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Z657 Digital Humanities

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Lizzie Miles, Tin Angel ad. The History of Minstrelsy : Blind Tom · USF Library Special & Digital Collections Exhibits. Blind Tom.

The History of Minstrelsy : Blind Tom · USF Library Special & Digital Collections Exhibits

Rain Storm: Op. 6. New York: J.L. Peters, c1865. Thomas Greene Bethune, also known as Thomas Wiggins or “Blind Tom”, was not a minstrel performer but was nonetheless a victim of the relationship of wonder and revulsion that 19th century white Americans had with black entertainers. Most sources agree that Wiggins was born blind in Georgia in 1849 and was “thrown in” with his mother, Charity, during her sale to a Colonel Bethune in 1850. With all of these facts known about “Blind Tom” the entertainer, very little is known about Thomas Wiggins the man. Blind Tom. Proposed deletion. Lizzie Miles. A promotional portrait of jazz and blues vocalist, Lizzie Miles signed "To My darling mother, From Liz.

Lizzie Miles

" Learn more » Lizzie Miles was the stage name of Elizabeth Mary Landreaux, a blues and jazz vocalist whose career spanned the advent of jazz in New Orleans to its post–World War II revival. Nicknamed the “Creole Songbird,” Miles said of her work, “To me I sing love songs—sad songs—torchy songs better. Guess it’s because I had such a hard, sad life from as far back as I can remember, is why.”

Though often classified as a blues singer, Miles preferred to be known as a performer of many musical styles. Early Success in New Orleans; Migration to Chicago Lizzie Miles was born to a Creole family on March 31, 1895, and raised in the Faubourg Marigny, a neighborhood bordering the Mississippi immediately downriver from the French Quarter. The New Orleans cultural atmosphere in which Miles made her debut was rich in working-class venues for performers of blues and early jazz.

Cite This Entry. Story Maps.

Revision HIstories

Lavinia Turner. Vep.cs.wisc. The following links will allow users to play with live, running versions of three sample models that we have built and are hosting on our own server.


These models are also included with the Serendip installation (which will likely yield better performance). Note: our server might have trouble with heavy traffic--best performance is achieved through downloading the tool and running it locally. Shakespeare_50 This model of 50 topics was built on a corpus of the 36 plays of William Shakespeare. The documents were divided into chunks of 1000 words for the model, and then stitched back together to create full documents. Shakespeare_25. Voyant Tools. A Blues Bibliography - Robert Ford. Jazz report. Down beat. Where Things Are - Finding Music Resources - Library Research Guides at Indiana University. ​First Floor: Call numbers A–LX, M1–244; Reference Collection; current journals Second Floor: Call numbers M245– ; miniature scores Third Floor: ML (including bound journals); MT; MZ (IU dissertations); Call numbers N-Z; oversize items Reference Collection: All items in the Reference Collection are on the first floor, regardless of call number; they cannot be checked out.

Where Things Are - Finding Music Resources - Library Research Guides at Indiana University

Reserve items: Reserve items are in the Reserve Room on the first floor (next to the Circulation Desk). Frontlog: If IUCAT says an item is in the Frontlog, ask for it at the Circulation Desk (first floor) Sound and video recordings: All sound recordings and videos must be requested at the Circulation Desk; they cannot be taken out of the library. B - Music Classification Numbers by Subject - Library Research Guides at Indiana University.

Autodesk ReMake. © 2015 Autodesk, Inc.

Autodesk ReMake

All rights reserved. All use of this Service is subject to the terms and conditions of the applicable Autodesk terms of service accepted upon access of this Service. This Service may incorporate or use background Autodesk technology components. Best Blues Podcasts (September, 2016) Blues Music, Blues Museum, Memphis museum, IBC International Blues Challenge, BMA, Blues Music Awards, Generation Blues, HART Fund, Blues Hall of Fame Music Mueum.

Digital blues library. Female Singers. Show Notes: Spivey Records was a blues record label, founded by blues singer Victoria Spivey and her partner and jazz historian Len Kunstadt in 1961.

Female Singers

The label was originally called Queen Vee Records, changing the name to Spivey records the following year. I believe only a couple of 45's were issued under the Queen Vee imprint. Spivey Records released a series of blues and jazz albums between 1961 and 1985. Most sessions took place at New York’s famous Cue Studios, some happened late at night at Victoria and Lenny's home studio while others took place at informal setting like hotel rooms or even at Willie Dixon's home in Chicago. Spivey's companion Len Kunstadt was the editor and publisher of Record Research magazine, which he founded in the late 1950's and was Spivey's agent, manager and long time partner. Before summarizing today's featured albums it's worth giving some background on Spivey's career.

Ora Alexander - "You've Got To Save That Thing" Ora Alexander was a blues singer and Vaudeville performer who recorded for Columbia Records in the early 1930’s.

Ora Alexander - "You've Got To Save That Thing"

“You’ve Got To Save That Thing,” one of her better known tracks, is a definitive slice of the Vaudeville Blues genre. The performance just plain rocks, with raw accompaniment in the barrelhouse style, and a blistering vocal that would bring the house down in any nightspot today. Judging from the hoots and hollers, those present at this recording session couldn’t contain their enthusiasm! Well neither can we. Ora Alexander – “You’ve Got To Save That Thing” (play/download mp3) BackUpUrMusic.

Syllabus. Digital Humanities ILS 657 Fall 2016 Instructor: Dr.


Tassie Gniady, Cyberinfrastructure for Digital Humanities Manager, Research Technologies, UITS ctgniady@iu.eduOffice Hours: By Appointment Course Description: Digital Humanities has been at the center of a lot of press in the last few years: humanities disciplines see it opening new ways to study their subjects; libraries are able to make preservation, access, and delivery decisions with a suite of new tools available to them; the general public is able to see more of the work that goes on in institutions as projects are made available on the web. However, this new style of scholarship and democratization of access is not without its conflicts: there has been pushback from feminists and POC—who see DH as inheriting the values of a world of hard and software that is traditionally male, traditionally white, and traditionally hierarchal—and even traditional scholars—who see themselves as being “forced” to use computing in their work. 3.

Alliance for Networking Visual Culture. 2013 Alan Liu, “From Reading to Social Computing” 2013 Alan Liu, “From Reading to Social Computing” From Reading to Social Computing Alan Liu ¶ 1 My topic here is social computing, which gives literary studies a chance to think anew about such apparently axiomatic literary phenomena as writing, publishing, reading, and interpreting.

2013 Alan Liu, “From Reading to Social Computing”

Or, rather, anew is the wrong word. External?link= Adventures in Digital Cultural Heritage.