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Includes the decisions of the Supreme Courts of Missouri, Arkansas, Tennessee, and Texas, and Court of Appeals of Kentucky; Aug./Dec. 1886-May/Aug. 1892, Court of Appeals of Texas; Aug. 1892/Feb. 1893-Jan./Feb. 1928, Courts of Civil and Criminal Appeals of Texas; Apr./June 1896-Aug./Nov. 1907, Court of Appeals of Indian Territory; May/June 1927-Jan./Feb. 1928, Courts of Appeals of Missouri and Commission of Appeals of Texas.
In the rough-and-tumble days of the nineteenth century, Shreveport was on the very edge of the countrys western frontier. It was a city struggling to tame lawlessness, and its streets were rocked by duels, lynchings and shootouts. A new century and Prohibition only brought a fresh wave of crime and scandal. The port city became a haunt for the likes of notorious bank robbers Bonnie and Clyde and home to the influential socialite and Madam Annie McCune. From Fred Lockhart, aka the Butterfly Man, to serial killers Nathanial Code and Danny Rolling, Shreveport played reluctant host to an even deadlier cast of characters. Their tales and more make up the devilish history of the Deep South in Wicked Shreveport.
Mara L. Keire’s history of red-light districts in the United States offers readers a fascinating survey of the business of pleasure from the 1890s through the repeal of Prohibition in 1933. Anti-vice reformers in the late nineteenth century accepted that complete eradication of disreputable pleasure was impossible. Seeking a way to regulate rather than eliminate prostitution, alcohol, drugs, and gambling, urban reformers confined sites of disreputable pleasure to red-light districts in cities throughout the United States. They dismissed the extremes of prohibitory law and instead sought to limit the impact of vice on city life through realistic restrictive measures. Keire’s thoughtful work examines the popular culture that developed within red-light districts, as well as efforts to contain vice in such cities as New Orleans; Hartford, Connecticut; New York City; Macon, Georgia; San Francisco; and El Paso, Texas. Keire describes the people and practices in red-light districts, reformers' efforts to limit their impact on city life, and the successful closure of the districts during World War I. Her study extends into Prohibition and discusses the various effects that scattering vice and banning alcohol had on commercial nightlife.
The history of Shreveport's Cemetery and those that are known to be buried there.
How international oil companies navigated the local, segregated landscape of north Louisiana in the first decades of the twentieth century. In 1904, prospectors discovered oil in the rural parishes of North Louisiana just outside Shreveport. As rural cotton fields gave way to dense, industrial centers of energy extraction, migrants from across the US—and the world—rushed to take a share of the boom. The resulting boomtowns, most notoriously Oil City, quickly gained a reputation for violence, drinking, and rough living. Meanwhile, North Louisiana’s large Black population endured virulent white supremacy in the oil fields and the courtrooms to earn a piece of the boom, including one Black woman who stood to become the wealthiest oil heiress in America. In Oil Cities, Henry Wiencek uncovers what life was like amidst the tent cities, saloons, and oil derricks of North Louisiana’s oil boomtowns, tracing the local experiences of migrants, farmers, sex workers, and politicians as they navigated dizzying changes to their communities. This first historical monograph on the region’s dramatic oil boom reveals a contested history, in which the oil industry had to adapt its labor, tools, and investments to meet North Louisiana’s unique economic, social, political, and environmental dynamics.
Eugenie Escousse is a thirty-nine year old married career woman and her biological clock is ticking. For the past year she has undergone monthly donor inseminations, fertility medications, lab tests, and surgeryall with negative pregnancy results. Tyler Tanner is the owner of the Shreveport Fertility Institute located in downtown Shreveport. She provides doctors with donor sperm for their patients. Tyler is proud of her fertility institute, but she is a woman haunted by her past. Her violent reaction to men lead to murder. Detective Bo Hache of the Shreveport Police Department is busy investigating drive-by shootings and drug dealersuntil someone starts murdering pregnant women. Retired police chief Bubba Nelson, an old man born during the time of extreme racism, hires out to the elite as a private investigator, shadowing blackmailers and keeping safe family secrets. Bubba Nelson and Detective Hache butt heads as they become tangled in each others investigations, which will lead to the murderer of the pregnant women.
On a Saturday night in 1948, Hank Williams stepped onto the stage of the Louisiana Hayride and sang "Lovesick Blues." Up to that point, Williams's yodeling style had been pigeon-holed as hillbilly music, cutting him off from the mainstream of popular music. Taking a chance on this untried artist, the Hayride--a radio "barn dance" or country music variety show like the Grand Ole Opry--not only launched Williams's career, but went on to launch the careers of well-known performers such as Jim Reeves, Webb Pierce, Kitty Wells, Johnny Cash, and Slim Whitman.Broadcast from Shreveport, Louisiana, the local station KWKH's 50,000-watt signal reached listeners in over 28 states and lured them to packed performances of the Hayride's road show. By tracing the dynamic history of the Hayride and its sponsoring station, ethnomusicologist Tracey Laird reveals the critical role that this part of northwestern Louisiana played in the development of both country music and rock and roll. Delving into the past of this Red River city, she probes the vibrant historical, cultural, and social backdrop for its dynamic musical scene. Sitting between the Old South and the West, this one-time frontier town provided an ideal setting for the cross-fertilization of musical styles. The scene was shaped by the region's easy mobility, the presence of a legal "red-light" district from 1903-17, and musical interchanges between blacks and whites, who lived in close proximity and in nearly equal numbers. The region nurtured such varied talents as Huddie Ledbetter, the "king of the twelve-string guitar," and Jimmie Davis, the two term "singing governor" of Louisiana who penned "You Are My Sunshine."Against the backdrop of the colorful history of Shreveport, the unique contribution of this radio barn dance is revealed. Radio shaped musical tastes, and the Hayride's frontier-spirit producers took risks with artists whose reputations may have been shaky or whose styles did not neatly fit musical categories (both Hank Williams and Elvis Presley were rejected by the Opry before they came to Shreveport). The Hayride also served as a training ground for a generation of studio sidemen and producers who steered popular music for decades after the Hayride's final broadcast. While only a few years separated the Hayride appearances of Hank Williams and Elvis Presley--who made his national radio debut on the show in 1954--those years encompassed seismic shifts in the tastes, perceptions, and self-consciousness of American youth. Though the Hayride is often overshadowed by the Grand Ole Opry in country music scholarship, Laird balances the record and reveals how this remarkable show both documented and contributed to a powerful transformation in American popular music.
To borrow words from Stan “The Record Man” Lewis, Shreveport, Louisiana, is one of this nation's most important “regional-sound cities.” Its musical distinctiveness has been shaped by individuals and ensembles, record label and radio station owners, announcers and disc jockeys, club owners and sound engineers, music journalists and musicians. The area's output cannot be described by a single genre or style. Rather, its music is a kaleidoscope of country, blues, R&B, rockabilly, and rock. Shreveport Sounds in Black and White presents that evolution in a collection of scholarly and popular writing that covers institutions and people who nurtured the musical life of the city and surroundings. The contributions of icons like Leadbelly and Hank Williams, and such lesser-known names as Taylor-Griggs Melody Makers and Eddie Giles come to light. New writing explores the famed Louisiana Hayride, musicians Jimmie Davis and Dale Hawkins, local disc jockey “Dandy Don” Logan, and KWKH studio sound engineer Bob Sullivan. With glimpses into the lives of original creators, Shreveport Sounds in Black and White reveals the mix that emerges from the ongoing interaction between the city's black and white musicians.