MARCH 20, 2006 ARTIST GENE AUTRY TITLE That Silver Haired
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Million Dollar Quartet” by Colin Escott & Floyd Mutrux at the Hippodrome Theatre Through December 2
“Million Dollar Quartet” By Colin Escott & Floyd Mutrux At the Hippodrome Theatre through December 2 By James Cooper MEMORIES ARE MADE OF THIS … PRODUCTION Flashing lights, shimmering jackets and long musical solos radiate through the production of “Million Dollar Quartet,” now at the Hippodrome Theatre. Though the special effects and costumes are beneficial in some instances, the show lacks emphasis in the one area it should stress the most: the music. The whole story focuses on the decisions of four major musicians from the 1950s: Carl Perkins, Johnny Cash, Jerry Lee Lewis and Elvis Presley. Music is the main concept within the script, but it certainly isn’t the main concept within the performance. The show focuses on a single event: the night that all four musicians of the “Million Dollar Quartet” were present in the same space at the same time, the Sun Records Studio in Memphis on December 4, 1956. Elvis (Cody Slaughter) used to be a member of the Sun Records family but then he switched to RCA, a bigger label. Since this change, Elvis has lost contact with his former producer, Sam Phillips (Vince Nappo). As Elvis returns with his girlfriend Dyanne (Kelly Lamont) he makes it clear to Sam that he wishes he had stayed at Sun. Sam too wishes that Elvis had stayed, but his main focus is now on producing Johnny (David Elkins) and the up-and-coming Jerry Lee (Martin Kaye). All the while Carl (Robert Britton Lyons) has to decide whether or not he wants to leave Sun Records or move on to Columbia. -
What the Experts Say About Mississippi Music
What The Experts Say Blues in Mississippi *Alan Lomax in his book , The Land Where the Blues Began, said, AAlthough this has been called the age of anxiety, it might better be termed the century of the blues, after the moody song style that was born sometime around 1900 in the Mississippi Delta.@ Lomax goes on to credit black Delta blues musicians by saying, ATheir productions transfixed audiences; and white performers rushed to imitate and parody them in the minstrel show, buck dancing, ragtime, jazz, as nowadays in rock, rap, and the blues.@ *While there was indeed anxiety between blacks and whites in Mississippi, at least one venue demanded mutual respect - - - - music. Robert M. Baker, author of A Brief History of the Blues, said, A...blues is a native American musical and verse form, with no direct European and African antecedents of which we know. In other words, it is a blending of both traditions.@ However, there is no question that rhythmic dance tunes brought over by slaves influenced greatly the development of the blues. Blacks took the instruments and church music from Europe and wove them with their ancestral rhythms into what we know as the blues. *Christine Wilson, in the Mississippi Department of Archives publication, All Shook Up, Mississippi Roots of American Popular Music, said, A Music that emerged from Mississippi has shaped the development of popular music of the country and world. Major innovators created new music in every form - - - gospel, blues, country, R&B, rock, and jazz.@ *William Farris in Blues From the Delta wrote, ABlues shape both popular and folk music in American culture; and blues-yodeling Jimmie Rodgers, Elvis Presley, and the Rolling Stones are among many white performers who incorporate blues in their singing styles.@ For another example, Joachim Berendt=s book, The Jazz Book, outlines the development of jazz from its blues roots. -
Johnny Cash by Dave Hoekstra Sept
