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Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
"Rip Her to Shreds": Women's Musk According to a Butch-Femme Aesthetic
"Rip Her to Shreds": Women's Musk According to a Butch-Femme Aesthetic Judith A, Peraino "Rip Her to Shreds" is the tide of a song recorded in 1977 by the rock group Blondie; a song in which the female singer cat tily criticizes another woman. It begins with the female "speak er" addressing other members of her clique by calling attention to a woman who obviously stands outside the group. The lis tener likewise becomes a member of the clique, forced to par ticipate tacitly in the act of criticism. Every stanza of merciless defamation is articulated by a group of voices who shout a cho rus of agreement, enticing the listener to join the fray. (spoken! Hey, psf pst, here she comes !lOW. Ah, you know her, would YOIl look ollhlll hair, Yah, YOIl know her, check out Ihose shoes, A version of this paper was read at the conference "Feminist Theory and Music: Toward a Common Language," Minneapolis, MN, June 1991. If) 20 Peraino Rip Her to Shreds She looked like she stepped out in the middle of somebody's cruise. She looks like the Su nday comics, She thinks she's Brenda Starr, Her nose·job is real atomic, All she needs is an old knife scar. CHORUS: (group) 00, she's so dull, (solo) come on rip her to shreds, (group) She's so dull, (solo) come on rip her to shreds.! In contrast to the backstabbing female which the Blondie song presents, so-called "women's music" emphasizes solidarity and affection between women, and reserves its critical barbs for men and patriarchal society. -
The Lesbian Tide Is a Radical Feminist News Magazine Published Six Times a Year by Mondanaro in Politics? TIDE PUBLICATIONS
$1.00 A £>, Gay PrH Whose (TIERRlLL-UJILSOn Realtor Residential—investment—Management Southern California Women for Understanding ARE YOU READY TO GROW LESBIAN RIGHTS AWARDS DINNER Call Honoring Ivy Bottini Del Martin & Phyllis Lyon Maureen Steinberg Gayle Wilson Mistress of Ceremonies: Midge Costanza Sat Sept IS The Biltmore Hotel 540 N. San Vicente $35 per person Los Anseles, Calif. 90048 for reservation information contact (213) 659-9933 Southern California Women For Understanding 13033 Ventura Blvd. THE NEW YORK FEMINIST Studio City, CA. 91604 ART INSTITUTE (213)766-6811 an exciting and innovative school and resource center opening in the fall of 1979, will provide an intellectual and cultural community for women in the arts. We invite you to share our enthusiasm and help us to realize our goals. For more information write: New York Feminist Art Institute. P. O. Box 798. Canal Street Sta- AMCtLti tion, New York. N. Y. 10013. S COMMUNITY CHORUS 3rd flNNUfll PRGGNTRTION Registered Cosmetologist Sculptured Haircuts Conditioning Coloring • performance of mu/ic Body Permanents compo/6d«orrong6d«conduct0d»sung 1022 North Fairfax West Hollywood by women (213) 656-7740 , Saturday, June 30, 1979 8:00 p.m. Robert Frost Auditorium 4401 Elenda, Culver City All Tickets: $4.50 Available from all chorus members and Feminist stores. TICKET DISTRIBUTORS: SISTERHOOD BOOKSTORE. PAGE ONE BOOKS, GentleTbuch SOJOURNER BOOKSTORE, FEMINIST HORIZONS, APPLE ROOM, FEMINIST WICCA, WOMANYES Dps Training For childcare reservations and general information call: 478-8308 by Kay Falcone _there_ujilI be signing forlhedeof 213 828 1583 nojjjgmQQ turned, QUUQU for lock of funds TIDE PUBLICATIONS Vol. 9 No. -
Translating Pete Seeger: the Challenge of Recreating an American Legend in All Its Popular Glory and Complexity
