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              <text>Hello, and welcome to today's History Harvest Minute.&lt;br /&gt;In this History Harvest Minute, we explore stories from around the nation, collected by students and community history harvesters.&lt;br /&gt;Today we travel to Omaha, Nebraska, where Janice Cleary shared a piece of sheet music entitled "Omaha Blues".&lt;br /&gt;As part of the great migration north by African Americans, blues songs like this one told the story of a journey, and the determination it took to leave home. Omaha Blues in particular, tells the story of a man's longing to his beloved hometown of Omaha and his parents, after a life of endless roaming. He describes the people of Omaha as nice and kind, and thinks of his sweetheart living there, who is as sweet as any peach from a tree. The man is so determined to return, he says that he would walk back if he had to. &lt;br /&gt;This post World War One piece was written by the husband and wife duo Charles and [---] and was copyrighted in 1924 by the Clearance Williams Music Publishing Company. &lt;br /&gt;That is all for today's History Harvest Minute. For more information on this item and others like it, please visit www.historyharvest.unl.edu.</text>
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                  <text>Janice M Cleary, a lifelong resident of Omaha, Nebraska, has always enjoyed music. Her father studied voice, and her parents sang in the St. John’s choir and hosted music parties in their family home. Janice became interested in ragtime in the late 1950s, and began collecting sheet music. At first, she limited her collection the works of Irving Berlin and ragtime tunes, but her passion for sheet music soon widened in scope. Her collection has grown to nearly 50,000 pieces of American popular music. Janice shared items from her collection that were either written by Omahans or were published in Omaha. Music by Maceo Pinkard, one time Omaha booking agent, music publisher, band leader and eventual composer of “Sweet Georgia Brown,” is just one of the artists in her collection. She also has the “Happy Feeling Rag” sheet music from the legendary Dan Desdunes and the “Omaha Blues” written by Effie and Charles Tyus. &#13;
&#13;
Before recorded music began to enter homes in the 1920s and 1930s, sheet music was the only way for individuals to enjoy popular music in their own homes. Pianos were popular entertainment sources for middle-class homes, and the American sheet music industry thrived during the latter half of the nineteenth century and the early decades of the twentieth. Popular jazz musicians borrowed heavily from African-American culture, and the industry often depended on stereotypical depictions of African Americans and African American culture in its music, lyrics, and artwork. Some of Mrs. Cleary’s items feature the stereotypical imagery of minstrelsy. &#13;
&#13;
Sources Referenced:&#13;
&#13;
Cook, Nicholas, and Anthony Pople, eds. The Cambridge History of Twentieth-Century Music. Cambridge University Press, 2004.&#13;
&#13;
Mahar, William J. Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. University of Illinois Press, 1998.</text>
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                <text>"Kate High Discusses Family in World War II," http://historyharvest.unl.edu/admin/items/show/744.</text>
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&#13;
This collection of images includes publicity shots of several bands and musicians that performed at the Dreamland Ballroom, and photographs of the performances and the auidence members enjoying the music. These images portray the essence of the Dreamland Ballroom and its importance to the music scene of North Omaha. This collection was contributed at the 2011 North Omaha History Harvest.</text>
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                  <text>The Great Plains Black History Museum contributed all the items in this collection. The Great Plains Black History Museum is dedicated to commemorating the historical and cultural achievements of people of African ancestry throughout the world. This collection contains items that highlight the rich history of Nebraska's black communities.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;span style="text-decoration: underline;"&gt;sources&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;"Great Plains Black History Museum Mission," accessed 19 June 2014, &lt;a href="http://gpblackmuseum.org/great history/"&gt;http://gpblackmuseum.org/greathistory/&lt;/a&gt;</text>
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                <text>Organ player Michael Andre Lewis was born in Omaha in 1948 and grew up in a musical family.  Lewis’s father played saxophone with Count Basie, served as bandleader to Fats Domino and Etta James, and also played locally with Preston Love’s orchestra.  As small children, Lewis and friend, future blues legend, Buddy Miles, joined a local singing group, BeBop, and later won a statewide talent contest in Nebraska.  Lewis formed his first group, Mike Lewis and the Kingbees, in 7th grade.  Still in his early teens, Lewis toured as a backing musician with the Orlons and Sam Cooke.  At 15, Lewis fronted the Mike Lewis Quartet and appeared on the bill with jazz icons, like Kenny Burrell, Jimmy Smith and Jimmy McGriff.  His next band, Andre Lewis and the New Breed, pioneered the new fusion sound that was emerging in the mid-1960s.  Lewis went on to tour and record several albums with Buddy Miles.  In addition, he did session work for Labelle, The Who, Sly &amp; the Family Stone and Jimi Hendrix.  Lewis left Miles to form Maxayn, a pioneering black rock band that put out three albums.  During this period, Lewis also performed with Frank Zappa, Johnny “Guitar” Watson and Leon Russell.  In the mid-1970s, Lewis signed with Motown, where he performed and recorded as Mandré, the “artists from outer space.”  The synth-heavy group recorded four albums.  Lewis continued to play and tour in a variety of settings, and produce music by other artists from his home studio until his death in 2012.  </text>
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