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Antigua and Barbuda an Annotated Critical Bibliography
Antigua and Barbuda an annotated critical bibliography by Riva Berleant-Schiller and Susan Lowes, with Milton Benjamin Volume 182 of the World Bibliographical Series 1995 Clio Press ABC Clio, Ltd. (Oxford, England; Santa Barbara, California; Denver, Colorado) Abstract: Antigua and Barbuda, two islands of Leeward Island group in the eastern Caribbean, together make up a single independent state. The union is an uneasy one, for their relationship has always been ambiguous and their differences in history and economy greater than their similarities. Barbuda was forced unwillingly into the union and it is fair to say that Barbudan fears of subordination and exploitation under an Antiguan central government have been realized. Barbuda is a flat, dry limestone island. Its economy was never dominated by plantation agriculture. Instead, its inhabitants raised food and livestock for their own use and for provisioning the Antigua plantations of the island's lessees, the Codrington family. After the end of slavery, Barbudans resisted attempts to introduce commercial agriculture and stock-rearing on the island. They maintained a subsistence and small cash economy based on shifting cultivation, fishing, livestock, and charcoal-making, and carried it out under a commons system that gave equal rights to land to all Barbudans. Antigua, by contrast, was dominated by a sugar plantation economy that persisted after slave emancipation into the twentieth century. Its economy and goals are now shaped by the kind of high-impact tourism development that includes gambling casinos and luxury hotels. The Antiguan government values Barbuda primarily for its sparsely populated lands and comparatively empty beaches. This bibliography is the only comprehensive reference book available for locating information about Antigua and Barbuda. -
Vietnam War Protest Song Analysis Suggested Grades 6-12 Overview Creativity Was an Important Asset to Protesting the Vietnam War
Vietnam War Protest Song Analysis Suggested Grades 6-12 Overview Creativity was an important asset to protesting the Vietnam War. Many popular musicians of the 1960s and 1970s wrote and performed songs in order to express opposition to the violence in Vietnam. These songs are still played today, which serves as a reminder of the power of music. Objective Learn about the antiwar movement, discuss the reasons for opposing the war in Vietnam and reflect. Time needed About thirty minutes: fifteen to discuss the antiwar movement, five minutes to listen to the song, and ten minutes for reflection and discussion. Materials needed: A computer with speakers Handouts of song lyrics A piece of paper Instructions 1. Give a summary of the antiwar movement to the students and be sure to include examples of why the individuals chose to protest. 2. Hand out a copy of the lyrics of the chosen Vietnam protest song. 3. Aloud, play the song for the students and give some time after the song is finished for the students to write a reflection of the song. 4. Together, have the class discuss the reason why the musician might have written the song as well as different examples and issues brought up in the antiwar movement that they heard in the song. Examples: What’s Going On – Marvin Gaye Give Peace a Chance – John Lennon Fortunate Son – Creedence Clearwater Revival Alice’s Restaurant - Arlo Guthrie (son of Woody Guthrie) More examples: https://www.thoughtco.com/anti-war-protest-songs-of-the-60s- and-70s-748278 Questions 1. -
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project PETER KOVACH Interviewed by: Charles Stuart Kennedy Initial Interview Date: April 18, 2012 Copyright 2015 ADST Q: Today is the 18th of April, 2012. Do you know ‘Twas the 18th of April in ‘75’? KOVACH: Hardly a man is now alive that remembers that famous day and year. I grew up in Lexington, Massachusetts. Q: We are talking about the ride of Paul Revere. KOVACH: I am a son of Massachusetts but the first born child of either side of my family born in the United States; and a son of Massachusetts. Q: Today again is 18 April, 2012. This is an interview with Peter Kovach. This is being done on behalf of the Association for Diplomatic Studies and I am Charles Stuart Kennedy. You go by Peter? KOVACH: Peter is fine. Q: Let s start at the beginning. When and where were you born? KOVACH: I was born in Worcester, Massachusetts three days after World War II ended, August the 18th, 1945. Q: Let s talk about on your father s side first. What do you know about the Kovaches? KOVACH: The Kovaches are a typically mixed Hapsburg family; some from Slovakia, some from Hungary, some from Austria, some from Northern Germany and probably some from what is now western Romania. Predominantly Jewish in background though not practice with some Catholic intermarriage and Muslim conversion. Q: Let s take grandfather on the Kovach side. Where did he come from? KOVACH: He was born I think in 1873 or so. -
