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Cowboys and Indians: the International Stage the International Stage the International Cowboyscowboys and Indians: and Indians: the International Stage Craig D
Hillis: Cowboys and Indians: The International Stage The International Stage Cowboys and Indians: Cowboys and Indians: The International Stage Craig D. Hillis 16 Bob Livingston in his A Photo by Bruce Jordan Bruce Photo by ustin office surrounded by instruments collected fr om around the world. Produced by The Berkeley Electronic Press, 2002 1 Journal of Texas Music History, Vol. 2 [2002], Iss. 1, Art. 3 The International Stage Cowboys and Indians: Cowboys There are countless cultural innovations and popular products recognized around the world as uniquely American. Whether with the blues, the Big Mac, tailfins on Cadillacs, or the legacy of space travel, the United States continually astounds and, from time to time, confounds the world with its prolific cultural productivity. Things American are everywhere, at least anywhere a radio wave can reach a receiver or a satellite signal can touch a television set, and two of the most ubiquitous Yankee exports are the mythical cowboy of the Wild West and country music. Bob Livingston, an accomplished Austin musician, has helped to shape these singular institutions into an effective tool of American diplomacy. Since 1986, Livingston has toured extensively in South Asia and the Middle East as an emissary of the State Department of the United States presenting a musical program he calls “Cowboys and Indians.” He describes his mission (with his tongue only partially in his cheek) as an attempt “to achieve world peace through cowboy songs and yodeling.”1 Livingston’s ambitious crusade has touched the lives of thousands around the world by offering a refreshing and holistic view of American culture. -
RADIO and TELEVISION MIRROR, Published Monthly by MACFADDEN PUBLICATIONS, INC., Washington and South Avenues, Dunellen, New Jersey
k MACUODIN runic ATION MAY M/RRORMID TELEVISION l-CRET ROMANCE -The Radio Star in ALICE FAYE'S Life F ,s LIFE CAN BE BEAUTIFUL ^a,g IkeLe smoke ol Olower-JJurningOlower-iji LameLCamels gives you EXTRA MILDNESS, EXTRA COOLNESS, EXTRA FLAVOR am LESS NICOTINE than the average of the four other largest-selling cigarettes tested — less than any of them — according to in- dependent scientific tests of the smoke itself. THE SMOKE'S THE THING! A LL that you get from a cigarette — you ./jLget in the smoke itself. And here's what you get when you smoke slower-burn- ing Camels. More mildness where you want mildness. ..in the smoke. More flavor where you want flavor . .in the smoke. More coolness, too! In the same slow smoke of a Camel cig- arette, you get less nicotine. Yes, 28% less nicotine than the average of the four other largest-selling brands tested... less nicotine than from any of them. Dealers feature Camels by the carton. For convenience — for economy — get your Camels by the carton. K. J. Reynolds Tobacco Company, Winston-Salem, North Carolina 'Camels taste like the cigarette they are ... a finer BY BURNING 25% cigarette of real mildness, wonderful flavor!" SLOWER than the average of the 4 other MRS. EDWARD M. McILVAIN, Jr., of New York largest-selling brands • A lover of home life, Mrs. Mcllvain furniture and silver. She also likes tested . slower than enjoys running a household. ..enter- candid photography. movies . .con- any of them . Camels also give you a smoking taining small groups of friends. -
Whither Cowboy Poetry?
