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Traditional Song
3 TraditionalSong l3-9 Traditional Song Week realizes a dream of a comprehensive program completely devoted to traditional styles of singing. Unlike programs where singing takes a back seat to the instrumentalists, it is the entire focus of this week, which aims to help restore the power of songs within the larger traditional music scene. Here, finally, is a place where you can develop and grow in confidence about your singing, and have lots of fun with other folks devoted to their own song journeys. Come gather with us to explore various traditional song genres under the guidance of experienced, top-notch instructors. When singers gather together, magical moments are bound to happen! For Traditional Song Week’s ninth year and our celebration of The Swannanoa Gathering’s 25th Anniversary, we are proud to present a gathering of highly influential singers and musicians who have remained devoted over the years to preserving and promoting traditional song. Tuesday evening will be our big Hoedown for a Traditional Country, Honk-Tonk, Western Swing Song and Dance Night. Imagine singing to a house band of Josh Goforth, Robin and Linda Williams and Ranger Doug or Tim May, Tim O’Brien, and Mark Weems! So, bring your boots and hats, your voices and instruments, and get ready to bring on the fun! Our Community Gathering Time each day just after lunch affords us the opportunity to experience together, as one group, diverse topics concerning our shared love of traditional song. This year’s spotlight will feature folks who have been “on the road” and singing for quite a while. -
The Ballads of the Southern Mountains and the Escape from Old Europe
B AR B ARA C HING Happily Ever After in the Marketplace: The Ballads of the Southern Mountains and the Escape from Old Europe Between 1882 and 1898, Harvard English Professor Francis J. Child published The English and Scottish Popular Ballads, a five volume col- lection of ballad lyrics that he believed to pre-date the printing press. While ballad collections had been published before, the scope and pur- ported antiquity of Child’s project captured the public imagination; within a decade, folklorists and amateur folk song collectors excitedly reported finding versions of the ballads in the Appalachians. Many enthused about the ‘purity’ of their discoveries – due to the supposed isolation of the British immigrants from the corrupting influences of modernization. When Englishman Cecil Sharp visited the mountains in search of English ballads, he described the people he encountered as “just English peasant folk [who] do not seem to me to have taken on any distinctive American traits” (cited in Whisnant 116). Even during the mid-century folk revival, Kentuckian Jean Thomas, founder of the American Folk Song Festival, wrote in the liner notes to a 1960 Folk- ways album featuring highlights from the festival that at the close of the Elizabethan era, English, Scotch, and Scotch Irish wearied of the tyranny of their kings and spurred by undaunted courage and love of inde- pendence they braved the perils of uncharted seas to seek freedom in a new world. Some tarried in the colonies but the braver, bolder, more venturesome of spirit pressed deep into the Appalachians bringing with them – hope in their hearts, song on their lips – the song their Anglo-Saxon forbears had gathered from the wander- ing minstrels of Shakespeare’s time. -
The Place of Music, Race and Gender in Producing Appalachian Space
University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
The Music Never Stopped Based Upon “The Last Hippie” by Oliver Sacks, M.D
The Music Never Stopped Based upon “The Last Hippie” by Oliver Sacks, M.D. Official website: http://themusicneverstopped-movie.com Publicity Materials: www.roadsideattractionspublicity.com Production Notes Directed by Jim Kohlberg Screenplay by Gwyn Lurie & Gary Marks Produced by Julie W. Noll, Jim Kohlberg, Peter Newman, Greg Johnson Starring: J.K. Simmons Lou Taylor Pucci Cara Seymour Julia Ormond Running Time: 105 minutes Press Contacts: New York Marian Koltai-Levine – [email protected] – 212.373.6130 Nina Baron – [email protected] – 212.373.6150 George Nicholis – [email protected] – 212.373.6113 Lee Meltzer – [email protected] – 212-373-6142 Los Angeles Rachel Aberly – [email protected] - 310.795-0143 Denisse Montfort – [email protected] – 310.854.7242 "THE MUSIC NEVER STOPPED" Essential Pictures presents THE MUSIC NEVER STOPPED Based on a true story Directed by JIM KOHLBERG Screenplay by GWYN LURIE & GARY MARKS Based upon the essay 'The Last Hippie' by OLIVER SACKS Produced by JULIE W. NOLL JIM KOHLBERG PETER NEWMAN GREG JOHNSON Co-Producer GEORGE PAASWELL Executive Producer NEAL MORITZ Executive Producer BRAD LUFF Music Producer SUSAN JACOBS Director of Photography STEPHEN KAZMIERSKI Editor KEITH REAMER Production Designer JENNIFER DEHGHAN Costume Designer JACKI ROACH Original Music by PAUL CANTELON Casting by ANTONIA DAUPHIN, CSA J.K. SIMMONS LOU TAYLOR PUCCI CARA SEYMOUR with JULIA ORMOND TAMMY BLANCHARD MIA MAESTRO SCOTT ADSIT JAMES URBANIAK PEGGY GORMLEY MAX ANTISELL An Essential Pictures Production in association with Peter Newman/InterAL Productions A film by Jim Kohlberg SYNOPSIS “The Music Never Stopped,” based on the case study “The Last Hippie” by Dr. -
