Felice Davidson Perlmutter
- Published in print:
- 1997
- Published Online:
- January 2009
- ISBN:
- 9780195110159
- eISBN:
- 9780199865635
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195110159.001.0001
- Subject:
- Social Work, Communities and Organizations, Social Policy
Using a case example of how Pennsylvania Blue Shield trained, hired, and retained several hundred welfare recipients on its work force, this book offers a success story and a broad discussion of ...
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Using a case example of how Pennsylvania Blue Shield trained, hired, and retained several hundred welfare recipients on its work force, this book offers a success story and a broad discussion of welfare reform, public policy, and corporate social responsibility. It also offers a practical explanation of the specific steps needed to establish such a program, including corporate tax incentives, business and government collaborations, and the special needs of welfare recipients. The book demonstrates that it is possible for corporate America to combine bottom-line goals with socially responsible goals.Less
Using a case example of how Pennsylvania Blue Shield trained, hired, and retained several hundred welfare recipients on its work force, this book offers a success story and a broad discussion of welfare reform, public policy, and corporate social responsibility. It also offers a practical explanation of the specific steps needed to establish such a program, including corporate tax incentives, business and government collaborations, and the special needs of welfare recipients. The book demonstrates that it is possible for corporate America to combine bottom-line goals with socially responsible goals.
Loriliai Biernacki
- Published in print:
- 2008
- Published Online:
- September 2007
- ISBN:
- 9780195327823
- eISBN:
- 9780199785520
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327823.001.0001
- Subject:
- Religion, Hinduism
The role of women and ideas of gender are fundamental components of all religious traditions. Tantric traditions in particular offer a unique perspective on women's participation in religious ...
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The role of women and ideas of gender are fundamental components of all religious traditions. Tantric traditions in particular offer a unique perspective on women's participation in religious traditions since they frequently incorporate worship of Goddesses, along with ordinary women as participants in religious rites. This book examines the representations of women within Tantra using a case study of a selection of Hindu Tantric texts from the fifteenth through eighteenth centuries in Northeast India. Arguing for a nuanced perspective of women in Tantra, this book presents evidence for women's enhanced status in some traditions of Tantra, with women in the roles of guru and initiate. This book also addresses images of women within the Tantric rite of sexual union, arguing for multiple versions and motivations for this notorious practice. Especially this book addresses issues of discourse and speech, women's speech and speech about women, suggesting the imbrication of women's bodies within ideas of women's speech. This book examines a number of Tantric texts that have so far not been translated into Western languages. One appendix delineates the historical context for fifteenth through eighteenth century in the Northeast region of India and also surveys images of women found across a wide range of Tantric texts. The second appendix gives a chapter by chapter synopsis of the primary text used for this study, the Bṭhannīla Tantra, “The Great Blue Tantra,” a long and so far untranslated Tantric text.Less
The role of women and ideas of gender are fundamental components of all religious traditions. Tantric traditions in particular offer a unique perspective on women's participation in religious traditions since they frequently incorporate worship of Goddesses, along with ordinary women as participants in religious rites. This book examines the representations of women within Tantra using a case study of a selection of Hindu Tantric texts from the fifteenth through eighteenth centuries in Northeast India. Arguing for a nuanced perspective of women in Tantra, this book presents evidence for women's enhanced status in some traditions of Tantra, with women in the roles of guru and initiate. This book also addresses images of women within the Tantric rite of sexual union, arguing for multiple versions and motivations for this notorious practice. Especially this book addresses issues of discourse and speech, women's speech and speech about women, suggesting the imbrication of women's bodies within ideas of women's speech. This book examines a number of Tantric texts that have so far not been translated into Western languages. One appendix delineates the historical context for fifteenth through eighteenth century in the Northeast region of India and also surveys images of women found across a wide range of Tantric texts. The second appendix gives a chapter by chapter synopsis of the primary text used for this study, the Bṭhannīla Tantra, “The Great Blue Tantra,” a long and so far untranslated Tantric text.
Loriliai Biernacki
- Published in print:
- 2008
- Published Online:
- September 2007
- ISBN:
- 9780195327823
- eISBN:
- 9780199785520
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327823.003.0003
- Subject:
- Religion, Hinduism
This chapter addresses women's roles and attitudes toward women in the Tantric rite of sexual union. This chapter also addresses the problem of the relation between sex represented in a text and the ...
