(Fake Book). You don't have to be from below the Mason-Dixon line to enjoy this primo collection for B-flat instruments of nearly 250 Dixieland tunes: Ain't Misbehavin' * Alexander's Ragtime Band * Bill Bailey, Won't You Please Come Home * California, Here I Come * Dinah * Down by the Riverside * Georgia on My Mind * Hard Hearted Hannah (The Vamp of Savannah) * Honeysuckle Rose * I'm Gonna Sit Right down and Write Myself a Letter * It Don't Mean a Thing (If It Ain't Got That Swing) * Jelly Roll Blues * Lazy River * Makin' Whoopee! * My Baby Just Cares for Me * Nobody Knows You When You're down and Out * Puttin' on the Ritz * St. Louis Blues * Smile * Stompin' at the Savoy * Tiger Rag (Hold That Tiger) * When the Saints Go Marching In * and many more. All the Real Books feature accurate arrangements in the famous easy-to-read, hand-written notation.
There is no college ball more passionate and competitive than football in the Southeastern Conference, where seven of the twelve schools boast stadiums bigger than any in the NFL and 6.5 million fans hit the road every year to hoot and holler their teams to victory. In September 2006, popular sports columnist and lifelong University of Tennessee fan Clay Travis set out on his "Dixieland Delight Tour." Without a single map, hotel reservation, or game ticket, he began an 8,000-mile journey through the beating heart of the Southland. As Travis toured the SEC, he immersed himself in the bizarre game-day rituals of the common fan, brazenly dancing with the chancellor's wife at a Vanderbilt frat party, hanging with University of Florida demigod quarterback Tim Tebow, and abandoning himself totally to the ribald intensity and religious fervor of SEC football. Dixieland Delight is Travis's hilarious, loving, irreverent, and endlessly entertaining chronicle of a season of ironic excess in a world that goes a little crazy on football Saturdays.
I have not written these memoirs entirely for the amusement or instruction of my contemporaries; but I shall feel rewarded if I elicit thereby the interest and sympathy which follows an honest effort to tell the truth in the recollections of one’s life—for, after all, truth is the chief virtue of history. My ancestry may be of as little importance in itself as this book is likely to be after the lapse of a few years; yet it is satisfactory to know that your family is respectable,—even if you cannot prove it to be so ancient that it has no beginning, and so worthy that it ought to have no end. I am willing, however, that my genealogy should be investigated; there are books giving the whole history; and it is surely an innocent and praiseworthy pride—that of good pedigree. I was born November 24th, 1825, at our plantation home, called Cottage Hall, in the parish of East Feliciana, in the State of Louisiana. My father was a man of firmness and of courage amounting to stoicism. He appeared calm and self-possessed under all circumstances. He ruled his own house, but so judicious was his management that even his slaves loved him. Though I was very young when my mother died, I can remember her and the great affection manifested for her by the entire family. While not realizing the importance of my loss, I knew enough to resent the coming of another to fill her place. My father said he wanted a good woman who could see that his family of six children were properly brought up and educated. His nephew, Dr. James Thomas, introduced him to Miss Susan Brewer, who he thought would fill all these requirements. The marriage was soon arranged, and I was brought home, to Cottage Hall, by my eldest sister, with whom I had been living. The other children had laid aside their mourning and I was informed that I also had new dresses; but I declined to wear them or to call the new mistress of the household by the name of “Mother,” which had been freely given her by the rest of the family. When my father lifted me from the carriage he said: “My child, I will now take you to your new mother.” As he kissed me affectionately I turned away and said: “I am not your child, and I have no mother now.” I have never forgotten the sad look he gave me nor the tenderness he manifested toward my waywardness as he took me in his arms and carried me into the house. I was a troublesome little girl with an impetuous temper; perhaps it was on this account that he often said: “This golden-haired darling is the dearest little one in the house—and the most exacting.” My father had a vein of quaint humor and abounded in proverbial wisdom. I have heard him say, “Yes, I have a very bad memory—I remember what should be forgotten.”
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.
A revisionist history of the radical transformation of the American South during the Civil War examines the economic, social and political deconstruction and rebuilding of Southern institutions as experienced by everyday people. By the award-winning author of Confederate Emancipation.
In 'Ruth Fielding Down in Dixie; Or, Great Times in the Land of Cotton' by Alice B. Emerson, readers are taken on a captivating journey through the American South. The book is written in a descriptive and engaging style that transports the reader to the vivid world of the characters. Set against the backdrop of the cotton fields and plantations, the novel delves into themes of friendship, adventure, and facing societal challenges. Emerson excellently captures the spirit of the Southern culture of the time, providing readers with a glimpse into a bygone era. The narrative is rich in detail, showcasing the author's keen observation and storytelling skills. Fans of historical fiction will appreciate the authenticity and depth of the story. Alice B. Emerson, a prolific writer of the early 20th century, was known for her popular Ruth Fielding series, which followed the adventures of a young girl in various settings. It is likely that Emerson's own experiences and interest in the American landscape inspired her to write 'Ruth Fielding Down in Dixie'. Her ability to create relatable and endearing characters has endeared her to generations of readers. I recommend 'Ruth Fielding Down in Dixie; Or, Great Times in the Land of Cotton' to readers who enjoy immersive historical fiction and compelling coming-of-age stories. Emerson's masterful storytelling and vivid descriptions make this book a delightful and enlightening read for those interested in exploring the American South and its rich cultural heritage.
