bluuebunny/crossref_metadata_2025 huggingface dataset:
Prologue
Authors: Joseph-Gabriel Annette K.
Published: September 2020

I became a French citizen in 2017 as I was writing this book. There was no pomp and circumstance, no singing of the Marseillaise in a tearful ceremony attended by joyful relatives eager to welcome me into the folds of France. None of my relatives are French. The plain white envelope that arrived in the mail from the French consulate contained a red, white, and blue folder bearing the image of Marianne swinging the tricolor, an image taken from Eugène Delacroix’s famous nineteenth-century painting ...
Paulette Nardal
Authors: Joseph-Gabriel Annette K.
Published: September 2020

Paulette Nardal’s editorials in the journal La Femme dans la cité trace a line of continuity from her writings on race, gender and Antillean cultural identity in Paris in the interwar years, to her writings on women’s political participation in the early years of departmentalization in Martinique. This chapter argues that Nardal’s decolonial citizenship disrupts the colonial conflation of race and national identity and imagines instead a hyphenated French-Antillean citizenship that includes Antillean cultural belonging in the Caribbean and political enfranchisement in the Caribbean and in France.
The Enforcers
Authors: Wells Rob
Published: September 2020

This chapter examines the historical foundation of watchdog reporting in journalism and its application to business reporting; it argues that business journalists must watch over powerful corporations and alert society to potential threats. The press’s watchdog tradition should be examined through a new dimension for the trade press; it acts as an enforcer of normative behavior in a particular industry. Trade-press editors and reporters often are called the “conscience” of a given business as they report on people and companies that violate business ethics. In this fashion, trade journalists again serve a critical function in capitalism, helping markets self-regulate.
Media and the Keating Five
Authors: Wells Rob
Published: September 2020

This chapter provides a case study and content analysis of how mainstream business journalism failed to report on the Keating Five meeting, a significant event that foreshadowed the failure Lincoln Savings and Loan. National Thrift News coverage is compared to that of the Wall Street Journal, the New York Times, American Banker, and the Associated Press. The study finds how National Thrift News was first to report on the Keating Five meeting even though the story was available to other news organizations. News coverage following the collapse of Lincoln Savings shows a pack journalism mindset.
The Future of Business Journalism
Authors: Wells Rob
Published: September 2020

This chapter explores the specific steps needed for business journalism to evolve to serve a broader audience. These steps include using the tools and techniques of trade-press reporters to examine businesses and hold them accountable while targeting a more general readership. The chapter describes a market for accountability business journalism where some media owners who value the public-service mission of journalism were also able to make money. The chapter describes how newsroom culture, ownership structure, business model, and in-depth focus on an industry are items that can help transform production of business journalism so that it serves the public interest. A focus on investigative journalism and collaboration with other news organizations are also central to this evolution.
Introduction
Authors: Welsh Kariamu , Diouf Esailama G. A. , Daniel Yvonne
Published: September 2020

African dance has become a distinct genre that traces its lineage across a worldwide Diaspora to the dances of Africa. Thereby, African dances are found on six of seven continents: Africa, Asia, Australia, Europe, and North and South America; however, our concern here is the “American African Diaspora,” which ultimately extends from Canada to Chile, the Caribbean to the Hawaiian Islands. In these sites the term “African dance” includes social and popular dances, sacred rituals, folkloric traditions, concert forms, and tourist displays as well....
Kumbuka African Drum and Dance Collective
Authors: Amenkum Ausettua Amor
Published: September 2020

Halifu Osumare presents a regional history of African dance in the United States, focusing on the Oakland-San Francisco Bay Area from the 1960s to the present. Beginning with the first cohort of local Dunham-trained dance instructors in the 1950s and 1960s to more contemporary instructors hailing directly from the African continent. She analyzes how African and African diasporic dance traditions became important fixtures in the Oakland-San Francisco Bay Area, becoming powerful tools in teaching social justice through various community programs and dance companies that extended from Ghana, the Congo, Senegal, and Liberia into that region. Osumare’s research traces the formation of artistic lineages, while offering insights about the local impact of African dance instruction as a narrative history of how the Bay Area became a regional powerhouse in the African dance field.
The African Choreographer’s Envisioning
Authors: Johnson Diouf Naomi Gedo
Published: September 2020

In Kariamu Welsh’s essay, “The ‘Gospel’ of Memory; Memory as ‘Trace’,” the foundational understandings of African dance in the U.S. are dissected and analyzed. Welsh’s emphasis straddles two objectives, one historical and one theoretical. She unpacks terminology for African dance from her long-term, dual perspective of both researcher and performer; she names and records the African dance/music masters who have contributed to the implantation and dispersal of African dance and gives her explanations regarding notions of Africa and the African Diaspora. Then, she proceeds philosophically to offer a “Gospel of African dance,” that is, fluid and malleable interactions of memory and ‘trace’ in their crucial positions, which affects the collective energy of Africa, both past and future.
Mentoring Notes on African Diaspora Dance Styles and Continuity
Authors: Daniel Yvonne
Published: September 2020

