Diplomsko Delo

Total Page:16

File Type:pdf, Size:1020Kb

Diplomsko Delo UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA Oddelek za anglistiko in amerikanistiko DIPLOMSKO DELO Manica Doberšek Maribor, 2009 UNIVERZA V MARIBORU FILOZOFSKA FAKULTETA Oddelek za anglistiko in amerikanistiko Diplomsko delo JOHNNY CASH AND HIS LYRICS Mentor: Dr. Victor Kennedy, red. prof. Kandidatka: Manica Doberšek Maribor, 2009 Zahvala Zahvaljujem se svojemu mentorju, prof. dr. Victorju Kennedyju, za zanimivo idejo in možnost, da jo uresni čim, kot tudi za vse nasvete. Neizmerno hvala staršem za potrpljenje in podporo med študijem in še posebej med nastajanjem diplome. Hvaležna sem tudi Ani in Renati za vse skupne študentske dni, vzpodbude in pomo č ter Urošu, ki me je v najtežjih trenutkih znal nasmejati. Izjava Podpisana Manica Doberšek, rojena 26.9.1984, študentka Filozofske fakultete Univerze v Mariboru, smer angleški jezik s književnostjo in geografija, izjavljam, da je diplomsko delo z naslovom Johnny Cash and his Lyrics pri mentorju dr. Victorju Kennedyju, avtorsko delo. V diplomskem delu so uporabljeni viri in literatura korektno navedeni; teksti niso prepisani brez navedbe avtorjev. Manica Doberšek Štore, 12. 6. 2009 ABSTRACT The music and lyrics that Johnny Cash either signed his name to or lent his beautiful baritone voice have a special place in American, as well as in the world’s, music. The main purpose of the diploma is above all to critically analyse the lyrics of the songs that described his and many other’s lives. Cash’s own experiences, tragic personal stories, relationships between the sexes, minority problems, God, and awareness of transience of life are the most frequent themes that he devoted most of his attention to. The more sad and dramatic the story is, the more attractively Cash wraps it within humor. The survey of only a fragment of his rich collection reveals a man with an incomparable sense of opposites, which reflects in his life as in the stories of his characters. Criminals and Native Americans, who were in the American history highly despised, were most frequently celebrated in the songs. Johnny Cash is one of the rare musicians whose music is listened to by his coevals to generations just to be born, presidents and convicts. Key words: Johnny Cash, lyrics, poetry, interpretations; POVZETEK Glasba in besedila pod katera se je podpisal ali jim posodil svoj čudoviti baritonski glas Johnny Cash imajo tako v ameriški kot tudi svetovni glasbi prav posebno mesto. Cilj tega diplomskega dela je bila predvsem kriti čna analiza besedil njegovih pesmi, ki so zaznamovale njegovo življenje kot tudi mnoga druga. Lastne izkušnje, tragi čne osebne zgodbe, odnosi med spoloma, manjšinski problemi, Bog in zavedanja o človeški minljivosti so tematike, ki se jim je ta vsestranski umetnik najraje posve čal. In bolj kot je zgodba žalostna, dramati čna, lepše jo Cash zavije v humor. Pregled le del čka bogate zbirke razkriva človeka z neprimerljivim smislom za nasprotja, ki se odraža tako v njegovem življenju kot v zgodbah njegovih junakov. Najve čkrat so bili to kriminalci in domorodci, ki so v zgodovini Amerike tudi najbolj zani čevani. Johnny Cash je eden redkih glasbenikov čigar glasbo poslušajo tako njegovi vrstniki kot generacije, ki se šele rojevajo, predsedniki držav in kaznjenci. Klju čne besede: Johnny Cash, besedila pesmi, poezija, interpretacije pesmi; TABLE OF CONTENTS 1 INTRODUCTION .................................................................................................. 1 2 HISTORY................................................................................................................ 2 2.1 USA IN THE 1950 S............................................................................................. 2 2.2 AMERICAN POETRY IN THE 1950 S AND 1960 S ................................................... 4 3 CRITICAL ANALYSIS OF THE SONGS .......................................................... 6 3.1 “F OLSOM PRISON BLUES ” ................................................................................. 8 3.2 “F IVE FEET HIGH AND RISING ” ......................................................................... 10 3.3 “T HE MAN IN BLACK ”..................................................................................... 13 3.4 “T HE MAN COMES AROUND ”.......................................................................... 17 4 THE BALLADS.................................................................................................... 22 4.1 FEATURES OF THE BALLAD .............................................................................. 22 4.2 “T HE BALLAD OF IRA HAYES ” ........................................................................ 23 4.3 “G IVE MY LOVE TO ROSE ”.............................................................................. 