Jelly General Store" Anyone Remember This Place" (New ...
Apr 2, 2008 · Jam and Jelly was in Sunset Ridge Shopping Center on New Braunfels in Alamo Heights. it was a gift store ; had things like note paper , lunch boxes that were like bags - i …
Yellowish "jelly" in toilet - House -remodeling, decorating ...
Dec 6, 2022 · Agree about the new toilets being difficult to flush "big" loads all in one flush. And there is something else about these toilets that I lot of people don't know until they have …
Live Well Recipe: Put a Pork In It!
Jun 6, 2025 · ½ cup grape jelly; 1 can lima beans, 15 ounces, drained; 1 can whole kernel corn, 15 ounces, drained; 1 can hominy, 15.5 ounces, rinsed and drained; Directions. Preheat oven to …
Today's Questions: Thursday, 29 May 2025 - City-Data.com
May 29, 2025 · Pepper jelly, yes or no? Never heard of it. Cream cheese and/with bagel. Crackers and smoked salmon. Sharp white cheddar cheese. Chilled juice. Hollandaise sauce. Fresh …
Today's Questions: Thursday, 29 May 2025 - City-Data Forum
May 29, 2025 · Pepper jelly, yes or no? Maybe. I like onion jam. I would try pepper jelly. Cream cheese and/with _a bagel. Crackers and soup_ Gorgonzola_ cheese Chilled Vodka Leek_ …
American Idol 2025 - TV -Shows, stars, ratings... - Page 7 - City …
We watch both the Voice and American Idol, and unlike many years we enjoyed the talent this year on American Idol way more than the Voice. I really liked Jelly Roll's coaching and support …
00067855 - JELLY - TIGHT, LLC - City-Data.com
Jan 15, 2002 · Registered Agent Name: CAROLYN SOMERVILLE Street Address: 2004 ROBIN RD, COLUMBIA, South Carolina 29204 Filings
Alabama Cottage Food Law: Making Jams & Jellies
Jun 28, 2024 · The Alabama Cottage Food Law, which went into effect in 2014 and was revised in 2021, provides rules and regulations for foods prepared by cottage food entrepreneurs. These …
How To Make Jelly and Other Jellied Fruit Products
Aug 18, 2021 · Before cooking the jelly, take the temperature of boiling water with a jelly, candy, or deep-fat thermometer. Then cook the jelly mixture to a temperature 8 degrees F. higher than …
Jellyfish in Alabama - Alabama Cooperative Extension System
Nov 15, 2018 · Jellyfish are regular inhabitants of the saltwater bays, bayous, and Gulf beaches of Alabama. As many as sixty different kinds of jellyfish might be found in Alabama waters. …
"Jam And Jelly General Store" Anyone Remember This Place" …
Apr 2, 2008 · Jam and Jelly was in Sunset Ridge Shopping Center on New Braunfels in Alamo Heights. it was a gift store ; had things like note paper , lunch boxes that were like bags - i …
Yellowish "jelly" in toilet - House -remodeling, decorating ...
Dec 6, 2022 · Agree about the new toilets being difficult to flush "big" loads all in one flush. And there is something else about these toilets that I lot of people don't know until they have …
Live Well Recipe: Put a Pork In It!
Jun 6, 2025 · ½ cup grape jelly; 1 can lima beans, 15 ounces, drained; 1 can whole kernel corn, 15 ounces, drained; 1 can hominy, 15.5 ounces, rinsed and drained; Directions. Preheat oven to …
Today's Questions: Thursday, 29 May 2025 - City-Data.com
May 29, 2025 · Pepper jelly, yes or no? Never heard of it. Cream cheese and/with bagel. Crackers and smoked salmon. Sharp white cheddar cheese. Chilled juice. Hollandaise sauce. Fresh …
Today's Questions: Thursday, 29 May 2025 - City-Data Forum
May 29, 2025 · Pepper jelly, yes or no? Maybe. I like onion jam. I would try pepper jelly. Cream cheese and/with _a bagel. Crackers and soup_ Gorgonzola_ cheese Chilled Vodka Leek_ …
American Idol 2025 - TV -Shows, stars, ratings... - Page 7 - City …
We watch both the Voice and American Idol, and unlike many years we enjoyed the talent this year on American Idol way more than the Voice. I really liked Jelly Roll's coaching and support …
00067855 - JELLY - TIGHT, LLC - City-Data.com
Jan 15, 2002 · Registered Agent Name: CAROLYN SOMERVILLE Street Address: 2004 ROBIN RD, COLUMBIA, South Carolina 29204 Filings
Alabama Cottage Food Law: Making Jams & Jellies
Jun 28, 2024 · The Alabama Cottage Food Law, which went into effect in 2014 and was revised in 2021, provides rules and regulations for foods prepared by cottage food entrepreneurs. These …