In this essay, Yvonne Daniel highlights the necessity of employing appropriate terminology when discussing African dance forms - terminology that distinguishes dance forms based on geographical, social, and stylistic histories. Daniel provides an analysis of Afro-Cuban dance categories while bridging to similar dance traditions found throughout the Caribbean and Afro-Latin America. Daniel offers a pluralistic typography of African and Diaspora dance forms and allows a more precise legacy representation. She concludes with a set of recommendations for the mentoring of African Dance performers, researchers, and Performing Arts communities.
Men Walk in Parallel!
Authors: Nance C. Kemal
Published: September 2020

C. Kemal Nance reflects on the ways in which African American men utilize dance vocabularies in artistic and academic work. He reveals his findings through his own experiences as an African dance performer, as well as through a series of interviews with Baba Chuck Davis. Centering an analysis of gender and sexuality, Nance explores the scripted nature of these discourses while addressing the ideological implications of historical representations of the black male body, masculinity, and heteronormativity in the field of African dance in the United States.
Early Professional Days
Authors: Goldsmith Thomas
Published: September 2020

Scruggs played around Cleveland County through his schoolboy and teen years, wherever and whenever there was a spot available. Not yet a professional, he played with his brother at a fish camp, or open-air restaurant, on the broad river near the Flint Hill neighborhood. Times were hard and Earl got a job at Lily Mills in Shelby to help support his mother. He continued to play locally with groups such as the Orange Blossom Hillbillies and the Carolina Wildcats. Playing during breaks at the mill gave him his first sense that others would enjoy his music. Graduating from Boiling Springs High School, he took a job with regional favorites, the Morris Brothers, and then worked with Lost John Miller and the Allied Kentuckians in Knoxville as his last job before joining Bill Monroe on the Grand Ole Opry.
Joining Bill Monroe
Authors: Goldsmith Thomas
Published: September 2020

Earl Scruggs joined the Grand Ole Opry, the high-profile country-music radio show, in December 1945. Although some were skeptical that he’d fit in, Scruggs turned out to be a necessary counterpoint to the approach of mandolinist and singer Bill Monroe, already a star of the show. Also in the band was singer-songwriter Lester Flatt, Scruggs’s eventual co-bandleader for many years. Another prominent figure of the day, singer Mac Wiseman, recalled that Monroe didn’t have a definite sound in mind when assembling the elements of bluegrass but was experimenting with different sounds. In later years, Monroe was to say that Scruggs has benefited more from his work with Monroe than the other way around. But most observers believe that Scruggs was the key element that brought bluegrass together as a style between 1945 and 1948.
Working as a Blue Grass Boy
Authors: Goldsmith Thomas
Published: September 2020

After joining Bill Monroe in 1945, Earl Scruggs was to became part of a famous ensemble known as the “classic” Blue Grass Boys. Along with Monroe, guitarist-singer Lester Flatt, fiddler Chubby Wise, and bassist Cedric Rainwater (Howard Watts), Scruggs built the foundation of bluegrass music. The quintet recorded such staples as "Will You Be Loving Another Man," "Mollie and Tenbrooks," "Wicked Path of Sin," and "Little Georgia Rose." Monroe was a highly creative musician but had failings in Scruggs’s opinion, because he wasn’t reliably on time for band departures or even for shows. A long-standing conflict between Monroe and Scruggs involves the authorship of the instrumentals “Blue Grass Breakdown,” credited to Monroe, and “Foggy Mountain Breakdown,” which bears Scruggs’s name. Each man claimed the other had stolen his composition.
The Number-One Banjo Player
Authors: Goldsmith Thomas
Published: September 2020

Bill Monroe’s opposition meant that for years Flatt and Scruggs would lack the coast-to-coast coverage of Opry station WSM’s 50,000-watt signal. Instead, they played stints at regional stations. By 1953, they once again were being heard over WSM radio, though not on the Opry. Through the second half of the 1950s, the factors for another level of stardom came together for the band—a new record company, repertoire, songwriting, performance, band lineup, presentation, publicity, and business operation. By mid-decade, Louise Scruggs was managing the band from the family home on Donna Drive in the Nashville suburb of Madison. Scruggs’s banjo work gained thoughtful, skilled followers such as Ralph Stanley and Sonny Osborne from country backgrounds and Mike Seeger and Eric Weisberg from the city side.
Scruggs without Flatt
Authors: Goldsmith Thomas
Published: September 2020

