Program Information

Total Page:16

File Type:pdf, Size:1020Kb

Program Information JULY 6 - AUGUST 9, 2014 AT WARREN WILSON COLLEGE, ASHEVILLE, NC Th e Swannanoa Gathering Warren Wilson College, PO Box 9000, Asheville, NC 28815-9000 phone/fax: (828) 298-3434 email: [email protected] website: www.swangathering.com shipping address: Th e Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778 For college admission information contact: [email protected] or 1-800-934-3536 Program Information WARREN WILSON COLLEGE CLASS INFORMATION President Dr. Steven L. Solnick Th e workshops take place at various sites around the Warren Wilson Vice President and Dean of the College Dr. Paula Garrett campus and environs, (contact: [email protected] or 1-800-934-3536 Vice President for Administration and Finance Alan Russell for college admission information) including classrooms, Kittredge Th eatre, our Vice President for Advancement & Dean of Admissions Richard Blomgren Bryson Gym dancehall and campus Pavilion, the campus gardens and patios, Dean of Student Life Paul Perrine and our own jam session tents. Each year we off er over 150 classes.Students Dean of Service Learning Cathy Kramer are fr ee to create their own curriculum fr om any of the classes in any programs Dean of Work Ian Robertson off ered for each week. Students may list a class choice and an alternate for each of our scheduled class periods, but concentration on a few classes is strongly THE SWANNANOA GATHERING recommended, and class selections are required for registration. We ask that Founder and President Emeritus Dr. Douglas M. Orr, Jr. you be thoughtful in making your selections, since we will consider them to be Director Jim Magill binding choices for which we will reserve you space. Aft er the fi rst class meeting, Offi ce Manager Ruth Ingram students have until 6pm on Monday of that week to switch into another open Logistics Coordinator Julia Weatherford class if they fi nd they have made an inappropriate choice, and are then expected Housing Coordinator Sarah Donnelly to remain in those classes. We discourage dropping in and out of classes during Dorm Host Amy McCuin the week. Unless indicated in the class descriptions, classes have a maximum of 15 Coordinator, Traditional Song Week Julee Glaub students, and when those limits are reached, classes will be closed and additional Coordinator, Celtic Week Jim Magill students waitlisted. Registration is on a fi rst-come, fi rst-served basis. Look for Coordinator, Old-Time Music & Dance Week Phil Jamison updates and any corrections to this catalog at our website. Coordinator, Guitar Week Al Petteway Each week commences with supper, an orientation session, and Coordinator, Contemporary Folk Week David Roth jam sessions and socializing on the Sunday before classes begin. Most classes Coordinator, Fiddle Week Julia Weatherford will meet for morning or aft ernoon sessions, Monday through Friday. Friday Coordinator, Mando & Banjo Week Jim Magill evening’s activities will conclude the week. Some classes may also meet in the Coordinator, Children’s Programs Melissa Hyman evenings for performance critiques, rehearsals, or jam sessions. In addition to Sound Technician Weogo Reed the scheduled classes and instructor staff , we will have various ‘potluck sessions’, guest instructors, and adjunct staff to call dances and lead picking sessions and ADVISORY BOARD ‘slow jams’, or tune-learning sessions. Check the program descriptions for details. All of our programs include concerts featuring our instructor staff , some of David Holt, artist Tom Paxton, artist which are open to the public. See the ‘Concerts’ page at our website for details. Fiona Ritchie, Th e Th istle & Shamrock Dougie MacLean, artist We will also have several vendors on hand, including Michael Ginsburg (865- Art Menius, Executive Director, Th e ArtsCenter Tommy Sands, artist 984-3803 or [email protected]), off ering recordings and other staff David Wilcox, artist Si Kahn, artist items, and Acoustic Corner (828-669-5162 or www.acoustic-corner.com), John McCutcheon, artist Billy Edd Wheeler, artist off ering instruments, rentals, accessories, books, and musical supplies. Th ose Barry Poss, Sugar Hill Records Mick Moloney, artist Jennifer Pickering, LEAF Festival Director wishing to rent instruments or special order items should contact Acoustic Corner in advance. Th e Gathering has grown steadily since its inception, and we expect growth to continue this year. Please note that although there is no MASTER MUSIC MAKER AWARDS deadline for registrations, both class size and total enrollment are limited for each calendar week, so early registration is encouraged. Our mountain campus Ralph Blizard — 1996 Séamus Connolly — 2002 is beautiful but hilly, and those with health problems may fi nd it challenging. Tom