26 4.4 “D ON ’T TAKE YOUR GUNS TO TOWN ”............................................................ 27 4.5 “D ELIA ’S GONE ” ............................................................................................. 29 5 HUMOR AND IRONY IN POEMS.................................................................... 31 5.1 “M EAN EYED CAT ” AND “B EANS FOR BREAKFAST ” ....................................... 31 5.2 “A BOY NAMED SUE ” ..................................................................................... 34 5.3 “O NE PIECE AT A TIME ” .................................................................................. 36 5.4 MURDER SONGS ............................................................................................... 39 6 SONGS THAT JOHNNY CASH INTERPRETED .......................................... 41 6.1 “O NE ” (U2) ..................................................................................................... 42 6.2 “H URT ” (N INE INCH NAILS ) ............................................................................ 44 7 JOHNNY CASH’S INFLUENCE ....................................................................... 47 8 THE REVIEW OF WALK THE LINE ............................................................... 50 9 CONCLUSION..................................................................................................... 54 10 WORKS CITED AND CONSULTED................................................................ 56 APPENDICES............................................................................................................... 61 1 INTRODUCTION I’m not a savior, and I’m not a saint. The man with the answers I certainly ain’t. I was not an enthusiastic fan of Johnny Cash and his music for all my life as one might think. I first heard of him only two years ago when I went paragliding with my friends. It was then when Vladi played Cash’s CD in his car. A few minutes went by and then I could not resist asking who performed the music, although I knew it was probably someone famous and it will be obvious that I am not well versed in music. He returned me a smile and asked me with his grown-up voice “You don’t know Johnny Cash?” Of course I do not, why would I be asking if I did? I started explaining that I liked what I heard and then he willingly lent me his CD which I have not returned since. I liked it too much and he did not mind. It does not happen that I like every song on an album, yet this one was an exception. I have played that CD over and over again. There were at least three songs on The Man Comes Around that made the hairs on the arms stand up, and while flying I just could not stop humming to myself. Since then I have listened to almost every song Johnny Cash performed, and I liked what I heard. The idea of writing a diploma about Cash’s poetry came by itself since his lyrics are powerful and somebody must speak up and reveal his mastery. He wrote lyrics that make you think and you can not forget his words. He was the voice for people who do not matter to most of the world but they become alive and real when you listen to his songs. It is also his capability of mixing humor and sad stories that made me like his poetry. Yet in the end he is not only a poet, he is also a remarkable musician with an outstanding legacy. He is known worldwide for his deep voice and the number of albums he recorded. He recorded more than 1500 songs in his life. Many of them describe what Johnny Cash in fact is, and with two of them he certainly says enough. He is A Man in Black and A Singer of Songs. 1 2 HISTORY 2.1 USA in the 1950s Johnny R. Cash was born in rural, south-central Arkansas, on February 26, 1932. He started his career in the 1950s. This was the post-war time since WW2 ended soon after the dropping of atom bombs on Hiroshima and Nagasaki. The bombs did not end just the war but also nearly 20 years of economic stagnation that was caused by the Depression and war. This was a time when soldiers came home and the economy was thriving. Everybody not only had a job but had a higher paid job and could afford much a higher living standard. Veterans started to build houses for their families in the suburbs. This was also the start of the baby boom and the time of the Korean War, in which the US participated, lasted from 1950 until 1953. The 1950s were an extremely influential time era in American history because of Rock and Roll, the beginning of the Civil Rights Movement, new fashions, the television, advancements in medicine, and suburban life was much more functional than any other decade in American history (“1950’s”). Rock and roll was a very important “invention” because it made people forget about their morals so that they could have fun and it also led to many types of music
Recommended publications
  • Alshire Records Discography
    Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M.