When Lester Flatt and Earl Scruggs split up in 1969, it freed Scruggs to play music that was more to his taste and even to express political opinions, as he did when playing at a massive protest of the war in Vietnam during the same year. He started his own group, the Earl Scruggs Revue, in which he performed with his sons, supplemented by additional musicians including future Southern rock star Charlie Daniels. Flatt also started his own group, using several musicians who had played in the Foggy Mountain Boys and sticking with a traditional bluegrass direction. Meanwhile, Scruggs was collaborating with musicians such as Bob Dylan and the Nitty Gritty Dirt Band. These ventures echoed an earlier jam with jazz/r&b saxophonist King Curtis, an encounter Scruggs said influenced him profoundly.
Scruggs’s Banjo Gains a Cult Following
Authors: Goldsmith Thomas
Published: September 2020

The Gibson musical instrument company of Kalamazoo, Illinois, made certain banjos before World War II that have become storied collectors’ items because they are just like the one played by Earl Scruggs from 1949 until he died. The desired banjos have flat heads, flathead tone ring, and a one-piece flange. They were made as original five-strings, a rarity among a much greater number of four-string models made then by Gibson. Two events celebrate these banjos and specific other related models: the Banjothon get-together in early winter in East Tennessee, which attracts more than 150 lovers of these Scruggs-style models, and the Mills seminars. Picker and banjo expert Jim MIlls holds occasional seminars at his home outside Raleigh, North Carolina, inviting enthusiasts to study, admire, play, and perhaps buy one of the pricey five-string jewels.
Reaping the Harvest
Authors: Goldsmith Thomas
Published: September 2020

Earl Scruggs was well positioned for renewed stardom when people’s thirst for American roots music took off in the 1990s. He had recovered from illness and gone off the road with his high-powered Earl Scruggs and Family and Friends band. Honors showered on him from governments and big-time nonprofits. His hometown of Shelby planned to make a shrine to Scruggs out of the old Cleveland County courthouse. Also taking up arms for Scruggs were acoustic stars such as Béla Fleck and Jerry Douglas's Flatt and Scruggs homage group, the Earls of Leicester. Warren Beatty honored Earl at a 2008 bash thrown for Beatty. Louise Scruggs died in 2006 and Earl in 2012. He was widely eulogized and remembered.
Red, White, and Blue and Mexican
Authors: Kanter Deborah E.
Published: September 2020

In the 1940s a new Mexican American generation emerged. The children of immigrants grew up as Chicagoans, attending ethnically diverse schools and living in mixed neighborhoods. The parish anchored the community, and children grew up with a positive grounding in Mexican and US Catholic traditions. This chapter explores how they experienced World War II on the home front and as soldiers stationed all over the world. The parish newspaper vividly illustrates Chicago Mexican Americans’ talents and passions, especially in the realms of music, movies, and parish sports teams for women and men. A new parish gymnasium became the center of a lively social scene. These young people lived at ease with their hybrid identity: Mexican, American, and Catholic.
Pilsen Católico
Authors: Kanter Deborah E.
Published: September 2020

By 1970 Pilsen had emerged as Chicago’s first majority Mexican neighborhood. Most parishes had become Mexican churches with new saints, mariachi Masses, and more processions. Even American priests promoted devotion to Mexican saints, such as Our Lady of San Juan de los Lagos and the Santo Niño de Atocha. The reforms occasioned by the Second Vatican Council and the Chicano movement’s revolutionary spirit led to a new expressions of Mexican Catholicism, epitomized by the Via Crucis, the Living Way of the Cross. In a neighborhood recently dominated by Slavic Americans, the Via Crucis proclaimed Pilsen as a Mexican and Catholic space. The Via Crucis exemplified an unprecedented engagement of social justice issues, activism, and religious devotion. A new way of being mexicano and católico had developed in Chicago.
Introduction
Authors: Frisken Amanda
Published: September 2020

The Introduction questions the legendary origin story for sensational journalism: in the late 1890s, competition between William Randolph Hearst and Joseph Pulitzer degraded serious journalism into “yellow journalism” – sometimes blamed for the outbreak of the Spanish-American War. The apocryphal story of Spanish authorities strip-searching female Cuban rebels captures sensationalism’s essence: the dissemination of false news to increase sales and further an agenda, through strident headlines, inventive reporting, and eye-catching illustration. As early as 1870, in fact, line illustrations gave commercial publications across the political spectrum tools to attract readers, or perhaps more accurately, “news consumers.” While use of headlines, scoops, and stunts date back to the 1830s, it was the proliferation of images in newspaper pages that came to define sensational journalism by century’s end.
“A First-Class Attraction on Any Stage”
Authors: Frisken Amanda
Published: September 2020

This chapter examines the 1890 Ghost Dance, a nonviolent religious practice among the Lakota Sioux. In covering the Ghost Dance, daily newspaper editors Joseph Pulitzer (the New York World) and William Randolph Hearst (the San Francisco Examiner), along with the New York Herald and ChicagoTribune, experimented with the limits of news illustration. Their images mischaracterized the dance as a declaration of war, contributing to events leading to the massacre at Wounded Knee. Their quest for illustrations that were both “authentic” (photograph-based) and dramatic led editors to appropriate images from the entertainment marketplace (photographs of Sitting Bull, and Buffalo Bill’s Wild West show), for political and commercial benefit. The Lakota’s efforts had limited power to correct misrepresentations of the dance and its aftermath.
“A Song without Words”
Authors: Frisken Amanda
Published: September 2020

