The Isleños are said to be a dying traditional American subculture. Descendants of Canary Island immigrants of Louisiana, the name Isleños was given to them to distinguish them from Spanish mainlanders, known as "peninsulares." But in Louisiana, the name evolved from a category to an identity. For a long time they were one of those rare subcultures that found a way to maintain a living tradition as the world around them modernised by carving out a livelihood as crabbers and 'shrimpers'. Then Katrina hit and the wetlands, which were central to the Isleños identity, essentially dissapeared. Despite the blow to their economy, they still have their songs and annual fiestas, evidence of a strong culture which binds their community together, and their rebuilding following Katrina demonstrated how strong that sense of identity and culture can be. So perhaps the Isleños shouldn't be written off just yet, then. After all, as Isleño Irvan Perez says, "This is home. Where else would we go?"
"John Smith, Youngest, of Crutherland, was given the honorary degree of LL.D in 1840. In 1842 he announced the bequest to the University [of Glasgow] of his runs of publications from learned societies, and his volumes of ephemeral items. These came to the library on Smith’s death in 1849." Some examples: Playbill, Theatre Royal, York Street. Broadsheet account of an attempted prison break. Radical Party election ballad. See also: Glasgow Broadside Ballads: cheap print and popular song culture in nineteenth-century Scotland and Glasgow Broadside Ballads: The Murray Collection
While culling my clippings file for the big move, I came across Ragtime: No Longer a Novelty in Sepia, which led me to the The Rag-Time Ephemeralist, a labor of love by one Chris Ware , whose 'The Acme Novelty Library' and Jimmy Corrigan, Smartest Boy In The World I had long admired. The Ragtime Ephemeralist's mention of Out of Sight - The Rise of African American Popular Music, 1889-1895---here's a review from Musical Traditions--and, its very own links page, as a consequence, led to this post about Ragtime, Cakewalks, Coon Songs and Vaudeville, with a slight nod to Barbershop Quartets. There's more, of course...
The Song Is You: If ever there was a perfect singer - and I do mean perfect - it was Ella Fitzgerald. Her Songbooks (please scroll down for the listings and samples) are still - and will always be - the best collection there is of the great American standards. That is, if you don't mind crying and having the little hairs on the nape of your neck stand up and revolt. And swing. They'd be the last
records objects I'd be willing to part with: they're the mother's milk of American Western popular culture. So imagine my surprise when I found their perfect counterpart on the Web: the best-ever collection of lyrics to the songs of the greatest American composers: Harold Arlen, Jerome Kern, Irving Berlin, Cole Porter, George Gershwin, Duke Ellington and Richard Rodgers. Admirably, the compiler has gone way beyond his duty and included wonderful standards (quite a few unknown to me) that even Ella never got around to singing. Thank you, Todd. And God bless you, Sir!