The Song Collector Free
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Myrtle's Only
! ! " Myrtle’s Only Son" Dale Rayburn" ! ! ! Title: The Cowboy and the Songcatcher" ! Overview" Students are introduced to history of American Folk Music through a study of folklorists in the field. Known as “songcatchers,” early folk music collectors John and Alan Lomax are !responsible for collecting and preserving thousands of folk songs, including Home on the Range. ! Students will listen to examples of traditional and contemporary folk music, choose a folk song, !study it in depth and write a personal essay about the song. ! After watching an interview with Alan Lomax, students will conduct a folklife field project of their own, using the Library of Congress resource Folklife and Fieldwork: A Layman’s Introduction !to Field Techniques.! ! ! Subjects" American History, Folklore, Musicology, Language Arts! ! Age Group" Secondary (Grades 6 - 12)! ! Standards" 21st Century Learning Skills:" • !Critical Thinking and Reasoning! • !Information Literacy! • !Collaboration! • !Invention! • !Self-Direction! !• Skills for Living in the World! Colorado Academic Standards:" Social Studies" • Regions have different issues and perspectives! • Use geography to research, gather data and ask questions! • Become familiar with the idea that people are interconnected by geography! History" • Develops moral understanding, defines identity and creates an appreciation of how things change while building skills in judgment and decision-making. ! • Enhances the ability to read varied sources and develop the skills to analyze, interpret and communicate. ! • The -
Traditional Song
3 TraditionalSong l3-9 Traditional Song Week realizes a dream of a comprehensive program completely devoted to traditional styles of singing. Unlike programs where singing takes a back seat to the instrumentalists, it is the entire focus of this week, which aims to help restore the power of songs within the larger traditional music scene. Here, finally, is a place where you can develop and grow in confidence about your singing, and have lots of fun with other folks devoted to their own song journeys. Come gather with us to explore various traditional song genres under the guidance of experienced, top-notch instructors. When singers gather together, magical moments are bound to happen! For Traditional Song Week’s ninth year and our celebration of The Swannanoa Gathering’s 25th Anniversary, we are proud to present a gathering of highly influential singers and musicians who have remained devoted over the years to preserving and promoting traditional song. Tuesday evening will be our big Hoedown for a Traditional Country, Honk-Tonk, Western Swing Song and Dance Night. Imagine singing to a house band of Josh Goforth, Robin and Linda Williams and Ranger Doug or Tim May, Tim O’Brien, and Mark Weems! So, bring your boots and hats, your voices and instruments, and get ready to bring on the fun! Our Community Gathering Time each day just after lunch affords us the opportunity to experience together, as one group, diverse topics concerning our shared love of traditional song. This year’s spotlight will feature folks who have been “on the road” and singing for quite a while. -
The Ballads of the Southern Mountains and the Escape from Old Europe