This chapter documents how activists with access to print publications might develop counternarratives to dominant stereotypes. In response to racist representations, artists for African American newspapers, such as Henry J. Lewis and Moses Tucker for the Indianapolis Freeman, developed an anti-lynching critique. Along with editors for other papers, such as John Mitchell for the RichmondPlanet, Harry Smith for the ClevelandGazette, and Benjamin Pelham (and others) for the DetroitPlaindealer, they challenged the lynching epidemic with powerful images. Their allegorical interpretive illustrations reconfigured mainstream lynching imagery, to discredit the prevailing rape/lynching narrative and mobilize resistance to racial violence. Their anti-lynching iconography helped to raise consciousness and spark action within the African American community, and suggests sensationalism’s potential as a mobilizing tool.
Epilogue
Authors: Frisken Amanda
Published: September 2020

The Epilogue explores key events in the late 1890s as newspapers transitioned from illustrations to photographs, revisiting the familiar point of origin for sensational or “yellow” journalism. With the emphasis on images firmly established, news “art” (i.e., photos or illustrations) increasingly determined coverage of events, and sometimes transformed reporting itself. Whether publishing stories about a Cuban rebel heroine (Evangelina Cosio y Cisneros), or the sinking of the U.S.S. Maine, the World, the Journal, and other dailies re-set standards for news visualization. Their practices incorporated parameters, established over previous decades, that had changed how consumers came to see the news. Even as interpretive news illustrations faded, the conventions of visual journalism they had established remained firmly in place.
Sound and the Comic/Horror Romance Film
Authors: Staiger Janet
Published: September 2020

Media scholars (and audiences) routinely make useful comparative analyses of films and television series. The problems of grouping texts are well known. This essay proposes a multidimensional approach to this critical activity, one that focuses on formulas, affects, and inflections. Narrative formulas and affects propel our sense of a genre; however, inflections such as stars, target audiences, locales, time periods, verisimilitude, taste markers, or performance styles can radically twist the base into something more complicated. One of the most important sorts of inflections is use of sound: aural effects, voice, and music. Such a multidimensional approach to grouping texts helps to resolve many anomalies in genre categorizing: for instance, the generic category of the musical. Scholars have tended to describe the musical based on Hollywood films created between 1930 and 1960. During this period, most musicals use a standard romance formula and vary the space and time to form several common “subgenres.” The author argues that, from the 1960s, artists begin to turn to other narrative formulas such as the male quest story (Tommy), horror (Sweeney Todd), the fallen-man melodrama (All That Jazz, Pennies from Heaven), and the bio pix (Hamilton). What the musical “is” is inflecting a narrative formula with a particular musical treatment—bursting into song or dance not necessarily provoked by a reasonably motivated diegetic event such as a nightclub act. Such an inflection of musical treatment could be applied to any narrative formula and has been. This essay explores this argument focusing on the comic/horror romance film Zombieland (2009) but with other examples to illustrate the viability of the critical approach and the functions of sound.
Introduction
Authors: MacKay Michael Hubbard
Published: September 2020

In 2008, Mormon presidential candidate Mitt Romney apologetically addressed the problem of “theocratic tyranny” in the lead-up to the election, declaring, “I will put no doctrine of any church above the plain duties of the office and the sovereign authority of the law.” Comparing himself to John F. Kennedy, who faced similar questions about his faith as a Catholic during the presidential election of 1960, Romney acknowledged the issues surrounding the sovereign authority held by the Mormon prophet and president of the Church of Jesus Christ of Latter-day Saints....
Prophetic Authority
Authors: MacKay Michael Hubbard
Published: September 2020

To explore the foundations of Mormon religious authority, this chapter introduces the idea of a Mormon prophet, demonstrates how the production of the Book of Mormon established Smith’s claim to authority, and show how his ongoing revelation created a hospitable environment to maintain his prophetic authority hierarchically within his church. This will lay the foundational concepts for how Smith developed and maintained a hierarchal role while also developing a democratic priesthood. It will also set the scene for how an inclusive populist priesthood could eventually embrace a hierarchical ecclesiology, demonstrated by Kathleen Flake’s work. The chapter will begin to define what a Mormon prophet looks like and how Joseph Smith establishes his prophethood and authority through the charismatic practices of communing with the dead and producing modern revelation and ancient scripture. It will establish that this kind a charisma founds authority and creates a space in which prophetic authority can exist charismatically without the grounding of an institution.
Authority, Baptism, and Angelic Restoration
Authors: MacKay Michael Hubbard
Published: September 2020