    [Show full text]
  • 1Guitar PDF Songs Index
    Material on Guitar Website Reference Beginning Guitar Music Guitar Cover Beginning Chords Fingerpicking Bass Runs for Guitar Guitar Christmas Song List Guitar Care Guitar PDF Song Index 1/4/2017 Good Reader Web Downloads to Goodreader How to Use Goodreader Downloading Files to the iPad from iTunes Saving Your Internet Passwords Corrected Guitar and PDF 509 Songs 1/4/2017 A Bushel and a Peck Bad Moon Rising A White Sport Coat Ballad of Davy Crockett All I Ask of You Ballad of Green Berets All My Ex’s Live in Texas Battle Hymn of Aging All My Lovin’ Be Our Guest All My Trials Beautiful Brown Eyes Always On My Mind Because of You Am I That Easy to Forget Beep Beep Amanda - bass runs Beer for My Horses + tab Amazing Grace - D Begin the Beguine A America the Beautiful Besame Mucho American Pie Beyond the Reef Amor Big Rock Candy Mountain And I Love Her Blame It On Bossa Nova And I Love You So Blowin’ in the Wind Annie’s Song Blue Bayou April Love Blue Eyes Crying in the Rain - D, C Aquarius Blue Blue Skies Are You Lonesome Tonight Blueberry Hill Around the World in 80 Days Born to Lose As Tears Go By Both Sides Now Ashokan Farewell Breaking Up Is Hard to Do Autumn Leaves Bridge Over Troubled Water Bring Me Sunshine Moon Baby Blue D, A Bright Lights Big City Back Home Again Bus Stop Bad, Bad Leroy Brown By the Time I Get to Phoenix Bye Bye Love Dream A Little Dream of Me Edelweiss Cab Driver Eight Days A Week Can’t Help Falling El Condor Pasa + tab Can’t Smile Without You Elvira D, C, A Careless Love Enjoy Yourself Charade Eres Tu Chinese Happy
    [Show full text]
  • Music and the American Civil War
    “LIBERTY’S GREAT AUXILIARY”: MUSIC AND THE AMERICAN CIVIL WAR by CHRISTIAN MCWHIRTER A DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2009 Copyright Christian McWhirter 2009 ALL RIGHTS RESERVED ABSTRACT Music was almost omnipresent during the American Civil War. Soldiers, civilians, and slaves listened to and performed popular songs almost constantly. The heightened political and emotional climate of the war created a need for Americans to express themselves in a variety of ways, and music was one of the best. It did not require a high level of literacy and it could be performed in groups to ensure that the ideas embedded in each song immediately reached a large audience. Previous studies of Civil War music have focused on the music itself. Historians and musicologists have examined the types of songs published during the war and considered how they reflected the popular mood of northerners and southerners. This study utilizes the letters, diaries, memoirs, and newspapers of the 1860s to delve deeper and determine what roles music played in Civil War America. This study begins by examining the explosion of professional and amateur music that accompanied the onset of the Civil War. Of the songs produced by this explosion, the most popular and resonant were those that addressed the political causes of the war and were adopted as the rallying cries of northerners and southerners. All classes of Americans used songs in a variety of ways, and this study specifically examines the role of music on the home-front, in the armies, and among African Americans.
