Black Man's Lullaby
Author | : Newt Oliphant |
Publisher | : |
Total Pages | : 6 |
Release | : 1938 |
Genre | : |
ISBN | : |
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Author | : Newt Oliphant |
Publisher | : |
Total Pages | : 6 |
Release | : 1938 |
Genre | : |
ISBN | : |
Author | : Jae Bryson |
Publisher | : |
Total Pages | : |
Release | : 2017-10 |
Genre | : |
ISBN | : 9780970187994 |
A life affirming tale for the families of young black boys to read to them in preparation for making them strong men. The successes, in various disciplines, of those who have come before are both inspirational and aspirational.
Author | : Bruce Bastin |
Publisher | : Univ. Press of Mississippi |
Total Pages | : 495 |
Release | : 2012-08-01 |
Genre | : Music |
ISBN | : 1496801237 |
Joe Davis (1896–1978), the focus of The Melody Man, enjoyed a fifty-year career in the music industry, which covered nearly every aspect of the business. He hustled sheet music in the 1920s; copyrighted compositions by artists as diverse as Fats Waller, Carson Robison, Otis Blackwell, and Rudy Vallee; oversaw hundreds of recording sessions; and operated several record companies beginning in the 1940s. Davis also worked fearlessly to help ensure that black recording artists and song writers gained equal treatment for their work. Much more than a biography, this book is an investigation of the role played by music publishers during much of the twentieth century. Joe Davis was not a music “great,” but he was one of those individuals who enabled “greats” to emerge. A musician, manager, and publisher, his long career reveals much about the nature of the music industry and offers insight into how the industry changed from the 1920s to the 1970s. By the summer of 1924, when Davis was handling the “race talent” for Ajax records, he had already worked in the music business for most of a decade, and there were more than five decades of musical career ahead of him. The fact that his fascinating life has gone so long underappreciated is remedied by the publication of this book. Originally published in England in 1990 as Never Sell a Copyright: Joe Davis and His Role in the New York Music Scene, 1916–1978, this book was never released in the United States and only made available in a very limited print run in England. The author, noted blues scholar and folklorist Bruce Bastin, has worked with fellow music scholar Kip Lornell to completely update, condense, and improve the book for this first-ever American edition.
Author | : Chuck Palahniuk |
Publisher | : Anchor |
Total Pages | : 274 |
Release | : 2003-07-29 |
Genre | : Fiction |
ISBN | : 1400075572 |
NATIONAL BESTSELLER • From the author of the New York Times bestseller Choke and the cult classic Fight Club, a cunningly plotted novel about the ultimate verbal weapon, one that reinvents the apocalyptic thriller for our times. "A harrowing and hilarious glimpse into the future of civilization.” —Minneapolis Star-Tribune Ever heard of a culling song? It’s a lullaby sung in Africa to give a painless death to the old or infirm. The lyrics of a culling song kill, whether spoken or even just thought. You can find one on page 27 of Poems and Rhymes from Around the World, an anthology that is sitting on the shelves of libraries across the country, waiting to be picked up by unsuspecting readers. Reporter Carl Streator discovers the song’s lethal nature while researching Sudden Infant Death Syndrome, and before he knows it, he’s reciting the poem to anyone who bothers him. As the body count rises, Streator glimpses the potential catastrophe if someone truly malicious finds out about the song. The only answer is to find and destroy every copy of the book in the country. Accompanied by a shady real-estate agent, her Wiccan assistant, and the assistant’s truly annoying ecoterrorist boyfriend, Streator begins a desperate cross-country quest to put the culling song to rest.