This chapter shows how the evolving narrative about Smith receiving the power to baptize sheds light on his authoritative role in Mormonism. Analyzing Mormon baptism is a great first example of how Smith used his prophetic voice to create religious authority, in which he connected himself to God experientially, defined the meaning of baptism through the restoration scripture of the Book of Mormon, and built an influential restoration narrative in which a heavenly figure directly conferred the authority to baptize. Smith eventually claimed that his authority derived from a direct, divine source: angels, as understood through his revelations. The angels who authorized him were not, this time, those with an ancient American past like Moroni, but rather beings taken from the familiar New Testament narrative. Within this context of restoration, baptismal authority was first tied to a narrative involving John the Baptist, from which began Smith’s reconstruction of Christ’s ancient church. The example of how Smith received the authority to baptize demonstrates how his prophetic voice began to build a distinct Mormon religious authority almost immediately. His hierarchical position was bolstered and he quickly offered his authority to lay believers, making the first step toward a democratic hierarchy.
Apostleship and the Authority of Change
Authors: MacKay Michael Hubbard
Published: September 2020

In addition to baptism, a second foundational narrative that demonstrates Joseph Smith’s authority was the establishment of the Mormon apostleship. His translations and revelations called for major initiatives that required increasing amounts of commitment from his adherents, but with these major initiatives, the revelations also required a certain amount of malleability. Smith established certain forms of authority, such as priesthood and sacraments, through his revelations and then molded and reformed them through additional revelations to meet the evolving needs of his church. In doing this, Smith demonstrated his ability to control the narrative and shape his authority. As his theology developed and his lay ministry expanded, his prophetic leadership adapted. It was the malleability of his leadership that enabled the relationship between hierarchy and democracy to adjust and find stasis on the waves of change. To demonstrate this point, this chapter explores one of Smith’s most radical concepts of authority—namely, apostleship—in its nearly superfluous beginnings and its ultimate importance within Mormonism.
Church
Authors: MacKay Michael Hubbard
Published: September 2020

The third foundational narrative that secured Joseph Smith’s religious authority surrounds the founding of his church, the Church of Christ. It marked Smith’s prophetic voice extending beyond his personal charisma into the institutional realm of an enduring religion. Scholars have observed that Mormonism is a kind of test case for Max Weber’s theory of the routinization of charisma since at Mormonism’s founding the religion was heavily tied to Joseph Smith’s prophetic power, and such movements do not often survive the death of their founders. Weber insists that charismatic authority can easily falter in its fragile state and that such leaders rarely form long-lasting organizations. Yet Mormonism did not fade after Smith’s death in 1844. In fact, Smith was obsessed with organization from the point that he merged his charismatic prophethood with the bureaucracy of church governance in a form of hierarchical democracy. A sustainable and manageable priesthood hierarchy was not possible until he grounded his tradition within an official church where ordinations could be performed and ordinances carried out with the legitimating force of the institution. The church would form its own ecclesiastical structure that was maintained through Smith’s prophetic voice and periodically reevaluated with changes in geography, demographics, and politics. The long-lasting priesthood order led to a new phase in Mormonism and religious authority in the antebellum United States. This chapter charts early Mormonism’s development into an institutional state, beginning with the 1829 charismatic revelations for the design of the church and ending with the 1830 establishment of the church and the official ordination of Joseph Smith as its prophet. The chapter traces the trajectory of how Smith’s voice maintained its singular value while securing an institutional status within a church, how he democratized his gifts through the priesthood while monopolizing his own prophetic authority.
Calculating Salvation
Authors: MacKay Michael Hubbard
Published: September 2020

This chapter examines Smith’s creation of the Mormon law (D&C 20 and 42) and formation of a hierarchical priesthood structure to govern the kingdom of God, which he based on a charismatic reception of the law through revelation, a restoration of his church through angelic visits and theophany, and his expectation that church members have their own revelations and see God for themselves (D&C 88:1). The chapter examines the emergence of several new rituals in the Kirtland period before turning attention to Smith’s 1836 priesthood restoration narrative about Elijah, the Old Testament prophet, who reportedly visited Smith on April 3, 1836. The idea of Elijah returning to usher in the Second Coming was commonly preached by antebellum Protestants who accentuated the millennialism in the fourth chapter of Malachi. The chapter traces Smith’s interest in the Old Testament, which led to his study of Hebrew and his discovery of the Passover tradition of leaving a cup of wine for Elijah in anticipation of his return. The chapter views Elijah’s restoration of priesthood as the pinnacle of the development of the Mormon priesthood that would endow the Mormons with power from on high. The chapter traces Smith’s attempts to reconcile the tension between following the law (even his own revelatory commandments), empowering a hierarchy of priests, and being assured salvation through physical rites. It charts the beginning of new Mormon ritual efforts to recreate its members as prophets/prophetesses, priests/priestesses, and kings/queens, all while maintaining Smith’s central role. The rituals endowed the Mormon membership with authority and connected them to the ancient order of Melchizedek and prepared for Christ’s Second Coming. Participation in solemn assemblies, anointings, and the School of the Prophets assured Mormons of their salvation and role in the kingdom within a hierarchical ecclesiology that upheld Smith’s authority. His new liturgies, particularly those featured in the new “House of the Lord” (later termed “temple”) in Kirtland, offered members kingly and prophetic authority without threatening the hierarchical structure of the priesthood.
Improvisation and Journey
Authors: Şenay Banu
Published: September 2020

