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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. -
Lila Iké | Biography Lila Ike (Pronounced Lee-Lah Eye-Kay) Is on the Brink of Stardom. the 26-Year-Old Jamaican Songbird
Lila Iké | Biography Lila Ike (pronounced Lee-lah Eye-kay) is on the brink of stardom. The 26-year-old Jamaican songbird has an edge and ease in her voice that creates an immediate gravitational pull with her listener, fusing contemporary reggae with elements of soul, hip-hop and dancehall. The free-spirited, easy-going singer has already released a handful of velvety smooth songs through In.Digg.Nation Collective, a record label and talent pool for Jamaican creatives, founded by reggae star Protoje. The ExPerience will be Lila Iké’s debut EP for Six Course/RCA Records in a new partnership with In.Digg.Nation Collective. She breathes a delicate testimony of love, infatuation, and spiritual guidance in the 7-track release out this Spring. The EP is padded with previously-released songs such as “Where I’m Coming From” and “Second Chance.” Pivoting from the singles that earned her international acclaim in 2018 and 2019, Lila Iké unveils playful seduction on “I Spy,” her first release of 2020 produced by Izy Beats (the hitmaker behind Koffee’s “Toast”). Beckoning with innocent flirtation over soft guitar licks, Lila in a sweet falsetto sings, “I spy I spy, that you see something you might like. Won’t you come over if you really mean it.” The layers to Lila are in full bloom as she opens up about the daily pressures she faces through her interaction with people and wanting peace of mind in “Solitude” — . On “Stars Align,” Lila flips the instrumental from Protoje’s “Bout Noon” into an anthem about falling in love through the metaphor of making music. -
Shilliam, Robbie. "Dread Love: Reggae, Rastafari, Redemption." the Black Pacific: Anti- Colonial Struggles and Oceanic Connections
Shilliam, Robbie. "Dread Love: Reggae, RasTafari, Redemption." The Black Pacific: Anti- Colonial Struggles and Oceanic Connections. London: Bloomsbury Academic, 2015. 109–130. Bloomsbury Collections. Web. 23 Sep. 2021. <http://dx.doi.org/10.5040/9781474218788.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 23 September 2021, 11:28 UTC. Copyright © Robbie Shilliam 2015. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Dread Love: Reggae, RasTafari, Redemption Introduction Over the last 40 years roots reggae music has been the key medium for the dissemination of the RasTafari message from Jamaica to the world. Aotearoa NZ is no exception to this trend wherein the direct action message that Bob Marley preached to ‘get up stand up’ supported the radical engagements in the public sphere prompted by Black Power.1 In many ways, Marley’s message and demeanour vindicated the radical oppositional strategies that activists had deployed against the Babylon system in contradistinction to the Te Aute Old Boy tradition of tactful engagement. No surprise, then, that roots reggae was sometimes met with consternation by elders, although much of the issue revolved specifically around the smoking of Marijuana, the wisdom weed.2 Yet some activists and gang members paid closer attention to the trans- mission, through the music, of a faith cultivated in the Caribbean, which professed Ethiopia as the root and Haile Selassie I as the agent of redemption. And they decided to make it their faith too. -
Record Collector Magazine
