Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0001
- Subject:
- Sociology, Culture
This chapter describes how artist activists from Nashville are creating a “mechanically solidary” community of entrepreneurial artists alongside and partly from the ranks of an older, organically ...
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This chapter describes how artist activists from Nashville are creating a “mechanically solidary” community of entrepreneurial artists alongside and partly from the ranks of an older, organically solidary corporate-era artist community. Nashville entrepreneurial musicians constitute themselves as a community by producing and performing for one another, showing up to each others' showcases, and extending mutual aid during trying moments in their lives. Here, the Nashville musician community has a tendency to “cross-promote,” and the chapter reveals how the community is largely very supportive of each other's art. In addition, the chapter also discusses the background of the present study and the approaches the author has taken in studying Nashville's artist community.Less
This chapter describes how artist activists from Nashville are creating a “mechanically solidary” community of entrepreneurial artists alongside and partly from the ranks of an older, organically solidary corporate-era artist community. Nashville entrepreneurial musicians constitute themselves as a community by producing and performing for one another, showing up to each others' showcases, and extending mutual aid during trying moments in their lives. Here, the Nashville musician community has a tendency to “cross-promote,” and the chapter reveals how the community is largely very supportive of each other's art. In addition, the chapter also discusses the background of the present study and the approaches the author has taken in studying Nashville's artist community.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.001.0001
- Subject:
- Sociology, Culture
At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based ...
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At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based on interviews with over seventy-five popular-music professionals in Nashville, this book looks at artist activists—those visionaries who create inclusive artist communities in today's individualistic and entrepreneurial art world. Using Nashville as a model, the book develops a theory of artist activism—the ways that artist peers strengthen and build diverse artist communities. The book discusses how genre-diversifying artist activists have arisen throughout the late twentieth-century musician migration to Nashville, a city that boasts the highest concentration of music jobs in the United States. Music City is now home to diverse recording artists—including Jack White, El Movimiento, the Black Keys, and Paramore. The book identifies three types of artist activists: the artist-producer who produces and distributes his or her own and others' work while mentoring early-career artists, the social entrepreneur who maintains social spaces for artist networking, and arts trade union reformers who are revamping collective bargaining and union functions. Throughout, the book examines enterprising musicians both known and less recognized. It links individual and collective actions taken by artist activists to their orientations toward success, audience, and risk and to their original inspirations for embarking on music careers. The book offers a new model of artistic success based on innovating creative institutions to benefit the society at large.Less
At a time when the bulwarks of the music industry are collapsing, what does it mean to be a successful musician and artist? How might contemporary musicians sustain their artistic communities? Based on interviews with over seventy-five popular-music professionals in Nashville, this book looks at artist activists—those visionaries who create inclusive artist communities in today's individualistic and entrepreneurial art world. Using Nashville as a model, the book develops a theory of artist activism—the ways that artist peers strengthen and build diverse artist communities. The book discusses how genre-diversifying artist activists have arisen throughout the late twentieth-century musician migration to Nashville, a city that boasts the highest concentration of music jobs in the United States. Music City is now home to diverse recording artists—including Jack White, El Movimiento, the Black Keys, and Paramore. The book identifies three types of artist activists: the artist-producer who produces and distributes his or her own and others' work while mentoring early-career artists, the social entrepreneur who maintains social spaces for artist networking, and arts trade union reformers who are revamping collective bargaining and union functions. Throughout, the book examines enterprising musicians both known and less recognized. It links individual and collective actions taken by artist activists to their orientations toward success, audience, and risk and to their original inspirations for embarking on music careers. The book offers a new model of artistic success based on innovating creative institutions to benefit the society at large.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0003
- Subject:
- Sociology, Culture
This chapter examines the subjective orientations and pathways of an earlier generation of Nashville artists who helped shape the community of Nashville's increasingly entrepreneurial, popular-music ...
