The CORD WEEKLY VOL

Total Page:16

File Type:pdf, Size:1020Kb

The CORD WEEKLY VOL The CORD WEEKLY VOL. VII NO. 10 WATERLOO LUTHERAN UNIVERSITY FRIDAY, NOVEMBER 25, 1966 U of W students stage bookstore protestsit-inpricesto By CHEVRON STAFF University police counted 210 University of Waterloo stud- students entering the president's ents invaded the office of the office. university president Friday af- The president refused to make ternoon (Nov. 18) protesting high prices and a $67,000 profit an on-the-spot committment to at the university bookstore last the students. "I don't say that year. your demands are unfair," he Many more crowded around said. "But I don't say that they listening over outside the inter- are fair either. com as the president, J. G. Hag- ey, attempted to justify his pol- After an hour of discussion, icy to the protesters. President Hagey agreed to reply Leading the students was Tom to one of the students demands Patterson, speaker of Student by Wednesday the question Council and chairman of its of two student — on bookstore committee. members the Demonstrators were demand- bookstore committee. ing a .15-percent reduction in The demonstration climaxed book prices and student member- four years of discontent over ship on the administration com- bookstore profits. But many stu- mittee studying services like the bookstore and food services. dents were left unsatisfied by Both had to be guaranteed in their leaders apparent compro- writing, and effective January 1. mise. University president Hagey Grad psychology student, Dav- agreed to meet leaders of the id Andres, said, "We've been Photo by Clark demonstration' in his office. But put years A week ago today hundreds of Uni- pletely impassible. he refused to come down to the off for four and we Here Dr. J. D. were put off again." versity of Waterloo Students staged an Hagey, President of the U. of W. listens bookstore. orderly sit-in at their schools bookstore. to the demands of the "If he won't come to us, we're Others were more optimistic. students and their "We've shown we're They filled the bookstore making it com- leader, Tom Patterson. going to him all of us!" Mr. them that PattersWrrsggsl .fl&fc* crowd; mad. They will have to do some- thing. Otherwise this is bad pub- — licity for the big tenth-anniver- sary fund drive next year,'' said WLU Senate announces one. course changes for 67-68 By REG PLUMMER deity, the Biblical basis for the Leacock's fishing The Waterloo Lu/theran Uni- Judaeo-Ghristian civilization; the versity Senate has announced a encounter of this tradition with number of course changes for other major world religions, and retreat becomes beginning Sep- the school year internal critical movements now tember 1967. occurring within the tradition. Effective September 1967 the Religious Know- site of WLU's Subject of Religious Knowledge The former will be transferred from Division ledge courses numbered 20, 21, D to Division A (Humanities) in 22 and 24 will not be given any Simcoe College the General BA program. The longer but instead they have be- Department of Religious Know- come senior courses called: Re- site of Canadian humorist ledge has been renamed the "De- The Stephen secret fishing Religious Studies." ligious Studies 30, Literature of Leacock's of retreat now his is in line with the naming the Old Testament, Religious Stu- is the site of Simcoe ?artnvent College, the proposed col- of this department in most of new dies 31, Christian Faith in today's lege of WLU at OriMia. the major universities in Cana- world, Religious Studies 32, World da. After considering 25 sites, a Religions (Part One), Religious All freshmen students enter- committee chose a 185- acre site, Studies 42, World Religions adjoining the Highway 11 by- ing WUC next September will (Part Two) and Religious Stud- required take the new pass, just on the edge of Orillia.. be to ies 34, Literature of the New It is a rolling, area course "Religious Studies 20," wooded with Testament. a stream fishing pond to Relig- and the entitled "Introduction relig- by purpose These series of senior alluded to Leaeock in several ious Studies."" The of ious studies courses will now writings. course the of his this is, "to investigate make it possible for a student to nature of religion generally and The site commands a good have a major.in religious studies particularly, the Judaeo-Christian view of the busy tourist high- tradition and its influence in our Other course changes announc- way and has excellent soil con- cultural heritage." ed by the Senate included the ditions to permit building. following: Areas of study in this new The first buildings will be 1. new courses, Physics located on prehis- Course will include—the nature Two the beach ol of religion and of religious 25 and Chemistry 25 have