Inside the Texas State Prison is a surprising story of ingenuity, optimism and musical creativity. During the mid-twentieth century, inmates at the Huntsville unit and neighboring Goree State Farm for Women captured hearts all over Texas during weekly radio broadcasts and live stage performances. WBAP's Thirty Minutes Behind the Walls took listeners inside the penitentiary to hear not only the prisoners? songs but also the stories of those who sang them. Captivating and charismatic, banjo player Reable Childs received thousands of fan letters with the Goree All-Girl String Band during World War II. Hattie Ellis, a young black inmate with a voice that rivaled Billie Holiday's, was immortalized by notable folklorist John Avery Lomax. Cowboys, songsters and champion fiddlers all played a part in one of the most unique prison histories in the nation. Caroline Gnagy presents the decades-long story of the Texas convict bands, informed by prison records, radio show transcripts and the words and music of the inmates themselves.

There is sometimes a fine line between history and folklore. This Publication of the Texas Folklore Society features articles that tell stories about real-life characters from the historical past of Texas, as well as offer personal reflections about life from diverse perspectives throughout the last century. These contributors go beyond merely stating facts about dates or locations or names of the events and people that can be found in court documents or genealogical records; several of these authors provide a very intimate connection to the tales they share. These articles are not just about people that we read about as school children, and they do not merely describe how our culture used to be, or how vastly it has changed; rather, they emphasize the ways we keep our culture alive through the retelling of the events and customs and major figures that are important enough to pass on from one generation to the next. The first section covers legendary characters like Davy Crockett, Mody Boatright, Sam Houston, and Cynthia Ann Parker from our state’s past, as well as people who were bigger or bolder than others, yet seem to have been forgotten. Some of those characters came from different countries, while others are connected directly to our Texas Folklore Society family tree. The second section includes works that examine songs of our youth, as well as the customs and social constructs associated with music, whether it’s on a football field or in a prison yard. The works in the final section recall memories of a simpler time, when cars and home appliances lacked modern conveniences we now take for granted, before Facebook and YouTube allowed us to become Internet movie stars, and when it was a treat just to go and “visit” with family and friends.

Inside the Texas State Prison is a surprising story of ingenuity, optimism and musical creativity. During the mid-twentieth century, inmates at the Huntsville unit and neighboring Goree State Farm for Women captured hearts all over Texas during weekly radio broadcasts and live stage performances. WBAP's Thirty Minutes Behind the Walls took listeners inside the penitentiary to hear not only the prisoners? songs but also the stories of those who sang them. Captivating and charismatic, banjo player Reable Childs received thousands of fan letters with the Goree All-Girl String Band during World War II. Hattie Ellis, a young black inmate with a voice that rivaled Billie Holiday's, was immortalized by notable folklorist John Avery Lomax. Cowboys, songsters and champion fiddlers all played a part in one of the most unique prison histories in the nation. Caroline Gnagy presents the decades-long story of the Texas convict bands, informed by prison records, radio show transcripts and the words and music of the inmates themselves.

Texas has one of the world’s largest prison systems, in operation for more than 170 years and currently employing more than 28,000 people. Hundreds of thousands of people have been involved in the prison business in Texas: inmates, correctional officers, public officials, private industry representatives, and volunteers have all entered the secure facilities and experienced a different world. Previous books on Texas prisons have focused either on records and data of the prisons, personal memoirs by both inmates and correctional officers, or accounts of prison breaks. Tall Walls and High Fences is the first comprehensive history of Texas prisons, written by a former law enforcement officer and an officer of the Texas prisons. Bob Alexander and Richard K. Alford chronicle the significant events and transformation of the Texas prison system from its earliest times to the present day, paying special attention to the human side of the story. Incarceration policy evolved from isolation to hard labor to rodeo and educational opportunities, with reform measures becoming an ever-evolving quest. The complex job of the correctional officer has evolved as well—they must ensure custody and control over the inmate population at all times, in order to provide a proper environment conducive to safety and positive change. Alexander and Alford focus especially on the men and women who work with diligence and dedication at their jobs “inside the walls,” risking their lives and—in too many instances—giving their lives in a peculiar line of duty most would find unpalatable. Within these pages are stories of prison breaks, bloodhounds chasing escapees, and gunfights. Inside the walls are deadly confrontations, human trafficking, rape, clandestine consensual trysts, and tricks turned against correctional officers. Famous people and episodes in Texas prison history receive their due, from Texas Rangers apprehending and placing outlaws in prison to the famed gunfighter John Wesley Hardin’s time in and out of prison. Tall Walls and High Fences covers numerous convict escape attempts and successes, including the 1974 prison siege at Huntsville and the 2007 prisoner gunfight and escape at the Wynne Unit. Throughout this long history Alexander and Alford pay special tribute to the more than 75 correctional officers, lawmen, and civilians who lost their lives in the line of duty.