Johnny Cash by Dave Hoekstra Sept. 11, 1988 HENDERSONVILLE, Tenn. A slow drive from the new steel-and-glass Nashville airport to the old stone-and-timber House of Cash in Hendersonville absorbs a lot of passionate land. A couple of folks have pulled over to inspect a black honky-tonk piano that has been dumped along the roadway. Cabbie Harold Pylant tells me I am the same age Jesus Christ was when he was crucified. Of course, this is before Pylant hands over a liter bottle of ice water that has been blessed by St. Peter. This is life close to the earth. Johnny Cash has spent most of his 56 years near the earth, spiritually and physically. He was born in a three-room railroad shack in Kingsland, Ark. Father Ray Cash was an indigent farmer who, when unable to live off the black dirt, worked on the railroad, picked cotton, chopped wood and became a hobo laborer. Under a New Deal program, the Cash family moved to a more fertile northeastern Arkansas in 1935, where Johnny began work as a child laborer on his dad's 20-acre cotton farm. By the time he was 14, Johnny Cash was making $2.50 a day as a water boy for work gangs along the Tyronza River. "The hard work on the farm is not anything I've ever missed," Cash admitted in a country conversation at his House of Cash offices here, with Tom T. Hall on the turntable and an autographed picture of Emmylou Harris on the wall. -
Stu Davis: Canada's Cowboy Troubadour
Stu Davis: Canada’s Cowboy Troubadour by Brock Silversides Stu Davis was an immense presence on Western Canada’s country music scene from the late 1930s to the late 1960s. His is a name no longer well-known, even though he was continually on the radio and television waves regionally and nationally for more than a quarter century. In addition, he released twenty-three singles, twenty albums, and published four folios of songs: a multi-layered creative output unmatched by most of his contemporaries. Born David Stewart, he was the youngest son of Alex Stewart and Magdelena Fawns. They had emigrated from Scotland to Saskatchewan in 1909, homesteading on Twp. 13, Range 15, west of the 2nd Meridian.1 This was in the middle of the great Regina Plain, near the town of Francis. The Stewarts Sales card for Stu Davis (Montreal: RCA Victor Co. Ltd.) 1948 Library & Archives Canada Brock Silversides ([email protected]) is Director of the University of Toronto Media Commons. 1. Census of Manitoba, Saskatchewan and Alberta 1916, Saskatchewan, District 31 Weyburn, Subdistrict 22, Township 13 Range 15, W2M, Schedule No. 1, 3. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. CAML REVIEW / REVUE DE L’ACBM 47, NO. 2-3 (AUGUST-NOVEMBER / AOÛT-NOVEMBRE 2019) PAGE 27 managed to keep the farm going for more than a decade, but only marginally. In 1920 they moved into Regina where Alex found employment as a gardener, then as a teamster for the City of Regina Parks Board. The family moved frequently: city directories show them at 1400 Rae Street (1921), 1367 Lorne North (1923), 929 Edgar Street (1924-1929), 1202 Elliott Street (1933-1936), 1265 Scarth Street for the remainder of the 1930s, and 1178 Cameron Street through the war years.2 Through these moves the family kept a hand in farming, with a small farm 12 kilometres northwest of the city near the hamlet of Boggy Creek, a stone’s throw from the scenic Qu’Appelle Valley. -
Appreciation of Popular Music 1/2
FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION MUSIC DEPARTMENT APPRECIATION OF POPULAR MUSIC 1/2 Grade Level: 10-12 Credits: 2.5 each section BOARD OF EDUCATION ADOPTION DATE: AUGUST 30, 2010 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS Course Philosophy “Musical training is a more potent instrument than any other, because rhythm, harmony, and melody find their way into the inward place of our soul, on which they mightily fasten, imparting grace, and making the soul of him who is educated graceful.” - Plato We believe our music curriculum should provide quality experiences that are musically meaningful to the education of all our students. It should help them discover, understand and enjoy music as an art form, an intellectual endeavor, a medium of self-expression, and a means of social growth. Music is considered basic to the total educational program. To each new generation this portion of our heritage is a source of inspiration, enjoyment, and knowledge which helps to shape a way of life. Our music curriculum enriches and maintains this life and draws on our nation and the world for its ever- expanding course content, taking the student beyond the realm of the ordinary, everyday experience. Music is an art that expresses emotion, indicates mood, and helps students to respond to their environment. It develops the student’s character through its emphasis on responsibility, self-discipline, leadership, concentration, and respect for and awareness of the contributions of others. Music contains technical, psychological, artistic, and academic concepts. -
