The Union Temperance Song Book : a Collection of Songs for Picnics
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Multimillion-Selling Singer Crystal Gayle Has Performed Songs from a Wide Variety of Genres During Her Award-Studded Career, B
MultiMillion-selling singer Crystal Gayle has performed songs from a wide variety of genres during her award-studded career, but she has never devoted an album to classic country music. Until now. You Don’t Know Me is a collection that finds the acclaimed stylist exploring the songs of such country legends as George Jones, Patsy Cline, Buck Owens and Eddy Arnold. The album might come as a surprise to those who associate Crystal with an uptown sound that made her a star on both country and adult-contemporary pop charts. But she has known this repertoire of hardcore country standards all her life. “This wasn’t a stretch at all,” says Crystal. “These are songs I grew up singing. I’ve been wanting to do this for a long time. “The songs on this album aren’t songs I sing in my concerts until recently. But they are very much a part of my history.” Each of the selections was chosen because it played a role in her musical development. Two of them point to the importance that her family had in bringing her to fame. You Don’t Know Me contains the first recorded trio vocal performance by Crystal with her singing sisters Loretta Lynn and Peggy Sue. It is their version of Dolly Parton’s “Put It Off Until Tomorrow.” “You Never Were Mine” comes from the pen of her older brother, Jay Lee Webb (1937-1996). The two were always close. Jay Lee was the oldest brother still living with the family when their father passed away. -
Manual for Preserving and Digitising AV Archives
Manual for preserving and digitising AV archives Produced by Ina as part of the MedMem project, based on recommendations from the SNRT and other partners. July 2011 1 2 Forward This manual on preserving audiovisual or broadcast archives has been drawn up on the basis of recommendations made by the SNRT and other partners of the MedMem project during their meeting in Alexandria in December 2010 We hope that the manual will be a guide to Medmem’s partners for several years, helping them to: Set up preventative conservation measures Share experiences and good practices Continue with or set up a preservation and digitisation programme Devise tangible arguments to convince their management of the urgent necessity to have such a programme To do this we have written the manual in four parts: The sales pitch: why preserve and digitise archives? First steps: where to begin? How to set up a pilot study? Methods: How to design a preservation plan. How to set it up. The manual is particularly based on the contributions of Jean Verra and Jean-Noël Gouyet at the Ina Sup course “Assessing an AV collection and creating a strategy to preserve and digitise it”. Throughout the manual there are references to various “good practices”, some of which are drawn on the experiences of broadcasters around the Mediterranean. The manual has been written by Camille Martin and Ina’s engineering department, working closely with the MedMem project’s organisers. Ina, Bry-sur-Marne July 2011 3 Contents 1. The sales pitch: why preserve? ................................................................................................................. 7 1.1. To save a heritage at risk of being lost forever ...................................................................................... -
7. Annie's Song John Denver
Sing-Along Songs A Collection Sing-Along Songs TITLE MUSICIAN PAGE Annie’s Song John Denver 7 Apples & Bananas Raffi 8 Baby Beluga Raffi 9 Best Day of My Life American Authors 10 B I N G O was His Name O 12 Blowin’ In the Wind Bob Dylan 13 Bobby McGee Foster & Kristofferson 14 Boxer Paul Simon 15 Circle Game Joni Mitchell 16 Day is Done Peter Paul & Mary 17 Day-O Banana Boat Song Harry Belafonte 19 Down by the Bay Raffi 21 Down by the Riverside American Trad. 22 Drunken Sailor Sea Shanty/ Irish Rover 23 Edelweiss Rogers & Hammerstein 24 Every Day Roy Orbison 25 Father’s Whiskers Traditional 26 Feelin’ Groovy (59th St. Bridge Song) Paul Simon 27 Fields of Athenry Pete St. John 28 Folsom Prison Blues Johnny Cash 29 Forever Young Bob Dylan 31 Four Strong Winds Ian Tyson 32 1. TITLE MUSICIAN PAGE Gang of Rhythm Walk Off the Earth 33 Go Tell Aunt Rhody Traditional 35 Grandfather’s Clock Henry C. Work 36 Gypsy Rover Folk tune 38 Hallelujah Leonard Cohen 40 Happy Wanderer (Valderi) F. Sigismund E. Moller 42 Have You ever seen the Rain? John Fogerty C C R 43 He’s Got the Whole World in His Hands American Spiritual 44 Hey Jude Beattles 45 Hole in the Bucket Traditional 47 Home on the Range Brewster Higley 49 Hound Dog Elvis Presley 50 How Much is that Doggie in the Window? Bob Merrill 51 I Met a Bear Tanah Keeta Scouts 52 I Walk the Line Johnny Cash 53 I Would Walk 500 Miles Proclaimers 54 I’m a Believer Neil Diamond /Monkees 56 I’m Leaving on a Jet Plane John Denver 57 If I Had a Hammer Pete Seeger 58 If I Had a Million Dollars Bare Naked Ladies 59 If You Miss the Train I’m On Peter Paul & Mary 61 If You’re Happy and You Know It 62 Imagine John Lennon 63 It’s a Small World Sherman & Sherman 64 2. -
