Give Me the Banjo: Lesson Plan
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Frank Buckley Walker
Frank Buckley Walker Columbia Records Old-Time Music Talent Scout Frank Buckley Walker (1889 – 1963) was the Artist and Repertoire (A & R) talent scout for Columbia Records’ Country Music Division during the 1920s and 1930s. Along with Ralph Peer of Victor Records, Walker mastered the technique of field recordings. Specializing in southern roots music, Walker set up remote recording studios in cities such as Atlanta, New Orleans, Memphis, Dallas, Little Rock and Johnson City searching for amateur musical talent. The fascinating interview below with Frank Buckley Walker was done by Mike Seeger on June 19, 1962. The interview provides insight into the early era of recorded music as well as the evolution of country music as a market segment. Frank Buckley Walker June 19, 1962 The Seeger-Walker Interview MS (Mike Seeger): I was noticing this Jaw’s Harp, or Jew’s Harp on your desk here…… FW (Frank Walker): Jew’s Harp is what they call it. It’s an old one. And you were telling me it dates back to your early days, where was it, Fly…? Fly Summit, New York on a farm. Fly Summit was a metropolis. It had about four or five houses, a church, a baling machine, and one little store. We lived on a farm about a mile away from there. And the Jew’s Harp - that played an important part because it was the only thing I could play other than the 1 harmonica. But it did get me a few pennies here and there for playing for some sorts of entertainment we had amongst the farmers. -
FSGW Newsletterfor
111^ I .. Volume 29, No. 4 —I || ■ I December 1992 h IKIAUP HOTLINE: 703-281-2228 dgsNBKLETIHt Tom Paley House Concert Saturday, December 5, 8:30 pm Guitar and banjo picker, singer, fiddler, and forefather of modem city-billy musicians Tom Paley makes an appearance in a house concert on Saturday, December 5, at the Takoma Park, MD. home of Charlie Pilzer. A founding member of the New Lost City Ramblers, Tom has played traditional music of the old-timey variety for 40 years, and still keeps finding something new to say musically. An acknowledged expert on the country music of the 1920s and early 30s, Tom has recently (within the past 15 years) taken up the fiddle music of his adopted home, Sweden. His interest in Swedish fiddling has led to his entering competitions where the player is judged against specific standards of style and execution, rather than against other players. When he passes the next level of judging, he will be the first foreign-born musician to join the ranks of the master fiddler. Admission to this special concert is $5 (FSGW) and $8 (non-members). The number for directions is 301-565- 8818. Refreshments will be served. For an evening of the best kind of traditional music, played by a man who knows it backwards and forwards, you can't beat this concert. Ed Trickett House Concert Friday, December 18, 8:30 pm A chance to see local songster Ed Trickett comes much too seldom, but one comes on Friday, December 18, when Ed struts his musical stuff at a concert in the home of Ursy Potter and Carter Hearn in McLean, VA. -
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. -
Old Time Banjo
|--Compilations | |--Banjer Days | | |--01 Rippling Waters | | |--02 Johnny Don't Get Drunk | | |--03 Hand Me down My Old Suitcase | | |--04 Moonshiner | | |--05 Pass Around the Bottle | | |--06 Florida Blues | | |--07 Cuckoo | | |--08 Dixie Darling | | |--09 I Need a Prayer of Those I Love | | |--10 Waiting for the Robert E Lee | | |--11 Dead March | | |--12 Shady Grove | | |--13 Stay Out of Town | | |--14 I've Been Here a Long Long Time | | |--15 Rolling in My Sweet Baby's Arms | | |--16 Walking in the Parlour | | |--17 Rye Whiskey | | |--18 Little Stream of Whiskey (the dying Hobo) | | |--19 Old Joe Clark | | |--20 Sourwood Mountain | | |--21 Bonnie Blue Eyes | | |--22 Bonnie Prince Charlie | | |--23 Snake Chapman's Tune | | |--24 Rock Andy | | |--25 I'll go Home to My Honey | | `--banjer days | |--Banjo Babes | | |--Banjo Babes 1 | | | |--01 Little Orchid | | | |--02 When I Go To West Virginia | | | |--03 Precious Days | | | |--04 Georgia Buck | | | |--05 Boatman | | | |--06 Rappin Shady Grove | | | |--07 See That My Grave Is Kept Clean | | | |--08 Willie Moore | | | |--09 Greasy Coat | | | |--10 I Love My Honey | | | |--11 High On A Mountain | | | |--12 Maggie May | | | `--13 Banjo Jokes Over Pickin Chicken | | |--Banjo Babes 2 | | | |--01 Hammer Down Girlfriend | | | |--02 Goin' 'Round This World | | | |--03 Down to the Door:Lost Girl | | | |--04 Time to Swim | | | |--05 Chilly Winds | | | |--06 My Drug | | | |--07 Ill Get It Myself | | | |--08 Birdie on the Wire | | | |--09 Trouble on My Mind | | | |--10 Memories of Rain | | | |--12 -