Ain't Goin' Nowhere — Bob Dylan 1967 Page 1
AIN 'T GOIN ' NOWHERE BOB DYLAN 1967 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , RELEASES , TAPES & BOOKS . © 2001 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Ain't Goin' Nowhere — Bob Dylan 1967 page 1 CONTENTS: 1 INTRODUCTION..................................................................................................................... 2 2 THE YEAR AT A GLANCE ................................................................................................... 2 3 CALENDAR .............................................................................................................................. 2 4 RECORDINGS ......................................................................................................................... 3 5 JOHN WESLEY HARDING ................................................................................................... 3 6 SONGS 1967 .............................................................................................................................. 5 7 SOURCES .................................................................................................................................. 6 8 SUGGESTED READINGS ...................................................................................................... 7 8.1 GENERAL BACKGROUND ..................................................................................................... -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
“I Want to Be a Cowboy's Sweetheart”—Patsy Montana (1935)
“I Want to Be a Cowboy’s Sweetheart”—Patsy Montana (1935) Added to the National Registry: 2011 Essay by Cary O’Dell Patsy Montana Early label Modern country music is usually considered to have three queens, each easily identifiable by just one name: Loretta, Tammy and Dolly. But as impressive as this trinity is, one has to wonder where that leaves some other notable musical ladies of the open plains such as Patsy Cline, Kitty Wells, and Emmylou Harris. Similarly, certainly, the great Patsy Montana is no pretender to any throne. Too often dismissed as a “one hit wonder,” due to her most famous tune, the self-penned “I Want to Be a Cowboy’s Sweetheart,” Patsy Montana actually contributed numerous songs to the country and western lexicon: “My Song of the West,” “Back on Montana Plains,” “Rodeo Sweetheart,” “When the Flowers of Montana Were Blooming,” “I Love My Daddy Too,” “That Silver-Haired Daddy of Mine,” and “I Want to Be a Cowboy's Dream,” among others. But it is her “Cowboy’s Sweetheart” for which she’s most renowned. It is believed to be country music’s first million-selling single by a female artist. A product of Hot Springs, Arkansas, the only girl of 11 children, Patsy Montana (nee Ruby Rebecca Blevins; b. 1912) started singing early and often. She also early on mastered the violin, organ and guitar. Near college age, she left Arkansas for California where enrolled in the University of the West (later renamed UCLA). Quickly though, her musical gifts began to pay dividends—she won an area talent contest and it quickly lead to regular radio appearances singing as part of an ad-hoc girl trio, the Montana Cowgirls. -
Still on the Road Session Pages 1967
STILL ON THE ROAD 1967 RECORDING SESSIONS MARCH – MAY Byrdcliffe, New York Red Room, Bob Dylan's Home MAY – OCTOBER West Saugerties, New York Big Pink's Basement, Stoll Road OCTOBER Woodstock, New York Wittenberg Road, Rick Danko's & Levon Helm's Home 17 Nashville, Tennessee Columbia Studio A, 1st John Wesley Harding session NOVEMBER 6 Nashville, Tennessee Columbia Studio A, 2nd John Wesley Harding session 29 Nashville, Tennessee Columbia Studio A, 3rd John Wesley Harding session Bob Dylan recording sessions 1967 1620 Red Room Bob Dylan's Home Byrdcliffe, New York March-May 1967 1. Edge Of The Ocean 2. My Bucket's Got A Hole In It (Clarence Williams) 3. Roll On Train 4. Mr. Blue 5. Spanish Is The Loving Tongue (Charles Badger Clark / Billy Simon) 6. Under Control 7. Ol' Roison The Beau (trad, arr. by Bob Dylan) 8. I'm Guilty Of Loving You 9. Cool Water (Bob Nolan) 10. The Auld Triangle (Brendan Behan) 11. Poor Lazarus (trad, arr. by Bob Dylan) 12. Johnny Todd (trad, arr. by Bob Dylan) 13. Rock, Salt And Nails (Bruce Phillips) 14. Confidential (Dorinda Morgan) 15. Confidential (Dorinda Morgan) 16. 2 Dollars And 99 Cents 17. Jelly Bean 18. Any Time 19. Down By The Station 20. Hallelujah, I've Just Been Moved (trad, arr. by Bob Dylan) 21. That's The Breaks 22. Pretty Mary 23. Will The Circle Be Unbroken (A.P. Carter) 24. King Of France 25. She's On My Mind Again 26. On A Rainy Afternoon 27. I Can't Come In With A Broken Heart 28. -
