Lonnie Donegan Interview Transcript and Reader Reaction.Qxd (Page 3)
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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. -
Folk Music, Internal Migration, and the Cultural Left
Internal Migration and the Left Futures That Internal Migration Place-Specifi c Introduction Never Were and the Left Material Resources THE SOUTH AND THE MAKING OF THE AMERICAN OTHER: FOLK MUSIC, INTERNAL MIGRATION, AND THE CULTURAL LEFT Risto Lenz In 1940, actor and activist Will Geer organized the “Grapes of Wraths Evening,” a benefi t concert for the John Steinbeck Committee for Agricultural Workers at Forrest Theater in New York City. The pro- gram served as a blueprint for what would later defi ne the American folk music revival: Urban Northerners sharing the stage with “authentic” rural Southerners, together celebrating America’s musical heritage in a politically charged framework (here: helping migrant farmwork- ers). Among the “real” folk were Aunt Molly Jackson, an organizer for the Kentucky coal mines and a singer of union songs, Huddie “Lead Belly” Ledbetter, an African American songster from Louisiana, and Woody Guthrie, a singer from Oklahoma. The three musicians, 1 He is sometimes also who would all spend their subsequent lives in New York as well as referred to as “Leadbelly.” in California, represent the three main migration fl ows of Southerners Both spellings are pos- sible. I will hereaft er use moving out of farms and towns of the American South in great “Lead Belly” since it was numbers and into cities and suburbs of the North and the West: The the preferred spelling of the singer himself as 1 Great Migration of black Southerners (Lead Belly ), the dust bowl well as of the Lead Belly migration (Guthrie), and the Appalachian migration (Jackson).2 The Foundation. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
1 the Roots of Rock.Pptx
5/27/12 Rock Music & Culture s Welcome! s Instructor: s Adam Roberts s Course Website: s www.AdamRobertsMusic.com s Course Policies s General information s Course outline s Project guides Not Adam! 1 5/27/12 The World Before Rock s Culture in the early 1900’s s Regional s Personal s Early popular music s In 4/4 (4 beats to a bar) s Folkloric lyrics s Simple forms s Rock comes from 3 styles s Rhythm & Blues s Mainstream Pop s Country & Western 2 5/27/12 Form in Rock Music s Form: a song’s structure s Common types: s Blues s Usually 12 repeated bars s Verse-Chorus (VC) s A verse, then a chorus, repeat… s Verse-Refrain (VR) s A VC variation common to Rap & Folk s Refrain: a short melody or lyric that ends a verse s Song Form (AABA or ABAC) s Letters label sections of a song The Radio s Radio…a brief history s 1920: local stations s 1928: national networks s Talk radio, variety shows s 1940s: shifts to music s To differentiate from TV s Radio programming pre-1955 s National shows targeted Upper Class Whites s Big Bands, Crooners s Local shows targeted Minorities, Lower Class Whites s R&B, Country & Western 3 5/27/12 The Blues Robert Johnson The Blues s Origins: s Work Songs s Gospel Music & Spirituals s Highly improvised music s Very emotional, soulful s About getting rid of “the blues” s 1900s to 1940s: popular mostly with minorities s Race Records: 40s Blues and R&B recordings 4 5/27/12 The Blues Form s Just a few chords: I, IV & V s 12 bars/measures long, repeated for each verse s Lyrics in an AAB form s Ex. -
Blind Lemon Jefferson from Wikipedia, the Free Encyclopedia
Blind Lemon Jefferson From Wikipedia, the free encyclopedia Background information Birth name Lemon Henry Jefferson Also known as Deacon L. J. Bates Born September 24, 1893[1] Coutchman, Texas, U.S. Origin Texas Died December 19, 1929 (aged 36) Chicago, Illinois, U.S. Genres Blues, gospel blues Occupation(s) Singer-songwriter, musician Instruments Guitar Years active 1900s–1929 Labels Paramount Records, Okeh Records Notable instruments Acoustic Guitar "Blind" Lemon Jefferson (born Lemon Henry Jefferson; September 24, 1893 – December 19, 1929) was an American blues and gospel blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920s, and has been called "Father of the Texas Blues". Jefferson's performances were distinctive as a result of his high-pitched voice