been toric Lake Algonquin which knowledge; the origins of reli- introduced as terminal courses once covered the entire area gion and the basic conception of for students who now come into and whose boundary can still be the revised B.Sc. program to ad- distinguished. apt to the requirements of the Commenting on the site selec- INDEX course. tion, Alan Quirt, a selection com- may mittee 2—How into 2. Students take Music 38, member said, "It's what Page you get I hoped place History of the Chant and Hymn, had would materialize this from the start." Page 3—Food poisoning of and Music 48, History of Church university students Music, presently offered by the Photo by Jackson Meanwhile the campaign to Page 5 & 6—Culture in seminary, as full senior courses Last Thursday evening Waterloo Lutheran Uni- raise $773,000 is continuing and Review in their general arts program. versity held its annual Awards evening in the Mez- a start on construction depends Page 7—A visit to a Bi- 3. Also effective September zanine of the dining hall. Awards were presented on how swiftly the money can Mathematics Mathe- be raised cultural School 1967, 15 and through academic achiev- by the Orillia commit- Page 16 which are the equiva- to all those who qualified tee. The fund now is edging 9—The un-Christian matics Berry to- Co-op lent of Grade 13 mathematical ement. Here Larryne receives her proficiency ward the 50 per cent mark. Page 10—Grumps standing and taken by the pre- award from our President, Dr. Villaume. In the More than $1,000,000 has been Page 11 & 12—Sports liminary year students, will be background is Dean Lloyd Schauss. pledged separately by various dropped. government bodies in the area. 2 THE CORD WEEKLY Friday, November 25, 1966 Changes and admission requirements for 67 - 68 and 68 - 69 By R. WOOLNER 4.Applicants must be certain Physics—one credit. in secondary school. the release of the Christmas ex- that they 13 4. 3. The Principal's confidential amination results to The Senate of Waterloo Luther- have the Grade pre- One additional credit not pre- outstanding requisites particular viously report must show appli- students whose gracies are in ex- an University approved the fol- for the cour- chosen. Students who plan that the programs major lowing statements for admission ses in the for which to in Mathematics must cant has maintained a minimum cess of the minimum Advance to WUC: they have made application. have standing in Math A and B. average of 65 percent in Grades requirements, and who are rec- Program Students must have completed Admission from Grade 13 General Arts 11 and 12. ommended by their high school 1. English—two a Second language at least to the 1. Students are required to have— credits. 4. A principals. 2. Second language—two grade 12 level. minimum average of 65 completed successfully four sub- cre- percent An applicant who is deemed dits. School of Business and at the Christmas or Eas- jects and at least seven credits ter examination of Grade 13 must admissable on the basis of the with a minimum average of 60% 3. At least two other subjects— Economics conditions outlined above, will be three credits. English—two credits be shown. for admission to all programs. v sent a letter of eligibility offeiv Honors Arts Second Language—two credits The university is prepared to 2. Language courses constitute offer Advance Admission prior to (Continued on page 10) two "credits" and Math. A con- In addition to meeting the gen- Math A—two credits stitutes two "credits". All other eral admission-requirements as One additional credit outlined above, applicant The Senate also issued the fol- courses constitute one "credit". the must lowing also possess the minimum statement on Advance Ad- 3. Ontario tests for Admission sub- requirements University ject standings specified by the mission for 1967- to College and and Col- -1968: The Girls lege Entrance Examination Board department in which he wishes results will not be compulsory, to pursue honor studies. See the Secondary school students now but will be considered if present- Honor Program outline in the in Grade 13 may be assured of ed. calendar for further information. final admission to WUC before General Science Programs writing the final Departmental A minimum of 60% in the Examinations if the following Sciences and Mathematics is re- conditions are met: quired. 1. The applicant must be rec- STUDENTS 1. English two credits! ommended by his high school 2. Mathematics— A—two credits principal. 3. Two of: Biology—one credit 2. No more than five years will 10% OFF Chemistry—one credit have been spent by the applicant ALL SAMSONITE Mcdonald, currie & co. LUGGAGE Chartered Accountants at Representatives from our Firm will be on campus Friday, December 2, 1966 to interview students CREDIT JEWELLERS LTD.
