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In 1963, Winson Hudson finally registered to vote in Leake County, Mississippi, when she interpreted part of the state constitution by saying, "It meant what it said and it said what it meant." Her first attempt had been in 1937. A lifelong native of the rural, all-black community of Harmony, Winson has lived through some of the most racially oppressive periods in her state s history - and has devoted her life to combatting discrimination. With her sister Dovie, Winson filed the first lawsuit to desegregate the public schools in a rural county. Helping to establish the county NAACP chapter in 1961, Winson served as its president for 38 years. Her work has included voting rights, school desegregation, health care, government loans, telephone service, good roads, housing, and childcare - issues that were intertwined with the black freedom struggle. Winson s narrative, presented in her own words with historical background from noted author and activist Constance Curry, is both triumphant and tragic, inspiring and disturbing. It illustrates the virtually untold story of the role that African American women played in the civil rights movement at the local level in black communities throughout the South.
Harmony Korine: Interviews tracks filmmaker Korine's stunning rise, fall, and rise again through his own evolving voice. Bringing together interviews collected from over two decades, this unique chronicle includes rare interviews unavailable in print for years and an extensive, new conversation recorded at the filmmaker's home in Nashville. After more than twenty years, Harmony Korine (b. 1973) remains one of the most prominent and yet subversive filmmakers in America. Ever since his entry into the independent film scene as the irrepressible prodigy who wrote the screenplay for Larry Clark's Kids in 1992, Korine has retained his stature as the ultimate cinematic provocateur. He both intelligently observes modern social milieus and simultaneously thumbs his nose at them. Now approaching middle age, and more influential than ever, Korine remains intentionally sensationalistic and ceaselessly creative. He parlayed the success of Kids into directing the dreamy portrait of neglect, Gummo, two years later. With his audacious 1999 digital video drama Julien Donkey-Boy, Korine continued to demonstrate a penchant for fusing experimental, subversive interests with lyrical narrative techniques. Surviving an early career burnout, he resurfaced with a trifecta of insightful works that built on his earlier aesthetic leanings: a surprisingly delicate rumination on identity (Mister Lonely), a gritty quasi-diary film (Trash Humpers), and a blistering portrait of American hedonism (Spring Breakers), which yielded significant commercial success. Throughout his career he has also continued as a mixed-media artist whose fields included music videos, paintings, photography, publishing, songwriting, and performance art.
In the early 1960s, civil rights activists and the Kennedy administration engaged in parallel, though not always complementary, efforts to overcome Mississippi’s extreme opposition to racial desegregation. In The Mississippi Civil Rights Movement and the Kennedy Administration, 1960–1964, James P. Marshall uncovers this history through primary source documents that explore the legal and political strategies of the federal government, follows the administration’s changing and sometimes contentious relationship with civil rights organizations, and reveals the tactics used by local and state entities in Mississippi to stem the advancement of racial equality. A historian and longtime civil rights activist, Marshall collects a vast array of documents from the John F. Kennedy Presidential Library and excerpts from his own 1960s interviews with leading figures in the movement for racial justice. This volume tracks early forms of resistance to racial parity adopted by the White Citizens’ Councils and chapters of the Ku Klux Klan at the local level as well as by Mississippi congressmen and other elected officials who used both legal obstructionism and extra-legal actions to block efforts meant to promote integration. Quoting from interviews and correspondence among the Student Nonviolent Coordinating Committee members, government officials, and other constituents of the Democratic Party, Marshall also explores decisions about voter registration drives and freedom rides as well as formal efforts by the Kennedy administration—including everything from minority hiring initiatives to federal litigation and party platform changes—to exert pressure on Mississippi to end segregation. Through a carefully curated selection of letters, interviews, government records, and legal documents, The Mississippi Civil Rights Movement and the Kennedy Administration, 1960–1964 sheds new light on the struggle to advance racial justice for African Americans living in the Magnolia State.
The true story of a young black man's quest: to canoe the length of the Mississippi River from Minnesota to New Orleans.
Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.
Recipient of the 2018 Special Achievement Award from the Mississippi Institute of Arts and Letters and Recipient of a 2018 Heritage Award for Education from the Mississippi Heritage Trust The perfect book for every Mississippian who cares about the state, this is a mammoth collaboration in which thirty subject editors suggested topics, over seven hundred scholars wrote entries, and countless individuals made suggestions. The volume will appeal to anyone who wants to know more about Mississippi and the people who call it home. The book will be especially helpful to students, teachers, and scholars researching, writing about, or otherwise discovering the state, past and present. The volume contains entries on every county, every governor, and numerous musicians, writers, artists, and activists. Each entry provides an authoritative but accessible introduction to the topic discussed. The Mississippi Encyclopedia also features long essays on agriculture, archaeology, the civil rights movement, the Civil War, drama, education, the environment, ethnicity, fiction, folklife, foodways, geography, industry and industrial workers, law, medicine, music, myths and representations, Native Americans, nonfiction, poetry, politics and government, the press, religion, social and economic history, sports, and visual art. It includes solid, clear information in a single volume, offering with clarity and scholarship a breadth of topics unavailable anywhere else. This book also includes many surprises readers can only find by browsing.
