FFS Board of Directors

Total Page:16

File Type:pdf, Size:1020Kb

FFS Board of Directors Volume 44 Edition 10 October 2015 Submit articles to: [email protected] By the 15th of each month FFS Board Of Directors President A Non-Profit Corporation for Traditional Arts Denise Sciandra [email protected] Notes from Board President, Denise Sciandra Vice President My new favorite CD is "Harry's Songbook, Early 20th Century Fiddle Paul Starcevich [email protected] Tunes Played by Harry Lackey from 1911-1934 with his family." It is the companion to my songbook of the same name. Following four- Secretary Sue Wirt and-a-half years of gathering songs, researching and writing song [email protected] histories, and recording all 55 songs, listening to this CD is literally Treasurer "music to my ears." Jim Ross [email protected] Who is Harry Lackey? He was my grandfather. He learned his fiddle tunes Concert Master primarily when he lived in Dalhart, Texas, and Enid, Oklahoma. Steve Ono [email protected] How do I know what fiddle tunes Harry played? He played by ear so there was Membership no sheet music but my daughter, an accomplished violinist, was given one of Patty Bennett his fiddles. Inside his fiddle case was a handwritten list of tunes. Some of them [email protected] are still played and sung today. Others were already beginning to be lost to Lifetime Member our consciousness. Two that have become favorites of mine that I had not Alan Hubbart heard prior to putting together this songbook are "Sweet Evelina" and "The Members At Large Ron Bohigian Prisoner's Song." "The Prisoner's Song" recently made its sing along debut to [email protected] an enthusiastic group at the home of Sharon and Gary Rossi. Other songs that Bill Lehr I'm very much enjoying are "Put On Your Old Grey Bonnet" and "Silver [email protected] Threads Among the Gold," that were favorites of my grandmother, and Karen Starcevich "When You and I Were Young, Maggie" and "Where the River Shannon [email protected] Flows," that were favorites of Bernadette Siegel's father. " Ann Lamb [email protected] There are so many things that I love about this CD: Bill Johnson I love that my son, Aaron Sciandra, a New York artist, designed the [email protected] artwork which includes a photo of Harry's fiddle. (An amazing photo taken by Flyer Editor Randy Vaughn-Dotta.) Bill Johnson [email protected] I love that my daughter, Lisa Sciandra, plays "Over the Waves," "La Calendar Editor Cinquantaine," also known as "The Golden Wedding," and "Irish Maria Glover HM 559-322-8677 Washerwoman," the latter on Harry's heirloom fiddle. Cell 559-281-8278 [email protected] I love that we have Harry's fiddle and that it has a presence on the CD. Logo Design by Tom Walzem The Fresno Folklore Society “Flyer” is a monthly publication. at Otto Creative FFS P.O. Box 4617 Fresno, CA 93744 Banjo Frog Art Submit articles for publication to [email protected] by Jon Adams by the 15th of each month President’s Notes continued: I love that 91-year-old Bernadette Siegel sings 26 songs, that she adds authenticity, and that she contributes parody verses to "Red Wing," "After the Ball," and "Let Me Call You Sweetheart." I love that Linda Guerrero was generous with her time throughout this project and was willing to play so many tunes on the CD. I love that I have a presence on the CD playing "Red Wing." I love that what was a dream in 2011 has become a reality. The songbook went to the publisher on September 8th. The CD was ordered at that time as well. Once they are ready, a Launch Party and Sing-Along will be planned. I'm hoping to introduce my new favorite CD in November. The Great Danes and Fresno Danish Dancers performed at the Solvang Danish Days Festival Friday September 18 through Sunday, September 20. They have performed at the annual festival in Solvang for 34 years. Bill Lehr, Robert Larsen, Lennart Kullberg, Jean Clemons, Hazel Olsen Larsen, Linda Guerrero YOSEMITE SONGWRITING RETREAT Songwriting. You do not have to be a performer to write a song. Poetry and music combine to reach others in a most elemental way. The Yosemite Songwriting Retreat is a yearly event geared toward teaching you how to get the words and the music in your head recorded and packaged. Songwriting can be an individual or group activity. You will learn how to look for song ideas and move them from ideas into songs; you will also learn how to collaborate with others in the process. This year's Retreat takes place from Friday, October 9 through Monday, October 12 at the Yosemite Bug Rustic Mountain Resort. Check out the website: yosemitesongwritingretreat.com for information on teachers, classes, costs for the program and how to arrange for accommodations and food. Gail