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Diana Davies Photograph Collection Finding Aid
Diana Davies Photograph Collection Finding Aid Collection summary Prepared by Stephanie Smith, Joyce Capper, Jillian Foley, and Meaghan McCarthy 2004-2005. Creator: Diana Davies Title: The Diana Davies Photograph Collection Extent: 8 binders containing contact sheets, slides, and prints; 7 boxes (8.5”x10.75”x2.5”) of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints. Abstract: Original photographs, negatives, and color slides taken by Diana Davies. Date span: 1963-present. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987. Provenance The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the proviso that her work be credited “photo by Diana Davies.” Restrictions Permission for the duplication or publication of items in the Diana Davies Photograph Collection must be obtained from the Ralph Rinzler Folklife Archives and Collections. Consult the archivists for further information. Scope and Content Note The Davies photographs already held by the Rinzler Archives have been supplemented by two more recent donations (1998 and 2004) of additional photographs (contact sheets, prints, and slides) of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. -
Joni Mitchell," 1966-74
"All Pink and Clean and Full of Wonder?" Gendering "Joni Mitchell," 1966-74 Stuart Henderson Just before our love got lost you said: "I am as constant as a northern star." And I said: "Constantly in the darkness - Where 5 that at? Ifyou want me I'll be in the bar. " - "A Case of You," 1971 Joni Mitchell has always been difficult to categorize. A folksinger, a poet, a wife, a Canadian, a mother, a party girl, a rock star, a hermit, a jazz singer, a hippie, a painter: any or all of these descriptions could apply at any given time. Moreover, her musicianship, at once reminiscent of jazz, folk, blues, rock 'n' roll, even torch songs, has never lent itself to easy categorization. Through each successive stage of her career, her songwriting has grown ever more sincere and ever less predictable; she has, at every turn, re-figured her public persona, belied expectations, confounded those fans and critics who thought they knew who she was. And it has always been precisely here, between observers' expec- tations and her performance, that we find contested terrain. At stake in the late 1960s and early 1970s was the central concern for both the artist and her audience that "Joni Mitchell" was a stable identity which could be categorized, recognized, and understood. What came across as insta- bility to her fans and observers was born of Mitchell's view that the honest reflection of growth and transformation is the basic necessity of artistic expres- sion. As she explained in 1979: You have two options. -
The Role of Civil Society Organizations in the Net Neutrality Debate in Canada and the United States
THE ROLE OF CIVIL SOCIETY ORGANIZATIONS IN THE NET NEUTRALITY DEBATE IN CANADA AND THE UNITED STATES By Bruce Thomas Harpham A thesis submitted in conformity with the requirements for the degree of Master of Information Studies Graduate Department of the Faculty of Information University of Toronto © Copyright by Bruce Thomas Harpham (2009) Thesis title: The role of civil society organizations in the net neutrality debate in Canada and the United States Degree: Master of Information Studies (2009) Author: Bruce Thomas Harpham Graduate Department: Faculty of Information Institution: University of Toronto Abstract: This thesis investigates the policy frames employed by civil society organizations (CSOs) in the network neutrality debate in Canada and the United States. Network neutrality is defined as restrictions on Internet Service Providers (ISPs) to respect freedom of expression on the Internet and not seek to prevent innovative competition nor control the services or content available to users. The primary question under investigation is the policy frames of CSOs in the debate. The second question is whether CSOs have influenced policy outcomes in either legislation or regulation. The focus of the analysis is on regulatory agencies (CRTC and FCC); proposed legislation in Parliament and Congress is also analyzed as well. By examining the arguments advanced by various policy participants (government, ISPs, and CSOs), common points can be identified that may help the participants come to agreement. ii Acknowledgements Over the months of research and writing the thesis, I have greatly benefited from the comments and suggestions from my supervisors, Professors Andrew Clement and Nadia Caidi. Their contributions have allowed me to develop my argument in greater detail and have pointed out errors and other problems. -
The Folk Club Of