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. -
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 -
John 1 Page Bio Epk Revised 2017
Artist Biography: John Stano The trademark of singer/songwriter John Stano’s sound is a distinctive blend of acoustic and slide guitar, harmonica and expressive vocals, developed over many years of performance and study. He sometimes adds a little mandolin, banjo or cigar box guitar to the mix as well. His style could be described as acoustic folk-blues or Americana. Initially self-taught, John went on to study American fingerstyle guitar at the Wisconsin Conservatory of Music and harmonica with national blues legend, Jim Liban. ‘Sing Out’ compared John’s music to early Bob Dylan while ‘Dirty Linen’ was reminded of Country Joe McDonald. John studied English and creative writing at U.W. Madison. A skillful use of language adds an original spark to his lyrics. Besides his own songs, John also performs his own arrangements of urban and country blues classics, instrumentals and contemporary songs, covering music by artists such as; John Prine, Bob Dylan, Greg Brown, Robert Johnson, Mississippi John Hurt, John Fahey, Gillian Welch, Leo Kottke and Tom Waits. John is a flexible and engaging performer who works regularly at a variety of indoor and outdoor venues. He also teaches guitar, harmonica, banjo and other acoustic instruments privately and in the schools. • John was nominated for a 2016 WAMI Folk Artist Award and the 2015 WAMI Singer Songwriter of the Year Award. • John won the Wisconsin Singer Songwriters Series Songwriter of the Year award for 2013. • John represented Wisconsin in the International Blues Challenge in Memphis on historic Beale Street in the solo/duo category after winning the regional competition in 2012 • Two songs from John’s CD Caribou Bar & Grill, ‘Soul Is’ and ’Pontiacs No More’ earned John the title of ‘Big Top Chautauqua Songwriter of the Year Finalist for 2010’ and he performed them along with some of his other songs under the Big Top. -
Pete Seeger: a Singer of Folk Songs
LINGUACULTURE 2, 2020 PETE SEEGER: A SINGER OF FOLK SONGS DAVID LIVINGSTONE Palacký University Abstract Pete Seeger would have turned one hundred and one on May 3 of this year. To commemorate these ten decades plus one year, I would like to look at eleven of the most remarkable aspects of Pete Seeger’s life, work and legacy. This paper will examine the cultural impact and oral tradition of the music, songs and books of Pete Seeger. This legendary folk musician's career spanned eight decades and touched on many of the key historical developments of the day. He is responsible for some of the iconic songs which have not only helped define American culture, but even beyond. Seeger was also a pioneer in a number of fields, using his music to propagate political convictions, ecological themes, civil rights, world music, education, etc. The folk singer also had his finger on the pulse of a number of developments in American history and culture. He was friends with a number of prominent musicians and artists and influenced an entire range of younger musicians and activists. Keywords: Pete Seeger; Folk music; American history; Social activism; Civil Rights movement Family Pete Seeger’ family was a powerhouse of talent, musically and beyond. Charles Seeger (1886-1979), his father, was a renowned musicologist who held a number of prominent university positions. His political convictions, obviously on the left, were also instrumental in forming his son’s ideological worldview. His mother Constance de Clyver (1886-1975) was also a musician although not as accomplished by far as his stepmother Ruth Seeger (1901-1953) (mother to Mike and Peggy). -
Folk Group to Sing at University of Montana Sunday Night
