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https://richesmi.cah.ucf.edu/omeka/files/original/45bcbef4102147c83397bcded0501f93.jpg
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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.<br /><br />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.<br /><br />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.<br /><br />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.<br /><br />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, <em>Hard Again</em>, 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"><em>Drop on Down in Florida: Field Recordings of African American Traditional Music 1977-1980</em></a>. Atlanta, Ga: Dust-to-Digital, 2012.
Oakley, Giles. <a href="http://www.worldcat.org/oclc/3082016" target="_blank"><em>The Devil's Music: A History of the Blues</em></a>. New York: Taplinger Pub. Co, 1977.
Palmer, Robert. <a href="http://www.worldcat.org/oclc/6864668" target="_blank"><em>Deep Blues: A Musical and Cultural History of the Mississippi Delta</em></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.<br /><br />"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, <em>If I Can't Sell It, I'm Gonna Sit On It</em>, 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"><em>Nothing but the Blues: The Music and the Musicians</em></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