and the originality on his guitar playing. Although his recordings sold well, he was not so influential on some younger blues singers of his generation, who could not imitate him as easily as they could other commercially successful artists. Later blues and rock and roll musicians, however, did attempt to imitate both his songs and his musical style. Biography Early life Jefferson was born blind, near Coutchman in Freestone County, near present-day Wortham, Texas. He was one of eight children born to sharecroppers Alex and Clarissa Jefferson. Disputes regarding his exact birth date derive from contradictory census records and draft registration records. By 1900, the family was farming southeast of Streetman, Texas, and Lemon Jefferson's birth date is indicated as September 1893 in the 1900 census. The 1910 census, taken in May before his birthday, further confirms his year of birth as 1893, and indicated the family was farming northwest of Wortham, near Lemon Jefferson's birthplace. -
“Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr
GREENE, KEVIN D., Ph.D. “Just a Dream”: Community, Identity, and the Blues of Big Bill Broonzy. (2011) Directed by Dr. Benjamin Filene. 332 pgs This dissertation investigates the development of African American identity and blues culture in the United States and Europe from the 1920s to the 1950s through an examination of the life of one of the blues’ greatest artists. Across his career, Big Bill Broonzy negotiated identities and formed communities through exchanges with and among his African American, white American, and European audiences. Each respective group held its own ideas about what the blues, its performers, and the communities they built meant to American and European culture. This study argues that Broonzy negotiated a successful and lengthy career by navigating each groups’ cultural expectations through a process that continually transformed his musical and professional identity. Chapter 1 traces Broonzy’s negotiation of black Chicago. It explores how he created his new identity and contributed to the flowering of Chicago’s blues community by navigating the emerging racial, social, and economic terrain of the city. Chapter 2 considers Broonzy’s music career from the early twentieth century to the early 1950s and argues that his evolution as a musician—his lifelong transition from country fiddler to solo male blues artist to black pop artist to American folk revivalist and European jazz hero—provides a fascinating lens through which to view how twentieth century African American artists faced opportunities—and pressures—to reshape their identities. Chapter 3 extends this examination of Broonzy’s career from 1951 until his death in 1957, a period in which he achieved newfound fame among folklorists in the United States and jazz and blues aficionados in Europe. -
Lead Belly and His Legacy of Southern Song a Smithsonian
Lead Belly and His Legacy of Southern Song A Smithsonian Folkways Unit of Lessons Designed by: Patricia Shehan Campbell and Bethany Grant-Rodriguez University of Washington Summary: This unit of four stand-alone or progressive lessons celebrates Lead Belly, a Louisiana-born songster who remembered, invented, and passed on a legacy of songs that opens ears and minds to the world of the American south in the late nineteenth century and first half of the twentieth century. The ballads, blues, work songs, and singing games in these lessons celebrate an African American sensibility that can be enjoyed in school settings by listening and participatory singing and playing. With such musical engagement can come a deeper understanding of the life, times, and place of Lead Belly and his early years on the plantation, his consciousness of the daily grind of manual labor, and his later experiences as a conveyor of southern song on radio and in on-stage concerts, clubs, and classrooms. For children and youth, the complexities of Lead Belly’s life and times are caught up in these songs. His troubled years landed him in prison, where he learned songs from his inmates in Louisiana and Texas, when he worked on a chain gang until his time was served. (The reasons for his incarceration may not make for classroom-appropriate discussion, although the songs he acquired there became standard repertoire for him.) They lead to an exploration of the U.S. South in the post-Civil War period and the Jim Crow years, in the rural and remote places where sharecropping was common and where racial inequities were continued long past official declarations of freedom. -
