Search for "Southwest Airlines 800-299-7264 Customer Service Toll-Free Number"

Dancing Around the "Glaring Light of Television": Black Teen Dance Shows in the South

...Rainey in 1924.1Gertrude "Ma" Rainey, vocal performance of "See See Rider Blues" by Ma Rainey and Lena Arant, recorded October 16, 1924, by Paramount, catalogue number 12252, 78 rpm. With "Betty and Dupree,"...

COVID-19 Vaccine and the Right to Public Health

...leadership. As the number of Brasilians dying from Covid increased to over 600,000 in 2021, citizens largely ignored their president, eschewed their free choice option to not vaccinate, and lined...

Oak Ridgidness: Lindsey Freeman’s Longing for the Bomb

...selfish nation in decline" (148), Freeman notes that for visitors, Oak Ridge and its nuclear weapons are examples of both the decline and possibility of national progress. Freeman not only gets...

Slavery's Traces: In Search of Ashley's Sack

...named Rose, valued at $700. The full listing reads: Slave Cicero 1,000, slave Sophia 300, slave Jane 400 Slave Jack 800, slave Rose 700, slave David 800, old woman 100...

Scales of Slavery on the Mason-Dixon Line: A Review of Gleanings of Freedom

Review Max Grivno's subtle and remarkably textured history of labor in northern Maryland and southern Pennsylvania, Gleanings of Freedom: Free and Slave Labor along the Mason Dixon Line, 1790–1860, details...

African American Community Building in Atlanta: A Guide to the Study of Race in America

...for Blacks in the building trades and personal services: barbering, tailoring, dressmaking, blacksmithing, masonry, carpentry, plastering, and painting. These were the traditional services that an elite corps of slaves had...

COVID-19: Lessons in Ignorance

...as evidenced by the exceptionally devastating and inequitable toll that COVID-19 has exacted, much of which was averted or more proficiently mitigated by other countries, including nations in the Global...

The Chesapeake Bay

...they were not conservationists. They cleared lands and moved as necessary, their low numbers making little impact on the available resources (with the significant exception of white-tail deer which Indians...

Still Digging Our Own Graves: Coal Miners and the Struggle over Black Lung Disease

...monthly payments can mean the difference between destitution and modest survival.4This estimate of the number of black lung beneficiaries is extrapolated from data on the number of claims filed each...

Dirty Decade: Rap Music and the US South, 1997–2007

...particular place can only produce a limited number of marketable artists) and, to a lesser degree, speculative exploration (that going to obscure places might yield a novel interpretation of the...