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This chapter addresses women's roles and attitudes toward women in the Tantric rite of sexual union. This chapter also addresses the problem of the relation between sex represented in a text and the question of whether “anyone ever really did this.” What does it mean to portray a rite involving sex in a textual source? This chapter explores the discourse around women's bodies and how identity is enacted through sex and language—and language about sex. Key in this version of the rite is that it rejects a notion of ascetic mastery over the body and women. This is coded in the rite gesturally, in the ways that bodies act in relation to one another, and iterated conceptually in the philosophical “secret” behind the Tantric rite of sexual union—that, contrary to normative understanding of the feminine as matter, the Tantric “secret” is that the feminine principle is spirit, soul and essence.Less
This chapter addresses women's roles and attitudes toward women in the Tantric rite of sexual union. This chapter also addresses the problem of the relation between sex represented in a text and the question of whether “anyone ever really did this.” What does it mean to portray a rite involving sex in a textual source? This chapter explores the discourse around women's bodies and how identity is enacted through sex and language—and language about sex. Key in this version of the rite is that it rejects a notion of ascetic mastery over the body and women. This is coded in the rite gesturally, in the ways that bodies act in relation to one another, and iterated conceptually in the philosophical “secret” behind the Tantric rite of sexual union—that, contrary to normative understanding of the feminine as matter, the Tantric “secret” is that the feminine principle is spirit, soul and essence.
Loriliai Biernacki
- Published in print:
- 2008
- Published Online:
- September 2007
- ISBN:
- 9780195327823
- eISBN:
- 9780199785520
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327823.003.0009
- Subject:
- Religion, Hinduism
The Bṭhannīla Tantra, which forms the primary text used in this study, has not yet been translated from Sanskrit into English or any European language, though it has been published, in its various ...
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The Bṭhannīla Tantra, which forms the primary text used in this study, has not yet been translated from Sanskrit into English or any European language, though it has been published, in its various versions as many as five times in India since the 1880s. This appendix is presented to give some sense of the contents of this text. This synopsis covers the major themes and topics addressed in the Bṭhannīla Tantra. The Bṭhannīla Tantra is a comparatively large text, 256 pages of Sanskrit. This synopsis will focus less on the minutiae of precise ritual details, the most substantial element within the Bṭhannīla Tantra, and more upon that element of the Bṭhannīla Tantra that presents the greatest amount of authorial reflection—the “voice” of these authors through its stories and occasional philosophical explanations, for culling out the view of women that the Bṭhannīla Tantra presents.Less
The Bṭhannīla Tantra, which forms the primary text used in this study, has not yet been translated from Sanskrit into English or any European language, though it has been published, in its various versions as many as five times in India since the 1880s. This appendix is presented to give some sense of the contents of this text. This synopsis covers the major themes and topics addressed in the Bṭhannīla Tantra. The Bṭhannīla Tantra is a comparatively large text, 256 pages of Sanskrit. This synopsis will focus less on the minutiae of precise ritual details, the most substantial element within the Bṭhannīla Tantra, and more upon that element of the Bṭhannīla Tantra that presents the greatest amount of authorial reflection—the “voice” of these authors through its stories and occasional philosophical explanations, for culling out the view of women that the Bṭhannīla Tantra presents.
Jeffrey Magee
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195090222
- eISBN:
- 9780199871469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195090222.003.0006
- Subject:
- Music, Popular
After Armstrong's departure from the band in late 1925, his music still represented a musical and social challenge in that his style presented an exciting but perhaps threatening foil to the Paul ...
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After Armstrong's departure from the band in late 1925, his music still represented a musical and social challenge in that his style presented an exciting but perhaps threatening foil to the Paul Whiteman sound. Henderson, with Redman's arrangements, continued to negotiate between the two approaches, reflecting the intersection of the New Orleans and New York traditions. This can be heard in the band's revival of earlier jazz hits such as “Clarinet Marmalade” and “Wang Wang Blues”, and in Henderson's original blues compositions that represented a New York stylization of the raw, earthy southern style. Songs like “‘D’ Natural Blues”, “The Stampede”, “Rocky Mountain Blues”, and “Whiteman's Stomp” exemplify how Henderson's band tailored its music for widely contrasting purposes and continued to absorb Armstrong's legacy.Less
After Armstrong's departure from the band in late 1925, his music still represented a musical and social challenge in that his style presented an exciting but perhaps threatening foil to the Paul Whiteman sound. Henderson, with Redman's arrangements, continued to negotiate between the two approaches, reflecting the intersection of the New Orleans and New York traditions. This can be heard in the band's revival of earlier jazz hits such as “Clarinet Marmalade” and “Wang Wang Blues”, and in Henderson's original blues compositions that represented a New York stylization of the raw, earthy southern style. Songs like “‘D’ Natural Blues”, “The Stampede”, “Rocky Mountain Blues”, and “Whiteman's Stomp” exemplify how Henderson's band tailored its music for widely contrasting purposes and continued to absorb Armstrong's legacy.
