bluuebunny/crossref_metadata_2025_split huggingface dataset:
Aging, Resisting, Redefining
Authors: Scanlon Jennifer 
Published: November 2023

Abstract
When Helen Gurley Brown first stepped into the editor’s office at Cosmopolitan in 1965, she was forty-three years old. It was not unusual to encounter an editor a generation older than a magazine’s audience, particularly when the target audience was that coveted eighteen-to-thirty-four age group. Experience and business acumen often compensated for the difference, and in Brown’s case the degree of identification she accomplished with her particular audience more or less buried criticisms of her age—at least for a time. Inevitably, though, the topic of her age and the growing disparity between her age and that of her readers would become more and more of a story in itself. And through the years, as Helen Gurley Brown encountered her own aging process and that of family and friends, she attempted to resist and redefine what it meant to grow older. Not surprisingly, given her Cosmo Girl predilections and her dedication to individual achievement, Brown would claim repeatedly and in terms courageous, saucy, and at times outlandish, that all women, even old ones, can have it all.
Introduction: Sterling A. Brown’s Odyssey into the Heart of Blackness
Authors: Tidwell John Edgar , Tracy Steven C 
Published: November 2023

Abstract
There are fewer than 120 poems in just over 230 pages of poems in Sterling Brown’s Collected Poems, little more than one-third the number in Robert Frost’s 500 page collected poems, and far fewer than Carl Sandburg’s nearly 800-page poetic output of more than 800 poems. The sixteen volumes of Langston Hughes’s Collected Works dwarfs the amount of Brown’s work (he also wrote essays, short stories, and scholarly works), as do the collected works of Brown followers like Amiri Baraka and Michael Harper. Perhaps that explains some of the difficulty Brown has had taking his rightful place in the American canon. In a culture that lionizes the Great American Novel, not the Great American Haiku, more sprawling evidence of an author’s literary work is frequently nec- essary for the arbiters of literary value. This holds true even for the author of that perennial candidate for the Great American Novel, Invisible Man; Ralph Ellison’s failure to finish a second novel has proven troubling among canon- formers in some quarters. Size matters.
Sterling Brown: The New Negro Folk-Poet
Authors: Locke Alain LeRoy 
Published: November 2023

Abstract
Many critics, writing in praise of Sterling Brown’s first volume of verse, have seen fit to hail him as a significant new Negro poet. The discriminating few go further; they hail a new era in Negro poetry, for such is the deeper significance of this volume (Southern Road, Sterling A. Brown, Harcourt Brace, New York, 1932). Gauging the main objective of Negro poetry as the poetic portrayal of Negro folk-life true in both letter and spirit to the idiom of the folk’s own way of feeling and thinking, we may say that here for the first time is that much-desired and long-awaited acme attained or brought within actual reach.
Sterling A. Brown and the Afro-Modern Moment
Authors: Sanders Mark A 
Published: November 2023

Abstract
When Robert Penn Warren wrote his highly ironic line “Nigger, your breed ain’t metaphysical” (321), he compressed into five deceptively economic feet nearly a half-millennium of white hegemonic philosophy, both its rhetorical strategies and underlying presuppositions. Buzzard, “the carrier of the ostracizing power of white discourse, the trope which declares the otherness of the black” (Nielsen 117), does not simply assert black inferiority but reconstructs and reaffirms the mutually exclusive mythic realms “white” and “black” must inhabit in order to sustain five hundred years of radical inequity. As ametaphysical, “the black” (or, better yet, blackness) must exist beyond the aesthetic, beyond the redemptive possibilities central to the humanistic tradition of arts and letters. As “fictive signifier of the nonwhite” (Nielsen 10), blackness serves as a repository of reifying antitheses: anti-intellectual, illiterate, subhuman, and ahistorical. All in all, Warren constructs a blackness thoroughly banished to the margins of the human community, a blackness of radical absence proclaiming the final and ultimate abstraction of damning eternal sameness. Indeed Warren (and by extension what I will call hegemonic or conventional modernism) achieves much of his coherence through the assertion of objectified blackness, through a tropic vocabulary of necessarily reductive poses impervious to change over time (see Nielsen, North).
An Integer Is a Whole Number
Authors: Harper Michael S 
Published: November 2023

