Resb.F:E:Ii9~Ncjl AGEND/\ to BE POSTED #S1f Woody Guthrie Day- --·- ~~~

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.' _'';"'~·.•>'.;,_(.f_~""'-n.~~.-- .......,.,., ........... ~ _,,I · I ·~? pny CLtrxr< FOR P=-:-L-/{C_E_M_Er·~-r~o-N_N_o_o_·-r---.... REsb.f:e:ii9~NCJl AGEND/\ TO BE POSTED #S1f Woody Guthrie Day- --·- ~~~ .... -':...~~~ April12, 2012 WHEREAS, Woody Guthrie is a renowned singer-songwriter who stands as one of America's most important folk music artists of the first half of the 20th Century; and WHEREAS, Woody Guthrie stood out for his songwriting abilities and will best be remembered for his seminal folk music piece "This Land if Your Land" amongst many other hits like "Deportee," "Do Re Mi,'' ,.Grand Coulee Dam/' "Hard, Ain't It Hard,'' "Hard Travelin'," "I Ain't Got No Home," "1913 Massacre,'1 11 0klahoma Hills,~~ "Pastures ofPlenty,rr "Philadelphia Lawyer,'1 "Pretty Boy Floyd," 11 Ramblin1 Round," "So Long It'sBeen Good to Know You,t' "Talking Dust Bowl, '1 and 11 Vigilante Man" that have been covered by other artists throughout the century; and WHEREAS, Woodrow Wilson Guthrie was born in Okemah, Oklahoma learning folk songs from his mother as a child; and WHEREAS, in 1940, assembling works that were based on his experience as an "Okie" during the Dust Bowl era, in which many migrant workers suffered tremendous economic hardship on their way to California, he released the "Dust Bowl Ballads" that are renowned for their dramatic retelling of Great Depression era plight; and .i WHEREAS, A century after his birth in July of 1912, Woody Guthrie has acquired an iconic stature in American popular culture and music. Guthrie was known in the as a folksinger who in the 1930s and 1940s gave a voice to the working class, the mentor and musical image to Bob Dylan and other singer-songwriters in the 1950s and 1960s, and the author of great American songs like "This Land is Your Land." WHEREAS, In 193 7, when many dust bowl refugees were making a new life in California, Woody Guthrie lived in Los Angeles. WHEREAS, It was here that Woody Guthrie hosted a radio show on KFVD and his first opportunity to make a name for himself. During this time he made excursions to the Central Valley and to other farming regions where he became allied with the cause of disadvantaged farm workers. WHEREAS, In L.A. he found admiration within a likeminded community and the support to think big. It was here that he was able to begin exploring the power of his voice to influence the national dialogue. WHEREAS, Main Street between Fifth Street and Fourth Stn~et in downtown Los Angeles held a special interest for Guthrie. He lived in the neighborhood and would play for tips in the local bars and coffee shops. His song Fifth Street Blues was dedicated'" ... in respect and honor to 5th St., Los Angeles, California, for the spirit that abides there, and for the people who go there, by the forces of an unbalanced social order; or by their own free will ... I love the Spirit and the people that walk there." .

Recommended publications

The Italian Hall Tragedy, 1913: a Hundred Years of Remediated Memories

chapter �� The Italian Hall Tragedy, 1913: A Hundred Years of Remediated Memories Anne Heimo On Christmas Eve 1913 seventy-three people were crushed to death during the 1913–1914 Copper Strike in the small township of Calumet on the Keweenaw Peninsula, Upper Michigan. On Christmas Eve the local Women’s Auxiliary of the Western Federation of Miners (wfm) had arranged a party for the strikers’ families at the local Italian hall. At some point in the evening someone was heard to shout ‘fire’ and as people rushed to get out of the building they were hauled down the stairs and crushed to death. Sixty-three of the victims were children. There was no fire. Later on this tragic event became to be known as ‘The Italian Hall tragedy’, ‘The Italian Hall disaster’ or the ‘1913 Massacre,’ and it continues to be the one most haunting event in the history of the Copper Country. As a folklorist and oral historian, I am foremost interested in the history and memory practices of so called ordinary people in everyday situations and how they narrate about the past and events and experiences they find memorable and worth retelling. When first hearing about the tragedy a few years ago, I could not help noticing that it had all the elements for keeping a story alive. The tragedy was a worker’s conflict between mining companies and miners, which resulted in the death of many innocent people, mainly children. Although the tragedy was investigated on several occasions, no one was found responsible for the deaths, and the case remains unsolved to this day.
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.
Ruination Day”