David Pears
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199247707
- eISBN:
- 9780191714481
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199247707.003.0005
- Subject:
- Philosophy, History of Philosophy
‘I’, or if given thegravitasof Latin, ‘Ego’, is a surprisingly elusive concept, and Wittgenstein's concern with the problems that it presents to a philosopher emerges very early in his writings. His ...
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‘I’, or if given thegravitasof Latin, ‘Ego’, is a surprisingly elusive concept, and Wittgenstein's concern with the problems that it presents to a philosopher emerges very early in his writings. His treatment of the concept leads him into two paradoxes. The first paradox is formulated in the discussion of solipsism in theTractatus. The second paradox does not — at least, on the face of it — involve any philosophical theory. It is the simple claim that the pronoun ‘I’ does not make a reference. This claim is made inThe Blue Book(1933-34).Less
‘I’, or if given thegravitasof Latin, ‘Ego’, is a surprisingly elusive concept, and Wittgenstein's concern with the problems that it presents to a philosopher emerges very early in his writings. His treatment of the concept leads him into two paradoxes. The first paradox is formulated in the discussion of solipsism in theTractatus. The second paradox does not — at least, on the face of it — involve any philosophical theory. It is the simple claim that the pronoun ‘I’ does not make a reference. This claim is made inThe Blue Book(1933-34).
Eiichi Yamaguchi
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199297320
- eISBN:
- 9780191711237
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199297320.003.0009
- Subject:
- Business and Management, Innovation
This chapter amplifies a number of the preceding themes and provides new insights in his case study of the blue LED invention. Distinguishing between ‘paradigm-disruptive’ innovation and ...
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This chapter amplifies a number of the preceding themes and provides new insights in his case study of the blue LED invention. Distinguishing between ‘paradigm-disruptive’ innovation and ‘performance-disruptive’ innovation, it is argued that large firms face difficult problems with both, but especially the former (because of their ‘competency-enhancing’ innovation bias as well as growing bureaucracy, and more recently, restructuring). Using the blue LED case, it is argued that there is a greater chance of top managers following a hunch or creating a ‘field of resonance’ with their scientists in smaller companies. The implication of this study is a call for hastening the shift to a more open innovation system in Japan, with a greater role for startups and networks of innovative small firms.Less
This chapter amplifies a number of the preceding themes and provides new insights in his case study of the blue LED invention. Distinguishing between ‘paradigm-disruptive’ innovation and ‘performance-disruptive’ innovation, it is argued that large firms face difficult problems with both, but especially the former (because of their ‘competency-enhancing’ innovation bias as well as growing bureaucracy, and more recently, restructuring). Using the blue LED case, it is argued that there is a greater chance of top managers following a hunch or creating a ‘field of resonance’ with their scientists in smaller companies. The implication of this study is a call for hastening the shift to a more open innovation system in Japan, with a greater role for startups and networks of innovative small firms.
Ron Rodman
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195340242
- eISBN:
- 9780199863778
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340242.003.0009
- Subject:
- Music, Popular, History, American
Using the notion of musical style topics (Agawu 1992, Ratner 1980, and Monelle 2000), this chapter traces the evolution of musical style and its effect on meaning in the genre of the police drama. ...
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Using the notion of musical style topics (Agawu 1992, Ratner 1980, and Monelle 2000), this chapter traces the evolution of musical style and its effect on meaning in the genre of the police drama. Style topics are musical figures in a television score that convey meaning by referencing aspects of common knowledge and practices in society accessible to television viewers. After defining various style topics for television music, the chapter analyzes music from police dramas from the 1950s to the 1990s. Musical themes to such shows as Dragnet, M Squad, Adam‐12, Hawaii Five‐O, Hill Street Blues, Miami Vice, NYPD Blue, and Homicide illustrate musical styles that depict a popular view of the police during each decade. The military march topic of the theme of Dragnet portrays the police as efficient, paramilitary enforcers of the law, while the rock topic for Miami Vice would be read as signifying cool cops.Less
Using the notion of musical style topics (Agawu 1992, Ratner 1980, and Monelle 2000), this chapter traces the evolution of musical style and its effect on meaning in the genre of the police drama. Style topics are musical figures in a television score that convey meaning by referencing aspects of common knowledge and practices in society accessible to television viewers. After defining various style topics for television music, the chapter analyzes music from police dramas from the 1950s to the 1990s. Musical themes to such shows as Dragnet, M Squad, Adam‐12, Hawaii Five‐O, Hill Street Blues, Miami Vice, NYPD Blue, and Homicide illustrate musical styles that depict a popular view of the police during each decade. The military march topic of the theme of Dragnet portrays the police as efficient, paramilitary enforcers of the law, while the rock topic for Miami Vice would be read as signifying cool cops.