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This chapter examines the subjective orientations and pathways of an earlier generation of Nashville artists who helped shape the community of Nashville's increasingly entrepreneurial, popular-music musicians. As an artistrtist activist engaged primarily in individual action, the enterprising artist thrives on self-expression, continuous self-instruction in a widening skill portfolio of artistic and support functions, self-promotion, and on maintaining mutually beneficial relations with colleagues. Enterprising artists sustain their ongoing relations with colleagues, as the profiles in this chapter show, by maintaining trusting and equitable, collegial relations, relations that may succumb to interpersonal animosity, rivalry, jealousy, and betrayal. Sociologically, this chapter depicts the subjective orientations toward success, audience, and risk and the career pathways taken by four individual representatives of what is here referred to as the “transformative generation of enterprising artists” of the changing Nashville music scene.Less
This chapter examines the subjective orientations and pathways of an earlier generation of Nashville artists who helped shape the community of Nashville's increasingly entrepreneurial, popular-music musicians. As an artistrtist activist engaged primarily in individual action, the enterprising artist thrives on self-expression, continuous self-instruction in a widening skill portfolio of artistic and support functions, self-promotion, and on maintaining mutually beneficial relations with colleagues. Enterprising artists sustain their ongoing relations with colleagues, as the profiles in this chapter show, by maintaining trusting and equitable, collegial relations, relations that may succumb to interpersonal animosity, rivalry, jealousy, and betrayal. Sociologically, this chapter depicts the subjective orientations toward success, audience, and risk and the career pathways taken by four individual representatives of what is here referred to as the “transformative generation of enterprising artists” of the changing Nashville music scene.
Daniel B. Cornfield
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691160733
- eISBN:
- 9781400873890
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691160733.003.0007
- Subject:
- Sociology, Culture
This chapter presents a new, post-bureaucratic research agenda in the new sociology of work derived from the sociological theory of artist activism. The agenda consists of three themes for future ...
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This chapter presents a new, post-bureaucratic research agenda in the new sociology of work derived from the sociological theory of artist activism. The agenda consists of three themes for future research. First is the generalizability of the Nashville model of artist activism across cities that differ in terms of their mix of art-production and -consumption activity and their levels and history of arts trade unionism. The second theme pertains to the influence of biographical pathways, risk orientations, and occupational socialization through intergenerational peer mentoring on the formation of the next generation of artist activists. The third theme is an assessment of the effectiveness of the several prevailing models of guild-like labor organizations for freelancers and artists on advancing individual and occupational professional and economic interests. The chapter concludes with policy implications for building and strengthening inclusive and expressive, urban occupational communities in an era of risk individualization and identity politics.Less
This chapter presents a new, post-bureaucratic research agenda in the new sociology of work derived from the sociological theory of artist activism. The agenda consists of three themes for future research. First is the generalizability of the Nashville model of artist activism across cities that differ in terms of their mix of art-production and -consumption activity and their levels and history of arts trade unionism. The second theme pertains to the influence of biographical pathways, risk orientations, and occupational socialization through intergenerational peer mentoring on the formation of the next generation of artist activists. The third theme is an assessment of the effectiveness of the several prevailing models of guild-like labor organizations for freelancers and artists on advancing individual and occupational professional and economic interests. The chapter concludes with policy implications for building and strengthening inclusive and expressive, urban occupational communities in an era of risk individualization and identity politics.
Ansley T. Erickson
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780226025254
- eISBN:
- 9780226025391
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226025391.001.0001
- Subject:
- Education, History of Education
From World War II through the late 1960s in Nashville, Tennessee, policy choices linking segregation in housing, labor markets, and schooling created educational inequality and privileged white ...