Paxton — 1996 Mike Seeger — 2003 Before registering, students should give reasonable consideration to their ability Margaret Bennett — 1998 Billy Jackson — 2004 to get participate in the program without assistance. Although we help where Fiona Ritchie — 2000 Stranger Malone — 2005 David Holt — 2001 Phil Jamison — 2008 we can, we don’t have the resources, personnel or expertise to provide assistance to Jean Ritchie — 2001 Alice Gerrard — 2010 those with prohibitive health issues. John McCutcheon — 2001 Al Petteway — 2013 Cover design: Jim Magill 1 HOUSING & MEALS Our program’s ‘open’ format, which encourages students to take If you’re considering joining us and are wondering what kind of several courses a day, allows a breadth of understanding of our folk traditions environment you can expect, just remember that the Swannanoa Gathering seldom found in workshops of this type. For example, a fi ddler may take a class is not a conference center or resort, but a music camp held on a college campus. in her instrument in the morning, then, aft er lunch, a dance class that uses Remember camp? Remember college? Housing is available for students and tunes from her fi ddle class, and a folklore class in the aft ernoon describing the staff of the Swannanoa Gathering in the college dormitories. Rooms are double- cultural context in which both tunes and dances developed. Th is may then occupancy with communal bath facilities. Small deposits for dorm keys and contribute to a more complete grasp of the nuances of the style during her meal cards will be required on arrival. Linens are provided, but students may practice time, and a more authentic fi ddle sound. We encourage all students wish to bring extra items that will be listed in the Welcome Letter mailed to to come to Swannanoa with an open mind and a willingness to try something registrants in May. Smoking is not permitted in or near any campus buildings. new. No pets, please. Motor homes are not permitted on campus. Th e housing fee Students enrolled for instrumental instruction are expected to pro- of $395 includes a double occupancy room for six nights, supper on Sunday, vide their own instruments, and most of our instructors encourage the use of three buff et-style meals a day at the college cafeteria in Gladfelter Student small recording devices like tape- or digital recorders as a classroom memory Center, and breakfast on Saturday at the end of the week. A limited number of aid. Students wishing to record video of their classes will be required to obtain single rooms are available at an additional fee of $155 for a total of $550. Th e the permission of the instructor prior to the fi rst class meeting, and must sign a College is catered by Sodexo (828-298-1041), and low-sodium and vegetarian release form stating that no commercial use will be made of any recorded materi- meals are available. Th ose wishing to stay over on the Saturday night at week’s als, nor will they be posted to any internet website. Th e Swannanoa Gathering end may do so if space is available for a fee of $75 per person. Th is does not reserves the right to cancel, add, and/or substitute classes and personnel where include the cost of meals. No Saturday stayover on August 9. We cannot house necessary. Call our offi ce or visit our website for the latest program updates or those wishing to arrive a day early. Adults staying off -campus may purchase a corrections. meal ticket for $124, and meal tickets for children under 12 may be purchased for $82. Meals may also be purchased individually. SKILL LEVELS Our students come from all backgrounds and skill levels, from CONTENTS complete beginners to serious hobbyists to professional musicians, and from Program Information .......................................................... Inside front cover countries as varied as France, Colombia, Japan and Australia, as well as Canada Traditional Song Week ................................................................................... 3 and all 50 states. Some class descriptions defi ne required skills in detail, but Celtic Week ................................................................................................... 10 when the following terms appear, Beginner refers to those with no experience Old-Time Music & Dance Week .................................................................. 20 at all, or those who play some but are not yet comfortable with the basics. Guitar Week .................................................................................................. 28 Intermediate students should have mastered basic skills, and be able to tune their instruments, keep time, play the principal chords and scales cleanly, and Contemporary Folk Week ...........................................................................