Sparking a discussion of the importance of creativity for the well-being of society, this book highlights and argues for the potential of those in prison to learn and exercise the skills of writing, visual arts, and music; to protect their intellectual property; and to distribute their works to the public, and the consequent benefits of their creative contribution to wider society. Focused on the premise that a nation’s well-being and competitive advantage in innovation are advanced by promoting the creative efforts of all its citizens without exclusion, including those residing in prisons, this book uses the United States as a case study to illuminate the potential among any nation’s prison population to contribute to its store of creative works. Arguing that creativity should be encouraged for the benefit of all, it offers a framework for how incarcerated individuals globally could be permitted to engage in learning and undertaking skills in the expressive arts to produce works for public dissemination. Supporting this argument, it explores and analyses the Intellectual Property clause of the Constitution of the United States. Emphasizing not just the internal but also the external value of creativity in prison, Prisons of Creativity widens and elevates the discourse concerning the institution of prison in society and its social goals. It will be of great value to anyone with an interest in arts in corrections, including educators and practitioners, professionals and policy makers within the criminal justice system, and students and scholars of criminology, criminal justice, and related areas.

Approaches country music through an interdisciplinary lens, Features close analyses of gendered and racial disparities in country music, Examines politics of both the performance of country music and the scholarship surrounding it Book jacket.

Country music boasts a long tradition of rich, contradictory gender dynamics, creating a world where Kitty Wells could play the demure housewife and the honky-tonk angel simultaneously, Dolly Parton could move from traditionalist "girl singer" to outspoken trans rights advocate, and current radio playlists can alternate between the reckless masculinity of bro-country and the adolescent girlishness of Taylor Swift. In this follow-up volume to A Boy Named Sue, some of the leading authors in the field of country music studies reexamine the place of gender in country music, considering the ways country artists and listeners have negotiated gender and sexuality through their music and how gender has shaped the way that music is made and heard. In addition to shedding new light on such legends as Wells, Parton, Loretta Lynn, and Charley Pride, it traces more recent shifts in gender politics through the performances of such contemporary luminaries as Swift, Gretchen Wilson, and Blake Shelton. The book also explores the intersections of gender, race, class, and nationality in a host of less expected contexts, including the prisons of WWII-era Texas, where the members of the Goree All-Girl String Band became the unlikeliest of radio stars; the studios and offices of Plantation Records, where Jeannie C. Riley and Linda Martell challenged the social hierarchies of a changing South in the 1960s; and the burgeoning cities of present-day Brazil, where "college country" has become one way of negotiating masculinity in an age of economic and social instability.

Throughout the twentieth century, even the harshest prison systems in the United States were rather porous. Incarcerated people were regularly released from prison for Christmas holidays; the wives of incarcerated men could visit for seventy-two hours relatively unsupervised; and governors routinely commuted the sentences of people convicted of murder. By the 1990s, these practices had become rarer as politicians and the media—in contrast to corrections officials—described the public as potential victims who required constant protection against the threat of violence. In A Wall Is Just a Wall Reiko Hillyer focuses on gubernatorial clemency, furlough, and conjugal visits to examine the origins and decline of practices that allowed incarcerated people to transcend prison boundaries. Illuminating prisoners’ lived experiences as they suffered, critiqued, survived, and resisted changing penal practices, she shows that the current impermeability of the prison is a recent, uneven, and contested phenomenon. By tracking the “thickening” of prison walls, Hillyer historicizes changing ideas of risk, the growing bipartisan acceptance of permanent exile and fixing the convicted at the moment of their crime as a form of punishment, and prisoners’ efforts to resist.

A guide to an effective interval training program which can be done in a small hotel room or at a large gym.

SHORTLISTED FOR THE PENDERYN MUSIC BOOK PRIZERoots, Radicals & Rockers: How Skiffle Changed the World is the first book to explore this phenomenon in depth - a meticulously researched and joyous account that explains how skiffle sparked a revolution that shaped pop music as we have come to know it. It's a story of jazz pilgrims and blues blowers, Teddy Boys and beatnik girls, coffee-bar bohemians and refugees from the McCarthyite witch-hunts. Billy traces how the guitar came to the forefront of music in the UK and led directly to the British Invasion of the US charts in the 1960s.Emerging from the trad-jazz clubs of the early '50s, skiffle was adopted by kids who growing up during the dreary, post-war rationing years. These were Britain's first teenagers, looking for a music of their own in a pop culture dominated by crooners and mediated by a stuffy BBC. Lonnie Donegan hit the charts in 1956 with a version of 'Rock Island Line' and soon sales of guitars rocketed from 5,000 to 250,000 a year. Like punk rock that would flourish two decades later, skiffle was a do-it-yourself music. All you needed were three guitar chords and you could form a group, with mates playing tea-chest bass and washboard as a rhythm section.