Bob Dylan's Hoboism in John Wesley Harding
ENGLISH DEPARTMENT, FU JEN CATHOLIC DEPARTMENT GRADUATION PROJECT 2016 Bob Dylan’s Hoboism in John Wesley Harding Research Paper, English Composition III Ying Chen Chen 1 Ying Chen 401110066 Composition and Conversation III 2 July 2015 Bob Dylan’s Hoboism in John Wesley Harding I. Introduction A. Introduction B. Thesis Statement: To answer these questions, this paper chooses to focus on Bob Dylan’s album John Wesley Harding and analyze how self-reliant hoboism and nonconformity are at the core of the album through a sequence of ideas stemming from the establishment of self-reliance, implied pity for the hobos, restoration of justice, to, finally, a simple assurance of human relation and restatement of self-reliance. II. Dylan’s musical career A. Introduction to the 4 stages of Dylan’s career (Bio. ; Williams) 1. 1962 – 1965: Folk Singing 2. 1965 – 1974: Reinventing His Image 3. 1974 – 1989: Touring and Religion 4. Post 90s: Rock Star Status B. The significance of John Wesley Harding (1967) 1. The motorcycle accident and retreat from public sight 2. Dylan’s changed songwriting technique a. Most prominent use of the hobo persona (Gibbens 257) b. Rural myths fused with biblical references 1. Dylan’s self-reliant choice in writing the album a. Going country-folk despite the raging rock n’ roll trend (Hughes 177) b. Self-reliance in reestablishing identity, reemerging into public sight (James 55) III. Hobo characters as motifs in Dylan’s works A. The origin of hobos and two types of hoboism 1. The origin of hobos: transient workers (Liberman) 2. Nonelective transience: homelessness (wanders due to perils in life) (Elkholy) 3. -
“The Stories Behind the Songs”
“The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992. -
Riding the Freight Trains in Boxcar Bertha (Martin Scorsese, 1972), Emperor of the North (Robert Aldrich, 1973), and Bound for Glory (Hal Ashby, 1976)*
DUTRIAUX FILM JOURNAL 3 (2016) Outcasts, Hoboes, and Freight-hoppers: Riding the Freight Trains in Boxcar Bertha (Martin Scorsese, 1972), Emperor of the North (Robert Aldrich, 1973), and Bound for Glory (Hal Ashby, 1976)* Claire DUTRIAUX Université Paris-Sorbonne In the late 1960s to the mid-1970s several American films whose core subject was peculiarly similar were released, tackling either the economic conditions of poor whites and/or the lives of transients on the railroads during the Great Depression. The consistency of this movie cycle –which featured Sydney Pollack’s This Property is Condemned (1966), Martin Scorsese’s Boxcar Bertha, Robert Aldrich’s Emperor of the North, Hal Ashby’s Bound for Glory, Martin Ritt’s Sounder (1972), Walter Hill’s Hard Times (1975) and Robert Altman’s remake of Nicholas Ray’s 1948 They Live by Night into Thieves Like Us in 1974 – was reinforced by two specific traits. First, the release date of each movie (the late 1960s to mid- 1970s) and the chosen context of these movies (the 1930s) made them stand together as a cluster. Second and most of all, the actors starring in these movies contributed to the construction of the movie cycle, via their own intertextuality. Members of the Carradine “acting dynasty” appeared in four of the seven movies – John Carradine in Boxcar Bertha, his son David Carradine in Boxcar Bertha and Bound for Glory, and his other son Keith Carradine in Emperor of the North and Thieves Like Us. The intertextual link1 between the Carradine family of actors was made even stronger in Bound for Glory, as the movie frequently referenced John Ford’s The Grapes of Wrath (1940), in which John Carradine had played former preacher Jim Casy.