USA: Oxmoor Press, a subsidiary of The Progressive Farmer Company, Birmingham, Alabama
Location:
Agricultural Communications Documentation Center, Funk Library, University of Illinois Document Number: D10009
Notes:
Copy also located in the James F. Evans Collection, 114 pages., An edited collection written to "build something of the spirit that has always pervaded the lives of rural people." Features brief stories, poems, and commentaries. Sections include love of the land, joys of country living, the farmer and his family, creeds for farm living, the soil and growing things, cotton, animal friends, the business of farming, and the lighter side.
USA: American Agricultural Editors' Association (AAEA).
Location:
Agricultural Communications Documentation Center, Funk Library, University of Illinois Box: 47 Document Number: D10711
Notes:
69 pages., Claude W. Gifford Collection. Beyond his materials in the ACDC collection, the Claude W. Gifford Papers, 1919-2004 are deposited in the University of Illinois Archives. Serial Number 8/3/81. Locate finding aid at https://archives.library.illinois.edu/archon/, Features award-winning article and photos in this national recognition program.
Posted at http://www.agrimarketingdigital.com/?iid=9297, Pages 33-35 in 2008 Agribusiness Employer Guide, a special supplement of Agri Marketing magazine. One featured career involves an agricultural communicator who works with an advertising agency. Another involves an agricultural cartoonist.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Surveys the origins of rock 'n' roll from the minstrel era to the emergence of Bill Haley and Elvis Presley. Dispelling common misconceptions, this book examines rock's origins in hokum songs and big-band boogies as well as Delta blues, detailing the embrace by white artists of African-American styles long before rock 'n' roll appeared. This study ranges far and wide, highlighting not only the contributions of obscure but key precursors like Hardrock Gunter and Sam Theard but also the influence of celebrity performers like Gene Autry and Ella Fitzgerald. Too often, rock historians treat the genesis of rock 'n' roll as a bolt from the blue, an overnight revolution provoked by the bland pop music that immediately preceded it and created through the white appropriation of music until then played only by and for black audiences. Here, Birnbaum argues a more complicated history of rock's evolution from a heady mix of ragtime, boogie-woogie, swing, country music, mainstream pop, and R&B—a melange of genres that influenced one another along the way, from the absorption of blues and boogies into jazz and pop to the integration of country and Caribbean music into R&B.
[By the way [Anthony Morgan], in another University publication you're quoted as saying: "I think the bigger issue is how little we know about the history and historical contributions of Jamaicans." Well, the issue is way bigger than Jamaica; it's a "race" issue, targeting and ridiculing Black people, all of whom are people of African descent, sons and daughters of slaves.] So those students, froshers, "...were just having fun," eh? There was "nò mal-intent?" according to director [Michel Patry]. Surely they could've found another and more interesting and humanly innocuous way to have (even more) fun. The blackface skit is a sad cliché, it's passé, plus it's not funny. Except for [White] people as they seek ways to fulfill their final stage of life: their pursuit of happiness, by any means. It serves us right; it's the 'house divided' maxim. We are fractured from pulling in so many directions. We lack cohesion and the essential elements that hold people together to secure a strong !foundation. We've long cut the ties that bind, so it's very easy for people to have their way with us.
Agricultural Communications Documentation Center, Funk Library, University of Illinois Box: 184 Document Number: D00317
Notes:
John Harvey Collection, 45 pages., Author's illustrated stories describing adventures of/with Charley, "one of the finest bulls to ever pass through a sales ring. Sometimes it seems as though it was a dream. Do we own Charley, or does Charley own us?"