Woody Guthrie Annual, 4 (2018): Fernandez, “Ruination Day” “Ruination Day”: Gillian Welch, Woody Guthrie, and Disaster Balladry1 Mark F. Fernandez Disasters make great art. In Gillian Welch’s brilliant song cycle, “April the 14th (Part 1)” and “Ruination Day,” the Americana songwriter weaves together three historical disasters with the “tragedy” of a poorly attended punk rock concert. The assassination of Abraham Lincoln in 1865, the sinking of the Titanic in 1912, and the epic dust storm that took place on what Americans call “Black Sunday” in 1935 all serve as a backdrop to Welch’s ballad, which also revolves around the real scene of a failed punk show that she and musical partner David Rawlings had encountered on one of their earlier tours. The historical disasters in question all coincidentally occurred on the fourteenth day of April. Perhaps even more important, the history of Welch’s “Ruination Day” reveals the important relationship between history and art as well as the enduring relevance of Woody Guthrie’s influence on American songwriting.2 Welch’s ouevre, like Guthrie’s, often nods to history. From the very instruments that she and Rawlings play to the themes in her original songs to the tunes she covers, she displays a keen awareness and reverence for the past. The sonic quality of her recordings, along with her singing and musical style, also echo the past. This historical quality is quite deliberate. Welch and Rawlings play vintage instruments to achieve much of that sound. Welch’s axes are all antiques—her main guitar is a 1956 Gibson J-50.
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.
Dust, Drought, and Dreams Gone Dry

DUST, DROUGHT, AND DREAMS GONE DRY A Traveling Exhibit and Public Programs for Libraries about the Dust Bowl Farmer and sons walking in the face of a dust storm, 1936 Arthur Rothstein, photographer Courtesy of the Library of Congress Prints and Photographs Division Resources Related Readings: Please visit ala.org/ Sanora Babb. Whose Names Are Unknown. University of programming/dustbowl Oklahoma Press, 1979. for a complete list of Geoff Cunfer. On the Great Plains: Agriculture and Environment. library host sites. Texas A&M University Press, 2005. Timothy Egan. The Worst Hard Time. Houghton Mifflin, 2006. Caroline Henderson. Edited by Alvin O. Turner. Letters From the Dust Bowl. University of Oklahoma Press, 2001. R. Douglas Hurt. The Dust Bowl: An Agricultural and Social Any views, findings, conclusions, or recommendations expressed in this exhibition History. Nelson-Hall, 1981. do not necessarily represent those of the Bison herd at water, circa 1905 National Endowment for the Humanities. Courtesy of the Library of Congress Prints and Photographs Division Pamela Riney-Kehrberg. Rooted in Dust: Surviving Drought and Depression in Southwestern Kansas. University Press of Kansas, 1994. The Geography and People of the Plains John Steinbeck. The Grapes of Wrath. Viking Press, 1939. Donald Worster. Dust Bowl: The Southern Plains in the 1930s. Living on the Plains depended on rainfall, but many people Oxford University Press, 1979. and animals thrived there. Bison shared the Plains with other Music: animals and with different groups of indigenous people for Woody Guthrie. Dust Bowl Ballads. RCA Victor, 1940. thousands of years. Comanche, Cheyenne, Kiowa, and others On the Web: called the Southern Plains home.
American Folk Music and the Radical Left Sarah C