B AR B ARA C HING Happily Ever After in the Marketplace: The Ballads of the Southern Mountains and the Escape from Old Europe Between 1882 and 1898, Harvard English Professor Francis J. Child published The English and Scottish Popular Ballads, a five volume col- lection of ballad lyrics that he believed to pre-date the printing press. While ballad collections had been published before, the scope and pur- ported antiquity of Child’s project captured the public imagination; within a decade, folklorists and amateur folk song collectors excitedly reported finding versions of the ballads in the Appalachians. Many enthused about the ‘purity’ of their discoveries – due to the supposed isolation of the British immigrants from the corrupting influences of modernization. When Englishman Cecil Sharp visited the mountains in search of English ballads, he described the people he encountered as “just English peasant folk [who] do not seem to me to have taken on any distinctive American traits” (cited in Whisnant 116). Even during the mid-century folk revival, Kentuckian Jean Thomas, founder of the American Folk Song Festival, wrote in the liner notes to a 1960 Folk- ways album featuring highlights from the festival that at the close of the Elizabethan era, English, Scotch, and Scotch Irish wearied of the tyranny of their kings and spurred by undaunted courage and love of inde- pendence they braved the perils of uncharted seas to seek freedom in a new world. Some tarried in the colonies but the braver, bolder, more venturesome of spirit pressed deep into the Appalachians bringing with them – hope in their hearts, song on their lips – the song their Anglo-Saxon forbears had gathered from the wander- ing minstrels of Shakespeare’s time. -
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. -
Filming Feminist Frontiers/Frontier Feminisms 1979-1993
FILMING FEMINIST FRONTIERS/FRONTIER FEMINISMS 1979-1993 KATHLEEN CUMMINS A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN WOMEN’S, FEMINIST AND GENDER STUDIES YORK UNIVERSITY TORONTO, ONTARIO November 2014 © Kathleen Cummins, 2014 ii ABSTRACT Filming Feminist Frontiers/Frontier Feminisms is a transnational qualitative study that examines ten landmark feature films directed by women that re-imagined the frontiers of Canada, Australia, New Zealand, and the U.S through a feminist lens. As feminist feature films they countered Eurocentric and masculinist myths of white settlement and expansionism in the grand narrative tradition. Produced between 1979 and 1993, these films reflect many of the key debates that animated feminist scholarship between 1970 and 1990. Frontier spaces are re-imagined as places where feminist identities can be forged outside white settler patriarchal constructs, debunking frontier myths embedded in frontier historiography and the Western. A central way these filmmakers debunked frontier myths was to push the boundaries of what constitutes a frontier. Despite their common aim to demystify dominant frontier myths, these films do not collectively form a coherent or monolithic feminist revisionist frontier. Instead, this body of work reflects and is marked by difference, although not in regard to nation or time periods. Rather the differences that emerge across this body of work reflect the differences within feminism itself. As a means of understanding these differences, this study examines these films through four central themes that were at the centre of feminist debates during the 1970s, 80s, and 90s. -
The Music Never Stopped Based Upon “The Last Hippie” by Oliver Sacks, M.D
The Music Never Stopped Based upon “The Last Hippie” by Oliver Sacks, M.D. Official website: http://themusicneverstopped-movie.com Publicity Materials: www.roadsideattractionspublicity.com Production Notes Directed by Jim Kohlberg Screenplay by Gwyn Lurie & Gary Marks Produced by Julie W. Noll, Jim Kohlberg, Peter Newman, Greg Johnson Starring: J.K. Simmons Lou Taylor Pucci Cara Seymour Julia Ormond Running Time: 105 minutes Press Contacts: New York Marian Koltai-Levine – [email protected] – 212.373.6130 Nina Baron – [email protected] – 212.373.6150 George Nicholis – [email protected] – 212.373.6113 Lee Meltzer – [email protected] – 212-373-6142 Los Angeles Rachel Aberly – [email protected] - 310.795-0143 Denisse Montfort – [email protected] – 310.854.7242 "THE MUSIC NEVER STOPPED" Essential Pictures presents THE MUSIC NEVER STOPPED Based on a