Song Lyrics with Translations
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Solidarity Sing-Along
Song credits: 1. We Shall Overcome adapted from a gospel song by Charles Albert Tindley, current version first published in 1947 in the People's Songs Bulletin 2. This Land is Your Land by Woody Guthrie, Wisconsin chorus by Peter Leidy 3. I'm Stickin' to the Union (also known as Union Maid) by Woody Guthrie, final updated verse added in the 1980's 4. We Shall Not Be Moved adapted from the spiritual "I shall not be moved" 5. There is Power in a Union music and lyrics by Billy Bragg 6. When We Make Peace lyrics by the Raging Grannies 7. Keep Your Eyes on the Prize lyrics by Alice Wine, based on the traditional song "Gospel Plow" 8. Solidarity Forever by Ralph Chaplin, updated verses by Steve Suffet, from the Little Red Songbook 9. Have You Been to Jail for Justice music and lyrics by Anne Feeney 10. Ain't Gonna Let Nobody Turn Me 'roun based on the spiritual “Don't You Let Nobody Turn You Around” Solidarity 11. It Isn’t Nice by Malvina Reynolds with updated lyrics by the Kissers 12. Roll the Union On Original music and lyrics by John Handcox, new lyrics by the people of Wisconsin Sing-along 13. We Are a Gentle Angry People by Holly Near We Shall Overcome 14. Which Side Are You On? Original lyrics by Florence This Land is Your Land Reece, melody from a traditional Baptist hymn, “Lay the Lily Low”, new lyrics by Daithi Wolfe I'm Stickin' to the Union 15. Scotty, We’re Comin’ for You words and music by the We Shall Not Be Moved Kissers There is Power in a Union 16. -
Bob Dylan and the Reimagining of Woody Guthrie (January 1968)
Woody Guthrie Annual, 4 (2018): Carney, “With Electric Breath” “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie (January 1968) Court Carney In 1956, police in New Jersey apprehended Woody Guthrie on the presumption of vagrancy. Then in his mid-40s, Guthrie would spend the next (and last) eleven years of his life in various hospitals: Greystone Park in New Jersey, Brooklyn State Hospital, and, finally, the Creedmoor Psychiatric Center, where he died. Woody suffered since the late 1940s when the symptoms of Huntington’s disease first appeared—symptoms that were often confused with alcoholism or mental instability. As Guthrie disappeared from public view in the late 1950s, 1,300 miles away, Bob Dylan was in Hibbing, Minnesota, learning to play doo-wop and Little Richard covers. 1 Young Dylan was about to have his career path illuminated after attending one of Buddy Holly’s final shows. By the time Dylan reached New York in 1961, heavily under the influence of Woody’s music, Guthrie had been hospitalized for almost five years and with his motor skills greatly deteriorated. This meeting between the still stylistically unformed Dylan and Woody—far removed from his 1940s heyday—had the makings of myth, regardless of the blurred details. Whatever transpired between them, the pilgrimage to Woody transfixed Dylan, and the young Minnesotan would go on to model his early career on the elder songwriter’s legacy. More than any other of Woody’s acolytes, Dylan grasped the totality of Guthrie’s vision. Beyond mimicry (and Dylan carefully emulated Woody’s accent, mannerisms, and poses), Dylan almost preternaturally understood the larger implication of Guthrie in ways that eluded other singers and writers at the time.2 As his career took off, however, Dylan began to slough off the more obvious Guthrieisms as he moved towards his electric-charged poetry of 1965-1966. -
A Student Companion To
A Student Companion To With the generous support of Jane Pauley and Garry Trudeau The Raymond Foundation Contents section 1: The Book and Its Context page 2 Who Was John Steinbeck? | Ellen MacKay page 3What Was the Dust Bowl? | Ellen MacKay page 6 Primary Sources Steinbeck Investigates the Migrant Laborer Camps Ellen MacKay: Dorothea Lange’s “Migrant Mother” and the Look of the Dust Bowl The Novel’s Reception The Wider Impact of The Grapes of Wrath page 10 What Makes The Grapes of Wrath Endure? Jonathan Elmer: Steinbeck’s Mythic Novel George Hutchinson: Hearing The Grapes of Wrath Christoph Irmscher: Teaching The Grapes of Wrath section 2: Sustainability, Bloomington, and the World of The Grapes of Wrath page 14 What Does Literature Have to Do with Sustainability? | Ellen MacKay page 15 Nature Writing Now: An Interview with Scott Russell Sanders An Excerpt from A Conservationist Manifesto | Scott Russell Sanders page 18 What Can Be Done?: Sustainablilty Then and Now Michael Hamburger Sara Pryor Matthew Auer Tom Evans page 22 Primary Access: The 1930s in Our Midst Ellen MacKay: Thomas Hart Benton, the Indiana Murals, and The Grapes of Wrath Nan Brewer: The Farm Security Administration Photographs: A Treasure of the IU Art Museum Christoph Irmscher: “The Toto Picture”: Writers on Sustainability at the Lilly Library section 3: The Theatrical Event of The Grapes of Wrath page 26 How Did The Grapes of Wrath Become a Play? | Ellen MacKay page 27 The Sound of The Grapes of Wrath: Ed Comentale: Woody Guthrie, Dust Bowl Ballads, and the Art and Science of Migratin’ Guthrie Tells Steinbeck’s Story: The Ballad of “The Joads” page 31 Another Look at the Joads’ Odyssey: Guthrie’s Illustrations. -