List of Additional Human Rights Songs
THE POWER OF OUR VOICES LIST OF ADDITIONAL HUMAN RIGHTS SONGS This is a list of additional songs linked to human rights issues for teachers who want to expand the topics covered in the lessons. Joan Baez and Mimi Farina The Clash Bread and roses (1976) Know your rights (1982) Women’s liberation song, inspired by the ‘Know your rights all 3 of them… women textile workers’ strike in Massachusetts Number three: You have the right to free in 1912. Speech as long as you’re not Dumb enough to actually try it. Band Aid Know your rights Do they know it’s Christmas? (1984) These are your rights’ Song to raise money for the 1983-1985 famine in Ethiopia. Sam Cooke A change is gonna come (1964) Ludwig van Beethoven On discrimination and racism in 1960s USA. O Welche Lust (1775) The prisoner’s chorus from his opera about a Dire Straits prisoner of conscience jailed for his ideas. Brothers in arms (1985) Anti-war song. Billy Bragg Between the wars (1984) Bob Dylan Song about class division. Only a pawn in their game (1963) Which side are you on? (1984) Song about the racist murder of Medgar Evans, A version of a traditional union song. civil rights campaigner in Mississippi. Joe Hill (1990) Hurricane (1966) Song about a murdered union organiser. Song about Rubin ‘Hurricane’ Carter, a boxer who spent 19 years in jail for a murder Dylan felt Big Bill Broonzy he did not commit. Black, brown and white blues (1939) Masters of war (1966) Song about racial discrimination in the jobs Song against war and the power of the military- market. -
I Dreamed I Saw Joe Hill: Woodstock, 1969/Berlin, 1989
Illawarra Unity - Journal of the Illawarra Branch of the Australian Society for the Study of Labour History Volume 9 Issue 1 Illawarra Unity: The Sixties Article 2 2009 I Dreamed I Saw Joe Hill: Woodstock, 1969/Berlin, 1989 Anthony Ashbolt University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/unity Recommended Citation Ashbolt, Anthony, I Dreamed I Saw Joe Hill: Woodstock, 1969/Berlin, 1989, Illawarra Unity - Journal of the Illawarra Branch of the Australian Society for the Study of Labour History, 9(1), 2009, 6-11. Available at:https://ro.uow.edu.au/unity/vol9/iss1/2 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] I Dreamed I Saw Joe Hill: Woodstock, 1969/Berlin, 1989 Abstract The fortieth anniversary celebrations of the Woodstock music festival have gone dangerously close to transforming it into another commodified spectacle. etY the spirit of the original Woodstock lives on to remind us of another way of thinking about the world. The Woodstock Music and Art Fair in August 1969 featured a galaxy of performers who had contributed significantly ot the alternative zeitgeist that spoke of peace and love in ways that may sound corny now. The peace and love of the Sixties was grounded in a strong antiwar sensibility and a sense of collective solidarity against the American war in Vietnam. When Joan Baez spoke about her husband – draft resister David Harris – introducing “The Ballad of Joe Hill”, the link between the struggles of the working class and the antiwar struggles of the day was apparent. -
Sixties Week Release
News Release CONTACT: FOR IMMEDIATE RELEASE Lisa Martinez, VP, Marketing & Development Tuesday, Sept. 13, 2005 (330) 677-4549 / [email protected] HIGH RESOLUTION IMAGES AVAILABLE www.pbs4549.org/press PBS 45 & 49 takes trip back to turbulent sixties in prime time broadcast event Sept. 26-29 PBS (Kent, OH) — Although the rumblings could already be heard beneath the veneer of prosperity and conformity of the 1950s, America erupted in the 1960s with 45 & 49 electrifying change in nearly every aspect of life. It was a decade rocked by social, sexual and political changes, and the influence of a new kind of music that emerged as 1750 Campus Center Drive the soundtrack of the era remains as a lasting legacy of this explosive time. During Talking ’bout My Generation week, Sept. 26-29, PBS 45 & 49 will P. O. Box 5191 showcase several documentaries and biographies on this turning point in America’s cultural history, including the premiere of If You’re Not Dead, Play!!, the station’s Kent, Ohio new local documentary on the second wave of the 1970s Akron garage band scene. 44240-5191 No Direction Home: Bob Dylan, A Martin Scorsese Picture Monday, Sept. 26 & Tuesday, Sept. 27, 9 p.m. to 11 p.m. each night Phone This exclusive biography of the man who helped define a generation is directed by (330) 677-4549 the great American storyteller, Martin Scorsese. The film focuses on the singer- Fax songwriter’s life and music from 1961-66 and features previously unreleased footage (330) 678-0688 from Dylan’s groundbreaking live concerts, studio recording sessions, outtakes and interviews with Allen Ginsberg, Pete Seeger, Joan Baez, Maria Muldaur, Dave Van Web Site Ronk and many others. -