Author | : George Chittenden Turner |
Publisher | : |
Total Pages | : 0 |
Release | : 1918 |
Genre | : |
ISBN | : |
Author | : George Chittenden Turner |
Publisher | : |
Total Pages | : 10 |
Release | : 1918 |
Genre | : Songs (Medium voice) with piano |
ISBN | : |
Author | : Gertrude Manly Jones |
Publisher | : |
Total Pages | : 48 |
Release | : 1901 |
Genre | : African American songs |
ISBN | : |
Author | : Lincoln Hulley |
Publisher | : |
Total Pages | : 142 |
Release | : 1901 |
Genre | : Children's parties |
ISBN | : |
Author | : Frank Marshall Davis |
Publisher | : University of Illinois Press |
Total Pages | : 432 |
Release | : 2024-02-12 |
Genre | : Poetry |
ISBN | : 0252055527 |
Black Moods collects for the first time all of Frank Marshall Davis’s extant published poems as well as his previously unpublished work. From sharp-edged sketches of Southside Chicago’s urban landscape to the prismatic world that lay beneath Hawaii’s placid surface, Davis’s muscular poems blend social, cultural, and political concerns--always shaped by his promise to “try to be as direct as good blues.” John Edgar Tidwell’s introduction examines both Davis’s poetry and his politics, presenting a subtle portrait of a complex writer devoted to exposing discriminatory practices and reaffirming the humanity of the common people.
Author | : Mark Kemp |
Publisher | : Simon and Schuster |
Total Pages | : 336 |
Release | : 2007-11-01 |
Genre | : Music |
ISBN | : 1416590463 |
Rock & roll has transformed American culture more profoundly than any other art form. During the 1960s, it defined a generation of young people as political and social idealists, helped end the Vietnam War, and ushered in the sexual revolution. In Dixie Lullaby, veteran music journalist Mark Kemp shows that rock also renewed the identity of a generation of white southerners who came of age in the decade after segregation -- the heyday of disco, Jimmy Carter, and Saturday Night Live. Growing up in North Carolina in the 1970s, Kemp experienced pain, confusion, and shame as a result of the South's residual civil rights battles. His elementary school was integrated in 1968, the year Kemp reached third grade; his aunts, uncles, and grandparents held outdated racist views that were typical of the time; his parents, however, believed blacks should be extended the same treatment as whites, but also counseled their children to respect their elder relatives. "I loved the land that surrounded me but hated the history that haunted that land," Kemp writes. When rock music, specifically southern rock, entered his life, he began to see a new way to identify himself, beyond the legacy of racism and stereotypes of southern small-mindedness that had marked his early childhood. Well into adulthood Kemp struggled with the self-loathing familiar to many white southerners. But the seeds of forgiveness were planted in adolescence when he first heard Duane Allman and Ronnie Van Zant pour their feelings into their songs. In the tradition of music historians such as Nick Tosches and Peter Guralnick, Kemp masterfully blends into his narrative the stories of southern rock bands --from heavy hitters such as the Allman Brothers Band, Lynyrd Skynyrd, and R.E.M. to influential but less-known groups such as Drive-By Truckers -- as well as the personal experiences of their fans. In dozens of interviews, he charts the course of southern rock & roll. Before civil rights, the popular music of the South was a small, often racially integrated world, but after Martin Luther King Jr.'s assassination, black musicians struck out on their own. Their white counterparts were left to their own devices, and thus southern rock was born: a mix of popular southern styles that arose when predominantly white rockers combined rural folk, country, and rockabilly with the blues and jazz of African-American culture. This down-home, flannel-wearing, ass-kicking brand of rock took the nation by storm in the 1970s. The music gave southern kids who emulated these musicians a newfound voice. Kemp and his peers now had something they could be proud of: southern rock united them and gave them a new identity that went beyond outside perceptions of the South as one big racist backwater. Kemp offers a lyrical, thought-provoking, searingly intimate, and utterly original journey through the South of the 1960s, '70s, '80s, and '90s, viewed through the prism of rock & roll. With brilliant insight, he reveals the curative and unifying impact of rock on southerners who came of age under its influence in the chaotic years following desegregation. Dixie Lullaby fairly resonates with redemption.