bluuebunny/crossref_metadata_2025_split huggingface dataset:
Condition Red
Authors: Williams Martin 
Published: November 2023

Abstract
Trumpeter Henry (Red) Allen, Jr., has been recording as leader of his own groups since 1929, but, like many a veteran professional, he still approaches record dates with a bit of apprehension and a slightly nervous determination that everything shall go well. At least he did have such apprehension when he was to do a date for the Prestige/ Swingville label recently, using the quartet he has been working with in clubs like the Embers in New York City and the London House in Chicago.
Bash It
Authors: Williams Martin 
Published: November 2023

Abstract
The Impact Studios are on West Sixty-fifth Street, and they are, therefore, in what is now called the Lincoln Center area of New York City. But Impact’s narrow building was there long before Lincoln Center was a gleam in a realestate speculator’s eye or a twitch in a culture-monger’s pocketbook. Impact is a second-floor walk-up, and en route one might assume that its building is otherwise deserted. The studio is a favorite of Don Schlitten, jazz producer for Prestige records, and Schlitten had booked it for 1 :oo p.m. on a day this spring to record pianist Jaki Byard “with strings.” The “strings” were to be Ray Nance’s violin, Ron Carter’s cello, Richard Davis’s bass, and George Benson’s guitar.
Miles Davis: Odyssey ¡*
Authors: Williams Martin 
Published: November 2023

Abstract
The music on this LP first appeared as “Miles Davis and Milt Jackson: Changes,” and the record was made at an auspicious time for several of its participants. Miles Davis was shortly to form and record with the Quintet with John Coltrane, the group with which he first achieved national fame and celebrity. About a year before, he had recorded Walkin’ and Blue ‘n’ Boogie, and, following them, Bags’ Groove and The Man I Love, records which led both musicians and the more hip and “inside” fans to a virtual rediscovery of Miles Davis.
Ornette Coleman: Free Jazz*
Authors: Williams Martin 
Published: November 2023

Abstract
This is an exceptional record-exceptional in so many ways that it is hard to know where to begin. It is a continuous free improvisation with only a few, brief pre-set sections. It was done in one “take” at a single recording session. No one knew how long it would last; two tape machines were simply kept going, and when Free Jazz was over, it had taken over thirty-eight minutes-the length of an LP. There was nothing more to play, there were no re-takes, no splices.
Ornette Coleman: Twins*
Authors: Williams Martin 
Published: November 2023

Abstract
Just in case you’re inclined to be ponderous or solemn about Ornette Coleman’s music, go directly to Joy of a Toy. Hear the bursting humor of that well-titled melody. Hear the comic, cajoling, teasing fun in Ornette Coleman’s solo. Hear those marvelous, convoluting phrases with which Don Cherry ends his improvising. Ornette Coleman’s music has always shown an expressive feel for the playful, the joyful, the whimsical side of human nature. And I’d say it’s often there, deep down, in things he plays or writes in quite different moods.
Criticism
Authors: Williams Martin 
Published: November 2023

Abstract
A musician is supposed to have said recently that the criticism of jazz is a kind of joke and that there are no jazz critics. Without agreeing with him entirely, I am very sympathetic to his statement. But I say this to indicate that to me the words critic and criticism are rather special ones. A man who makes comments or reports on jazz records (or books, or plays, or movies) is not necessarily worthy of the title of critic.
On Scholarship, Standards, and Aesthetics: In American Music We Are All on the Spot
Authors: Williams Martin 
Published: November 2023

Abstract
In a sense, I hesitate to undertake my subject with the Sonneck Society, which was originally organized on the premise that it approach American music informally, pleasurably, and however its membership seemed inclined. Nevertheless, here we are with a learned quarterly, with annual meetings with several days of papers-in short, with all the paraphernalia of a society of scholars. And that in itself perhaps incurs certain obligations.
Pictographs as Autobiography: Plains Indian Sketchbooks, Diaries, and Text Construction
Authors: Wong Hertha Dawn 
Published: November 2023