Abstract
When Daisy died in June 1979 I was at Yaddo, the artists’ retreat, in Saratoga Springs, N.Y. I was called to the phone by Eloise Spicer and returned to the dinner table without comment; the poet June Jordan approached and said: “Across your face is the sign of death. Who died?” I left that evening for Washington, D.C. Sterling, of course, was inconsolable. I was already working on his Collected Poems, which I’d selected for the National Poetry Series, and we were beyond deadline. The book was to be a surprise to “Rose Anne” (Daisy) after Sterling’s 78th birthday celebration, planned to be at the Museum of African Art in the District. I thought we would have all summer to work on this book— all Sterling’s poetry collected in one volume. Now I would have to read his “Thoughts on Death” at Daisy’s funeral.
“Let Me Be with Ole Jazzbo”: An Interview with Sterling A. Brown
Authors: Rowell Charles H 
Published: November 2023

Abstract
charles h. rowell: In an essay on the blues, you say that Irving Berlin’s “Schoolhouse Blues” and Jerome Kern’s “Left All Alone Blues” are not the form or feeling of true blues as sung by the people. sterling a. brown: That is true. That is true. I think they’re not blues at all. It’s just that they used “blues” in their titles because it was popular to do so. A Tin Pan Alley title. It entered the language of popular music, but they are not blues. They are not blues feeling. Actually they are the opposite of blues. Berlin’s “Schoolhouse Blues”: when you think of schools for Negroes in the South (and you’re thinking of this as a writer), you can see that Berlin was just a Tin Pan Alley writer. Critics talk about him as a poet of ragtime, but “Alexander’s Rag- time Band” became a popular number at the conclusion of the ragtime period.
“Fear Did Not Catch His Tongue and Throttle His Breath”: A Discography of Recordings by and Related to Sterling A. Brown
Authors: Tracy Steven C 
Published: November 2023

Abstract
All of the commercially released recordings in this discography stem from sessions recorded by Moe Asch and Folkways Records in the 1940s, and from a ceremony honoring Brown at the Ira Aldridge Theater at Howard University in 1963. These have been reissued on a variety of sources, but are all collected together on The Poetry of Sterling A. Brown. Other recordings not commercially released that feature Brown’s voice, as well as commercially released recordings by others of Brown’s poetry and Michael Harper’s recording of his poem “Br’er Sterling and the Rocker,” should be of interest to Brown scholars and students. Though performers do not seem to have taken to recording Brown’s poems the way they did to the works of Langston Hughes, this situation may well be remedied as Brown’s fame grows. His poems certainly lend themselves to performance.
Entertaining Guests at the Indian Agency
Authors: Velde Lea Vander 
Published: November 2023

Abstract
Arriving with the Taliaferros aboard the Warrior was the Reverend Thomas Williamson, an ordained Presbyterian missionary who had contacted Taliaferro months before, offering his services to teach the Indians. He arrived in advance of his family to check the location. Taliaferro decided that a minister in residence at Lac qui Parle would be a reliable source of information in monitoring the conflict between the two Indian nations. To pursue this course of missionary “diplomacy,” the agent needed the cooperation of the trader Joseph Renville, who maintained a large household at Lac qui Parle.
Wintering Over at St. Peter’s Agency
Authors: Velde Lea Vander 
Published: November 2023

Abstract
By mid-November, ice blocked the river, making it completely impassable by boat. The community was sealed in, bound together, encircled by ice for better or worse for the next six months. Although the coming of winter in Minnesota is marked by the first snow, it is the first snow that actually stays on the ground that really counts. The snowfall on the day that the Mackinac boat left melted in a few days time. By mid-November, however, another six inches of snow had been laid down. The dull brown prairie grass was now covered with a thick, bright white blanket. The world was reborn as fresh and new. Within two weeks though, the temperature fell to 10 below zero, too cold to snow. The soft-fallen snow became crusty as sugar that remains too long in the bowl. The ice on the rivers was solid, eight or nine inches deep.
Marriage: Together Alone
Authors: Velde Lea Vander 
Published: November 2023

