This Study Guide

Total Page:16

File Type:pdf, Size:1020Kb

This Study Guide KRONOS QUARTET & FRIENDS CELEBRATE PETE SEEGER Recorded Live at Royce Hall October 2020 National Portrait Gallery, Smithsonian Institution A tribute to the music, philosophy, and impact of American folk singer and activist Pete Seeger. ABOUT THE PROGRAM Kronos Quartet & Friends Celebrate Pete Seeger, with Tehillah Alphonso, Jolie Holland, Lee Knight, Tonoccus McClain, Meklit, and Tonality Kronos Quartet created this musical celebration as a 100th birthday tribute to Pete Seeger--a beloved artist who spent decades exploring the diversity of the world’s music and sharing it with many generations of audiences. This program features songs written or popularized by Seeger or his band the Weavers, as well as an original composition featuring archival recordings of Seeger himself, gathered with help from Library of Congress’ American Folklife Center. It also includes Zoe Mulford’s moving 2017 song, The President Sang Amazing Grace. David Harrington of Kronos Quartet says “this incredible song could not exist without the life’s work of Pete Seeger, as it asks important questions and says essential things, like he did.” Kronos developed this concert program, highlighting Seeger’s musical and cultural legacy, for Massachusetts Museum of Contemporary Arts’ (MASS MoCA) FreshGrass festival in 2019. That initial performance was recorded and released as a live album, Long Time Passing. The performance you are experiencing was recorded live in UCLA’s Royce Hall in the fall of 2020 (with social distancing measures in place), as part of the Tune In Festival—a virtual gathering of artists, raising their voices together as our country navigates a global health crisis, renewed demands for racial justice, and a contentious presidential transition. “We look to Seeger’s legacy – a legacy that demands that we summon all of the skill, experience and energy we can possibly muster to tackle the injustices of our country,” says Harrington. Linked by a shared history of lifting our voices in the face of struggle, these songs and artists inspire us all to move forward, together. Storyteller Step By Step Composer: Jacob Garchik Composer: Traditional, Arranger: Waldemar Hille and Pete Seeger, with further arrangement by Kronos Which Side Are You On Quartet Composer: Florence Reece, Arranger: Jacob Garchik Where Have All The Flowers Gone The President Sang Amazing Grace Composer: Pete Seeger, Arranger: Jacob Garchik Composer: Zoe Mulford, Arranger: Jacob Garchik Mbube The House of the Rising Sun Composer: Solomon Linda, Arranger: Jacob Garchik Composer: Traditional, Arranger: Jacob Garchik Turn, Turn, Turn If I Had A Hammer Composer: Pete Seeger, Arranger: Jacob Garchik Composer: Pete Seeger, Lee Hays, Arranger: Jacob Garchik We Shall Overcome Composer: Traditional, Arranger: Adapted by Zilphia Garbage Horton, Frank Hamilton, Guy Carawan, and Pete Composer: Bill Steele Arranger: Jacob Garchik Seeger; arranged for string quartet by Jacob Garchik For Pete's Sake: How Pete Seeger's bold legacy inspired Kronos Quartet Read more about how this program came to be in this Guardian article by David Harrington ABOUT KRONOS QUARTET Since 1973, San Francisco’s Kronos Quartet—David Harrington (violin), John Sherba (violin), Hank Dutt (viola) and Sunny Yang (cello)—has combined a spirit of fearless exploration with a commitment to continually reimagine the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 60 recordings, collaborating with an eclectic mix of composers and performers, and commissioning over 1,000 works and arrangements for string quartet. The group has won over 40 awards, including two Grammys, the prestigious Polar Music and Avery Fisher Prizes. The nonprofit Kronos Performing Arts Association manages all aspects of Kronos’ work, including the commissioning of new works, concert tours and home season performances, education programs and the annual Kronos Festival. In 2015, Kronos launched 50 for the Future: The Kronos Learning Repertoire, an education and legacy project that is commissioning—and distributing online for free—50 new works for string quartet composed by 25 women and 25 men. DIG DEEPER: Discussion Topics • Are any of the songs in this performance familiar to you? Where had you heard them before? • Were you surprised to hear this kind of music played by a string quartet? What instruments or sounds are usually associated with folk music? What kind of music do you expect to hear on a violin or cello? • Many folk songs or protest songs stay resonant because they ask important questions, or say important things. What songs do that for you? • What songs or artists give voice to what is important to you? • Nearly 80 years ago, in 1942, Pete Seeger wrote the following lines for a song called Dear Mister President: This is the reason that I want to fight, Not 'cause everything's