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Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
Shawyer Dissertation May 2008 Final Version
Copyright by Susanne Elizabeth Shawyer 2008 The Dissertation Committee for Susanne Elizabeth Shawyer certifies that this is the approved version of the following dissertation: Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 Committee: Jill Dolan, Supervisor Paul Bonin-Rodriguez Charlotte Canning Janet Davis Stacy Wolf Radical Street Theatre and the Yippie Legacy: A Performance History of the Youth International Party, 1967-1968 by Susanne Elizabeth Shawyer, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2008 Acknowledgements There are many people I want to thank for their assistance throughout the process of this dissertation project. First, I would like to acknowledge the generous support and helpful advice of my committee members. My supervisor, Dr. Jill Dolan, was present in every stage of the process with thought-provoking questions, incredible patience, and unfailing encouragement. During my years at the University of Texas at Austin Dr. Charlotte Canning has continually provided exceptional mentorship and modeled a high standard of scholarly rigor and pedagogical generosity. Dr. Janet Davis and Dr. Stacy Wolf guided me through my earliest explorations of the Yippies and pushed me to consider the complex historical and theoretical intersections of my performance scholarship. I am grateful for the warm collegiality and insightful questions of Dr. Paul Bonin-Rodriguez. My committee’s wise guidance has pushed me to be a better scholar. -
Woody Guthrie and the Christian Left: Jesus and “Commonism”
Briley: Woody Guthrie and the the Christian Left Woody Guthrie and the Jesus and “Commonism” Ron Briley ProducedWoody Guthrie, by The March Berkeley 8, 1943, Electronic Courtesy Press, of the 2007 Repository: Library of Congress Prints and Photographs Division. 1 Journal of Texas Music History, Vol. 7 [2007], Iss. 1, Art. 3 Woody Guthrie and the Christian Left: Jesus and “Commonism” Following the re-election of President George W. Bush in 2004, political pundits were quick to credit Christian evangelicals with providing the margin of victory over Democratic challenger John Kerry. An article in The New York Times touted presidential adviser Karl Rove as a genius for focusing the attention of his boss upon such “moral” issues as same-sex marriage and abortion, thereby attracting four million evangelicals to the polls who had sat out the 2000 election.1 The emphasis of the Democratic Party upon such matters as jobs in the economically-depressed state of 9a Ohio apparently was trumped by the emotionally-charged issues of gay marriage and abortion, which evangelicals perceived as more threatening to their way of life than an economy in decline. This reading of the election resulted in a series of jeremiads from the political left bemoaning the influence of Christians upon Christian Left: American politics. In an opinion piece for The New York Times, liberal economist Paul Krugman termed President Bush a radical who “wants to break down barriers between church and state.” In his influential book What’s The Matter with Kansas?, Thomas Frank speculated as to why working-class people in Kansas, a state with a progressive tradition, would allow themselves to be manipulated by evangelists and the Republican Party into voting against their own economic interests. -
Book Notes #71
Book Notes #71 August 2021 By Jefferson Scholar-in-Residence Dr. Andrew Roth Songs of Freedom, Songs of Protest Part One As always, reader responses give me ideas for future Book Notes. In this and next week’s Book Notes, I’ll be following the suggestion of several readers who, in response to the two Book Notes in June on patriotic music, thought it might be interesting to canvass America’s tradition of protest music. If one of my The American Tapestry Project’s major threads is “Freedom’s Faultlines”, those tales of race and gender, those tales of exclusion and the many times America did not live up to its stated ideals, then the songs those excluded sang as they fought for inclusion ring patriotic. For, as the Rev. Martin Luther King, Jr. said in his last speech the night before he was murdered, “Somewhere I read that the greatness of America is the right to protest for right!” [1] And, those “rights” found some of their most memorable expressions in songs of protest exhorting America, as King said, “Be true to what you said on paper.” [2] In this Note, we’ll answer “What is a protest song?”, and we’ll consider three approaches to exploring protest music: a chronological approach, a thematic- genre approach, and although it sounds kind of silly a “Greatest Hits” approach. There actually are “Top Ten”, “Top Fifty” protest song lists from reputable sources floating around the internet. Finally, we’ll dive into two of the genres for a closer look at songs protesting environmental issues and, most famously, anti-war songs from World War I through the War in Viet Nam to Operation Iraqi Freedom. -
Troubadours Folk and the Roots of American Music