The Folk Club of Reston - Herndon Volume 21, Issue 10 Preserving the traditions of October 2004 Folk Music, Folklore and Gentle Folk Ways October 18 Showcase – T.M Hanna By T.M. I would like to take this opportunity to thank everybody at the Folk Club for all the support, friendship, and music that you have shared over the years. When I first started attending the Club, I believe about sixteen years ago, I had very limited experience performing in public. Since then I have performed in over a hundred smoky bars, three dozen coffeehouses, seven festivals, and four churches. I’m told I hold the record for showcase performances, although I am uncertain exactly how many I have done (I probably hold a similar record for accompanying other showcase performers, too). My first one really didn’t go all that well, but, as always, the Club members were very encouraging. Fortunately, that was in the days before recording devices. While attending the Folk Club, I have heard musicians and instruments from all over the country, and many parts of the world as well. I’ve seen performers gain confidence and improve their musical abilities by leaps and bounds. I have seen Club members who have moved on to Nashville, or to touring the country with songs that we first heard here. I've heard some of the best live music ever, as well as some of the worst, sometimes in the same night! I have seen nights when the room was packed and chairs were at a premium, and nights when the place was nearly deserted, but I’ve never seen a night when there wasn’t at least one person willing to listen to a song or two. -
Barry's Sign Language
Barry Nickelsberg Sign Language Artist 7435 Princeton Trace NE Atlanta, Georgia 30328 (770) 809-4058 [email protected] Barry Nickelsberg has worked as a sign language artist for the deaf and hard of hearing for more than 30 years, and is well known in the Washington, D.C. area for his interpreting at such popular festivals as the Kennedy Center Open House, the Alexandria Red Cross Waterfront Festival, the Smithsonian Folk Life Festival, the Adams Morgan Festival, the Washington Irish Festival, the Washington Folk Arts Festival, the Texas Festival and the Junteenth Festival at the Kennedy Center. Nickelsberg has also performed in a variety of venues in New York City, Philadelphia, Pittsburgh, Boston, Ft. Lauderdale, Chicago, Los Angeles, San Francisco, Atlanta and Oklahoma City. As a sign language artist, Nickelsberg incorporates dance, mime, gesture and facial expression to convey the rhythm and emotion of the music. He is the subject of the 1988 award-winning documentary, "When Sound is Silent," produced by Ray and Judy Schmitt as well as their 1992 follow-up, "Sounds Like." Nickelsberg's work has been featured in The Associated Press, The Washington Post, Mid-Atlantic Country, Canadian Television, ABC News and National Public Radio. Over the years, Nickelsberg has interpreted over 1,900 performances for a wide variety of musicals, including "Heart Strings", "American Jukebox", "Cabaret", "Sweeney Todd", "42nd Street", and "Jesus Christ Superstar." He has also worked with such legends as B.B. King, Etta James, Chuck Berry, Pete Seeger, Peter, Paul and Mary, Chubby Checker and Leslie Gore. Nickelsberg has also interpreted rap artists, gospel choirs, and Irish musicians. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
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. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
Folk Artist # of Albumstitles Andersen
Folk Artist # of AlbumsTitles Andersen, Eric 4 bout Changes & Things; The Best of Eric Andersen; More Hits from Tin Can Alley; Blue River Axton, Hoyt 2 Joy To The World; Southbound Baez, Joan 10 Diamonds & Rust; Farewell Angelina;Come From The Shadows;The First 10 Years; Joan; One Day At A Time; Blessed are…; Any Day Now; Joan Baez 5; The Joan Baez Ballad Book Batdorf & Rodney 1 Life Is You Bawdy Songs & Backroom Ballads 7 Bawdy Sea Shanties; Bawdy Songs & Backroom Ballads Vol 1; Vol 3; Vol 4; Vol 6; Sing Along; Bawdy Hootenanny Belafonte, Harry 3 An Evening with Belafonte; Harry Belafonte Pure Gold; Belafonte Bikel, Theo 2 A Folksingers Choice; A New Day Blues Project 1 The Blues Project Live At Town Hall Bonoff, Karla 2 Karla Bonoff; Restless Nights Bowers, Bryan 1 The View From Home Bread & Roses 1 Bread & Roses Bromberg, David 2 Demon in Disguise; The Best Of David Bromberg Browne, Jackson 5 The Pretender; Running On Empty; Late For The Sky; For Everyman; Saturate Before Using Camp, Hamilton 2 Paths of Victory; Welcome to Hamilton Camp Cashman & West 1 A Song or Two Clancy Brothers 3 Green In The Green; In Person At Carnegie Hall; Sing of the Sea Collins, Judy 12 Living; Judy Collins; Judith; Judy Collins 3;True Stories; Who Knows Where The Time Goes; Wildflowers; In My Life; Fifth Album; The Judy Collins Concert; A Maid of Constant Sorrow; Golden Apples of the Sun Cooney, Michael 3 Singer of Old Songs; Still Cooney After All These Years; The Cheese Stands Alone Donovan 4 The Best Of Donovan; Donovan in Concert; Thye Real Donovan; -
Ancient Mysteries Revealed on Secrets of the Dead A
