Included are accounts of haunted libraries, mansions, bedrooms, log cabins, bathrooms, college campuses, apartments, furniture, hotels, and distilleries, as well as reports of eerie visitations from ghostly grandmothers, husbands, daughters, uncles, cousins, babies, slaves, Civil War soldiers, dogs, sheep, and even wildcats. Almost all of Kentucky's 120 counties are represented. Though the book emphasizes the stories themselves, Montell offers an introduction discussing how local history, local character, and local flavor are communicated across the generations in these colorful stories.
Tales from Kentucky Sheriffs covers elections, criminal behavior, and sheriff's mistakes in a lighthearted and often humorous manner. The book includes accounts of a drunk driver who thought he was in a different state, a sheriff running a sting operation with the U.S. Marshals, and a woman reporting a tomato thief in her garden. Other accounts involve procedural errors with serious consequences, such as the tale of a sheriff who mistakenly informs a man that his son has committed suicide. Together, these firsthand narratives preserve important aspects of Kentucky's history not likely to be recorded elsewhere.
The first-person accounts in this collection showcase folklore that Montell has drawn from archives, family stories, and oral traditions throughout Kentucky. The stories include that of the ghost bride of Laurel County, who appears each year on the anniversary of her wedding day; the tale of the murdered worker who haunts the Simpson County home of his killer and former employer; and the account of the lost mandolin that plays itself in a house in Graves County. These and many other chilling stories haunt the pages of Tales of Kentucky Ghosts.
In the tradition of Montell's previous Kentucky ghost books ( Ghosts across Kentucky and Haunted Houses and Family Ghosts of Kentucky), Tales of Kentucky Ghosts brings together a variety of terrifying narratives that not only entertain and frighten but also serve as a unique record of Kentucky's rich heritage of storytelling.
Covering medical practice in the state from the early twentieth century through contemporary times, the episodes related in Tales from Kentucky Nurses reveal the significance of the nursing profession to the Bluegrass state's local life and culture. They include funny tales -- such as the story of an injured stripper who swore her pole had been sabotaged and an anecdote about a surgeon racing between hospitals who paid his speeding ticket twice, knowing he would have to hurry the other way in a few hours. Montell also presents moving stories like the recollections of a nurse who helped a frail cancer patient achieve his last wish of being baptized.
This valuable collection also features anecdotes from the famous Frontier Nursing Service, which provided essential care to families in remote areas of the state and whose leader, Mary Breckinridge, is remembered fondly for her wit and kindness. In addition, Montell's interviewees share ghost stories and describe folk remedies like the practice of placing an axe under a woman's pillow during labor to cut the pain. These firsthand accounts not only pay homage to an underappreciated profession but also preserve important aspects of Kentucky's history not likely to be recorded elsewhere.
Lawyers have long been known as master storytellers, and those from Kentucky are certainly no exception. Veteran oral historian and folklorist Lynwood Montell has collected tales from dozens of lawyers and judges from throughout the Bluegrass State, ranging from the story about the tough Jackson County judge who fined himself for being late to court to unwelcome dogs in the courtroom. Recorded just as they have been told for generations, these stories are sometimes funny, sometimes sad or frightening, sometimes raw and harrowing, but always remarkable.
Far more than collection of lawyer jokes, Tales from Kentucky Lawyers recounts the most insightful, entertaining, and occasionally heartbreaking stories ever told by and about Kentucky lawyers and their clients, covering the spectrum from arson to homicide, domestic disagreements to sexual abuse, and everything in between. Tales from Kentucky Lawyers is a valuable resource for folklorists as well as an entertaining and vivid account of the often-surprising legal world.
The firsthand narratives and anecdotes in this collection cover topics such as teacher-student relationships, day-to-day activities, lunchtime foods, students' personal relationships, and, of course, the challenges of teaching in a one-room school. Montell includes tales about fund-raising pie suppers, pranks, outrageous student behavior (such as the quiet little boy whose first "sharing" involved profanity), and variety of other topics. Montell even includes some of his own memories from his days as a pupil in a one-room school. Tales from Kentucky One-Room School Teachers is a delightful glimpse of the history of education.
