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lyric. q. in Jelly Roll Blues 225: John Lomax collected a prison parody of a 1903 waltz hit, ‘Under the Anheuser Bush,’ about a tramp who was caught sodomizing a boy on a flatcar: ‘When the train pulled into town / Eli had it up his brown ‘up in his round-eyser bush’ . intervew 2 Apr. Association for Cultural Equity q. in E. Wald Jelly Roll Blues (2024) 95: Johnny St. Cyr told Lomax the term [‘Winding Boy’] was ‘a bit on the vulgar side . . . how could I put it? The guy’s a good jazzer’. intervew 27 Dec. in William Russell Jazz Collection / Historic New Orleans Collection q. in E. Wald Jelly Roll Blues (2024) 217: Manuel Manetta recalled the Frenchman’s saloon [...] s a center for ‘them freaky people [...] They was all cooks and everything like that, you know. They worked for the big white people. And they’d go there, and that’s where they’d have their pleasure. [...] And they’d dress just like ladies’ . (ref. to 1912) Jelly Roll Blues 222: A police report from 1912 described cross-dressing male performers [...] Those performers were white, and later stars like Bentley and the ‘sepia’ cross-dressers tended to work in white or ‘black and tan’ venues, which theoretically served both white and black patrons but generally favored the former. Jelly Roll Blues 63: [F]or white, middle-class men, singing rough lyrics about Black barrelhouse life provided the same vicarious pleasure their great-grandsons would get from bumping gangsta rap. (ref. to 1900) Jelly Roll Blues 28: by 1900 a lot of Black dancers in the South were also grinding and belly-rubbing to the slow drag and what Morton called ‘ordinary blues’. Jelly Roll Blues 63: [F]or white, middle-class men, singing rough lyrics about Black barrelhouse life provided the same vicarious pleasure their great-grandsons would get from bumping gangsta rap. Jelly Roll Blues 72: [note] Zora Neale Hurston [who had used cake-eater in her play Meet the Mamma 1925] explained that for many Black urbanites pimp had a different meaning than its ordinary definition as a procurer for immoral purposes. The Harlem pimp is a man whose amatory talents are for sale to any woman who will support him [...] The parallel term in white society was ‘cake eater,’ expressing a similar mix of contempt and envy. (con. 1916) Jelly Roll Blues 67: Ragtime made Black bands fashionable at white dances, and there were plenty of places like the cabaret in Albany [con. 1916] with white ‘coon shouters’—a common term for singers who specialized in ragtime or blues, regardless of race—backed by Black musicians who were kept explicitly separate. Jelly Roll Blues 24: [S]ome female musicians doubled in sex work, and sang about sex work as well as sex play. Jelly Roll Blues 3: ‘Pallet on the Floor’ is an exuberantly filthy sketch of an afternoon tryst between a hustling man and a workingman’s wife, played as raw comedy. Jelly Roll Blues 270: [T]his book was also born of my excitement at the survival, evolution, and continued brilliance of the Black oral tradition; of seeing and hearing freestyle rappers creating contemporary art using techniques and materials the folklorists of my youth believed were dying or dead. Jelly Roll Blues 157: Some men encouraged or forced women to do sex work [...] some wished their lovers were in another line of business and urged them to get out of the game. Jelly Roll Blues 63: [F]or white, middle-class men, singing rough lyrics about Black barrelhouse life provided the same vicarious pleasure their great-grandsons would get from bumping gangsta rap. Jelly Roll Blues 160: Most of the sex workers, musicians, and hell-raisers were in their teens and twenties. Jelly Roll Blues 47: [T]he more high-toned fare favored by white clients in the opulent mansions on Basin Street. (ref. to 1908) Jelly Roll Blues 46: Morton dated this trip to 1908 [...] By then he had finished his apprenticeship as a honkey-tonk and sporting house entertainer. Jelly Roll Blues 4: [B]y 1912, when blues swept the country as a hot new craze, [Jelly Rolly Morton] had moved on to other venues and music. Jelly Roll Blues 3: [A]n exuberantly filthy sketch of an afternoon tryst between a hustling man and a workingman’s wife. Jelly Roll Blues 44: [Morton] sometimes talked about music the same way [as any impermanent job], saying he only took piano jobs to rope in the suckers. Jelly Roll Blues 72: ‘Pie-back’ was a variant of ‘sweet-back,’ a common term for pimp. Jelly Roll Blues 110: [He] described Keppard, a powerhouse trumpeter [...] as his ‘protégé’. Jelly Roll Blues 206: In another verse, Beasley asked his rider to ‘Let me know quick . . . If Ah can’t fuck you right Ah’ll get my cousin Dick,’ which I suspect was a mistranscription of ‘I’ll get my cousin’s dick,’ but I may be mistaken, since another verse likewise offered to bring in a ringer . Jelly Roll Blues 173: Other women took pride in being able to get a man’s roll without providing any sexual services. Jelly Roll Blues 64: Ethel Waters [...] recalled the pimps in her Philadelphia neighborhood steering her away from their line of work, and contrasted them with the sleazy johns who considered any young Black woman potential prey. (con. 1900s-10s) Jelly Roll Blues 173: Musicians who worked around New Orleans in the early years of the twentieth century consistently recalled sporting women as their most generous and enthusiastic audience. (ref. to 1908) Jelly Roll Blues 46: Morton dated this trip to 1908 [...] By then he had finished his apprenticeship as a honkey-tonk and sporting house entertainer. Jelly Roll Blues xv: [I]t was common to recite elaborate, rhymed toasts before downing a round of drinks, and in African American culture the term became standard for any long, rhymed recitation.