perfect, or everything's right. No, it's just the opposite: I'm fightin' because I want a better America, and better laws, And better homes, and jobs, and schools Does that still seem applicable? Are we still fighting for the same causes in 2021? • What issue, idea or problem would you write a song about? What would it sound like? LINKS AND FURTHER READING Learn more about Kronos Quartet and their wide-ranging musical explorations Experience other highlights of CAP UCLA’s Tune In Festival, featuring artists and poets from around the world. Find out more about the live album of Kronos’ celebration of Seeger, Long Time Passing. See a beautifully illustrated video featuring Joan Baez singing The President Sang Amazing Grace, a song honoring the moment President Obama sang with a grieving nation following the 2015 shooting in a black church in Charleston, South Carolina. CHECK OUT PAGE 6 OF THIS GUIDE FOR A VISUAL ARTS ACTIVITY! WHO WAS PETE SEEGER? Pete Seeger (May 3, 1919 – Jan. 27, 2014) helped introduce America to its own musical heritage. He devoted his life to using the power of song as a force for social change. Throughout his life, Pete worked for civil rights, fair labor rights, racial equality, international understanding, and peace. He believed that sharing songs could help people achieve these goals. Born to a musical family, Pete grew up surrounded by music. His father was a leading professor and musicologist—a person who researches the history, culture and meaning of music. Pete’s mother Constance was a concert violinist. As a teenager, Pete was accepted to Harvard, but dropped out after just one year to work with Alan Lomax at the Archive of Folk Song in the Library of Congress. Lomax was well known for collecting field recordings of folk and traditional music around the US, preserving and popularizing blues, folk, and country music. Pete assisted him on recording trips around the country, experiencing first-hand a wide range of uniquely American music. Inspired by this work, Pete helped found The Almanac Singers, along with Woodie Guthrie. The group specialized in protest and folk songs, mostly around anti-war, anti-racism and workers’ rights causes. Seeger plays in Washington, DC; 1969 They performed songs that they thought of as the best of American music from both black and white cultural traditions, even as much of American life was still segregated—and they invited the audience to join in the singing. Later, Pete was part of the hugely popular group, The Weavers. They sang traditional folk songs from around the world, as well as blues, gospel music, children's songs, labor songs, and American ballads, They sold millions of records at the height of their popularity in the 1950s, and brought diverse music to mainstream American culture. Pete was also an educator and author. His 1948 book, How to Play the Five-String Banjo is considered a classic, launching generations of banjo players. He also created, contributed to and advised important musical publications like People’s Songs and Sing Out!, and organizations like The Smithsonian Institute’s Folk Life Center. In 1955, Pete was called to testify to the House Un-American Seeger’s banjo, which reads “This machine Activities Committee, a group of Congressmen who investigated surrounds hate and forces it to surrender” what they thought of as disloyalty and subversive activities by private citizens, public employees, and organizations. Many people in media and entertainment-- including actors, writers, film-makers, directors, radio commentators, and musicians—were questioned by the Committee. Eventually, more than 300 artists were ‘blacklisted’, or boycotted by their own industries, and denied jobs because of the accusations of the Committee. Pete Seeger was among them, and was not allowed to perform on TV or radio for several years. During this time, he worked as a music teacher in schools and summer camps, and played at college campuses. He began writing and recording songs with Folkways, an independent record label that focused on folk music from around the world as well as poetry, spoken word, and field recordings of people and nature. Two of these songs, Where Have all the Flowers Gone? and Turn! Turn! Turn! went on to become some of the best known anti-war songs ever written. Pete was very involved in the Civil Rights Movement and in 1963, he helped organize a landmark Carnegie Hall concert, featuring The Freedom Singers. This event, and Martin Luther King Jr.'s historic March on Washington—where he delivered his iconic “I Have a Dream” speech—established Pete’s arrangement of We Shall Overcome as an anthem of the movement. Thousands of marchers sang it on the 50-mile walk from Selma to Montgomery, Alabama. In talking about the role of music in the fight for civil rights, King said “[These songs] take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph.