Recommended publications
  • Nity Lost One of Its Giants. Dick Rosmini
    n September 9, the music actor on "Bonanza," his production world and the audio commu- of Gale Garnet's "We'll Sing in the 0nity lost one of its giants. Sunshine," his playing, recording and Dick Rosmini succumbed to Amy- production for Jackie DeShannon, otrophic Lateral Sclerosis (ALS) at recording Jackson Browne's demos. the age of 59. He is survived by his his writing and playing of all the gui- wife of 35 years, Christine. tar and banjo music for Coppola's Dick Rosmini grew up in New "The Black Stallion," and his 12- York's Greenwich Village. He was string guitar on the sound track of immensely entertaining both to his "Leadbelly ." musical audiences and his engineer- Musical art was Dick Rosmini's ing colleagues. No one who met him life passion. At a gala tribute orga- ever felt ambivalent about him. He nized by the Hollywood Sapphire was either loved or disliked: loved by Group for him last year-attended by those who found his brusque and many artists and musical associ- often arrogant truths refreshing, and ates-the recurring theme of speak- feared by those whose own arrogant ers was his immense capacity for truths were never as well studied. sharing information that enriched Rosmini never suffered fools, but Dick Rosmini them or improved their art. Anything was as generous a teacher as ever and everything that had the potential there was. typical of anyone else. He earned the to give a musical artist a new color A man of intense intellect. unelring irreverent appellation "The Sabicas of on the palette became Dick's personal focus and burning impatience, Ros- the Blues Guitar" from his friends.
    [Show full text]
  • Thrasher Opposes SG Handling of Racism Krashna Seeks Forum As
    -----------------~-~--- VOL. IV, NO. 88 Serving the Notre Dame and S-at-,._n_t_M:-:--a-ry~·s-C::::l-J/~Ie_og_e-;-C;-o-m._n_1_U_n7"ity~------------:T:;:;::;HURSDAY, MARCH 5, 197C Thrasher opposes SG Prof. Nutting elaborates on Krashna seeks forum handling of racism Free City idea as legislative council by Steve Lazar by Bill Carter program, according to Thrasher, Winingfi explained that the re­ would be more effective for it "I think we've really got to Student Body Presidential structuring of student govern­ by Steve Hoffman would influence not only the face the fact that perhaps the Candidate Dave Krashna pro­ ment was an essential change if and Mark Day actual students involved, but 'great University' is obsolete; it's posed last night that the Student the voice of the student body Student Body President candi­ also the people with whom these trying to do so much that Senate be abolished and that it was to become more effective. be replaced with a new body "There's just too much red date Tom Thrasher charged that students are in contact in their perhaps it can't do anything very called the Student Fomm. tape involved now," Winings Student Goernment had failed daily lives. In order to do this, well including teaching." The Forum according to said. "We don't need any more in dealing with racial tensions on Thrasher says, the money now Professor Willis D. Nutting, once Krashna would be "hall based" political games with one person campus this year "by allowing intended for monirity recruit­ referred to by one of his and would consist of Hall Presi­ having more power than a­ isolated incidents to drift into ment, plus additional funds, colleagues as a "prophet," dent and Off-Campus represent­ nother.