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] Troubadours Folk And The Roots Of American Music INFORMATION In the one hundred years that folk music has been recorded in the United States, the tradition has embraced ballads – mostly new, but some transplanted from Europe, political statements, personal introspection, and much more. Now the story is here from the 1920s to the 1970s and beyond in four exclusive 3-CD sets. Through this music, we feel it all from the isolation of early twen- tieth century Appalachia through the economic and political upheavals of the Depression, War, and Civil Rights eras to contem- porary west coast singer-songwriters looking within for inspiration. The story is here: original artists and original versions in stunning sound with detailed notes from folk scholar Dave Samuelson. The first set covers the period from the 1920s through to 1957. All the names you'd expect are here: the Carter Family, Woody Guthrie, Pete Seeger, the Weavers, Lead Belly, Cisco Houston, and many, many more. Here are the original versions of songs that have become classics and rallying cries: Wildwood Flower, Midnight Special, Rock Island Line, Wayfaring Stranger, So Long It's Been Good To Know You, This Land Is Your Land, 16 Tons, 900 Miles, Delia, and many, many more. The second set begins with the folk revival that started in the wake of the Kingston Trio's Tom Dooley and continues through the dawn of the singer-songwriter era. It includes early folk revival classics like Walk Right In, Michael, and Green, Green. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
Print Version (Pdf)
Special Collections and University Archives UMass Amherst Libraries Broadside (Mass.) Collection Digital 1962-1968 1 box (1.5 linear foot) Call no.: MS 1014 About SCUA SCUA home Credo digital Scope Inventory Broadside, vol. 1 Broadside, vol. 2 Broadside, vol. 3 Broadside, vol. 4 Broadside, vol. 5 Broadside, vol. 6 Broadside, vol. 7 Broadside and Free Press, vol. 8 Broadside and Free Press, vol. 9 Admin info Download xml version print version (pdf) Read collection overview When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. Assembled by Folk New England, the Broadside collection contains a nearly complete run of the Boston- and Cambridge-based folk music periodical, The Broadside, with the exception of the first issue, which has been supplied in photocopy. See similar SCUA collections: Folk music Massachusetts (East) Printed materials Background When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. The rapid growth of the folk scene in Boston during the mid- 1950s was propelled in part by the popularity of hootenannies held at the YMCA and local hotels, and by a growing number of live music venues, catching on especially in the city's colleges. -
BROADSIDE the Topical Song Magazine Index to Songs in Issues 146-186 © 2007, Broadside Magazine, Ltd
BROADSIDE The Topical Song Magazine Index to Songs in Issues 146-186 © 2007, Broadside Magazine, Ltd. Title Index A Issue # A Home in Palestine, Kristin Lems...............................................159 A la Mina No Voy (I'm Not Going to the Mine), Traditional. 153 A Patchwork World, Ken Lonnquist..............................................164 A Song Made Upon the Foregoing Occasion, Anonymous.. 156 A Truly Needy Family of Your Own, Tom Paxton. 156 Act Like a Man, Rick Goldin....................................................160 Adopt Me, Linda Allen........................................................168 Age of Uncertainty, Debera Balducci & Richard Younger.. 160 Agent Orange Song, Muriel Hogan...............................................154 AIM National Anthem, American Indian Movement. 152 All Over the World, Arlo Guthrie................................................166 America the Free, Lenny Berger.................................................170 An Ordinary Love Song, Charlie King............................................167 Annie, Fred Small. ...........................................................149 Apartheid Must Go, Lucy. .....................................................162 Are You Now or Have You Ever Been a Member of a Union?, Charlie King. 173 Arrivederci Saigon, Anonymous.................................................172 Arson's Just Business, Paul Emery. ..............................................165 Asikatali (A Zulu Folk Song), Traditional..........................................151 At-Tariq -
Bob Dylan 1958-1969
THE CIRCUS IS IN TOWN BOB DYLAN 1975 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, RELEASES, TAPES & BOOKS. © 2002 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. CONTENTS 1 INTRODUCTION .............................................................................................................................................. 3 2 1975 AT A GLANCE .......................................................................................................................................... 3 3 THE 1975 CALENDAR ..................................................................................................................................... 3 4 DESIRE ............................................................................................................................................................... 5 4.1 THE RECORDING SESSIONS ........................................................................................................................... 5 4.2 LIVE HISTORY .............................................................................................................................................. 6 4.3 OFFICIALLY RELEASED LIVE VERSIONS ........................................................................................................ 7 4.4 PERFORMANCES DURING THE NEVER-ENDING TOUR ................................................................................. -