East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2015 If I Had a Hammer: American Folk Music and the Radical Left Sarah C. Kerley East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Cultural History Commons, Social History Commons, and the United States History Commons Recommended Citation Kerley, Sarah C., "If I Had a Hammer: American Folk Music and the Radical Left" (2015). Electronic Theses and Dissertations. Paper 2614. https://dc.etsu.edu/etd/2614 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. If I Had a Hammer: American Folk Music and the Radical Left —————————————— A thesis presented to the faculty of the Department of History East Tennessee State University in partial fulfillment of the requirements for the degree Masters of Arts in History —————————————— by Sarah Caitlin Kerley December 2015 —————————————— Dr. Elwood Watson, Chair Dr. Daryl A. Carter Dr. Dinah Mayo-Bobee Keywords: Folk Music, Communism, Radical Left ABSTRACT If I Had a Hammer: American Folk Music and the Radical Left by Sarah Caitlin Kerley Folk music is one of the most popular forms of music today; artists such as Mumford and Sons and the Carolina Chocolate Drops are giving new life to an age-old music.
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.
Woody Guthrie and the Writing of “Balladsongs” Mark F

ISSN 2053-8804 Woody Guthrie Annual, 3 (2017): Fernandez: Guthrie and the Writing of “Balladsongs” “The Only Way That I Could Cry”: Woody Guthrie and the Writing of “Balladsongs” ! !Mark F. Fernandez Woody Guthrie wrote about everything. He even coined a motto about it at the end of his most famous lyric sheet: “All you can write is what you see.”1 And he saw just about everything there was to see of the mid-twentieth-century American experience. His famous travels took him throughout most of the then forty-eight states, and like so many Americans of his day, World War II acquainted him with life on the high seas, the coasts of Africa, and parts of Europe. As he wrote about the things he saw and the causes he came to embrace, Guthrie developed an approach to the songwriting process that he shared with anyone who would listen and even some that probably did not want his advice at all. That approach has gone on to influence generations of songwriters ever since — their legion is often dubbed “Woody’s Children.” Peers like Pete Seeger, Lee Hays, Ronnie Gilbert, and Fred Hellerman, who would go on to form the influential folk/pop group The Weavers, recorded Woody’s songs, emulated his songwriting process in their own work, and helped spark a “folk revival” that energized the 1950s and 60s. Young entertainers like Ramblin’ Jack Elliot and Bob Dylan sought out and copied Guthrie as they developed their own craft. More recently, artists like Billy Bragg, Jay Farrar, and Jonatha Brooke have counted Guthrie as a major influence and have even adapted his unpublished lyrics in some of their recordings as well as incorporating his “all you can write is what you see” mentality into their own creative processes.
Folk in the History Classroom: Using the Music of the People to Teach Eras and Events Michael G

Social Education 73(4), pp 173–178 ©2009 National Council for the Social Studies Elementary Education Folk in the History Classroom: Using the Music of the People to Teach Eras and Events Michael G. Lovorn Social studies content is more meaningful to students when they can empathize with the people they study. Such empathy can be fostered via content material that is presented in a relevant, emotional, intimate, and even entertaining manner. Folk music offers this type of creative and constructive approach. The elementary school classroom is the opportune place to intro- duce the stories of ordinary folks, whose experiences are traditionally underrepresented in textbooks and state standards. Connections Used with permission by Grace Rothstein. between history and folk music are common and quite natural. Each period in American history has had its descriptive folk songs and notable artists. From traditional colonial tunes, such as “Yankee Doodle” and “The Girl I Left behind Me”, to the memorable melodies of Stephen Foster (“Oh! Susanna” and “Camptown Races”), the story of America’s early days is well documented in song. African American spirituals, stirring Civil War battle cries, and lonely cowboy yodels describe nineteenth-century life through a variety of perspectives. In the twentieth century, folk artists chronicled events such as the world wars, the Great Depression, union activities, and the civil rights movement. This tradition is alive and well, as evidenced by Son of Farmer in Dust Bowl Area by Arthur Rothstein. Available the multitude of folk festivals that take place annually across the from the Library of Congress Prints and Photographs Division, United States.
Woody Sez: Woody Guthrie in the People's World Newspaper

