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A collection of Courtney's columns from the Texas Monthly, curing the curious, exorcizing bedevilment, and orienting the disoriented, advising "on such things as: Is it wrong to wear your football team's jersey to church? When out at a dancehall, do you need to stick with the one that brung ya? Is it real Tex-Mex if it's served with a side of black beans? Can one have too many Texas-themed tattoos?"--Amazon.com.
This is a society that you join because you want to. The purpose of the society is to collect and make known to he public sons and ballads, superstitions, games, plays, and proverbs.
The Play-Party in Oklahoma.--B. Botkin. Folk-Lore Relating to Texas Birds.--J. Strecker. Tall Tales for the Tenderfeet.--A. Penn. Fishback Yarns from the Sulphurs.--J. Deaver. Paul Bunyan:Oil Man.--J. Brooks. Pipeline Days and Paul Bunyan.--A. Garland. Le Loup Blanc of Bolivar's Peninsula.--P. Tucker. Pioneer Folk Tales.--M. Atkinson and J. Dobie. The Corn Thief-A Folk Anecdote.--J.raddock. The Texas Pecan; The Man in the Moon.--G. Bludworth. Follow the Drinking Gourd.--H. Parks. Some Negro Folk-Songs of Texas.--M. Bales. Six Negro Folk-Songs.--N. Smith. Confidences from Old Nacogdoches.--M. Emmons. The Ghosts of Lake Jackson.--B. Dobie. How Mr. Polecat Got His Scent.--K.O'Connor. De Pot-Song.--P. Throop. Notes on Some Recent Treatments of Negro Folk-Lore.--R. Law. Some Characteristics of Cowboy Songs.--N. Gaines. More Ballads and Songs of the Frontier Folk.--J. Dobie.
What did young people do for diversion and socialization in communities that banned most dancing and considered the fiddle to be the devil's instrument? The American play party was the fundamentalist's answer. Here the singing was a cappella, the dancers followed prescribed steps, and arm and elbow swings would be the only touching. The play party was a popular form of American folk entertainment that included songs, dances, and sometimes games. Though based upon European and English antecedents, play parties were truly an American phenomenon, first mentioned in print in 1837. The last play parties were performed in the 1950s. Though documented in rural and frontier areas throughout the United States, they seem to have been most popular and lasted the longest in the rural South and Midwest. Skip to My Lou and Pig in a Parlor are still sung today but without the movements and games. This is the first book since the 1930s to study this important and little-remembered phenomenon of American folk culture. The author interviewed a large number of Americans, both black and white, who performed play parties as young adults. Many of our parents and grandparents experienced these events, which harken back to a time when people created their own forms of entertainment. Today play parties are an important source of song and movement material for elementary-school-age children. A songbook of ninety musical examples and lyrics completes the picture of this vanished tradition. Alan L. Spurgeon, Oxford, Mississippi, is associate professor of music at the University of Mississippi. He is the editor of Pig in the Parlor and Twenty Other Authentic Play Parties, and his work has appeared in several music-related periodicals.
Folk toys are made with available materials by amateurs in the tradition of the area's culture. Folk games are the traditional games passed along in the playground. This delightful illustrated volume combines how-to descriptions and personal reminiscences contributed by people across the state of Texas. Paper edition (unseen), $14.95. Annotation copyrighted by Book News, Inc., Portland, OR
Much has been written about the songs gathered in North America in the first half of the 20th century. However, there is scant information on those individuals responsible for gathering these songs. The Ballad Collectors of North America: How Gathering Folksongs Transformed Academic Thought and American Identity fills this gap, documenting the efforts of those who transcribed and recorded North American folk songs. Both biographical and topical, this book chronicles not only the most influential of these "song catchers" but also examines the main schools of thought on the collection process, the leading proponents of those schools, and the projects that they shaped. Contributors also consider the role of technology--especially the phonograph--in the collection efforts. Chapters organized by region cover such areas as Appalachia, the West, and Canada, while others devoted to specialized topics from the cowboy tune and occupational song to the commercialization of folk music through song collections and anthologies. Ballad Collectors investigates the larger role of the ballad in the development of American identity, from the national appreciation of cowboy songs in popular culture to the use of Appalachian song forms in radio broadcasts to the role of dustbowl ballads in the urban folk revival of the 1950s and 1960s. Finally, this collection assesses the changing role of songs and song texts in the academic fields of folklore, anthropology, musicology, and ethnomusicology. Scholars and students of American cultural and social history, as well as fans of North American folk and popular music, will find The Ballad Collectors of North America a fascinating story of how the American folk tradition gained greater visibility, fueling the revolutions that would follow in the writing and performance of American music.