NCV Issue 1 2018.Indd
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Aint Gonna Study War No More / Down by the Riverside
The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote. -
View the Program Book for How I Got Over
A conversation with Judith Casselberry, Charrise Barron, Mellonee Burnim, Joyce Marie Jackson, Randal Jacobs, and Matthew D. Morrison Performances by Marcelle Davies-Lashley, Jhetti, and Samuel Guillaume Sunday, December 10, 2017 3:00 p.m. Apollo Theater Front Cover: Mahalia Jackson; March on Washington for Jobs and Freedom 1957 LIVE WIRE: HOW I GOT OVER - THE SPIRIT OF GOSPEL MUSIC In 1963, when Mahalia Jackson sang “How I Got Over” before 250,000 protesters at the March on Washington for Jobs and Freedom, she epitomized the sound and sentiment of Black Americans one hundred years after Emancipation. To sing of looking back to see “how I got over,” while protesting racial violence and social, civic, economic, and political oppression, both celebrated victories won and allowed all to envision current struggles in the past tense. Gospel is the good news. Look how far God has brought us. Look at where God will take us. On its face, the gospel song composed by Clara Ward in 1951, spoke to personal trials and tribulations overcome by the power of Jesus Christ. Black gospel music, however, has always occupied a space between the push to individualistic Christian salvation and community liberation in the context of an unjust society— a declaration of faith by the communal “I”. From its incubation at the turn of the 20th century to its emergence as a genre in the 1930s, gospel was the sound of Black people on the move. People with purpose, vision, and a spirit of experimentation— clear on what they left behind, unsure of what lay ahead. -
Number 108 • Summer 2005 2005 Conference Breaks All Records! Events Our Recent Annual Conference in Austin Was a Great Success, and Just a Whole Lot of Fun
Newsletter Association For Recorded Sound Collections Number 108 • Summer 2005 2005 Conference Breaks All Records! Events Our recent annual conference in Austin was a great success, and just a whole lot of fun. The weather was magnificent, the banquet outstanding, the March 17-20, 2006. 40th Annual ARSC Conference, Seattle, Washington. http:// fellowship stimulating, and the presentations were interesting and varied. www.arsc-audio.org/ Official attendance for the Austin conference was 175, which bested our previous record by around 50 persons, and we had 75 first-timers, many August 13-14, 2005. CAPS Show and Sale, of whom indicated that they would be attending future conferences. Buena Park, CA. http://www.ca-phono.org/ show_and_sale.html Thanks to our Lo- cal Arrangements August 15-21, 2005. Society of American Committee, tours Archivists (SAA), Annual Meeting, New to the Lyndon B. Orleans, LA. http://www.archivists.org/ Johnson Presiden- conference/index.asp tial Library and the Austin City September 11-15, 2005. International Asso- Limits studio went ciation of Sound and Audiovisual Ar- chives (IASA), Annual Conference, Barcelona, without a hitch, Spain. Archives speak: who listens? http:// and other than a www.gencat.net/bc/iasa2005/index.htm brief Texas frog- strangler, the October 7-10, 2005. Audio Engineering Soci- weather was ety (AES), Annual Convention, New York City. beautiful and http://www.aes.org/events/119/ David Hough, audio engineer for the PBS program Austin City Lim- cooperative. its, on the set of the show at the KLRU studios on the UT campus. October 23, 2005. Mechanical Music We had nearly 100 Extravaganza. -
Gospel Music and the Sonic Fictions of Black Womanhood in Twentieth-Century African American Literature