This chapter examines how ney musicians learn to improvise their own self-generated melodies. Because improvisation (taksim) affords players the greatest freedom to show their wares, it is considered to be the most sublime sonic statement of one’s artistry. Yet there is more in this skilled action than its revelation of the musical or artistic capabilities of the player. Alongside the player’s musical self, the social/moral persona, too, is understood to be expressed in improvisation. According to ney masters, the art of improvising connects to the art of living, sounding out an aural revelation of how one lives their life. This pedagogy presents us with a conception of the creative self that is different to that imagined in some other musical practices, particularly in jazz music.
Master Speakers, Master Listeners
Authors: Şenay Banu
Published: September 2020

The technical skills and artistic knowledge fostered by education in the ney emerge not only in the conduct of musical practice through watching, copying and imitating masters’ playing bodies, but are also powerfully cultivated by listening to their words, communicated through the skillful practice of sohbet (in the first instance, conversation). As an essentially Islamic practice that has a rich history in Sufism, sohbet constitutes the prime method of musical pedagogy: musical teaching and learning happens in conversation. The chapter presents a number of key processes that the pedagogy of sohbet is designed to facilitate in learners: new skills of hearing and musical understanding; extra-musical sensibilities germane to becoming a neyzen; and communal affections (an affect of intimacy) between those participating in the listening act.
Never Seen So Much Hair in Your Life
Authors: Strange Jason G.
Published: September 2020

The third of three chapters exploring the history of homesteading, this chapter analyzes the counterculture back-to-the-land movement in the area around Berea, Kentucky. Drawing upon ethnographic fieldwork, the chapter illustrates that this is a major social movement, far more enduring and robust than stereotypes of “hippie” back-to-the-landers would suggest. The chapter shows that participants represent a multistranded left with diverse backgrounds, including a high proportion who are from rural Appalachia; that they take subsistence production seriously; and that homesteading represents a specific, “prefigurative” form of social activism. The chapter also explores the complex relationship between counterculture homesteaders and their rural neighbors, and argues the former are unified as a group by high levels of literacy and educational attainment; they represent, in effect, a rural intelligentsia.
(Re)Presenting Racial Permeability, (Dis)Ability, and Racial (Dis)Affiliations
Authors: Chancy Myriam J. A.
Published: September 2020

This chapter explores how “race” is both constructed and performed, the ways in which some of these performances have been naturalized, and the degree to which, as such, “race” can be reformulated from ethnic or cultural points of view. The purpose of doing so is to show that the degree of agency and autonomy that both “black” and “white” subjects can achieve in a racialized society is a function of the systems and structures that invigilate racial stratification. The chapter goes on to show that what constitutes networks of belonging through culture and kinship can be differentially engaged in ways that break away from the naturalization of race as a means of separation and agglomeration. In other words, new ways of assembling human beings can emerge that run counter to already racialized societal systems. Texts examined include works by Adrian Piper, Jeff Koons, Octavia Butler, and Pamela Gien.
Nineteenth-Century Suffrage Journals
Authors: Steiner Linda
Published: September 2020

This chapter use theories of status politics (conflicts as proxies for important debates over the deference paid to a particular group’s lifestyle) to show the importance of nineteenth-century suffragists’ own newspapers and magazines to the movement. The women who wrote for, edited, and published these outlets essentially invented and then celebrated at least four different versions of a new political woman and then proceeded to dramatize that new woman, showing how she named herself, dressed, dealt with her family, and interacted in the larger public sphere, and showing why she deserved the vote. The pre-Civil War suffrage periodicals essentially proposed a “sensible woman” while the postwar period saw competition between the “strong-minded” women aggressively promoted in the Revolution and the more moderate “responsible women” advocated by the Woman’s Journal. Later, the Woman’s Era dramatized an “earnest” new black woman.
A Countermovement on the Verge of Defeat
Authors: Finneman Teri
Published: September 2020

This chapter examines how the mainstream local and regional press covered the antisuffrage perspective in the critical year of 1917 as it became increasingly evident that the suffrage movement had momentum to secure a federal amendment. The goal here is to increase understanding of press portrayals of a countermovement and thus to add to literature on social movement theory. Its findings reveal that most coverage situated the suffrage debate in the context of World War I. Antisuffragists relied on negative discourse that criticized the patriotism of the suffragists and argued that women did not want the added burden of voting. In contrast, suffragists avoided emotional reactions and instead based their arguments on facts and on the benefits of women being in the public sphere. This study contributes to prior research on countermovements and the implications of taking a negative and narrow approach when attempting to undermine a social movement
Discourses of Race and Masculinity in the Nashville Press
Authors: Marcellus Jane
Published: September 2020