Wim Verbei
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496805119
- eISBN:
- 9781496812544
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496805119.001.0001
- Subject:
- Music, History, American
This book stands as both a remarkable biography of J. Frank G. Boom (1920–1953) and a recovery of his incredible contribution to blues scholarship originally titled The Blues: Satirical Songs of the ...
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This book stands as both a remarkable biography of J. Frank G. Boom (1920–1953) and a recovery of his incredible contribution to blues scholarship originally titled The Blues: Satirical Songs of the North American Negro. The book tells how and when the Netherlands was introduced to African American blues music and describes the equally dramatic and peculiar friendship that existed between Boom and jazz critic and musicologist Will Gilbert, who worked for the Kultuurkamer during World War II and had been charged with the task of formulating the Nazi's Jazzverbod, the decree prohibiting the public performance of jazz. The book ends with the annotated and complete text of Boom's The Blues, providing the international world at last with an English version of the first book-length study of the blues. At the end of the 1960s, a series of 13 blues paperbacks edited by Paul Oliver for the London publisher November Books began appearing. One manuscript landed on his desk that had been written in 1943 by a then 23-year-old Frank (Frans) Boom. Its publication was announced on the back jacket of the last three Blues Paperbacks in 1971 and 1972. Yet it never was published and the manuscript once more disappeared. In October 1996, Dutch blues expert and publicist Verbei went in search of the presumably lost manuscript and the story behind its author. It only took him a couple of months to track down the manuscript, but it took another ten years to glean the full story behind the extraordinary Frans Boom, who passed away in 1953 in Indonesia.Less
This book stands as both a remarkable biography of J. Frank G. Boom (1920–1953) and a recovery of his incredible contribution to blues scholarship originally titled The Blues: Satirical Songs of the North American Negro. The book tells how and when the Netherlands was introduced to African American blues music and describes the equally dramatic and peculiar friendship that existed between Boom and jazz critic and musicologist Will Gilbert, who worked for the Kultuurkamer during World War II and had been charged with the task of formulating the Nazi's Jazzverbod, the decree prohibiting the public performance of jazz. The book ends with the annotated and complete text of Boom's The Blues, providing the international world at last with an English version of the first book-length study of the blues. At the end of the 1960s, a series of 13 blues paperbacks edited by Paul Oliver for the London publisher November Books began appearing. One manuscript landed on his desk that had been written in 1943 by a then 23-year-old Frank (Frans) Boom. Its publication was announced on the back jacket of the last three Blues Paperbacks in 1971 and 1972. Yet it never was published and the manuscript once more disappeared. In October 1996, Dutch blues expert and publicist Verbei went in search of the presumably lost manuscript and the story behind its author. It only took him a couple of months to track down the manuscript, but it took another ten years to glean the full story behind the extraordinary Frans Boom, who passed away in 1953 in Indonesia.
Maurice Peress
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195098228
- eISBN:
- 9780199869817
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195098228.003.0009
- Subject:
- Music, History, Western
This chapter details Gershwin's early contacts with African American music and musicians. His Blue Monday Blues of 1922, a failed attempt at writing an operatic scene about Negro characters, is sung ...
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This chapter details Gershwin's early contacts with African American music and musicians. His Blue Monday Blues of 1922, a failed attempt at writing an operatic scene about Negro characters, is sung by whites in blackface. The chapter also discusses his thoughts on Jewish artists and African American music. Fifteen years later, Gershwin's masterpiece, a folk opera, Porgy and Bess, comes to Broadway and receives mixed reviews. The orchestration question is resolved at the end of the chapter.Less
This chapter details Gershwin's early contacts with African American music and musicians. His Blue Monday Blues of 1922, a failed attempt at writing an operatic scene about Negro characters, is sung by whites in blackface. The chapter also discusses his thoughts on Jewish artists and African American music. Fifteen years later, Gershwin's masterpiece, a folk opera, Porgy and Bess, comes to Broadway and receives mixed reviews. The orchestration question is resolved at the end of the chapter.
Julian Johnson
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780195146813
- eISBN:
- 9780199849246
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195146813.001.0001
- Subject:
- Music, Philosophy of Music
In the last decades most cultural critics have come to agree that the division between “high” and “low” art is an artificial one, that Beethoven's Ninth and Blue Suede Shoes are equally valuable as ...