Abstract
When scholars talk about Native American autobiography, the assumption is that they mean the ethnographer-collected life histories of the late nineteenth and early twentieth centuries. Because autobiography has been considered a distinctly Western impulse emphasizing individuality and has been defined as the story of one’s life written by oneself, pre contact personal narratives spoken, performed, and painted by communal-oriented indigenous peoples have generally been overlooked. Even thoughtful critics like Arnold Krupat insist that ‘‘Indian autobiography has no prior model in the collective practice of tribal cultures.”But long before Anglo ethnographers came along, Native Americans were telling, performing, and painting their personal histories. One potential tribal model of autobiography, at least among Plains Indian males, is the pictographic personal narrative. The symbolic language of pictographs allowed pre-contact Plains Indians to “read” about one another from painted robes, tipis, and shields. According to Helen H. Blish, pictographic hides were a “widely practiced” form of artistic personal history. Such “personal records” were “quite common …among the Plains Indians/’ and, says Blish, “these are the most frequently found pictographic records. “In the Great Plains, in particular, pictography was highly developed and ‘‘universally employed and under stood.’ ‘Such picture writing was used to convey everyday messages announcements, rosters, personal letters, business and trade transac tions, and geographical directions and charts (Blish 20; Petersen)-as well as tribal histories (known as winter counts) and autobiographical narratives.
Oral and Written Collaborative Autobiography: Nicholas Black Elk and Charles Alexander Eastman
Authors: Wong Hertha Dawn 
Published: November 2023

Abstract
Black Elk and Charles Alexander Eastman lived during a traumatic transition period for Native Americans. In the final quarter of the nineteenth century, the last armed Indian resistance to U.S. expansion ism was destroyed and Indians were forced onto reservations. During this troubled period, life histories of tribal people were solicited by friends, historians, and ethnologists who then translated spoken native languages into written English. Such oral autobiographies as Black Elk’s, with their problems of authority and audience, reflect a dual perspective-the raconteur’s and the editor’s.
Seattle
Authors: Crow Bill 
Published: November 2023

Abstract
As a veteran, I was eligible for a free college education on the G.l. Bill of Rights. I re-entered the University of Washington, signing up for courses that would get me a degree in radio broadcasting. Though I was a musician, I had been convinced by parents and teachers that I wouldn’ t be able to make a living that way. All the professional musicians I knew outside the Army either taught school or worked other day jobs and only played on weekends.
The Marian McPartland Trio
Authors: Crow Bill 
Published: November 2023

Abstract
I was lucky that the gig with Jerry Wald didn’ t last any longer than it. did; I might have missed a good job with Marian McPartland. I had met her when I was with Terry Gibbs, on a concert we shared with her trio and the Ahmad Jamal Quartet. As I was going into the Embers with Wald, Vinnie Burke gave Marian his notice, and she asked me to join her the following week at the Hickory House.
Vic Dickenson
Authors: Crow Bill 
Published: November 2023

Abstract
When I joined Marian McPartland’ s trio, I was still playing the plywood Kay bass I’ d bought in 1951. I had admired finer instruments that I’ d heard being played by other bassists, but I hadn’ t found one of my own. Irv Manning, a bassist with an eye for quality in instruments, took me to the workshop of Sam Kolstein, a bowmaker and bass repairman on Sixth Avenue. While Sam adjusted my Kay to improve its sound and action, he let me play some of the fine old instruments that he had there. They were for sale, but I couldn’ t afford Sam’ s prices.
Bird
Authors: Crow Bill 
Published: November 2023

Abstract
I was working at the Hickory House when I heard the sad news of Charlie Parker’ s death. It stunned every musician I knew. He was twenty when he first overwhelmed the jazz world with his brilliant playing, and only fourteen years later that Niagara of music had ceased to flow. During my first months in New York I spent every possible hour listening to him, but as I began to live my own musical life I only went to hear him now and then when he played in New York. I felt no urgency; I thought he would always be there.
Dave Lambert, Last Chorus
Authors: Crow Bill 
Published: November 2023

