Henry Ledbetter was probably born in England in about 1625. He probably emigrated as a child and settled in Virginia. He married and had about eight children. He died before 1700 in Charles City County, Virginia. Descendants and relatives lived mainly in Virginia, North Carolina, Alabama, Georgia, Illinois, Tennessee, Missouri and Texas.
Examines the implementation of the rights revolution, bringing together a distinguished group of political scientists and legal scholars who study the roles of agencies and courts in shaping the enforcement of civil rights statutes.
What do Louis Armstrong, Ray Charles, Bob Dylan, Willie Nelson, Tom Waits, Cassandra Wilson, and Ani DiFranco have in common? In Highway 61 Revisited, acclaimed music critic Gene Santoro says the answer is jazz--not just the musical style, but jazz's distinctive ambiance and attitudes. As legendary bebop rebel Charlie Parker once put it, "If you don't live it, it won't come out of your horn." Unwinding that Zen-like statement, Santoro traces how jazz's existential art has infused outstanding musicians in nearly every wing of American popular music--blues, folk, gospel, psychedelic rock, country, bluegrass, soul, funk, hiphop--with its parallel process of self-discovery and artistic creation through musical improvisation. Taking less-traveled paths through the last century of American pop, Highway 61 Revisited maps unexpected musical and cultural links between such apparently disparate figures as Louis Armstrong, Willie Nelson, Bob Dylan and Herbie Hancock; Miles Davis, Lenny Bruce, The Grateful Dead, Bruce Springsteen, and many others. Focusing on jazz's power to connect, Santoro shows how the jazz milieu created a fertile space "where whites and blacks could meet in America on something like equal grounds," and indeed where art and entertainment, politics and poetry, mainstream culture and its subversive offshoots were drawn together in a heady mix whose influence has proved both far-reaching and seemingly inexhaustible. Combining interviews and original research, and marked throughout by Santoro's wide ranging grasp of cultural history, Highway 61 Revisited offers readers a new look at--and a new way of listening to--the many ways jazz has colored the entire range of American popular music in all its dazzling profusion.
Twenty-eight years after its original release, The Clash’s London Calling was inducted into the Grammy Hall of Fame as a “recording of lasting qualitative or historical significance.” It topped polls on both sides of the Atlantic for the best album of the seventies (and eighties) and in publications as wide-ranging as Rolling Stone, VIBE, Pitchfork, and NME, and it regularly hits the top ten on greatest-albums-of-all-time-lists. Even its cover—the instantly recognizable image of Paul Simonon smashing his bass guitar—has attained iconic status, inspiring countless imitations and even being voted the best rock ’n’ roll photograph ever by Q magazine. Now the breakthrough album from the foremost band of the punk era gets the close critical eye it deserves. Marcus Gray examines London Calling from every vantage imaginable, from the recording sessions and the state of the world it was recorded in to the album’s long afterlife, bringing new levels of understanding to one of punk rock’s greatest achievements. Leaving no detail unexplored, he provides a song-by-song breakdown covering when each was written and where, what inspired each song, and what in turn each song inspired, making this book a must-read for Clash fans.
Top linguists from diverse fields address language varieties in the South. Language Variety in the South Revisited is a comprehensive collection of new research on southern United States English by foremost scholars of regional language variation. Like its predecessor, Language Variety in the South: Perspectives in Black and White (The University of Alabama Press, 1986), this book includes current research into African American vernacular English, but it greatly expands the scope of investigation and offers an extensive assessment of the field. The volume encompasses studies of contact involving African and European languages; analysis of discourse, pragmatic, lexical, phonological, and syntactic features; and evaluations of methods of collecting and examining data. The 38 essays not only offer a wealth of information about southern language varieties but also serve as models for regional linguistic investigation.
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.
(Guitar Collection). Guitar World picked 'em, and now you can play 'em thanks to this collection of 100 must-know guitar leads transcribed note for note! This unique book also includes insightful background and performance notes for more than 40 of the best solos. Songs include: Alive * All Along the Watchtower * Aqualung * Bohemian Rhapsody * Cliffs of Dover * Crazy Train * Cross Road Blues (Crossroads) * Eruption * Get the Funk Out * Hotel California * Layla * Little Red Corvette * Money * November Rain * One * Pride and Joy * Sharp Dressed Man * Smells like Teen Spirit * Stairway to Heaven * Star Spangled Banner (Instrumental) * Sultans of Swing * Sweet Child O' Mine * Sympathy for the Devil * Walk This Way * While My Guitar Gently Weeps * Won't Get Fooled Again * Working Man * You Shook Me All Night Long * and more.
This book combines theory, empirical research, and practical, international case studies to provide students with a comprehensive resource that demonstrates theories on gender alongside their operation in everyday workplace situations. Reeves’s new edition provides a thorough review of issues important to women in the workplace, including gender discrimination and the legal framework for equity at work. The book uses case studies to illustrate key themes and introduces several new features, including: Updated statistics on women’s participation in the workforce Updated examples of resources for women in business Two new chapters covering negotiation and influencing skills and women in STEM fields New case studies, featuring comparisons between the position of women in the United States and in other countries An instructor’s manual with advice, suggested answers to the end-of-chapter questions, and additional resources This is a one-stop resource for any student interested in gender theory and issues that affect women in the workplace.
Singing was just one element of blues performance in the early twentieth century. Ma Rainey, Bessie Smith, and other classic blues singers also tapped, joked, and flaunted extravagant costumes on tent show and black vaudeville stages. The press even described these women as "actresses" long before they achieved worldwide fame for their musical recordings. In Staging the Blues, Paige A. McGinley shows that even though folklorists, record producers, and festival promoters set the theatricality of early blues aside in favor of notions of authenticity, it remained creatively vibrant throughout the twentieth century. Highlighting performances by Rainey, Smith, Lead Belly, Sister Rosetta Tharpe, Sonny Terry, and Brownie McGhee in small Mississippi towns, Harlem theaters, and the industrial British North, this pioneering study foregrounds virtuoso blues artists who used the conventions of the theater, including dance, comedy, and costume, to stage black mobility, to challenge narratives of racial authenticity, and to fight for racial and economic justice.