In this gripping and penetrating study of violence and death in the State Line Country, Lynwood Montell examines the local historical and social conditions, as well as the prevailing attitudes and values, that gave rise and support to rowdy behavior and homicidal acts from the Civil War to the 1930s. The area fostered, he thinks, a culture of violence. Drawing from vivid oral accounts, which he recorded from present-day residents,
Montell describes more than fifty killings that took place in the area, locating them against a background of farming, moonshining, and sawmilling activities common in that country. In addition to reconstructing the homicides, he analyzes their key features, including the circumstances under which they took place, the relationships of the persons involved, the presence of precipitating factors (such as deadly weapons and alcohol) in the culture, and attitudes toward law enforcement officers and the courts.
This close examination of homicide in the State Line Country, which views the tradition from regional and national perspectives, adds a significant dimension to the study of homicide in the South.
* Amazing Grace (My Chains Are Gone) (Chris Tomlin)Œæ
* Beautiful (Bethany Dillon)Œæ
* Better Than a Hallelujah (Amy Grant)Œæ
* Blessings (Laura Story)Œæ
* Christ Is Risen (Matt Maher)Œæ
* Cinderella (Steven Curtis Chapman)Œæ
* City on Our Knees (TobyMac)Œæ
* Cut (Plumb)Œæ
* East to West (Casting Crowns)Œæ
* Glorious Day (Living He Loved Me) (Casting Crowns)Œæ
* Grace (Laura Story)Œæ
* Hallelujah (Bethany Dillon)Œæ
* Happy Day (Tim Hughes)Œæ
* Held (Natalie Grant)Œæ
* Hero (Skillet)Œæ
* Hold On (TobyMac)Œæ
* How Great Is Our God (Chris Tomlin)Œæ
* I Can Only Imagine (MercyMe)Œæ
* I Lift My Hands (Chris Tomlin)Œæ
* I Refuse (Josh Wilson)Œæ
* I Will Be Here (Steven Curtis Chapman)Œæ
* I Will Rise (Chris Tomlin)Œæ
* In Christ Alone (Newsboys)Œæ
* In My Arms (Plumb)Œæ
* Lead Me (Sanctus Real)Œæ
* Let the Waters Rise (MIKESCHAIR)Œæ
* Love Never Fails You (Brandon Heath)Œæ
* Only Hope (Mandy Moore)Œæ
* Perfect Peace (Laura Story)Œæ
* Strong Enough (Matthew West)Œæ
* Stronger (Mandisa)Œæ
* The Way (Jeremy Camp)Œæ
* When God Made You (Newsong)Œæ
* When I Say I Do (Matthew West)Œæ
* Wonder of the World (Rush of Fools)Œæ
* You Are My King (Amazing Love) (Newsboys)Œæ
* You Deliver Me (Selah)Œæ
* You Raise Me Up (Selah)Œæ
* Your Great Name (Natalie Grant)Œæ
* Your Love Is a Song (Switchfoot)
* Even So Come (Come Lord Jesus) (Passion Band)
* Ever Be (Bethel Music)
* Good Good Father (Chris Tomlin)
* Great You Are Lord (All Sons and Daughters)
* Have It All (Bethel Music)
* Holy Spirit (Francesca Battistelli)
* In the River (Jesus Culture)
* Lamb of God (Vertical Worship)
* No Longer Slaves (Bethel Music)
* O Come to the Altar (Elevation Worship)
* O Praise the Name (Anastasis) (Hillsong Worship)
* One True God (Steven Curtis Chapman)
* Remember (Passion)
* Resurrecting (Elevation Worship)
* This Is Amazing Grace (Phil Wickham)
* Your Love Awakens Me (Phil Wickham)
* Amazing Grace
* Do Lord
* Down by the Riverside
* He Loves
* I Saw the Light
* Jesus Loves Me
* Nothing but the Blood
* O Happy Day
* Soon and Very Soon
* Standing on the Promises
* Sweet Beulah Land
* There Is Power in the Blood
* Victory in Jesus
* What a Friend We Have in Jesus
* When the Saints Go Marching In and many, many more!
