A collection of ideas from David Payton and his two sons, Orrin Lynn Tolliver III, and David C. Tolliver. A father and sons' collaboration of poetry, spoken word and other concepts for future books and movies. There are a few words of vulgarity within. For the discriminate reader. Young minds exhaling their inner thoughts, and a very proud father. This is a "rough" so it is not error free. The works are raw, and a compilation of material from over the past two or three years.
Every radio station I have worked at, I have closed my show with words of God and good. And since joining Jay King and becoming the founder of the Jay King network, I have again taken a roll in prayer. The original prayers were spoken and conceived by Jay Kings cousin, Anthony A. K. King, and after his departure from the show, it kind of fell in my lap, but I have no qualms in speaking about God and the wonderful world we have because of him. For the most part, these prayers are not in any particular order, but they may correspond with something that was currently happening at the time the prayer was written. And you may be able to tell what things were going on based on the prayer. In the event some of the prayers are repeated, maybe you need to see them again. Because I wasnt organized the first time around nor did I write the prayers as if I were going to do a book, I didnt really keep accurate track of the prayers, so some of the prayers may be in the first prayers book, but from what Ive seen . . . very little. Hope these words inspire you to become who you want to be and to have belief in yourself. Again, thank you for your time and energy, precious moments they are, and Im glad youve shared them with me. Lynn Tolliver Jr. / David Payton
Every radio station I have worked at, I have closed my show with words of God and good. And since joining Jay King and becoming the founder of the Jay King Network, I have again taken a role in prayer. The original prayers were spoken and conceived by Jay Kings cousin, Anthony A. K. King, and after his departure from the show, it kind of fell in my lap, but I have no qualms in speaking about God and the wonderful world we have because of him. The prayers are not in any particular order, but they may relate to something that may be current in the word, and you may be able to tell what things were going on based on the prayer. In the event some of the prayers are repeated, maybe you need to see them again. Again, thank you for your time and energy, precious moments they are, and Im glad youve shared them with me. Lynn Tolliver Jr. / David Payton
The commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. “Coon songs,” with their ugly name, defined ragtime for the masses, and played a transitional role in the commercial ascendancy of blues and jazz. In Ragged but Right, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the “big shows,” the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Clara Smith, and others were converted from “coon shouters” to “blues singers.” Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and Silas Green from New Orleans provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in.
Welcome to Black Cat Weekly #32. This issue, we have more original stories than ever before. Editors Michael Bracken and Cynthia Ward have brought in new tales by Wil A. Emerson and the writing team of Jayme Lynn Blaschke and Don Webb, and I snagged magazine rights to Mel Gilden’s new novel, The Case by Case Casebook of Emily Silverwood. Mel’s story is a new and thoroughly modern take on the Mary Poppins theme. Wil Emerson has a study on the dynamics of detective partners. And Blachke and Webb’s story (as Cindy Ward put it) “reveals the connections between Nietszche’s abyss, Lovecraft’s god-monsters and non-Euclidean spaces, and Cordwainer Smith’s monsters of subspace.” Wow! Not to be outdone, Barb Goffman acquired Stacy Woodson’s first story, which won the Ellery Queen’s Mystery Magazine Reader’s Award. And, of course, we have a solve-it-yourself mystery from Hal Charles, a historical adventure novel from Edison Marshall, and a slew of great science fiction stories from such masters as Henry Slesar, and Edmond Hamilson. And a World War II fantasy from Malcolm Edwards. Here’s the lineup: Non-Fiction: “Speaking with Robert Sheckley,” conducted by Darrell Schweitzer [interview] Mysteries / Suspense / Adventure: “Insieme,” by Wil A. Emerson [Michael Bracken Presents short story] “An Eggcellent Equation,” by Hal Charles [solve-it-yourself mystery] “Paper Caper,” by James Holding [short story] “Duty, Honor, Hammett,” by Stacy Woodson [Barb Goffman Presents short story] The Infinite Woman, by Edison Marshall [novel] Science Fiction & Fantasy: It Gazes Back,” by Jayme Lynn Blaschke and Don Webb [Cynthia Ward Presents short story] The Case by Case Casebook of Emily Silverwood, by Mel Gilden [serialized novel] “Vengeance in Her Bones,” by Malcolm Jameson [short story] “The Man Who Liked Lions,” by John Bernard Daley [short story] “A Message from Our Sponsor,” by Henry Slesar [short story] Crashing Suns, by Edmond Hamilton [novel]
Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
The commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. “Coon songs,” with their ugly name, defined ragtime for the masses, and played a transitional role in the commercial ascendancy of blues and jazz. In Ragged but Right, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the “big shows,” the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Clara Smith, and others were converted from “coon shouters” to “blues singers.” Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and Silas Green from New Orleans provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in.
A landmark study, based on thousands of music-related references mined by the authors from a variety of contemporaneous sources, especially African American community newspapers, Out of Sight examines musical personalities, issues, and events in context. It confronts the inescapable marketplace concessions musicians made to the period's prevailing racist sentiment. It describes the worldwide travels of jubilee singing companies, the plight of the great black prima donnas, and the evolution of "authentic" African American minstrels. Generously reproducing newspapers and photographs, Out of Sight puts a face on musical activity in the tightly knit black communities of the day. Drawing on hard-to-access archival sources and song collections, the book is of crucial importance for understanding the roots of ragtime, blues, jazz, and gospel. Essential for comprehending the evolution and dissemination of African American popular music from 1900 to the present, Out of Sight paints a rich picture of musical variety, personalities, issues, and changes during the period that shaped American popular music and culture for the next hundred years.
Richard Marksley, home from the Peninsular War, is used to correcting the errors and excesses of his aristocratic relations. But this time his dissolute cousin Reginald, the Viscount Langsford, has truly gone too far. Posing as Richard, Reggie has compromised the reputation of a young gentlewoman and left Richard to right the situation. Richard would much rather be pursuing poets for his publication, The Tantalus. But his sense of responsibility and family honor make it impossible for him to turn his back on the situation, and he's determined to find a remedy--short of his actually marrying the girl! Hallie Ashton has limited choice. Her uncle is convinced that she has gone astray, and with Richard, not the truant Reggie. With her family pressing for a wedding, the demands of proper society threaten to steal her future and seal her fate. If she could explain the situation to Marksley herself, she might find him to be a useful ally. But that would require revealing the secret closest to her heart.
For courses in Fundamentals of Reading and College Reading. The highly regarded, exceptionally effective approach of Structured Reading is grounded in psycholinguistic theory and based on the principle that readers improve their skills not by reading about reading, but rather by guided, hands-on experience with reading. Throughout the text readers encounter essays from books, magazines, and texts. They use this material to develop their critical thinking, reading, and vocabulary skills.
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