Recommended publications
  • Uncle Earl's Homecoming
    EVENTS NIGHTSPOTS RESTAURANTS Ann Arbor Weather: Mostly cloudy & 70°F SEND A TIP >> AnnArborObserver.com >> Articles >> Culture Uncle Earl's homecoming A2 to Colorado, and back by Whitley Hill From the March, 2007 issue Uncle Earl got himself born right here in Ann Arbor. He sprang fully formed and thoroughly functional from the fertile minds, nimble fingers, and soulful voices of singer-songwriters K. C. Groves and Jo Serrapere and fiddle player Tahmineh Gueramy. He tripped giddily about local venues, perplexed, at times, at his role as avatar and masthead of such plaintive, delicate music. He shuffled uncomfortably on the sidelines after gigs as fans asked, "So, which one of you has an uncle Earl?" In fact, Uncle Earl is an old-time string band that features neither uncles nor anyone remotely named Earl. Today, Groves, now based in Colorado, is the only original member of the group. She's joined now by three fine, seasoned women - Kristin Andreassen (guitar, clogging, ukulele, and vocals), Rayna Gellert (fiddle and vocals), and Abigail Washburn (banjo and vocals) - who love this music deeply and play it with passion. In this quartet's capable hands, everything old is scrubbed fresh. With rainwater. Heaven knows how they managed it, amid their increasingly international touring schedule, but a black crow on a clothesline tells me that Uncle Earl's newest album, Waterloo, Tennessee (Rounder Records), was made in about two weeks last fall at a luxurious live-in studio in the rolling hills outside of Nashville. Aside from the joy of unfettered, fully supported creativity (beautifully manifested in the four tracks I heard), the G'Earls got their first taste of actual obsequiousness: a crew of bowing, scraping interns who insisted on washing their white fluffy robes every day.
    [Show full text]
  • Celtic Thunder Legacy on Tour Across the US
    ISSUE 25 VOLUME 5 Proudly Serving Celts in North America Since 1991 SEPTEMBER/OCTOBER 2016 THE BIGGEST Gaelic Games event in North America took place in Seattle on the weekend of September 2-4, 2016 with over 1,500 players and 85 teams from across the USA, Canada and the Caribbean competing. [Pictured above] Seattle Mayor Ed Murray [second from right] presents the Championship Trophy to Donie Breathnach, captain of the San Francisco Naomh Padraig hurling team after they won the North American Sen- ior Hurling Championship final. Pictured on the left is Seattle BREAKING GROUND by Norfolk, England artist, Rob Barnes. Police Chief Kathleen O’Toole and Irish Consul General Philip [Read more about the artist inside on page 2] Grant on the right. [Read more on pages 20, 21 & 23] Walking the Path at Samhain Into the Twilight of the Year OME would At Samhain, that path rises, careens, By CYNTHIA WALLENTINE motivates, tears down, and drives us on. argue that a Order is lost, but structure remains – it path that can- At Samhain, whose bonfires burn will push, drag, or pull even the ridicu- brightly at dusk on October 31, the year lously stubborn to their fate. not be seen descends to its finish. S Those not gripped entirely by the expe- does not ex- In the ashes of that same fire, on No- rience may instead find destiny, the con- ist. But vision is only one vember 1, the Celtic New Year is born, scious transformation of the cultivated IRELAND’S O’Donovan brothers are the latest Olympic Internet along with the winter season.