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From World War II through the late 1960s in Nashville, Tennessee, policy choices linking segregation in housing, labor markets, and schooling created educational inequality and privileged white students over their black counterparts. Beginning in 1971, Nashville achieved significant desegregation in its schools via court-ordered busing across the consolidated metropolitan school district. But old pressures for inequality, operating in the new context of metropolitan desegregation and economic growth agendas, remade inequality through the later decades of the twentieth century. Schooling the Metropolis locates the causal roots of educational inequality in the interactions between schools, and the basic political and economic structures of the city and the metropolis. These forces shaped three modes of making and remaking educational inequality: the spatial organization of schooling (where students attended school, and which communities had schools), the curricular organization of schooling (which students enjoyed what academic opportunities in school), and the popular and legal narratives through which people explained inequality. Schooling the Metropolis departs from previous views in key ways: it situates schooling as a force in the making of the city and metropolis rather than as a passive recipient of urban and metropolitan dynamics; and it redirects attention from popular white resistance to policy choices that gave desegregation its specific form and meaning. By examining one of the more sweeping and statistically successful desegregation plans, it recognizes obstacles to educational inequality operating even within metropolitan city-county jurisdictions, and it appreciates the multiple and contradictory ways in which local, state, and federal power constructing and challenged educational inequality.Less
From World War II through the late 1960s in Nashville, Tennessee, policy choices linking segregation in housing, labor markets, and schooling created educational inequality and privileged white students over their black counterparts. Beginning in 1971, Nashville achieved significant desegregation in its schools via court-ordered busing across the consolidated metropolitan school district. But old pressures for inequality, operating in the new context of metropolitan desegregation and economic growth agendas, remade inequality through the later decades of the twentieth century. Schooling the Metropolis locates the causal roots of educational inequality in the interactions between schools, and the basic political and economic structures of the city and the metropolis. These forces shaped three modes of making and remaking educational inequality: the spatial organization of schooling (where students attended school, and which communities had schools), the curricular organization of schooling (which students enjoyed what academic opportunities in school), and the popular and legal narratives through which people explained inequality. Schooling the Metropolis departs from previous views in key ways: it situates schooling as a force in the making of the city and metropolis rather than as a passive recipient of urban and metropolitan dynamics; and it redirects attention from popular white resistance to policy choices that gave desegregation its specific form and meaning. By examining one of the more sweeping and statistically successful desegregation plans, it recognizes obstacles to educational inequality operating even within metropolitan city-county jurisdictions, and it appreciates the multiple and contradictory ways in which local, state, and federal power constructing and challenged educational inequality.
Tom Kimmerer
- Published in print:
- 2015
- Published Online:
- January 2017
- ISBN:
- 9780813165660
- eISBN:
- 9780813166681
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813165660.003.0001
- Subject:
- Biology, Plant Sciences and Forestry
This chapter defines venerable trees through the introduction of two ancient trees, one at a temple in Indonesia and one in a graveyard in Kentucky. Venerable trees are defined as old or otherwise ...
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This chapter defines venerable trees through the introduction of two ancient trees, one at a temple in Indonesia and one in a graveyard in Kentucky. Venerable trees are defined as old or otherwise significant trees to which people have reverential and emotional connections. The chapter describes the author’s long-term personal connection to trees and his realization of the importance of conserving ancient trees. The unusual ancient trees of the Kentucky Bluegrass and Nashville Basin are introduced and a rationale provided for their conservation. Ancient trees that were here before the first permanent habitation in 1779 are still in our landscape but are fast disappearing.Less
This chapter defines venerable trees through the introduction of two ancient trees, one at a temple in Indonesia and one in a graveyard in Kentucky. Venerable trees are defined as old or otherwise significant trees to which people have reverential and emotional connections. The chapter describes the author’s long-term personal connection to trees and his realization of the importance of conserving ancient trees. The unusual ancient trees of the Kentucky Bluegrass and Nashville Basin are introduced and a rationale provided for their conservation. Ancient trees that were here before the first permanent habitation in 1779 are still in our landscape but are fast disappearing.
Tom Kimmerer
- Published in print:
- 2015
- Published Online:
- January 2017
- ISBN:
- 9780813165660
- eISBN:
- 9780813166681
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813165660.003.0004
- Subject:
- Biology, Plant Sciences and Forestry
The Nashville Basin is a limestone karst region with geologic and topographic similarities to the Bluegrass. The Inner Nashville Basin has much thinner soils than the Inner Bluegrass. There is a ...
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The Nashville Basin is a limestone karst region with geologic and topographic similarities to the Bluegrass. The Inner Nashville Basin has much thinner soils than the Inner Bluegrass. There is a large number of ancient trees, especially bur oak and chinkapin oak, scattered throughout the Inner Basin, evidence of past woodland pastures. In the Outer Nashville Basin, there are many ancient trees south of Nashville. It is likely that there were extensive woodland pastures south and east of Nashville, but they are almost all gone, leaving individual remnant trees. Deprivation and poverty after the Civil War may have led to more intensive farming and clearing of woodland pastures.Less
The Nashville Basin is a limestone karst region with geologic and topographic similarities to the Bluegrass. The Inner Nashville Basin has much thinner soils than the Inner Bluegrass. There is a large number of ancient trees, especially bur oak and chinkapin oak, scattered throughout the Inner Basin, evidence of past woodland pastures. In the Outer Nashville Basin, there are many ancient trees south of Nashville. It is likely that there were extensive woodland pastures south and east of Nashville, but they are almost all gone, leaving individual remnant trees. Deprivation and poverty after the Civil War may have led to more intensive farming and clearing of woodland pastures.