Dreyfus can be reached at (209) 628-8786 for answers to additional questions that are not covered on the website. Go Write A Song. (Sue Wirt) FINEGOLD TRUST WINS LAWSUIT--The DEED is recorded! Finegold Trust Court Victory & OctoberFest Party When: Friday – Monday October 9, 10, 11, 12th 2015. Where: Finegold Ranch—for GPS or GoogleEarth (50032 3 Gate Road, Friant, CA 93626); Do not use Mapquest.com for directions! Details: The Finegold Trust invites ALL friends, acquaintances and interested persons to attend the Community Court Victory & OctoberFest Party on October 9, 10, 11, 12, located on the 120-acre Finegold Ranch property in O’Neal’s. FREE admission, participation, camping, acoustic music, etc. Please: No electric music, car stereos, etc.; we would like our visitors to experience nature, while imagining what life on the ranch was like before electricity. Bring water, beverages, food, instruments, and your friends. The crossings are dry and dusty. The Grotto is…um… damp, and the keyhole room, a tiny pool. The place is a mess—vandalized, pilfered, damaged, dry and desolate. It’s very sad. It would be helpful if people stayed off the Footbridge—it needs repair. Also stay out of buildings unless accompanied by a Trustee—some are a public safety concern. Our hope is to preserve and protect the building, while addressing community curiosity. A gas BBQ unit will be available at the stage area— please turnoff the BBQ tank when finished cooking. Remember: Bring adequate supplies, garbage in/out, our trash capacity is limited to two 30-gallon containers—anybody have a garbage can to donate? The old springs are dry. Yes, we need to drill a well soon but only after we finish paying our Attorney, Rob Scholnick. Please. NO Fires. NO lanterns (combustion). Finegold Trust is determined to fulfill its founding goal of “educational, scientific and charitable purposes” to benefitthe community. We welcome your input and assistance; a suggestion and donation box, with input/suggestion forms will be available on the stage. Finegold Ranch is only 30 miles from Fresno, but it takes about an hour due to dirt roads (aprox. 5 miles). Cell phone KFCF ANNUAL BANQUET The annual Fresno Free College Foundation/KFCF banquet will be held this year on Saturday, October 24, at 6:00 pm at the Star Palace Ballroom, Warnors Center for the Performing Arts. The ballroom is the upstairs event center above Frank's Place just north of the Warnors Theater. The entrance is at 1420 N Fulton in downtown Fresno. The guest speaker this year is Richard D. Wolff, host of KPFA's show, “Economic Update.” There will be a silent auction, raffle, Free Speech Awards, and KFCF Programmer of the Year. Dinner starts at 7:00 pm. Tickets through October 12 are $90.00 per person (table of 8 for $600.00) and $125.00 at the door. This is a fundraising event for a very worthwhile non-profit in our area. Many of us listen to KFCF, 88.1, for the music and Richard D. Wolff other programs offered. There will also be a meet and greet with Richard D. Wolff earlier in the day (October 24) at 4887 N Jackson, Fresno, at the home of Mike Beevers. The cost for this is $50.00 and includes wine and hors d'oeuvres. Tickets are available online at http://kfcf.bpt.me, by calling Brown Paper Tickets at 2-800-838-3006, or by sending a check to KFCF P.O. Box 4364, Fresno Ca 93744-4364. (Sue Wirt) KINGS RIVER BLUEGRASS FESTIVAL A SUCCESS Congratulations to Stan Allen and his cohorts for putting on a wonderful day of music at Hobbs Grove in the river bottom southeast of Sanger. The weather was a little warm, but a breeze would come by temporarily every once in a while. It was quite a surprise to wake up and see that there was so much less smoke in the air. Thank goodness for all the shade. I arrived early as I had a table for FFS to set up in the vendor area, next to Lynn's Jams. The morning started off with the Gospelaires singing some wonderful gospel songs and we joyfully sang along. Jack Kinney is one of their number. Other music throughout the day was Lonesome Moon, Uncle Ephus with Linda Dryden's awful jokes and Ann Munson's penny whistle, and Barbara LaRae on the banjo. The Narrow Gauge Ramblers, Two for the Road (Donn Beedle and Two For The Road Karana Hattersley-Drayton), the Poor Valley Band from Merced (whom I had not heard before—great lead vocalist), the Grass Kickers who were the emerging Artists for 2013 (Bob Garcia and Dan Stein, and Jack Kinney who had to keep trading off between fiddle and banjo as the banjo player was not able to be there— he remarked that he did not have any input on the order of the playlist and that kept him busy changing instruments), and Red Dog Ash from Turlock/Modesto who were the 2011 Emerging Artists.
