Black Ulysses
Denisha Cerniglia
William P. Jones merges interviews with archival sources to explore black men and women's changing relationship to industrial work in the southern sawmill communities of Elizabethtown, North Carolina; Chapman, Alabama; and Bogalusa, Louisiana. By placing black lumber workers within the history of southern industrialization, Jones reveals that industrial employment was another facet of the racial segregation and political disfranchisement that defined black life in the Jim Crow South. He also examines an older tradition of southern sociology that viewed industrialization as socially disruptive and morally corrupting to African American social and cultural traditions rooted in agriculture.About the AuthorAbout the AuthorWilliam P. Jones is a professor in the Department of History at the University of Minnesota and author of The March on Washington: Jobs, Freedom and the Forgotten History of Civil Rights. ReviewsReviews"The best work to date on the southern lumber industry."--The Journal of Southern History
"William P. Jones has written an extraordinary book that not only refutes the myth of the Black Ulysses but also restores southern black industrial workers into the foreground of southern industrialism. Equally important is his polemic argument that the southern black working class served in the vanguard of the civil rights movement. This book is a must-read for scholars of southern cultural and labor history."--Southern Historian
"The aims of The Tribe of Black Ulysses are more ambitious than a stricter and more detailed focus on trade unionism would allow. Jones's meticulous recreation of the world of southern black lumber workers successfully lays to rest the myths of Black Ulysses, leaving us with a far richer portrait."--Business History Review
"This well-written study succeeds in challenging the notion that rural black southerners were too victimized by racial oppression to adapt to modern industrial society. . . . William P. Jones navigates the perilous waters of race and class in the American South with admirable skill."--Journal of American History
"With this book, Jones joins . . . [the] leading historians of African American workers in the South who have moved African American history at the top of labor history's agenda. What makes Jones's work even more exciting, however, is his attention to the history of his subjects outside the mill and union hall. . . . Recommended for graduate students and advanced undergraduates, this book is a well-crafted and analytically sophisticated addition to a rich and growing literature on African American, southern, and working-class history."--American Historical Review
"Jones has given us a badly needed study of a neglected but extremely important group of African American workers. . . . Jones's portrait of lumber workers' struggle, first to balance agricultural and industrial work and later to enhance their collective lot through militant action, is compelling."--Left HistoryBlurbs"Jones has concocted a positively daring marriage of cultural and labor history, in a way that should appeal to many readers and will, I suspect, stir up considerable controversy."--David Montgomery, Yale UniversityAwardsAwardsWinner of the H. L. Mitchell Award (2006) given by the Southern History Association and the Richard L. Wentworth Prize in American History (2005) Book Details Pages: 256 pages Dimensions: 6 x 9 in Illustrations: 17 black & white photographs, 13 tables African American StudiesHistory, Am.: 20th C.Labor StudiesSouthern History & Culture Related Titles google.books.load();function initialize() var viewer = new google.books.DefaultViewer(document.getElementById('viewerCanvas')); var canvas = document.querySelector('.viewer-bg'); var previewBtn = document.getElementById('preview-button') previewBtn.addEventListener('click', ()=> canvas.classList.add('active') //alert(res); //viewer.load('ISBN:'+res, alertNotFound); //var viewer = new google.books.DefaultViewer(document.getElementById('viewerCanvas')); var a = Array('ISBN:9780252072291'); viewer.load(a, alertNotFound); ) var closeBtn = document.querySelector('.close-viewer'); closeBtn.addEventListener('click', ()=> canvas.classList.remove('active') )function alertNotFound() var canvas = document.querySelector('.viewer-bg'); var error = document.createElement('h2'); error.innerText = 'No Preview Available For This Title.'; error.style.color = 'white'; error.style.textAlign = 'center'; canvas.appendChild(error)google.books.setOnLoadCallback(initialize); X function OptanonWrapper() Stay Connected Join Our Mailing List Copyright 2024
Ulysses Simpson Kay, Jr., was one of the leading black composers in the classical music industry in the 20th Century. Born in Tucson, Arizona, Kay grew up in a musically talented family. His mother, Elizabeth Kay, was a church pianist. His step-brother played the violin and his step-sister played piano. His father Ulysses Kay, Sr., a former Texas cowboy and barber, did not play any instruments, but enjoyed listening to music and singing. His maternal uncle, of whom Kay was very fond, was the highly acclaimed jazz musician King Oliver.