“UP ABOVE MY HEAD”: GOSPEL MUSIC AND THE SONIC FICTIONS OF BLACK WOMANHOOD IN TWENTIETH-CENTURY AFRICAN AMERICAN LITERATURE Kimberly Gibbs Burnett A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the degree requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the Graduate School. Chapel Hill 2020 Approved by: Danielle Christmas Florence Dore GerShun Avilez Glenn Hinson Candace Epps-Robertson ©2020 Kimberly Gibbs Burnett ALL RIGHTS RESERVED ii ABSTRACT Kimberly Burnett: “Up Above My Head”: Gospel Music and the Sonic Fictions of Black Womanhood in TWentieth-Century African American Literature (Under the direction of Dr. Danielle Christmas) DraWing from DuBois’s Souls of Black Folk (1903), which highlighted the Negro spirituals as a means of documenting the existence of a soul for an African American community culturally reduced to their bodily functions, gospel music figures as a reminder of the narrative of black women’s struggle for humanity and of the literary markers of a black feminist ontology. As the attention to gospel music in texts about black women demonstrates, the material conditions of poverty and oppression did not exclude the existence of their spiritual value—of their claim to humanity that was not based on conduct or social decorum. At root, this project seeks to further the scholarship in sound and black feminist studies— applying concepts, such as saturation, break, and technology to the interpretation of black womanhood in the vernacular and cultural recordings of gospel in literature. Further, this dissertation seeks to offer neW historiography of black female development in tWentieth century literature—one which is shaped by a sounding culture that took place in choir stands, on radios in cramped kitchens, and on stages all across the nation. -
Down by the Riverside”-- Sister Rosetta Tharpe with Lucky Millinder and His Orchestra (1944) Added to the National Registry: 2004 Essay By: Gayle Wald (Guest Post)*
“Down by the Riverside”-- Sister Rosetta Tharpe with Lucky Millinder and His Orchestra (1944) Added to the National Registry: 2004 Essay by: Gayle Wald (guest post)* Sister Rosetta Tharpe “Down by the Riverside,” a slave spiritual that dates to the 19th century, was recorded dozens of the times in the 20th century by religious as well as secular artists. But no treatment of the song is as revealing of cultural trends in the commercialization and popularization of “sacred” music as the jaunty version recorded in 1944 by the Lucky Millinder Orchestra featuring “Sister” Rosetta Tharpe. Perhaps no “Down by the Riverside” has ever been so toe-tappingly entertaining. Tharpe, born in the hamlet of Cotton Plant, Arkansas in 1917, was one of the foremost gospel musicians of the 20th century, known equally for her vibrant singing and her virtuosity on guitar. She developed her musical skills under the tutelage of her mother, an evangelist for the Church of God in Christ, a Pentecostal denomination that encouraged robust and lively musical expressions of faith. For the first two decades of her life, Tharpe performed entirely within religious contexts. She played frequently at traveling meetings and tent revivals, particularly in the South. Yet by the late 1930s, her desire for freedom from a rocky marriage and thirst for bigger and different audiences led her to New York City, where she was signed as a solo artist for Decca Records. Eventually, she came to work with Millinder, also a Decca artist and one of the era’s most celebrated bandleaders. In the early 1940s, the Millinder Orchestra was known for churning out danceable pop hits, of the sort that offered listeners relief from the somber drumbeat of world war. -
Joan Baez Imitates Bob Dylan
Twentieth-Century Music 18/2, 249–279 © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited. doi: 10.1017/S1478572221000013 Matrices of ‘Love and Theft’: Joan Baez Imitates Bob Dylan MIMI HADDON Abstract This article uses Joan Baez’s impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse con- verge. The article is organized in three parts. The first part addresses the musical details of Baez’s acts of mimicry and their uncanny ability to summon Dylan’s predecessors. The second con- siders mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism. Introduction: ‘Two grand, Johnny’ Women are forced to work for capital through the individuals they ‘love’. Women’s love is in the end the confirmation of both men’s and their own negation as individ- uals. Nowadays, the only possible way of reproducing oneself or others, as individuals and not as commodities, is to dam this stream of capitalist ‘love’–a ‘love’ which masks the macabre face of exploitation – and transform relationships between men and women, destroying men’s mediatory role as the representatives of state and capital in relation to women.1 I want to start this article with two different scenes from two separate Bob Dylan films. -