Recommended publications
  • Diana Davies Photograph Collection Finding Aid
    Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival.
    [Show full text]
  • Dan Hicks’ Caucasian Hip-Hop for Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media
    Dan Hicks’ Caucasian Hip-Hop For Hicksters Published February 19, 2015 | Copyright @2015 Straight Ahead Media Author: Steve Roby Showdate : Feb. 18, 2015 Performance Venue : Yoshi’s Oakland Bay Area legend Dan Hicks performed to a sold-out crowd at Yoshi’s on Wednesday. The audience was made up of his loyal fans (Hicksters) who probably first heard his music on KSAN, Jive 95, back in 1969. At age 11, Hicks started out as a drummer, and was heavily influenced by jazz and Dixieland music, often playing dances at the VFW. During the folk revival of the ‘60s, he picked up a guitar, and would go to hootenannies while attending San Francisco State. Hicks began writing songs, an eclectic mix of Western swing, folk, jazz, and blues, and eventually formed Dan Hicks and his Hot Licks. His offbeat humor filtered its way into his stage act. Today, with tongue firmly planted in cheek, Hicks sums up his special genre as “Caucasian hip-hop.” Over four decades later, Hicks still delivers a unique performance, and Wednesday’s show was jammed with many great moments. One of the evenings highlights was the classic “I Scare Myself,” which Hicks is still unclear if it’s a love song when he wrote it back in 1969. “I was either in love, or I’d just eaten a big hashish brownie,” recalled Hicks. Adding to the song’s paranoia theme, back-up singers Daria and Roberta Donnay dawned dark shades while Benito Cortez played a chilling violin solo complete with creepy horror movie sound effects.
    [Show full text]
  • To Elektra EKL-264 Mono / EKS-7264 Stereo "The BLUES Project"
    DAVE RAY: Dave "Snaker" Ray, whose ambition is to be a doctor, started playing guitar while a sophomore in high school. He origin ally began with blues (Leadbelly) to keep his fingers nimble fo r what he thought would be a classical-flamenco guitarist career. "After an adagio by Sor and a hacked-up Farruca, I began playing Led­ better's stuff exclusively, " Dave reports. He began playing the 12-string guitar when a senior in high school, and lists as early influences, Elvis' Sun label recordings, Bo Diddley, Muddy Waters, early Chicago, and, of course, Leadbelly. " I sing the blues because it's a medium not as demanding as literatu re or serious music, and free enough to permit a total statement of personality and. self, " Dave states. "I play blues because 1 feel it's important to me to express myself and because I feel it's a significant form of music which hasn't had enough dispersement. As far as white men playing blues, that's all who do play blues. the new Negroes are too busy (doing other things). " Discography: Blues, Rags and Hollers (Elektra EKL 240). Dave Ray may soon be heard, with John Koerner and Tony Glover, on Elektra EKL 267. ERIC VON SCHMIDT: E ric w rites: "B orn 1931; began singing in 1948; first influences were Leadbelly, Josh White and Jelly Roll Morton — then Library of Congress material and field recordings. Worked as magazine illustrator, then painter until 1952... two years in the army, and then to Florida, where I worked as a frame-maker and built a 27-foot ketch which was almost called the 'John Hurt'.