Abstract
That left harriet. Though she was surely occupied with the guests during the treaty making, she didn’t leave with either the master or the mistress. At some point in these last busy weeks, Harriet was married by her master to Etheldred, the slave of Dr. Emerson, in the same manner that he performed other weddings at the agency. (It was said that several marriages were performed that summer in anticipation of legitimating the children who would be eligible to take shares under the treaty.)In Taliaferro’s autobiography, Harriet’s master mentioned their wedding last of several he conducted. Taliaferro indicated that he performed the ceremony himself and that he gave her to Etheldred, the slave, in marriage.
The House of Chouteau
Authors: Velde Lea Vander 
Published: November 2023

Abstract
The rural farm and the company of her stepmother would not long hold the interest of the young doctor’s wife, particularly after she had spent two years in the social isolation of a remote army post. Mistress Irene must have turned her attention to the dazzling St. Louis social life. In the same way that her brother had introduced his sisters into society, the Sanford name now opened doors, and Mistress Irene could take advantage of this connection during her sojourn without her husband. (Indeed, her husband would later use these social connections to try to keep his job.) Brother John was extremely prominent in the city, and Irene was now respectably married. Among women of her class, visiting, gossiping, and entertaining were the order of the day. Among those she would visit were her brother’s in-laws, the Chouteaus, who knew her before her marriage.
Dred with the Army of Observation and Harriet with the Children in St. Louis
Authors: Velde Lea Vander 
Published: November 2023

Abstract
The steamboat trip to Louisiana took a week. Along the lower Mississippi, Dred could see slaves at work in the sugar and cotton fields. It took little imagination to understand the hard lives they lived. He had once lived that life, as a young man, working an Alabama cotton plantation for the Blow family before he was brought to St. Louis.
Picking and Switching
Authors: Nathan Amy 
Published: November 2023

Abstract
Choose an instrument you’ll enjoy or you’ll never be motivated to practice,” says Ethan, one of the more than 150 older teen musicians who share their experiences in this book. Finding just the right instrument took a bit of searching—and switching—for many of the teens, and for some of our pro advisors as well. Sound snagged many. They heard someone play the instrument and fell in love with the tone. Ethan picked saxophone in fourth grade because, as he recalls, “I heard a tenor saxophone player at the high school who was very good and I knew right away that’s what I wanted to play.” Like Ethan, many heard a live performance at school, at a concert hall, or at home listening to a friend or relative play. A TV performance hooked Sary, who chose violin after seeing Itzhak Perlman fiddling away on Sesame Street. Emily fell for the mellow tone of the French horn when her school’s music teacher demonstrated instruments in class. The horn’s tone fascinated Adam, too, who notes, “The very first sound I made on this wonderful curly thing sounded like an elephant. I figured any instrument that could do that couldn’t be bad.”
The Time Squeeze
Authors: Nathan Amy 
Published: November 2023

Abstract
No time to practice—that’s the number one gripe mentioned by the 200 beginners (ages 10 to 14) who were surveyed about their musical headaches for this book. Finding time is a problem every musician has to deal with, including our troupe of pros and older teen advisors. Not all of them have always been eager to make time for yet another run-through. When trumpet wiz Wynton Marsalis was in elementary school, he definitely had not yet become a never-miss-a-day practicer. Flutist Paula Robison remembers in junior high that “there were times I didn’t want to practice. When you’re that age, there are so many other things you want to do.” Even so, she did squeeze in time every day for practice. Before long, young Mr. Marsalis did, too. Here are three ways our teen experts fit practice into a busy day: Many teens practice at the same time each day. It’s easier to remember a regular habit. “I tell myself I’ll practice clarinet at 7:00 P.M. no matter what. Then I stop everything else and do it,” says Stephanie. Meghan’s regular trumpet time is just after getting home from school. “Then I have the rest of the evening to do homework, relax, etc.,” she says. Maria Beatriz uses a right-after-school time so her piano won’t disturb her neighbors. “When I reach the time they don’t want me to practice anymore, I do homework,” she says. Daniel, however, must have more understanding neighbors. His trombone time? Very early in the morning, before school. Alyssa tackles music “at night after homework is done so I can concentrate on my violin.” Michelle notes, “Violin is so soothing after a stressful day.”
The Word is the Thing
Authors: Katz Martin 
Published: November 2023