405, Dept. of African American Stds, 81 Wall Street
Prof. D. A. Brooks [email protected] Office: 405, Dept. of African American Stds, 81 Wall Street Spring 2015 Meets Tu/Th 2:30-3:45pm Location: WLH 208 Office Hours: Tu: 4-5pm, W: 3:30pm-5pm & by appointment AFAM 403/THST 431/AM STDS 386 “…Who Run the World”: Black Women and Popular Music Culture [Billie] Holiday demonstrates… the value of important lives and voices Otherwise dismissed. --Lindon Barrett, Blackness and Value My persuasion can build a nation. --Beyonce From Bessie Smith and Billie Holiday to Tina Turner and Beyonce, from Nina Simone and Grace Jones to Lauryn Hill and Nicki Minaj, black women have used various forms of musical expression as sites of social and ideological resistance and revision. Through an exploration of voice, lyricism, kinesthetic performance, instrumentality and visual aesthetics, this course examines the “world wide underground” of black women’s sonic cultures, and it re-interrogates pop music subculture theories through the intersecting prisms of race, gender, class and sexuality. It considers the ways that black women musicians operate as socio- political and cultural intellectuals, and it reads their work as historically-situated cultural texts that resonate in multiple contexts. Throughout the semester, we will explore the ways in which black women culture workers have stylized and innovated disruptive and iconic performance practices within the context of American popular music culture, from the postbellum era through the present day. Part of the aim of this course is to trace the tensions between the enormous influence and ubiquity of the black female singing voice in globalized popular cultures and the ways in which a range of entertainers have nonetheless negotiated eccentric and “obscure” musical gestures that signaled and affirmed the existence of resistant musical aesthetics in the face of panopticism. -
The Complete Eddie Cochran
Stand: 25.09.2021 The Complete Eddie Cochran 2 © Uli Kisker 2021 Red passages: I'm not 1000% sure if Eddie is on this! Blue passages: Concerts, radio-, tv-performances Green passages: test pressing First Release Digitally Re-Release 1953 - 1955 Summer 1953 to 1954 Chuck Foreman - Eddie Cochran Chuck Foreman's house - Bellflower, Los Angeles, California ROCKSTAR RSRCD 011 Rockin' It Instrumental 1:46 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Gambler's Guitar Eddie Cochran 2:37 STAMPEDE SPRCD 5002 ROCKSTAR RSRCD 011 Jammin' With Jimmy Instrumental 1:42 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Tenderly Instrumental 2:48 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Steelin' The Blues Eddie Cochran 2:06 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Two Of A Kind Instrumental 1:51 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Two Of A Kind (backing track) Instrumental 1:37 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Stardust Instrumental 2:24 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Stardust (backing track) Instrumental 1:12 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Candy Kisses Eddie Cochran 1:43 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Chuck & Eddie's Boogie Instrumental 2:40 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 In The Mood Instrumental 1:16 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 I'll See You In My Dreams Instrumental 1:09 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Hearts Of Stone Eddie Cochran 1:51 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Water Baby Blues (short riff) Instrumental 0:41 ROCKSTAR RSRCD 011 ROCKSTAR RSRCD 011 Humourous conversation Eddie Cochran & Chuck Foreman 1:03 ROCKSTAR RSRCD 011 Musicians - Eddie Cochran: vocal and guitar - Chuck Foreman: vocal and steel guitar. -
Black Women's Music Database
