1 100 3 https://richesmi.cah.ucf.edu/omeka/files/original/3c7c571a4f07f62a3fec0bc98b4f208d.jpg f81f93386d9b55a5aa04cd7dcb5085e0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Blues Collection Alternative Title Blues Collection Subject Music--United States Blues (Music)--Florida Description Collection of digital images, documents, and other records depicting the history of blues music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. During the middle to late 19th century, African-American ex-slaves and their descendants in the Deep South began playing a style of music that evolved from Black Spirituals and chants, work songs, field hollers, rural fife and drum music, revivalist hymns, and European folk and country dance music. It was characterized by its call-and-response narrative pattern, blue notes, and specific chord progressions, of which the 12-bar blues was the most common. By the turn of the century, blues music was being performed in regions such as Louisiana, the Mississippi Delta, the Piedmont region, and Texas, typically by a solo musician on acoustic guitar, harmonica, or piano. Initially, a traditional blues verse was made up of a single line repeated four times, until the common AAB pattern was established in the early 20th century. In 1912, W. C. Handy, an African-American minstrel show band leader, published "Memphis Blues," which helped popularize the genre by transcribing and orchestrating it in a symphonic-like style. Handy is also credited with giving the blues its contemporary form, and was crowned the "Father of the Blues." The unexpected success of Mamie Smith’s "Crazy Blues," eight years later, caused record labels to begin producing “race records," featuring blues singers such as Ma Rainey and Bessie Smith. Most of the blues pioneers from the 1920s performed solo with an acoustic guitar. Among the most recognized are Robert Johnson, Blind Lemon Jefferson, Son House, Leadbelly and Charlie Patton. As blues spread from the Deep South, it took on regional characteristics and styles. The Mississippi Delta blues featured slide guitar and a rootsy, sparse style. The Piedmont blues used an elaborate ragtime-based rhythm and fingerpicking technique. The Memphis blues, popular in vaudeville and medicine shows, was influenced by jug bands, incorporating unusual instruments such as washboard, kazoo, jug, mandolin, and fiddle. Urban blues forced performers to become more elaborate, as they had to adapt to a larger, more varied audience. Boogie-woogie consisted of piano-based blues derived from barrelhouse and ragtime in Chicago. Big band blues emerged out of Kansas City and incorporated elements of jazz and swing. West Coast blues was heavily influenced by a swing beat, and popularized by Texas musicians who moved to California. Electric blues came out of Chicago, Memphis, Detroit, and St. Louis in the 1950s, using electric guitars, double bass, drums. and harmonica performed through a microphone, amplifier and PA (public address) system. By the beginning of the 1960s, the most popular genres for young Americans were rock and roll and soul music, both rooted in African-American blues. Buried in the Deep South, Central Florida has had a long blues tradition, and a number of notable blues musicians had roots in Florida, including Tampa Red, Bo Diddley, Ray Charles, "Diamond Teeth Mary" McClain, Gabriel Brown, Noble "Thin Man" Watts, Willie Green, Blind Blake, Little Mike and the Tornadoes, Barrelhouse Chuck, and the Allman Brothers Band. Muddy Waters wrote a song for his 1977 album, Hard Again, entitled "Deep Down in Florida," in which he mentions Newberry and traveling to Gainesville to see an old friend. Waters met his third wife while performing at the popular blues dance hall, the Cotton Club, in Gainesville. The club opened in 1948 and had regular performances by such future famous blues musicians as James Brown, B.B. King and Ray Charles. The Wells’ Built Hotel and Casino, which is now an African-American history museum, is located in the historic African-American community of Parramore in Downtown Orlando. The hotel hosted many notable African-American musicians and celebrities during the Segregation era. Guitar Slim, Ray Charles, Ivory Joe Hunter, B. B. King and Bo Diddley were among the bluesmen traveling along the Chitlin' Circuit who were guests at the hotel and performers at the casino. Contributor <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Bradenton, Florida The Alley, Sanford, Florida West Tampa, Tampa, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference DeVane, Dwight, Blaine Waide, Peggy A. Bulger, Doris J. Dyen, and David Evans. <a href="http://www.worldcat.org/oclc/856993560" target="_blank">Drop on Down in Florida: Field Recordings of African American Traditional Music 1977-1980</a>. Atlanta, Ga: Dust-to-Digital, 2012. Oakley, Giles. <a href="http://www.worldcat.org/oclc/3082016" target="_blank">The Devil's Music: A History of the Blues</a>. New York: Taplinger Pub. Co, 1977. Palmer, Robert. <a href="http://www.worldcat.org/oclc/6864668" target="_blank">Deep Blues: A Musical and Cultural History of the Mississippi Delta</a>. New York: Viking Press, 1981. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 black and white photograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Charles "Charlie" Brantley Alternative Title Charlie Brantley Subject Honey Drippers (Musical group) Brantley, Charlie Tampa (Fla.) Music--Florida Blues (Music)--Florida Musicians--Southern States Rhythm and blues music--United States R&B (Music) Description Charles "Charlie" Brantley, a musician born in West Tampa, one of the oldest neighborhoods in Tampa, Florida, around the turn of the 20th century. Brantley began his music career in 1935, when he joined the Florida Collegians, a group of Tampa musicians. Influenced by bandleader Louis Jordan, he started his own group, Charlie Brantley and His Original Honey Dippers, in 1944. Brantley gave young musicians the opportunity to break into the music scene by performing with his band and would often allow them to stay at his home on 1901 Cherry Street in Tampa. When a young Ray Charles came to Tampa in the fall of 1946, Brantley hired him as a piano player and allowed him to stay at his house. Brantley founded the Negro Musical Association in the late 1940s and continued to perform with his band until June 1949, when a severe heart and nerve condition forced him to quit playing and take on a management role. Brantley passed away on Christmas Day in 1964. Type Still Image Source Original black and white photograph: <a href="http://www.tampabaymusichistory.com/bands-artists.php" target="_blank">Profiles: Bands & Artists</a>, Tampa Bay Music Scene Historical Society. Is Part Of <a href="http://www.tampabaymusichistory.com/bands-artists.php" target="_blank">Profiles: Bands & Artists</a>, Tampa Bay Music Scene Historical Society. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/144" target="_blank">Blues Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original black and white photograph: <a href="http://www.tampabaymusichistory.com/charlie-brantley-and-his-original-honey-dippers.php" target="_blank">http://www.tampabaymusichistory.com/charlie-brantley-and-his-original-honey-dippers.php</a>. Coverage Home of Charlie Brantley, West Tampa, Tampa, Florida Publisher <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a> Date Created ca. 1935-1964 Format image/jpg Extent 12.6 KB Medium 1 black and white photograph Language eng Mediator History Teacher Humanities Teacher Music Teacher Provenance Published digitally by the <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a>. Rights Holder Copyright to this resource is held by the <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a> <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a> External Reference Ripani, Richard J. <a href="http://www.worldcat.org/oclc/630115374" target="_blank">The New Blue Music Changes in Rhythm & Blues, 1950-1999</a>. Jackson: University Press of Mississippi, 2006. "<a href="http://www.tampabaymusichistory.com/charlie-brantley-and-his-original-honey-dippers.php" target="_blank">Charlie Brantley and His Original Honey Dippers</a>." TampaBayMusicHistory.com. http://www.tampabaymusichistory.com/charlie-brantley-and-his-original-honey-dippers.php. African American band band leader blues blues music blues singer blues vocalist Brantley, Charles Brantley, Charlie Charlie Brantley and His Original Honey Dippers Honey Dippers music Negro Musical Association Original Honey Dippers R&B rhythm and blues saxophonist singer Tampa vocalist West Tampa https://richesmi.cah.ucf.edu/omeka/files/original/9700e764deb204f3d6364b6740040202.jpg 198ca3de50f048ce784eabf688bc3b06 https://richesmi.cah.ucf.edu/omeka/files/original/45bcbef4102147c83397bcded0501f93.jpg ce62df5629bb23363b570300abb55038 https://richesmi.cah.ucf.edu/omeka/files/original/5aa46550063839781ed6d5627e22d5bc.jpeg b4c103718917f5a9677e6e67ec2fe619 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Blues Collection Alternative Title Blues Collection Subject Music--United States Blues (Music)--Florida Description Collection of digital images, documents, and other records depicting the history of blues music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. During the middle to late 19th century, African-American ex-slaves and their descendants in the Deep South began playing a style of music that evolved from Black Spirituals and chants, work songs, field