Actas del II Congreso Internacional de la Asociación Ibérica de Estudios de Traducción e Interpretación Translating Pete Seeger: The challenge of recreating an American legend in all its popular glory and complexity Dr. David SHEA Facultad de traducción e Interpretación Universidad de Las Palmas de Gran Canaria Como citar este artículo: SHEA, David (2005) «Translating Pete Seeger: the challenge of recreating an American legend in al its popular glory and complexity», en ROMANA GARCÍA, María Luisa [ed.] II AIETI. Actas del II Congreso Internacional de la Asociación Ibérica de Estudios de Traducción e Interpretación. Madrid, 9-11 de febrero de 2005. Madrid: AIETI, pp. 852-861. ISBN 84-8468-151-3. Versión electrónica disponible en la web de la AIETI: <http://www.aieti.eu/pubs/actas/II/AIETI_2_DS_Translating.pdf>. TRANSLATING PETE SEEGER: THE CHALLENGE OF RECREATING AN AMERICAN LEGEND IN ALL ITS POPULAR GLORY AND COMPLEXITY Dr. David Shea AIETI member Facultad de Traducción e Interpretación Universidad de Las Palmas de Gran Canaria Abstract The oral historian Studs Terkel has called Pete Seeger “America’s tuning fork” and many US historians have referred to Seeger as America’s conscience. In this paper we consider the challenges of translating from English to Spanish Seeger’s unique musical autobiography Where Have All the Flowers Gone? (SingOut! Publications 1994) which has involved collaborating with Seeger (our suggested title of the as yet unpublished book, ¿Qué habrá sido de las flores?). The book is written in a folksy, easy to read style as Seeger discusses complex issues which concern US culture and politics, though not necessarily in that order. -
Barbara Grier--Naiad Press Collection
BARBARA GRIER—NAIAD PRESS COLLECTION 1956-1999 Collection number: GLC 30 The James C. Hormel Gay and Lesbian Center San Francisco Public Library 2003 Barbara Grier—Naiad Press Collection GLC 30 p. 2 Gay and Lesbian Center, San Francisco Public Library TABLE OF CONTENTS Introduction p. 3-4 Biography and Corporate History p. 5-6 Scope and Content p. 6 Series Descriptions p. 7-10 Container Listing p. 11-64 Series 1: Naiad Press Correspondence, 1971-1994 p. 11-19 Series 2: Naiad Press Author Files, 1972-1999 p. 20-30 Series 3: Naiad Press Publications, 1975-1994 p. 31-32 Series 4: Naiad Press Subject Files, 1973-1994 p. 33-34 Series 5: Grier Correspondence, 1956-1992 p. 35-39 Series 6: Grier Manuscripts, 1958-1989 p. 40 Series 7: Grier Subject Files, 1965-1990 p. 41-42 Series 8: Works by Others, 1930s-1990s p. 43-46 a. Printed Works by Others, 1930s-1990s p. 43 b. Manuscripts by Others, 1960-1991 p. 43-46 Series 9: Audio-Visual Material, 1983-1990 p. 47-53 Series 10: Memorabilia p. 54-64 Barbara Grier—Naiad Press Collection GLC 30 p. 3 Gay and Lesbian Center, San Francisco Public Library INTRODUCTION Provenance The Barbara Grier—Naiad Press Collection was donated to the San Francisco Public Library by the Library Foundation of San Francisco in June 1992. Funding Funding for the processing was provided by a grant from the Library Foundation of San Francisco. Access The collection is open for research and available in the San Francisco History Center on the 6th Floor of the Main Library. -
Lesbians And…
Lesbians and… WOC Lesbians -Black LGBT’s: Online and Archives resources -Black Lesbians -Black Lesbians and Activism -Black Lesbians and Amazons -Black Lesbians and Art -Black Lesbians and Artificial Insemination -Black Lesbians and Autobiographies -Black Lesbians and Backlash to Black Lesbians and Gays -Black Lesbians and Black Churches -Black Lesbians and the Black Community -Black Lesbians and Black Mary -Black Lesbians and Combahee River Collective -Black Lesbians and Communities -Black Lesbians and Cornwell, Anita -Black Lesbians and Diverse Social Groups -Black Lesbians and Daughters of Bilitis -Black Lesbians and E. Kitch Childs Testimony, Chicago -Black Lesbians and Eckstein, Ernestine -Black Lesbians and Events -Black Lesbians and Feminism -Black Lesbians and Fiction -Black Lesbians and the Homophile Movement -Black Lesbians and Isabell, Marilyn (Ex Prison Inmate Chicago) -Black Lesbians and Lesbian Rights -Black Lesbians and Lorde, Audre -Black Lesbians and Marriage -Black Lesbians and Mothers and Daughters -Black Lesbians and Music -Black Lesbians and NALL Holdings (April 1979) -Black Lesbians and Performance -Black Lesbians and Poetry -Black Lesbians and Politics -Black Lesbians and Poverty -Black Lesbians and Racism -Black Lesbians and “Scientific Studies” -Black Lesbians and black Straight Wimmin -Black Lesbians and Theory -Black Lesbians and Transvestism -Black Lesbians and the Women’s Movement -Black Lesbians and Writers -Lesbians of Color and Organizations A -Lesbians and Abortion -Lesbians and Activism - Lesbians and -
Pete Seeger: a Singer of Folk Songs
