Word: negro
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That kind of complaint goes back at least as far as Woody Guthrie's eloquent pleas for the migratory workers during the Depression. Commercial country was born in the 1920s out of an amalgamation of American folk, British airs and hymns, and Negro gospel and blues. The New York record companies sent their men South to make wax discs of such performers as Samantha Bumgarner and Fiddlin' John Carson. Then they found the Carter Family, hillbilly virtuosos from Virginia, and the first idol of country, Jimmie Rodgers (1897-1933). Country was off and running...
...superabundance of sympathy has always been expended on the Negro, neither undeservedly nor helpfully, but no sympathy whatever, so far as I am aware, has ever been expended on the white man living among Negroes... To live habitually as a superior among inferiors,...to live among a people whom, because of their needs, one must in common decency protect and defend is a sore burden in a world where one's own troubles are about all any life can shoulder...
...Mobile, Ala., shipyard worker, Aaron, like Ruth, rose from humble origins. He started in professional ball in the old Negro League Indianapolis Clowns. The 19-year-old Aaron signed with the Braves organization and played for the Braves Eau Claire, Wis., farm club in 1952. In 1953 the young slugger hit his way to the most valuable player award in the minors. The next year he was called up to the Braves squad and on April 23, 1954, he hit his first four-bagger against the Cards...
...defense only to have the Supreme Court strike down the anti-insurrection law under which he was arrested. Other civil-rights workers had only slightly less eventful summers, and most came back to Harvard to tell about them. "Although a hundred years have passed since the Civil War, the Negro is virtually a slave in Baker County," Elizabeth Holtzman '62, then a first-year law student, now a U.S. Representative from Brooklyn, wrote in The Crimson. "It cannot be said, however, that the whites are free. Feeding on sadism, glorying in the license the color allows, they lead a depraved...
...latter song is marred by a cheap-sounding organ background, a problem at several points during the play. Robert Honeysucker is the wizened Old Man, detached from the fast pace of Harlem, able to look at the entire scene with a broader historical perspective. And his recital of "The Negro Speaks of Rivers," a short but powerful poem about the black's hard struggle from the shores of the Congo to the banks of the Mississippi, loses its strength when accompanied by the soap-opera-like organ...