University of Montana ScholarWorks at University of Montana University of Montana News Releases, 1928, 1956-present University Relations 9-28-1967 Folk group to sing at University of Montana Sunday night University of Montana--Missoula. Office of University Relations Follow this and additional works at: https://scholarworks.umt.edu/newsreleases Let us know how access to this document benefits ou.y Recommended Citation University of Montana--Missoula. Office of University Relations, "Folk group to sing at University of Montana Sunday night" (1967). University of Montana News Releases, 1928, 1956-present. 2918. https://scholarworks.umt.edu/newsreleases/2918 This News Article is brought to you for free and open access by the University Relations at ScholarWorks at University of Montana. It has been accepted for inclusion in University of Montana News Releases, 1928, 1956-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. INFORMATION SERVICES UNIVERSITY OF MONTANA mmwm MISSOULA, MONTANA 598(11 Phone (406) 243-2522 FOR RELEASE: THURSDAY SEPT. 2 8 eggensperger/js 9-27-67 local FOLK GROUP TO SING AT UM SUNDAY NIGHT MISSOULA-- One of the most exciting folk singing groups in America today, the New Lost City Ramblers, will open the "Now People" program on the University of Montana campus Sunday (Oct. 1). The folk trio, as well as events throughout the coming week, will be sponsored by the Associated Students Program Council. The New Lost City Ramblers present a program aimed at displaying the diversity and depth of American folk music. They focus on the string bands of the 1920’s and 30's, hut include music from earlier periods plus contemporary Bluegrass or Southern folk style Trio members are John Cohen, Tracy Schwarz and Mike Seeger, all of New York City. -
Anthology of American Folk Music”--Harry Smith, Editor (1952) Added to the National Registry: 2005 Essay by Ian Nagoski (Guest Post)*
“Anthology of American Folk Music”--Harry Smith, editor (1952) Added to the National Registry: 2005 Essay by Ian Nagoski (guest post)* Original album package “An Anthology of American Folk Music” is a compilation of 84 vernacular performances from commercial 78rpm discs originally issued during the years 1927-32. It was produced by Harry Smith and issued as three two-LP sets by Moses Asch’s Folkways Records in 1952. It was kept in print from the time of its original release for three decades before it was reissued on compact disc to critical heraldry by Smithsonian/ Folkways in 1997. During the 1950s and 60s, the collection deeply influenced a generation of musicians and listeners and has helped to define the idea of “American Music” in the popular imagination, due in large part to the peculiar sensibilities of its compiler, Harry Smith. Smith was born Mary 29, 1923 in Portland, Oregon, and raised in small towns in the northwest by parents with humdrum jobs and involvements with both Lummi Indians (on this mother’s side) and Masonry and Spiritualism (on his father’s). By his teens, he had attended exclusive Indian ceremonies and bought recordings by African-American performers, including Memphis Minnie, Rev. F.W. McGee, Tommy McClennan, and Yank Rachell, which lit the fuse of a life-long fireworks display of obsessive collecting of records that were “exotic in relation to what was considered the world culture of high class music,” as he put it in a 1960s interview with John Cohen. After a year and half studying anthology at the University of Seattle, Smith relocated to Berkeley, California, ca. -
November December
November 2002 vol 37, No.10 November 3 Sun Sea Music Concert: Cliff Haslam + NY Packet; South Street Seaport Gallery; 3 pm 3 Sun Sunnyside Song Circle: 2pm in Queens 6WedFolk Open Sing; 7pm in Brooklyn 8 Fri Jean Ritchie/Oscar Brand concert; 8pm, Advent Church☺ 11 Mon NYPFMC Exec. Board Meeting, 7:15pm at the club office, 450 7th Ave, #972 (34-35 St.), info (718) 575-1906 15 Fri Kinloch Nelson; Music at Metrotech, 8pm in Brooklyn 17 Sun Sacred Harp Singing at St.Bartholomew’s; 2:30 pm 21 Thur Riverdale Sing, 7:30-10pm, Riverdale Prsby. Church. 23 Sat Fall Fling Dance/Concert, PS-199, Manhattan, 8pm, see p.12 December 1 Sun Gospel & Sacred Harp Sing, 3pm in Manhattan 1 Sun (no Sea Music Concert at South Street Seaport) 3TueNewsletter Mailing; at Club office, 450 7 Ave, #972, 7 pm 4WedFolk Open Sing; 7pm in Brooklyn 8 Sun Tom Paley & friends; Music at Metrotech, in Brooklyn 9 Mon NYPFMC Exec. Board Meeting, 7:15pm at the club office, 450 7th Ave, #972 (34-35 St), info (718) 575-1906 15 Sun Sacred Harp Singing at St.Bartholomew’s; 2:30 pm 19 Thur Riverdale Sing, 7:30-10pm, Riverdale Prsby. Church. Details Inside Table of Contents Events Details ....................... 2 Concert Flyers ................. 10-12 NYPFMC Club Info ............... 4 Calendar Listings ..................13 Topical Listing of Club Events ... 5 Festivals .............................15 From The Editor ................... 6 Repeating Events ..................16 Folk Process ......................... 6 Calendar Location Info ...........19 Winter Weekend flyer.............. 7 30 Years Ago .......................22 Ideas .................................. 8 Pinewoods Hot Line ..............23 Weekend Jobs & Scholarships ... -
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.