Abstract
That edition of Marian’ s trio dissolved on the road, when she was canceled out of a summer’ s bookings at a chain of Indiana hotels. The hotels were sold, and the new owner refused to honor Marian’ s contracts. The Hickory House was already booked up for the season, so Marian decided to take a vacation. She went to Chicago to visit her stepdaughter, and I returned to New York.
Good Gigs
Authors: Crow Bill 
Published: November 2023

Abstract
After playing at Birdland with Gerry one summer night, I came home to my apartment on Cornelia Street to discover I’ d been robbed. The burglar had come in through a window I had left unlocked. He must have known I was at work; he took the time to sort through my record collection. He only stole the modern jazz. He also took my tux and a suit, my overcoat, a collection of cufflinks that I had made from foreign coins, my camera, a couple of sweaters, and two suitcases, which he used to carry the boodle.
Comedians
Authors: Crow Bill 
Published: November 2023

Abstract
At the Playboy Club, the shows changed frequently in the showrooms on the third and fourth floors. Between shows, the comics would go down to the bandstand in the Living Room to do a few jokes and drum up business for their rooms. One Sunday, when our quartet was playing in the Living Room, a young comedian from the Penthouse came down to plug his show. He had an easygoing delivery that was completely different from the brash style of Jackie Gayle, the circuit’ s top banana, who was appearing in the Playroom. Gayle was a bargain-basement Don Rickles who specialized in tough insult humor.
When Gayle finished his first show and came down the stairway that passed our bandstand, he began heckling the young comic, bellowing standard nightclub insults.
Doubling in Brass
Authors: Crow Bill 
Published: November 2023

Abstract
Between jobs with Duchin I often played at the new Eddie Condon’ s. Eddie had closed his East Fifty-sixth Street club in 1967 and gone into retirement, and he died in 1973. Later, bassist Red Balaban arranged with Eddie’ s widow to use his name. Red opened a new Eddie Condon’ s on West Fifty-fourth Street, a few doors from the relocated Jimmy Ryan’ s. He had Ed Poker on cornet, Vic Dickenson on trombone, Herb Hall on clarinet, Ronnie Coles on drums, and Jim Andrews on piano, with Red Richards playing solo piano between the band’ s sets. Balaban often called me to sub for him.
Berlin’s Songs for the Vaudeville Stage
Authors: Hamm Charles 
Published: November 2023

Abstract
The majority of Berlin’s earliest songs were written for performance in vaudeville, a theatrical form with roots in the mid-nineteenth-century concert saloon, a venue for working-class entertainment. As an observer described an evening in one of these places, which were clustered by the dozens in and around the Bowery section of New York City: We drew our knees under a roughly made round table. Our seat was a hard- bottomed chair, or perhaps it was a bench.
Berlin’s Early Songs for the Musical Stage
Authors: Hamm Charles 
Published: November 2023

Abstract
Irving Berlin has accomplished an Aladdin-like transition-from piano player in a Bowery dance hall to the authorship of WATCH YOUR STEP, a musical melange, which is attracting the elite of “sassiery” to the New Amsterdam. Watch Your Step, a “syncopated musical show in three acts” with a cast headed by Irene and Vernon Castle and the comedian Frank Tinney, had its first New York performance at the New Amsterdam on 8 December 1914 after tryouts in Syracuse and Detroit.
Rethinking Women’s Literary History
Authors: Erkkila Betsy 
Published: November 2023