Charles L. Hughes
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9781469622439
- eISBN:
- 9781469623245
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469622439.001.0001
- Subject:
- History, African-American History
In the sound of the 1960s and 1970s, nothing symbolized the rift between black and white America better than the seemingly divided genres of country and soul. Yet the music emerged from the same ...
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In the sound of the 1960s and 1970s, nothing symbolized the rift between black and white America better than the seemingly divided genres of country and soul. Yet the music emerged from the same songwriters, musicians, and producers in the recording studios of Memphis and Nashville, Tennessee, and Muscle Shoals, Alabama—what this book calls the “country-soul triangle.” In legendary studios like Stax and FAME, integrated groups of musicians like Booker T. and the MGs and the Muscle Shoals Rhythm Section produced music that both challenged and reconfirmed racial divisions in the United States. Working with artists from Aretha Franklin to Willie Nelson, these musicians became crucial contributors to the era's popular music and internationally recognized symbols of American racial politics in the turbulent years of civil rights protests, Black Power, and white backlash.Less
In the sound of the 1960s and 1970s, nothing symbolized the rift between black and white America better than the seemingly divided genres of country and soul. Yet the music emerged from the same songwriters, musicians, and producers in the recording studios of Memphis and Nashville, Tennessee, and Muscle Shoals, Alabama—what this book calls the “country-soul triangle.” In legendary studios like Stax and FAME, integrated groups of musicians like Booker T. and the MGs and the Muscle Shoals Rhythm Section produced music that both challenged and reconfirmed racial divisions in the United States. Working with artists from Aretha Franklin to Willie Nelson, these musicians became crucial contributors to the era's popular music and internationally recognized symbols of American racial politics in the turbulent years of civil rights protests, Black Power, and white backlash.
Brittany Powell Kennedy
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781628461978
- eISBN:
- 9781626744943
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781628461978.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter seeks to explain a quixotism resulting from a perceived loss of national authenticity at the turn of the twentieth century, looking at the “lovable loser” Don Quijote, whose idealism and ...
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This chapter seeks to explain a quixotism resulting from a perceived loss of national authenticity at the turn of the twentieth century, looking at the “lovable loser” Don Quijote, whose idealism and devotion to a perceived loss of “tradition” becomes a philosophical and aesthetic model for performativity in Spain and the South as the so-called Generation of ’98 writers in Spain and the Fugitive poets and Nashville Agrarians in the South write poetry and philosophy that conceptualize a perceived loss of a performed Spanish and Southern tradition as they cope with said loss within modernity.Less
This chapter seeks to explain a quixotism resulting from a perceived loss of national authenticity at the turn of the twentieth century, looking at the “lovable loser” Don Quijote, whose idealism and devotion to a perceived loss of “tradition” becomes a philosophical and aesthetic model for performativity in Spain and the South as the so-called Generation of ’98 writers in Spain and the Fugitive poets and Nashville Agrarians in the South write poetry and philosophy that conceptualize a perceived loss of a performed Spanish and Southern tradition as they cope with said loss within modernity.
Travis D. Stimeling
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9780197502815
- eISBN:
- 9780197502846
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197502815.001.0001
- Subject:
- Music, History, American, Popular
Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history ...
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Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.Less
Nashville Cats: Record Production in Music City, 1945–1975 is the first history of record production during country music’s so-called Nashville Sound era. This period of country music history produced some of the genre’s most celebrated recording artists, including Country Music Hall of Fame inductees Patsy Cline, Jim Reeves, and Floyd Cramer, and marked the establishment of a recording industry that has come to define Nashville in the national and international consciousness. Yet, despite country music’s overwhelming popularity during this period and the continued legacy of the studios that were built in Nashville during the 1950s and 1960s, little attention has been given to the ways in which recording engineers, session musicians, and record producers shaped the sounds of country music during the time. Drawing upon a rich array of previously unexplored primary sources, Nashville Cats: Record Production in Music City, 1945–1975 is the first book to take a global view of record production in Nashville during the three decades that the city’s musicians established the city as the leading center for the production and distribution of country music.