Published by Landmark Entertainment.
* Glory Bound (This Train / When the Saints Go Marchin' In)
* Peace Like a River, Kum Ba Yah
* Good News! (Go, Tell It on the Mountain)
* Carry Me Home (Swing Low, Sweet Chariot / Deep River)
* Rise and Shine!
* Sing with the Spirit! (I'm Gonna Sing When the Spirit Says Sing / I'm Gonna Sing, Sing, Sing)
In Bessemer, Alabama, the effect of school music instruction was magnified by the emergence of community-based quartet trainers who translated the spirit and substance of the music education movement for the inhabitants of working-class neighborhoods. These trainers adapted standard musical precepts, traditional folk practices, and popular music conventions to create something new and vital
Bessemer’s musical values directly influenced the early development of gospel quartet singing in Chicago and New Orleans through the authority of emigrant trainers whose efforts bear witness to the effectiveness of “trickle down” black music education. A cappella gospel quartets remained prominent well into the 1950s, but by the end of the century the close harmony aesthetic had fallen out of practice, and the community-based trainers who were its champions had virtually disappeared, foreshadowing the end of this remarkable musical tradition.
This is the untold story of living legend Mavis Staples—lead singer of the Staple Singers and a major figure in the music that shaped the civil rights era. One of the most enduring artists of popular music, Mavis and her talented family fused gospel, soul, folk, and rock to transcend racism and oppression through song. Honing her prodigious talent on the Southern gospel circuit of the 1950s, Mavis and the Staple Singers went on to sell more than 30 million records, with message-oriented soul music that became a soundtrack to the civil rights movement—inspiring Martin Luther King, Jr. himself.
Critically acclaimed biographer and Chicago Tribune music critic Greg Kot cuts to the heart of Mavis Staples’s music, revealing the intimate stories of her sixty-year career. From her love affair with Bob Dylan, to her creative collaborations with Prince, to her recent revival alongside Wilco’s Jeff Tweedy, this definitive account shows Mavis as you’ve never seen her before. I’ll Take You There was written with the complete cooperation of Mavis and her family. Readers will also hear from Prince, Bonnie Raitt, David Byrne, and many others whose lives have been influenced by Mavis’s talent.
Filled with never-before-told stories, this fascinating biography illuminates a legendary singer and group during a historic period of change in America. “Ultimately, Kot depicts the endurance of Mavis Staples and her family’s music as an inspiration, a saga that takes us, like the song that inspired this book’s name, to a place where ain’t nobody crying” (The Washington Post).
With over 200 entries, The Encyclopedia of Contemporary Christian Music covers important performers and industry figures, songs and albums, concerts and festivals, the rise of Christian radio and television, and other issues related to the growth of inspirational music. Scholars and fans alike will find a wealth of revealing information and insightful coverage illustrating the influence of gospel on modern American music with musicians such as Elvis, Sam Cooke, Johnny Cash, Bob Dylan, and U2.The work also examines the use of fundamental rock, pop, and rap music templates in the service of songs of faith.
Journey through his migrant ten-pound pom childhood and garage-band adolescence during the hey-day of the Beatles, Dylan and the Stones. Laugh at his failed attempts at the 9-to-5 life. Jump aboard his wild adventures with The Church as they conquer Australia, and then the world.
The tours. The records. The women.
And the heroin addiction that enslaved him for a decade.
From snowy Sweden to a cell in NYC, from Ipanema Beach to Bondi, stumble through Kilbey’s surreal life – his foolish ways will make you want to smile ... then give him a big kick up the arse.