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In the last decades most cultural critics have come to agree that the division between “high” and “low” art is an artificial one, that Beethoven's Ninth and Blue Suede Shoes are equally valuable as cultural texts. This book challenges these dominant assumptions about the relativism of cultural judgements. The book maintains that music is more than just “a matter of taste”: while some music provides entertainment, or serves as background noise, other music functions as art. This book considers the value of classical music in contemporary society, arguing that it remains distinctive because it works in quite different ways to most of the other music that surrounds us. This long book aims to restore classical music's intrinsic aesthetic value and to rescue it from a designation as mere signifier of elitism or refinement.Less
In the last decades most cultural critics have come to agree that the division between “high” and “low” art is an artificial one, that Beethoven's Ninth and Blue Suede Shoes are equally valuable as cultural texts. This book challenges these dominant assumptions about the relativism of cultural judgements. The book maintains that music is more than just “a matter of taste”: while some music provides entertainment, or serves as background noise, other music functions as art. This book considers the value of classical music in contemporary society, arguing that it remains distinctive because it works in quite different ways to most of the other music that surrounds us. This long book aims to restore classical music's intrinsic aesthetic value and to rescue it from a designation as mere signifier of elitism or refinement.
Carsten Daugbjerg and Alan Swinbank
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199557752
- eISBN:
- 9780191721922
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199557752.003.0007
- Subject:
- Political Science, Comparative Politics
Chapter 7 shows how CAP reform, whilst driven by WTO concerns, feeds back into the WTO negotiations, setting limits to what can be agreed, but also providing enhanced opportunities for agreement. ...
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Chapter 7 shows how CAP reform, whilst driven by WTO concerns, feeds back into the WTO negotiations, setting limits to what can be agreed, but also providing enhanced opportunities for agreement. From being defensive within the ‘old’ GATT, attempting to limit the damage that an agricultural agreement could cause to the CAP, the EU became more offensive in its relationship with the WTO. The EU's initial negotiating offer on agriculture in the Uruguay Round was very limited, reflecting its defence of the CAP, but the breakdown of the negotiations in December 1990 convinced EU decision-makers that the CAP had to change, allowing the EU and the United States to agree the Blair House accord. In the run-up to the Doha Development Agenda (Doha Round) the EU tried to establish multifunctionality as one of its non-trade concerns, but without success. In the Doha Round, it was much better placed to mount an offensive negotiation because the Fischler reforms had switched blue box payments into the green box.Less
Chapter 7 shows how CAP reform, whilst driven by WTO concerns, feeds back into the WTO negotiations, setting limits to what can be agreed, but also providing enhanced opportunities for agreement. From being defensive within the ‘old’ GATT, attempting to limit the damage that an agricultural agreement could cause to the CAP, the EU became more offensive in its relationship with the WTO. The EU's initial negotiating offer on agriculture in the Uruguay Round was very limited, reflecting its defence of the CAP, but the breakdown of the negotiations in December 1990 convinced EU decision-makers that the CAP had to change, allowing the EU and the United States to agree the Blair House accord. In the run-up to the Doha Development Agenda (Doha Round) the EU tried to establish multifunctionality as one of its non-trade concerns, but without success. In the Doha Round, it was much better placed to mount an offensive negotiation because the Fischler reforms had switched blue box payments into the green box.
Adam Gussow
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781469633664
- eISBN:
- 9781469633688
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469633664.001.0001
- Subject:
- Music, History, American
This book explores the role played by the devil figure within an evolving blues tradition. It pays particular attention to the lyrics of recorded blues songs, but it also seeks to tell a story about ...
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This book explores the role played by the devil figure within an evolving blues tradition. It pays particular attention to the lyrics of recorded blues songs, but it also seeks to tell a story about blues-invested southern lives. The first four chapters investigate, in sequence, the origins and meaning of the phrase "the devil's music" within black southern communities; the devil as a figure who empowers and haunts migrant black blueswomen in the urban North of the Jazz Age; the devil as a symbol of white maleficence and an icon for black southern bluesmen entrapped in the "hell" of the Jim Crow system; and the devil as shape-shifting troublemaker within blues songs lamenting failed romantic relationships. The fifth chapter is an extended meditation on the figure of Robert Johnson. It offers, in sequence, a new interpretation of Johnson's life and music under the sign of his mentor, Ike Zimmerman; a reading of Walter Hill's Crossroads (1986) that aligns the film with the racial anxieties of modern blues culture; and a narrative history detailing the way in which the townspeople of Clarksdale, Mississippi transformed a pair of unimportant side streets into "the crossroads" over a sixty-year period, rebranding their town as the devil's territory and Johnson's chosen haunt, a mecca for blues tourism in the contemporary Delta.Less
This book explores the role played by the devil figure within an evolving blues tradition. It pays particular attention to the lyrics of recorded blues songs, but it also seeks to tell a story about blues-invested southern lives. The first four chapters investigate, in sequence, the origins and meaning of the phrase "the devil's music" within black southern communities; the devil as a figure who empowers and haunts migrant black blueswomen in the urban North of the Jazz Age; the devil as a symbol of white maleficence and an icon for black southern bluesmen entrapped in the "hell" of the Jim Crow system; and the devil as shape-shifting troublemaker within blues songs lamenting failed romantic relationships. The fifth chapter is an extended meditation on the figure of Robert Johnson. It offers, in sequence, a new interpretation of Johnson's life and music under the sign of his mentor, Ike Zimmerman; a reading of Walter Hill's Crossroads (1986) that aligns the film with the racial anxieties of modern blues culture; and a narrative history detailing the way in which the townspeople of Clarksdale, Mississippi transformed a pair of unimportant side streets into "the crossroads" over a sixty-year period, rebranding their town as the devil's territory and Johnson's chosen haunt, a mecca for blues tourism in the contemporary Delta.
Walter van de Leur
- Published in print:
- 2002
- Published Online:
- September 2008
- ISBN:
- 9780195124484
- eISBN:
- 9780199868711
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195124484.003.0003
- Subject:
- Music, History, Western
This chapter starts out with the 1941 broadcasting ban, which made Ellington record Strayhorn originals such as Take the “A” Train, Chelsea Bridge, and Rain Check. Analysis of these works displays ...
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This chapter starts out with the 1941 broadcasting ban, which made Ellington record Strayhorn originals such as Take the “A” Train, Chelsea Bridge, and Rain Check. Analysis of these works displays their main characteristics: advanced harmonies, chromatic melodies, a tight structural design, and a clear compositional concept, partly based on classical techniques. The chapter then turns to the first major Ellington-Strayhorn collaboration: Jump for Joy. A study of unused, vanguard 1941-2 works follows, including Blue Star and Pentonsilic. The final section summarizes Strayhorn’s importance in those years: he wrote or co-wrote some of the Ellington band’s stalwarts, he revitalized or fleshed out other pieces, and he arranged most of the band’s pop material. Strayhorn added an entirely new stylistic wing to the Ellington building, of which Ellington was still believed to be the sole architect.Less
This chapter starts out with the 1941 broadcasting ban, which made Ellington record Strayhorn originals such as Take the “A” Train, Chelsea Bridge, and Rain Check. Analysis of these works displays their main characteristics: advanced harmonies, chromatic melodies, a tight structural design, and a clear compositional concept, partly based on classical techniques. The chapter then turns to the first major Ellington-Strayhorn collaboration: Jump for Joy. A study of unused, vanguard 1941-2 works follows, including Blue Star and Pentonsilic. The final section summarizes Strayhorn’s importance in those years: he wrote or co-wrote some of the Ellington band’s stalwarts, he revitalized or fleshed out other pieces, and he arranged most of the band’s pop material. Strayhorn added an entirely new stylistic wing to the Ellington building, of which Ellington was still believed to be the sole architect.
Walter van de Leur
- Published in print:
- 2002
- Published Online:
- September 2008
- ISBN:
- 9780195124484
- eISBN:
- 9780199868711
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195124484.003.0008
- Subject:
- Music, History, Western
This chapter unravels Strayhorn’s often hidden contributions to the successful LP albums recorded by the Ellington orchestra in the 1950s. It discusses Strayhorn’s contributions to Blue Rose ...