Recommended publications
  • Pete Seegerhas Always Walked the Road Less Traveled. a Tall, Lean Fellow
    Pete Seegerhas always walked the road less traveled. A tall, lean fellow with long arms and legs, high energy and a contagious joy of spjrit, he set everything in motion, singing in that magical voice, his head thrown back as though calling to the heavens, makingyou see that you can change the world, risk everything, do your best, cast away stones. “Bells of Rhymney,” “Where Have All the Flowers Gone?,” “ One Grain of Sand,” “ Oh, Had I a Golden Thread” ^ songs Right, from top: Seeger, Bob Dylan, Judy Collins and Arlo Guthrie (from left) at the Woody Guthrie Memorial Concert at Carnegie Hail, 1967; filming “Wasn’t That a Time?," a movie of the Weavers’ 19 8 0 reunion; Seeger with banjo; at Red Above: The Weavers in the early ’50s - Seeger, Lee Hays, Ronnie Gilbert and Fred Hellerman (from left). Left: Seeger singing on a Rocks, in hillside in El Colorado, 1983; Cerrito, C a l|p in singing for the early '60s. Eleanor Roosevelt, et al., at the opening of the Washington Labor Canteen, 1944; aboard the “Clearwater” on his beloved Hudson River; and a recent photo of Seeger sporting skimmer (above), Above: The Almanac Singers in 1 9 4 1 , with Woody Guthrie on the far left, and Seeger playing banjo. Left: Seeger with his mother, the late Constance Seeger. PHOTOGRAPHS FROM THE COLLECTION OF HAROLD LEVENTHAL AND THE WOODY GUTHRIE ARCHIVES scattered along our path made with the Weavers - floor behind the couch as ever, while a retinue of like jewels, from the Ronnie Gilbert, Fred in the New York offices his friends performed present into the past, and Hellerman and Lee Hays - of Harold Leventhal, our “ Turn Turn Turn,” back, along the road to swept into listeners’ mutual manager.
    [Show full text]
  • Crime, Law Enforcement, and Punishment
    Shirley Papers 48 Research Materials, Crime Series Inventory Box Folder Folder Title Research Materials Crime, Law Enforcement, and Punishment Capital Punishment 152 1 Newspaper clippings, 1951-1988 2 Newspaper clippings, 1891-1938 3 Newspaper clippings, 1990-1993 4 Newspaper clippings, 1994 5 Newspaper clippings, 1995 6 Newspaper clippings, 1996 7 Newspaper clippings, 1997 153 1 Newspaper clippings, 1998 2 Newspaper clippings, 1999 3 Newspaper clippings, 2000 4 Newspaper clippings, 2001-2002 Crime Cases Arizona 154 1 Cochise County 2 Coconino County 3 Gila County 4 Graham County 5-7 Maricopa County 8 Mohave County 9 Navajo County 10 Pima County 11 Pinal County 12 Santa Cruz County 13 Yavapai County 14 Yuma County Arkansas 155 1 Arkansas County 2 Ashley County 3 Baxter County 4 Benton County 5 Boone County 6 Calhoun County 7 Carroll County 8 Clark County 9 Clay County 10 Cleveland County 11 Columbia County 12 Conway County 13 Craighead County 14 Crawford County 15 Crittendon County 16 Cross County 17 Dallas County 18 Faulkner County 19 Franklin County Shirley Papers 49 Research Materials, Crime Series Inventory Box Folder Folder Title 20 Fulton County 21 Garland County 22 Grant County 23 Greene County 24 Hot Springs County 25 Howard County 26 Independence County 27 Izard County 28 Jackson County 29 Jefferson County 30 Johnson County 31 Lafayette County 32 Lincoln County 33 Little River County 34 Logan County 35 Lonoke County 36 Madison County 37 Marion County 156 1 Miller County 2 Mississippi County 3 Monroe County 4 Montgomery County
    [Show full text]
  • Case 1:16-Cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66
    Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -------------------------------------- X : WE SHALL OVERCOME FOUNDATION and : 16cv2725(DLC) BUTLER FILMS, LLC, on behalf of : themselves and all others similarly : OPINION AND ORDER situated, : : Plaintiffs, : : -v- : : THE RICHMOND ORGANIZATION, INC. (TRO : INC.) and LUDLOW MUSIC, INC., : : Defendants. : : -------------------------------------- X APPEARANCES: For the Plaintiffs: Mark C. Rifkin Randall S. Newman Gloria K. Melwani Wolf Haldenstein Adler Freeman & Herz LLP 270 Madison Ave, 10th Floor New York, NY 10016 For the Defendants: Paul LiCalsi Ofer Reger Robins Kaplan LLC 601 Lexington Ave, Suite 3400 New York, NY 10022 DENISE COTE, District Judge: The defendants The Richmond Organization, Inc. (“TRO”) and its subsidiary and imprint Ludlow Music, Inc. (“Ludlow”) (collectively, the “Defendants”) possess two copyrights in the musical composition “We Shall Overcome” (the “Song” or the Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 2 of 66 “Copyrighted Song”), registered as a derivative work with the Copyright Office in 1960 and 1963. In this litigation, the plaintiffs We Shall Overcome Foundation (“WSOF”) and Butler Films, LLC (“Butler”) (collectively, the “Plaintiffs”) challenge through a putative class action the validity of the Defendants’ copyrights in the Song. The Plaintiffs have filed a motion for partial summary judgment in which they principally argue that the lyrics and melody in the first verse and its identical fifth verse (“Verse 1/5”) of the Song are not sufficiently original to qualify for copyright registration as a derivative work.1 For the reasons that follow, that portion of the Plaintiffs’ motion for summary judgment is granted.
    [Show full text]
  • Music for the People: the Folk Music Revival
    MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance.
    [Show full text]
  • Theorizing Three Cases of Otherness in the USA: Hofstadter, Foucault, and Scott
    University of New England DUNE: DigitalUNE All Theses And Dissertations Theses and Dissertations 5-1-2017 Theorizing Three Cases Of Otherness In The SU A: Hofstadter, Foucault, And Scott Austin Coco University of New England Follow this and additional works at: http://dune.une.edu/theses Part of the Political Science Commons © 2017 Austin Coco Preferred Citation Coco, Austin, "Theorizing Three Cases Of Otherness In The SAU : Hofstadter, Foucault, And Scott" (2017). All Theses And Dissertations. 136. http://dune.une.edu/theses/136 This Thesis is brought to you for free and open access by the Theses and Dissertations at DUNE: DigitalUNE. It has been accepted for inclusion in All Theses And Dissertations by an authorized administrator of DUNE: DigitalUNE. For more information, please contact [email protected]. Austin Coco Dr. Ahmida PSC 491 4/18//17 Theorizing Three Cases of Otherness in the USA: Hofstadter, Foucault, and Scott Austin Coco Coco|1 Dr. Ahmida PSC 491 4/18//17 Theorizing Three Cases of Otherness in the USA: Hofstadter, Foucault, and Scott Introduction This essay examines three cases of otherness: the Italian other in the 1920s, the Communist other during the Red Scare of the 1950s, and the Muslim other in post-2001. The similarities and differences of these cases will be analyzed through Richard Hofstadter’s analysis of the production of otherness for what he calls the paranoid style, Foucault’s analysis of power relations, and James Scott’s analysis of power relations and language. This essay will assess the theoretical methods behind “otherness” that Hofstadter, Foucault, and Scott use, the three cases of “otherness”, and the similarities and differences between the cases and how the theoretical mechanisms apply.