    [Show full text]
  • A Multi-Level Analysis of Songwriter Career Strategies by Rachel S
    Changing Patterns of Cooperation in Occupational Communities: A Multi-Level Analysis of Songwriter Career Strategies By Rachel Skaggs 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 Sociology August 10, 2018 Nashville, Tennessee Approved: Daniel B. Cornfield, PhD Shaul Kelner, PhD Joshua Murray, PhD Copyright © 2018 by Rachel Skaggs All Rights Reserved ii To my father, Donnie Skaggs, who I’ve watched pursue his songwriting dreams. To my mother, Rose Skaggs, who supports his dreams and mine. To David Carlson. His dreams and mine are intertwined. iii ACKNOWLEDGMENTS It is an overwhelming task to think of all of the support that people have given me in support of this dissertation. My dissertation is about collaboration, and I have been unmeasurably lucky to have collaborated with wonderful people. I want to begin by thanking every songwriter I interviewed. Without their trust and insight, I could not have conducted research that is as compelling, touching, and important as the project that has emerged. The generosity and openness of these people, most of whom were total strangers to me, is inspiring. Next, I must acknowledge the support of the Robert Penn Warren Center for the Humanities. As a dissertation fellow at the Warren Center, I was able to truly develop my ideas and focus on the work of writing a good dissertation. My fellow fellows at the Warren Center challenged me and supported me. Danielle Picard, Wietske Smeele, Sara Kollner, Alexandra Alekseyeva, David Vila, and James Phelan all contributed to the ways I think about my own work as I try to present it in a manner that is intelligible and meaningful to an interdisciplinary audience.
    [Show full text]
  • Entertainment
    Page 18 Entertainment protection. Needless to say. Bridges and is attributed to that breakthrough record. Every major recording artist worth its' family have decided to sell their home in By Carolyn Baker “On The Wings Of Love” made Osborne an weight in gold records has been talking the Canoga Park suburb of Los Angeles artist who was considered more than just a BULLETIN: By the time you read this about it, but PRINCE is doing it: he’s mak­ and move to friendly territory. (here we go again), it’ll be common ing a movie. Said to be based on the star’s Black artist. His records are reviewed in pop as well as R&B sections. knowledge, but at press time, the work in life, the flick has been shooting in Min­ For 13 years, Phillip Bailey’s Hollywood is that the group SHALIMAR is neapolis for months now, with the promise recognizable trait has been one of the While reflecting on all the song’s he’s no more. Apparently, the differences of the of splashy choreography and plenty of trademarks for Earth, Wind and Fire. But penned, Osborne said that it is a little three members—Howard Hewett, Jody music. The soundtrack will be composed of besides singing lead on such hits as strange that one song took him so far. Suc- Watley and Jeggrey Daniels—were simply new tracks from Prince, Vanity 6, and the “Fantasy” and “Reasons”, Phillip has cuss, though, is nothing new to the 34-year- too much to hold together. As this goes on, TIME, for which Prince has already found also penned some of the groups old musician.
    [Show full text]
  • Office of the Inspector General
    Office of the Inspector General David R. Shaw, Inspector General Accountability Audit Review of Audits of the California Department of Corrections and Rehabilitation 2000–2008 July 2010 State of California P.O. Box 348780, Sacramento, CA 95834-8780 (916) 830-3600 fax: (916) 928-5974 [email protected] Copies of this publication may be downloaded from the Office of the Inspector General’s Web site: www.oig.ca.gov David R. Shaw, Inspector General Office ofthe Inspector General July 8,2010 Matthew L. Cate, Secretary California Department ofCorrections and Rehabilitation 1515 S Street, Room 502 South Sacramento, California 95814 J. Clark Kelso, Receiver California Prison Health Care Receivership Corporation 501 J Street, Suite 100 Sacramento, CA 95814 Dear Mr. Cate and Mr. Kelso: Enclosed is the Office ofthe Inspector General's 2010 Accountability Audit ofthe California Department ofCorrections and Rehabilitation. This two-chapter audit analyzes 87 open recommendations from nine prior reports and special reviews. Chapter 1 presents the results from our first follow-up audit of49 recommendations that we identified in three audit reports issued in 2008. Chapter 2 presents the results from our follow-up review of38 recommendations that we identified in six audit and special review reports issued from 2000 through 2007. Overall, we found that the department has fully or substantially implemented 62 percent ofthe recommendations that we made that were still applicable. However, work remains for many recommendations, including eight unimplemented recommendations related to an on-going safety and security issue that continues to concern the OIG. Specifically, the department continues to allow custody officers to work armed posts without having completed quarterly weapons proficiency requirements.