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for 1999 WHITHER COWBOY POETRY? Jim Hoy Emporia State University Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Hoy, Jim, "WHITHER COWBOY POETRY?" (1999). Great Plains Quarterly. 902. https://digitalcommons.unl.edu/greatplainsquarterly/902 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. WHITHER COWBOY POETRY? JIM HOY As a cultural phenomenon the explosion in high-heeled boots, silk neckerchief, leather popularity of cowboy poetry in the past dozen chaps-has long since become an icon that years has been nothing short of spectacular. represents the very nation: wear a cowboy hat Until the first full-scale cowboy poetry gath and you will be taken for an American any ering at Elko, Nevada, in late January 1985, where in the world. The two essential working poetry was arguably the one aspect of cowboy skills of the cowboy-roping cattle and riding culture that had not been expropriated into bucking horses-long ago have been trans American popular culture. Certainly the men formed from actual ranch work into one of the tal picture of the cowboy himself-big hat, nation's largest spectator and participant sports: rodeo. And the idealized, romanticized image of the cowboy (certainly far removed from the low-paid, hard-working hired man on horseback who actually works with cows, horses, and four-wheel-drive pickups) has be come, through pulp fiction, television, and James F. -
Gene Autry and the Phantom Empire Gene Autry and the Phantom Empire (1935): the Cowboy in the Wired West of the Future Ron Briley
Briley: Gene Autry and The Phantom Empire Gene Autry and The Phantom Empire (1935): The Cowboy in the Wired West of the Future Ron Briley 44 ProducedGene by The Autry Berkeley attempts Electronic to control Press,a Muranian 2010 robot while being stalked by rebel forces. 1 Used by permission of the Autry Qualified Interest Trust and the Autry Foundation Journal of Texas Music History, Vol. 10 [2010], Iss. 1, Art. 5 Gene Autry and The Phantom Empire (1935): The Cowboy in the Wired West of the Future In 1935, budding cowboy singing star Gene Ron Briley Autry appeared in the Mascot Pictures serial The Phantom Empire. The film offers a blending of the Western and science fiction genres, and Autry employs such modern devices as aircraft, radio, television, and even laser rays to protect Radio Ranch from the predatory designs of evil scientists and business interests seeking to exploit the radium deposits found in the subterranean city of Murania, located below the ranch. Autry is able to save the ranch from these threats, both alien and domestic, by completing his scheduled radio broadcasts. The premise of the film is that 45 the Western environment may only be preserved through an adaptation to modernism, which will reduce regional isolationism and ensure the overall survival of the American West. Thus, as the protagonist of The Phantom Empire portraying himself, Autry appears as somewhat of a New Deal cowboy protecting the common people of 1 the West from greedy outside business interests. In his post World War II career as an entertainer and entrepreneur, Autry maintained the Hollywood cowboy image he had successfully cultivated throughout the 1930s. -
Tracing the Blues Metaphor in Alternative Forms of Music
CHAPTER 4 TRACING THE BLUES METAPHOR IN ALTERNATIVE FORMS OF MUSIC INTRODUCTION Since their inception, the blues have powerfully influenced and shaped the direction of music in our country, and, it could be argued, in other countries as well. The following sections will highlight musical forms/genres through which I sense elements of the blues run strongly. These themes are part of the blues metaphor, which I will more fully describe and develop in the following sections of this chapter. I acknowledge that it may be argued that blues elements are most likely present in musical forms that I have not mentioned; I am focusing on genres wherein I perceive the blues themes and the blues metaphor as clearly resonating. THE BLUES METAPHOR IN COUNTRY MUSIC Every time I see that lonesome railroad train, It makes me wish I was going home again. (Rodgers, 1930, track 5) At the height of the popularity of the blues, a phenomenon was occurring in the field of music especially among poor White in the South, which could be described as the beginning of the musical genre I will refer to as country music. Issues concerning class were being openly brought forth with the emergence of country yodelers, such as Jimmy Rodgers. While recorded musical history tends to frame this almost exclusively as a White form of musical expression, there are indications that yodeling as a form of music was not exclusive to White Southerners in our country, but reached a universal core of humanity. Plantanga (2004) comments about yodeling as a broad musical genre, suggesting its ability to assist the yodeler in transcendence from the concerns of his life. -
Riders in the Sky Deliver a Rollicking Christmas Show