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This chapter unravels Strayhorn’s often hidden contributions to the successful LP albums recorded by the Ellington orchestra in the 1950s. It discusses Strayhorn’s contributions to Blue Rose (featuring singer Rosemary Clooney), Historically Speaking – The Duke, Duke Ellington Presents …, Newport Jazz Festival Suite, A Drum Is a Woman, Such Sweet Thunder, Ella Fitzgerald Sings the Duke Ellington Songbook, Ellington Indigos, Anatomy of a Murder, Ellington Jazz Party, Blues in Orbit, Recollections of the Big Band Era, The Nutcracker Suite, The Peer Gynt Suite, A Midnight in Paris, Mary Poppins, and Suite Thursday. The responsibility for a significant part of the band’s repertory fell entirely to Strayhorn. As a result, the sound of the Ellington band in the 1950s was equally indebted to Ellington and Strayhorn, even though it was understood by its audiences as purely Ellingtonian.Less
This chapter unravels Strayhorn’s often hidden contributions to the successful LP albums recorded by the Ellington orchestra in the 1950s. It discusses Strayhorn’s contributions to Blue Rose (featuring singer Rosemary Clooney), Historically Speaking – The Duke, Duke Ellington Presents …, Newport Jazz Festival Suite, A Drum Is a Woman, Such Sweet Thunder, Ella Fitzgerald Sings the Duke Ellington Songbook, Ellington Indigos, Anatomy of a Murder, Ellington Jazz Party, Blues in Orbit, Recollections of the Big Band Era, The Nutcracker Suite, The Peer Gynt Suite, A Midnight in Paris, Mary Poppins, and Suite Thursday. The responsibility for a significant part of the band’s repertory fell entirely to Strayhorn. As a result, the sound of the Ellington band in the 1950s was equally indebted to Ellington and Strayhorn, even though it was understood by its audiences as purely Ellingtonian.
Frederic Wakeman
- Published in print:
- 2003
- Published Online:
- March 2012
- ISBN:
- 9780520234079
- eISBN:
- 9780520928763
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520234079.001.0001
- Subject:
- History, Asian History
The most feared man in China, Dai Li, was chief of Chiang Kai-shek's secret service during World War II. This sweeping biography of “China's Himmler”, based on recently opened intelligence archives, ...
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The most feared man in China, Dai Li, was chief of Chiang Kai-shek's secret service during World War II. This sweeping biography of “China's Himmler”, based on recently opened intelligence archives, traces Dai's rise from obscurity as a rural hooligan and Green Gang blood-brother to commander of the paramilitary units of the Blue Shirts and of the dreaded Military Statistics Bureau: the world's largest spy and counterespionage organization of its time. In addition to exposing the inner workings of the secret police, whose death squads, kidnappings, torture, and omnipresent surveillance terrorized critics of the Nationalist regime, Dai Li's personal story opens a unique window on the clandestine history of China's Republican period. This study uncovers the origins of the Cold War in the interactions of Chinese and American special services operatives who cooperated with Dai Li in the resistance to the Japanese invasion in the 1930s and who laid the groundwork for an ongoing alliance against the Communists during the revolution that followed in the 1940s. The book illustrates how the anti-Communist activities Dai Li led altered the balance of power within the Chinese Communist Party, setting the stage for Mao Zedong's rise to supremacy. It reveals a complex and remarkable personality that masked a dark presence in modern China—one that still pervades the secret services on both sides of the Taiwan Strait. The book illuminates a previously little-understood world as it discloses the details of Chinese secret service trade-craft.Less
The most feared man in China, Dai Li, was chief of Chiang Kai-shek's secret service during World War II. This sweeping biography of “China's Himmler”, based on recently opened intelligence archives, traces Dai's rise from obscurity as a rural hooligan and Green Gang blood-brother to commander of the paramilitary units of the Blue Shirts and of the dreaded Military Statistics Bureau: the world's largest spy and counterespionage organization of its time. In addition to exposing the inner workings of the secret police, whose death squads, kidnappings, torture, and omnipresent surveillance terrorized critics of the Nationalist regime, Dai Li's personal story opens a unique window on the clandestine history of China's Republican period. This study uncovers the origins of the Cold War in the interactions of Chinese and American special services operatives who cooperated with Dai Li in the resistance to the Japanese invasion in the 1930s and who laid the groundwork for an ongoing alliance against the Communists during the revolution that followed in the 1940s. The book illustrates how the anti-Communist activities Dai Li led altered the balance of power within the Chinese Communist Party, setting the stage for Mao Zedong's rise to supremacy. It reveals a complex and remarkable personality that masked a dark presence in modern China—one that still pervades the secret services on both sides of the Taiwan Strait. The book illuminates a previously little-understood world as it discloses the details of Chinese secret service trade-craft.
Robert Wyatt and John Andrew Johnson
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195327113
- eISBN:
- 9780199851249
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327113.003.0006
- Subject:
- Music, Popular
This chapter discusses the success of George and Ira Gershwins during the 1920s. George composed the tunes while Ira wrote the lyrics. George's success was attributed to the commercial success of ...