References
1.	Matt Miller, "Rap's Dirty South: From Subculture to Pop Culture," Journal of Popular Music Studies 16:2 (2004): 175-212.
2.	Jason Berry, Jonathan Foose, and Tad Jones, Up from the Cradle of Jazz: New Orleans Music Since World War II (Athens: Univ. of Georgia Press, 1986), xiii.
3.	Sara Cohen, "Sounding out the City: Music and the Sensuous Production of Place" in The Place of Music, eds. Andrew Leyshon, David Matless, and George Revill (New York: The Guilford Press, 1998), 287.
4.	Andy Bennett and Richard A. Peterson, eds., Music Scenes: Local, Translocal, and Virtual (Nashville: Vanderbilt Univ. Press, 2004), 7-8.
5.	Martin Stokes ed., Ethnicity, Identity, and Music: the Musical Construction of Place (Providence, RI: Berg, 1994), 4.
6.	Kyra D. Gaunt, The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. (New York: New York University Press, 2006), 183. See also Roberta Rainwater, "Rhythm, Song Trademarks of '90s Patty-Cake," Times-Picayune, April 26, 1990; "Pizza Pizza Daddy-O" at http://www.folkstreams.net/film,73.
7.	Cheryl Keyes, Rap Music and Street Consciousness (Urbana: University of Illinois Press, 2002), 5; Adam Krims, Rap Music and the Poetics of Identity (New York: Cambridge University Press, 2000), 74-75, 77-78.
8.	Murray Forman, The 'Hood Comes First: Race, Space and Place in Rap and Hip-Hop (Middletown, CT: Wesleyan University Press, 2002), 179.
9.	Ibid., xvii.
10.	Ibid., 170.
11.	Adam Krims, Rap Music and the Poetics of Identity (New York: Cambridge University Press, 2000), 124.
12.	Lawrence B. De Graaf, "The City of Black Angels: Emergence of the Los Angeles Ghetto, 1890-1930,"Pacific Historical Review 39:3 (August 1970): 323-352, 331.
13.	Kelefa Sanneh, "Memphis Bleak," Village Voice (June 20, 2000), 144.
14.	Keith Negus, Music Genres and Corporate Cultures (New York: Routledge, 1999), 19.
15.	Luther Campbell and John R. Miller, As Nasty As They Wanna Be: The Uncensored Story of Luther Campbell of the 2 Live Crew (Fort Lee, N.J.: Barricade Books, 1992), 223.
16.	James Bernard, "Bass 9-1-9," The Source 54 (March, 1994): 40.
17.	Campbell and Miller, As Nasty As They Wanna Be, 22.
18.	J-Mill [Jeremy Miller], "Prince Raheem," The Source 54, (March, 1994): 22 ; Idem, "Bass Game: Clay D Returns to His Roots on His Latest Bass Odyssey," The Source 54, (March 1994): 32-33.
19.	Norman C. Stolzoff, Wake the Town & Tell the People: Dancehall Culture in Jamaica (Durham: Duke University Press, 2000), 19.
20.	Brett Atwood, "Bass Music Rises From South As Acts Seek Majors' Interest," Billboard 106:38 (September 17, 1994): 46.
21.	Janine McAdams, "Let's Talk About Sexism On Recent Raps; Wreckx-N-Effect, Disco Rick, Duice, Dre Revealed," Billboard 105:4 (January 23, 1993): 21.
22.	Roni Sarig, Third Coast: OutKast, Timbaland, and How Hip-Hop Became a Southern Thing (New York: Da Capo Press, 2007).
23.	Joe Nick Patoski, "Money in the Making," Texas Monthly (August 1998): 136.
24.	Ibid.
25.	Forman, The 'Hood Comes First, 330.
26.	Catherine Chriss, "For Houston's Geto Boys, Anything Goes in the World of Gangsta Rap," Houston Chronicle, Texas Magazine section, April 17, 2005.
27.	Patoski, "Money in the Making," 1998.
28.	Ibid.
29.	Sarig, Third Coast, 56.
30.	Kelefa Sanneh, "The Strangest Sound in Hip-Hop Goes National," New York Times, sec. 2, April 17, 2005. (Accessed electronically through LexisNexis Academic on April 13, 2007.)
31.	Ibid.
32.	Kelefa Sanneh, "The Woozy, Syrupy Sound of Codeine Rap," New York Times, sec. 2, April 18, 2005. (Accessed electronically through LexisNexis Academic on 13 April 13, 2007.)
33.	Sarig, Third Coast, 281.
34.	J-Dogg [John Shaw], "Parallels in the Development of Memphis and New Orleans Rap, " Rec.Music.Hip-Hop Usenet Newsgroup, Dec. 9, 1997. (Accessed electronically through Google Advanced Group Search on February 2, 2006.)
35.	Sarig, Third Coast, 272.
36.	Tony Green, "Twerk to Do," Village Voice (Oct. 23, 2001): 149.
37.	Sarig, Third Coast, 103.
38.	Roni Sarig, "Dungeon Family Tree," Creative Loafing (Atlanta), Sept. 18-24, 2003. See also "Additional reporting by Tony Ware," Creative Loafing (Atlanta), September 18-24, 2003.
39.	Sarig, Third Coast, 146.
40.	Sasha Frere-Jones, "The Sound," New York Times, sec. 6, February 8, 2004.

Search Results for Southwest Airlines 800-299-7264 Customer Service Toll-Free Number