Abstract
Through a study of the lives and works of Emily Dickinson, Marianne Moore, Elizabeth Bishop, Adrienne Rich, and Gwendolyn Brooks and their complex and troubled relations with both masculine and feminine literary culture, this book seeks simultaneously to engage and to explore feminist theory and practice as a field of cultural struggle. Broadly stated, this study attempts to “historicize” our understanding of particular women poets and particular (re)constructions of the “female poetic tradition” by focusing on the historical struggles and differences not only among and within women writers but also among feminists themselves. In particular, I argue that the emphasis among many white feminists on both patriarchy as the primal oppression and psycho-analysis as the primary mode of conceptualizing women’s “experience” has tended to reduce all women writers to an economy of the same, trans-historicizing and universalizing the lives and works of women writers across race, class, sexual, and historically specific bounds. Moreover, I argue that under the influence of such French feminist theorists as Helene Cixous, Luce Irigaray, and Julia Kristeva, recent feminist representations of women’s literary history have tended to romanticize, matemalize, essentialize, and eternalize women writers and the relationships .among them in ways that have worked to reconstitute the very gender stereotypes and polarities that have been historically the ground of women’s oppression.
Differences That Kill: Elizabeth Bishop and Marianne Moore
Authors: Erkkila Betsy 
Published: November 2023

Abstract
As a student at Vassar in the early thirties, Elizabeth Bishop and several other women, among them Mary McCarthy, Muriel Rukeyser, and Eleanor Clark, founded a literary magazine to protest the policies of the Vassar Review. “The regular literary magazine was dull and old-fashioned,” Bishop remembered. “Mary and Eleanor and I and several others decided to start one in competition. It was to be anonymous. We used to meet in a speakeasy and drink dreadful red wine and get slightly high We called the magazine Conspirito. We got out only three numbers, I think, but we prevailed” (Ashley Brown 7-8). The title Conspirito was, as sister conspirator Eunice Clark noted, “an almost Joycean palimpsest of meanings,” suggesting not only wine and spirits but also conspiracy, heady defiance, and the vigorous impulse with which this most distinguished group of women writers sought to oppose the dull conventionality and Amoldian pieties of the Vassar Review (Jessup 17).
Race, Black Women Writing, and Gwendolyn Brooks
Authors: Erkkila Betsy 
Published: November 2023

Abstract
“Most of what passes for culture and thought on the North American continent” has enforced the nonexistence of black women, write Gloria Hull and Barbara Smith in the introduction to their important anthology All the Women Are White, All the Blacks are Men, But Some of Us Are Brave (xvii). For black women writers, the marketplace economics of last hired, first fired has translated into a literary economics of exclusion and absence. From such early works of feminist literary criticism as Patricia Meyer Spacks’s The Female Imagination and Ellen Moers’s Literary Women: The Great Writers in the mid-seventies to recent works such as Sandra Gilbert and Susan Gubar’s No Man’s Land: The Place of the Woman Writer in the Twentieth Century, the writings of women of color have been given little or no place in white feminist revivals, revisions, and re-readings of women’s literary history. Women of color are subsumed within the category “Woman,” and the writings of predominantly white middle-class women are generalized and universalized into the female imagination, the literary woman, and the female literary tradition. In response to the invisibility of black women in white male and female literary criticism as well as in black male criticism, black feminist critics have called for a black feminist critical perspective that would be fully cognizant of the interlocking systems of race, class, and gender in the lives and writings of black women.
The Radiant Gist
Authors: Bremen Brian A 
Published: November 2023

Abstract
As Burke himself would say at this point, “And now where are we?” ln the previous chapters l have tried to show how the mechanism that Williams establishes in his writing between prose and poetry attempts to distinguish between a use of language that relies on a previously established grammar to determine meaning and one that attempts to create a new grammar, what Wittgenstein would call a ‘‘new form of life,’’ in a moment of discovery. This act of discovery relies on a process analogous to an empathic identification with people, things, words, or ideas in an act of self-creation that maintains the integrity of both self and object. In using this mechanism both to re-create and to demonstrate an act of discovery, Williams also attempts to restructure cognitive, epistemological, psychological, medical, and political conventions by opposing what I have called a “grammar of transference” with a ‘‘grammar of translation.’’
Spies Between the Wars: 1930-1939
Authors: Richelson Jeffrey T 
Published: November 2023

Abstract
The Great Depression brought the political, economic, and social turmoil that was instrumental in Hitler’s rise to power and the worldwide tragedy that followed. Developments in the world of intelligence reflected these events. German and Japanese intelligence expanded to meet the requirements of their nations’ aggressive foreign policies. As Germany and Japan became more obviously a world menace, the intelligence establishments of the United States, Great Britain, and France expanded their operations to cope with the increasingly hostile international environment.
The Year of the Spy
Authors: Richelson Jeffrey T 
Published: November 2023