    [Show full text]
  • Classical Gas Recordings and Releases Releases of “Classical Gas” by Mason Williams
    MasonMason WilliamsWilliams Full Biography with Awards, Discography, Books & Television Script Writing Releases of Classical Gas Updated February 2005 Page 1 Biography Mason Williams, Grammy Award-winning composer of the instrumental “Classical Gas” and Emmy Award-winning writer for “The Smothers Brothers Comedy Hour,” has been a dynamic force in music and television circle since the 1960s. Born in Abilene, Texas in 1938, Williams spent his youth divided between living with his 1938 father in Oklahoma and his mother in Oregon. His interest in music began when, as a teenager, he to 1956 became a fan of pop songs on the radio and sang along with them for his own enjoyment. In high Oklahoma school, he sang in the choir and formed his first group, an a capella quartet that did the 1950’s City style pop and rock & roll music of the era. They called themselves The Imperials and The to L.A. Lamplighters. The other group members were Diana Allen, Irving Faught and Larry War- ren. After Williams was graduated from Northwest Classen High School in Oklahoma City in 1956, he and his lifelong friend, artist Edward Ruscha, drove to Los Angeles. There, Williams attended Los Angeles City College as a math major, working toward a career as an insurance actuary. But he spent almost as much time attending musical events, especially jazz clubs and concerts, as he did studying. This cultural experience led him to drop math and seek a career in music. Williams moved back to Oklahoma City in 1957 to pursue his interest in music by taking a crash course in piano for the summer.
    [Show full text]
  • Print Version (Pdf)
    Special Collections and University Archives UMass Amherst Libraries Broadside (Mass.) Collection Digital 1962-1968 1 box (1.5 linear foot) Call no.: MS 1014 About SCUA SCUA home Credo digital Scope Inventory Broadside, vol. 1 Broadside, vol. 2 Broadside, vol. 3 Broadside, vol. 4 Broadside, vol. 5 Broadside, vol. 6 Broadside, vol. 7 Broadside and Free Press, vol. 8 Broadside and Free Press, vol. 9 Admin info Download xml version print version (pdf) Read collection overview When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. Assembled by Folk New England, the Broadside collection contains a nearly complete run of the Boston- and Cambridge-based folk music periodical, The Broadside, with the exception of the first issue, which has been supplied in photocopy. See similar SCUA collections: Folk music Massachusetts (East) Printed materials Background When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. The rapid growth of the folk scene in Boston during the mid- 1950s was propelled in part by the popularity of hootenannies held at the YMCA and local hotels, and by a growing number of live music venues, catching on especially in the city's colleges.
    [Show full text]
  • Microphone Theory)
    PART I (Microphone Theory) Harvey Gerst: Ok, you're on. At 64, maybe the best thing I can do with my life is to pass on what I've learned from great people that taught me when I was starting out. I think that's why Al Schmitt, George Massenburg, Ed Cherney, and some of the other really big guns spend so much time on the net. We all owe the guys that came before us a lot, and this is our way of paying them back. And that's the only thing I have in common with all those guys I just mentioned - we all kinda drank from the same well back in the 50s and 60s. I'll try to cover as much ground as I can, to give everybody a good basic understanding of the different mic designs, advantages and disadvantages of each design, how mic polar patterns are created, advantages and disadvantages of each polar pattern, and finally where each type might be used, along with advantages and disadvantages of each usage. How's that for a course outline? This is the frequency response curve of a Neumann TLM-103. Not very flat, is it? Does that mean it's a bad mic? Before we can answer that we hafta know how to read one of these curves and how to interprete it. Okay, let's start this with some interesting history as a prelude to the whole mic discussion. "Why" will become pretty clear by the third or fourth paragraph: In a way, the history of microphones and sound all started with Alexander Graham Bell, and Western Union.
    [Show full text]
  • Date Artist App Notes Last Update 2019/01/04 1960/05
    Date Artist App Notes last update 2019/01/04 1960/05/20, 21 (FS) Jackie Washington 1 Maxine Abel 1 1960/05/27-29 (F-U) Weekend Folk Song Jamboree w Tom Paley and Sylvia Marrs 1960/06/03-05 (F-U) Jackie Gibson 1 Schenectady balladeer Peter Stanfield and Dave Levy 1 NYC Country Music Men 1960/06/10, 11(FS) Annie Bird 1 1960/06/17, 18 (FS) Jack Ballard 1 1960/06/24, 25 (FS) Dave Van Ronk 1 1960/07/01, 02 (FS) 1960/07/08, 09 (FS) Rev. Gary Davis 1 1960/07/15, 16 (FS) 1960/07/22, 23 (FS) 1960/07/29, 30 (FS) Hedy West 1 1960/08/05, 06 (FS) Logan English 1 1960/08/12, 13 (FS) Dave Van Ronk, Sylvia Marrs 2 1960/08/19, 20 (FS) Ian Buchanan 1 ballads and blues 1960/08/26, 27 (FS) Jackie Washington 2 1960/09/02-10 closed for vacation 1960/09/15-17 (H-S) Tom Paxton 1 1960/09/23, 24 (FS) Dick Weissman, Hedy West 1960/09/30-08/01 (FS)Dick Rosmini guitar, banjo 1960/10/07, 08 (FS) 1960/10/14, 15 (FS) George “Smoke” Dawson and Rob Hunter 1960/10/21, 22 (FS) 1960/10/28, 29 (FS) 1960/11/04, 05 (FS) Dave Van Ronk 3 1960/11/11, 12 (FS) Tom Paxton 2 1960/11/13 (U) Charlie Fair Trio 1 jazz 1960/11/18, 19 (FS) Rev. Gary Davis 2 1960/11/25, 26 (FS) Hedy West 2 1960/11/27 (U) Charlie Fair Trio jazz 1960/11/29 (T) Film Series starts, T & W, showings at 6:30 and 9:15 1960/12/02, 03 (FS) Hedy West 1960/12/09, 10 (FS) 1960/12/16, 17 (FS) Luke Faust and Ellen Adler 1960/12/23, 24 (FS) Dave Van Ronk 4 1960/12/30, 31 (FS) Hedy West 4 1961/01/06, 07 (FS) 1961/01/12 (H) SPAKAR Auto Sports Club of Saratoga first meeting 1961/01/13, 14 (FS) Barry Kornfeld 1 protege of Gary
    [Show full text]
  • September/October 1987 $2.95 the Sound Engineering Magazine
    SEPTEMBER/OCTOBER 1987 $2.95 THE SOUND ENGINEERING MAGAZINE serving:recording, broadcast and sound contracting fields Featuring 2 to 8 trk-The Smaller Recording Studio Guides: Consoles & Mixers; Equalizers Sviicluvicr + 504 r WHAT YOU DO WITH THE M-600 MIXER is YOUR BUSINESS. That's why we've designed it to meet or exceed your most demanding requirements. And made it the easiest, most flexible professional mixing console you'll ever work with. The M-600 is modular. Which means you can custom configure the console to your audio or video production needs. The M-600 lets you choose up to 32 input channels, or you can start with 16 or 24 input channels and expand the board as your needs change. Optional stereo modules can also be added to provide even more line inputs for MIDI instruments and video production convenience. Installation and wiring is exceptionally easy. The M-600 is the only modular mixer that's available with all the necessary finished cables and installation hardware. And that can eliminate a lot of installation hassles and expense. At the same time, no other mixer at its price gives you multi-pin, computer-type connectors for quieter, more secure connections. But the real pleasures of the M 600 will only be evident after it's in your studio. Up to 64 stereo or 128 mono inputs can be accessed directly from the top panel. A patch bay can be added for fast, flexible routing. That's convenience. The M-600 has all the features you'd expect in a professional mixing console.
