Headliners for the Iowa Arts Festival
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THE RICHARDS of ILE ST. JEAN Acadians Move to Louisiana
Lives of Quiet Desperation The Ancestry of a Louisiana Frenchman Gary M. Lavergne Privately Published by the Author Cedar Park, Texas © 2020 by Gary M. Lavergne All rights reserved, including the right of reproduction in whole or in part in any form. Edition 2 3 4 5 6 7 8 9 This book is privately published for the enjoyment and edification of the Lavergne and related families and is not for sale or resale. For information about permission to reproduce selections from this book write to: Gary M. Lavergne P.O. Box 934 Cedar Park, Texas 78630-0934 [email protected] THE RICHARDS OF ILE ST. JEAN Acadians Move to Louisiana In 1652, Michel Richard, a native of the province of Saintonge, France,5 arrived in Acadie as a soldier with an expedition sponsored by Emmanuel LeBorgne. LeBorgne was a speculator and a very rich merchant in France who had invested heavily in the Acadian business enterprises of Charles de Menou d'Aulnay (1604–1650). D’Aulnay had been involved in what has ingloriously been called the “Acadian Civil War.” It seems that King Louis XIV approved overlapping land grants to an entrepreneur named Charles de Saint-Étienne de la Tour and d'Aulnay. Their business differences were exacerbated by deep personal and religious hatred (de la Tour was Protestant and d’Aulnay was Catholic). The most vicious fighting took place from about 1640-45 and did not end until d'Aulnay successfully expelled la Tour from his claims. La Tour fled to Quebec. The matter got even more complicated in 1650 when d’Aulnay died by accidental drowning and LeBorgne laid formal claim to the estate. -
A Musical Odyssey
KAULGGVWPZ0Z « Kindle > In It For The Long Run: A Musical Odyssey. In It For Th e Long Run: A Musical Odyssey. Filesize: 6.56 MB Reviews Very useful to all category of individuals. It is one of the most amazing publication i have got read through. You will not feel monotony at anytime of your respective time (that's what catalogs are for about when you question me). (Mr. Johnathon Dach) DISCLAIMER | DMCA IXMP5IN9EHQW // Doc \ In It For The Long Run: A Musical Odyssey. IN IT FOR THE LONG RUN: A MUSICAL ODYSSEY. To download In It For The Long Run: A Musical Odyssey. PDF, make sure you access the web link listed below and download the file or get access to other information which are highly relevant to IN IT FOR THE LONG RUN: A MUSICAL ODYSSEY. book. University of Illinois Press, Urbana and Chicago, 2014. Socover. Book Condition: New. 352 pages. Socover. New book. MEMOIRS. The memoir of the songwriter and Grammy-winning record producer Inspired by the Hank Williams and Leadbelly recordings he heard as a teenager growing up outside of Boston, Jim Rooney began a musical journey that intersected with some of the biggest names in American music including Bob Dylan, James Taylor, Bill Monroe, Muddy Waters, and Alison Krauss. In It for the Long Run: A Musical Odyssey is Rooney's kaleidoscopic first-hand account of more than five decades of success as a performer, concert promoter, songwriter, music publisher, engineer, and record producer. As witness to and participant in over a half century of music history, Rooney provides a sophisticated window into American vernacular music. -
Produced Byray Manzarek
PRODUCED BY RAY MANZAREK Originally released April 1980 Originally released May 1981 Originally released July 1982 Originally released September 1983 Frank Gargani Debbie Leavitt Power... Passion... Poetry! Attack the world. Let’s do some damage. What a band. Four monsters of skin. My favorite rockers of the then time. John Doe - Mr. Handsome - of the deep rich voice, the hard, strong jaw, the angular bass stance and the hot/cool lyrics. Their harmonies - some would say Schoenberg - his partner Exene, of the wailing scream in the night, the clear eyed pinning of American failings, the fine words of Diana Bonebrake love and booze and madness in the midnight dawn of Los Angeles. “Johny Hit and Run Paulene...” and he’s got a sterilized hypo filled with a sex-machine drug, and he only has 24 hours to shoot all Paulenes between the legs. So get busy, boy. And he does. Listen to those words! That naughty, naughty Johny. I love ‘em. And Exene’s “The World’s a Mess, it’s in My Kiss.” I just love that crazy combination: World - Mess - Kiss. And Billy Zoom on guitar, or is that at least 3 or 4 guitars. How does he do it? It’s so massive, so sharp, so bright, so fucking LOUD!!! And he is so silver smooth and cool. Effortless fingering, impeccable on the frets. Doesn’t he ever make a mistake? Is he a flesh and blood Valhalla guitar god? Yeahhh! And who is that madman beating the living shit out those drums? Ladies and Gentleman... D. -
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. -
Here Is a Printable
Ryan Leach is a skateboarder who grew up in Los Angeles and Ventura County. Like Belinda Carlisle and Lorna Doom, he graduated from Newbury Park High School. With Mor Fleisher-Leach he runs Spacecase Records. Leach’s interviews are available at Bored Out (http://boredout305.tumblr.com/). Razorcake is a bi-monthly, Los Angeles-based fanzine that provides consistent coverage of do-it-yourself punk culture. We believe in positive, progressive, community-friendly DIY punk, and are the only bona fide 501(c)(3) non-profit music magazine in America. We do our part. An Oral History of The Gun Club originally appeared in Razorcake #29, released in December 2005/January 2006. Original artwork and layout by Todd Taylor. Photos by Edward Colver, Gary Leonard and Romi Mori. Cover photo by Edward Colver. Zine design by Marcos Siref. Printing courtesy of Razorcake Press, Razorcake.org he Gun Club is one of Los Angeles’s greatest bands. Lead singer, guitarist, and figurehead Jeffrey Lee Pierce fits in easily with Tthe genius songwriting of Arthur Lee (Love), Chris Hillman (Byrds), and John Doe and Exene (X). Unfortunately, neither he nor his band achieved the notoriety of his fellow luminary Angelinos. From 1979 to 1996, Jeffrey manned the Gun Club ship through thick and mostly thin. Understandably, the initial Fire of Love and Miami lineup of Ward Dotson (guitar), Rob Ritter (bass), Jeffrey Lee Pierce (vocals/ guitar) and Terry Graham (drums) remains the most beloved; setting the spooky, blues-punk template for future Gun Club releases. At the time of its release, Fire of Love was heralded by East Coast critics as one of the best albums of 1981. -
Winged Migration: Andrew Bird
Illustrated by Slava Triptih Written by Zack Ruskin Andrew Bird is many things: a virtuoso violinist, an the time he was finishing Oh! The Grandeur, the second Bowl of Fire That song began as many songs do for Bird, as an internal debate about.” Bird says the incident is absurd but also pretty funny. impeccable whistler and the man behind more than a dozen albums album, he was already itching to move on. “I was seeing that I was between his intentions and doubts for the piece of music in question. “I’m a bit like that guy,” he concedes. “I’ve got a lot going on in my of music that inventively marry the joyous with the somber. He is also going to be trapped by that if I kept at it for too long. I saw the way While Bird has rarely employed guest vocalists in a featured capacity life, and I’m impatient with some of my own internal indulgences.” never truly alone. that the popularity of music was a fleeting thing, and I didn’t want on his work, he says that in this case it made sense to ascribe one of the Bird’s impatience has also extended to his live performance style, a “There are lots of voices in my head chiming in,” he says. my music to be an accessory to someone’s lifestyle. I had more to song’s points of view to another person. By making that person female, signature of his craft for the past decade. He says he “stumbled into” the Before anyone books him a padded room, it should be noted that say than that.” he saw “Left Handed Kisses” progress into a relationship dynamic. -
Jim-Rooney-Daa-Induction-By-Menius
Jim Rooney DAA Presentation by Art Menius IBMA World of Bluegrass Awards Luncheon September 29, 2016 Jim Rooney did me a big favor, writing. In It for the Long Run: A Musical Memoir, so that I could do this presentation. That’s being a friend. Jim is a man who has done it all while enjoying being in it for the long run in many relationships. Think of Bill Keith, Eric von Schmidt, or his eventual spouse Carol Langstaff. At Owensboro I remember Jim, tall and commanding, as his left hand powered the rhythm on a kick ass rendition of Six White Horses.” Not that he limited himself to Monroe covers. His interpretation of the Stones’ “No Expectations” became a go to song. His love for bluegrass began back in Massachusetts in the 1950s when he heard on a band called the Confederate Mountaineers at radio station WCOP. Inspired by the Lillys, Tex, and Stovepipe, it wasn’t too long before Jim was on WCOP himself and hooked on performing. At Amherst he met Bill Keith who would be a friend and musical partner for much of the next 60 years. In 1962, they recorded “Devils Dream” and “Sailor’s Hornpipe,” the first documentation of Bill’s chromatic style shortly before he joined the Blue Grass Boys. The tracks appeared on their Living on the Mountain LP. Their many collaborations would include the revolutionary Blue Velvet Band whose music spread worldwide person to person Mud Acres, and concerts and tours with many different aggregations and combinations. Jim enjoyed sharing a heritage award from the Boston Bluegrass Union and brought us to tears at Bill’s induction into the Hall of Fame. -
Pieta Brown in Concert
Rootstalk | Volume IV, Issue 2, Spring 2018 Pieta Brown in Concert BY KELLY HANSEN MAHER usically as well as figuratively, Iowa-born Msinger-songwriter, Pieta Brown (https:// www.pietabrown.com) honors the long sustain—a fact which was amply evidenced by her sold-out fall 2017 performance in the Grinnell (Iowa) Area Arts Council’s (https://www.grinnellarts.org) gallery space, backed by Grammy-award winning guitarist Bo Ramsey (https:// www.boramsey.com). Her layered refrains make for a straightforward but lush musical atmosphere that re- calls traditional folk and blues, while her strong yet PHOTO COURTESY OF KELLY HANSEN MAHER breathy vocals run more indie and alt-country. It’s an Kelly Hansen Maher (https://www.kelly- infectious blend that ably supports Brown’s clear sense hansenmaher.com/books) lives in Grinnell, of tradition and place. Put another way, her music epit- Iowa, and is the author of one collection of omizes contemporary Middle-America songwriting. poetry, Tremolo (Tinderbox Editions, 2016; Watching her play, I found myself watching her fin- http://www.tinderboxeditions.org/on-line- gers on the guitar neck at the end of each song. On each store/Tremolo-p61897419). Her work has song ending, she pressed the strings and gently waved appeared in Briar Cliff Review (http:// the neck, drawing the final sound out in a reverent, last- www.bcreview.org), New Orleans Review ing fade. This impression of that night has stayed with (http://www.neworleansreview.org), and me: that resonant, purposeful close, which was really an elsewhere. Kelly teaches creative writing in intention to remain. -
Winter 2021 U.S. Department of the Interior Pmb
JourneysWINTER 2021 U.S. DEPARTMENT OF THE INTERIOR PMB Administrative Services AVSO BAD CADR IBC OFAS OHA Our Vision: To Deliver Outstanding Products and Customer Service While Actively Creating and Sustaining a Respectful Focus Message from the Deputy Assistant Secretary February 2021 Dear Administrative Services Team, I’m delighted to present to you our Winter issue of Journeys. As we move to a quarterly publication schedule, our hope is that Journeys remains an enjoyable and informative oasis, an opportunity to take a few moments to connect with your colleagues in the Department. Here are just a few highlights: • Julie Lucero celebrates DOI’s impressive contributions to the Combined Federal Campaign (page 4) • Justin Wade explains how supply chain security risks can be mitigated (page 6) • In a continuing series focusing on our trust responsibilities to Tribal Nations,Teresa Stella features extraordinary photos from some of our favorite challenges us to consider how we can strengthen our photographers: Daniel J. Boits, Jr., Doug Sanchez, nation-to-nation relationships (pages 7 and 8) Patrick Rodden, Evan Wexler and Kaiulani Rees, whose photos of foxes in the Alaskan wilderness are sure to • Tonianne Baca-Green guides us in finding balance delight. Enjoy! using mindfulness techniques (page 9) The Journeys team welcomes and values your • Shaun House experiments with a gratitude journal suggestions - please don’t hesitate to reach out (page 10) anytime. We look forward to hearing from you. • Gary Bremen shares a story about connecting to As always, stay safe and be well. memories through National Parks (pages 11 and 12) Respectfully, • Abby True reveals how running is her “True North” (page 13) Jacqueline M. -
The Caravan Playlist 147 Friday, March 18, 2016 Hour 1 Artist Track