true story Directed by JIM KOHLBERG Screenplay by GWYN LURIE & GARY MARKS Based upon the essay 'The Last Hippie' by OLIVER SACKS Produced by JULIE W. NOLL JIM KOHLBERG PETER NEWMAN GREG JOHNSON Co-Producer GEORGE PAASWELL Executive Producer NEAL MORITZ Executive Producer BRAD LUFF Music Producer SUSAN JACOBS Director of Photography STEPHEN KAZMIERSKI Editor KEITH REAMER Production Designer JENNIFER DEHGHAN Costume Designer JACKI ROACH Original Music by PAUL CANTELON Casting by ANTONIA DAUPHIN, CSA J.K. SIMMONS LOU TAYLOR PUCCI CARA SEYMOUR with JULIA ORMOND TAMMY BLANCHARD MIA MAESTRO SCOTT ADSIT JAMES URBANIAK PEGGY GORMLEY MAX ANTISELL An Essential Pictures Production in association with Peter Newman/InterAL Productions A film by Jim Kohlberg SYNOPSIS “The Music Never Stopped,” based on the case study “The Last Hippie” by Dr. -
REAMER, Keith
KEITH REAMER, A.C.E. EDITOR Member: I.A.T.S.E./Local 700, M.P.E.G. New York local www.keithreamer.com FEATURES FINDING 52 (Documentary) Gigantic Pictures/Alldayeveryday/ Prod: Adrian Grenier, Jonathan Shukat, Dir: Joshua Zeman (Consulting Editor) ShowKat Productions Lucy Sumner, Leonardo DiCaprio BAYOU CAVIAR Brittany House Productions Prod: Anjul Nigam, Todd Lewis Dir: Cuba Gooding Jr. THE CHINA HUSTLE (Documentary) Jigsaw Prod: Jed Rothstein, Sarah Gibson Dir: Jed Rothstein *Toronto International Film Festival 2017 – TIFF Docs SOPHIE AND THE RISING SUN Sophie Film Prod: Brenda Goodman Dir: Maggie Greenwald *Sundance Film Festival 2016 – Premiere BILL TRAYLOR: CHASING GHOSTS (Documentary) Breakaway Films NY Prod: Sam Pollard Dir: Jeffrey Wolf LEARNING TO DRIVE Learning to Drive, LLC. Prod: Susan Leber, Dana Friedman Dir: Isabel Coixet *Toronto International Film Festival 2014 Daniel Hammond UNTITLED BILL COSBY DOC Anonymous Content Prod: Maureen Ryan Dir: Jamey Phillips INNOCENCE Killer Films Prod: Pamela Koffler, Christine Vachon Dir: Hilary Brougher Declan Baldwin BEFORE THE SPRING, AFTER THE FALL Prod: Allyson Luchak, Liz Garbus Dir: Jed Rothstein (Documentary) Fisher Stevens THE LAST KEEPERS TAL Entertainment Inc. Prod: Carly Hugo, Matthew Parker Dir: Maggie Greenwald EXPOSED (Documentary) Schulberg Productions Prod: Sandra Schulberg Dir: Beth B. *Berlin Film Festival 2013 – Premiere & Competition THE MUSIC NEVER STOPPED Roadside Attractions Prod: Julie W. Noll, Peter Newman Dir: Jim Kohlberg *Sundance Film Festival 2011 – Premiere AMREEKA National Geographic Ent. Prod: Christina Piovesan, Paul Barkin Dir: Cherien Dabis *Cannes Film Festival 2009 – Winner, International Critics Prize, Director’s Fortnight *Sundance Film Festival 2009 – Dramatic Competition CHOOSE IFC Midnight Prod: Allen Bain, Jesse Scolaro Dir: Marcus Graves HOMECOMING Paper Street Films Prod: Austin Stark, Jim Young Dir: Morgan J. -
SEM Annotated Bibliographies Musical Activism and Agency: Contestations and Confluences
SEM Annotated Bibliographies Musical Activism and Agency: Contestations and Confluences Jennifer LeBlanc, Golam Rabbani and Margaret E. Walker, Queen’s University These three annotated bibliographies were created to complement the Pre-Conference Symposium, “Musical Activism and Agency: Contestations and Confluences, which took place on October 21 at the start of the Society for Ethnomusicology 2020 Virtual Annual Meeting.1 The themes of the pre-conference symposium circled around questions of responsible and respectful engagement as both scholars and practitioners challenge dominant narratives, power imbalances, and ecological issues. The three roundtables that made up the symposium, “Music Environment, Health and Displacement,” “Sites of Resistance,” and Confronting Extractionism: Responsible Research Ethics and Professional Practices” brought nineteen presenters into conversation with each other and the virtual audience, addressing topics ranging from Canadian politics to climate change. Focusing