V. 1 includes records from Blount, Davidson, Dickson, Fayette, Giles, Greene, Hardin, Haywood, Hickman, Humphreys, Lincoln, Putnam, Rutherford, Washington and Williamson counties; v. 2 from Bedford, Claiborne, Dyer, Fentress, Jackson, Madison, McMinn, Obion, Roane, Robertson, Sevier, Stewart, Washington and Wilson counties; v. 3 from Anderson, Bradley, Carroll, Decatur, Grainger, Johnson, Macon, Marion, Monroe, Rhea, Tipton and Warren Counties; v. 4 from Cannon, Chester, Cocke, Cumberland, Gibson, Hawkins, Lake, Lewis, Marshall, Moore, Sequatchie, Union, and Van Buren counties.
"It's a summer day so beautiful and peaceful that Hattie, paddling in her canoe in the middle of a lake, can't help but sing. In the deep water below, a creature is lurking. He's huge and green, with a long, long neck, and he rarely leaves his lair. But on this day, he hears something sweet and inviting. He hears a song. What happens when the creature rises to the surface is nothing short of magical"--Dust jacket flap.
Release on 2012 | by Stephanie Gaub Antequino,Tana Mosier Porter,Historical Society of Central Florida
Author: Stephanie Gaub Antequino,Tana Mosier Porter,Historical Society of Central Florida
Pubpsher: Arcadia Publishing
Orlando amounted to little more than scattered log cabins in the pine forest when Orange County established it as the county seat in 1857. One of the earliest buildings was a log hotel, indicating Orlando's future as a tourist destination. After its incorporation in 1875, wood-frame structures replaced the log cabins, and prosperous citizens built large houses around the developing government and business center. By 1900, as Orlando recovered from the economic disaster of the Great Freeze of 1894 and 1895, brick construction replaced wood frame as once pretentious houses close to the central city were torn down to make way for modern business blocks. As residences moved to less congested neighborhoods, schools and churches followed. From its beginning, people arrived in Orlando to prosper and build. Those men and their buildings are gone, but the history of the city is richer because of their presence. Orlando's story can be traced through the continuing cycle of constructing, demolishing, and rebuilding anew.
Between 1880 and 1930, close to 200 women were murdered by lynch mobs in the American South. Many more were tarred and feathered, burned, whipped, or raped. In this brutal world of white supremacist politics and patriarchy, a world violently divided by race, gender, and class, black and white women defended themselves and challenged the male power brokers. Crystal Feimster breaks new ground in her story of the racial politics of the postbellum South by focusing on the volatile issue of sexual violence. Pairing the lives of two Southern womenâe"Ida B. Wells, who fearlessly branded lynching a white tool of political terror against southern blacks, and Rebecca Latimer Felton, who urged white men to prove their manhood by lynching black men accused of raping white womenâe"Feimster makes visible the ways in which black and white women sought protection and political power in the New South. While Wells was black and Felton was white, both were journalists, temperance women, suffragists, and anti-rape activists. By placing their concerns at the center of southern politics, Feimster illuminates a critical and novel aspect of southern racial and sexual dynamics. Despite being on opposite sides of the lynching question, both Wells and Felton sought protection from sexual violence and political empowerment for women. Southern Horrors provides a startling view into the Jim Crow South where the precarious and subordinate position of women linked black and white anti-rape activists together in fragile political alliances. It is a story that reveals how the complex drama of political power, race, and sex played out in the lives of Southern women.
In my emotional but serious short story, Life On Mitchell Road, there are trouble teens who feel unloved, unworthy, unwanted, unfit and unneccessary. Freeman is a quiet but somewhat lost and impressionable young man who's crying out for some acceptance among his peers. He meets William a young man with the same problems but a disturbed mind. They've tried to fit in but found the world to be much to cruel. And no matter who they turn to for help they get slapped in the face. Now William has devised a plan to see that no one ever disrespects them again. Freeman's fought a long battle for social acceptance andsocial freedom. And still he runs into one brick wall after another. Thanks to his new friend Wiilliam, Freeman feels his fight will soon be over. Quiet young people are usually teased and bullied to the point of embarrassment. They are outcast and rarely show any emotion. These young teens just need to be accepted. Like anyone else they need someone to talk to. Or the pain, the rejection and the embarrassment will eat them up inside like cancer. And sooner or later this will mentally take its toll, and eventually they will explode. Today is the day to take final exams. The underclassmen have two weeks left in school. But this is the senior's last day of classand no one was prepared for what was about to happen. No one knew who, what, when or why. All they knew was something had happened at Mitchell Road School. Life On Mitchell Road relates to our troubled teens and their struggle thru everyday living. Freeman realizes that two wrongs don't make a right. And just because he's hurting doesn't nean he's lost out on life. He virtually becomes the hero.
Throughout the 1960s and 1970s, folklorist William Ferris toured his home state of Mississippi, documenting the voices of African Americans as they spoke about and performed the diverse musical traditions that form the authentic roots of the blues. Now, Give My Poor Heart Ease puts front and center a searing selection of the artistically and emotionally rich voices from this invaluable documentary record. Illustrated with Ferris's photographs of the musicians and their communities and including a CD of original music and a DVD of original film, the book features more than twenty interviews relating frank, dramatic, and engaging narratives about black life and blues music in the heart of the American South. Here are the stories of artists who have long memories and speak eloquently about their lives, blues musicians who represent a wide range of musical traditions--from one-strand instruments, bottle-blowing, and banjo to spirituals, hymns, and prison work chants. Celebrities such as B. B. King and Willie Dixon, along with performers known best in their neighborhoods, express the full range of human and artistic experience--joyful and gritty, raw and painful. In an autobiographical introduction, Ferris reflects on how he fell in love with the vibrant musical culture that was all around him but was considered off limits to a white Mississippian during a troubled era. This magnificent volume illuminates blues music, the broader African American experience, and indeed the history and culture of America itself. The enhanced ebook edition includes: * Almost 2 hours of video clips and interviews scattered throughout the text * An hour of original music, also imbedded throughout the text * Concludes with the full DVD of original film and full CD of original music Watch the video below to see a demonstration of the the features of this enhanced ebook: