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Porchfest 2017.Final
Original Porchfest art by Nina Widger created for our 2016 intersection repair project at Lewis and Auburn Streets Sunday, September 24, 2017 12:00 pm - 6:00 pm SPONSORED BY: Mobile schedule at porchfest.org/m/ For more information visit us at www.porchfest.org 2017 Porchfest Musicians ¡Viva Mayhem! (104 Adams St, 5pm): High energy avant-garde ska/punk The 18 Strings of Luv (105 King St, 5pm): Great tunes from the ‘60s A and the B’s (708 N Aurora St, 4pm): A folky / bluesy / rock trio with a spiritual touch A Fine Line (202 Utica St., 12pm): Groove rock with sax appeal The Accords (308 Utica St, 4pm): Five voices and no instruments, street corner style Ageless Jazz Band (Thompson Park, 2pm): 17-or-so-piece Jazz Big Band, great for dancing All Strung Out (313 Utica St, 2pm): Two guitars, flute, harmonica, mandolin, hand percussion, bass Amongst the Monks (104 Adams St, 12pm): A fusion of sounds in order to create deep thoughts Amplified Silence (209 E Jay St, 12pm): A performance of Cartridge Music (1960), by John Cage Andrew Alling (511 N Aurora St, 12pm): Simultaneous guitar, organ, bass, keyboard, harmonica Anna Coogan’s Amazing Students (304 E Marshall St, 1pm): Vocal, guitar and songwriting students Aria (213 2nd St, 5pm): Uplifting, original music Arthur B and The Planetary Mix (602 N Cayuga St, 4pm): Bringing on the vibes w/ cosmic, funky soul Auntie Emo’s Ukulele Showcase (204 W Yates St, 2pm): Sampler of ukulele players in Ithaca Austin Wyckoff (108 W Lewis St, 4pm): Expressive folk, dark acoustic banyantree (1101 N Cayuga St, -
TEXAS MUSIC SUPERSTORE Buy 5 Cds for $10 Each!
THOMAS FRASER I #79/168 AUGUST 2003 REVIEWS rQr> rÿ p rQ n œ œ œ œ (or not) Nancy Apple Big AI Downing Wayne Hancock Howard Kalish The 100 Greatest Songs Of REAL Country Music JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #48 ROOTS BIRTHS & DEATHS s_________________________________________________________ / TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S "TURBINADO ri TEXAS ROUND-UP YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! #1 TMRU BESTSELLERS!!! ■ 1 hr F .ilia C s TUP81NA0Q First solo release by the acclaimed Austin guitarist and member of ’90s. roots favorites Loose Diamonds. Scrappy Jud has performed and/or recorded with artists like the ' Resentments [w/Stephen Bruton and Jon Dee Graham), Ian McLagah, Dan Stuart, Toni Price, Bob • Schneider and Beaver Nelson. • "Wall delivers one of the best start-to-finish collections of outlaw country since Wayton Jennings' H o n k y T o n k H e r o e s " -Texas Music Magazine ■‘Super Heroes m akes Nelson's" d e b u t, T h e Last Hurrah’àhd .foltowr-up, üflfe'8ra!ftèr>'critieat "Chris Wall is Dyian in a cowboy hat and muddy successes both - tookjike.^ O boots, except that he sings better." -Twangzirtc ;w o tk s o f a m e re m o rta l.’ ^ - -Austin Chronlch : LEGENDS o»tw SUPER HEROES wvyw.chriswatlmusic.com THE NEW ALBUM FROM AUSTIN'S PREMIER COUNTRY BAND an neu mu - w™.mm GARY CLAXTON • acoustic fhytftm , »orals KEVIN SMITH - acoustic bass, vocals TON LEWIS - drums and cymbals sud Spedai td truth of Oerrifi Stout s debut CD is ContinentaUVE i! so much. -
Johnny Cash 1992.Pdf
PERFORM ER S Johnny Cash He s the man in black, “a walking contradiction, partly granted him a solo audition in late 1954, and invited him truth and partly fiction.” His six foot-plus, ebon-draped back with his group. frame has worked itself deep into the American psyche to be On the first day of spring, 1955, the cards were on the table come as familiar to some as Woody Guthrie or Billy the Kid, at Sun. Red Kernodle succumbed to the pressure and disap Geronimo or Luke the Drifter. peared. But Cash rose to the occasion with a song he’d just fin Johnny Cash is a little bit of all those American legends. ished writing. Luther’s unadorned lead guitar picked a sparse During a career that spans five distinct decades, he has created ly melodic pattern, and Marshall came up with a bedrock more than 1,000 compositions that describe a folk hero in rhythm as characteristic of the Sun Sound as that of Elvis, transition, singing in his distinctive baritoned-bass voice of Scotty and Bill. The five masters cut at that session resulted in coal miners and sharecroppers, cowboys and Native Ameri one serviceable B-side, “Hey Porter.” Phillips sent John home cans, families and lovers. Invariably, he returns to his early to write him a hit. years for strength and inspiration. The result was “Cry! Cry! Cry,” recorded in May by the At the height of the Great Depression, on February 26, newly-christened Johnny Cash & the Tennessee Two and is 1932, in the town of Kingsland, Arkansas, Ray Cash and Car- sued as Sun 221 b/w “Hey Porter.” The single took the Mem ric Rivers Cash bore a son named J.R. -
~Tate of \Lrennessee