    [Show full text]
  • Guitar Week, July 24-30, 2016 7:30- 8:30 Breakfast
    JULY 3 - AUGUST 6, 2016 AT WARREN WILSON COLLEGE, ASHEVILLE, NC The Swannanoa Gathering Warren Wilson College, PO Box 9000, Asheville, NC 28815-9000 phone/fax: (828) 298-3434 email: [email protected] • website: www.swangathering.com shipping address: The Swannanoa Gathering, 701 Warren Wilson Rd., Swannanoa, NC 28778 For college admission information contact: [email protected] or 1-800-934-3536 WARREN WILSON COLLEGE CLASS INFORMATION President Dr. Steven L. Solnick The workshops take place at various sites around the Warren Wilson Vice President and Dean of the College Dr. Paula Garrett campus and environs, (contact: [email protected] or 1-800-934-3536 Vice President for Administration and Finance Stephanie Owens for college admission information) including classrooms, Kittredge Theatre, our Vice President of Advancement K. Johnson Bowles Bryson Gym dancehall and campus Pavilion, the campus gardens and patios, Vice President for Enrollment and Marketing Janelle Holmboe Dean of Student Life Paul Perrine and our own jam session tents. Each year we offer over 150 classes. Students are Dean of Service Learning Cathy Kramer free to create their own curriculum from any of the classes in any programs offered Dean of Work Ian Robertson for each week. Students may list a class choice and an alternate for each of our scheduled class periods, but concentration on two, or perhaps three classes is THE SWANNANOA GATHERING strongly recommended, and class selections are required for registration. We ask that you be thoughtful in making your selections, since we will consider Director Jim Magill them to be binding choices for which we will reserve you space.
    [Show full text]
  • B Uegrass Canada I
    BUEGRASS CANADA I The official magazine of the Bluegrass Music Association of Canada www.bluegrasscanada.ca SELDOM SCENE 2012 1976 VOLUME 6 ISSUE 3 AUGUST 2012 WHAT"S INSIDE President Secretary Denis Chadbourn Leann Chadbourn Editor's Message-Pg 2 705-776-7754 705-776-7754 President's Message-Pg 3 Vice-president Treasurer Tips for Bands-Pg 4 Dave Porter Roland Aucoin The Western Perspective-Pg 6 905-635-1818 Feature Article-SELDOM SCENE-Pgs. 7-9 Q & A's With Steep Canyon Rangers-Pgs. 10-13 Maritime Notes Pg. 16 Providence Bay 2012 Pg-18 Directors at Large Advertising Rates Pg 19 Gord deVries Murray Hale 705-4 7 4-2217 Organizational Memberships -Pgs. 20 & 21 519-668-0418 Donald Tarte Tasha Heart-Social Media Just A Bluegrass Wife-Pgs. 23-26 877 -876-3369 Wilson Moore Congratulations to Spinney Brothers-Pg 26 Bill Blance Jerry Murphy, Region 1 SPECIAL NOTICE-Pg. 27 Representative 905-451-9077 Tim's CD Reviews-(Unavailable for this publication) Rick Ford- Region 4 Music Biz Article (Unavailable for this publication) Representative Advertising Pages-various pages Editor's Message - Any bands wishing to have this information included must provide itto me before September 15th, 2012. The Leann Chadbourn email address to send it to is at the bottom of this page We have some great articles in this issue with our trusty and on the Notice. writers, Gord DeVries, Denis Chadbourn, Diana van Holten, Wilson Moore & Darcy Whiteside. Since it's vacation time I Again, BMAC welcomes any interesting articles or infor­ took it seriously, and didn't get out reminders to everyone for mation relevant to Bluegrass and are hopeful to start receiv­ our deadline dates so we will be missing our Music Biz Arti­ ing articles from Coast to Coast.