Skip to Content Cal Poly News Search Cal Poly News California Polytechnic State University Nov. 26, 2001 FOR IMMEDIATE RELEASE CONTACT: LISA WOSKE (805)756-7110 Riders in the Sky Deliver a Rollicking Christmas Show Known for their pure and comical western musical entertainment, Riders In The Sky will perform a warm-hearted holiday show, "Christmas the Cowboy Way," on Thursday, December 20, 2001 at 7 p.m. in the Performing Arts Center's Christopher Cohan Center. Cal Poly Arts presents the "darlings of public radio" in a concert filled with classic and original western folk songs, smooth harmonies, and slapstick comedy. Since 1977, Riders In The Sky have faithfully tended a musical tradition created by singing cowboy legends such as the Sons Of The Pioneers. The Riders' success is based on the expert musicianship of guitarist Ranger Doug, bassist Too Slim, and accordion player Joey "The Cowpolka King" Miskulin. The group combines sharp acoustical music and a wide musical repertoire with outrageous comedy, delivering entertainment that has delighted listeners and audiences for almost three decades. Riders In The Sky have more than 4,000 shows, 200 national TV appearances, 200 public radio shows, 2.3 million miles on the road, three television series, and dozens of albums to their credit in a career committed to carrying on an American musical tradition. In 1999, the Riders provided music for Walt Disney/Pixar's "Toy Story 2" with their rendition of "Woody's Roundup." They recorded a companion album for the movie, entitled "Woody's Roundup, Featuring Riders In The Sky." The album garnered Riders In The Sky a Grammy Award for Best Children's Album in 2001. -
Murphey, Michael Martin[Entry from Slatta, the Cowboy Encyclopedia
1 Murphey, Michael Martin [entry from Slatta, The Cowboy Encyclopedia, 1990, 1994) Singer, songwriter, promoter of cowboy culture. With his highly successful 1990 album, "Cowboy Songs," Michael Martin Murphey became the country's leading evangelist for western music. It is, he says, the "music of my people, of my land." Murphey has won millions of converts who agree with his choice. "This is not the hot new country. This is the great old western." Murphey grew up hearing and singing cowboy songs around campfires at Sky Ranch, near Lewisville, Texas. He left Texas to attend UCLA in the late sixties. "I went out there to study Greek and Latin and Roman history and medieval history. I was interested in the classical world, the ancient world, and the medieval world. And I'll tell you my reasoning for that. I feel like I was the wandering minstrel of today, and I really wanted to study the wandering minstrel of the ancient times, and so, I got into all that because I was interested in actually digging up more stuff on the early, early singer-songwriters and minstrels. And I had a great time doing that." At UCLA Murphey set his studies to song with a folk-rock group called the Lewis and Clark Expedition. Murphey's love for and knowledge of history continues. He often gives audiences intriguing glimpses into the musical and social history behind his songs. In 1971 Murphey returned to Texas, just in time for the great outlaw music rebellion. Like Willie Nelson, Jerry Jeff Walker, and Waylon Jennings, Murphey shunned Nashville's constraints and conservatism in favor of the West's wide-open spaces. -
Dichotomy in American Western Mythology Thesis
21A "A I DICHOTOMY IN AMERICAN WESTERN MYTHOLOGY THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF SCIENCE by Scott E. Robinson, B.F.A. Denton, Texas May, 1991 Robinson, Scott E. , Dichotomy in American Western Mythology. Master of Science (Interdisciplinary Studies), May, 1991, 129 pp., 19 illustrations, bibliography, 60 titles. The fundamental dichotomy between savage and civilized man is examined within the archetypal Western myth of American culture. The roots of the dichotomy are explored through images produced between 1888 and 1909 by artists Frederic Remington and Charles Russell. Four John Ford films are then used as a basis for the "dichotomous archetype" approach to understanding Western myth in film. Next, twenty-nine "historical" and "contemporary" Western movies are discussed chronologically, from The Virginian (1929) to Dances with Wolves (1990), in terms of the savage/civilized schema as it is personified by the roles of archetypal characters. The conclusion proposes a potential resolution of the savage/civilized conflict through an ecumenical mythology that recognizes a universal reverence for nature. ACKNOWLEDGEMENTS Larry Gleeson, professor of Art History, has served as an exemplary scholar and model lecturer. The breadth of Larry's academic expertise as well as his depth of human sensitivity made every step of this thesis project rewarding. John Smith, a member of the English faculty (and a former student of Walter Prescott Webb), is responsible for stimulating this student's interest in Western mythology during the early stages of this thesis project. Steven Fore from the Division of Radio, Television and Film provided invaluable guidance in the area of film criticism; his enthusiasm was a positive and gracious addition to the thesis committee during the final stages of the project. -
Download Singing and the Actor Free Ebook
SINGING AND THE ACTOR DOWNLOAD FREE BOOK Gillyanne Kayes | 208 pages | 20 Sep 2004 | Bloomsbury Publishing PLC | 9780713668230 | English | London, United Kingdom Singing cowboy Download More Perfect Union? Download I. Before entirely focusing on acting, Scarlett had released a studio album and an EP. Autry was also the first sound motion picture cowboy star to use his own name as the main character in a film, [7] a practice soon emulated by Rogers although "Roy Rogers" wasn't his real name, either, it was Leonard Slye. Add to this the cost of a vocal coach and accompanist. The reproductions of the album covers are absolutely first rate, Free Mr. Goodreads helps you keep track of books you want to read. Natural ability is certainly a starting point when it comes to dance, although the intricate movements and timing required for Singing and the Actor presentation of stage musicals requires tremendous training, focus, and structure. A son in law of director John FordHe appeared in numerous Ford films as a basically non- singing supporting player, including The Searchersand later played "Festus Hagen" on the television series Gunsmoke for eleven seasons. The Chorus. Foran's first picture in this popular series was Moonlight on the Prairiefollowed by Song of the Saddle. West Singing and the Actor, KentuckyU. Readers also enjoyed. To change from one key to another in a song. Few people are equally good at all kinds of dancing. Read more Thanks for telling us about the problem. While much of what is included in the genre of "cowboy music" is "traditional", a number of songs have been written and made famous by groups like the Sons of the Pioneers and Riders in the Sky and individual performers such as Gene AutryRoy RogersTex RitterBob Baker and other "singing cowboys". -