To Read Broadside
• -ad.sic:l.e THE NATIONAL TOPICAL SONG MAGAZINE DECEMBER 1983 Photo by Alice Ochs PhilOehs BROADSIDE, LTD .• P.O. Box 1464 • New York, NY 10023 • USA $2.00 2 lBx-<:>adside #147 BROADSIDE #147 The National Topical Song Magazine Published monthly by: Broadside, Ltd. P.O. Box 1464 New York, NY 10023 Publisher Norman A. Ross Editor Jeff Ritter Assistant Editors Gordon Grinberg Robin Ticho Contributing Editors Jane Friesen Paul Kaplan Sonny Ochs Ron Turner Illustrations by Agnes Friesen Kenneth E. Klammer Jane Ron Sonny Paul Poetry Editors D. B. Axelrod Friesen Turner Ochs Kaplan lC. Hand Editorial Board Sis Cunningham Gordon Friesen ISSN: 0740-7955 <D 1983, BROADSIDE LTD. Phil This issue of Broadside is a tribute to Phil Ochs, works, one of which is his song about Raygun's who would have been 43 years old on December invasion of Grenada! Finally, this issue contains six 19th. Phil was one of Broadside's most frequent songs "written" by Phil but never previously pub contributors over the years: the Index to Broadside lished either in print or on a record. These songs lists more than 70 of Phil's songs. Furthermore, the were among 15 or more that Phil sent on tape many pages of Broadside over these years were filled with years ago to his long-time friend Jim Glover and items by and about Phil and with songs written by which had been forgotten. Having recently redis Phil's contemporaries, many of whom were inspired covered them, Jim gave copies to Broadside (with by Phil--as we all were. -
Joni Mitchell - a Chronology of Appearances V5.1
Joni Mitchell - A Chronology of Appearances v5.1 This work-in-progress lists all known appearances, drawn from a variety of sources. Researched, Compiled, and Maintained by Simon Montgomery, © 2001 Special thanks to Joel Bernstein for his contributions and assistance. Unless otherwise noted, appearances took place in the U.S. Appearances in Canada are denoted by city and province. Date format is YYYY.MM.DD Unconfirmed information is highlighted. Latest Update: April 28, 2020 Please send comments, corrections or additions to: [email protected] © Ed Thrasher - March 1968 © All rights reserved. This material may not, in whole or part, be copied, reproduced, photocopied, translated, recorded, or reduced to any electronic medium, machine readable format or mechanical means without the express consent, in writing, from the specific lawful copyright holder. August 2001 1962 1962 Waskesiu Lake Waskesiu, SK According to Joni, “I started making music…in Saskatchewan mostly up at northern lakes, up around Lake Waskesiu … it was just self-entertainment with the gang then.” 1962.10.31 The Louis Riel Saskatoon, SK Joni’s first paid performance 1962.11.05 The Louis Riel Saskatoon, SK 1962.11.14 The Louis Riel Saskatoon, SK _______________________________________________________________________________ 1963 1963 The Louis Riel Saskatoon, SK Joni participated in weekly “Hoot Nights” playing her ukulele. 1963.08 For Men Only–CKBI-TV Prince Albert, SK Nineteen-year-old Joni Anderson was booked as a one-time replacement for a late-night moose-hunting show. During the program Joni was interviewed and performed several songs accompanying herself on baritone ukulele. 1963.09.13 The Depression! Calgary, AB According to Joni, she performed at The Depression! over a period of three and a half months, including the Sept. -
BROADSIDE # 89 Are Convinced of It
,Q"' ~ ~" "- 7 - road.sid.e 1t 89 WHAT IFTHEY GAVE A WAR AND NO ONE CAME? by JONNA GAULT THE WAR A L SOl NTH I S IS SUE FREDERICK DOUGLASS KIRKPATRICK**JANIS IAN**MIKIS THEODORAKIS & CAMPANELL IS IS OVER **ERNIE MARRS**TOM RAPP**TOM PARROTT . PHIL OCHS The Woody Guthrie Memorial Concert reviewed by ELI JAFFE .Part One of a long interview with PHIL OCHS . February - March, 1968 so¢ - 2 - Words & Music WHAT IF THEY GAVE A WAR AND NO ONE CAME~ By JONNA GAULT A i I « i i ~ /fr' "5 I What if they gave a war and no one came? If ev-1ryone refused to play the game? If ) t t 'u (alP?'I!>;) J J t j. t) !:~~_4 _ what of our good name, our for-tune and our fame? \fuat if they gave a war and no - one came?-- f ),1 U (ijJ EJ? I J J·e in .FO.I All a-round mothers wrought up: "You steal the lives we brought up!" Up and down students milling; the can't ~ the ~ W U tj n'rP pj 17J (3"llU Gl "w IIbf:'! They're not a-ble,theY're not willing. Ev1rywherethsidewalks teeming:I'Not my boy" the crowds screaming. F D1~v,4 e &1 F,,,,1 »1 7 ,91 keep ;#.",7 Ye with ev'ry crack of dawn, an~other truck load gone, gone, gone, gone, gone, gone, gone, gone, i.,,1!Ii 6.m ., 1£! 18 t ~~1'1I00J4!~· t, j;ff1 II; fr r '" :11 gone! What No one came.