    [Show full text]
  • Still on the Road Session Pages: 1961
    STILL ON THE ROAD 1961 FEBRUARY OR MARCH East Orange, New Jersey The Home of Bob and Sid Gleason, “The East Orange Tape” MAY 6 Branford, Connecticut Montewese Hotel, Indian Neck Folk Festival Minneapolis, Minnesota Unidentified coffeehouse, “Minnesota Party Tape 1961” JULY 29 New York City, New York Riverside Church, Hootenanny Special SEPTEMBER 6 New York City, New York Gaslight Café, “The First Gaslight Tape” Late New York City, New York Gerde's Folk City 30 New York City, New York Columbia Recording Studios, Carolyn Hester studio session OCTOBER 29 New York City, New York WNYC Radio Studio Late New York City, New York Folklore Center NOVEMBER 4 New York City, New York Carnegie Chapter Hall 20, 22 New York City, New York Studio A, Columbia Recordings, Bob Dylan recording sessions Late New York City, New York Unidentified Location, Interview conducted by Billy James 23 New York City, New York The Home Of Eve and Mac McKenzie DECEMBER 4 New York City, New York The Home Of Eve and Mac McKenzie 22 Minneapolis, Minnesota The Home Of Bonnie Beecher, Minnesota Hotel Tape Bob Dylan sessions 1961 20 The Home of Bob and Sid Gleason East Orange, New Jersey February or March 1961 1. San Francisco Bay Blues (Jesse Fuller) 2. Jesus Met The Woman At The Well (trad.) 3. Gypsy Davey (trad., arr Woody Guthrie) 4. Pastures Of Plenty (Woody Guthrie) 5. Trail Of The Buffalo (trad., arr Woody Guthrie) 6. Jesse James (trad.) 7. Car, Car (Woody Guthrie) 8. Southern Cannonball (R. Hall/Jimmie Rodgers) 9. Bring Me Back, My Blue-Eyed Boy (trad.) 10.
    [Show full text]
  • Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
    Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.
    [Show full text]
  • Folk Artist # of Albumstitles Andersen
    Folk Artist # of AlbumsTitles Andersen, Eric 4 bout Changes & Things; The Best of Eric Andersen; More Hits from Tin Can Alley; Blue River Axton, Hoyt 2 Joy To The World; Southbound Baez, Joan 10 Diamonds & Rust; Farewell Angelina;Come From The Shadows;The First 10 Years; Joan; One Day At A Time; Blessed are…; Any Day Now; Joan Baez 5; The Joan Baez Ballad Book Batdorf & Rodney 1 Life Is You Bawdy Songs & Backroom Ballads 7 Bawdy Sea Shanties; Bawdy Songs & Backroom Ballads Vol 1; Vol 3; Vol 4; Vol 6; Sing Along; Bawdy Hootenanny Belafonte, Harry 3 An Evening with Belafonte; Harry Belafonte Pure Gold; Belafonte Bikel, Theo 2 A Folksingers Choice; A New Day Blues Project 1 The Blues Project Live At Town Hall Bonoff, Karla 2 Karla Bonoff; Restless Nights Bowers, Bryan 1 The View From Home Bread & Roses 1 Bread & Roses Bromberg, David 2 Demon in Disguise; The Best Of David Bromberg Browne, Jackson 5 The Pretender; Running On Empty; Late For The Sky; For Everyman; Saturate Before Using Camp, Hamilton 2 Paths of Victory; Welcome to Hamilton Camp Cashman & West 1 A Song or Two Clancy Brothers 3 Green In The Green; In Person At Carnegie Hall; Sing of the Sea Collins, Judy 12 Living; Judy Collins; Judith; Judy Collins 3;True Stories; Who Knows Where The Time Goes; Wildflowers; In My Life; Fifth Album; The Judy Collins Concert; A Maid of Constant Sorrow; Golden Apples of the Sun Cooney, Michael 3 Singer of Old Songs; Still Cooney After All These Years; The Cheese Stands Alone Donovan 4 The Best Of Donovan; Donovan in Concert; Thye Real Donovan;
    [Show full text]
  • Coffeehouses: Folk Music, Culture, and Counterculture
    Coffeehouses: Folk Music, Culture, and Counterculture Since the 1950s, the history of the American folk music revival has been intertwined with the rise of coffeehouses and coffeehouse culture. Coffeehouses have been popular in America since Colonial times, but Italian-style coffeehouses arose in 20th-century Italian immigrant neighborhoods such as New York's Greenwich Village, Boston's North End, and San Francisco's North Beach. They brought with them an intimacy, informality, and slightly edgy atmosphere that allowed them to become sites of progressive political discourse. In the years following WWII, this proved an ideal match for the guitar-playing soloists, idealistic singer- songwriters, and unamplified rural- and ethnic-inspired ensembles of the early folk music revival. By the late 1950s, Italian-style coffeehouses featuring American folk and folk revival musicians had proliferated throughout the United States. Notable performers such as Joan Baez and Bob Dylan, who began their careers on the coffeehouse circuit, and tradition bearers such as Mississippi John Hurt and Doc Watson, whose appearances at coffeehouses reignited their careers and permitted them to reach new, largely middle-class urban audiences, have been studied extensively. However, the individuals who made and continue to make folk music coffeehouses work have received far less attention. This forum, produced by the Library of Congress’s American Folklife Center (AFC), brings together coffeehouse producer Betsy Siggins from Boston's legendary Club 47, Caffè Lena History Project founder and producer Jocelyn Arem, filmmaker and documentarian Todd Kwait, and Baltimore-based performer and "open mic" organizer Rob Hinkal to explore folk music coffeehouses, both then and now.