The Year of the HOBSE hat Mark Linkous of priated lyrical inspiration from south Waits, Grandaddy and Mercury Rev, Sparklehorse once briefly Virginian novelists, Ohio-born cinematog- Sparklehorse cut through their off-kilter died is probably the least raphers and film-makers, l6th Century music with almost perverse experimenta- interesting thing about him. English dramatists, esoteric American tion. They are as likely to create vigorous, In 1997, the American musician troubadors, a French poet and music critic feedback-enfettered rock songs as they collapsed in the en suite bathroom of and a deadpan American songlrrriter. He's are drowsy instrumentals; as likely to a London hotel with his legs pinned also sung about: pigs, horses, butchered forge fragile, debilitated ballads as beneath him for 14 hours. He was cows, "painbirds" and "pianobirds", esoteric, sample-heavy interludes. eventually found by a maid and rabbits, spiders, insects, leeches, hum- For the most part, this music is taken to St. Mary's Hospital, where, mingbirds, "hundreds of sparrows", poignant, melancholic and touching. On for two minutes, his heart stopped wolves, crows, snails, dogs, tigers and their first album, Viuadixiesubmarine- beating. It reads like a meta "more yellow birds". transmissionplot, Linkous even sang rock'n'roll story for a man who like Mark Linkous and his more or less about rescuing an iniured hawk: "I chased kindred spirits Grandaddy - anon)"rnous -has co-conspirators crush guitars, him round, tried to pick him up." Linkous tried to circumvent rock'n'roll clich6. tape loops, organs and frequently distort- has explained, "but he kept biting Nearly dying isn't cool. -
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'. -
Julian Velard Song List
JULIAN VELARD SONG LIST # Cheer Up Charlie - Willy Wonka 1999 – Prince Close To You — Carpenters 50 Ways To Leave Your Lover Cold As Ice —Foreigner 9 To 5 — Dolly Parton Cracklin’ Rosie — Neil Diamond A Crazy — Patsy Cline A Song For You – Leon Russell Crazy For You - Madonna Africa - Toto Crying — Roy Orbison After the Gold Rush — Neil Young Cupid – Sam Cooke Afternoon Delight – Starland Vocal Band D Ain’t No Sunshine – Bill Withers Dance With Me – Orleans Alison — Elvis Costello Darling Be Home Soon – John Sebastian Alone Again Naturally — Gilbert O’Sullivan Do You Know the Way to San Jose? — All By Myself – Eric Carmen Dionne Warwick All Of Me – Frank Sinatra Do You Realize??? – Flaming Lips America – Neil Diamond Doctor My Eyes – Jackson Browne Angel Eyes – Frank Sinatra Domino – Jesse J Angel Of The Morning — Juice Newton Don’t Cry Out Loud – Melissa Manchester Arthur’s Theme – Christopher Cross Don’t Go Breakin’ My Heart — Elton John & Kiki Dee As Time Goes By Don’t Stop Believin’ — Journey B Don’t Worry Baby — Beach Boys Baby One More Time — Britney Spears Don’t You Forget About Me — Simple Minds Baby Come Back - Player Dreams — Fleetwood Mac Bad, Bad, Leroy Brown — Jim Croce E Baker Street – Gerry Raerty Escape (The Pina Colata Song) – Rupert Holmes Bare Necessities - The Jungle Book Everybody’s Talkin’ — Nilsson Be My Baby — Ronnie Spector Every Time You Go Away – Paul Young Bennie and the Jets — Elton John Everybody Wants To Rule The World – Bette Davis Eyes – Kim Carnes Tears For Fears Big Yellow Taxi — Joni Mitchell Eye In -
Rhaglen Programme
THE ENTERTAINMENT VENUE Y LLEOLIAD AR GYFER ADLONIANT RHAGLEN PROGRAMME GWANWYN 2016 SPRING 2016 SWYDDFA DOCYNNAU BOX OFFICE - 01686 614 555 Tickets £3 | #HafrenSpyMovie ARCHEBWCH AR-LEIN BOOK ONLINE - THEHAFREN.CO.UK CROESO WELCOME Cyflwynwn ddau lawnsiad newydd yn y flwyddyn newydd sef! Acoustica: gan cyflwyno i’r llwyfan thalentau lleol i’ch diddanu. Cyflwynir y noson gan y cerddor poblogaidd Dai Robs, dewch i ymuno yn yr awyrgylch yn ein bar galeri a chyfle i fwynhau thalentau lleol. Cewch fwy o fanylion ar dudalen 5. Yn dilyn llwyddiant y peilot yn 2015 bwriadwn gynnig lle parhaol iddo yn ein rhaglen. Prynhawn o ffilmiau: Yn ystod y flwyddyn ddiwethaf rydym wedi bod yn dangos ffilmiau clasurol a ffilmiau plant poblogaidd yn ein theatr, bydd rhain yn ymddangos yn fisol o hyn allan yn ein rhaglen newydd. Ewch i dudalen 6 am fwy o fanylion. Dewch draw am y prynhawn i fwynhau ffilm, paned a chacen am £4. Rydym wedi cynnwys mwy o fanylion am ein gwaith addysgiadol y buon ni yn ymgymryd â dros y dair blynedd ddiwethaf. Y llynedd buon ni’n gweithio gyda dros 2000 o blant a phobl ifanc gan ddarparu profiadau o ansawdd uchel iddyn nhw. Os hoffech fod yn rhan o’r rhaglen newydd yma ac eich bod rhwng 0 a 100+ hoffem glywed ganddoch chi. Edrychwch ar y manylion ar dudalen 34. Edrychwn ymlaen i’ch croesawu yn 2016. Two major launches this year! Acoustica: bringing the talent of our musicians to your ears – hosted by popular musician Dai Robs in our gallery bar, come and enjoy our local talent in a relaxed atmosphere. -