Abstract
Between late November and early December, following a bizarre week in which three major spy arrests were made, the American media began referring to 1985 as the “year of the spy.” The arrests followed several major spy cases earlier in the year. In September a former CIA employee suspected of having revealed CIA operations to the KGB had escaped an FBI dragnet. And in June there had been arrests associated with a naval spy ring, which reportedly did devastating damage to the U.S. Navy.The year was made all the more unusual by the defection and redefection, in a matter of months, of a KGB official. He left behind clues that resulted in one of the November arrests and a controversy over whether there had indeed been a defection. Meanwhile, another KGB official’s defection represented a clear triumph for the West.
The Changing Status of Negro Labor
Authors: Wilson Sondra Kathryn 
Published: November 2023

Abstract
I am down to speak on the changing status of Negro labor. It might be well, in a dozen words, to trace the change in the status of the Negro during his history in this country, because it has a bearing on what I wish to say on the topic assigned to me. The Negro in America has passed through four distinct and well marked epochs. The first began with the landing of twent-odd naked savages on the shores of Virginia in 1619. The second had for its duration the great war in which he gained his physical freedom. The third was marked by the change in the organic law of the land which conferred upon him the rights of citizenship. And today he is going through a fourth epoch, an epoch which began with the hurling of the German armies through Belgium; an epoch in which he sees the beginning of his economic and industrial emancipation; an epoch which !’8 big with spiritual meanings for him, because in it must be answered more fully than ever before the question, “Can full and unlimited democracy be realized for all the people, or is the hope of it a mere dream?” We shall not attempt to review these epochs historically, or to trace the course of opinion regarding the Negro from the time when it was a question as to whether or not he had a human soul and could be made susceptible to religious teaching, or whether or not he had sufficient gray matter in his skull to master the rudiments of learning and the intricacies of English speech, or whether or not he would revert to barbarism if given his freedom,
Our Democracy and the Ballot
Authors: Wilson Sondra Kathryn 
Published: November 2023

Abstract
Ladies and Gentlemen: For some time since I have had growing apprehensions about any subject-especially the subject of a speech-that contained the word “democracy.” The word “democracy” carries so many awe-inspiring implications. As the key-word of the subject of an address it may be the presage of an outpour of altitudinous and platitudinous expressions regarding “the most free and glorious government of the most free and glorious people that the world has ever seen.” On the other hand, it may hold up its sleeve, if you will permit such a figure, a display of abstruse and recondite theorizations or hypotheses of democracy as a system of government. In choosing between either of these evils it is difficult to decide which is the lesser.
The Gentlemen’s Agreement and the Negro Vote
Authors: Wilson Sondra Kathryn 
Published: November 2023

Abstract
There are twelve million Negroes in the United States, born American citizens, yet they constitute the least influential and least effective political unit in the whole country. The Negro demands less by his ballot, not only in actual results but even in mere respect for himself as a voter than any of all the groups that go to make up the American citizenry; although some of these groups are far smaller in numbers and even weaker economically. For all his mass of numbers and his increase in education and wealth, the Negro remains as near being a political nonentity as is possible for a group of citizens in a country with anything that resembles a democratic form of government. This is a condition that demands analysis and study. This is emphatically true, since the Negro, more than any other group, needs whatever benefits the ballot is able to gain. There are, of course, reasons why this condition exists, and these reasons ought to be found and the facts faced. It is only by such a process that the situation can be changed and remedied. Why is it that twelve million colored Americans are, in a positive sense, a political nonentity? I say in a positive sense because, negatively, the Negro has been for a hundred years a dominant factor in politics. In the twelve states of the real South the whole structure of politics and all political activities are based on the Negro. In these states the Negro constitutes the prime and, often, the only political issue; indeed, he is the reason for politics. From each of these states men have been elected to the governorship