    [Show full text]
  • FW May-June 03.Qxd
    INTERVIEW MARK O’CONNOR • FESTIVALS • CAMPS • FREE CONCERTS • MANY FACES OF FOLK FREE Volume 3 Number 3 May-June 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Many“Don’t you know that Faces Folk Music is illegal in Los Angeles?” of— WARREN FolkC ASEYof the Wicked Tinkers BY JERRY BRESEE tart with Leadbelly. Draw checking out and is a good yard- a line over to Woody stick of their musical evolution. Guthrie. Drop straight The two bands coexisted for a down to Bob Dylan, and while with the Moonshiners play- again to Neil Young. ing 100% bluegrass and the Nitty Draw your line sideways Gritty Dirt Band being eclectic. to Tracy Chapman. Draw The McCabe’s Guitar Shop gang S a line from her back up to liked playing jug band music; Les both Leadbelly and Bob points to Jim Kweskin and the Jug Dylan. Link in B.B. King. Hook Band as an influence. With both Woody Guthrie up to Bob Wills and Bob Dylan and the Beatles hap- hook them both up to Dave Carter. pening at that time, the NGDB was Then write down Bill Monroe and pulled in many directions, and the Vassar Clements. Hook them Moonshiners soon merged into the together, and then hook them both to band. Their stage shows, which Dave Carter and Bob Wills. Add were being heard at The links to Nickel Creek, Allison Kraus, Troubadour, The Ice House, The and link them both to Bela Fleck. Mecca and The Ash Grove, were Keep adding names: Joni Mitchell, made up of a broad range of mate- Ladysmith Black Mombazo, Lila rial, drawing from all their many Downs, Los Lobos.
    [Show full text]
  • Diana Davies Photographs, 1963-2009
    Diana Davies photographs, 1963-2009 Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 3 Biographical/Historical note.............................................................................................. 2 General note.................................................................................................................... 3 Arrangement note............................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Newport Folk Festival, 1964-1992, undated............................................. 6 Series 2: Philadelphia Folk Festival, 1967 - 1987.................................................. 46 Series 3: Broadside
    [Show full text]
  • Folk New England Ephemera Collection Finding Aid : Special
    Special Collections and University Archives UMass Amherst Libraries Folk New England Ephemera Collection Digital 1942-1929 1 box (1.5 linear foot) Call no.: MS 1017 About SCUA SCUA home Credo digital Scope Inventory Albert Grossman Productions Ash Grove (Los Angeles, Calif.) Baez, Joan Bikel, Theodore Brandeis Folk Festival Burke Family Singers Cabale (Berkeley, Calif.) Carawan, Guy Charles River Valley Boys Choquette, Michel Clancy Brothers and Tommy Makem Club 47 (Cambridge, Mass.) Collins, Judy Commonwealth Rag Pickers Deller, Alfred Dobson, Bonnie Dunlop, Helen Dylan, Bob Elliott, Jack Folklore Center, New York Folklore Productions Fox Hollow Festival Forty Folk Singers Freeman, Ed Friends of Old Time Music Greenhill, Mitch Hootenanny Magazine The Ice House Kweskin, Jim Lenz, Peter, and Phil Lyons Lilly Brothers The Main Point (874 Lancaster Ave., Bryn Mawr, Pa.) Makeba, Miriam McPeake Family Mariposa Folk Festival Mills, Alan and Jean Carignan The Moon Cusser Morier, Johnny Mon Ami Folk Concert New Lost City Ramblers Newport Folk Festival New World Singers Ochs, Phil Odetta Orleans Coffeehouse Philadelphia Folk Festival Red Garter Ritchie, Jean Rush, Tom Second Fret (Philadelphia, Pa.) Simone, Nina Sing Out Hootenanny Sky, Patrick Spike's Group Stanley, Dayle (Ramona Murray) Syracuse Folk Festival Travelers Three The Tripjacks Turk's Head (Orleans, Mass.) Unicorn Coffeehouse Washington, Jackie (Jack Landron) Admin info Download xml version print version (pdf) Read collection overview ABSTRACT The posters, calendars, fliers, and brochures in the Folk New England Ephemera Collection are concentrated in the peak years of the folk revival, 1962-1965. Sometimes eye-catching and graphically interesting, other times quickly spun off, they reflect the range of acts performing in local colleges and universities and in coffeehouses such as Club 47 and the Unicorn, drawing from folk performers, but also blues, country and western, and bluegrass traditions.