    [Show full text]
  • Cultural Qualities.Pdf (521K)
    Cultural Qualities CULTURAL QUALITIES Gathering on the State Capitol grounds. Locations It was Appalachian all the way: fiddlers and banjo players, a Liar’s Contest, arts 1. WV Cultural Center 7. Coal camp town and crafts, Joe Bundyashington portrays for story-telling, and old-fash- 2. Vandalia Gathering 8. African-American Heritage Family Booker T. W school groups and others. ioned country hen Booker was freedalden at food. All the 3. 9. W Mountain Stage Contentment Historical Complex the age of 8 he walked things you think the Trail to M of when you 4. African Zion Baptist Church 10. Camp Washington Carver where he learned to read and the rest is think West history! Virginia. They 5. Malden Salt Village 11. Carnegie Hall (Rural arts education) have other Appalachian 6. 12. festivals there too, like the Cabin Creek Quilts WV State Fair (Fairlea) Dearest Sandy: Rhododendron Festival. Glad to hear your trip is going great. Glad Something else,before I forget.I knew you enjoyed the exhibits at the Louvre and you loved folk music, so I booked a cou- CULTURAL the London Gallery. Loved your stories ple of tickets to an Arlo Guthrie concert about the concerts. My trip through Europe here the Sunday after you get back. Right years ago was a great learning experience. I on the Capitol grounds is a musical only wish I was with you, but the boss could- showcase area they call Mountain Stage. n’t let me get away.When you get back, I’ve Every Sunday they have a musical pro- got another little cultural foray for you, and gram--jazz, folk, blues, classical--and they we could easily do it in a weekend away.
    [Show full text]
  • Colleen Anderson 2 a Book Has to Have Bones, Meat
    Graduate Humanities students and faculty collaboratively exploring the arts, history, culture, and literature in an open experimental multidisciplinary environment Volume 35 Issue 2 Fall 2012 Living in Music By Trish Haield (’08), Program Assistant INSIDE THIS ISSUE In the Spring 2012 Graduate Humanies, Angelica Sele (’08) said in an interview, "I wanted to 'see' a book––not just the words, but why the book was done the way it was. Colleen Anderson 2 A book has to have bones, meat. By that I mean content, interpretaon, and meaning." Dr. Luke Eric Lassiter, Director of the Graduate Humanies Program, piggybacks on this Farewell to Fran 2 by applying it to songs and singing of the Oklahoma Kiowa Indians. He proposed in The Power of Kiowa Song (1998), “Knowledge is what makes sound meaningful; to know a Spring 2013 song is to know its meaning. To know a song’s meaning, in turn, is to know its power–– Seminars 3 that which inspires, uplis, and edifies”(Lassiter, 141). What’s Happening Would this noon of meaning and power in books and songs resonate with singer/ Elsewhere? 4 songwriters, Pete Kosky (’04) and Colleen Anderson (’03) and also Michael Tierney (a self- proclaimed Humanies Program groupie)? In this issue and the Spring 2013 issue of Recent Graduate 5 Graduate Humanies (GH), we decided to interview Pete, Colleen, Michael and Dr. Lassiter to find out how they think about the music they either study or make as singers WV Book Festival 6 and songwriters. A summary of the first two interviews follows. You can listen online to longer excerpts and songs menoned in the interviews at www.marshall.edu/humn starng in January, 2013.
    [Show full text]
  • 870362000136.Pdf
    Of the 370,000 African-American troops that hearing these bands in Paris. served during the war, about 40,000 served in American combat divisions, many of which established Black regimental bands returned home in 1919, their own regimental bands. and went on to take American audiences by Originals storm. “We won France by playing music which Unlike traditional Army bands, the legendary New was ours and not a pale imitation of others, and York 369th Infantry “Hellfighters” Regimental if we are to develop in America we must develop 1918 Band led by Lt. James Reese Europe, entertained along our own lines,” said Europe, whose landmark troops and civilians by performing original works 1919 recordings on Pathé Records include W.C. in a ragtime style, including “Hey There!” with Handy’s “Memphis Blues”, and “Strutter’s Ball” “The war to end all wars” ended on November its infectious syncopation and high-energy flair. by Shelton Brooks, which are among the very 11, 1918, but in many ways, that date also “All of France contracted ‘ragtimitus’ thanks to first wildly popular jazz standards. marks the beginning of America’s cultural Jim Europe,” quipped fellow bandmate and singer awakening. Within the decade following Noble Sissle, who later wrote the smash hit “I’m The “Empress of Blues” Bessie Smith, another early World War I, burgeoning jazz, country, and Just Wild About Harry” along with Eubie Blake recording star, helped make a hit of “I Ain’t Got blues styles began to blossom across in their groundbreaking 1921 musical Shuffle Nobody” by Spencer Williams and Roger Graham in the nation: styles that would bear fruit Along.