    [Show full text]
  • Washington Label Discography
    Washington Label Discography: Washington 300 series (12 inch LP) WLP 301 - Tom Glaser Concert (For and with Children) – Tom Glazer [10/59] Jimmie Crack Corn/Jennie Jenkins/Skip to My Lou/Fox/Put Your Finger in the Air/Hush Little Baby/Pick a Bale/Names/Come On and Join Into the Game/Little Bitty Baby/Now, Now, Now/Frog/So Long WLP 302 – Come See the Peppermint Tree – Evelyn Lohoefer and Evelyn and Donald. McKayle [1959] Follow Me/Kitchen Stuff/My Shoes Went Walking/The Yellow Bee/Jabberty-Jib/The Elf/A Shiny Penny/Putt-Putt/My Pretty Red Swing/Riddle/Dance Awhile//Jump and Spin/Riding on a Star/Me, Too/Wheels/All Mixed Up/Miriam/The Dress/The Ribbon/Carrots and Things/The Crow, The Worm and The Fish/The Moon in the Yard/Thingamabob/The Peppermint Tree/Mr. Sandman WLP 303 – Sometime-Anytime – McKayle, Stephenson, Reynolds [1959] Parade/Stuff/Watching Things Go By/Gingerbread Man/Red Wagon/Squirrel/Lunch in the Yard/Wiggle-Fidget/Not Quite Sure/Tree House/Limb of a Bright Blue Tree/Balloon/Please/Rocking Chair/Quite a Day/Rooster With a Purple Head Washington Classical 400 series (12 inch LP) WLP 401 - Beethoven: Short Piano Works - Arthur Balsam [1958] WLP 402 - Vivaldi-Telemann - New York Woodwind Quintet [1958] WLP 403 - Telemann: Don Quichotte - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 404 - Vivaldi: 4 Conceri - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 405 - Torelli: Sinfonias - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 406 - Vivaldi: Violin Concerto, 3 Winds Concerti - Newell Jenkins and Milan Chamber
    [Show full text]
  • Full Report on Columbia `Music People' Meet; Davis: `Be Open to Change''
    DEPARTMf N1 ART AND RCORDiNS ALLEN WUMri : Cue From. The TV Cartridge? (Ed) . Full Report On Columbia `Music People' Meet; Davis: `Be Open To Change'' ... Maitland Clarifies `Near -Total' H wood Base ... Buddah Extends Pacts /Mayfield, Impressions, Hawkins ... BeIIIJarrard Tie AMES BROWN: BROWN IS BEAUTIFUL www.americanradiohistory.com She never promised you another "Rose Garden:' But here it is, anyway: "How Can I UnloveYou:' Lynn Anderson's new single has a lot in common with her million seller, "Rose Garden." It was written by Joe South. Produced by Glenn Sutton. And it has the kind of universal message that will make it equally at home on Top -40, country and easy listening stations. \Ve beg your pardon. It could be another "Rose Garden." "How Can I UnloveYou"4-45429 by Lynn Anderson. On Columbia Records ^>. o COI UMBI MARCAS REG. PRINTEO IN U_S.A www.americanradiohistory.com THE INTERNATIONAL MUSIC -RECORD WEEKLY Cash Box Vol. XXXIII - Number 6/July 31, 1971 Publication Office/1780 Broadway, New York, New York 10019/Telephone: JUdson 6-2640/Cable Address Cash Box, N. Y. GEORGE ALBERT President and Publisher MARTY OSTROW Vice President IRV LICHTMAN Editor in Chief EDITORIAL CHRISTIE BARTER West Coast Editor ED KELLEHER ERIC VAN LUSTBADER KENNY KERNER EDITORIAL ASSISTANTS MIKE MARTUCCI ANTHONY LANZETTA ADVERTISING STAN SOIFER Advertising Manager Music: EXECUTIVES TV 'Now' ACCOUNT & ED ADLUM, New York HARVEY GELLER, Hollywood WOODY HARDING Art Director COIN MACHINE á VENDING ED ADLUM General Manager Cue From TV Cartridge? DON DROSSEL CAMILLE COMPASIO, Chicago LISSA MORROW. Hollywood CIRCULATION THERESA TORTOSA, Mgr. HOLLYWOOD HARVEY GELLER-CHRISTIE BARTER 6430 Sunset Blvd.
