Brian Ward is Lecturer in American History at the University of Newcastle upon Tyne .; This book is intended for american studies, American history postwar social and cultural history, political ...history, Black history, Race and Ethnic studies and Cultural studies together with the general trade music.
The blues revival rescued the creators of America's most influential music from dusty obscurity, put them onstage in front of a vast new audience, and created rock 'n' roll.
Objective: To determine the association of husband support and postpartum blues in postpartum women. Methods: This was a cross-sectional study. Respondents are collected from postnatal women at the ...Pontianak St. Antonius Hospital, with random sampling. Retrieval of data use a research questionnaire. Data were analysed univariately and bivariate using the Chi-Square test method. Result: Of the 96 respondents, 5.2% were <20 years old, 49% were in the 20-30 years age group, and 45.8% were> 30 years old . For parity data, 38.5% were primiparous women and 61.5% were multiparous women. As for employment status, 68.8% are in the unemployed group, and 31.2% are in the working group. 47.9% of respondents received inadequate husband support, and 52.1% respondents received adequate husband support. While 44.8% of respondents experienced postpartum blues, 55.2% did not. The results of the bivariate analysis showed a significant relationship between husband support and postpartum blues with p=0.042 and OR=2.331. Conclusion: We found a significant relationship between husband support and postpartum blues disorder. Keyword: family, husband support, postpartum blues. Abstrak Tujuan : Untuk mengetahui hubungan dukungan suami dengan gangguan postpartum blues pada perempuan pascamelahirkan. Metode: Penelitian ini adalah penelitian analitik observasional dengan studi potong lintang, yang dilakukan di Rumah Sakit Santo Antonius Pontianak pada perempuan pascamelahirkan dengan metode pengambilan sampel acak sederhana. Dukungan suami diukur dengan menggunakan kuesioner Dukungan Suami dan PPB diukur dengan menggunakan kuesioner Edinburgh Postnatal Depression Scale (EPDS). Data dianalisis dengan menggunakan uji kai kuadrat. Hasil: Dari 96 responden, sebanyak 5,2 % berada pada usia <20 tahun, 49% berada pada kelompok usia 20-30 tahun, dan 45.8% berada pada usia >30 tahun. Untuk data paritas, 38,5% adalah perempuan primipara dan 61,5% adalah perempuan multipara. Sementara untuk status pekerjaan, 68.8% adalah kelompok tidak bekerja dan 31,2% adalah kelompok bekerja. Responden yang mendapat tingkat dukungan suami yang kurang ada sebanyak 47,9% dan dukungan suami yang baik ada 52.1%. Responden yang mengalami PPB ada sebanyak 44,8% dan yang tidak mengalami PPB ada sebanyak 55,2%. Terdapat hubungan yang bermakna antara dukungan suami PPB dengan nilai p=0,042 dan OR sebesar 2,331. Kesimpulan: Terdapat hubungan yang bermakna antara dukungan suami dan PPB. Kata kunci: dukungan suami, gangguan postpartum blues, keluarga.
This fascinating compendium explains the most unusual, obscure, and curious words and expressions from vintage blues music. Utilizing both documentary evidence and invaluable interviews with a number ...of now-deceased musicians from the 1920s and '30s, blues scholar Stephen Calt unravels the nuances of more than twelve hundred idioms and proper or place names found on oft-overlooked "race records" recorded between 1923 and 1949. From "aggravatin' papa" to "yas-yas-yas" and everything in between, this truly unique, racy, and compelling resource decodes a neglected speech for general readers and researchers alike, offering invaluable information about black language and American slang.
