The Way It Was New Coal Tax Raises New Questions the Sound of Old
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Finding Aid for the Sheldon Harris Collection (MUM00682)
University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr. -
The Place of Music, Race and Gender in Producing Appalachian Space
University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. -
Spring Weekend at Kislak Adult Center
Folk Music Society of New York, Inc. May 2009 vol 44, No.5 May 3 Sun Sea Music: NY Packet+Lisa Gutkin; 3pm,12 Fulton St. 3 Sun Gospel and Sacred Harp Sing; 3:30pm in Manhattan 6 Wed Folk Open Sing, 7pm in Brooklyn 11 Mon FMSNY Exec. Board Meeting; 7:15pm location tba 15 Fri Joe Jencks, 8pm at OSA, 220 E.23rd St. 16 Sat Chantey Sing at Seamen’s Church Institute, 8pm. 16-17 Traditional Singing Workshop Weekend 17 Sun Sacred Harp Singing at St.Bartholomew’s in Manhattan 22-25 Spring Folk Music Weekend at Kislak Adult Center, Lake Como, PA -- see flyer in centerfold 28 Thur Newsletter Mailing, 7pm in Jackson Heights (Queens) 29 Fri Nightingale concert; 8pm, at OSA, 220 E.23rd St 30 Sat Singing Party in Marine Park, Brooklyn, 6-9pm 30 Sat May Mania Contra Dance with Nightingale; Manhattan June 2 Tue Sea Music: Danny Spooner+NY Packet; 6pm, South St. 3 Wed Folk Open Sing 7 pm in Brooklyn 7 Sun Green Walking Tour-1:45 & Sing Around-4:30; see p.10 8 Mon FMSNY Exec. Board Meeting; 7:15pm location tba 9 Tue Sea Music: Gabrielle & Robert Bouthillier+NY Packet; 6pm, South St. 13 Sat Old-Time Fiddle Workshop with Cathy Mason-see p.4 13 Sat Old-Time Jam, 2:30pm - reservations required - see p.5 16 Tue Sea Music: Martin & Shan Graebe +NY Packet; 6pm 18 Thur Martin & Shan Graebe workshop on Sabine Baring Gould 19 Fri Annie and the Hedonists, 8pm at OSA, 220 E.23rd St. -
Fiddle Music Along a Great River
ALONG THE OHIO’S SHORES Fiddle Music Along a Great River About this set of recordings: In this compilation (FRC731), John Harrod and I make available more results from our efforts, in partnership with the late Gus Meade, to document the distinctive folk music of northern Kentucky and southern Ohio. In the main, we have concentrated o ur attention u pon t he region’s fiddle music, as sampled on this disc, for that tradition has been scantily documented but has remained astonishingly vibrant through the end of the twentieth century (and beyond, for many of the musicians on these discs are actively playing today). As J ohn explai ns bel ow, our co verage ha s been g reatly aug mented by the fne recordin gs tha t Ba rbara Ed wards Kunkle made in the early 1970s. We frst met Barbara through our mutual friend Nancy McClellan who then ran the annual Mt. Heritage Folk Festival and has staunchly served as a true sup- porter of all things Appalachian (indeed, her grandfather, Samuel Turman, contributed songs to the Cox collection). Nancy and Barbara accompanied Gus and me on several of our recording trips and soon Barbara was doing her own taping as well which included many performers we were not able to visit (including the ballad singer Addie Graham who once had a wonderful record available on June Appal). We are happy that we are able to include some of Barbara’s recordings here. For my own part, I’d like to also acknowledge the great help that Roger Cooper has provided in assisting me with some of the newer recordings on this disc. -
MINIMUM BOD = € 3.00 / US$ 3.50 = MINIMUM BID a CD's B CD's
Full CD’s, if not noted otherwise (number of tracks 0431 American Drive - bluegrass Rural Rhythm 1108 12 12tr Zz’ mentioned) - Volledige CD’s, tenzij anders 0432 Ames Brothers They, They, They Are the Ones Jasmine 408\UK 2CD 04 50tr Zz aangegeven (aantal tracks wordt vermeld). 0433 John Amos Invisible Boy - pr Andrew Hardin + L Maynes Tadarainia 09 10tr Zz US releases, if not noted otherwise - pr = promo CD's 0434 ~ Bending the Light Froggiestyle 06 14tr Zz 0435 Mike Anderson Real Country Westwood Int 0702 11tr Zz 0436 Stuart Anderson Banjo Solution - bluegrass 06 13tr Zz MINIMUM BOD = € 3.00 / US$ 3.50 = MINIMUM BID 0437 Eleanor Angel Face to Face - singer-sw 10 11tr Zz I do not sell illegal copies, only record company or artist releases. Some small labels 0438 The Angels A Halo to You: The Ultimate Collection GSR 90141 94 33tr Zz and many artists produce & copy their limited editions as CD-Rs (R) Ik verkoop geen illegale kopieën, alleen uitgaven van platenmaatschappijen of artiesten. 