LINGUACULTURE 2, 2020 PETE SEEGER: A SINGER OF FOLK SONGS DAVID LIVINGSTONE Palacký University Abstract Pete Seeger would have turned one hundred and one on May 3 of this year. To commemorate these ten decades plus one year, I would like to look at eleven of the most remarkable aspects of Pete Seeger’s life, work and legacy. This paper will examine the cultural impact and oral tradition of the music, songs and books of Pete Seeger. This legendary folk musician's career spanned eight decades and touched on many of the key historical developments of the day. He is responsible for some of the iconic songs which have not only helped define American culture, but even beyond. Seeger was also a pioneer in a number of fields, using his music to propagate political convictions, ecological themes, civil rights, world music, education, etc. The folk singer also had his finger on the pulse of a number of developments in American history and culture. He was friends with a number of prominent musicians and artists and influenced an entire range of younger musicians and activists. Keywords: Pete Seeger; Folk music; American history; Social activism; Civil Rights movement Family Pete Seeger’ family was a powerhouse of talent, musically and beyond. Charles Seeger (1886-1979), his father, was a renowned musicologist who held a number of prominent university positions. His political convictions, obviously on the left, were also instrumental in forming his son’s ideological worldview. His mother Constance de Clyver (1886-1975) was also a musician although not as accomplished by far as his stepmother Ruth Seeger (1901-1953) (mother to Mike and Peggy). -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
Cruising for Olivia: Lesbian Celebrity and the Cultural Politics of Coming out in Sport
Sociology of Sport Journal, 2011, 28, 461-477 © 2011 Human Kinetics, Inc. Cruising for Olivia: Lesbian Celebrity and the Cultural Politics of Coming Out in Sport Megan Chawansky and Jessica Margaret Francombe University of Bath This paper explores issues of sport, sponsorship, and consumption by critically interrogating the mass-mediated “coming out” narratives of professional golfer, Rosie Jones, and professional basketball player, Sheryl Swoopes. Both athletes came out publicly as gay in light of endorsements received by Olivia Cruises and Resorts—a company that serves lesbian travelers—thus marking a significant shift in the relationship between lesbian subjectivity, sport, and sponsorship. A concern with a neoliberal-infused GLBT politics underscores our analysis, and a close reading of these narratives raises complex questions about the corporatization of coming out and the existence of lesbian celebrity in sport. Cet article explore des questions de sport, de commandite et de consommation par le biais d’une interrogation critique des sorties de placard médiatisées de la golfeuse professionnelle Rosie Jones et de la joueuse de basket professionnelle Sheryl Swoopes. Les deux athlètes se sont affichées publiquement comme gaies lorsqu’elles ont fait des publicités pour la compagnie Olivia Cruises and Resorts (une entreprise qui sert les voyageuses lesbiennes), ce qui a apporté un change- ment important dans les relations entre la subjectivité lesbienne, le sport et les commandites. Notre analyse est marquée d’une préoccupation pour les politiques GLBT imprégnées de néo-libéralisme. Une lecture attentive des récits soulève des questions complexes au sujet de la privatisation de la sortie de placard et de l’existence des célébrités lesbiennes en sport. -
Building Multi-Racial Coalitions Through Women’S Culture the Roadwork Oral History and Documentary Project