Nineteen Hundred Years Ago, Give Or Take a Year Or Two, Around 60 A.D., a Roman Named Festus Was for a Brief Time Procurator Of
Nineteen hundred years ago, give or take a year or two, around 60 A.D., a Roman named Festus was for a brief time procurator of Judea, and, according to the historian Josephus,’ the people rioted because of a decision he made favoring the Syrians at Caes- area. Today there is violent public reaction to another Festus-the re- placement for the seemingly irre- placeable Chester in CBS’s Gunsmoke, a shaggy character named Festus Haggen, played by a former crooner, singing cowboy, movie bit player and parachuting TV hero named Ken Curtis. The producer of Gunsmoke, Norman Macdonnell, says, ‘The mail on Fes- tus is either absolutely white or abso- lutely black. Some people say they can’t stand him. Others say they like him better than Chester. They either love him or they hate him-but 90 percent say they love him.” There is no question of the reaction to Festus in Gunsmoke’s Dodge City. They love him there-100 percent. The rest of the cast had become resentful of the attitude of Dennis Weaver, who played Chester.“Why, on his last show, he hardly even limped!” says Amanda Blake, who plays Kitty. As for Festus himself, where Dennis Weaver said, “After nine years as Chester, I have exhausted all the areas of creativity,”the 48-year-old Curtis, who has been around show business since 1939, says, ‘There are so many good actors that are hurtin’, I’m just grateful. I hope Gunsmoke goes on for another 10 years.” The character was not calculatedly created as a replacement for Chester. -
The Timeless Appeal of Cowboy Laments, Lullabies and Yodels
SingingThe timeless appeal of cowboy laments, lullabies and yodels. intheSaddleBy D OUGLAS B. GREEN, MA’71 hen studying the popular portrayal of the for periods of time in particular circum- cowboy, it is fascinating to reflect how few of these stances, a tradition of song by or about those men and their work develops. Sailors, log- men are shown actually tending cattle. Folklorist J. gers, railroad workers, boatmen, miners and Frank Dobie observed that Owen Wister’s The Vir- others all have musical traditions. ginian is “the classic cowboy novel without cows,”and Wister’s book is far As for cowboys, even witnesses who were there in the days before singing became a Wfrom alone in this peculiarity. In films this fantasy, upon the lowly figure of the cowboy. profession on record and radio and film can’t contradiction is exaggerated to the extreme. So the young, displaced skilled laborers seem to agree. Journalist John Baumann The cowboy hero is often a lawman or ranger, who were the real cowboys have taken on a wrote for the Fortnightly Review of April 1, openly or undercover; he may be a cattleman huge psychic and cultural load. They have 1887:“The younger hands are whiling away or ranch foreman; he may be a drifter, a doc- become, through the imaginative eyes of writ- the time ‘whittling’ and ‘plug chawing,’drawl- tor, or a two-fisted newspaperman—but sel- ers and singers and songwriters and film- ing out yarns of love and sport and singing dom is he portrayed as a bottom-level makers, the repository of our national dreams, ribald songs, until someone strikes up the workaday cowpoke. -
Cowboy Songs, Ballads, and Cattle Calls from Texas
FOLK MUSIC OF THE UNITED STATES Moti.on Picture, Broadcasting and Recorded Sound Division Recording Laboratory AFS L28 COWBOY « »lOlNGS~ ~ ULAID-~~ From the ArchiveofFolkCulture Edited by Duncan Emrich CollectedbyJohn A. Lomax LIBRARY OF CONGRESS WASHINGTON PREFACE With the single exception of "Colley's Run-I to the attention of the scholarly world and the 0," a traditional Maine lumberjack song in general public. cluded here for comparison with its western The voices of the men who sing these songs descendant, "The Buffalo Skinners," all of the are untrained musically. There is nothing here material on this record comes from Texas and is of the drugstore cowboy or of the sweet and sung hy Texans. All of it relates to the life of the PQlished renditions heard in the jukebox. These cowboy on the ranches and ranges, and all of the men sat on their horses more easily than any songs are sung by men who have, at one time chair on a concert stage. As a result, the listener or another, been closely associated with the cat hears---perhaps for the first time-the songs as tle industry, usually in a direct capacity as work they were actually sung in the cow country of ing hand or boss. With the exception of two songs, all were recorded on portable disc equip the West. The difference between the real folk song and the more popularized versions to which ment in Texas by John A. Lomax of Dallas, and Mr. Lomax himself sings "The Buffalo Skin he has been accustomed may come as a distinct ners." It is most fitting that his voice appears on shock.