But sean conlon was made in america. Sean i have lived the american dream. Narrator hes built a fortune in the hardnosed world of chicago real estate. Sean i came here with 500 in my pocket, and i worked as a janitor. I shovelled snow. I cleaned toilets. I did anything i needed to do to scratch out a living. Narrator at night, he started to sell real estate. Sean after i got my First Commission cheque, i realized i was never going back to my day job. Narrator and by age 26, he was one of the topearning brokers in america. Sean i have bought, sold, and flipped billions of dollars of real estate. Theres nothing more exhilarating than taking something thats tired and rundown and breathing new life into it. Narrator now, seans looking out for the next generation of developers. Woman we need help. Sean theres no crisis we cant handle. Narrator investing his own money. Sean so whats your ask . Man 2 million. Narrator . And years of experience. Sean youll see how it should be done. Narrator .
Ill never know just what she sees in me from Glen Campbell to kenny rogers. From patsy cline to george jones. Presenting the country to jukebox collection. Looking for love in all the wrong places looking for love in too many places searching your eyes, looking for traces of what im dreaming of johnny hi, everybody. Im johnny lee. You know, music has taken me all over our great country. And in every honkytonk and every diner along the interstate, there was always an old jukebox, just like this one, playing classic country tunes. Hello, darling nice to see you its been a long time youre just as lovely as you used to be i cant stop loving you so ive made up my mind johnny over the years, Country Singers have given us so many unforgettable songs. It was always such a thrill to drop a quarter in an old jukebox, and play one of your favorites. Please help me, i am falling in love with you and i will always love you johnny i have so many great country songs to share with you. But first, id l
Good afternoon everyone and thank you for coming to the session. Civil rights in american issue. I am doctor sidney mcdaniels, im a graduate school. Will have about 45 minutes for this and 15 for q a. Also i lost you at this time to place silencer phones. Our sponsors for this panel are the Mississippi Humanities Council. Do we have any members from the Advisory Board or cancel . Thank you. And also ray harper who recently retired from congress from mississippis third district. Longtime supporter of the festival. Thank you. [applause] our moderator for the session is the ralph. Visiting professor of english and southern studies at the university of mississippi. When he is also the former editor of the virginia orderly review. And the other of two from ours. We introducing our distinguished panelists. [applause] thank you and thank you all for joining us in this panel this afternoon. If i were to wreak title this panel, i would call it family memory history in civil rights because our p
All right. I have a Staggering Number of powerpoint slides for this. Get your bets down now on whether i can get through them or not. I will even omit my customary lame professor humor, about the ncaa tournament, for example. Thats how serious this is. Lets think for a minute, though, about where were situated, what were working on here. In this last third of the course that we started last week, were dealing with the postrevolutionary era. Weve built this idea that something radical and transformative happened to music in the 1960s. Weve worked hard over the course of several weeks to establish those ideas. And we cant leave it, though, just as a kind of baby boomer nostalgia for the days that were. What weve been trying to deal with then, though, is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970s. The popular music became a disappointment, aesthetically, politically. Thats the cliche. We saw plenty of evidence for it. What weve been trying
Postrevolutionary era. Weve built this idea that something radicaand transformative happened to music in the 1960s. Weve worked hard over the course of several weeks to establish those ideas. And we cant leave it, though, just as a kind of baby boomer nostalgia for the days that were. What weve been trying to deal with is this sense of pervasive disappointment, that the revolution somehow ended in the early 1970s. The popular music became a disappointment, aesthetically, politically. Thats the cliche. We saw plenty of evidence for it. What weve been trying to do is to say ok. Maybe if we shift perspective, maybe if we dont simply buy the assumptions that went into the age of countercultural music, if we do that, we may well see music engaged in a different way. Weve started out is by saying isnt it the case that popular music in the u. S. In the 1970s was doing what popular music typically had done well before the 1960s . Which is to mediate relationships between men and women, to medi