Music Issue Companion CD Track List 1| “The Early Bird Always Gets the Worm” MICHAEL HURLEY 3:13 Face a Frowning World: An E. C. Ball Memorial Album, Tompkins Square, tompkinssquare.com, snockonews.net 2| “Walking Jaybird” ETTA BAKER 2:40 Banjo, Music Maker, musicmaker.org 3| “Birmingham Is My Home” BIRMINGHAM HERITAGE BAND 7:32 Composer Amos Gordon, arranger Sammy Love, band »
Music Issue Companion CD Track List 1| “Georgia Blues” CECIL BARFIELD 5:12 Art of Field Recording Volume II: 50 Years of Traditional American Music Documented by Art Rosenbaum, Dust-to-Digital, dust-digital.com 2| “Satan, Your Kingdom Must Come Down II” MURRY HAMMOND 3:46 I Don’t Know Where I’m Going But I’m On My Way, Hummin’bird Records, myspace.com/murryhammond 3| “Must »
Southern Cultures was one of these beneficiaries. Doug was a friend and supporter from our earliest days. On July 10 Doug Marlette was killed when the pickup truck in which he was a passenger slid off the road in a rainstorm near Byhalia, Mississippi. He was on his way to Oxford to help some high »
Music Issue Companion CD Track List 1| “A place called the South. . .” PETE SEEGER All Pete Seeger tracks are from William R. Ferris and Michael K. Honey’s 1989 San Francisco interview, courtesy of the William R. Ferris Collection #20367 in the Southern Folklife Collection, Wilson Library, UNC-CH 2| “Barbry Ellen” LEAVES FROM OFF »
Music Issue Companion CD Track List 1| “‘A passed-down thing. . .’” B.B. KING 2:07 B.B. King at his home, 11 December 1974. All B.B. King tracks are courtesy of the William R. Ferris Collection #20367, Southern Folklife Collection, Wilson Library, UNC-CH. 2| “Boogie Chillun” LOVEY WILLIAMS 2:14 Lovey Williams: guitar & vocals. Recorded in »
University of Virginia Press, 2001. (Originally published by Morrow, 1962.) In 1950 Sarah Patton Boyle was a typical, perhaps the quintessential, member of Virginia’s white elite, convinced that the first families of Virginia, to which she belonged, were composed of the nation’s finest and most noble. She was the descendant of English and Scottish nobility, »
“‘It ain’t bragging if you can prove it.’” As you might have already guessed from Doug Marlette’s cartoon, a wonderfully playful jab at one of our two coeditors, this issue of Southern Cultures is a little different. John Shelton Reed retired this summer after thirty-one years at the University of North Carolina at Chapel Hill. Fortunately »
“I don’t have much patience with folks who say the Civil War was not about slavery.” Editor’s note: On a Saturday afternoon in August 2000, John Reed sat down for a conversation with Betsey and Gene Genovese, noted historians of the South, at their home in Atlanta. The tape recorder was turned on— JOHN SHELTON »
“Even as he turned to a form of largely conservative cultural commentary on all sorts of things, Reed retained a keen sociological consciousness.” Some months ago, I gave a talk on the American South at the University of Mississippi. During the question-and-answer session that followed, a southern historian noted the prominence of the “ubiquitous” (his »
“Reed burst on the southern scene in 1972 as a contrarian, and, as we know, he has remained very much a contrarian to this day.” Any understanding of John Shelton Reed’s legacy to the study of southern history should begin with an appreciation of his pivotal position within modern southern intellectual history itself. Reed burst »
“‘Southerners can’t grasp anything that isn’t couched in a Br’er Rabbit tale. They got cornmeal mush for brains.’” Epigraphs Assignment: In the epigraphs below, kindly circle the terms associated with abstraction, generality, anywhere, anyone, and Platonic idealism, and underline those associated with concretion, particularity, somewhere, someone, and Aristotelian materialism. The ideology of New Criticism began »
“The object of John’s climb is what is presumed to be a coon nestled among the giant sweet gum’s topmost branches.” When it comes to milking an anecdote, John Reed has no equal and few competitors. It seems appropriate, therefore, to begin an essay about his work with a story. In one of his best-known »