REAMER, Keith
KEITH REAMER, A.C.E. EDITOR Member: I.A.T.S.E./Local 700, M.P.E.G. New York local www.keithreamer.com FEATURES FINDING 52 (Documentary) Gigantic Pictures/Alldayeveryday/ Prod: Adrian Grenier, Jonathan Shukat, Dir: Joshua Zeman (Consulting Editor) ShowKat Productions Lucy Sumner, Leonardo DiCaprio BAYOU CAVIAR Brittany House Productions Prod: Anjul Nigam, Todd Lewis Dir: Cuba Gooding Jr. THE CHINA HUSTLE (Documentary) Jigsaw Prod: Jed Rothstein, Sarah Gibson Dir: Jed Rothstein *Toronto International Film Festival 2017 – TIFF Docs SOPHIE AND THE RISING SUN Sophie Film Prod: Brenda Goodman Dir: Maggie Greenwald *Sundance Film Festival 2016 – Premiere BILL TRAYLOR: CHASING GHOSTS (Documentary) Breakaway Films NY Prod: Sam Pollard Dir: Jeffrey Wolf LEARNING TO DRIVE Learning to Drive, LLC. Prod: Susan Leber, Dana Friedman Dir: Isabel Coixet *Toronto International Film Festival 2014 Daniel Hammond UNTITLED BILL COSBY DOC Anonymous Content Prod: Maureen Ryan Dir: Jamey Phillips INNOCENCE Killer Films Prod: Pamela Koffler, Christine Vachon Dir: Hilary Brougher Declan Baldwin BEFORE THE SPRING, AFTER THE FALL Prod: Allyson Luchak, Liz Garbus Dir: Jed Rothstein (Documentary) Fisher Stevens THE LAST KEEPERS TAL Entertainment Inc. Prod: Carly Hugo, Matthew Parker Dir: Maggie Greenwald EXPOSED (Documentary) Schulberg Productions Prod: Sandra Schulberg Dir: Beth B. *Berlin Film Festival 2013 – Premiere & Competition THE MUSIC NEVER STOPPED Roadside Attractions Prod: Julie W. Noll, Peter Newman Dir: Jim Kohlberg *Sundance Film Festival 2011 – Premiere AMREEKA National Geographic Ent. Prod: Christina Piovesan, Paul Barkin Dir: Cherien Dabis *Cannes Film Festival 2009 – Winner, International Critics Prize, Director’s Fortnight *Sundance Film Festival 2009 – Dramatic Competition CHOOSE IFC Midnight Prod: Allen Bain, Jesse Scolaro Dir: Marcus Graves HOMECOMING Paper Street Films Prod: Austin Stark, Jim Young Dir: Morgan J. -
SEM Annotated Bibliographies Musical Activism and Agency: Contestations and Confluences
SEM Annotated Bibliographies Musical Activism and Agency: Contestations and Confluences Jennifer LeBlanc, Golam Rabbani and Margaret E. Walker, Queen’s University These three annotated bibliographies were created to complement the Pre-Conference Symposium, “Musical Activism and Agency: Contestations and Confluences, which took place on October 21 at the start of the Society for Ethnomusicology 2020 Virtual Annual Meeting.1 The themes of the pre-conference symposium circled around questions of responsible and respectful engagement as both scholars and practitioners challenge dominant narratives, power imbalances, and ecological issues. The three roundtables that made up the symposium, “Music Environment, Health and Displacement,” “Sites of Resistance,” and Confronting Extractionism: Responsible Research Ethics and Professional Practices” brought nineteen presenters into conversation with each other and the virtual audience, addressing topics ranging from Canadian politics to climate change. Focusing on the themes of activism, agency, and extractionism as they dialogue with and through musical and other performative practice, this selected bibliography casts a wide net, bringing together literature that engages with an array of topics and issues. The annotations were created by drawing on original abstracts, reviews and of course, the material itself. The bibliography, however, is a work in progress and will continue to be refined until it is published publicly in 2021. We apologise for any omissions and invite comments, additions, and suggestions for additions, which can be sent to Golam Rabbani at [email protected] . The inspiration for the pre-conference themes arose from the intended site of the 2020 SEM conference. The capital city of the settler-colonial nation of Canada, Ottawa sits on unceded territory of the Algonquin people. -
ウィークエンド サンシャイン Playlist Archive Dj:ピーター・バラカン