    [Show full text]
  • 2018 BAM Next Wave Festival #Bamnextwave
    2018 BAM Next Wave Festival #BAMNextWave Brooklyn Academy of Music Adam E. Max, Katy Clark, Chairman of the Board President William I. Campbell, Joseph V. Melillo, Vice Chairman of the Board Executive Producer Place BAM Harvey Theater Oct 11—13 at 7:30pm; Oct 13 at 2pm Running time: approx. one hour 15 minutes, no intermission Created by Ted Hearne, Patricia McGregor, and Saul Williams Music by Ted Hearne Libretto by Saul Williams and Ted Hearne Directed by Patricia McGregor Conducted by Ted Hearne Scenic design by Tim Brown and Sanford Biggers Video design by Tim Brown Lighting design by Pablo Santiago Costume design by Rachel Myers and E.B. Brooks Sound design by Jody Elff Assistant director Jennifer Newman Co-produced by Beth Morrison Projects and LA Phil Season Sponsor: Leadership support for music programs at BAM provided by the Baisley Powell Elebash Fund Major support for Place provided by Agnes Gund Place FEATURING Steven Bradshaw Sophia Byrd Josephine Lee Isaiah Robinson Sol Ruiz Ayanna Woods INSTRUMENTAL ENSEMBLE Rachel Drehmann French Horn Diana Wade Viola Jacob Garchik Trombone Nathan Schram Viola Matt Wright Trombone Erin Wight Viola Clara Warnaar Percussion Ashley Bathgate Cello Ron Wiltrout Drum Set Melody Giron Cello Taylor Levine Electric Guitar John Popham Cello Braylon Lacy Electric Bass Eileen Mack Bass Clarinet/Clarinet RC Williams Keyboard Christa Van Alstine Bass Clarinet/Contrabass Philip White Electronics Clarinet James Johnston Rehearsal pianist Gareth Flowers Trumpet ADDITIONAL PRODUCTION CREDITS Carolina Ortiz Herrera Lighting Associate Lindsey Turteltaub Stage Manager Shayna Penn Assistant Stage Manager Co-commissioned by the Los Angeles Phil, Beth Morrison Projects, Barbican Centre, Lynn Loacker and Elizabeth & Justus Schlichting with additional commissioning support from Sue Bienkowski, Nancy & Barry Sanders, and the Francis Goelet Charitable Lead Trusts.
    [Show full text]
  • Titelname Im Stil Von Künstler
    Titelname Im Stil von Künstler Achy Breaky Heart Billy Ray Cyrus Back in the night Dr. Feelgood Bad Moon Rising Creedence Clearwater Revival Big River Johnny Cash Big Wheel's Roling Merle Haggard Buicks To The Moon Alan Jackson Bye Bye Love - Everly Brothers Everly Brothers Chattahoochee Alan Jackson Cotton Field - P.G.Rider P.G.Ride Country Boy Alan Jackson Cry, Cry, Cry Johnny Cash Daddy Sang Bass Johnny Cash Dail In Country-E-Dur Michael Ballew Dark Haired Boy Roseanne Cash Der Wilde, Wilde Westen Truck Stop Designated Drinker Alan Jackson DixielandDelight-CRAlabama Alabama Doggone Lonesome Johnny Cash Doing My Time Roy & The Rebels Don't Rock The Jukebox Alan Jackson Don't You Wish It Was True - CDur John Fogerty Drivin' My Life Away Eddie Rabbit Folsom Prison Blues Johnny Cash Forever And Ever - P.G.Rider P.G.Rider Freight Train Alan Jackson Seite 1 von 3 Titelname Im Stil von Künstler Give My Love To Rose Johnny Cash Gonna Come Back As A Country Song Alan Jackson Good Hearded Woman Country Rebels Good Time Alan Jackson Green Back Dollar Country Rebels Happy Birthday Country Rebels Have You Ever Seen the Rain (with Alan Jackson) John Fogerty Heading West - P.G.Rider P.G.Rider I Walk The Line Johnny Cash It Must Be Love Alan Jackson It's Alright To Be A Redneck Alan Jackson Jetplane John Denver Johnny B Good-ADur Chuck Berry Kiss An Angel Good Mornin' Jackson, Alan Livin' On Love Alan Jackson Lonesome Me Johnny Cash Mary Lou Ricky Nelson MephisTennessee Johnny Rivers Mercury Blues Alan Jackson MountainMusic-CRVersion Alabama Nineteen