0439 Paul Anka Dianacally Yours Bear Family 17247\D 13 36tr Zz Sommige kleine labels en veel artiesten produceren hun kleine oplagen als CD-Rs (R) 0440 Annette Vol 1: Hawaiiannette | Sings (Paul) Anka TNT 3303-02 91 24tr Zz The grading is for CD’s and inlays etc., not for jewel boxes, as they can easily be 0441 ~ Vol 2: Sings Golden Surfin’ Hits | Beach Party TNT 3327-16 91 24tr Zz replaced - plastic CD doosjes tellen niet mee voor de aangegeven conditie 0442 ~ Vol 3: Muscle Beach Party | Annette TNT 3314-01 91 24tr Zz 0443 Appalachian Express Walking the Blues - bluegrass Rebel 1684 90 15tr Zz’ Prime Cuts of Bluegrass 0444 Nancy Apple Shine Ringo 0902 10 15tr Zz KBR (Kirk Brandenberger) produceerde tussen 0445 ~ Outside the Lines Ringo 2000 00 14tr Zz 1992 en 2008 minimaal 95 CD’s met nieuwe 0446 ~ Shoulda Lied About That Ringo 2003 03 14tr Zz bluegrass opnamen voor radio gebruik - promo’s, niet in de handel. -
One Bad Experience Shared Online Can Leave Providers Crying Like a ... Well, You Know
CLIMER COLUMN Lower the flame on UT’s Jones Sure, he says goofy stuff. But 9 wins per season is much better than his predecessors. UTsports.com PREDATORS ‘He does P26 everything for us’ Ryan Ellis has helped propel DAVIDSONLedger • WILLIAMSON • RUTHERFORD • CHEATHAM WILSON SUMNER• ROBERTSON • MAURY • DICKSONthe Preds• MONTGOMERY farther than Shea Weber ever could. P27 SPECIAL EMPHASIS: THE BUSINESS OF BIRTH May 12 – 18, 2017 The power of information.NASHVILLE Vol. 43 EDITION | Issue 19 www.TNLedger.com Childbirth FORMERLY WESTVIEW SINCE 1978 in the age of Page 13 Dec.: Dec.: Keith Turner, Ratliff, Jeanan Mills Stuart, Resp.: Kimberly Dawn Wallace, Atty: Mary C Lagrone, 08/24/2010, 10P1318 social media In re: Jeanan Mills Stuart, Princess Angela Gates, Jeanan Mills Stuart, Princess Angela Gates,Dec.: Resp.: Kim Prince Patrick, Angelo Terry Patrick, Gates, Atty: Monica D Edwards, 08/25/2010, 10P1326 In re: Keith Turner, TN Dept Of Correction, www.westviewonline.com TN Dept Of Correction, Resp.: Johnny Moore,Dec.: Melinda Atty: Bryce L Tomlinson, Coatney, Resp.: Pltf(s): Rodney A Hall, Pltf Atty(s): n/a, 08/27/2010, 10P1336 In re: Kim Patrick, Terry Patrick, Pltf(s): Sandra Heavilon, Resp.: Jewell Tinnon, Atty: Ronald Andre Stewart, 08/24/2010,Dec.: Seton Corp 10P1322 Insurance Company, Dec.: Regions Bank, Resp.: Leigh A Collins, In re: Melinda L Tomlinson, Def(s): Jit Steel Transport Inc, National Fire Insurance Company, Elizabeth D Hale, Atty: William Warner McNeilly, 08/24/2010, Def Atty(s): J Brent Moore, 08/26/2010, 10C3316 10P1321 -
The Appalachians Vividly Documents Mountaintop Removal and Strip Mining Continue to Scar the Land
CHARLES CONNOR 2003 PHOTO © The Applachians Executive produced by Mari-Lynn C. Evans Written and directed by Phylis Geller STUDY GUIDE A GUIDE TO THE FILM FOR TEACHERS AND DISCUSSION LEADERS CHARLES CONNOR 2003 PHOTO © Introduction from Carl Pope, Sierra Club executive director www.sierraclub.org The Appalachian Mountains have been called America’s “first frontier.” Today, as the film The Appalachians vividly documents mountaintop removal and strip mining continue to scar the land. Mountains are leveled, old growth forests are logged, drinking water is polluted and hollows and homes are rendered unsafe. The legacy that belongs to our children is literally being blasted away, one storied mountain at a time. The Appalachians docu- ments the high and human costs of irresponsible mining practic- For information on ordering the VHS es and serves as an inspiring reminder that this region is a part or DVD copy of of every American’s heritage and should be proudly protected. The Appalachians, the companion book, or the CD of music from Carl Pope the series, visit the - Sierra Club Executive Director website at http://sierraclub.org/ appalachia/ The Appalachians 1 Filmmakers introduction to study guide The story of the brave pioneers who settled the Appalachian mountains is the story of America: immigration, settlement, the Revolution and the Civil War, the growth of industry and the use and abuse of land. Executive producer Mari-Lynn C. Evans was born in West Virginia, and is committed to preserving the history of her region. Mari-Lynn Evans: “I am proud of my heritage. As a child, I knew how important the land was to us. -
Harnetty, Brian 11-24-14