We Worship God and Learn More About Christian Living in an Inclusive Way
February 14, 2010 Prelude Joel Hammett Gift of Finest Wheat Schmoltze, Composer + Our Community Gathers Rev. Kristen Klein-Cechettini We Mark Eggleston Worship + Exchange of Peace Songs were an integral part of the American civil rights Hymn movement. Singing inspired large groups of people at church Lift Every Voice and Sing meetings, street demonstrations, Lift every voice and sing, Till earth and heaven ring, and marches. Many of the songs were Ring with the harmonies of liberty; traditional hymns Let our rejoicing rise high as the listening skies, and spirituals with Let it resound loud as the rolling seas. lyrics that had several layers of meaning and Sing a song full of the faith that the dark past has taught us, expressed a desire Sing a song full of the hope that the present has brought us; for freedom. Other hymns and spirituals Facing the rising sun of our new day begun, were given new words Let us march on till victory is won. to emphasize the struggle for more Stony the road we trod, Bitter the chast'ning rod, specific issues such as voting rights. Felt in the days when hope unborn had died; Yet with a steady beat, Have not our weary feet What we now call Black History Come to the place for which our people sighed? Month originated We have come over a way that with tears has been watered; in 1926, founded by Carter G Woodson We have come, treading our path through the blood of the slaughtered; as Negro History Out from the gloomy past, Till now we stand at last Week. -
The Woody Guthrie Centennial Bibliography
LMU Librarian Publications & Presentations William H. Hannon Library 8-2014 The Woody Guthrie Centennial Bibliography Jeffrey Gatten Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/librarian_pubs Part of the Music Commons Repository Citation Gatten, Jeffrey, "The Woody Guthrie Centennial Bibliography" (2014). LMU Librarian Publications & Presentations. 91. https://digitalcommons.lmu.edu/librarian_pubs/91 This Article - On Campus Only is brought to you for free and open access by the William H. Hannon Library at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU Librarian Publications & Presentations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Popular Music and Society, 2014 Vol. 37, No. 4, 464–475, http://dx.doi.org/10.1080/03007766.2013.834749 The Woody Guthrie Centennial Bibliography Jeffrey N. Gatten This bibliography updates two extensive works designed to include comprehensively all significant works by and about Woody Guthrie. Richard A. Reuss published A Woody Guthrie Bibliography, 1912–1967 in 1968 and Jeffrey N. Gatten’s article “Woody Guthrie: A Bibliographic Update, 1968–1986” appeared in 1988. With this current article, researchers need only utilize these three bibliographies to identify all English- language items of relevance related to, or written by, Guthrie. Introduction Woodrow Wilson Guthrie (1912–67) was a singer, musician, composer, author, artist, radio personality, columnist, activist, and philosopher. By now, most anyone with interest knows the shorthand version of his biography: refugee from the Oklahoma dust bowl, California radio show performer, New York City socialist, musical documentarian of the Northwest, merchant marine, and finally decline and death from Huntington’s chorea. -
Freedom's Songs
Freedom’s Songs: Collective Voices in the Struggle for Freedom Jazz from A to Z Workshop for History, Language Arts and Performing Arts Educators October 2012 Goals of Jazz from A to Z • Enrich the historical and cultural knowledge of students and teachers through an integrated study of both jazz music and American/World history. • Develop and maintain historical thinking in history classes and activities. • Empower students and teachers with skills and knowledge of jazz in its historical context so as to have a meaningful experience with works of music • Enhance student musical performances Objectives of Jazz from A to Z • History students will create jazz/civil rights projects for National History Day to be