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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. -
Joni Mitchell," 1966-74
"All Pink and Clean and Full of Wonder?" Gendering "Joni Mitchell," 1966-74 Stuart Henderson Just before our love got lost you said: "I am as constant as a northern star." And I said: "Constantly in the darkness - Where 5 that at? Ifyou want me I'll be in the bar. " - "A Case of You," 1971 Joni Mitchell has always been difficult to categorize. A folksinger, a poet, a wife, a Canadian, a mother, a party girl, a rock star, a hermit, a jazz singer, a hippie, a painter: any or all of these descriptions could apply at any given time. Moreover, her musicianship, at once reminiscent of jazz, folk, blues, rock 'n' roll, even torch songs, has never lent itself to easy categorization. Through each successive stage of her career, her songwriting has grown ever more sincere and ever less predictable; she has, at every turn, re-figured her public persona, belied expectations, confounded those fans and critics who thought they knew who she was. And it has always been precisely here, between observers' expec- tations and her performance, that we find contested terrain. At stake in the late 1960s and early 1970s was the central concern for both the artist and her audience that "Joni Mitchell" was a stable identity which could be categorized, recognized, and understood. What came across as insta- bility to her fans and observers was born of Mitchell's view that the honest reflection of growth and transformation is the basic necessity of artistic expres- sion. As she explained in 1979: You have two options. -
Still on the Road Session Pages: 1961
STILL ON THE ROAD 1961 FEBRUARY OR MARCH East Orange, New Jersey The Home of Bob and Sid Gleason, “The East Orange Tape” MAY 6 Branford, Connecticut Montewese Hotel, Indian Neck Folk Festival Minneapolis, Minnesota Unidentified coffeehouse, “Minnesota Party Tape 1961” JULY 29 New York City, New York Riverside Church, Hootenanny Special SEPTEMBER 6 New York City, New York Gaslight Café, “The First Gaslight Tape” Late New York City, New York Gerde's Folk City 30 New York City, New York Columbia Recording Studios, Carolyn Hester studio session OCTOBER 29 New York City, New York WNYC Radio Studio Late New York City, New York Folklore Center NOVEMBER 4 New York City, New York Carnegie Chapter Hall 20, 22 New York City, New York Studio A, Columbia Recordings, Bob Dylan recording sessions Late New York City, New York Unidentified Location, Interview conducted by Billy James 23 New York City, New York The Home Of Eve and Mac McKenzie DECEMBER 4 New York City, New York The Home Of Eve and Mac McKenzie 22 Minneapolis, Minnesota The Home Of Bonnie Beecher, Minnesota Hotel Tape Bob Dylan sessions 1961 20 The Home of Bob and Sid Gleason East Orange, New Jersey February or March 1961 1. San Francisco Bay Blues (Jesse Fuller) 2. Jesus Met The Woman At The Well (trad.) 3. Gypsy Davey (trad., arr Woody Guthrie) 4. Pastures Of Plenty (Woody Guthrie) 5. Trail Of The Buffalo (trad., arr Woody Guthrie) 6. Jesse James (trad.) 7. Car, Car (Woody Guthrie) 8. Southern Cannonball (R. Hall/Jimmie Rodgers) 9. Bring Me Back, My Blue-Eyed Boy (trad.) 10. -
The Folk Club Of
The Folk Club of Reston - Herndon Volume 21, Issue 10 Preserving the traditions of October 2004 Folk Music, Folklore and Gentle Folk Ways October 18 Showcase – T.M Hanna By T.M. I would like to take this opportunity to thank everybody at the Folk Club for all the support, friendship, and music that you have shared over the years. When I first started attending the Club, I believe about sixteen years ago, I had very limited experience performing in public. Since then I have performed in over a hundred smoky bars, three dozen coffeehouses, seven festivals, and four churches. I’m told I hold the record for showcase performances, although I am uncertain exactly how many I have done (I probably hold a similar record for accompanying other showcase performers, too). My first one really didn’t go all that well, but, as always, the Club members were very encouraging. Fortunately, that was in the days before recording devices. While attending the Folk Club, I have heard musicians and instruments from all over the country, and many parts of the world as well. I’ve seen performers gain confidence and improve their musical abilities by leaps and bounds. I have seen Club members who have moved on to Nashville, or to touring the country with songs that we first heard here. I've heard some of the best live music ever, as well as some of the worst, sometimes in the same night! I have seen nights when the room was packed and chairs were at a premium, and nights when the place was nearly deserted, but I’ve never seen a night when there wasn’t at least one person willing to listen to a song or two. -
Freewheelin-On-Line Take Fourteen