Performing Sonic Archives: Listening to Berea, Sun Ra, and the Little Cities of Black Diamonds A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Brian P. Harnetty December 2014 © 2014 Brian P. Harnetty. All Rights Reserved. 2 This dissertation titled Performing Sonic Archives: Listening to Berea, Sun Ra, and the Little Cities of Black Diamonds by BRIAN P. HARNETTY has been approved for Interdisciplinary Arts and the College of Fine Arts by Marina Peterson Associate Professor of Interdisciplinary Arts Margaret Kennedy-Dygas Dean, College of Fine Arts 3 ABSTRACT HARNETTY, BRIAN P., Ph. D., December 2014, Interdisciplinary Arts Performing Sonic Archives: Listening to Berea, Sun Ra, and the Little Cities of Black Diamonds Director of Dissertation: Marina Peterson This is a project of performing three sonic archives: the Berea College Appalachian Sound Archives in Kentucky, the Sun Ra/El Saturn Collection of the Creative Audio Archives in Chicago, and the Little Cities Archive in southeastern Ohio. Here, I define “performing the archive” (Calzadilla and Marcus 2006; Osthoff 2009; RC Smith 2003) as any interpretive act related to the archive, including (but not limited to) listening, musical and visual appropriation, historiography, and ethnographic fieldwork and analysis. I offer “sonic archives” as a distinct genre that requires new archival approaches––rooted in listening and sound––that do not exclude traditional archives but add to and complement them. As such, listening is my primary method used throughout the dissertation. It is both performative and dialogical, and a direct way to sonically engage with people, place, and archival materials. -
June 23 - 27, 2008 Hazard, Kentucky the Cowan Creek Mountain Music School, Produced by the Cowan Community Action Group, Inc
June 23 - 27, 2008 Hazard, Kentucky The Cowan Creek Mountain Music School, produced by the Cowan Community www.allnightmedia.livejournal.com Action Group, Inc. and hosted by the Cowan Elementary School, will bring together some of this country’s finest old time musicians along with students of all levels, Cowan to enjoy a week of learning and fun. Join us as we share and celebrate our rich mountain heritage of lively tunes, heart-felt singing, spirited square dancing and Community Center storytelling. Whether an absolute beginner or an advanced musician, all students 81 Sturgill Branch will have an opportunity to improve their playing, dig deeper into the rich repertoire Whitesburg, Kentucky 41858 of Kentucky music and gain experience playing with other musicians. Phone: 606-633-3187 Historically, mountain music has been passed down through the generations as young learners listened to and played along with their older family members and neighbors. In keeping with this tradition, all classes at the Cowan Creek Mountain Music School are taught by call and response rather than written music or tab. Whatever your level, this will improve your ear for music and help you join in the fun of playing with other musicians right from the get-go. In addition to classroom instruction, students will enjoy classroom visits and performances by masters of traditional music Lee Sexton and Rich Kirbyand our first master-in-residence Paul Smith. In the afternoon, students can choose between a beginner’s slow jam and informal string band workshops led by school instructors. Following the jams, there will be a variety of options for afternoon workshops, including a master class with Paul Smith, ballad singing, clogging, dulcimer and more. -
As the Crooked Road Welcomes You to Southwest Virginia and the Third
s The Crooked Road welcomes you to Southwest Virginia and the third annual Mountains of Music AHomecoming, we are celebrating that most basic means of musical expression – singing. Folk song collectors, sometimes referred to as “songcatchers,” have wandered the mountains of Southwest Virginia for over a century in search of traditional singers. The region’s wealth of songs and singers has been well documented in the work of folklorists like Olive Dame Campbell and Englishman Cecil Sharp, who published English Folk Songs from the Southern Appalachians in 1917. The Library of Congress and the Smithsonian Institution have been here too, extracting from the area’s song tradition like miners digging the coal. Fast forwarding 100 years, the region is still a treasure trove of singers preserving the songs that represent a connection to the cultures that settled the region as America came into its