ウィークエンド サンシャイン PLAYLIST ARCHIVE DJ:ピーター・バラカン 2015 年 10 月 3 日放送 01. Can't You Hear Me Calling / Crooked Still // Shaken by a Low Sound 02. Barbara Allen / Deborah Packard // Happy Land - Musical Tribute to Laura Ingalls Wilder 03. Barbara Allen / Emmy Rossum // Songcatcher - Music from and Inspired by the Motion Picture 04. Barbara Allen / Joan Baez // Joan Baez, Vol. 2 05. Barbara Allen / Emmylou Harris // Songcatcher - Music from and Inspired by the Motion Picture 06. I Am a Man of Constant Sorrow / Roscoe Holcomb // An Untamed Sense Of Control 07. I Am a Man of Constant Sorrow / Ralph Stanley // Old Songs & Ballads 08. I Am a Man of Constant Sorrow / Bob Dylan // Bob Dylan 09. I Am a Man of Constant Sorrow / Soggy Bottom Boys // O Brother, Where Art Thou? 10. Little Maggie With A Dram Glass In Her Hand / Grayson & Whitter // The Rose Grew Round The Briar 11. Little Maggie/ Robert Plant // lullaby and... The Ceaseless Roar 12. Little Maggie / Ricky Skaggs and Kentucky Thunder // Bluegrass Rules! 13. Oh Susanna / Keith Little // Happy Land - Musical Tribute to Laura Ingalls Wilder 14. Oh Susanna / Joe Weed // The Music of Stephen Foster 15. Oh Susanna /Buddhiman Gandharba // The Mountain Music Project; A Musical Odyssey from Appalachia to Himalaya 16. Oh Susanna / Vern Williams Band // Bluegrass from the Gold Country 17. Single Girl, Married Girl / Haden Triplets // The Haden Triplets 18. Crossing Muddy Waters / I’m With Her // (single) 19. Walkin' Back To Georgia / I’m With Her // (not for sale) 20. Any Old Time / Sara Watkins // Sara Watkins 21. -
The Singing Subject
OVERTURE: The Singing Subject Hollywood's soundtrack is engendered through a complex system of displacements which locate the male voice at the point of apparent textual origin, while establishing the diegetic containment ofthe female voice. 1 In The Acoustic Mirror, one of the few film theory books that considers the female voice in cinema, psychoanalytic film theorist Kaja Silverman ascribes the female voice a place firmly within the narrative of 'classic' Hollywood (and other realist) films. 2 But as a cinematic spectator, I have experienced films where a woman's singing voice has for me transcended such limitations. My first experience of such a feeling was motivated by Songcatcher (Maggie Greenwald, 2000), a story about a 19th century musicologist, Dr Lily Penleric (Janet McTeer), who travels to the Appalachian Mountains to collect folk ballads. In Songcatcher, the women characters' singing is pleasurable and moving, but also transports me emotionally beyond the narrative.3 Such experiences of singing scenes4 provide for me a feeling that is analogous to, but also different from, the 'transcendence' of numbers in classic Hollywood film musicals.s In the classical musical, singing performances are not only expected, because of the genre, but also assisted by the use of nondiegetic music to lift the musical experience beyond the 'real' world of the narrative to a space that is most often a utopian realm. However, in Songcatcher, singing remains of the diegesis and yet for me reaches beyond the narrative world. I Kaja Silverman. The Acoustic Mirror: The Female Voice in P5ychoanalysis and Cinema. Bloomington and Indianapolis. Indiana University Press. -
Blue Ridge Music Trails of North Carolina Brochue
Buy the Blue Ridge Music Trails guidebook MD DE blue ridge Published in association with UNC Press, the N.C. Arts music trails Council and the Blue Ridge National Heritage Area of North CaroliNa WV A Guide to Music Sites, Partnership, Blue Ridge Music Trails of North Carolina by VA Artists, and Traditions of the folklorist Fred C. Fussell is an insider’s guide to the great KY Mountains and Foothills music and dance traditions of the mountains and foothills. It NC TN also features a 26 music track CD. Visit BlueRidgeMusicNC.com to purchase. SC more h t h it a N w MS AL GA 2 d 0 C s a o N s e g d s u l C i N with Steve Kruger Fred C. Fussell FL year-round music venues 19 1 1 52 17 221 18 27 16 Sparta Eden Blue Ridge Parkway Visitor Center Traditional Artist Directory spring music venues Lansing 10 1 Mount Airy 19 2 6 74 13 18 18 Westfield Located in Asheville at Blue Ridge Parkway milepost The Blue Ridge National Heritage Area’s online spring-fall music venues 311 Jefferson 17 384, the Blue Ridge Parkway Visitor Center offers a Traditional Artist Directory is a guide to many of the 5 2 high definition movie, exhibits, information desks, and finest traditional craft artisans, musicians, dancers and summer music venues West Jefferson 77 Danbury a gift shop where you can purchase the Blue Ridge storytellers in the North Carolina mountains and foothills. 7 Pinnacle r Dobson e 220 Music Trails of North Carolina guidebook. -
The Song Collector Free