freewheelin-on-line take fourteen Freewheelin’ 212 I have to say that I remained a rear view passenger when it came to this month’s cover. The person who was in the driving seat, with both hands firmly on the wheel, was Phil Townsend of lazycarrot.com., and what a great collage of colour and images Phil has produced. It is of course the cover of the programme for The Third Annual John Green Day to be held at The Moat House Hotel, Northampton on the 17th May 2003. In keeping with the theme of the day, Phil has designed a ‘folkie’ type cover, the photograph coming straight from 1963 when Carolyn Hester’s hair was flowing long and Dylan’s mop was tucked under his corduroy cap. It is not Dylan’s cap that catches my eye in this picture however but rather his shirt, or to be more precise, his shirtsleeves. The young folkie clearly means business: his sleeves are rolled up to his elbows in a working man’s stance. Being an avid watcher of Dylan images, I tried to recall any official album covers where Dylan has his sleeves rolled up. Strangely the first image that came to mind was not of Dylan but was of the rail road worker with the pick axe who appears on the cover of ‘Slow Train Coming’. That was perhaps the obvious one, but then: ‘Down In The Groove’ is a proper roll up; ‘Street Legal’ looks a little rolled and ‘Empire Burlesque’ is a kind of a jacket and shirt half roll. -
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). -
Music Express Song Index V1-V17
John Jacobson's MUSIC EXPRESS Song Index by Volume Volumes 1-17 Song Title Contributor Vol. No. Series Theme/Style Beethoven: Piano Sonata No. 14 "Moonlight" Ludwig van Beethoven 1 1 Listening Map Listening, Composer, Classical Great New Day John Jacobson, Mac Huff 1 1 Music Express in Concert Back to School, Music Hamabe no Uta (Song of the Beach) Japanese Folk Song, John Higgins 1 1 Corner of the World World Music Jesse John Jacobson, Roger Emerson 1 1 Heroes All Cross-Curricular Light the Candle of Peace Audrey Snyder 1 1 Music Express in Concert Winter Music Express (Original Theme Song) John Jacobson, John Higgins 1 1 Music Express in Concert Music Prelude No. 2 by George Gershwin George Gershwin 1 1 Listening Map Listening, Composer Aeyaya balano sakkad M.B. Srinivasan. Smt. Chandra B, John Higgins 1 2 Corner of the World World Music Go Nellie! John Jacobson, Roger Emerson 1 2 Heroes All Cross-Curricular If I Could Vote John Jacobson, Alan Billingsley 1 2 Music Express in Concert Patriotic Ives' Holiday Symphony Charles Ives 1 2 Listening Map Listening, Composer Latin America: A Musical Crossroads Pepe Castillo 1 2 Listening Map Listening, World Music We Are Family Mac Huff 1 2 Music Express in Concert Positive Message Benjamin Britten's Ceremony of Carols Benjamin Britten 1 3 Listening Map Listening, Composer December Nights, December Lights Emily Crocker 1 3 Music Express in Concert Winter, Holiday Instruments from Ireland Three Irish pieces 1 3 Listening Map Listening, Instruments, World Music Jolly Jingle Bells Alan Billingsley 1 3 Music Express in Concert Winter Think! John Jacobson, Roger Emerson 1 3 Heroes All Cross-Curricular Wren Song, The Irish Folk Song, John Higgins 1 3 Corner of the World World Music Afro-American Symphony William Grant Still 1 4 Listening Map Listening, Composer Booker T. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
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. -
Tom Paxton Len Chandler Phil Ochs OTHERS
THE NATIONAL TOPICAL SONG MAGAZINE APRIL 1966 PRICE -- 50¢ . IN THIS ISSUE BUffy Sainte;Marie Tom Paxton Len Chandler Phil Ochs OTHERS ".".".JflfJf NEW SONGWRlTEBS JIMMY.- COLLIER JUDY REISMAN JERRY MOORE TOllY .TOWNSBD teve: Mayer Reviews· the new Eric · Andersen Record "'BOUT CHANGES &: THIlfOB" Other record re views b;y STU COHER • •• •Parodies b;y LEDA RANDOLPH, AND! BEa- 1Wf, JERRY FARBl!2, PAUL WOLFE • .;. Arlo icl~:C6untr.r~est em Pro-War SOngs, by GORDON FRIESEN. Photograph by Erik Fa1kensteen - 2 - NEW YORK POST, THURSDAY, FEBRUARY 10, 1966 They shook the foreign shackles, The emptiness of American Hider but that they do seek an they fought the tyrant's hold, policy in Southeast Asia was end to the bloodshed in Viet They broke the hand that nailed them never m0re manifest than tn Nam and the beginning of a to a cross of blazing gold, President Johnson's invitation new era of social, economic and to the self·confessed admirer of political justice for all its people. But the battle that I waged was of a far, Adolf Hitler, Premier Ky, to The President's powers of per· far different kind, visit on American territory. The suasion could have been em· And mercy was the last thing on mw mind. general has not only expressed ployed to good use in convinc· admimtion for the arch brute ing Ky that what his unhappy Rifles rang and bullets sang, of history but he has also pltb· country needs is not a Hitler and the jungle sky grew red, J.jcly and consistently repudi· but a Lincoln, not war but ated American efforts to seek an peace. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.