ORAL HISTORY AND DOCUMENTARY PROJECT BUILDING MULTI-RACIAL COALITIONS THROUGH WOMEN’S CULTURE THE ROADWORK ORAL HISTORY AND DOCUMENTARY PROJECT IF YOU FEEL SOMETHING MISSING, IT IS PROBABLY THE SOUND OF YOUR OWN VOICE. The roots of contemporary social justice movements in the United States are deeply intertwined. THE ROADWORK ORAL HISTORY AND DOCUMENTARY PROJECT illuminates and documents these roots by telling the story of a multi- racial, cultural-political collaboration among musicians, artists, poets and organizers that existed from the late 1970s to the 1990s. Roadwork was a unique cultural organization founded by women with extensive leadership experience in black civil rights, progressive, women’s, global justice, anti-war, and lesbian-feminist movements. It was led by women of color, and aimed at nothing less than the transformation of consciousness and the creation of a global social justice movement. Founded in 1978 by Bernice Johnson Reagon and Amy Musical Retreat, and Roadwork’s own Sisterfire festival). Horowitz, Roadwork was created to “put women’s culture Independent producers and distributors built alternative on the road” through tours, festivals, concerts and leader- economic models that challenged the mainstream music ship. ROADWORK was born in a context of profound business. sexism. Misogyny in music and entertainment industries ROADWORK emerged at a time when the US was severely limited women promoters, recording engineers engaged in widespread covert intelligence operations and independent artists. Despite these obstacles, an both domestically (against civil rights and anti-war move- underground women’s culture (poets, visual artists, film- ments) and globally (in places like El Salvador, Nicara- makers and musicians) flourishedin the 1970s- 90s, finding gua, Honduras, Chile and the middle east). -
University of Cincinnati
UNIVERSITY OF CINCINNATI DATE: 13 May 2002 I, Amber Good , hereby submit this as part of the requirements for the degree of: Master of Music in: Music History It is entitled: ``Lady, What Do You Do All Day?'': Peggy Seeger's Anthems of Anglo-American Feminism Approved by: Dr. bruce mcclung Dr. Karin Pendle Dr. Stephanie P. Schlagel 1 “LADY, WHAT DO YOU DO ALL DAY?”: PEGGY SEEGER’S ANTHEMS OF ANGLO-AMERICAN FEMINISM A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2002 by Amber Good B.M. Vanderbilt University, 1997 Committee Chair: Dr. bruce d. mcclung 2 ABSTRACT Peggy Seeger’s family lineage is indeed impressive: daughter of composers and scholars Charles and Ruth Crawford Seeger, sister of folk icons Mike and Pete Seeger, and widow of British folksinger and playwright Ewan MacColl. Although this intensely musical genealogy inspired and affirmed Seeger’s professional life, it has also tended to obscure her own remarkable achievements. The goal of the first part of this study is to explore Peggy Seeger’s own history, including but not limited to her life within America’s first family of folk music. Seeger’s story is distinct from that of her family and even from that of most folksingers in her generation. The second part of the thesis concerns Seeger’s contributions to feminism through her songwriting, studies, and activism. -
For Immediate Release "Fta"
AMERICAN INTERNATIONAL PICTURES SPECIAL FEATURE July 10, 107;! UNDERGROUND "F.T.A." FOR IMMEDIATE RELEASE BY STEVE JAFFE "F.T.A.": THE SHOW THE PENTAGON COULDN'T STOP t The "F.T.A." Show was a problem to the Brass in the Pentagon. In all it's wit and anger, it's explosive satire, and powerful attack on racism, and all the other ills of the military, the show was something that had to be dealt with.. So the Pentagon said, "No." No, they couldn't perform on base. No,GI's couldn't go off base; to see it. No, ships could not go into port if the show was playing there. No, the troupe would not be permitted in Vietnam. NO, NO, NO, NO. Inequities aside (considering the hospitality shown the USO shows by the Pentagon,) "F.T.A." would not let that stop them. "F.T.A. is one of the most relevant kind of theater in existence today," says Jane Fonda, who, with actor Donald Sutherland and director Francine Parker produced the successful show which performed for thousands of GI's, servicewomen and men, near bases in the Pacific Rim (Hawaii, the Philippines, Japan and Okinawa.) "The Material for the show was taken from the more than 75 GI newspapers published by GI projects outside of U.S. Military bases all over America and around the world," Ms. Fonda continued. "We felt a film was the only way to bring tho show back to the American people but more importantly, to bring back the true feelings expressed by the GI's themselves." "What the soldiers wanted to communicate to the American people -continued- UNDERGROUND FEATURE - "F.T.A." - PAGE 2 is a .1.1 there in the film," Ms.