on the themes of activism, agency, and extractionism as they dialogue with and through musical and other performative practice, this selected bibliography casts a wide net, bringing together literature that engages with an array of topics and issues. The annotations were created by drawing on original abstracts, reviews and of course, the material itself. The bibliography, however, is a work in progress and will continue to be refined until it is published publicly in 2021. We apologise for any omissions and invite comments, additions, and suggestions for additions, which can be sent to Golam Rabbani at [email protected] . The inspiration for the pre-conference themes arose from the intended site of the 2020 SEM conference. The capital city of the settler-colonial nation of Canada, Ottawa sits on unceded territory of the Algonquin people. -
Stephanie's Resume
STEPHANIE GORIN CASTING DIRECTOR CSA/C.D.C 2014 EMMY WINNER, BEST CASTING for a MINI-SERIES 2014 ARTIOS WINNER, BEST CASTING for a MINI-SERIES 3 EMMY NOMINATIONS 3 GEMINI NOMINATIONS 4 ARTIOS AWARD NOMINATIONS 62 Ellerbeck St., Toronto ON Canada M4K 2V1 PH: 416-778-6916 Email: [email protected] FEATURE FILMS, MOVIES OF THE WEEK, EPISODICS (selected) ROCKY HORROR PICTURE SHOW T.V. Feature 2016 Director: Kenny Ortega Executive Producers: Lou Adler, Gail Berman, Kenny Ortega / FOX 21 TELEVISION STUDIOS RACE – Co-Casting Feature 2015 Director: Stephen Hopkins Producers: Jean-Charles Levy, Luc Seguin, Karsten Brunig, Nicolas Manuel / Focus Features/Forecast Pictures FARGO (Seasons 1-2) Mini-Series 2014-2015 Director: Various Executive Producers: Joel & Ethan Coen, Noah Hawley, Warren Littlefield & John Cameron, Geyer Kosinski / MGM / FX *Emmy winner for casting – 2014 *Artios winner – 2014 HEROES REBORN T.V. Series 2015 Directors: Various Executive Producers: Tim Kring, Peter Elkoff, James Middleton / NBC OPERATION INSANITY Feature 2015 Director: Erik Canuel Executive Producer: Arnie Zipursky, CCI Entertainment SHADOWHUNTERS T.V. Series 2015 Director: Various Executive Producers: McG, Marjorie David, Ed Decter, Michael Reisz, Don Carmody / ABC Family-FREEFORM PRIVATE EYES T.V. Series 2015 Director: Kelly Makin, Anne Wheeler Executive Producers: John Morayniss, Tecca Crosby, Rachel Fulford, Shawn Piller, Lloyd Segan, Jason Priestley Tassie Cameron, Shelley Eriksen, Alan McCullough THE PATRIOT Pilot 2015 Director: Steve Conrad Executive Producers: Charlie Gogolak, Glenn Ficarra, Dominic Garcia, Gil Bellows / AMAZON SLASHER Mini-Series 2015 Director: Craig David Wallace Executive Producers: Christina Jennings, Aaron Martin, Adam Haight / Chiller / SUPERCHANNEL CHEERLEADER DEATH SQUAD Pilot 2015 Director: Mark Waters Executive Producers: Marc Cherry, Neal Baer, Daniel Truly, Frank Siracusa, John Weber / CW / CBS SHOOT THE MESSENGER Series 2015 Directors: Sudz Sutherland, T.W. -
ウィークエンド サンシャイン Playlist Archive Dj:ピーター・バラカン
ウィークエンド サンシャイン PLAYLIST ARCHIVE DJ:ピーター・バラカン 2015 年 10 月 3 日放送 01. Can't You Hear Me Calling / Crooked Still // Shaken by a Low Sound 02. Barbara Allen / Deborah Packard // Happy Land - Musical Tribute to Laura Ingalls Wilder 03. Barbara Allen / Emmy Rossum // Songcatcher - Music from and Inspired by the Motion Picture 04. Barbara Allen / Joan Baez // Joan Baez, Vol. 2 05. Barbara Allen / Emmylou Harris // Songcatcher - Music from and Inspired by the Motion Picture 06. I Am a Man of Constant Sorrow / Roscoe Holcomb // An Untamed Sense Of Control 07. I Am a Man of Constant Sorrow / Ralph Stanley // Old Songs & Ballads 08. I Am a Man of Constant Sorrow / Bob Dylan // Bob Dylan 09. I Am a Man of Constant Sorrow / Soggy Bottom Boys // O Brother, Where Art Thou? 10. Little Maggie With A Dram Glass In Her Hand / Grayson & Whitter // The Rose Grew Round The Briar 11. Little Maggie/ Robert Plant // lullaby and... The Ceaseless Roar 12. Little Maggie / Ricky Skaggs and Kentucky Thunder // Bluegrass Rules! 