Clifford R. Murphy
- Published in print:
- 2014
- Published Online:
- April 2017
- ISBN:
- 9780252038679
- eISBN:
- 9780252096617
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038679.001.0001
- Subject:
- Music, History, American
Merging scholarly insight with a professional guitarist's keen sense of the musical life, this book delves into the rich tradition of country and western music that is played and loved in the mill ...
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Merging scholarly insight with a professional guitarist's keen sense of the musical life, this book delves into the rich tradition of country and western music that is played and loved in the mill towns and cities of the American northeast. The book draws on a wealth of ethnographic material, interviews, and encounters with recorded and live music to reveal the central role of country and western in the social lives and musical activity of working-class New Englanders. As the book shows, an extraordinary multiculturalism informed by New England's kaleidoscope of ethnic groups created a distinctive country and western music style. But the music also gave—and gives—voice to working-class feeling. Yankee country and western emphasizes the western, reflecting the longing for the mythical cowboy's life of rugged but fulfilling individualism. Indeed, many New Englanders use country and western to comment on economic disenfranchisement and express their resentment of a mass media, government, and Nashville music establishment they believe neither reflects nor understands their life experiences.Less
Merging scholarly insight with a professional guitarist's keen sense of the musical life, this book delves into the rich tradition of country and western music that is played and loved in the mill towns and cities of the American northeast. The book draws on a wealth of ethnographic material, interviews, and encounters with recorded and live music to reveal the central role of country and western in the social lives and musical activity of working-class New Englanders. As the book shows, an extraordinary multiculturalism informed by New England's kaleidoscope of ethnic groups created a distinctive country and western music style. But the music also gave—and gives—voice to working-class feeling. Yankee country and western emphasizes the western, reflecting the longing for the mythical cowboy's life of rugged but fulfilling individualism. Indeed, many New Englanders use country and western to comment on economic disenfranchisement and express their resentment of a mass media, government, and Nashville music establishment they believe neither reflects nor understands their life experiences.
George Washington Williams
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780823233854
- eISBN:
- 9780823240807
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823233854.003.0013
- Subject:
- History, Military History
The recruitment of Negro soldiers during the War of the Rebellion began in the early autumn of 1863, at Nashville, Tennessee, but there was little disposition to bring them into conflict with the ...
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The recruitment of Negro soldiers during the War of the Rebellion began in the early autumn of 1863, at Nashville, Tennessee, but there was little disposition to bring them into conflict with the enemy in the Department of the Cumberland. The great battles, with but few exceptions, had been fought while the effort to arm Negroes in this Department was in a tentative form. The entire effective force of this army was in the field, and most of the troops were from the Border States, with strong prejudices against the Negro. The officers had little or no time to discuss the fighting qualities of Negro soldiers, and were quite willing to be relieved of the question altogether. On August, 15, 1864, General Joseph Wheeler attacked the Union forces in garrison at Dalton, Georgia. General James B. Steedman was in command of the District of the Etowah, with headquarters at Chattanooga.Less
The recruitment of Negro soldiers during the War of the Rebellion began in the early autumn of 1863, at Nashville, Tennessee, but there was little disposition to bring them into conflict with the enemy in the Department of the Cumberland. The great battles, with but few exceptions, had been fought while the effort to arm Negroes in this Department was in a tentative form. The entire effective force of this army was in the field, and most of the troops were from the Border States, with strong prejudices against the Negro. The officers had little or no time to discuss the fighting qualities of Negro soldiers, and were quite willing to be relieved of the question altogether. On August, 15, 1864, General Joseph Wheeler attacked the Union forces in garrison at Dalton, Georgia. General James B. Steedman was in command of the District of the Etowah, with headquarters at Chattanooga.