Abstract
Apart from a handful of concert vocalises, any collaboration with a singer means dealing with language. In our pursuit of perfect ensemble and fusion with our partner, we cannot proceed very far down the road without words entering the picture. After all, it is the text that probably inspired the composer in the first place, and it is the text that serves as the conduit for the feelings to be expressed. Words are also a lot of fun, but that’s beside the point.
In Conclusion: A PepTalk
Authors: Katz Martin 
Published: November 2023

Abstract
It is almost a cliché that any text about collaborative piano will discuss the thanklessness, the inequality, and the lack of appreciation inherent in this choice of career. I cannot argue with all of that; those negatives do indeed exist to some degree, but I am also very mindful of how far we have traveled in this profession and how rewarding it can be.
Dustbowl Legacies Long-Term Change and Resilience in the Shortgrass Steppe
Authors: Sylvester Kenneth M , Gutmann Myron P 
Published: November 2023

Abstract
For centuries, European observers perceived the western High Plains as a desert. Few signs remained, on the surface, of the Pawnee villages that once grew maize and bean crops and built earthen homes in the bottomlands of the South Platte and Republican River basins. Decades-long drought during the 13th century had forced an eastward retreat of the first agricultural peoples on the High Plains. In the centuries that followed, humans were mainly visitors to a shortgrass steppe dominated by bison, drought, and fire. The landscape that emerged favored resilient shortgrass species, like buffalograss and blue grama, which thrived on natural disturbance. The longevity of these forces only began to unravel when Europeans introduced horses and firearms into plains ecology. The near demise of the bison in the 19th century, and the expansion of agriculture that followed, had dramatic consequences for the shortgrass, reducing its biomass and diversity. But unlike the tallgrass prairie, human intervention was limited by the interaction between the environment and the very institutions that promoted wholesale change farther east, thereby preserving sizeable grassland corridors in the process.
The Political Ecology of Southwest Michigan Agriculture, 1837–2000
Authors: Rudy Alan P , Harris Craig K , Thomas Brian J , Worosz Michelle R , Kaplan Siena S K , O’Donnell Evann C 
Published: November 2023

Abstract
Flying over southwestern Michigan, the Kellogg LTER site (Fig. 5.1), one looks down on what appears to be a glorious example of the agricultural landscape of classical American populism. The farm units are discernible by their woodlots, windbreaks, and rural roads, and are fairly small, or at least approximate what some have called a human scale. There is a mixture of pasturage, grain production, fruit trees, animal enterprises, and other forms of agriculture from tree farms to glass-house nurseries. Each farm seems to have a residential homestead and many have small gardens, red barns, and white or blue silos, interspersed with more recent structures for heavy machinery. In this populist image, the farms are prosperous, independent, and sustainable, and the farm families are harmonious and fulfilled.
Arts Integration: The Hot Zon
Authors: Booth Eric 
Published: November 2023

Abstract
The largest area of experimentation in arts education across the country today is “arts integration.” Schools and school districts, arts organizations and individual artists, enthusiastic teachers and model schools—by the thousands—are exploring the benefits of bringing more arts experiences into classrooms in direct relation to other curricula. On the surface, the idea is enormously appealing. Classroom learning can be revitalized with the excitement, fun, and fuller attention the arts often elicit.
Interactive Performances
Authors: Booth Eric 
Published: November 2023