In 1942 Kay joined the U.S. Navy and played in its band during World War II. There he acquired proficiency on a number of band instruments including the saxophone, flute, piccolo, and piano. After the war, Kay continued his formal music education, studying composition at Colombia University in 1947 on the Alice M. Ditson Fellowship (1946).
In 1947 Kay traveled to Rome, Italy to continue his studies, financed by a series of scholarships including a Julius Rosenwald Fellowship (1947), a Fulbright Scholarship (1949) and the Prix de Rome (1949, 1951). He married Barbara Harrison in 1949 in New York and she later joined him in Italy. Harrison taught music at the Anglo-American Overseas School in Rome. The couple gave birth to their first daughter, Virginia, in 1951 while still in Rome. They returned to the U.S. in 1953 and two more daughters were born: Melinda in 1957 and Hilary in 1959.
From 1953 to 1968, Kay worked for Broadcast Music, Inc. (BMI), the major U.S. performing rights organization, as a music consultant. In 1968 he was appointed a distinguished professor at Herbert H. Lehman College of the City University of New York and taught there until 1988. In 1979, Kay was elected to the American Academy of Arts and Letters. During his lifetime Kay composed approximately 140 musical compositions including five opera, 20 orchestral works, 30 choral pieces, and 15 works for chamber groups. His ballet, Danse Calinda appeared in 1941. His most noted composition, Of New Horizons: Overture (1944), was completed while he was still in the Navy and was premiered by the New York Philharmonic Orchestra. His last opera, Frederick Douglass, was completed in 1985. Kay was a member of Sigma Pi Phi fraternity.
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Ulysses Grant Dailey overcame financial and racial obstacles to become an internationally respected surgeon. More than a surgeon, Dr. Dailey was a teacher, training physicians who later became leaders and role models; he was an editor, shaping a forward-looking editorial style, reflecting his ideals and passion for medicine through the Journal of the National Medical Association; he was an administrator, founding a hospital which offered training positions to young physicians and treatment for patients regardless of race; lastly, he was an ambassador of American medicine, traveling to countries around the globe, assisting in studying and shaping health care systems.
Born in Donaldsonville, Louisiana on August 3, 1885, Dailey grew up in Fort Worth, Texas and Louisiana. Under the guidance of his grandmother and mother, he became an avid reader, and studied French and piano. Early on, he had chosen a career as a pianist and he graduated from the preparatory academy at Straight College (now Dillard University) in New Orleans. While a student in Fort Worth, Dailey became the office assistant for Ernest L. Stephens, a practicing physician and professor of materia medica in the medical department of Fort Worth University. Impressed by Dailey's seriousness, Stephens encouraged the young man's wide reading. When a typhoid epidemic struck the city, Stephens assigned Dailey to visit his homebound patients to take temperatures and do similar tasks. With his increasing experience in medicine, Dailey resolved to pursue this profession rather than music.
Dailey was accepted at Northwestern University Medical School after several conversations with the dean, and enrolled in the fall of 1902. He supported himself through a variety of jobs, including playing piano in bars and taverns. Dr. Peter Burns, director of the anatomical laboratory, hired him as an assistant and instructor for two years. Dailey received an MD in June 1906.
Dailey was denied the opportunity, because of his race, to spend two weeks at Mercy Hospital in Chicago doing obstetrics in the charity ward. In 1907, Provident Hospital appointed Dailey gynecologist to their dispensary. In 1910, he became an associate surgeon, and from 1912 to 1926, he held the title of attending surgeon.
The major turning point in Dailey's medical career came in 1908 when Dr. Daniel Hale Williams* of Provident Hospital invited Dailey to be his surgical assistant. Remaining in this capacity until 1912, Dailey learned much in the way of surgical technique from Williams. From 1916 to 1918, he also served as an instructor in clinical surgery at Northwestern, and from 1920 to 1926, he was an attending surgeon at Fort Dearborn Hospital. In 1912 and 1925, Dailey took two trips of several months each to Europe for postgraduate studies on surgical subjects.
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