Anna Dickinson
- Published in print:
- 2012
- Published Online:
- January 2012
- ISBN:
- 9780813134246
- eISBN:
- 9780813135946
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813134246.003.0005
- Subject:
- History, American History: Civil War
The next letter begins with more descriptions of Savannah and of Andersonville Prison. Dickinson then wrote a long, fairly satirical, account of a sermon she in a black church in Macon. Dickinson and ...
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The next letter begins with more descriptions of Savannah and of Andersonville Prison. Dickinson then wrote a long, fairly satirical, account of a sermon she in a black church in Macon. Dickinson and Bernard then traveled on to Atlanta, and then Chattanooga, Tennessee, with a stop at Lookout Mountain. While in Tennessee Dickinson offered extended commentary about the military engagements that had occurred there during the Civil War, and how they were remembered by the locals. In Nashville she visited Fisk University and commented on the teachers she met there. While Dickinson was in Nashville, an African American man shot and killed a local police officer, prompting a mob to break into the jail to capture and lynch the killer. Dickinson was appalled by the event while concluding that the man deserved his fate. She concludes the letter with a discussion of the racial composition of the local penitentiary and in the convict leasing system. From Nashville, Dickinson and Bernard went home.Less
The next letter begins with more descriptions of Savannah and of Andersonville Prison. Dickinson then wrote a long, fairly satirical, account of a sermon she in a black church in Macon. Dickinson and Bernard then traveled on to Atlanta, and then Chattanooga, Tennessee, with a stop at Lookout Mountain. While in Tennessee Dickinson offered extended commentary about the military engagements that had occurred there during the Civil War, and how they were remembered by the locals. In Nashville she visited Fisk University and commented on the teachers she met there. While Dickinson was in Nashville, an African American man shot and killed a local police officer, prompting a mob to break into the jail to capture and lynch the killer. Dickinson was appalled by the event while concluding that the man deserved his fate. She concludes the letter with a discussion of the racial composition of the local penitentiary and in the convict leasing system. From Nashville, Dickinson and Bernard went home.
William Glenn Robertson
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781469643120
- eISBN:
- 9781469643144
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469643120.003.0005
- Subject:
- History, Military History
This chapter focuses on William Rosecrans’s struggles to amass sufficient supplies for an advance on Chattanooga by the Army of the Cumberland and to gain sufficient intelligence of Confederate ...
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This chapter focuses on William Rosecrans’s struggles to amass sufficient supplies for an advance on Chattanooga by the Army of the Cumberland and to gain sufficient intelligence of Confederate movements to guarantee that army’s success in such an advance. The former involved reconstruction and more efficient operation of the Nashville & Chattanooga Railroad and the latter required analysis of information derived from a wide variety of sources of vastly divergent quality. The chapter also describes daily activities and morale of the soldiers in the ranks of the Army of the Cumberland.Less
This chapter focuses on William Rosecrans’s struggles to amass sufficient supplies for an advance on Chattanooga by the Army of the Cumberland and to gain sufficient intelligence of Confederate movements to guarantee that army’s success in such an advance. The former involved reconstruction and more efficient operation of the Nashville & Chattanooga Railroad and the latter required analysis of information derived from a wide variety of sources of vastly divergent quality. The chapter also describes daily activities and morale of the soldiers in the ranks of the Army of the Cumberland.
William Glenn Robertson
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781469643120
- eISBN:
- 9781469643144
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469643120.003.0006
- Subject:
- History, Military History
This chapter describes the process through which William Rosecrans developed his final plan for a wide-front advance to the Tennessee River and beyond. Logistical aspects of that plan revolved ...
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This chapter describes the process through which William Rosecrans developed his final plan for a wide-front advance to the Tennessee River and beyond. Logistical aspects of that plan revolved around the Nashville & Chattanooga Railroad and its momentary terminus at Bridgeport, Alabama. During the period, Rosecrans also had to contend with serious pressure from Henry Halleck in Washington for an earlier advance and the need to coordinate his movements with Ambrose Burnside, who was to make a simultaneous advance on Knoxville, Tennessee.Less
This chapter describes the process through which William Rosecrans developed his final plan for a wide-front advance to the Tennessee River and beyond. Logistical aspects of that plan revolved around the Nashville & Chattanooga Railroad and its momentary terminus at Bridgeport, Alabama. During the period, Rosecrans also had to contend with serious pressure from Henry Halleck in Washington for an earlier advance and the need to coordinate his movements with Ambrose Burnside, who was to make a simultaneous advance on Knoxville, Tennessee.