FREE THE SONG COLLECTOR PDF Natasha Solomons | 400 pages | 24 Mar 2016 | Hodder & Stoughton General Division | 9781444736410 | English | London, United Kingdom Home - Natasha Solomons Build up your Halloween Watchlist with our list The Song Collector the most popular horror titles on Netflix in October. See the list. After being denied a promotion at the university where she teaches, Doctor Lily The Song Collector, a brilliant musicologist, impulsively visits her sister, who runs a struggling rural school in Appalachia. There she stumbles upon the discovery of her life - a treasure trove of ancient Scots-Irish ballads, songs that have been handed down from generation to generation, preserved intact by the seclusion of the mountains. With The Song Collector goal of securing her promotion, Lily ventures into the most isolated areas of the mountains to collect the songs and finds herself increasingly enchanted - not only by the rugged purity of the music, but also by the raw courage and endurance of the local people as they carve out meaningful lives against the harshest conditions. It is not, however, until she meets Tom - a handsome, hardened war veteran and talented musician - that she's forced to examine her motivations. Is the "Songcatcher," as Tom insists, no better than the men who exploit the people and extort their Written by Sujit R. Songcatcher is a film that shows the side of the mountain people that has been unknown for years. It's kind of The Song Collector an indie, female version of Oh Brother Where Art Thou, but with a The Song Collector touch and more and better music. -
Edited and with an Introduction by Olivia Carter Mather and J
ECHO: a music-centered journal www.echo.ucla.edu Volume 4 Issue 2 (Fall 2002) Edited and with an Introduction by Olivia Carter Mather and J. Lester Feder Introduction Why Now? A Millenial Folk Revival? 1. The success of the Coen Brothers’ 2000 movie, O Brother, Where Art Thou?, and its Appalachian- and Bluegrass-inflected soundtrack seemed to come out of the blue. When considered alongside other artifacts of popular culture from recent years—the re-release of the Harry Smith Anthology of American Folk Music, Moby’s album Play, and the popularity of the Dixie Chicks, to name a few—it is clear that the new interest in music drawing on “folk” or “roots” influences has obvious precedents. At the same time, O Brother’s popularity has spawned a wide array of “follow up” products and projects: new folk anthologies, books, concert tours, TV series, documentaries, women- in-bluegrass collections, soundtracks, and even church musicals. Taken as a package, it seems we are in the midst of a “folk revival”—a period when popular (and corporate) culture looks to music, art, and other cultural forms that are seen as “folkloric,” treated as if created by communities of music-makers without the interference or mediation of technology. 2. There have been many previous folk revivals in this century, the most (in)famous of which occurred in the late 50s and early 60s, including performers such as Pete Seeger and Joan Baez and collectors such as Alan Lomax. The 60s revival—whose presence is very much felt in the ECHO: a music-centered journal www.echo.ucla.edu Volume 4 Issue 2 (Fall 2002) current moment—itself looked to a revival of the early twentieth century, when collectors such as Cecil Sharp, Olive Dame Campbell, and John Lomax (Alan’s father) headed into the rural parts of the United States in search of “authentic” indigenous expressions. -
America's Roots Music
FREE Volume 1 Number 4 July/August 2001 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY “Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers AMERICA’S ROOTS MUSIC NEW FILM EXAMINES THE LIFE & MUSIC OF APPALACHIAN PEOPLE ike O Brother, Where Art Thou, singing ballads Songcatcher is a movie where the and young folks plot is built to showcase the fiddling away on music. As with O Brother... the the corner. music being trumpeted is from Songcatcher Appalachia. The haunting songs attempts to give us a glimpse into life in the Songcatcher in the film, as well as on the mountains at the turn of the century. Dr. Lily L soundtrack, represent some of Penleric (JANET MCTEER) is an academic WRITTEN & DIRECTED BY America’s most powerful musical folklorist. When she is passed over again for MAGGIE GREENWALD influences - the roots that later sprout into blue- university promotion, she leaves the universi- WITH JANET MCTEER, EMMY ROSSUM, grass, country music, folk singing, and eventually, the Southern- ty and heads to the mountains where her sister runs a local PAT CARROLL, AIDAN QUINN influenced rock ‘n roll of Elvis Presley. Appalachia remains a schoolhouse. Once there, she “discovers” the treasure-chest hotbed of creative music with new stars such as Iris DeMent ris- of music, sung with such expression and depth that she is at ing out of the old traditions with the rarest of gifts: a high lone- once inspired to tell the world (and make her statement to the some voice and a simple song that can shatter a person’s heart.