displayed during JAM@MAC. The historical topics of the projects will relate to the NHD theme of “Turning Points in History: People, Ideas, Events.” Students will be evaluated using the National History Day rubric. • Student jazz bands will perform at the Essentially Ellington Regional Festival on April 4, 2013 at Mesa Arts Center and be evaluated using Jazz at Lincoln Center’s Essentially Ellington competition rubric. • Teachers will create a lesson plan that integrates music and NEA Jazz in the Schools in their curriculum. Objectives of the Workshops • Students and teachers will analyze and interpret music (gospel, jazz, freedom songs and popular songs) as a primary source while examining the Civil Rights Movement in the 1950s and early 1960s.. • Students and teachers will determine the role of music as a cultural mirror in the 1950s and early 1960s.. • Students and teachers will assess the function of music as an agent of social change during the Civil Rights Movement. -
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. -
Woody Guthrie
120742bk Woody 10/6/04 3:59 PM Page 2 1. Talking Dust Bowl Blues 2:43 9. Jesus Christ 2:45 16. This Land Is Your Land 2:17 19. Talking Columbia Blues 2:37 (Woody Guthrie) (Woody Guthrie) (Woody Guthrie) (Woody Guthrie) Victor 26619, mx BS 050146-2 Asch 347-3, mx MA 135 Folkways FP 27 Disc 5012, mx D 202 Recorded 26 April 1940 Recorded c. April 1944 Recorded c. 1945 Recorded c. April 1947 2. Blowin’ Down This Road 3:05 10. New York Town 2:40 17. Pastures Of Plenty 2:31 Woody Guthrie, vocal and guitar (Woody Guthrie–Lee Hays) (Woody Guthrie) (Woody Guthrie) All selections recorded in New York Victor 26619, mx BS 050150-1 With Cisco Houston Disc 5010, mx D 199 Recorded 26 April 1940 Asch 347-3, mx MA 21 Recorded c. April 1947 Transfers & Production: David Lennick 3. Do Re Mi 2:38 Recorded 19 April 1944 18. Ramblin’ Blues 2:19 Digital Noise Reduction by K&A Productions Ltd (Woody Guthrie) 11. Who’s Gonna Shoe Your Pretty Little (Woody Guthrie) Original recordings from the collections of David Victor 26620, mx BS 050153-1 Feet 2:35 Disc 5011, mx D 201 Lennick & John Rutherford Recorded 26 April 1940 (Traditional) Recorded c. April 1947 4. Tom Joad 6:31 With Cisco Houston Asch 432-4, mx MA 27 Original monochrome photo of Woody Guthrie from Rue des Archives/Lebrecht Music & Arts; (Woody Guthrie) background from Corbis Images. Victor 26621, mx BS 050159-1, 050152-1 Recorded 19 April 1944 Recorded 26 April 1940 12. -
We Shall Not Be Moved/No Nos Moveran
Excerpt • Temple University Press Introduction his is the improbable story of a simple song and its long and complicated journey across oceans and continents. And I am an T improbable person to be telling it, so let me explain how I came to write this book. I grew up in a white, middle-class home in a white, middle-class neighborhood in the middle of the United States a bit after the middle of the twentieth century. My parents loved music but weren’t musicians, and, like most middle-class families in the middle of the country at that time, we didn’t own a lot of records or listen to a lot of recorded music in the house when I was young. There was, however, one record we owned that captured my imagination and that I listened to on the turntable again and again. It was by the folk music trio Peter, Paul, and Mary. My favorite song on the record was “If I Had a Hammer,” whose driving rhythm in their arrangement made me want to learn to play the guitar. When I was eight years old, my father retrieved for me an old “Stella” guitar that he had given away to a friend after giving up on learning to play it himself. My parents signed me up for group guitar lessons at the local YMCA, and Note: The contents of this book are accompanied by a website containing numerous photographs, videos, and other supplementary materials that can be accessed at http://gotu.us/nonosmoveran. 2 \ Introduction Excerpt • Temple University Press “If I Had a Hammer” was one of the first songs I learned how to play. -
Un Canto En Movimiento: "No Nos Moverán" En Estados Unidos, España Y Chile En Los Siglos XIX Y XX