hollers, rural fife and drum music, revivalist hymns, and European folk and country dance music. It was characterized by its call-and-response narrative pattern, blue notes, and specific chord progressions, of which the 12-bar blues was the most common. By the turn of the century, blues music was being performed in regions such as Louisiana, the Mississippi Delta, the Piedmont region, and Texas, typically by a solo musician on acoustic guitar, harmonica, or piano. Initially, a traditional blues verse was made up of a single line repeated four times, until the common AAB pattern was established in the early 20th century. In 1912, W. C. Handy, an African-American minstrel show band leader, published "Memphis Blues," which helped popularize the genre by transcribing and orchestrating it in a symphonic-like style. Handy is also credited with giving the blues its contemporary form, and was crowned the "Father of the Blues." The unexpected success of Mamie Smith’s "Crazy Blues," eight years later, caused record labels to begin producing “race records," featuring blues singers such as Ma Rainey and Bessie Smith. Most of the blues pioneers from the 1920s performed solo with an acoustic guitar. Among the most recognized are Robert Johnson, Blind Lemon Jefferson, Son House, Leadbelly and Charlie Patton. As blues spread from the Deep South, it took on regional characteristics and styles. The Mississippi Delta blues featured slide guitar and a rootsy, sparse style. The Piedmont blues used an elaborate ragtime-based rhythm and fingerpicking technique. The Memphis blues, popular in vaudeville and medicine shows, was influenced by jug bands, incorporating unusual instruments such as washboard, kazoo, jug, mandolin, and fiddle. Urban blues forced performers to become more elaborate, as they had to adapt to a larger, more varied audience. Boogie-woogie consisted of piano-based blues derived from barrelhouse and ragtime in Chicago. Big band blues emerged out of Kansas City and incorporated elements of jazz and swing. West Coast blues was heavily influenced by a swing beat, and popularized by Texas musicians who moved to California. Electric blues came out of Chicago, Memphis, Detroit, and St. Louis in the 1950s, using electric guitars, double bass, drums. and harmonica performed through a microphone, amplifier and PA (public address) system. By the beginning of the 1960s, the most popular genres for young Americans were rock and roll and soul music, both rooted in African-American blues. Buried in the Deep South, Central Florida has had a long blues tradition, and a number of notable blues musicians had roots in Florida, including Tampa Red, Bo Diddley, Ray Charles, "Diamond Teeth Mary" McClain, Gabriel Brown, Noble "Thin Man" Watts, Willie Green, Blind Blake, Little Mike and the Tornadoes, Barrelhouse Chuck, and the Allman Brothers Band. Muddy Waters wrote a song for his 1977 album, Hard Again, entitled "Deep Down in Florida," in which he mentions Newberry and traveling to Gainesville to see an old friend. Waters met his third wife while performing at the popular blues dance hall, the Cotton Club, in Gainesville. The club opened in 1948 and had regular performances by such future famous blues musicians as James Brown, B.B. King and Ray Charles. The Wells’ Built Hotel and Casino, which is now an African-American history museum, is located in the historic African-American community of Parramore in Downtown Orlando. The hotel hosted many notable African-American musicians and celebrities during the Segregation era. Guitar Slim, Ray Charles, Ivory Joe Hunter, B. B. King and Bo Diddley were among the bluesmen traveling along the Chitlin' Circuit who were guests at the hotel and performers at the casino. Contributor <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Bradenton, Florida The Alley, Sanford, Florida West Tampa, Tampa, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference DeVane, Dwight, Blaine Waide, Peggy A. Bulger, Doris J. Dyen, and David Evans. <a href="http://www.worldcat.org/oclc/856993560" target="_blank">Drop on Down in Florida: Field Recordings of African American Traditional Music 1977-1980</a>. Atlanta, Ga: Dust-to-Digital, 2012. Oakley, Giles. <a href="http://www.worldcat.org/oclc/3082016" target="_blank">The Devil's Music: A History of the Blues</a>. New York: Taplinger Pub. Co, 1977. Palmer, Robert. <a href="http://www.worldcat.org/oclc/6864668" target="_blank">Deep Blues: A Musical and Cultural History of the Mississippi Delta</a>. New York: Viking Press, 1981. Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format 1 color photograph 2 black and white photographs Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title "Diamond Teeth" Mary Alternative Title "Diamond Teeth" Mary Subject McClain, Mary Smith Bradenton (Fla.) Concerts Music--Florida Blues (Music)--Florida Gospel music--Florida Vaudeville--Florida Description "Diamond Teeth" Mary McClain (born Mary Smith), an African-American blues, gospel, and vaudeville singer who performed from the 1910s through the 1990s. "Diamond Teeth" Mary was the half-sister of blues legend, Bessie Smith, and was present at her death following an automobile accident. Performing in various minstrel shows through the 1920s and 1930s, she was known as "Walking Mary" until the 1940s. She had diamonds removed from a bracelet and set into her front teeth, giving her famous moniker, but eventually removed them to pay for her mother's medical bills. Often promoted as "Queen of the Blues," she performed with some of the biggest names in African-American music, including Billie Holiday, Bessie Smith, Sarah Vaughan, Ray Charles, Count Basie, Nat 'King' Cole, Charlie Parker, and Duke Ellington. "Diamond Teeth" Mary moved to Bradenton, Florida, in 1960, where she began performing gospel music, rather than secular blues, and remained there until her death in April 2000. She was given national exposure in the late 1970s, when Steven Zeitlin of the Smithsonian Institution tracked her down and convinced her to perform at the American Folklife Festival. She performed for President Ronald Reagan at the White House in 1980, appeared in an off-Broadway production in 1981, became one of the first recipients of the Florida Folk Heritage Award in 1986, recorded her first album, If I Can't Sell It, I'm Gonna Sit On It, in 1993, and continued to perform at blues festivals in the United States and Europe until her death at age 97. A play about her life premiered at the Florida Folk Festival in 2000. Type Still Image Source Original color photograph: <a href="http://www.tampabaymusichistory.com/bands-artists.php" target="_blank">Profiles: Bands & Artists</a>, Tampa Bay Music Scene Historical Society. Original black and white photographs: <a href="http://www.tampabaymusichistory.com/bands-artists.php" target="_blank">Profiles: Bands & Artists</a>, Tampa Bay Music Scene Historical Society. Is Part Of <a href="http://www.tampabaymusichistory.com/bands-artists.php" target="_blank">Profiles: Bands & Artists</a>, Tampa Bay Music Scene Historical Society. <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/144" target="_blank">Blues Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. Is Format Of Digital reproduction of original color photograph: <a href="http://www.tampabaymusichistory.com/bands-artists.php" target="_blank">Profiles: Bands & Artists</a>, Tampa Bay Music Scene Historical Society. Original black and white photographs: <a href="http://www.tampabaymusichistory.com/bands-artists.php" target="_blank">Profiles: Bands & Artists</a>, Tampa Bay Music Scene Historical Society. Has Format Digital reproduction of original color photograph. <a href="http://www.tampabaymusichistory.com/resources/34564.jpg" target="_blank">http://www.tampabaymusichistory.com/resources/34564.jpg</a>. Digital reproduction of original black and white photograph. <a href="http://www.tampabaymusichistory.com/resources/DiamondTeethMary.jpg" target="_blank">http://www.tampabaymusichistory.com/resources/DiamondTeethMary.jpg</a>. Digital reproduction of original black and white photograph. <a href="http://www.tampabaymusichistory.com/resources/35464352.jpeg.jpg" target="_blank">http://www.tampabaymusichistory.com/resources/35464352.jpeg</a>. Coverage Bradenton, Florida Publisher <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a> Date Created ca. 1960-2000 Format image/jpg Extent 140 KB 77.5 KB 33.5 KB Medium 1 color photograph 2 black and white photographs Language eng Mediator History Teacher Humanities Teacher Music Teacher Provenance Published digitally by <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a>. Rights Holder Copyright to this resource is held by <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.tampabaymusichistory.com/" target="_blank">Tampa Bay Music Scene Historical Society</a> External Reference Cohn, Lawrence (ed.) "Mary 'Diamond Teeth' McClain. <a href="http://www.worldcat.org/oclc/27380574" target="_blank">Nothing but the Blues: The Music and the Musicians</a>. New York: Abbeville Press, 1993 <a href="http://www.tampabaymusichistory.com/diamond-teeth-mary.php" target="_blank">""Diamond Teeth" Mary"</a>. TampaBayMusicHistory.com. http://www.tampabaymusichistory.com/diamond-teeth-mary.php. "Diamond Teeth" Mary African American blues blues music blues singer Bradenton concert gospel music McClain, "Diamond Teeth" Mary Smith McClain, Mary "Diamond Teeth" Smith minstrel show minstrelsy singer Smith, "Diamond Teeth" Smith, Mary St. Petersburg