The Criminalization of Private Debt a Pound of Flesh the Criminalization of Private Debt
A Pound of Flesh The Criminalization of Private Debt A Pound of Flesh The Criminalization of Private Debt © 2018 AMERICAN CIVIL LIBERTIES UNION Contents Executive Summary .................................................................................................................................... 4 How the Court System Is Used to Send Debtors to Jail .................................................................... 5 The Role of Civil Court Judges ............................................................................................................. 6 Prosecutors and Debt Collectors as Business Partners ................................................................... 7 A System That Breeds Coercion and Abuse ....................................................................................... 7 Key Recommendations ......................................................................................................................... 7 A Nation of Debtors on the Financial Edge .............................................................................................. 9 The Debt-to-Jail Pipeline ............................................................................................................................12 State and Federal Laws That Allow the Jailing of Debtors .............................................................14 When Judges Reflexively Issue Arrest Warrants for Debtors .......................................................15 How Courts Use the Threat of Jail to Extract Payment ...................................................................16 -
4-16-2005 and God Said
1 “And God Said is far more amazing, inspiring, challenging, profound…than I ever could have imagined.” - Nancy Franken Version: 4-16-2005 AND GOD SAID ______________ a collection of Ancient Plays of Israel __________________ music by Ron Melrose _______________ as directed by Jeff Barker Jeff Barker 321 Albany Avenue NE Orange City, IA 51041 [email protected] 712-707-7093 (office) 712-737-8090 (home) 712-441-3231 (cell) 2 “Stories contain the wisdom and truth of the ages.” Paul Sills, creator of Story Theatre 3 Perusal scripts and sample scores for “And God Said” This script is available for free download at nwciowa.edu/barkerplays In addition, several downloadable, printable segments of the score are available at that site. Complete perusal scores To obtain a complete perusal score, send e-mail address and a check for $25, payable to Winter Bride Music, Inc., to Ron Melrose Winter Bride Music, Inc. 35-07 24th Avenue Astoria, NY 11103 Rights to produce “And God Said” To obtain rights to produce “And God Said,” contact Ron Melrose - at address above - or by phone (718) 721-2730 - or e-mail [email protected] Ron will send out a licensing application and price sheet for full score, vocal score, and instrumental parts. If you’ve already purchased a full perusal score, that amount will be applied as a full credit to the score-and-parts package you select. ALL SCORES AND PARTS WILL BE SENT AS .pdf FILES TO BE PRINTED AT YOUR LOCATION. 4 Acknowledgements The project emanates from the scholarship of Dr. -
Mellon Guide.Qxd
THE FILM PRESERVATION GUIDE THE BASICS FOR ARCHIVES, LIBRARIES, AND MUSEUMS National Film Preservation Foundation San Francisco, California National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2004 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data The film preservation guide : the basics for archives, libraries, and museums. p. cm. Includes bibliographical references and index. ISBN 0-9747099-0-5 (alk. paper) 1. Motion picture film—Preservation. I. National Film Preservation Foundation (U.S.) TR886.3F58 2003 778.5’8—dc22 2003024032 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Credits Except as noted below, all photographs were provided by Barbara Galasso and the L. Jeffrey Selznick School of Film Preservation at George Eastman House. The following contributed illustrations and text material: American Museum of Natural History (94), Anonymous (67), California Pacific Medical Center (57), Chace Productions Inc. (12 center and right), Duke University (48 top), Estate of Edith Lutyens Bel Geddes and the Harry Ransom Humanities Research Center at the University of Texas at Austin (84), Florida Moving Image Archive (91), Image Permanence Institute at the Rochester Institute of Technology (10 top), Library of Congress (48 bottom, 51, 63, 87), Minnesota Historical Society (92), National Center for Jewish Film (90), Nebraska State Historical Society (69, 73, 74), Northeast Historic Film (back cover, 62 bottom, 76, 85), Oklahoma Historical Society (5), Pacific Film Archive at the University of California at Berkeley (back cover), Sabucat Productions (93), UCLA Film and Tele- vision Archive (86), University of Alaska Fairbanks (40), University of South Carolina Newsfilm Library (89), Visual Communications (58). -
Introduction Developing a Collection Plan
DEVELOPING A COLLECTION PLAN FOR GATHERING VIDEO EVIDENCE FILMING Filming for human rights can be dangerous. It can put you, the people you are filming and the communities you are filming in at risk. Carefully assess the risks before you press “record”. Do your best to implement the guidance below, but understand that nothing stated in this guide is absolute and you should modify the practices to fit your needs. When possible, seek support from local experts. Even if you cannot fully implement this guidance, your footage may still provide valuable information that could lead human rights organizations and advocates to answers and, in turn, to the protection of our basic human rights. INTRODUCTION A Collection Plan is essentially a list that is created by investigators, lawyers, and in some cases human rights activists, to detail: FOR MORE • The Elements of a Crime or Defense, which are the specific things that a lawyer has to prove to: INFORMATION i) find a defendant guilty; or ii) free someone who has been falsely accused of a crime. Elements of a Crime • Any type of evidence (i.e. video, photos, medical records, testimony) the lawyer has already are briefly defined collected to prove each element, or in other words, the “Completed” List; and below, but you can also learn more in • Any type of evidence the lawyer still needs to collect to prove each element, or in other “All About the Law” words, the “To Do” List. bit.ly/ WITNESSLibrary_ VaE 1 VIDEO AS EVIDENCE: COLLECTION PLAN V 1.0 vae.witness.org Who Is THis For? Collection planning is an advanced practice for human rights activists who intentionally seek to capture video footage for human rights documentation and use as potential evidence for long-term justice and accountability. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
How to Use Folksongs. How to Do It Series, Number 25
DOCUMENT RESUME ED 081 653 SO 006 000 AUTHOR Dufty, David; Scott, John Anthony TITLE How to Use Folksongs. How to Do It Series, Number 25. INSTITUTION National Council for the Social Studies, Washington, D.C. PUB DATE 69 NOTE 8p. AVAILABLE FROMNational Council for the Social Studies, 1201 Sixteenth Street, N.W., Washington, D.C. 20036 ($0.25; Quantity Discounts) EDRS PRICE MF-$0.65 HC Not Available from EDRS. DESCRIPTORS Area Studies; Assembly Programs; Bibliographic Citations; Choruses; *Classroom Techniques; Clubs; Elementary Education; *Folk Culture; *Music; Secondary Education; Singing; *Social Studies; *Teaching Methods; Teaching Models; Teaching Techniques; World Geography IDENTIFIERS *Folksinging ABSTRACT The purpose of this bulletin, one of a series designed to aid the social studies teacher, is to indicate ways in which folksongs can be used in the classroom as a vivid reflection of the history and culture of the common people. An explanation is given of the value of the use of folksongs in the social studies classroom, followed by sections on general principles in using folksongs in the home, nursery school, kindergarten and elementary school, in unit teaching, in high school history courses, in world geography, and extra curricular activities such as folk music assemblies and clubs.. A guide to further study suggests activities for classes, and lists of books, records, and periodicals that may prove helpful to both teacher and student. Although this series is aimed at helping the social studies teacher, English and music instructors will also find this of use in their classes. Related documents are: SO 005 979 through SO 006 000. -
The Accordion in Twentieth-Century China A