Like its titular galaxy, ‘Under the Milky Way’ is a song that feels as though it has always existed. The Guardian, Australia
The Church are, at heart and their best, psychedelic electricians and their full-volume shows ... have been ringing endorsements for their stubborn longevity.Rolling Stone, USA
The peaks and troughs of this fragile/indestructible institution have been exhilarating and dire. As ringleader, bass player and random image generator between the astrally-colliding guitars of Peter Koppes and Marty Willson-Piper, Steve Kilbey knows it. Rolling Stone, Australia
* Blessed Be the Name of the Lord
* Change My Heart Oh God
* Come Now Is the Time to Worship
* Give Thanks
* More Precious Than Silver
* The Power of Your Love
* Take My Life
* Think About His Love
* You Are My All in All. 24 pages.
Listen to the soundtrack of your life. What do you hear?
Which songs and artists have impacted your spirit and inspired your faith? This ultimate guide chronicles such songs?the top 100 songs of contemporary Christian music that have not only achieved commercial success, but have forever changed the lives of those who have listened. Selected by votes of thousands of CCM Magazine readers with the input of a top panel of Christian music insiders (including artists, executives, producers and songwriters), this list represents the best of the best.
Become part of the moment where divine inspiration meets sheer musical talent. From Rich Mullins, Amy Grand, dc talk, Steven Curtis Chapman and MercyMe to pioneers like Larry Norman, Keith Green and the Gaithers, watch how the musical expression of these artists' own lives resulted in the songs that forever changed yours.
In The Fan Who Knew Too Much, Heilbut writes about art and obsession, from country blues singers and male sopranos to European intellectuals and the originators of radio soap opera—figures transfixed and transformed who helped to change the American cultural landscape.
Heilbut writes about Aretha Franklin, the longest-lasting female star of our time, who changed performing for women of all races. He writes about Aretha’s evolution as a singer and performer (she came out of the tradition of Mahalia Jackson); before Aretha, there were only two blues-singing gospel women—Dinah Washington, who told it like it was, and Sister Rosetta Tharpe, who specialized, like Aretha, in ambivalence, erotic gospel, and holy blues.
We see the influence of Aretha’s father, C. L. Franklin, famous pastor of Detroit’s New Bethel Baptist Church. Franklin’s albums preached a theology of liberation and racial pride that sold millions and helped prepare the way for Martin Luther King Jr. Reverend Franklin was considered royalty and, Heilbut writes, it was inevitable that his daughter would become the Queen of Soul.
In “The Children and Their Secret Closet,” Heilbut writes about gays in the Pentecostal church, the black church’s rock and shield for more than a hundred years, its true heroes, and among its most faithful members and vivid celebrants. And he explores, as well, the influential role of gays in the white Pentecostal church.
In “Somebody Else’s Paradise,” Heilbut writes about the German exiles who fled Hitler—Einstein, Hannah Arendt, Marlene Dietrich, and others—and their long reach into the world of American science, art, politics, and literature. He contemplates the continued relevance of the émigré Joseph Roth, a Galician Jew, who died an impoverished alcoholic and is now considered the peer of Kafka and Thomas Mann.
And in “Brave Tomorrows for Bachelor’s Children,” Heilbut explores the evolution of the soap opera. He writes about the form itself and how it catered to social outcasts and have-nots; the writers insisting its values were traditional, conservative; their critics seeing soap operas as the secret saboteurs of traditional marriage—the women as castrating wives; their husbands as emasculated men. Heilbut writes that soaps went beyond melodrama, deep into the perverse and the surreal, domesticating Freud and making sibling rivalry, transference, and Oedipal and Electra complexes the stuff of daily life.
And he writes of the “daytime serial’s unwed mother,” Irna Phillips, a Chicago wannabe actress (a Margaret Hamilton of the shtetl) who created radio’s most seminal soap operas—Today’s Children, The Road of Life among them—and for television, As the World Turns, Guiding Light, etc., and who became known as the “queen of the soaps.” Hers, Heilbut writes, was the proud perspective of someone who didn’t fit anywhere, the stray no one loved.
The Fan Who Knew Too Much is a revelatory look at some of our American icons and iconic institutions, high, low, and exalted.
From the Hardcover edition.