“Take a Whiff on Me”: Leadbelly‟S Library of Congress Recordings 1933-1942 — an Assessment
CORE Metadata, citation and similar papers at core.ac.uk Provided by SAS-SPACE Blues & Rhythm, No. 59, March-April 1991, pp. 16-20; No. 60, May 1991, pp. 18-21 revised with factual corrections, annotations and additions, with details regarding relevant ancillary CDs, and tables identifying germane CD and LP releases of Leadbelly‘s recordings for the Library of Congress; and those for the American Record Corporation in 1935 “Take A Whiff On Me”: Leadbelly‟s Library of Congress Recordings 1933-1942 — An Assessment John Cowley From the mid-1960s, a small trickle of long-playing records appeared featuring black music from the holdings of the Archive of Folk Culture (formerly Archive of Folk Song) at the Library of Congress, in Washington, D.C. A few were produced by the Archive itself but, more often than not, arrangement with record companies was the principal method by which this material became available. One of the earliest collections of this type was a three-album boxed set drawn from the recordings made for the Archive by Huddie Ledbetter — Leadbelly — issued by Elektra in 1966. Edited by Lawrence Cohn, this compilation included a very useful booklet, with transcriptions of the songs and monologues contained in the albums, a résumé of Leadbelly‘s career, and a selection of important historical photographs. The remainder of Leadbelly‘s considerable body of recordings for the Archive, however, was generally unavailable, unless auditioned in Washington, D.C. In the history of vernacular black music in the U.S., Leadbelly‘s controversial role as a leading performer in white ‗folk‘ music circles has, for some, set him aside from other similar performers of his generation. -
CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS
CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS CLASSIC AFRICAN AMERICAN SONGSTERS from SMITHSONIAN FOLKWAYS 1. Warner Williams with Jay Summerour—BRING IT ON DOWN TO MY HOUSE 2:02 (Bob Wills / Unichappell Music, ASCAP) 2. Pink Anderson—TALKING BLUES 2:26 (Chris Bouchillon/Jaymore Music, BMI) 3. John Jackson—NOBODY’S BUSINESS (IF I DO) 3:15 (Porter Grainger–Everett Robbins; arr. John Jackson) 4. Little Brother Montgomery—ALABAMA BOUND 2:17 (Little Brother Montgomery/Jet Music Publishers, BMI) 5. Brownie McGhee—PALLET ON THE FLOOR 3:09 6. Bill Williams—CHICKEN, YOU CAN’T ROOST TOO HIGH FOR ME 3:16 (Bob Cole-J. Rosamond Johnson) 7. Lead Belly—MY HULA LOVE 2:16 (Edward Madden-Percy Wenrich, arr. Huddie Ledbetter/TRO-Folkways Music Publishers, BMI) 8. Reverend Gary Davis—CANDY MAN 2:32 (Gary Davis / Chandos Music, ASCAP) 9. John Cephas and Phil Wiggins—GOING DOWN THE ROAD FEELING BAD 3:32 10. Peg Leg Sam—FROGGY WENT A-COURTING 4:10 11. Mississippi John Hurt—MONDAY MORNING BLUES 5:52 (John Hurt/Wynwood Music Inc., BMI) Compiled and Annotated by Barry Lee Pearson and Jeff Place SFW 40211 © 2014 Smithsonian Folkways Recordings 12. Pink Anderson—THE BOYS OF YOUR UNCLE SAM 2:03 13. Brownie McGhee—RAISE A RUCKUS TONIGHT 2:49 14. Marvin Foddrell—RENO FACTORY 2:09 (arr. Marvin Foddrell) 15. John Jackson—DON’T LET YOUR DEAL GO DOWN 3:07 (arr. John Jackson / Tradition Music Co., BMI) 16. Warner Williams with Jay Summerour—HONEYSUCKLE ROSE 2:05 (Fats Waller-Andy Razaf / Chappell & Co., ASCAP-Razaf Music, ASCAP) 17. -
Lead Belly November 1-7, 2004