    [Show full text]
  • The Law of Black Mirror - Syllabus
    City University of New York (CUNY) CUNY Academic Works Open Educational Resources Baruch College 2020 The Law of Black Mirror - Syllabus Yafit Lev-Aretz CUNY Bernard M Baruch College Nizan Packin CUNY Bernard M Baruch College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/bb_oers/27 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Law of Black Mirror: Privacy, Online Social Profiling and the Law Spring 2020 Zicklin School of Business Baruch College Professor Nizan Geslevich Packin Department: Law Email: [email protected] Phone: 646-312-3593 Office: Room B9-208, Vertical Campus Professor Yafit Lev-Aretz Department: Law Email: [email protected] Phone: 646-312-3606 Office: Room B9-219, Vertical Campus Course Description: Using episodes from the show Black Mirror as a study tool - a show that features tales that explore techno-paranoia - the course analyzes legal and policy considerations of futuristic or hypothetical case studies. The case studies tap into the collective unease about the modern world and bring up a variety of fascinating key philosophical, legal, and economic- based questions. Learning goals for the course include: ł Students will use primary sources to analyze contemporary legal and policy issues arising from emerging technologies. ł Students will engage critically and constructively in key policy debates that shape the future of the technology, through in-class discussions, presentations, and colloquia.
    [Show full text]
  • Willie Nelson
    LESSON GUIDE • GRADES 3-6 TABLE OF CONTENTS 3 Introduction 4 About the Guide 5 Pre and Post-Lesson: Anticipation Guide 6 Lesson 1: Introduction to Outlaws 7 Lesson 1: Worksheet 8 Lyric Sheet: Me and Paul 9 Lesson 2: Who Were The Outlaws? 10 Lesson 3: Worksheet 12 Activities: Jigsaw Texts 14 Lyric Sheet: Are You Sure Hank Done It This Way 15 Lesson 4: T for Texas, T for Tennessee 16 Lesson 5: Literary Lyrics 17 Lyric Sheet: Daddy What If? 18 Lyric Sheet: Act Naturally 19 Complete Tennessee Standards 21 Complete Texas Standards 23 Biographies 3-6 Table of Contents 2 Outlaws and Armadillos: Country’s Roaring ‘70s examines how the Outlaw movement greatly enlarged country music’s audience during the 1970s. Led by pacesetters such as Willie Nelson, Waylon Jennings, Kris Kristofferson, and Bobby Bare, artists in Nashville and Austin demanded the creative freedom to make their own country music, different from the pop-oriented sound that prevailed at the time. This exhibition also examines the cultures of Nashville and fiercely independent Austin, and the complicated, surprising relationships between the two. Artwork by Sam Yeates, Rising from the Ashes, Willie Takes Flight for Austin (2017) 3-6 Introduction 3 This interdisciplinary lesson guide allows classrooms to explore the exhibition Outlaws and Armadillos: Country’s Roaring ‘70s on view at the Country Music Hall of Fame and Museum® from May 25, 2018 – February 14, 2021. Students will examine the causes and effects of the Outlaw movement through analysis of art, music, video, and nonfiction texts. In doing so, students will gain an understanding of the culture of this movement; who and what influenced it; and how these changes diversified country music’s audience during this time.