Of ABBA 1 ABBA 1
Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7. -
CLERMONT MUSIC 67 Commons Road | Germantown NY | 12526 USA | +1.518.755.5089 | [email protected]
CLERMONT MUSIC 67 Commons Road | Germantown NY | 12526 USA | +1.518.755.5089 | [email protected] www.clermontmusic.com Catalog: CLE024 Album Title: Niafunké Artist: Hama Sankaré Format: LP, CD, DI UPC LP (US): 711574868216 UPC CD (US): 711574868223 UPC LP (EU): N/A UPC CD (EU): N/A UPC DI: 192562968970 US Release Date: 12 April 2019 EU Release Date: 26 April 2019 Cover Art: CLERMONT MUSIC 67 Commons Road | Germantown NY | 12526 USA | +1.518.755.5089 | [email protected] www.clermontmusic.com SALES NOTES: Hama Sankare, legend of Mali’s desert blues, releases Niafunke, his second brilliant album recorded March 2018 in Bamako. Sankare brought into the studio dynamic young headliners, Oumar Konate, Dramane Toure and Makan Camara along with long time colleagues Afel Bocoum, Yoro Cisse and Kande Sissoko to forge a set of blazing tracks that breath new energy into the genre and breaking old formulas all the while honoring traditional roots. Niafunke, a city in Mali along the Niger River near Timbuktu is where Sankare continues to live with his family. He, Bocoum and Cisse were contemporary collaborators with Ali Farka Toure whose home was also there and they can be heard on many of Farka’s albums. Sankare’s spirit engages everyone he meets. He has absorbed musical influences from around the world which he brings to these 10 tracks. This is his second release on the Clermont Music label. The album is available in CD and vinyl. Some of the tracks were edited for radio and vinyl formats. The vinyl includes an instrumental version of the track Baba Gomni in which the blazing musicians are featured in full force. -
Refrain, Again: the Return of the Villanelle
Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form. -
" African Blues": the Sound and History of a Transatlantic Discourse
“African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School 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 by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music. -
JANUARY 2003 Mr
The Pingry Record VOL. CXXVI, NO. 2 MARTINSVILLE ROAD, MARTINSVILLE, NJ 08836 JANUARY 2003 Mr. Al Romano HYPNOTIZED! Jennifer Zoephel (VI) Robert Zacharias (V) discusses “suspenders” with Denis Malkov (V) and Andy Schlesinger (V) Old West Pleases Crowd Three freshmen fall under David Kramer’s spell. BY DANA ZOLLI (VI) Elan DiMaio (VI), who BY REBECCA SPEISER (V) greeted with applause and deep sleep, David Kramer be- mous individual. Wild Oats, an outrageous played a bar girl, enjoyed Student talent and humor cheers as they performed gan to work his magic. Overall, the night had ev- western comedy which com- performing in her first was on stage on Friday, Janu- popular songs and original Simple stunts — such as eryone laughing and cheering. bined gunfights and despera- school play. She says of her ary 10 when Student Govern- pieces, such as Denis making the students feel ex- As Elana Wilf (V) said, “Hav- dos with mistaken identities, experience, “The show went ment sponsored its Mid-Year Malkov’s self-written and per- tremely hot or cold — started ing never seen the hypnotist deception, and Shakespeare really well. The script itself event. Hypnotist David formed untitled piece. the amusement, but the truly before it was a really fun ex- was performed on November is hilarious and I think that Kramer who has been per- After the talent show, hysterical occurrences came perience!” 14, 15, and 16. we were able to convey that forming at Pingry for years, which lasted for a little over later in the night. Turning Tom Although the attendance The