AUGUSTMAY 20192021 Explore the LifeAncient and Work Mysteries of a Local Step ABehind Heartwarming the Scenes at the Literary Icon in Amy Tan: Unintended Metropolitan Museum of Art Memoir fromRevealed American Masters on DuringNew the PandemicSeason of PAGE 7 Secrets of the Dead PAGECall 13 the Midwife PAGE XX PAGE X CONTENTS 2 3 4 5 6 8 VIRTUAL + NEWS + NOTES RADIO SCHEDULE RADIO SPECIALS + PASSPORT TV LISTINGS IN-PERSON EVENTS PODCASTS Your guide Meet up with us in What’s happening Your guide to What’s new and Watch more with to broadcast person and online. at KQED? radio shows. recommended? KQED Passport. television. VIRTUAL + IN-PERSON EVENTS Stronger, Higher, Faster: Big Wave Surfing and Climate Change Wednesday, May 19, at 6pm Surfers know exactly how the waves have grown more powerful as climate change accelerates. Meet Bianca Valenti, one of the top big wave surfers in the world, and Grant Washburn, who not only has competed in Mavericks competitions, but also has chronicled its wave patterns over the past 30 years. This event is hosted by KQED science reporter Kevin Stark. RSVP at kqed.org/events. PHOTO: BIANCA VALENTI PHOTOGRAPHED BY SACHI CUNNINGHAM. SACHI BY PHOTOGRAPHED VALENTI BIANCA PHOTO: Bay Area Book Festival Saturday, May 1, through Sunday, May 9 See and interact with literary stars — from your home. This year’s festival (May 1–9) features Nobel Laureate Kazuo Ishiguro with Yaa Gyasi; Booker Prize winner Douglas Stuart (Shuggie Bain); National Book awardee Charles Yu (Interior Chinatown) with LODGE 49’s Jim Gavin. Also, legendary psychiatrist Irvin Yalom with Joyce Carol Oates; MacArthur “genius” Yiyun Li with China expert Orville Schell; Jeff VanderMeer (Annihilation); and others. -
Joni Mitchell - a Chronology of Appearances V5.1
Joni Mitchell - A Chronology of Appearances v5.1 This work-in-progress lists all known appearances, drawn from a variety of sources. Researched, Compiled, and Maintained by Simon Montgomery, © 2001 Special thanks to Joel Bernstein for his contributions and assistance. Unless otherwise noted, appearances took place in the U.S. Appearances in Canada are denoted by city and province. Date format is YYYY.MM.DD Unconfirmed information is highlighted. Latest Update: April 28, 2020 Please send comments, corrections or additions to: [email protected] © Ed Thrasher - March 1968 © All rights reserved. This material may not, in whole or part, be copied, reproduced, photocopied, translated, recorded, or reduced to any electronic medium, machine readable format or mechanical means without the express consent, in writing, from the specific lawful copyright holder. August 2001 1962 1962 Waskesiu Lake Waskesiu, SK According to Joni, “I started making music…in Saskatchewan mostly up at northern lakes, up around Lake Waskesiu … it was just self-entertainment with the gang then.” 1962.10.31 The Louis Riel Saskatoon, SK Joni’s first paid performance 1962.11.05 The Louis Riel Saskatoon, SK 1962.11.14 The Louis Riel Saskatoon, SK _______________________________________________________________________________ 1963 1963 The Louis Riel Saskatoon, SK Joni participated in weekly “Hoot Nights” playing her ukulele. 1963.08 For Men Only–CKBI-TV Prince Albert, SK Nineteen-year-old Joni Anderson was booked as a one-time replacement for a late-night moose-hunting show. During the program Joni was interviewed and performed several songs accompanying herself on baritone ukulele. 1963.09.13 The Depression! Calgary, AB According to Joni, she performed at The Depression! over a period of three and a half months, including the Sept. -
Core 1..48 Committee
House of Commons CANADA Standing Committee on Canadian Heritage CHPC Ï NUMBER 026 Ï 3rd SESSION Ï 40th PARLIAMENT EVIDENCE Thursday, October 28, 2010 Chair The Honourable Michael Chong 1 Standing Committee on Canadian Heritage Thursday, October 28, 2010 Ï (1530) Canada produces some 2,000 new musical titles—that is albums [Translation] in English—every year. This productivity has remained constant over the past several years despite the substantial issues faced by the The Chair (Hon. Michael Chong (Wellington—Halton Hills, industry with the advent of widescale file sharing. Canada has CPC)): Welcome to the 26th meeting of the Standing Committee on developed a system of regulated Canadian content requirements for Canadian Heritage on this Thursday, October 28, 2010. We meet radio, combined with financial supports from the Department of today pursuant to Standing Order 108(2) about our study of the Heritage and others mandated by the CRTC to produce this outcome. emerging and digital media: opportunities and challenges. [English] The Canadian system is much admired and often envied by other countries that did not have the foresight nor the political will to We have in front of us today on our first panel two witnesses implement similar systems. Most of Canada's current musical representing two different organizations. From the Canadian production and most of the recent catalogue of musical works have Independent Music Association we have Mr. McKie, who is the been digitized and producers are aware of and are meeting the needs president and chief executive officer. Welcome. And from the to distribute their works throughout the world in digital form with Songwriters Association of Canada we have Mr.