13. Oh Susanna / Keith Little // Happy Land - Musical Tribute to Laura Ingalls Wilder 14. Oh Susanna / Joe Weed // The Music of Stephen Foster 15. Oh Susanna /Buddhiman Gandharba // The Mountain Music Project; A Musical Odyssey from Appalachia to Himalaya 16. Oh Susanna / Vern Williams Band // Bluegrass from the Gold Country 17. Single Girl, Married Girl / Haden Triplets // The Haden Triplets 18. Crossing Muddy Waters / I’m With Her // (single) 19. Walkin' Back To Georgia / I’m With Her // (not for sale) 20. Any Old Time / Sara Watkins // Sara Watkins 21. -
Productions in Ontario 2003
PRODUCTION IN with assistance from Ontario Media Development Corporation (OMDC) CHANCE CLEAN THEATRICAL FILMS Company: Rushlight Entertainment/ Company: Rhombus Media Inc. Nickelodeon Films (NY) Producer: Niv Fichman, Daniel Iron, Producer: Michael Currie, Soojin Kwon, Sari Friedland AURORA BOREALIS Alan Vukadin Director: Olivier Assayas Company: Front and Center Productions, Inc. Executive Producer: Marcus Schwartz Writer: Olivier Assayas Producer: Scott Disharoon, Sherri Saito Director: James Cohen Line Producer: Frederic Sauvagnac Executive Producer: Rick Bieber Writer: James Cohen Production Designer: Bill Fleming Director: James Burke Production Manager: Alan Vukadin Director of Photography: Eric Gautier Writer: Brent Boyd Production Designer: Katie Macgregor Key Cast: Maggie Cheung, Nick Nolte, Production Manager: Marty Dejczak Director of Photography: Mark A. Feenstra Martha Henry Production Designer: Taavo Soodor Key Cast: Amel Hesh, Serena Deparis Shooting Dates: Oct. 13 - 31/03 Director of Photography: Alar Kivilo Shooting Dates: Jan. 10 - 25/03 Key Cast: Joshua Jackson, Donald CONFESSIONS OF A TEENAGE Sutherland, Louise Fletcher, Juliette Lewis CHILDSTAR DRAMA QUEEN Shooting Dates: Nov. 3 - Dec. 19/03 Company: Rhombus Media Inc. Company: Confessions Productions Ltd. Producer: Niv Fichman, Daniel Iron, Producer: Jerry Leider and Bob Shapiro BAILEY Jennifer Jonas Director: Sara Sugarman Company: Devine Bailey Productions Ltd. Director: Don McKellar Writer: Gail Parent Producer: David Devine, Richard Mozer Writer: Don McKellar, -
The Singing Subject
OVERTURE: The Singing Subject Hollywood's soundtrack is engendered through a complex system of displacements which locate the male voice at the point of apparent textual origin, while establishing the diegetic containment ofthe female voice. 1 In The Acoustic Mirror, one of the few film theory books that considers the female voice in cinema, psychoanalytic film theorist Kaja Silverman ascribes the female voice a place firmly within the narrative of 'classic' Hollywood (and other realist) films. 2 But as a cinematic spectator, I have experienced films where a woman's singing voice has for me transcended such limitations. My first experience of such a feeling was motivated by Songcatcher (Maggie Greenwald, 2000), a story about a 19th century musicologist, Dr Lily Penleric (Janet McTeer), who travels to the Appalachian Mountains to collect folk ballads. In Songcatcher, the women characters' singing is pleasurable and moving, but also transports me emotionally beyond the narrative.3 Such experiences of singing scenes4 provide for me a feeling that is analogous to, but also different from, the 'transcendence' of numbers in classic Hollywood film musicals.s In the classical musical, singing performances are not only expected, because of the genre, but also assisted by the use of nondiegetic music to lift the musical experience beyond the 'real' world of the narrative to a space that is most often a utopian realm. However, in Songcatcher, singing remains of the diegesis and yet for me reaches beyond the narrative world. I Kaja Silverman. The Acoustic Mirror: The Female Voice in P5ychoanalysis and Cinema. Bloomington and Indianapolis. Indiana University Press.