    [Show full text]
  • Art and Paul
    Art and Paul Song Samples: Art and Paul Radio Sign-up at http://www.radiosubmit.com to download songs for free. Radio: Bill Wence 800-584-5524 [email protected] Art and Paul (Art Podell and Paul Potash) were a highly regarded Greenwich Village folk duo circa 1959-1961 who recorded two albums for Columbia -- "Songs of Earth and Sky" in 1960 and "Hangin', Drinkin, and Stuff" in 1961. Bruce Eder has referred to the first album as a lost classicwith an avid cult following -- which is no exaggeration. Here's some background on Art and Paul: During their years in the Village (usually playing Cafe Wha!), Art and Paul attracted attention (and landed the recording contract with Columbia Records) with their creative arrangements of classic folk songs, which had a defining theatrical flair and occasional splashes of humor. They were good friends with a number of notable folkies back then, including Peter Yarrow and Noel Paul Stookey. In fact, when Peter and Noel were mulling over the idea of adding a voice to their duo, Art remembers writing "Mary Travers" on a napkin and passing it across the table to them. Shortly before that happened, Yarrow had given Art and Paul a song for their act that he had just written -- "Puff, the Magic Dragon." One of their performances was recorded in a 1961 college concert in Boulder, Colorado by a local radio station -- well over a year before Peter, Paul and Mary recorded their version. (The recording later surfaced on a number of anthologies released by the old Horizon label, initially on "Hollywood Hootenanny", which is currently available online for download.) As a quick aside, one of their most avid fans in Colorado back then was a young David Crosby.) Before they left Columbia, Mitch Miller was trying to put them on the charts and brought them a song that he felt had hit potential.
    [Show full text]
  • America's Roots Music
    FREE Volume 1 Number 4 July/August 2001 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY “Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers AMERICA’S ROOTS MUSIC NEW FILM EXAMINES THE LIFE & MUSIC OF APPALACHIAN PEOPLE ike O Brother, Where Art Thou, singing ballads Songcatcher is a movie where the and young folks plot is built to showcase the fiddling away on music. As with O Brother... the the corner. music being trumpeted is from Songcatcher Appalachia. The haunting songs attempts to give us a glimpse into life in the Songcatcher in the film, as well as on the mountains at the turn of the century. Dr. Lily L soundtrack, represent some of Penleric (JANET MCTEER) is an academic WRITTEN & DIRECTED BY America’s most powerful musical folklorist. When she is passed over again for MAGGIE GREENWALD influences - the roots that later sprout into blue- university promotion, she leaves the universi- WITH JANET MCTEER, EMMY ROSSUM, grass, country music, folk singing, and eventually, the Southern- ty and heads to the mountains where her sister runs a local PAT CARROLL, AIDAN QUINN influenced rock ‘n roll of Elvis Presley. Appalachia remains a schoolhouse. Once there, she “discovers” the treasure-chest hotbed of creative music with new stars such as Iris DeMent ris- of music, sung with such expression and depth that she is at ing out of the old traditions with the rarest of gifts: a high lone- once inspired to tell the world (and make her statement to the some voice and a simple song that can shatter a person’s heart.
    [Show full text]
  • Interviewer: When Didyoufirst Begin to Become Involved in Music? Ben Kettlewell: My Actual Interest in Playing Began When I Was Very Young
    AFTERT U51? )3©1J,]31€ Isstje ic soies ‘ ELficTR@AcéuS:ricislvlusic % ndthe 21st cen turyV VL _iWhat rap music j5?Ife;a||y about M i An EM Master Personal Touch BEN KETTLEWE LL [A 30 year obsession with music — his way] Interviewer: When didyoufirst begin to become involved in music? Ben Kettlewell: My actual interest in playing began when I was very young. I would go to church with my grandfather on Sundays and fool By J. Engstrom around on the piano after service. I really loved that piano, but I only had a chance to play on it once a week. When I got older, it seems like every piano I encountered after then was locked, so I didn’t get a chance to play. So I started playing guitar in junior high school. I: You are an electronic musician now, but “" * * ' your early rnurical career was centered around a Forty—five year old composer, Ben Kettlewell folk background How did that come about? has been involved with almost every aspect Ben: In the early sixties when I first of music at one time or another over 30 started playing guitar, the only instruction years. He was touring professionally at the books I could find were collections of folk age of 20. He's most famous for his radio songs, little notation books by Pete Segar and series for public radio, "Imaginary Voyage". Sing Out magazine, a folk periodical. I used these to teach myself as well as playing along with records and picking up licks from various albums.
    [Show full text]