Tampa Bay vaudeville vocalist Walking Mary Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title Blues Collection Alternative Title Blues Collection Subject Music--United States Blues (Music)--Florida Description Collection of digital images, documents, and other records depicting the history of blues music in Central Florida. Series descriptions are based on special topics, the majority of which students focused their metadata entries around. During the middle to late 19th century, African-American ex-slaves and their descendants in the Deep South began playing a style of music that evolved from Black Spirituals and chants, work songs, field hollers, rural fife and drum music, revivalist hymns, and European folk and country dance music. It was characterized by its call-and-response narrative pattern, blue notes, and specific chord progressions, of which the 12-bar blues was the most common. By the turn of the century, blues music was being performed in regions such as Louisiana, the Mississippi Delta, the Piedmont region, and Texas, typically by a solo musician on acoustic guitar, harmonica, or piano. Initially, a traditional blues verse was made up of a single line repeated four times, until the common AAB pattern was established in the early 20th century. In 1912, W. C. Handy, an African-American minstrel show band leader, published "Memphis Blues," which helped popularize the genre by transcribing and orchestrating it in a symphonic-like style. Handy is also credited with giving the blues its contemporary form, and was crowned the "Father of the Blues." The unexpected success of Mamie Smith’s "Crazy Blues," eight years later, caused record labels to begin producing “race records," featuring blues singers such as Ma Rainey and Bessie Smith. Most of the blues pioneers from the 1920s performed solo with an acoustic guitar. Among the most recognized are Robert Johnson, Blind Lemon Jefferson, Son House, Leadbelly and Charlie Patton. As blues spread from the Deep South, it took on regional characteristics and styles. The Mississippi Delta blues featured slide guitar and a rootsy, sparse style. The Piedmont blues used an elaborate ragtime-based rhythm and fingerpicking technique. The Memphis blues, popular in vaudeville and medicine shows, was influenced by jug bands, incorporating unusual instruments such as washboard, kazoo, jug, mandolin, and fiddle. Urban blues forced performers to become more elaborate, as they had to adapt to a larger, more varied audience. Boogie-woogie consisted of piano-based blues derived from barrelhouse and ragtime in Chicago. Big band blues emerged out of Kansas City and incorporated elements of jazz and swing. West Coast blues was heavily influenced by a swing beat, and popularized by Texas musicians who moved to California. Electric blues came out of Chicago, Memphis, Detroit, and St. Louis in the 1950s, using electric guitars, double bass, drums. and harmonica performed through a microphone, amplifier and PA (public address) system. By the beginning of the 1960s, the most popular genres for young Americans were rock and roll and soul music, both rooted in African-American blues. Buried in the Deep South, Central Florida has had a long blues tradition, and a number of notable blues musicians had roots in Florida, including Tampa Red, Bo Diddley, Ray Charles, "Diamond Teeth Mary" McClain, Gabriel Brown, Noble "Thin Man" Watts, Willie Green, Blind Blake, Little Mike and the Tornadoes, Barrelhouse Chuck, and the Allman Brothers Band. Muddy Waters wrote a song for his 1977 album, Hard Again, entitled "Deep Down in Florida," in which he mentions Newberry and traveling to Gainesville to see an old friend. Waters met his third wife while performing at the popular blues dance hall, the Cotton Club, in Gainesville. The club opened in 1948 and had regular performances by such future famous blues musicians as James Brown, B.B. King and Ray Charles. The Wells’ Built Hotel and Casino, which is now an African-American history museum, is located in the historic African-American community of Parramore in Downtown Orlando. The hotel hosted many notable African-American musicians and celebrities during the Segregation era. Guitar Slim, Ray Charles, Ivory Joe Hunter, B. B. King and Bo Diddley were among the bluesmen traveling along the Chitlin' Circuit who were guests at the hotel and performers at the casino. Contributor <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/140" target="_blank">Central Florida Music History Collection</a>, RICHES of Central Florida. Language eng Type Collection Coverage Bradenton, Florida The Alley, Sanford, Florida West Tampa, Tampa, Florida WUCF-TV, University of Central Florida, Orlando, Florida Curator Cepero, Laura Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> External Reference DeVane, Dwight, Blaine Waide, Peggy A. Bulger, Doris J. Dyen, and David Evans. <a href="http://www.worldcat.org/oclc/856993560" target="_blank">Drop on Down in Florida: Field Recordings of African American Traditional Music 1977-1980</a>. Atlanta, Ga: Dust-to-Digital, 2012. Oakley, Giles. <a href="http://www.worldcat.org/oclc/3082016" target="_blank">The Devil's Music: A History of the Blues</a>. New York: Taplinger Pub. Co, 1977. Palmer, Robert. <a href="http://www.worldcat.org/oclc/6864668" target="_blank">Deep Blues: A Musical and Cultural History of the Mississippi Delta</a>. New York: Viking Press, 1981. Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format 1 audio/video recording Duration 5 minutes and 25 seconds Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title WUCF Artisodes Short: Daniel Heitz Alternative Title Daniel Heitz Artisode Subject Sanford (Fla.) Music--United States Blues (Music)--Florida Description Daniel Heitz first took the stage at the Alley blues club in Sanford, Florida, when he was 11 years old. Over the next six years, he became one of the most impressive classical blues guitarists in Central Florida. WUCF-TV is a Public Broadcasting Service (PBS) television station serving the Central Florida television market. The station, operated by the University of Central Florida, is the region's sole PBS member station, reaching an estimated population of 4.6 million people in its aerial viewing area. Arts and culture take center stage in WUCF-TV's weekly local series: "WUCF Artisodes." Each episode airs Thursdays at 8 p.m., featuring a local artist or initiative, as well as stories on the arts from across the country. Developed in partnership with 28 PBS stations nationwide, this series is part of WUCF-TV's mission to give everyone a front-row seat to the arts. This Artisodes Short originally aired as part of "WUCF Artisodes #145: The Call of Music" on October 2, 2014. Type Moving Image Source Original 5-minute and 25-second audio/video recording of Daniel Heitz, <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a>, Sanford, Florida, October 2, 2014: WUCF-TV, University of Central Florida, Orlando, Florida. Requires <a href="http://get.adobe.com/flashplayer/" target="_blank"> Adobe Flash Player</a> <a href="http://java.com/en/download/index.jsp" target="_blank"> Java</a> Is Part Of <a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/144" target="_blank">Blues Collection</a>, Central Florida Music History Collection, RICHES of Central Florida. <a href="http://video.wucftv.org/video/2365335036/" target="_blank">WUCF Artisodes 145: The Call of Music</a>, WUCF-TV, University of Central Florida, Orlando, Florida. Is Format Of <a href="http://video.wucftv.org/video/2365333735/" target="_blank">WUCF Artisodes Short: Daniel Heitz</a>, WUCF-TV, University of Central Florida, Orlando, Florida. Coverage WUCF-TV, University of Central Florida, Orlando, Florida The Alley, Sanford, Florida Publisher <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a> Contributor Heitz, Daniel Heitz, Sherri Johnson, Chris Williamson, Karl Date Created ca. 2015-01-29 Date Issued 2014-10-02 Date Copyrighted 2014-10-02 Format application/website application/pdf Medium 5-minute and 25-second audio/video recording Language eng Mediator History Teacher Geography Teacher Humanities Teacher Music Teacher Provenance Originally published by <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a>. Rights Holder Copyright to this resource is held by <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only. Accrual Method Donation Curator Cravero, Geoffrey Digital Collection <a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a> Source Repository <a href="http://www.wucftv.org/home/" target="_blank">WUCF-TV</a> External Reference McPherson, Gary. <a href="http://www.worldcat.org/oclc/64554616" target="_blank">The Child As Musician: A Handbook of Musical Development</a>. Oxford: Oxford University Press, 2006. <a href="http://www.wucftv.org/local-programs/artisodes/" target="_blank">”WUCF Artisodes</a>.” WUCFTV.org. http://www.wucftv.org/local-programs/artisodes/ (Accessed March 30, 2015). Click to View (Movie, Podcast, or Website) <a href="https://www.youtube.com/watch?v=s6yGU66JuBA" target="_blank">WUCF Artisodes Short: Daniel Heitz</a> Albert King Artisodes B. B. King blues blues guitarists blues guitars bluesman bluesmen broadcast television distributor Chris Johnson classic blues Dan Heitz Daniel Heitz Doc Williamson Freddie King Karl Williamson musicians PBS Public Broadcasting Service Riley King Sanford Sherri Heitz The Alley The Call of Music The Daniel Heitz Band UCF University of Central Florida WUCF Artisodes WUCF-TV