WOODY SEZ: WOODY GUTHRIE IN THE PEOPLE’S WORLD NEWSPAPER By MATTHEW DOWER BLAKE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2006 Copyright 2006 by Matthew Dower Blake TABLE OF CONTENTS page LIST OF TABLES...............................................................................................................v ABSTRACT....................................................................................................................... vi CHAPTER 1 INTRODUCTION ........................................................................................................1 Three Inquiries..............................................................................................................2 Literature Review .........................................................................................................4 Statement of Primary Sources ....................................................................................10 Methodology...............................................................................................................12 Structure of Dissertation.............................................................................................17 Notes...........................................................................................................................18 2 DUST BOWL .............................................................................................................20
Sélection Woody Guthrie

1 2 Woody Guthrie en bref Woody Guthrie est né le 14 juillet 1912 à Okemah (Oklahoma). Initié à la musique par ses parents, il quitte très tôt le foyer et vit de petits boulots au Texas et en Louisiane. Durant la Grande Dépression, qui suit le crack boursier de 1929, comme nombre de chômeurs et de paysans ruinés, il tente sa chance vers l'Ouest, se déplaçant en stop ou en sautant dans les trains de marchandises. En 1937, il anime à Los Angeles une émission de radio dans laquelle il se fait l'avocat des petites gens dont il a partagé le quotidien. On retrouvera ces préoccupations sociales dans les textes de ses chansons, qu'il accompagne à la guitare. C'est à New York, en 1940, qu'il trouvera l'opportunité d'enregistrer son premier disque. Avec Leadbelly, Pete Seeger ou Cisco Houston, il pose les bases de la chanson américaine contestataire (protest song). Incarnation du musicien-vagabond aux convictions politiques fortes, il aura une énorme influence sur les musiciens folk de la génération suivante, parmi lesquels on compte un certain Bob Dylan. Malade, Woody Guthrie est régulièrement hospitalisé durant les dernières années de sa vie. Il meurt le 3 octobre 1967 à New York, laissant derrière lui des centaines de chansons, dont certaines sont devenues des classiques du répertoire folk américain. SÉLECTION DE DOCUMENTS Tous les documents de la sélection sont disponibles à l'Espace Musique de la Médiathèque, à l'exception du roman La maison de terre que vous trouverez à l'Espace Adultes. CD Ballads of Sacco & Vanzetti/ Woody Guthrie.
Dust Bowl References: Books/Magazines/Photography/Videos/Websites/Music/Film

Dust Bowl References: Books/Magazines/Photography/Videos/Websites/Music/Film I. Non-Fiction Books "The Worst Hard Time: The Untold Story of Those Who Survived the Great American Dust Bowl" by Timothy Egan National Book Award Winner 2006, Houghton Mifflin Company, Boston, New York ISBN-13: 978-0-618-77347-3 (paperback) "The Dust Bowl: Disaster on the Plains (Spotlight on American History)" by Tricia Andryszewski Reading level: Ages 9-12 1994, Millbrook Press Trade ISBN: 1562947478 (paperback) "The Dust Bowl: Men, Dirt, and Depression" by Paul Bonnifield, 1979, University of New Mexico Press, Albuquerque, New Mexico. ISBN: 0-8263-0485-0 (hardcover) Worster and Bonnifield both published their chronicles of the Dust Bowl in 1979. Bonnifield's book is almost an apology for the farmers who plowed up the sod and thus set up the conditions for disaster. It is heavy with useful tables, charts and statistics. Bonnifield relied extensively on contemporary newspaper accounts, as well as interviews with survivors. The book includes an excellent bibliography. "The Dust Bowl" by David Booth, Karen Reczuch (Illustrator) Reading level: Ages 4-8 1997, Kids Can Press ISBN: 1550742957 (hardcover) "The Dust Bowl (World Disasters)" by John Farris, Maurie Manning (Illustrator) 1989, Lucent Books ISBN: 1560060050 (hardcover) This slim book for children is an excellent introduction to the Dust Bowl. Farris explains the conditions that led to the storms, tells what they were like, and describes both the exodus to California and the search for solutions. "Reapers of the Dust A Prairie Chronicle" by Lois Phillips Hudson 1964, Minnesota Historical Society ISBN: 0873511778 First published in 1965, her childhood recollections of living in North Dakota are what Lois Phillips Hudson used to spin these unusual, moving stories of simple, joyful days and of continuing battles with the hostile elements on the Great Plains during the 1930s.