The Caravan Playlist 147 Friday, March 18, 2016 Hour 1 Artist Track CD/Source Label Andrew Bird Natural Disaster Noble Beast Fat Possum - c 2009 Lamb Chop I Can Hardly Spell My Name Is A Woman Merge Records - c 2002 David Darling Solitude Cello Blue Hearts of Space - c 2001 Caroline Fenn Monsters Fragile Chances ECR Music Group - c 2012 Erin Mckeown Easy Baby Monday Morning Cold TVP Records - c 1997 Buddy Flett I Got Evil (Don't You Lie To Me) Mississippi Sea Out Of The Past - c 2007 Moby Grape Never Grape Jam Sundazed Music - c 2007 Janis Joplin Ball and Chain Monterey Pop Festival 1967 Rhino - c 1997 Steppenwolf Monster Live Steppenwolf MCA - c 1971 Mammas and Pappas California Dreamin' Monterey Pop Festival 1967 Rhino - c 1997 Janis Joplin Try Woodstock Anniversary Collection Atlantic - c 1994 Hour 2 Artist Track Concert Source Choir Of Young Believers NYE no TRE Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers These Rituals of Mine Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Action/Reaction Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers NYE no ET Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Why Must it Always Be This Way Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Hollow Talk Guitar Showroom at SXSW NPR Music - c 2010 Yeah Yeah Yeahs Under The Earth NPR Music's SXSW at Stubbs NPR Music - c 2013 Yeah Yeah Yeahs Gold Lion NPR Music's SXSW at Stubbs NPR Music - c 2013 Yeah Yeah Yeahs Subway NPR Music's SXSW at Stubbs NPR Music -
Ethan Gruska Unveils Music Video for “Reoccurring Dream” to Join Agnes Obel on Tour New Album Slowmotionary out This Friday on Sire Records
For Immediate Release March 1, 2017 ETHAN GRUSKA UNVEILS MUSIC VIDEO FOR “REOCCURRING DREAM” TO JOIN AGNES OBEL ON TOUR NEW ALBUM SLOWMOTIONARY OUT THIS FRIDAY ON SIRE RECORDS The official music video for Ethan Gruska’s “Reoccurring Dream” is premiering today and can now be shared/watched HERE. Of the video, Gruska shares: “I never met my grandmother. She died when my mom was 16. At this point she's been gone for longer than she was alive. What little I knew was that she was a successful supporting actress in the movies. I knew she was beautiful, funny, eccentric, and the life of the party. However, these desirable traits are often paired with their opposites, as we all have seen. I've only really been able to speculate on how dynamic a person she might have been...until now. Because she died at such a young age--leaving her family behind—I could only imagine her through the filter of her children--my family-- and because of their loss, her life has always been tinged with sadness in my mind. I was never fully able to comprehend the range of who she might have been. Last month, when my uncle handed me this Super 8 footage of my grandma (with her mother and her father) taken between the 1940's and the 1970's, I was completely blown away. I was finally able to see her in action and watching this footage was like meeting her for the first time. I saw my mother in her. I saw my uncles in her, my sister, and myself. -
The Social Work of Music a Musician's Path to Change
ALUMNI GAZETTE The Social Work of Music Jazz composer and pianist Darrell Grant ’84E measures his success not only by how his music sounds, but also by what it does. b y Karen McCally ’02 (PhD) Darrell Grant ’84E has been a celebrat- ed jazz composer and pianist since early in his career, when his first solo project, Black Art (Criss Cross), was named by the New York Times as one of the top 10 jazz recordings of 1994. In 1997, he took an unusual step for a ris- ing jazz artist. He moved out of New York City to Portland, Oregon, a place much less known for its jazz scene. Grant and his wife, Anne McFall ’85E, who studied viola at Eastman, were eager to start a new life there. Yet it was also a place Grant felt would allow him, to a far greater extent than in New York City, to form meaningful connections with audi- ences and with his community. “One of the things I was interested in was the idea of doing well by doing good,” says Grant, who teaches at Portland State University. “If you’re going to create some- thing, you get to determine the measures for success. And something I always want- ed to figure out was ways to connect my musical projects to something broader in VaLuE(S)-aDDED: In a variety of projects, Grant seeks to integrate his music with his values. the community.” ESSAY This past fall, Grant contributed an es- say for a special edition of Chamber Mu- sic magazine (see “A Musician’s Path to A Musician’s Path to Change Change”).