~tate of \lrennessee HOUSE JOINT RESOLUTION NO. 518 By Representatives Beck, Powell, Russell, Reedy, Cepicky, Todd, Helton, Gillespie, Carr, Curcio, Weaver, Moody, Tim Hicks, Littleton, Keisling, Clemmons, Terry, Gloria Johnson, Camper and Senators Campbell, Gilmore, Kyle, Yarbro A RESOLUTION to recognize and honor the Grand Ole Opry on its 5,000th Saturday night broadcast. WHEREAS, the members of this General Assembly are proud to specially recognize a legendary institution that has contributed significantly to the country music industry and brought acclaim to the State of Tennessee the world over; and WHEREAS, on October 30, 2021, the Grand Ole Opry will send over the airwaves its 5,000th Saturday night broadcast, a momentous occasion in the history of this touchstone of American culture; and WHEREAS, "the show that made country music famous" began on Saturday, November 28, 1925, when a young announcer on Nashville radio station WSM introduced an eighty-year o!d fiddle player, Uncle Jimmy Thompson, as the first performer on a new show called The WSM Barn Dance; and WHEREAS, announcer George D. Hay, who labeled himself "The Solemn Old Judge," but was neither old nor a judge, realized he had started a good thing that fateful night; and WHEREAS, this acclaimed radio show followed an NBC network radio program on Saturday nights called The Music Appreciation Hour, in 1928, Mr. Hay announced on the air, "For the past hour we have been listening to music taken largely from the Grand Opera, but now we will present the Grand Ole Opry"; the -
Voices in the Hall: Sam Bush (Part 1) Episode Transcript
VOICES IN THE HALL: SAM BUSH (PART 1) EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest is a pioneer of New-grass music, Sam Bush. SAM BUSH When I first started playing, my dad had these fiddle albums. And I loved to listen to them. And then realized that one of the things I liked about them was the sound of the fiddle and the mandolin playing in unison together. And that’s when it occurred to me that I was trying on the mandolin to note it like a fiddle player notes. Then I discovered Bluegrass and the great players like Bill Monroe of course. You can specifically trace Bluegrass music to the origins. That it was started by Bill Monroe after he and his brother had a duet of mandolin and guitar for so many years, the Monroe Brothers. And then when he started his band, we're just fortunate that he was from the state of Kentucky, the Bluegrass State. And that's why they called them The Bluegrass Boys. And lo and behold we got Bluegrass music out of it. PETER COOPER It’s Voices in the Hall, with Sam Bush. “Callin’ Baton Rouge” – New Grass Revival (Best Of / Capitol) PETER COOPER “Callin’ Baton Rouge," by the New Grass Revival. That song was a prime influence on Garth Brooks, who later recorded it. Now, New Grass Revival’s founding member, Sam Bush, is a mandolin revolutionary whose virtuosity and broad- minded approach to music has changed a bunch of things for the better. -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Deford Bailey (1899 -1982)
Tennessee State University Digital Scholarship @ Tennessee State University Nashville Conference on African American History and Culture Tennessee African-American History 2019 DeFord Bailey (1899 -1982) Linda T. Wynn (Revised, 1989) Follow this and additional works at: https://digitalscholarship.tnstate.edu/conference-on-african- american-history-and-culture Recommended Citation Wynn (Revised, 1989), Linda T., "DeFord Bailey (1899 -1982)" (2019). Nashville Conference on African American History and Culture. 4. https://digitalscholarship.tnstate.edu/conference-on-african-american-history-and-culture/4 This Article is brought to you for free and open access by the Tennessee African-American History at Digital Scholarship @ Tennessee State University. It has been accepted for inclusion in Nashville Conference on African American History and Culture by an authorized administrator of Digital Scholarship @ Tennessee State University. For more information, please contact [email protected]. Profiles of African AmenCans in Tennessee DeFord Bailey (1899-1982) DeFord Bailey was born on December 14, radio station WDAD. Soon after, Bailey made 1899 at Carthage, Smith County, Tennessee. his first appearance on WSM Radio, after His mother died when he was a little more overcoming some racial opposition from the than a year old, and his father's sister and her station's director. The young black performer husband reared DeFord. Stricken with was given the title "Harmonica Wizard." infantile paralysis at the age of three years, the bedridden child was given a harmonica as Bailey played a role in the naming of the a means of amusement. Bailey overcame "Grand Ole Opry." In 1926, the WSM Barn polio, although he had a deformed back and Dance followed an hour of symphonic music, never grew taller than four feet, ten inches. -