    [Show full text]
  • “We Shall Overcome and the Southern Black Freedom Struggle”
    “We Shall Overcome and the Southern Black Freedom Struggle” David J. Garrow On October 22, 1945, 1,000 members of Local 15 of the Food, Tobacco, Agricultural, and Allied Workers Union (FTA) went on strike at an American Tobacco Company cigar factory in Charleston, SC, seeking to increase their pay to 30 cents-per-hour. The biracial group of strikers began picketing outside the brick factory building, and in later years surviving participants would recall two African American women, Delphine Brown and Lucille Simmons, as important song leaders who led the strikers in singing. Simmons was a choir member at Jerusalem Baptist Church, and fellow union members would remember her singing a well-known hymn, “I’ll Be All Right,” and altering it to give voice to the striking workers’ own aspirations: “We Will Overcome.”1 1. Robert Shelton, “Rights Song Has Own History of Integration,” New York Times, 23 July 1963, at 21; Robert Sherman, “Sing a Song of Freedom,” Saturday Review, 28 September 1963, at 65-67, 81; “Moment of History,” The New Yorker, 27 March 1965, at 37-39; Josh Dunson, Freedom In the Air: Song Movements of the Sixties (International Publishers, 1965), at 29; Lillie Mae Marsh in Guy and Candie Carawan, Freedom Is A Constant Struggle—Songs of the Freedom Movement (Oak Publications, 1968), at 138; Bernice Johnson Reagon, “Songs of the Civil Rights Movement 1955-1965: A Study in Cultural History,” Ph.D. dissertation, Howard 2 The strike ended without success in April 1946, but one month later, two participants, Anna Lee Bonneau and Evelyn Risher, traveled to the Highlander University, 1975, at 65, 68-75; Caryle Murphy, “The Rise of a Rights Anthem,” Washington Post, 17 January 1988, at G1, G11; Noah Adams, “Tracing the History of the Song ‘We Shall Overcome,’” All Things Considered, National Public Radio, 15 January 1999; Robert R.
    [Show full text]
  • Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94
    Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94 By Jon Pareles, The New York Times, 1/28 Pete Seeger, the singer, folk-song collector and songwriter who spearheaded an American folk revival and spent a long career championing folk music as both a vital heritage and a catalyst for social change, died Monday. He was 94 and lived in Beacon, N.Y. His death was confirmed by his grandson, Kitama Cahill Jackson, who said he died of natural causes at NewYork-Presbyterian Hospital. Mr. Seeger’s career carried him from singing at labor rallies to the Top 10 to college auditoriums to folk festivals, and from a conviction for contempt of Congress (after defying the House Un-American Activities Committee in the 1950s) to performing on the steps of the Lincoln Memorial at an inaugural concert for Barack Obama. 1 / 13 Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94 For Mr. Seeger, folk music and a sense of community were inseparable, and where he saw a community, he saw the possibility of political action. In his hearty tenor, Mr. Seeger, a beanpole of a man who most often played 12-string guitar or five-string banjo, sang topical songs and children’s songs, humorous tunes and earnest anthems, always encouraging listeners to join in. His agenda paralleled the concerns of the American left: He sang for the labor movement in the 1940s and 1950s, for civil rights marches and anti-Vietnam War rallies in the 1960s, and for environmental and antiwar causes in the 1970s and beyond.
    [Show full text]
  • “Talking Union”--The Almanac Singers (1941) Added to the National Registry: 2010 Essay by Cesare Civetta (Guest Post)*
    “Talking Union”--The Almanac Singers (1941) Added to the National Registry: 2010 Essay by Cesare Civetta (guest post)* 78rpm album package Pete Seeger, known as the “Father of American Folk music,” had a difficult time of it as a young, budding singer. While serving in the US Army during World War II, he wrote to his wife, Toshi, “Every song I started to write and gave up was a failure. I started to paint because I failed to get a job as a journalist. I started singing and playing more because I was a failure as a painter. I went into the army because I was having more and more failure musically.” But he practiced his banjo for hours and hours each day, usually starting as soon as he woke in the morning, and became a virtuoso on the instrument, and even went on to invent the “long-neck banjo.” The origin of the Almanacs Singers’ name, according to Lee Hays, is that every farmer's home contains at least two books: the Bible, and the Almanac! The Almanacs Singers’ first job was a lunch performance at the Jade Mountain Restaurant in New York in December of 1940 where they were paid $2.50! The original members of the group were Pete Seeger, Lee Hays, Millard Campbell, John Peter Hawes, and later Woody Guthrie. Initially, Seeger used the name Pete Bowers because his dad was then working for the US government and he could have lost his job due to his son’s left-leaning politically charged music. The Singers sang anti-war songs, songs about the draft, and songs about President Roosevelt, frequently attacking him.