El rebètic és una forma de música grega popular que va sorgir a finals del segle dènou entre grups marginals que vivien prop del port o que havien estat en la presó. Des de la mitat del segle vint ha ...desaparegut progressivament, cosa que va produir que el rebètic s’incloguera en la lista de Patrimoni Cultural Immaterial de la Humanitat de l’UNESCO. El rebètic sempre ha estat associat al bouzouki i a la tècnica de punteig de trèmolo considerada el “blues de Grècia”. De la mateixa forma que els músics de blues utilitzen la guitarra acústica, els cantautos de rebètic composen i toquen la seua música en bouzouki. A 2017 el virtuos guitarrista popular Dimitris Mystakidis va trauer el seu àlbum Amerika que inclou cançons escrites per immigrants grecs als EE.UU. a principis del segle vint. La transcripció i l’anàlisi de dues de les seues cançons mostren els punts en comú entre el fingerstyle del blues i el fingerstyle del rebétic i les seues diferencies amb la técnica bouzouki habitual. Aquestes anàlisis, acompanyats d’entrevistes a Mystakidis, intenten, després d’un segle, ficar l’atenció en el sons migrants dels músics de l’est del Mediterrani, creats i gravats de forma predominant en un altre continent.
Rebetiko is a form of Greek folk music that originated at the end of the nineteenth century by marginal people who lived near ports or spent time in prison. It has been slowly disappearing since the mid-twentieth century, which resulted in rebetiko being inscribed on UNESCO’s list of the Intangible Cultural Heritage of Humanity in 2017. Rebetiko has always been associated with bouzoukis and tremolo picking technique yet has been characterised as ‘the blues of Greece’. Just as blues musicians used acoustic guitars, rebetiko songwriters have composed and performed their music on bouzouki. In 2017, the folk guitar virtuoso Dimitris Mystakidis, released the album Amerika that includes songs written by Greek immigrants in the USA at the beginning of the twentieth century. He revives their forgotten tsibiti pinched guitar style and claims that this technique is influenced by bluesmen fingerpicking. Transcription and analysis of two of his songs demonstrates commonalities between fingerstyle blues and fingerstyle rebetiko and their differentiation from typical bouzouki technique. These analyses, accompanied by an interview with Mystakidis, aims to spotlight, after a century, the migrant sounds of Eastern Mediterranean musicians that were predominantly created and recorded in another continent.
El rebético es una forma de música griega popular que surgió a finales del siglo diecinueve entre grupos marginales que vivían cerca de los puertos o que habían estado en la cárcel. Desde la mitad del siglo veinte ha ido desapareciendo, lo que produjo a que el rebético se incluyera en la lista de Patrimonio Cultural Inmaterial de la Humanidad de la UNESCO. El rebético siempre ha ido asociado al bouzouki y a la técnica de punteo de trémolo que se ha considerado el “blues de Grecia”. De la misma forma que los músicos de blues utilizan la guitarra acústica, los cantautores de rebético han compuesto y tocado su música en bouzouki. En 2017 el virtuoso guitarrista popular Dimitris Mystakidis sacó su álbum Amerika que incluye canciones escritas por inmigrantes griegos en EE.UU. a principios del siglo veinte. En él recupera el olvidado estilo guitarrístico tsibiti pellizcado y asegura que esta técnica se vio influida por el fingerpicking de los bluesmen. La transcripción y el análisis de dos de sus canciones demuestran los puntos en común entre el fingerstyle del blues y el fingerstyle del rebético y sus diferencias con la técnica bouzouki habitual. Estos análisis, acompañados de entrevistas a Mystakidis, intentan, después de un siglo, poner el foco de atención en los sonidos migrantes de los músicos del este del Mediterráneo, creados y grabado de forma predominante en otro continente.
Blue sclera is a characteristic and common clinical sign of Osteogenesis Imperfecta (OI). However, there is currently no widely accepted, objective method for assessing and grading blue sclera in ...individuals with OI. To address this medical need, this study is aimed to design and validate a new method called 'BLUES' (BLUe Eye Sclera) to objectively identify and quantify the blue color in the sclera of patients affected by OI.
Sixty-two patients affected by OI and 35 healthy controls were enrolled in the present prospective study, for a total of 194 eyes analyzed. In the 'BLUES' procedure, eye images from patients with OI and control subjects were analyzed to assess and grade the blue level of the sclera using Adobe Photoshop Software. The validation process then involved comparing the results obtained with the 'BLUES' procedure to the judgement of experienced ophthalmologists (JEO). A receiver-operating characteristic (ROC) curve analysis was used to examine the overall discriminatory power. The sensitivity and specificity levels and the Cohen's Kappa (K) indexes of 'BLUES' and 'JEO' were estimated versus the standard OI diagnosis. The K indexes of 'BLUES' versus 'JEO' were also evaluated.