    [Show full text]
  • A Lifetime of Achievement in Arts for Social Change
    A Lifetime of Achievement in Arts for Social Change Artist's statement, community involvement and other reflections By Michael Nobel Kline VOICES AND REFLECTIONS AS SPOKEN ARTS My passion for listening to the voices and reflections of West Virginians spans more than sixty years and the tapestry of my audio and radio creations is woven from the fabric of thousands of such recorded voices. As a seventy- four year old folklorist, performing musician and audio producer of locally recorded music and spoken reflection, I have combined a number of creative roles in my pursuit and teaching of arts for social change. In West Virginia how people put words together becomes just as important as what they say. I have heard expressive spoken arts on many levels: improvised performances of life stories, vibrant use of telling dialogue as disclaimer, and an unconscious sense of oral poetics, rich in cadence, imagery, irony, and humor, all of which tickle my soul and haunt my imagination. I have been driven to record and preserve spoken voices through a desire to get beyond the limitations and deceptions of the printed page, which have always left me hungry for more. Reaching beyond the scope of traditional scholarly history and journalism, this work focuses on the narrative perspectives of individuals as eye witnesses to moments and events in their own lives, who are speaking from first-hand experience with all the emotion and drama of some one who has been through it, or bearing witness to stories learned and remembered from earlier generations. Preserving such accounts dignifies not only the event, but validates those who lived it and told it, as well as those who heard it and preserved it.
    [Show full text]
  • A History of the Augusta Heritage Center in Elkins, West Virginia
    EXPLORING “NOSTALGIA FOR THE FUTURE": A HISTORY OF THE AUGUSTA HERITAGE CENTER IN ELKINS, WEST VIRGINIA A Thesis by BRITTANY R. HICKS Submitted to the Graduate School Appalachian State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Center for Appalachian Studies EXPLORING “NOSTALGIA FOR THE FUTURE”: A HISTORY OF THE AUGUSTA HERITAGE CENTER IN ELKINS, WEST VIRGINIA A Thesis by BRITTANY R. HICKS May 2014 APPROVED BY: Sandra L. Ballard, Ph.D. Chairperson, Thesis Committee Katherine E. Ledford, Ph.D. Program Director, Center for Appalachian Studies Member, Thesis Committee Bruce E. Stewart, Ph.D. Member, Thesis Committee Edelma D. Huntley, Ph.D. Dean, Cratis Williams Graduate School Copyright by Brittany R. Hicks 2014 All Rights Reserved Abstract EXPLORING “NOSTALGIA FOR THE FUTURE”: A HISTORY OF THE AUGUSTA HERITAGE CENTER IN ELKINS, WEST VIRGINIA Brittany R. Hicks B.A., Davis & Elkins College M.A., Appalachian State University Chairperson: Sandra L. Ballard, Ph.D. Since 1973, the Augusta Heritage Center (commonly known as Augusta) of Davis & Elkins College has coordinated traditional arts workshops; organized festivals, concerts, dances, and lectures; produced documentary films, audio recordings, and books; sponsored community projects; and accumulated an extensive archive of folk culture. This research establishes a narrative of Augusta’s history, beginning with the founding of its first craft workshops in the 1970s through the development of the diverse music programs that Augusta is known for today. Tracing Augusta’s connections to social movements—including traditional music and craft revivals and the 1970s back-to-the-land movement—situates the Center in a historical context.