    [Show full text]
  • Annual Report 2019/20 “We Are Here, Standing Strong, in Our Rightful Place.”
    Annual Report 2019/20 “ We are here, standing strong, in our rightful place.” Over the last two years, Highlander has expand our reach to tens of thousands of new is alive and well, and we have been able to persevered in the face of the intersecting and returning Highlander friends and family. thrive because we are held up by a community crises of white supremacist violence, a global Highlander’s operations continued, providing of care. pandemic, climate disaster, the failures of administrative infrastructure for a robust the state, the rise of authoritarianism, police fiscal sponsorship program, offering a range violence, and the many other interlocking forms of movement accompaniment and support of oppression that impact our staff and the services to the uprisings of Summer 2020, and people we serve. giving extra attention to building democracy in (and beyond) election season and attending to After the March 2019 fire, the outpouring of capital improvements of Highlander’s land and support from Highlander’s movement family buildings. across the region, the United States, and globe meant that we could focus on recovering even After the fire, we shared a message inspired by while continuing to welcome thousands of the song, “Solid as a Rock,” with our supporters: people to Highlander for educational work “We are here, standing strong, in our rightful and radical hospitality. The fire required us to place.” That message remains true today. The quickly adapt and practice resilience, a posture fire that destroyed our main office did not that effectively prepared us for early 2020’s destroy us or our work.
    [Show full text]
  • Moses and Frances Asch Collection, 1926-1986
    Moses and Frances Asch Collection, 1926-1986 Cecilia Peterson, Greg Adams, Jeff Place, Stephanie Smith, Meghan Mullins, Clara Hines, Bianca Couture 2014 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement note............................................................................................................ 3 Biographical/Historical note.............................................................................................. 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1942-1987 (bulk 1947-1987)........................................ 5 Series 2: Folkways Production, 1946-1987 (bulk 1950-1983).............................. 152 Series 3: Business Records, 1940-1987.............................................................. 477 Series 4: Woody Guthrie
    [Show full text]
  • Pete Seeger and Intellectual Property Law
    Teaching The Hudson River Valley Review Teaching About “Teaspoon Brigade: Pete Seeger, Folk Music, and International Property Law” –Steve Garabedian Lesson Plan Introduction: Students will use the Hudson River Valley Review (HRVR) Article: “Teaspoon Brigade: Pete Seeger, Folk Music, and International Property Law” as a model for an exemplary research paper (PDF of the full article is included in this PDF). Lesson activities will scaffold student’s understanding of the article’s theme as well as the article’s construction. This lesson concludes with an individual research paper constructed by the students using the information and resources understood in this lesson sequence. Each activity below can be adapted according to the student’s needs and abilities. Suggested Grade Level: 11th grade US History: Regents level and AP level, 12th grade Participation in Government: Regents level and AP level. Objective: Students will be able to: Read and comprehend the provided text. Analyze primary documents, literary style. Explain and describe the theme of the article: “Teaspoon Brigade: Pete Seeger, Folk Music, and International Property Law” in a comprehensive summary. After completing these activities students will be able to recognize effective writing styles. Standards Addressed: Students will: Use important ideas, social and cultural values, beliefs, and traditions from New York State and United States history illustrate the connections and interactions of people and events across time and from a variety of perspectives. Develop and test hypotheses about important events, eras, or issues in United States history, setting clear and valid criteria for judging the importance and significance of these events, eras, or issues.
    [Show full text]
  • This Machine Kills Fascists" : the Public Pedagogy of the American Folk Singer
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2016 "This machine kills fascists" : the public pedagogy of the American folk singer. Harley Ferris University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Rhetoric Commons Recommended Citation Ferris, Harley, ""This machine kills fascists" : the public pedagogy of the American folk singer." (2016). Electronic Theses and Dissertations. Paper 2485. https://doi.org/10.18297/etd/2485 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. “THIS MACHINE KILLS FASCISTS”: THE PUBLIC PEDAGOGY OF THE AMERICAN FOLK SINGER By Harley Ferris B.A., Jacksonville University, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English/Rhetoric and Composition Department of English University of Louisville Louisville, KY August 2016 “THIS MACHINE KILLS FASCISTS”: THE PUBLIC PEDAGOGY OF THE AMERICAN
    [Show full text]