Felice Bryant and Country Music Songwriting in the 1950S
Bridgewater Review Volume 39 Issue 1 Article 4 4-2020 Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/br_rev Part of the Composition Commons Recommended Citation Bishop, Paula (2020). Felice Bryant and Country Music Songwriting in the 1950s. Bridgewater Review, 39(1), 4-7. Available at: https://vc.bridgew.edu/br_rev/vol39/iss1/4 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop f you were a country music artist working in Nashville in the 1950s, you might have found Iyourself at the home of Nashville songwriters, Felice and Boudleaux Bryant, enjoying one of Felice’s home-cooked meals. Boudleaux would present songs that he and Felice had written while Felice offered suggestions and corrections from the kitchen. On the surface this domestic scene suggests conventional gender roles in which the husband handles business Nashville image (Photo Credit: NiKreative / while the wife entertains the guests, but in fact, the Alamy Stock Photo) Bryants had learned to capitalize on Felice’s culinary the country music industry of the 1950s skills and outgoing personality in order to build their and build a successful career, becom- professional songwriting career. As she once quipped, ing what Mary Bufwack and Robert Oermann called the “woman who if they fed the artists a “belly full of spaghetti and ears ignited the explosion of women writers full of songs,” they were more likely to choose a song on music Row.” written by the Bryants. -
Clint Fisher and His Musical Buddies
EDITOR: Amelia Martin ASSOCIATE EDITOR: Sarah Fitzjarrald CONSULTING EDITOR: CONTENTS Carolyn Pollan GUEST WRITER: VOL VIII, NO. 1 APRIL, 1984 Doc Miller PROOF READERS: Letter From Editors 2 Pam Pearce Alphonso Trent, One of the Best 3 Dr. Larry Pearce Mary Nell Euper Hammer's Bands 7 Rosalie Platt Amrita Grotto Band 9 Col. C.B. "Pat" Porter Jimmie Grace and His Ozarkians 10 PHOTOGRAPHIC STAFF David King The Southerners, Edgar A. Robinson, Director 12 INDEXING Doc Miller's Orchestras 14 Floy Looper Clint Fisher and His Musical Buddies 16 OFFICE STAFF Del Conger Fred Rose 18 Felix Thomson Wayne Redden and His Arkansas Valley Boys 19 Thelma Black Velma Barber Froebel E. Lee 19 Frank Jedlicka Heart Throbs 20 BOARD AND OFFICERS: Paul Lewis 20 Amelia Martin, Pres. Chris Allen, V.P. Calvin Carter and the Border City Ramblers, Mary Nell Euper, Sec. Rhonda "Kye'Tleming 21 Donald Peer, Treas. Floy Looper, Corres. Sec. News & Opportunities 22 Wayne Bledsoe Book Notes: Fort Smith, Siloam Shorts, Del Conger Fire In The Hole 25 Gilmer Dixon Sarah Fitzjarrald Marriage Book B, Fort Smith District, Mary Lou Jacobsen Sebastian County, Arkansas 26 Rosalie Platt Col. C.B. (Pat) Porter Corrections, Marriage Book A 32 Felix Thomson Contents, Past Issues 34 Thelma Wray 1884 Newspapers Excerpts 35 Membership in the Fort Smith Historical Index 49 Society includes subscription to The Journal of the Fort Smith Historical Society, which is published semi-annually. Year begins Jan. 1 COVER: Some of Fort Smith's "Big Band Era" Bands and Orchestras and ends Dec. 31. «Copyright 1984 ISSN 0736 4261 For membership, send dues with your name By the Fort Smith Historical Society, Inc. -
Johnny Cash by Dave Hoekstra Sept
Johnny Cash by Dave Hoekstra Sept. 11, 1988 HENDERSONVILLE, Tenn. A slow drive from the new steel-and-glass Nashville airport to the old stone-and-timber House of Cash in Hendersonville absorbs a lot of passionate land. A couple of folks have pulled over to inspect a black honky-tonk piano that has been dumped along the roadway. Cabbie Harold Pylant tells me I am the same age Jesus Christ was when he was crucified. Of course, this is before Pylant hands over a liter bottle of ice water that has been blessed by St. Peter. This is life close to the earth. Johnny Cash has spent most of his 56 years near the earth, spiritually and physically. He was born in a three-room railroad shack in Kingsland, Ark. Father Ray Cash was an indigent farmer who, when unable to live off the black dirt, worked on the railroad, picked cotton, chopped wood and became a hobo laborer. Under a New Deal program, the Cash family moved to a more fertile northeastern Arkansas in 1935, where Johnny began work as a child laborer on his dad's 20-acre cotton farm. By the time he was 14, Johnny Cash was making $2.50 a day as a water boy for work gangs along the Tyronza River. "The hard work on the farm is not anything I've ever missed," Cash admitted in a country conversation at his House of Cash offices here, with Tom T. Hall on the turntable and an autographed picture of Emmylou Harris on the wall. -
Outsiders' Music: Progressive Country, Reggae
CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C. -
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.