    [Show full text]
  • September / October
    CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 5 Number 5 September-October 2005 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE TILT OF THE KILT Wicked Tinkers Photo by Chris Keeney BY RON YOUNG inside this issue: he wail of the bagpipes…the twirl of the dancers…the tilt of the kilts—the surge of the FADO: The Soul waves? Then it must be the Seaside Highland Games, which are held right along the coast at of Portugal T Seaside Park in Ventura. Highly regarded for its emphasis on traditional music and dance, this festival is only in its third year but is already one Interview: of the largest Scottish events in the state. Games chief John Lowry and his wife Nellie are the force Liz Carroll behind the rapid success of the Seaside games. Lowry says that the festival was created partly because there was an absence of Scottish events in the region and partly to fill the void that was created when another long-standing festival PLUS: was forced to move from the fall to the spring. With its spacious grounds and variety of activities, the LookAround Seaside festival provides a great opportunity for first-time Highland games visitors who want to experience it all. This How Can I Keep From Talking year’s games will be held on October 7, 8 and 9, with most of the activity taking place on the Saturday and Sunday.
    [Show full text]
  • Farewell to a Man, and to an Era
    September 2009 VOL. 20 #9 $1.50 Boston’s hometown journal of Irish culture. Worldwide at bostonirish.com All contents copyright © 2009 Boston Neighborhood News, Inc. FAREWELL TO A MAN, AND TO AN ERA Cardinal Sean O’Malley, Archbishop of Boston, walked around the casket with incense before it left the church after the funeral Mass for Sen. Edward M. Kennedy at Our Lady of Perpetual Help Basilica in Boston on Sat., Aug. 29. (AP Photo/Brian Snyder, Pool) BY CAROL BEGGY the United States Senate” that family was celebrated for its bors on Caped Cod to world to come to Boston,” Cowen told SPECIAL TO THE BIR stretched from his corner of deep Irish roots. As the Boston leaders including Irish Prime the Boston Irish Reporter’s Joe From the moment the first Hyannis Port to Boston, Wash- Globe’s Kevin Cullen wrote, Minister Brian Cowen. Leary at the Back Bay Hotel, news bulletins started crackling ington, Ireland, the home of his the senator himself was slow “We’re very grateful for the formerly the Jurys Hotel. on radios and popping up on ancestors, the British Isles, and in embracing his Irish heritage, great dedication of Senator Ken- Michael Lonergan had barely BlackBerries late on the night beyond. but once he did, he made it his nedy to Ireland and its people,” sat in his seat as the new Consul of Tuesday, Aug. 25, the death This youngest brother of the mission to help broker peace in Cowen said at an impromptu General of Ireland in Boston of Senator Edward M.
    [Show full text]
  • Time's the Revelator
    Time’s the Revelator: Revival and Resurgence in Alt.country and Modern Old-Time American Music Ashley Denise Melzer A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of American Studies (Folklore). Chapel Hill 2009 Approved by: Dr. William Ferris Dr. Robert Cantwell Dr. Patricia Sawin © 2009 Ashley Denise Melzer ALL RIGHTS RESERVED ii ABSTRACT ASHLEY MELZER: Time’s the Revelator: Revival and Resurgence in Alt.country and Modern Old-Time American Music (Under the directions of Dr. William Ferris, Dr. Robert Cantwell, and Dr. Patricia Sawin) This thesis investigates the relationship between the modern old-time and alt.country movements through the comparison of four different female musicians: Abigail Washburn, Rayna Gellert, Gillian Welch, and Neko Case. These four women often pull from the same wellspring of old-time songs/structures/sounds, but their instincts come from exceptionally different places. The disparity between the ways they approach their music, reveals how the push toward modern capitalist industrialism has affected how different artists and communities access and transmit those old-world icons and sounds. Furthermore, their engagement specifically with the topic of gender exposes key tactical differences. Old-time musicians, Washburn and Gellert, work within the strictures of tradition so as to remain in dialogue with their community. Welch and Case play into the experimental bent of alt.country to emotionally affect listeners in order to create discreet, personal connections between themselves and their audience. iii To the ones who listen and love me anyway iv PREFACE In the summer, Florida is so hot the home becomes some dark prison of necessary air conditioning.
    [Show full text]