By Stephanie Y. Evans & Stephanie Shonekan Black Women’s Music Database chronicles over 600 Africana singers, songwriters, composers, and musicians from around the world. The database was created by Dr. Stephanie Evans, a professor of Black women’s studies (intellectual history) and developed in collaboration with Dr. Stephanie Shonekon, a professor of Black studies and music (ethnomusicology). Together, with support from top music scholars, the Stephanies established this project to encourage interdisciplinary research, expand creative production, facilitate community building and, most importantly, to recognize and support Black women’s creative genius. This database will be useful for music scholars and ethnomusicologists, music historians, and contemporary performers, as well as general audiences and music therapists. Music heals. The purpose of the Black Women’s Music Database research collective is to amplify voices of singers, musicians, and scholars by encouraging public appreciation, study, practice, performance, and publication, that centers Black women’s experiences, knowledge, and perspectives. This project maps leading Black women artists in multiple genres of music, including gospel, blues, classical, jazz, R & B, soul, opera, theater, rock-n-roll, disco, hip hop, salsa, Afro- beat, bossa nova, soka, and more. Study of African American music is now well established. Beginning with publications like The Music of Black Americans by Eileen Southern (1971) and African American Music by Mellonee Burnim and Portia Maultsby (2006), -
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--------------- Calendar • On The Road --------------- Aaron Lewis Dec. 7 Egyptian Room Indianapolis Afghan Whigs Dec. 31 Bogart’s Cincinnati LEAGUE for the BLIND AND DISABLED presents: AJ Swearingen & J Beedle ($22.50) Jan. 19 The Ark Ann Arbor Alabama Shakes Dec. 1 Riviera Theatre Chicago All That Remains w/Nonpoint ($9.89 adv., $13 d.o.s.) Dec. 13 Piere’s Fort Wayne All Time Low w/Yellowcard Jan. 18 Orbit Room Detroit THE BLIND BOYS Andre Williams ($25) Jan. 5 Magic Bag Ferndale, MI Andrew Bird Dec. 19-20 Forth Presbyterian Church Chicago Another Round (formerly IU’s Straight No Chaser) ($20 adv., $25 d.o.s.) Mar. 8 C2G Music Hall Fort Wayne OF ALABAMA Ari Hest ($17.50) Dec. 2 The Ark Ann Arbor Band of Horses Dec. 3 Michigan Theatre Ann Arbor Bela Fleck w/The Cleveland Orchestra Dec. 6-8 Severance Hall Cleveland Embassy Theatre Bergamot w/Five Minute Fan Club and Kevin Daniels & Friends ($8) Dec. 15 Martyrs’ Chicago Betty ($19) Dec. 17 The Ark Ann Arbor Saturday, March 23, 2013 8:00 p.m. Big Gigantic Dec. 31 Aragon Ballroom Chicago Bill Kirchen ($20) Dec. 4 The Ark Ann Arbor Ticket prices: $13, $33, and $43 Black Jake and the Carnies ($15) Dec. 21 The Ark Ann Arbor Blackberry Smoke Jan. 8 Bogart’s Cincinnati Blackberry Smoke Jan. 13 House of Blues Chicago Ticket info: The Blind Boys of Alabama ($13-$43) Mar. 23 Embassy Theatre Fort Wayne Embassy box oce 260.424.5665 Blue River Band ($5) Dec. 15 Rusty Spur Saloon Fort Wayne Bowfire ($18-$37) Mar. -
January 3-9, 2013 ------Cover Story • Zac Brown Band------Musical Multiculturalists Saturday, Jan
JANUARY 3-9, 2013 -------------------------- Cover Story • Zac Brown Band ------------------------- Musical Multiculturalists Saturday, Jan. 19 • 8:00pm By Evan Gillespie a typical ode to all things Southern, from discount anyone’s talents or musical prefer- patriotism to fried foods, and it was tailor- ences. If you’re interested in a little mental made for country radio. The band first re- “We’re always trying to push the barrier JANIS JOPLIN TRIBUTE exercise, try answering this question: How corded the song way back in 2003, but it of our musicianship, and I’m proud to say $12 Adv., $15 D.O.S. would you categorize Zac Brown’s music? was a re-recorded version on the 2008 al- that there is a little bit of something for ev- That one should keep you busy for bum The Foundation that reached the top eryone,” says Brown of Uncaged, the band’s awhile, since just about any cat- latest album. “It’s your basic coun- egory you try to put the try-Southern rock-bluegrass- Zac Brown Band into reggae-jam record.” is going to end up be- There’s no question ing not quite the right that the fans like the mix; one. The most obvi- the band’s two Platinum ous answer is that albums and nine hit they’re a country singles are evidence Saturday, Feb. 23 • 8:00pm band. But what of that. But there’s about South- also been a heap ern rock? Sure, of industry recog- THE BERGAMOT they’re that too. nition. The band And just plain raked in a truckload Tickets Prices TBA rock? Well, yes.