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This chapter discusses the success of George and Ira Gershwins during the 1920s. George composed the tunes while Ira wrote the lyrics. George's success was attributed to the commercial success of their works including Yankee Doodle Blues, Rhapsody in Blue, and Do It Again. In addition, the press also helped to shape Gershwin into a celebrity, particularly Time magazine whose founder Henry Luce was Gershwin's friend. This chapter is based on an article originally published in the July 1925 issue of Time.Less
This chapter discusses the success of George and Ira Gershwins during the 1920s. George composed the tunes while Ira wrote the lyrics. George's success was attributed to the commercial success of their works including Yankee Doodle Blues, Rhapsody in Blue, and Do It Again. In addition, the press also helped to shape Gershwin into a celebrity, particularly Time magazine whose founder Henry Luce was Gershwin's friend. This chapter is based on an article originally published in the July 1925 issue of Time.
Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0023
- Subject:
- Music, Popular
“Wolverine Blues” is one of Jelly Roll Morton's most successful records. It contains some of the very best in this series, but it had one weird lapse, and he played a part of it better than his other ...
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“Wolverine Blues” is one of Jelly Roll Morton's most successful records. It contains some of the very best in this series, but it had one weird lapse, and he played a part of it better than his other versions. “Wolverine Blues” was not blues, neither an 8-, 12-, or 16-bar blues. “Wolverine Blues” was a record in three themes, A, B, A, C. Morton played A and another variation on A with a stiffer beat. Theme B was the basis for the two choruses. Morton started at A, but changed to the interlude leading to C.Less
“Wolverine Blues” is one of Jelly Roll Morton's most successful records. It contains some of the very best in this series, but it had one weird lapse, and he played a part of it better than his other versions. “Wolverine Blues” was not blues, neither an 8-, 12-, or 16-bar blues. “Wolverine Blues” was a record in three themes, A, B, A, C. Morton played A and another variation on A with a stiffer beat. Theme B was the basis for the two choruses. Morton started at A, but changed to the interlude leading to C.
Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0029
- Subject:
- Music, Popular
Dinah Washington (real name: Ruth Jones) was raised on praise music and was a member of church choir as a pianist before she was fifteen years old. She became a jazz performer by winning an amateur ...
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Dinah Washington (real name: Ruth Jones) was raised on praise music and was a member of church choir as a pianist before she was fifteen years old. She became a jazz performer by winning an amateur contest. She also worked with Lionel Hampton. In an interview, Washington stated the she objected to her nickname as the “Queen of the Blues,” because she sings more pop music than blues. Though her first record entitled “Evil Gal Blues” had four blues singles.Less
Dinah Washington (real name: Ruth Jones) was raised on praise music and was a member of church choir as a pianist before she was fifteen years old. She became a jazz performer by winning an amateur contest. She also worked with Lionel Hampton. In an interview, Washington stated the she objected to her nickname as the “Queen of the Blues,” because she sings more pop music than blues. Though her first record entitled “Evil Gal Blues” had four blues singles.
Jeffrey Magee
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195090222
- eISBN:
- 9780199871469
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195090222.003.0010
- Subject:
- Music, Popular
After his own group disbanded, Henderson began writing arrangements for Benny Goodman's band to play on a network radio program called Let's Dance. The Henderson-Goodman collaboration has been ...
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After his own group disbanded, Henderson began writing arrangements for Benny Goodman's band to play on a network radio program called Let's Dance. The Henderson-Goodman collaboration has been variously interpreted as a challenge to the popular music industry and as a formulaic reinforcement of its values. Recognizing merit in both views but accepting neither as entirely apt, this chapter explores several arrangements — including “Blue Skies”, “Between the Devil and the Deep Blue Sea”, and “King Porter Stomp” — in musical detail in the first effort to identify the elements of the mainstream swing style that has been termed “Hendersonese‘. The analytical method combines examination of Goodman's recordings and the many scores and parts of the arrangements now held in the Goodman collections at the Yale Music Library and the New York Public Library, and it insists on understanding musical style in the context of the structure of a network radio program.Less
After his own group disbanded, Henderson began writing arrangements for Benny Goodman's band to play on a network radio program called Let's Dance. The Henderson-Goodman collaboration has been variously interpreted as a challenge to the popular music industry and as a formulaic reinforcement of its values. Recognizing merit in both views but accepting neither as entirely apt, this chapter explores several arrangements — including “Blue Skies”, “Between the Devil and the Deep Blue Sea”, and “King Porter Stomp” — in musical detail in the first effort to identify the elements of the mainstream swing style that has been termed “Hendersonese‘. The analytical method combines examination of Goodman's recordings and the many scores and parts of the arrangements now held in the Goodman collections at the Yale Music Library and the New York Public Library, and it insists on understanding musical style in the context of the structure of a network radio program.