September/October 2004 Issue 270 Free 30th Anniversary Year www.jazz-blues.com Ninth Annual American Music Masters Shine A Light On Me, the Life and Legacy of Lead Belly November 1-7, 2004 Lead Belly September/October 2004 • Issue 270 Ninth Annual American Music Masters Shine A Light On Me, the Life and Legacy of Lead Belly November 1-7, 2004 Presented by the Rock and Roll Hall of Fame and Museum and Case Published by Martin Wahl Communications ead Belly was inducted into the feur (for John Lomax) and occasional per- Editor & Founder Bill Wahl Rock and Roll Hall of Fame former. During the last 15 years of his life, Land Museum in 1988. The he found an appreciative new audience in Layout & Design Bill Wahl Rock Hall will celebrate Lead Belly’s the leftist folk community, befriending the legacy in their Ninth Annual American likes of Woody Guthrie and Pete Seeger. Operations Jim Martin Music Masters, this November. Lead Much like Guthrie, he performed for politi- Pilar Martin Belly was one of the most influential art- cal rallies and labor unions in his later ists of the twentieth century. An emblem years. His keening, high-pitched vocals and Contributors of American Folk music, Lead Belly had powerful, percussive guitar playing com- Michael Braxton, Mark Cole, Chris a profound influence on artists such as manded attention, and he became known Hovan, Nancy Ann Lee, David Muddy Waters, Pete Seeger, Neil Young, as “the King of the Twelve-String Guitar.” McPherson, Peanuts, Mark Bob Dylan, George Harrison and Kurt Lead Belly recorded for a variety of labels, Smith, Duane Verh and Ron Cobain. -
The Chart Book – the Specials Record Mirror Singles 1955-1962
The Chart Book – The Specials Record Mirror Singles 1955-1962 Compiled by Lonnie Readioff Chart History For Record Mirror Single Charts Between 22 January 1955 and 17 March 1962 Entry Peak Weeks on chart, Title (Number 1 Number) (Awards symbols, if any for this record in this period) (Composer) Full artist credit (if different) B-Side (Or EP/Album track listing if any charted on this chart) Label (Catalogue Number) Duration. Notes are presented below the title for some entries. Entries are sorted by artist, then by entry date and finally, in the event of ties, by peak position and finally weeks on chart. All re-entries are shown as separate entries, but track listings of any albums or EP's which re-entered the chart are not shown for their re-entries. Fats Domino (Continued) 19.12.1959 12 5 Be My Guest (Tommy Boyce / Fats Domino / John Marascalco) I've Been Around London 7": HLP 9005 02:16 30.01.1960 15 4 Be My Guest (Re-entry 1) (Tommy Boyce / Fats Domino / John Marascalco) I've Been Around London 7": HLP 9005 02:16 09.04.1960 18 1 Country Boy (Dave Bartholomew / Fats Domino) If You Need Me London 7": HLP 9073 02:10 Lonnie Donegan Entry: 07.01.1956 Hits: 27 Peak: 1 Weeks: 211 07.01.1956 6 12 Rock Island Line (Lonnie Donegan) The Lonnie Donegan Skiffle Group John Henry Decca 7": 45FJ 10647 02:30 07.04.1956 15 3 Rock Island Line (Re-entry 1) (Lonnie Donegan) The Lonnie Donegan Skiffle Group John Henry Decca 7": 45FJ 10647 02:30 28.04.1956 2 16 Lost John (Lonnie Donegan) The Lonnie Donegan Skiffle Group Stewball Pye Nixa 78: N 15036 02:13 -
Alan Lomax Collection (AFC 2004/004): Radio Programs
American Folklife Center, Library of Congress Alan Lomax Radio-Related Materials, 1939–1969: A Guide Todd Harvey (2016) Contents Introduction .................................................................................................................................................. 3 Source Collections ......................................................................................................................................... 4 CBS (1939-1945) ............................................................................................................................................ 6 Radio Research Project ............................................................................................................................... 25 BBC (1943-1944) ......................................................................................................................................... 28 Armed Forces Radio Service (1945?) .......................................................................................................... 29 Mutual (1947-1949) .................................................................................................................................... 30 BBC (1951-1957) ......................................................................................................................................... 34 NBC (undated) ............................................................................................................................................. 39 U.S. Department of Health