As the state that provided the final vote ratifying the Nineteenth Amendment in 1920, Tennessee is critical. The two newspapers in Nashville, the state capital, differed vehemently on suffrage. Using discourse theory to interrogate suffrage coverage in the decade preceding 1920, this chapter focuses on the intersection of gender and race at the height of the Jim Crow era. Although the prosuffrage Tennessean strongly favored ratification while the antisuffrage Banner opposed it, this chapter argues that a more complicated story emerges when race and masculinity are considered. Despite its prosuffrage stance, the Tennessean included subtle warning signs against Black women’s power when race was integral to a story. The Banner consistently reinforced traditional gender roles, responding to ratification with an eruption of verbal violence aimed at recouping hegemonic white masculinity.
The Facilitators
Authors: Kroeger Brooke
Published: September 2020

Key to the suffrage movement’s remarkable turnaround in the 1908-1920 period was a swath of new elite supporters: women with high social standing and powerful, influential men who served prominently among the movement’s most active framers, funders, and facilitators. They provided underwriting, funding, and access to government leaders, legislators, and other important influencers. With their own celebrity-like aura, they also brought mainstream media attention to the suffrage movement as popular writers, publicists, editors, and publishers. This chapter uses the insights of social movement theorists who focus on success to assess the concrete actions of these elites and their media influence. In that final, determinative decade, they enlivened both the stalled state-by-state suffrage campaigns and the long-awaited passage and ratification of the Nineteenth Amendment.
Introduction
Authors: West E. James
Published: September 2020

In the June 1969 issue of Ebony, its editors used the popular “Backstage” feature to invite readers on a literary tour through the Chicago offices of parent company Johnson Publishing.1 The magazine’s audience was introduced to the circulation team, whose state-of-the-art IBM computers printed mailing lists for close to one million monthly subscribers, as well as other departments housed at the company’s imposing headquarters on South Michigan Avenue....
Learning Is an All-Black Thing
Authors: West E. James
Published: September 2020

This chapter situates Ebony’s evolving black history content within the broader struggle for black-centred education and the ‘Black Revolution’ on campus during the late 1960s and early 1970s. During this period, Ebony’s historical content presented a militant and, at times, heavily gendered interpretation of the African American past. On an individual level, Bennett’s developing relationship with organisations such as Northwestern University and the Institute of the Black World underscored the uniqueness of his role as Ebony’s in-house historian, and the complexity of his position as both a magazine editor and a black public intellectual.
Introduction
Authors: Hunt-Kennedy Stefanie
Published: September 2020

The historical intersections between racism and ableism show that the English held antiblack attitudes from their very first contact with Africans in the sixteenth century. The idea that blackness has a very important, historically rooted relationship to disability is central to this book. Modern understandings of raced and disabled bodies developed and were bound together during England’s imperial expansion. The violent production of disability is at the heart of the histories of blackness in the Atlantic world. This book focuses on the violent conditions of enslavement and presents an intellectual history of racism and ableism while leaving space for a social history of disability among the enslaved.
Unfree Labor and Industrial Capital
Authors: Hunt-Kennedy Stefanie
Published: September 2020

This chapter explores three sites of slavery-induced disability—the Middle Passage, the slave market, and the plantation—to demonstrate that enslaved people lived in the space between fitness and death, a space of physical debilitation resulting not only from natural processes but from enslavement itself. This chapter argues that plantation slavery was a necessary precondition for both industrialization and the emergence of “modern” concepts and displays of disability. The division of labor by skill, age, gender, and physical condition that characterized Caribbean plantations, together with the emphasis on discipline, organization, and timekeeping, made sugar production a precociously industrial and modern undertaking.
Incorrigible Runaways
Authors: Hunt-Kennedy Stefanie
Published: September 2020

This chapter looks at the ways in which the bodies of enslaved people were portrayed in Jamaican and Barbadian runaway advertisements from 1718 to 1815. The ads reveal that enslaved people were debilitated in a variety of ways: discursively through law and legally sanctioned punishment, through work regimes and the material conditions of slavery, and psychologically through the trauma of enslavement. Runaway ads give us a window into the different physical, intellectual, and emotional impairments and suggest some possibilities about the changing reference to identifying marks over time. Such information suggests that slaveowners were more conscious that abolitionists pointed to runaway as as evidence of slavery’s disabling and disfiguring violence.
Bondsman or Rebel
Authors: Hunt-Kennedy Stefanie
Published: September 2020