William Glenn Robertson
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781469643120
- eISBN:
- 9781469643144
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469643120.003.0008
- Subject:
- History, Military History
This chapter describes the struggles of the Army of the Cumberland during its movement over the mountains of the Cumberland Plateau into the valley of the Tennessee River. It includes the ...
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This chapter describes the struggles of the Army of the Cumberland during its movement over the mountains of the Cumberland Plateau into the valley of the Tennessee River. It includes the development of Stevenson, Alabama as the army’s new headquarters and logistics center, all focused on the Nashville & Chattanooga Railroad. It also further develops William Rosecrans’s tense relationships with Henry Halleck and Ambrose Burnside.Less
This chapter describes the struggles of the Army of the Cumberland during its movement over the mountains of the Cumberland Plateau into the valley of the Tennessee River. It includes the development of Stevenson, Alabama as the army’s new headquarters and logistics center, all focused on the Nashville & Chattanooga Railroad. It also further develops William Rosecrans’s tense relationships with Henry Halleck and Ambrose Burnside.
Thomas Goldsmith
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9780252042966
- eISBN:
- 9780252051821
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042966.003.0001
- Subject:
- Music, Popular
Author Thomas Goldsmith introduces his quest to research the story of bluegrass banjo pioneer Earl Scruggs and that of his signature composition, “Foggy Mountain Breakdown.” Chapter describes visits ...
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Author Thomas Goldsmith introduces his quest to research the story of bluegrass banjo pioneer Earl Scruggs and that of his signature composition, “Foggy Mountain Breakdown.” Chapter describes visits to Boiling Springs, North Carolina, Scruggs’s childhood home and to Cincinnati, Ohio, where “Foggy Mountain Breakdown” was recorded in 1949. Details Goldsmith’s hiring as a newspaper journalist in Nashville, Tennessee, and his many interviews of Scruggs and other bluegrass stars. Lays groundwork for story of Scruggs’s success in music and the use of his tune in movies and many other settings.Less
Author Thomas Goldsmith introduces his quest to research the story of bluegrass banjo pioneer Earl Scruggs and that of his signature composition, “Foggy Mountain Breakdown.” Chapter describes visits to Boiling Springs, North Carolina, Scruggs’s childhood home and to Cincinnati, Ohio, where “Foggy Mountain Breakdown” was recorded in 1949. Details Goldsmith’s hiring as a newspaper journalist in Nashville, Tennessee, and his many interviews of Scruggs and other bluegrass stars. Lays groundwork for story of Scruggs’s success in music and the use of his tune in movies and many other settings.
- Published in print:
- 2007
- Published Online:
- March 2013
- ISBN:
- 9780226350370
- eISBN:
- 9780226350400
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226350400.003.0004
- Subject:
- Music, Popular
This chapter argues that country music lost its market share and that the Nashville industry's efforts at moving country closer to mainstream pop led to the hegemony of the Nashville Sound. The ...
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This chapter argues that country music lost its market share and that the Nashville industry's efforts at moving country closer to mainstream pop led to the hegemony of the Nashville Sound. The historically tense relationship between country music and national mainstream popular culture constitutes a broader background for understanding how country reacted to rock and roll. The corporate music industry became more interested in country music during the 1940s. The resistance to rock and roll is reflected in the recorded output from Nashville. The Nashville Sound was a move toward (white) mainstream pop. So although the Nashville Sound has become accepted as part of the canon, the ongoing attempts to compete with rock and pop are still critiqued by hard-core fans, who have even less power over the production and representation of the genre than they had forty years ago.Less
This chapter argues that country music lost its market share and that the Nashville industry's efforts at moving country closer to mainstream pop led to the hegemony of the Nashville Sound. The historically tense relationship between country music and national mainstream popular culture constitutes a broader background for understanding how country reacted to rock and roll. The corporate music industry became more interested in country music during the 1940s. The resistance to rock and roll is reflected in the recorded output from Nashville. The Nashville Sound was a move toward (white) mainstream pop. So although the Nashville Sound has become accepted as part of the canon, the ongoing attempts to compete with rock and pop are still critiqued by hard-core fans, who have even less power over the production and representation of the genre than they had forty years ago.