Abstract
An ensemble’s educational impulses can find expression beyond the classroom workshop or lecture, the preconcert talk, or instrument “petting zoo.” One extension of education practice reaches right inside a performance to create an interactive concert (IC). This chapter presents some IC basics. I wrote it with David Wallace, a former student of mine and now a well-established teaching artist, musician, and an innovator who has done ground breaking IC work. David’s name is becoming synonymous with interactive concerts; he has published a popular new book that is a bible in its own right on the topic, and I highly recommend it to readers of this book (Reaching Out: A Musician’s Guide to Interactive Performance, 2007).
The Mental Workbench
Authors: Klingberg Torkel 
Published: November 2023

Abstract
Sometimes our attention can be drawn automatically to certain changes in our surroundings. As for controlled attention, however, some kind of instruction is needed for where it is to be directed. If our intention is to direct and fix our attention onto a predetermined target, let us say a face in a crowd, we have to have some sort of memory of this target while we are searching for it. How do we remember what it is we are to concentrate on? The answer is working memory. The term refers to our ability to remember information for a limited period of time, usually a matter of seconds. To all appearance it might seem a simple function, but it is fundamental and vital to numerous mental tasks, from attention control to solving logical problems.
Introduction: Fred Methner’s Street
Authors: Sides Josh 
Published: November 2023

Abstract
Beginning in the mid-1960s, the spectacle of sexuality appeared on the streets and in the public places of large cities throughout the United States in ways that had been unimaginable at any other moment in the nation’s history. The increasingly public nature of sexuality—a critical dimension of a larger moment in history that we call the sexual revolution—was rapturous for sexual revolutionaries. It was empowering for gays, lesbians, and bisexuals who could finally express their affection, though never truly free from fear; it was liberating for unmarried women and men who “shacked up” before marriage, often to the wagging consternation of their older neighbors. It was ecstatic for the young men who crowded around—and even occasionally paid to enter—the thousands of strip clubs, sex shops, and massage parlors that dotted the urban landscape like a neon constellation. And it was profitable for the small armies of female and male prostitutes who swarmed from the hinterlands to the nation’s big cities, recognizing that sexual freedom need not be free. Sharing their profits in the highly sexualized metropolis were legions of pornographers, whose wares, once relegated to the back rooms of only the seediest skid row stores before the sexual revolution, were now displayed prominently in storefront windows throughout the cities, and even in the suburbs. For so many, the sexual revolution was an extended engagement with, and celebration of, the human libido.
What’s become of the paris of the west?
Authors: Sides Josh 
Published: November 2023

Abstract
In June 1946, exotic dancer Sally Rand entered the stage at the Club Savoy near San Francisco’s Union Square and yet again performed her world renowned “fan dance.” As she had since unveiling the dance at the 1933 World’s Fair in Chicago, Rand danced nude to Claude Debussy’s “Clair de Lune” and Chopin’s “Waltz in C Sharp Minor,” while manipulating two giant, pink ostrich feathers to cover her breasts and genitalia, which themselves were covered with tiny flesh- tone patches of fabric that gave the illusion of complete nudity. It was an act she had performed literally thousands of times nationwide since 1933, and probably hundreds of times in San Francisco, first during a well-publicized trip in 1933, when she was welcomed by officials at City Hall, again during the Golden Gate International Exposition of 1939–1940, and yet again during an extended stint at the Music Box during the Exposition.
When the Streets Went Gay
Authors: Sides Josh 
Published: November 2023

Abstract
Paul Kantus, a good friend of Fred Methner in Noe Valley, vividly remembered the day San Francisco went gay: he could tell by the look on his father’s face. An Estonian immigrant, Kantus’s father joined other immigrants at least one afternoon each week at the steam baths. He patronized Finnila’s Finnish Baths on Market Street, right on the edge of what would soon be known as “the Castro” but then was still called Eureka Valley. It had been a quiet neighborhood of immigrant families—the neighborhood chamber of commerce called it “The Sunny Heart of San Francisco”; Chief Dullea raised his family there, and so did his friend George Healy, future chief of the SFPD. But in the early 1960s, Eureka Valley began to change, and for Kantus’s father, the change was personal. He began to notice that the new, younger crowd of men at Finnila’s took an unnatural interest in each other’s bodies. So the senior Kantus and his friends marched to the front desk, handed in their membership cards, never went back, and never talked about it again.