Creating the first comprehensive narrative of Mississippi since the bicentennial history was published in 1976, Dennis J. Mitchell recounts the vibrant and turbulent history of a Deep South state. The author has condensed the massive scholarship produced since that time into an appealing narrative, which incorporates people missing from many previous histories including American Indians, women, African Americans, and a diversity of other minority groups. This is the story of a place and its people, history makers and ordinary citizens alike. Mississippi's rich flora and fauna are also central to the story, which follows both natural and man-made destruction and the major efforts to restore and defend rare untouched areas. Hernando De Soto, Sieur d’Iberville, Ferdinand Claiborne, Thomas Hinds, Aaron Burr, Greenwood LeFlore, Joseph Davis, Nathan Bedford Forrest, James D. Lynch, James K. Vardaman, Mary Grace Quackenbos, Ida B. Wells, William Alexander Percy, William Faulkner, Eudora Welty, Muddy Waters, B.B. King, Elvis Presley, John Grisham, Jack Reed, William F. Winter, Jim Barksdale, Richard Howorth, Christopher Epps, and too many more to list—this book covers a vast and rich legacy. From the rise and fall of American Indian culture to the advent of Mississippi’s world-renowned literary, artistic, and scientific contributions, Mitchell vividly brings to life the individuals and institutions that have created a fascinating and diverse state.
Voices from the Mississippi Hill Country is a collection of interviews with residents of Benton County, Mississippi—an area with a long and fascinating civil rights history. The product of more than twenty-five years of work by the Hill Country Project, this volume examines a revolutionary period in American history through the voices of farmers, teachers, sharecroppers, and students. No other rural farming county in the American South has yet been afforded such a deep dive into its civil rights experiences and their legacies. These accumulated stories truly capture life before, during, and after the movement. The authors’ approach places the region’s history in context and reveals everyday struggles. African American residents of Benton County had been organizing since the 1930s. Citizens formed a local chapter of the NAACP in the 1940s and ’50s. One of the first Mississippi counties to get a federal registrar under the 1965 Voting Rights Act, Benton achieved the highest per capita total of African American registered voters in Mississippi. Locals produced a regular, clandestinely distributed newsletter, the Benton County Freedom Train. In addition to documenting this previously unrecorded history, personal narratives capture pivotal moments of individual lives and lend insight into the human cost and the long-term effects of social movements. Benton County residents explain the events that shaped their lives and ultimately, in their own humble way, helped shape the trajectory of America. Through these first-person stories and with dozens of captivating photos covering more than a century’s worth of history, the volume presents a vivid picture of a people and a region still striving for the prize of equality and justice.
Historians of the American South have come to consider the mechanization and consolidation of cotton farming—the “Southern enclosure movement”—to be a watershed event in the region’s history. In the decades after World War II, this transition pushed innumerable sharecroppers, tenant farmers, and smallholders off the land, redistributing territory and resources upward to a handful of large, mainly white operators. By disproportionately displacing Black farmers, enclosure also slowed the progress of the civil rights movement and limited its impact. John Cable’s Southern Enclosure is among the first studies to explore that process through the interpretive lens of settler colonialism. Focusing on east-central Mississippi, home of the Mississippi Band of Choctaw Indians, Cable situates enclosure in the long history of dispossession that began with Indian Removal. The book follows elite white landowners and Black and Choctaw farmers from World War II to 1960—the period when the old, labor-intensive farm structure collapsed. By acknowledging that this process occurred on taken land, Cable demonstrates that the records of agricultural agents, segregationist politicians, and the Bureau of Indian Affairs (BIA) are traces of ongoing colonization. The settler colonial framework, rarely associated with the postwar South, sheds important light on the shifting categories of race and class. It also prompts comparisons with other settler societies (states in southern and eastern Africa, for instance) whose timelines, racial regimes, and agrarian transitions were similar to those of the South. This postwar history of the South suggests ways in which the BIA’s termination policy dovetailed with Southern segregationism and, at the same time, points to some of the shortcomings of the burgeoning field of settler colonial studies.
The award-winning biography of black civil rights activist Fannie Lou Hamer