AN UNTOLD STORY: THE ACCORDION IN TWENTIETH-CENTURY CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC AUGUST 2004 By Yin YeeKwan Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos Fred Blake ©Copyright2004 by YinYeeKwan iii ACKNOWLEDGEMENTS My 2002 and 2003 fieldwork in the People's Republic ofChina was funded by The Arts and Sciences Grant from the University ofHawai'i at Manoa (UHM). I am grateful for the generous support. I am also greatly indebted to the accordionists and others I interviewed during this past year in Hong Kong, China, Phoenix City, and Hawai'i: Christie Adams, Chau Puyin, Carmel Lee Kama, 1 Lee Chee Wah, Li Cong, Ren Shirong, Sito Chaohan, Shi Zhenming, Tian Liantao, Wang Biyun, Wang Shusheng, Wang Xiaoping, Yang Wentao, Zhang Gaoping, and Zhang Ziqiang. Their help made it possible to finish this thesis. The directors ofthe accordion factories in China, Wang Tongfang and Wu Rende, also provided significant help. Writing a thesis is not the work ofonly one person. Without the help offriends during the past years, I could not have obtained those materials that were invaluable for writings ofthis thesis. I would like to acknowledge their help here: Chen Linqun, Chen Yingshi, Cheng Wai Tao, Luo Minghui, Wong Chi Chiu, Wang Jianxin, Yang Minkang, and Zhang Zhentao. Two others, Lee Chinghuei and Kaoru provided me with accordion materials from Japan. I am grateful for the guidance and advice ofmy committee members: Professors Frederick Lau, Ricardo D. -
Output 3 — Cultural Collection Development and Management
OUtpUT 3 — CULTUraL coLLectioN deVELopMENT AND MANageMENT HigHLigHts • AIATSIS Collection Development Policy was developed incorporating both Audiovisual Archive and Library. • Library collection finding aids became searchable on the National Library of Australia’s Trove service. • Audiovisual Archive staff upgraded facilities for AIATSIS Public Programs. • Significant extensions and upgrades were made to electronics engineering workshop, enabling it to maintain ageing analogue equipment. • AIATSIS acquired a high-performance file storage system, the Digitised Collection Object Storage System, to manage its rapidly-growing volume of data. 64 3. COLLECTIONS COLLectioNS deLIVerabLes Deliverable Output 3 Result Developing a strategic Collections An Institute-wide Collections Development Policy Development and Management Plan. was completed, which will replace existing program- specific policies. Digitising, preserving and conserving 28,424 pictorial items, 3053 audio items, 191,596 feet materials in the collections. (250 cans) of motion picture and 478 hours of video were transferred to digital format to international standards. The Library digitised 45,384 items in 2010–11. Developing the collections through on- 26,129 new items were offered for deposit or going acquisition of material. donation to the Audiovisual Archive. 101 manuscript items were accessioned into the Library’s collections. $70,200 spent on acquiring books, serials and rare books. Maintaining dynamic collections Audiovisual Archive staff photographed and recorded through -
English Harp Guitar, That Has Additional Five Watch-Key Tuning and a Smith Patent Box)
Chevalier Thys de Castella wishes to thank Emiliano Marinucci for his long work on the collection that has given birth to this catalogue. Emiliano Marinucci The collection Chevalier Thys deCastella A musical baroque cabinet des merveilles B4BAROQUE instrument’s choices in sounds. The brightness, Foreword clearness is favored, darker tones are more atmospheric yet rich. The piano has a lute register, the harp a dry touch that gives a distinct perfume of A Collection is an image of a search that happens nobility, just like in Dussek’s contemporary sonatas through time, it develops, like an idea, a feeling. A destined to Marie Antoinette de France. true love, and time is the key element, in the birth of So we have a display of Europe, testified from a this collection as in music. This is what the collection complete view of exclusive aristocratic soprano is about. Time and the extravagant shapes and lutes (pandurine), a chitarra battente by Vinaccia sounds of the baroque world. that has no equal, into the extravaganzas of the Chevalier Thys waited, chose, traveled, through their hurdy-gurdy’s, and the poetry and intimacy of the sounds and shapes like following a story, like the English experimental citterns and guitars. one of his family, linked to the military history of And the violin family with her astounding Switzerland. experiments that reveal to a modern ear that Music always was a persistent part of Chevalier instrument makers and composers always worked Thys’s life, accompanying him through times together. We have here one of the only six contralto and places.