{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/qj77s7jd5n/manifest","type":"Manifest","label":{"en":["Hotter Than a Bulldog Spitting In a Polecat's Eye: Mable Hillery \u0026 Johnny Shines Live 1975"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Parker Fishel (Presenter)","Sophie Abramowitz (Presenter)","David Beal (Presenter)","Patrick Midtlyng (Chair)","Michael Biel (Videographer)","Leah Biel (Videographer)"]}},{"label":{"en":["Date"]},"value":{"en":["2018-05-12 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Video","Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eIn 1975, brothers John and Jim Fishel organized the fourth annual Miami Blues Festival at the University of Miami in Florida. When blues legend Johnny Shines suggested an obscure blues singer named Mable Hillery, the brothers booked her on the strength of his recommendation alone. In a special collaboration, the pair dazzled the Miami audience with a set that harkened back to the classic blues of Bessie Smith. Hillery and Shines were seasoned veterans of a college and festival circuit (of increasing international dimensions) where blues musicians were often positioned as both innovators and living examples of the music’s history. This framing had several effects. On the one hand, it risked putting blues music in the past tense, canonizing traditional artists while obscuring their creative agency in the contemporary moment. On the other hand, it presented black artists with unstructured stage time and a largely white fan base ready to learn from black musical innovation. In approaching these performances, Hillery and Shines shared a sensibility. Even as they embraced the music’s transcendent qualities to connect with an audience, they never shied away from using the stage to educate listeners, emphasizing the connection between blues music and racist oppression. Drawing on new research and recordings we have recently issued, this presentation uses the Miami concert to explore biographical dimensions of these extraordinary musician-educators and to contextualize their enterprise in the Civil Rights Movement, the so-called Blues Revival, and the transformation of the blues into an American cultural export.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},{"label":{"en":["Video Editor"]},"value":{"en":["Nathan Georgitis"]}}],"summary":{"en":["\u003cp\u003eIn 1975, brothers John and Jim Fishel organized the fourth annual Miami Blues Festival at the University of Miami in Florida. When blues legend Johnny Shines suggested an obscure blues singer named Mable Hillery, the brothers booked her on the strength of his recommendation alone. In a special collaboration, the pair dazzled the Miami audience with a set that harkened back to the classic blues of Bessie Smith. Hillery and Shines were seasoned veterans of a college and festival circuit (of increasing international dimensions) where blues musicians were often positioned as both innovators and living examples of the music\u0026rsquo;s history. This framing had several effects. On the one hand, it risked putting blues music in the past tense, canonizing traditional artists while obscuring their creative agency in the contemporary moment. On the other hand, it presented black artists with unstructured stage time and a largely white fan base ready to learn from black musical innovation. In approaching these performances, Hillery and Shines shared a sensibility. Even as they embraced the music\u0026rsquo;s transcendent qualities to connect with an audience, they never shied away from using the stage to educate listeners, emphasizing the connection between blues music and racist oppression. Drawing on new research and recordings we have recently issued, this presentation uses the Miami concert to explore biographical dimensions of these extraordinary musician-educators and to contextualize their enterprise in the Civil Rights Movement, the so-called Blues Revival, and the transformation of the blues into an American cultural export.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/653/small/open-uri20200922-6764-1ffmkkn_1600818033.jpg?1600803655","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29757/file/97653","type":"Canvas","label":{"en":["Media File 1 of 2 - open-uri20200922-6764-1ffmkkn.mp4"]},"duration":1718.12267,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/097/653/small/open-uri20200922-6764-1ffmkkn_1600818033.jpg?1600803655","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29757/file/97653/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29757/file/97653/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/097/653/original/open-uri20200922-6764-1ffmkkn.mp4?1600803625","type":"Video","format":"video/mp4","duration":1718.12267,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29757/file/97653","metadata":[]}]}],"annotations":[]},{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29757/file/256121","type":"Canvas","label":{"en":["Media File 2 of 2 - ARSC_conf_2018_Fishel_Abramowitz_Beal_audio.mp3"]},"duration":1714.63381,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29757/file/256121/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29757/file/256121/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/256/121/original/ARSC_conf_2018_Fishel_Abramowitz_Beal_audio.mp3?1730830428","type":"Audio","format":"audio/mpeg","duration":1714.63381,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/1143/collection_resources/29757/file/256121","metadata":[]}]}],"annotations":[]}]}