The optimal cut-off point of the scleral blue peak was calculated at 17%. Our findings demonstrated a sensitivity of 89% (CI95%: 0.835-0.945) and specificity of 87% (CI95%: 0.791-0.949) for the 'BLUES' procedure with an agreement versus the diagnosis of OI of 0.747. In comparison, the sensitivity and specificity of 'JEO' ranged from 89 to 94% and 77% to 100%, respectively, with an agreement ranging from 0.663 to 0.871 with the diagnosis of OI. The agreement between 'BLUES 'and 'JEO' evaluations ranged from 0.613 to 0.734.
Our findings demonstrated an 89% sensitivity and an impressive 87% specificity of our method to analyze the blue sclera in OI. The results indicated high agreement with disease diagnosis and were consistent with evaluations by experienced ophthalmologists. The 'BLUES' procedure appears to be a simple, reliable and objective method for effectively identify and quantify the blue color of the sclera in OI.
The bookJazzmen(1939) claimed New Orleans as the birthplace of jazz and introduced the legend of Buddy Bolden as the "First Man of Jazz." Much of the information that the book relied on came from a ...highly controversial source: Bunk Johnson. He claimed to have played with Bolden and that together they had pioneered jazz.
Johnson made many recordings talking about and playing the music of the Bolden era. These recordings have been treated with skepticism because of doubts about Johnson's credibility. Using oral histories, theJazzmeninterview notes, and unpublished archive material, this book confirms that Bunk Johnson did play with Bolden. This confirmation, in turn, has profound implications for Johnson's recorded legacy in describing the music of the early years of New Orleans jazz.
New Orleans jazz was different from ragtime in a number of ways. It was a music that was collectively improvised, and it carried a new tonality--the tonality of the blues. How early jazz musicians improvised together and how the blues became a part of jazz has until now been a mystery. Part of the reason New Orleans jazz developed as it did is that all the prominent jazz pioneers, including Buddy Bolden, Bunk Johnson, Louis Armstrong, Sidney Bechet, Johnny Dodds, and Kid Ory, sang in barbershop (or barroom) quartets. This book describes in both historical and musical terms how the practices of quartet singing were converted to the instruments of a jazz band, and how this, in turn, produced collectively improvised, blues-inflected jazz, that unique sound of New Orleans.
Seems Like Murder Here offers a revealing new account of the blues tradition. Far from mere laments about lost loves and hard times, the blues emerge in this provocative study as vital responses to ...spectacle lynchings and the violent realities of African American life in the Jim Crow South. With brilliant interpretations of both classic songs and literary works, from the autobiographies of W. C. Handy, David Honeyboy Edwards, and B. B. King to the poetry of Langston Hughes and the novels of Zora Neale Hurston, Seems Like Murder Here will transform our understanding of the blues and its enduring power.
Party Music Vincent, Rickey; Riley, Boots
2013, 2013-10-01
eBook
Examining the culture and politics of the Black Power era of the late 1960s, this book explores the relationship of soul music to the Black Power movement from the vantage point of the musicians and ...black revolutionaries themselves. The 1960s were a turbulent time for race relations in the United States, but no other area in the country epitomized the radical social change that was taking place more than the San Francisco Bay Area-the epicenter of the Black Panthers movement. This social history introduces fans of soul music and 20th-century U.S. history enthusiasts to the Black Panthers' own band, the Lumpen, a group comprised of rank-and-file members of the Oakland, California-based Party. During their year-long tenure, the Lumpen produced hard-driving rhythm-and-blues that asserted the revolutionary ideology of the Black Panthers. Through his rediscovery of the Lumpen, and based on new interviews with Party and band members, author Rickey Vincent provides an insider's account of Black Power politics and soul music aesthetics in an original narrative that reveals more detail about the Black Revolution than ever before.
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