    [Show full text]
  • Betsy Siggins Papers Finding
    Special Collections and University Archives UMass Amherst Libraries Betsy Siggins Papers 1958-2018 6 boxes (6 linear ft.) Call no.: MS 1022 About SCUA SCUA home Credo digital Scope Inventory Admin info Download xml version print version (pdf) Read collection overview A key figure in the New England folk revival of the 1960s, Betsy Siggins (nee Minot) entered Boston University in the fall 1958 just at the music was taking off. Along with her college friend Joan Baez, she soon left school for the lure of the bohemian musical scene in Cambridge. At the age of 20, Betsy married the banjo player for the Charles River Valley Boys, Bob Siggins, who was also a founding member of Club 47, the most important venue for folk music in the region. For musicians from Baez and Bob Dylan to Jim Kweskin, Eric Von Schmidt, and Jim Rooney, Club 47 was a career launching pad and despite the segregation of the era, it was a place where white northern audiences first encountered African American and blues musicians. Siggins worked full time at Club 47, filling a variety of jobs from office work to waitress to art gallery manager, eventually becoming program officer, arranging the schedules for musicians booked by Rooney or Byron Linardos. After Club 47 closed in 1968, Siggins went on to work for a succession of not for profit organizations, including the Smithsonian Festival of American Folklife and for programs for the homeless and poor. The Siggins Collection contains important materials on Club 47 and its successor, Club Passim, including business records, ephemera, clippings, and some remarkable scrapbooks featuring performers such Joan Baez, Bob Dylan, and Richard Farina.
    [Show full text]
  • January CALENDAR of EVENTS
    January CALENDAR 2014 of EVENTS 2020 Addison Street • Berkeley, California • (510) 644-2020 • www.freightandsalvage.org SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY Eve Decker Winter Classes start the week of January 13 workshop information on page 7 & Friends The Tuttles acoustic dharma folk Box Set Duo classes & jams on page 8 substantial folk music with AJ Lee featuring by the co-founders of blazing bluegrass Jennifer Berezan, the popular roots band & soulful singing James Baraz, Banjo • ‘Ukulele • Guitar • Mountain Dulcimer Julie Wolf, featuring Michaelle Goerlitz, Jeff Pehrson Voice • Songwriting • Theory • String Band and Lisa Zeiler & Jim Brunberg Live Sound• Mandolin • Fiddle • Bass • Blues Jam $21 adv/$23 door Jan 2 $19 adv/$21 door Jan 3 $25 adv/$27 door Jan 4 Freight Suzy Thompson’s Theodore Bikel Open Musical Journey & Merima with Jim Kweskin, Cheap Suit John Geoff Mic Kate Brislin Kljuco & Jody Stecher, Serenaders McCutcheon Laurie Lewis, in conversation Muldaur vintage jazz and multi-instrumentalist master of American an adventure Evie Ladin & Allegra Yellin, with Sam Norich Blue Flame Stringband, inexpensive attire reinventing home-grown music every time songs & stories traditional artistry Thompson String Ticklers from Jewish music’s 7:30 showtime and more! leading light $25/$27 Jan 5 $5/$7 Jan 7 $21/$23 Jan 8 $34/$37 Jan 9 $26.50/$28.50 Jan 10 $28.50/$30.50 Jan 11 San francisco Chamber orchestra presents Berkeley Faith Petric Steve Seskin, High School Memorial Beppe Red Molly Chatham Craig Carothers, Classical
    [Show full text]