own as a new country. To celebrate these traditions, ballad singers from Ireland, Scotland, England, and America will perform in three concerts and one workshop during the Homecoming, providing a remarkably international perspective on this ancient art form. A focus on great singing continues with artists like Doyle Lawson & Quicksilver, who have set the standard for great bluegrass and bluegrass gospel harmony singing for decades. Influential new voices like Amythyst Kiah and Dori Freeman, who are raking in accolades from music critics nationwide, are also presented this year. Each year the Homecoming features a specific musical tradition besides our own, and this year we feature the music of Scotland with Alasdair Fraser, one of the finest fiddlers Scotland has ever produced, along with cellist Natalie Haas. -
Edinburgh Scene to Be Unique, Nor Do I Think That It Has Made a Huge Contribution to World Music
HOWFF TAE HIP HOP David Irving. April 2013. David Irving asserts his moral right under the Copyright, Designs and Patent Acts 1988 to be identified as the author of this work. All rights reserved. No reproduction, copy or transmission of this publication, in part or in whole may be made without written permission, or in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. Acknowledgements: Much of the detail within this text was checked against information contained on the Internet and in numerous periodicals and books on the period. My thanks go to all the people who created those sources. Where I have been able, I have obtained their permission and they are acknowledged at the end. Where I haven’t been able to trace them, my apologies for any inadvertent breaches of copyright which may have occurred. 1 For The Hipple People without whom ......... 2 CONTENTS Foreword 1: Shortbread and Tartan (1950-1959) 2: The First Paradiddley Dum Dum Era (1960-1966) 3: Incredible Psychedelia (1967-1969) 4: Tartan Trews and Braces (1970-1975) 5: Flying Saucers Over Arthur’s Seat (1976-1978) 6: Punk’s Still Not Dead (1979-1981) 7: Splashing In The Dolfinarium (1982-1986) 8: Some Of The Greatest Pop Never Heard (1987-1995) 9: Pioneering The Hauntological Approach (1996-2001) 10: Sending Out The S.O.S. (2002- 2011) Afterthought Acknowledgements Appendix : The Musicians and The Music 3 FOREWORD As Dee Robot of The Valves memorably pointed out, there ain’t no surf in Portobello, which is why, after we had exhausted the delights of Fun City, the Tower Amusements and Arcari’s ice-cream emporium, I and my mates Neil and Donny were at a loose end. -
The British 'Bluesman' Paul Oliver and the Nature Of
THE BRITISH ‘BLUESMAN’ PAUL OLIVER AND THE NATURE OF TRANSATLANTIC BLUES SCHOLARSHIP CHRISTIAN O’CONNELL A thesis submitted to The University of Gloucestershire In accordance with the requirements of the degree of Doctor of Philosophy In the Faculty of Media, Arts and Technology January 2013 Abstract Recent revisionist studies have argued that much of what is known about music known as the blues’ has been 'invented' by the writing of enthusiasts far removed from the African American culture that created the music. Elijah Wald and Marybeth Hamilton in particular have attempted to sift through the clouds of romanticism, and tried to unveil more empirical histories that were previously obscured by the fallacious genre distinctions conjured up during the 1960s blues revival. While this revisionist scholarship has shed light on some previously ignored historical facts, writers have tended to concentrate on the romanticism of blues writing strictly from an American perspective, failing to acknowledge the genesis and influence of transatlantic scholarship, and therefore ignoring the work of the most prolific and influential blues scholar of the twentieth century, British writer Paul Oliver. By examining the core of Oliver’s research and writing during the 1950s and 1960s, this study aims to place Oliver in his rightful place at the centre of blues historiography. His scholarship allows a more detailed appreciation of the manner in which the blues was studied, through lyrics, recordings, oral histories, photography and African American literature. These historical sources were interpreted in accordance with the author’s attitudes to the commercial popular music, which allowed the ‘reconstruction’ of an African American ‘folk’ culture in which the blues became the antithesis of pop.