This chapter explores the relationships between disability, amelioration, and abolition from the 1770s to the slave trade’s legal end in 1807. It reveals that both opponents and supporters of slavery utilized notions of disability and invoked concepts of monstrosity in their respective campaigns. Revolutionary emancipation, from Tacky’s War in Jamaica (1760) to the Haitian Revolution (1791–1804), gave rise to the gendered image of the armed, able-bodied, dangerous, and revolutionary black man, an image that circulated throughout the Atlantic world and haunted both pro- and anti-slavery discourse. Antislavery campaigners countered with the figure of the broken and beaten bondsperson as a way of envisioning a subject who in her or his freedom presented no physical threat to white society.
Conclusion
Authors: Hunt-Kennedy Stefanie
Published: September 2020

By uncovering the ways in which disability is represented in cultural discussions of monstrosity, how the enslaved experienced the embodiment of disability, how disability was institutionalized through the legal codes that defined slavery, and how the discourse of disability affected both pro- and anti-slavery discourse in the abolitionist era, we can better understand that slavery did more than build the national wealth of the metropole. This book illustrates the importance of the space between fitness and death to the enslaved experience. The slave trade and plantation slavery, specifically the sugar-producing colonies of the British Caribbean, are the historical underpinnings of systematized and violent African diasporic impairment.
Introduction
Authors: Raitz Karl
Published: September 2020

The introduction outlines the three modes of geographic history analysis utilized in the book: making, landscape, and historical ecology. Making examines the various creative and haptic skills, using inherent or acquired knowledge, that are involved in the process of producing structures and machines that perform functions or tasks. Landscape is both a physical entity and a register of contemporary and historical knowledge; it is both the physical and built environment and a way of knowing the world. Distilling landscapes are shaped by complex natural processes and cultural practices, as well as by contemporary and historical actors, that layer or juxtapose the new and the old. Landscape elements, such as structures or various forms of land use, may be removed; but if retained, they represent heritage and become a reservoir of meaning and identity. Historical ecology is the investigation of the physical and human elements that constitute present-day landscapes through the conjunctions of people, places, and processes over time, with attention to order, timing, and contingency of causal events. Understanding the historical ecology of landscape requires an appreciation of its totality through local, regional, and national perspectives.
Kentucky Distilling
Authors: Raitz Karl
Published: September 2020

In 1810 more than 2,000 distilleries operated in Kentucky. Though widely distributed throughout the state, the largest number of distilleries operated in the Bluegrass region, where some counties had more than 150 works. Frontier distillers used whiskey to barter and as currency in the cash economy. The highest-capacity distilleries operated along the Ohio River between Louisville and Cincinnati. By the 1830s, some distillers were adopting new industrial techniques as they became available, including new construction materials, machinery, and steam, electrical, and internal combustion power sources. From the 1840s through the 1890s, distillers focused their works in the limestone lands of the Bluegrass and Pennyroyal regions. By the eve of Prohibition in 1919, only 182 distilleries remained in operation. The landscape created by distillers was the product of a complex, multidimensional historical ecology. Distillers engaged in locational decision making; they adopted applicable technologies, inventions, and patents and established business links with associated industries while being subjected to increasing state and federal regulation and more stringent revenue policies.
Kentucky’s Distilling Environment
Authors: Raitz Karl
Published: September 2020

Kentucky’s nineteenth-century distillers operated in a physical environment that varied from one location to another and presented opportunities as well as impediments. Groundwater was available across the Bluegrass country and had long been regarded as “pure” and therefore acceptable for distilling. With the development of modern scientific water analysis, hydrologists were able to establish that many of Kentucky’s springs produced water that was comparatively high in iron, calcium, and inorganic minerals and metals and was not consistently “pure.” The climate is conducive to corn and wheat production and is characterized by hot summers and comparatively dry, cool winters. The nineteenth-century distilling calendar was seasonal, with works operating from early winter through late spring, when the grain harvest was over and farmhands were available for hire. Distillers utilizing waterpower often sited their works beside steep-gradient streams; adoption of the steam engine permitted them to choose level sites and gain access to primary transport routes. Limestone bedrock yielded the most productive soils for crop production and also attracted distillers
Signatures of Risk
Authors: Raitz Karl
Published: September 2020

Innovations in production technology and machinery increased efficiency and productivity but also introduced risk, especially if employees were given responsibilities for which they were not trained. Accidents that maimed employees and destroyed structures and equipment were commonplace. Recognizing and addressing risk were important to business survival. Risk also resided in environmental variability; flood and drought, hailstorms, high winds, and lightning could all affect grain production, river transport, water availability and quality, or distillery functions. Cattle and hogs in distillery feeding pens were susceptible to the same diseases that plagued the general livestock population, often with losses sufficient to force distillers into bankruptcy. Fires caused by mechanical failure, lightning, careless use of lanterns, or arson might destroy an entire distillery works. Insurers developed actuarial risk assessment techniques to reduce their vulnerability, and insurance premium rates forced distillers to consider building fire-resistant structures and increase the spacing between warehouses. This, in turn, changed the distilling landscape and introduced formal external controls into the distilling process.