    [Show full text]
  • Sweet & Lowdown Repertoire
    SWEET & LOWDOWN REPERTOIRE COUNTRY 87 Southbound – Wayne Hancock Johnny Yuma – Johnny Cash Always Late with Your Kisses – Lefty Jolene – Dolly Parton Frizzell Keep on Truckin’ Big River – Johnny Cash Lonesome Town – Ricky Nelson Blistered – Johnny Cash Long Black Veil Blue Eyes Crying in the Rain – E Willie Lost Highway – Hank Williams Nelson Lover's Rock – Johnny Horton Bright Lights and Blonde... – Ray Price Lovesick Blues – Hank Williams Bring It on Down – Bob Wills Mama Tried – Merle Haggard Cannonball Blues – Carter Family Memphis Yodel – Jimmy Rodgers Cannonball Rag – Muleskinner Blues – Jimmie Rodgers Cocaine Blues – Johnny Cash My Bucket's Got a Hole in It – Hank Cowboys Sweetheart – Patsy Montana Williams Crazy – Patsy Cline Nine Pound Hammer – Merle Travis Dark as a Dungeon – Merle Travis One Woman Man – Johnny Horton Delhia – Johnny Cash Orange Blossom Special – Johnny Cash Doin’ My Time – Flatt And Scruggs Pistol Packin Mama – Al Dexter Don't Ever Leave Me Again – Patsy Cline Please Don't Leave Me Again – Patsy Cline Don't Take Your Guns to Town – Johnny Poncho Pony – Patsy Montana Cash Ramblin' Man – Hank Williams Folsom Prison Blues – Johnny Cash Ring of Fire – Johnny Cash Ghost Riders in the Sky – Johnny Cash Sadie Brown – Jimmie Rodgers Hello Darlin – Conway Twitty Setting the Woods on Fire – Hank Williams Hey Good Lookin’ – Hank Williams Sitting on Top of the World Home of the Blues – Johnny Cash Sixteen Tons – Merle Travis Honky Tonk Man – Johnny Horton Steel Guitar Rag Honky Tonkin' – Hank Williams Sunday Morning Coming
    [Show full text]
  • From Zones of Conflict Comes Music for Peace
    From zones of conflict comes music for peace. What is Fambul Tok? Around a crackling bonfire in a remote village, the war finally ended. Seven years since the last bullet was fired, a decade of fighting in The artists on this album have added their voices to a high-energy, Sierra Leone found resolution as people stood and spoke. Some had urgent call for forgiveness and deep dialogue. They exemplify the perpetrated terrible crimes against former friends. Some had faced creative spirit that survives conflict, even war. From edgy DJs and horrible losses: loved ones murdered, limbs severed. But as they soulful singer-songwriters, from hard-hitting reggae outfits to told their stories, admitted their wrongs, forgave, danced, and sang transnational pop explorers, they have seen conflict and now sow together, true reconciliation began. This is the story of “Fambul Tok” peace. They believe in the power of ordinary people - entire com- (Krio for “family talk”), and it is a story the world needs to hear. munities ravaged by war - to work together to forge a lasting peace. They believe in Fambul Tok. Fambul Tok originated in the realization that peace can’t be imposed from the outside, or the top down. Nor does it need to be. The com- munity led and owned peacebuilding in Sierra Leone is teaching us that communities have within them the resources they need for their own healing. Join the fambul at WAN FAMBUL O N E FA M I LY FAMBULTOK.COM many voices ... Wi Na Wan Fambul BajaH + DRY EYE Crew The groundbreaking featuring Rosaline Strasser-King (LadY P) and Angie 4:59 grassroots peacebuilding of Nasle Man AbjeeZ 5:33 the people of Sierra Leone Say God Idan RaicHel Project has also been documented featuring VieuX Farka Toure 4:59 in the award-winning film Ba Kae Vusi MAHlasela 5:05 Fambul Tok, and in its Guttersnipe BHI BHiman 6:52 companion book, Fambul Shim El Yasmine 5:10 Tok.
    [Show full text]