Trinity University Digital Commons @ Trinity Sociology & Anthropology Faculty Research Sociology and Anthropology Department 7-2015 Un canto en movimiento: "No nos moverán" en Estados Unidos, España y Chile en los siglos XIX y XX David Spener Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/socanthro_faculty Part of the Anthropology Commons, and the Sociology Commons Repository Citation Spener, D. (2015). Un canto en movimiento: “No nos moverán” en Estados Unidos, España y Chile en los siglos XIX y XX. Historia Crítica, 57, 55-74. doi: 10.7440/histcrit57.2015.04 This Article is brought to you for free and open access by the Sociology and Anthropology Department at Digital Commons @ Trinity. It has been accepted for inclusion in Sociology & Anthropology Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 55 Un canto en movimiento: “No nos moverán” en Estados Unidos, España y Chile en los siglos XIX y XX ❧ David Spener Trinity University (Estados Unidos) doi: dx.doi.org/10.7440/histcrit57.2015.04 Artículo recibido: 03 de septiembre de 2014 · Aprobado: 11 de febrero de 2015· Modificado: 23 de febrero de 2015 Resumen: En este trabajo se presentan los resultados de un estudio que examina la historia de la canción “No nos moverán” y su canto en diversos contextos culturales y sociopolíticos durante el transcurso de dos siglos. Esta canción tiene su origen en las prácticas religiosas de los esclavos africanos en Estados Unidos del siglo XIX. En el siglo XX fue adoptada como himno por los movimientos sindicales y de derechos civiles estadounidenses. -
Swarthmore Folk Alumni Songbook 2019
Swarthmore College ALUMNI SONGBOOK 2019 Edition Swarthmore College ALUMNI SONGBOOK Being a nostalgic collection of songs designed to elicit joyful group singing whenever two or three are gathered together on the lawns or in the halls of Alma Mater. Nota Bene June, 1999: The 2014 edition celebrated the College’s Our Folk Festival Group, the folk who keep sesquicentennial. It also honored the life and the computer lines hot with their neverending legacy of Pete Seeger with 21 of his songs, plus conversation on the folkfestival listserv, the ones notes about his musical legacy. The total number who have staged Folk Things the last two Alumni of songs increased to 148. Weekends, decided that this year we’d like to In 2015, we observed several anniversaries. have some song books to facilitate and energize In honor of the 125th anniversary of the birth of singing. Lead Belly and the 50th anniversary of the Selma- The selection here is based on song sheets to-Montgomery march, Lead Belly’s “Bourgeois which Willa Freeman Grunes created for the War Blues” was added, as well as a new section of 11 Years Reunion in 1992 with additional selections Civil Rights songs suggested by three alumni. from the other participants in the listserv. Willa Freeman Grunes ’47 helped us celebrate There are quite a few songs here, but many the 70th anniversary of the first Swarthmore more could have been included. College Intercollegiate Folk Festival (and the We wish to say up front, that this book is 90th anniversary of her birth!) by telling us about intended for the use of Swarthmore College the origins of the Festivals and about her role Alumni on their Alumni Weekend and is neither in booking the first two featured folk singers, for sale nor available to the general public. -
Historical Studies Journal 2011
PASTURES OF PLENTY: HISTORICAL STUDIES JOURNAL Woody Guthrie in the West .Volume 28 Spring 2011 FROM EXCLUSION TO SAKURA SQUARE: University of Colorado Denver A Chronicle of Japanese-Americans in Denver, 1942-1976 RiNo: From Then to Now FIVE ALLEGED VICTIMS PRESERVATION AND RESTORATION OF HISTORIC GHOST SIGNS IN COLORADO’S FRONT RANGE HISTORICAL STUDIES JOURNAL Spring 2011 . Vol. 28 HISTORICAL STUDIES JOURNAL Spring 2011 .Volume 28 EDITORS: Kathleen Barlow EDITORIAL STAFF: Maureen Carey, Graduate Student Carrie Hartley, Graduate Student Craig Leavitt, Graduate Student Erica Poggenpohl, Graduate Student Shannon Sharkey, Graduate Student Joseph Sokolowski, Undergraduate Student Rebecca A. Hunt, Ph.D., Faculty Advisor Thomas J. Noel, Ph.D., Faculty Advisor Alison Shah, Ph.D., Faculty Advisor DESIGNER: Shannon Fluckey Clicks! Copy & Printing Services Auraria Campus DEPARTMENT OF HISTORY University of Colorado Denver Myra Rich, Ph.D. Pamela Laird, Ph.D. U. S. Colonial, U. S. Early National, U. S. Social, Intellectual, Technology, Women and Gender, Immigration Public History, Business History Marjorie Levine-Clark, Ph.D., Christopher Agee, Ph.D. Department Chair 20th Century U. S. History, Urban Modern Britain, European Women History, Social Movement History, and Gender, Medicine and Health History of Crime and Policing Thomas J. Noel, Ph.D. Thomas Andrews, Ph.D. American West, Art & Architecture, 19th and 20th Century U. S. History, Public History & Preservation Environment, Labor, Urban, Native American, U. S. West, and History Carl Pletsch, Ph.D. Education Intellectual History (European and American), Modern Europe James E. Fell, Jr., Ph.D. American West, Civil War, Alison Shah, Ph.D. Environmental, Film History South Asia, Islamic World, History and Heritage, Cultural Memory Gabriel Finkelstein, Ph.D.