Interview with ARLO GUTHRIE Was Conducted by the Library of Congress on March 25, 2021
The following interview with ARLO GUTHRIE was conducted by the Library of Congress on March 25, 2021 Library of Congress: Without having to go line by line through the lyrics, how much of the Song, “Alice’s Restaurant,” is true-to-life and how much did you take creative license with? Arlo Guthrie: The 8x10 photos weren’t in color. They were black and white. The rest is accurately true. LOC: How long did the song, originally, take to write--was there a stream of consciousness method to it? AG: It was essentially not written, but memorized from ongoing performances. I’d keep the lines and nuances that worked well, and discarded the lines that fell flat. With that in mind, it took about a year to complete. LOC: I read that the album version of “Alice” was recorded in the studio but with a live audience—is this true? If so, why did you choose to record it in that manner? And who were the audience members? AG: The studio recording had a live audience. They were invited by my manager, Harold Leventhal and my producer, Fred Hellerman. It really wasn’t a good idea, as all of the audience Participants were already well aware of the song, and unlike an audience of new victims, the ones familiar with the song did not respond as well. Laughter was added to the live audience later. LOC: At just over 18 minutes in length, did you ever think that “Alice” might have a commercial viability or was that just not part of your thinking at the time? AG: I never expected or even thought about commercial viability, as commercial in those days conveyed a “selling out” of purpose. -
Taken by an Unknown 17-Year-Old Photography Student – Published Posthumously for the First Time in a New Limited Edition Publication, Woodstock Experience
UNSEEN ARCHIVE OF WOODSTOCK IMAGES UNEARTHED Taken by an unknown 17-year-old photography student – published posthumously for the first time in a new limited edition publication, Woodstock Experience. London August 2009: A forgotten archive of photographs, taken at the Woodstock Music & Art Fair 40 years ago has been unearthed by UK-based limited edition publishers Genesis Publications. Taken by 17-year-old high school student Dan Garson, the archive has spent the last four decades in a basement, stored in a cardboard box. As well as images of the mud, rain, trampled fences, drugs, skinny dippers and eccentric festival goers that have made Woodstock so iconic, the archive features previously unseen shots of Jimi Hendrix, Joan Baez, Ravi Shankar, Arlo Guthrie and The Band in performance. Rona Elliot, the former entertainment correspondent for NBC!s Today Show, worked at Woodstock as a community relations officer and helped track down Dan Garson!s archive and researched his story. RONA ELLIOT: Dan!s remarkable photographs reveal an exceptional talent, fully formed at 17 years of age. His pictures provide a cohesive narrative of his own Woodstock experience. They demonstrate that he understood, perfectly, both where he was at that moment in time, and the culturally shifting spectacle he was recording. While Dan worked in the photo pit, shooting the musicians onstage, he separated himself from the other photographers. Rather than huddle together with the group, Dan stationed himself adjacent to the film crew. As a result, his images are both unfamiliar and fresh to the eye nearly 40 years after they were taken. -
Institute for the Study of Nonviolence in Carmel Valley in 1965, 24 Year-Old Folk Singer Joan Baez Was Already a Near-Icon on the Ameri- Can Folk Music Scene
THE CARMEL VALLEY HISTORIAN A PUBLICATION OF THE CARMEL VALLEY HISTO RICAL SOCIETY Volume 29, Issue 1 MARCH 2015 Remembering Joan Baez in Carmel Valley—1965 By Elizabeth Barratt, CVHS Historian By the time she opened her controversial Institute for the Study of Nonviolence in Carmel Valley in 1965, 24 year-old folk singer Joan Baez was already a near-icon on the Ameri- can folk music scene. Her 1959 appearance at the Newport Folk Festival, an album contract with Vanguard Records, and a 1960 concert at Carnegie Hall had drawn the fans. Her cover image and story in the November 23, 1962 Time magazine established her title as Queen of Folk Music. In 1963, she joined Dr. Martin Luther King, Jr. in the March on Washing- ton, D.C. Closer to home, her September 1964 concert at the Monterey Fairgrounds drew an audience of 5,000 attendees. But her arrival in Carmel Valley was heralded, not by the adulation of loyal admirers, but with protests from locals who feared an influx of bearded, barefoot, unwashed Bohemians descending upon and disrupting the area’s rural serenity. Baez had gone into partnership with her mentor, Ira Sandperl, to create the Institute, a center where individuals could gather to study and discuss topics of nonviolence and world peace. Initial sessions had been held at her home on Miramonte Road. Anticipating an enlarged attendance, she and Sandperl applied for a use permit to conduct the school in a small, whitewashed structure that had once been the Tularcitos School, later serving as a lab for the “So Help Me Hannah” poison oak remedy, and then a shotgun shell factory. -