Nathan Cardon
- Published in print:
- 2018
- Published Online:
- October 2018
- ISBN:
- 9780190274726
- eISBN:
- 9780190888503
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190274726.001.0001
- Subject:
- History, American History: 19th Century, Social History
A Dream of the Future examines how southerners at the end of the nineteenth century worked through the major questions facing a nation undergoing profound change. In an age of empire and industry, ...
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A Dream of the Future examines how southerners at the end of the nineteenth century worked through the major questions facing a nation undergoing profound change. In an age of empire and industry, southerners grappled with what it meant to be modern. At Atlanta’s 1895 Cotton States and International Exposition and Nashville’s 1897 Tennessee Centennial Exposition, white and black southerners endeavored to understand how their region could be industrial and imperial on its own terms. On a local, national, and global stage, African Americans, New South boosters, New Women, and Civil War veterans presented their own dreams of the future. White southerners at the fairs exhibited a way of life that embraced racial segregation and industrial capitalism, while African Americans accommodated, engaged, and contested this vision. The Atlanta and Nashville expositions are representative of a developing Jim Crow modernity through which white and black southerners constructed themselves as the objects and subjects of modernity during the formative years of segregation. Ultimately, the Atlanta and Nashville fairs were spaces in which southerners presented themselves as modern and imperial citizens ready to spread the South’s culture and racial politics across the globe.Less
A Dream of the Future examines how southerners at the end of the nineteenth century worked through the major questions facing a nation undergoing profound change. In an age of empire and industry, southerners grappled with what it meant to be modern. At Atlanta’s 1895 Cotton States and International Exposition and Nashville’s 1897 Tennessee Centennial Exposition, white and black southerners endeavored to understand how their region could be industrial and imperial on its own terms. On a local, national, and global stage, African Americans, New South boosters, New Women, and Civil War veterans presented their own dreams of the future. White southerners at the fairs exhibited a way of life that embraced racial segregation and industrial capitalism, while African Americans accommodated, engaged, and contested this vision. The Atlanta and Nashville expositions are representative of a developing Jim Crow modernity through which white and black southerners constructed themselves as the objects and subjects of modernity during the formative years of segregation. Ultimately, the Atlanta and Nashville fairs were spaces in which southerners presented themselves as modern and imperial citizens ready to spread the South’s culture and racial politics across the globe.
Stephen Wade
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036880
- eISBN:
- 9780252094002
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036880.003.0005
- Subject:
- Music, History, American
This chapter describes the recordings of the Nashville Washboard Band. In the spring of 1942 Fisk University music professor John W. Work III welcomed a quartet of street musicians called the ...
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This chapter describes the recordings of the Nashville Washboard Band. In the spring of 1942 Fisk University music professor John W. Work III welcomed a quartet of street musicians called the Nashville Washboard Band into his home. This visit marked the first of two. The second took place that July when the group, bringing along a fifth player, returned to make their sole recordings. The group was a frequent sight in downtown Nashville, playing less than a hundred feet from the War Memorial Auditorium, where the Grand Ole Opry broadcast its weekly radio show. When not stationed there or beside the Andrew Jackson Hotel nearby, they entertained the lunchtime crowd that gathered on the south steps of the state capitol. The group's four principal members all lived within walking distance of these spots where they toted their largely climate-resistant instruments. They also offered a repertory bound to pique the attention of passersby.Less
This chapter describes the recordings of the Nashville Washboard Band. In the spring of 1942 Fisk University music professor John W. Work III welcomed a quartet of street musicians called the Nashville Washboard Band into his home. This visit marked the first of two. The second took place that July when the group, bringing along a fifth player, returned to make their sole recordings. The group was a frequent sight in downtown Nashville, playing less than a hundred feet from the War Memorial Auditorium, where the Grand Ole Opry broadcast its weekly radio show. When not stationed there or beside the Andrew Jackson Hotel nearby, they entertained the lunchtime crowd that gathered on the south steps of the state capitol. The group's four principal members all lived within walking distance of these spots where they toted their largely climate-resistant instruments. They also offered a repertory bound to pique the attention of passersby.