Songs of the Underground Rolling Thunder Revue
Songs of the Underground Rolling Thunder Revue (a collectors guide to the Rolling Thunder Revue 1975-1976) Songs of the Underground - a collectors guide to the Rolling Thunder Revue 1975-1976 © Les Kokay 2000 All rights Reserved. This text may be reproduced, re-transmitted and redistributed provided that it is not altered in any way and the author is acknowledged.. Any corrections, additions and enhancements welcome. I may be contacted at [email protected] for any corrections or enhancements, but I am unable to provide any details on obtaining any tapes, CDs or Bootlegs, or items that would infringe the artists copyright. © Les Kokay 2003 2 All rights Reserved. Songs of the Underground - a collectors guide to the Rolling Thunder Revue 1975-1976 Contents Dedication ...............................................................................................................................................5 Acknowledgents and thanks.....................................................................................................................5 Introduction to RTR 1975...........................................................................................7 Rolling Thunder Revue Rehearsals Oct 75............................................................................................12 Plymouth, Massachusetts, War Memorial Auditorium, 30 Oct 75 ........................................................13 North Dartmouth, Massachusetts, South Eastern University, 1 Nov 75................................................18 -
Concert & Dance Listings • Cd Reviews • Free Events
CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 4 Number 6 Nov-Dec 2004 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Music and Poetry Quench the Thirst of Our Soul FESTIVAL IN THE DESERT BY ENRICO DEL ZOTTO usic and poetry rarely cross paths with war. For desert dwellers, poetry has long been another way of making war, just as their sword dances are a choreographic represen- M tation of real conflict. Just as the mastery of insideinside thisthis issue:issue: space and territory has always depended on the control of wells and water resources, words have been constantly fed and nourished with metaphors SomeThe Thoughts Cradle onof and elegies. It’s as if life in this desolate immensity forces you to quench two thirsts rather than one; that of the body and that KoreanCante Folk Flamenco Music of the soul. The Annual Festival in the Desert quenches our thirst of the spirit…Francis Dordor The Los Angeles The annual Festival in the Desert has been held on the edge Put On Your of the Sahara in Mali since January 2001. Based on the tradi- tional gatherings of the Touareg (or Tuareg) people of Mali, KlezmerDancing SceneShoes this 3-day event brings together participants from not only the Tuareg tradition, but from throughout Africa and the world. Past performers have included Habib Koité, Manu Chao, Robert Plant, Ali Farka Toure, and Blackfire, a Navajo band PLUS:PLUS: from Arizona. -
20Th Century Masters Press Release
1 FROM “THE NIGHT THEY DROVE OLD DIXIE DOWN” TO “DIAMONDS & RUST,” NEW COMPILATION COLLECTS THE BEST OF JOAN BAEZ If Bob Dylan is the king of modern folk, then Joan Baez is surely the queen, with her sweeping soprano making her one of the most recognizable voices in music. But for the greatest artists, their songs resonate far beyond the music itself. Of no one is that truer than Baez. Since her first album 40 years ago, she has chronicled and perhaps helped mold the political and social changes that have swept across not only the U.S. but the world. On The Best Of Joan Baez edition of 20th Century Masters/The Millennium Collection (A&M/UMG), released October 19, 1999, 11 of her most popular and significant songs have been digitally remastered using the latest 24-bit/96k technology and brought together on one album. Spanning her A&M career from 1972-1976, The Best Of Joan Baez features the two most cherished songs for Baez fans--a live version of her 1971 #3 hit “The Night They Drove Old Dixie Down” (written by Robbie Robertson and originally recorded by the Band) and her acoustic 1975 Top 40 tribute to Dylan, “Diamonds & Rust.” Also included is her cover of Dylan’s classic “Forever Young” as well as covers of songs by Jackson Browne (“Fountain Of Sorrow”), John Prine (“Hello In There”), Janis Ian (“Jesse”) and her sister Mimi Farina (“In The Quiet Morning,” an homage to Janis Joplin). Another highlight is “Dida,” a breezy acoustic duet with its author, Joni Mitchell.