Simply Folk Sing-Along 2018 If I Had a Hammer If I Had a Hammer, I'd Hammer in the Morning, I'd Hammer in the Evening, All Over
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Tuesday June 18 : New York
Written by: Rob van Oosten Hondsdrafstraat 1 1441 PB Purmerend The Netherlands E – Mail : [email protected] © R. van Oosten 1 Introduction. When I was in training to become a teacher ( In the Netherlands that’s the Teachers Training College ) there was an advertisement for Counselors in the United States. Together with my friend Raymond we applied and after a sollicitation talk and the approval of our college we were allowed to go . Working in a summer camp for about 9 weeks and a round trip for 4 weeks. At that time I was 19 years old and did not spend such a long time away from home. I went to several European countries with my parents and was on a holiday in France with another friend ( for a month) the year before. My parents and girl friend ( Gerda to whom I ‘m married ) did not really like the idea but did not stop me. The experience of working in Camp Hurley is one I will never forget. It was a long and hard summer and I lost beside the sweat also a lot of weight. It was a period in which I foumd out that working together is not as easy as it seems to be, working with children can be difficult and it means that you have to invest in yourself and others. So to work in Camp Hurley with these difficult kids has been fundamental in my life. Every year, maybe every month I think about that period and I tried to go back there 6 years ago. -
1Guitar PDF Songs Index
Material on Guitar Website Reference Beginning Guitar Music Guitar Cover Beginning Chords Fingerpicking Bass Runs for Guitar Guitar Christmas Song List Guitar Care Guitar PDF Song Index 1/4/2017 Good Reader Web Downloads to Goodreader How to Use Goodreader Downloading Files to the iPad from iTunes Saving Your Internet Passwords Corrected Guitar and PDF 509 Songs 1/4/2017 A Bushel and a Peck Bad Moon Rising A White Sport Coat Ballad of Davy Crockett All I Ask of You Ballad of Green Berets All My Ex’s Live in Texas Battle Hymn of Aging All My Lovin’ Be Our Guest All My Trials Beautiful Brown Eyes Always On My Mind Because of You Am I That Easy to Forget Beep Beep Amanda - bass runs Beer for My Horses + tab Amazing Grace - D Begin the Beguine A America the Beautiful Besame Mucho American Pie Beyond the Reef Amor Big Rock Candy Mountain And I Love Her Blame It On Bossa Nova And I Love You So Blowin’ in the Wind Annie’s Song Blue Bayou April Love Blue Eyes Crying in the Rain - D, C Aquarius Blue Blue Skies Are You Lonesome Tonight Blueberry Hill Around the World in 80 Days Born to Lose As Tears Go By Both Sides Now Ashokan Farewell Breaking Up Is Hard to Do Autumn Leaves Bridge Over Troubled Water Bring Me Sunshine Moon Baby Blue D, A Bright Lights Big City Back Home Again Bus Stop Bad, Bad Leroy Brown By the Time I Get to Phoenix Bye Bye Love Dream A Little Dream of Me Edelweiss Cab Driver Eight Days A Week Can’t Help Falling El Condor Pasa + tab Can’t Smile Without You Elvira D, C, A Careless Love Enjoy Yourself Charade Eres Tu Chinese Happy -
James Baldwin As a Writer of Short Fiction: an Evaluation
JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction. -
The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors. -
How Bigger Was Born Anew
Fall 2020 29 ow Bier as Born new datation Reuration and Double Consciousness in Nambi E elle’s Native Son Isaiah Matthew Wooden This essay analyzes Nambi E. Kelley’s stage adaptation of Native Son to consider the ways tt Aicn Aeicn is itlie by n constitte to cts o etion t sharpens particular focus on how Kelley reinvigorates Wright’s novel’s searing social and cil cities by ctiely ein te oisin etpo o oble consciosness n iin ne o, enin, n se to te etpo, elleys Native Son extends the debates about “the problem of the color line” that Du Bois’s writing helped engender at te beinnin o te tentiet centy into te tentyst n, in so oin, opens citicl space to reckon with the persistent and pernicious problem of anti-Black racism. ewords adaptation, refguration, double consciousness, Native Son, Nambi E. Kelley This essay takes as a central point of departure the claim that African American drama is vitalized by and, indeed, constituted through acts of refguration. It is such acts that endow the remarkably capacious genre with any sense or semblance of coherence. Retion is notably a word with multiple signifcations. It calls to mind processes of representation and recalculation. It also points to matters of meaning-making and modifcation. The pref re does important work here, suggesting change, alteration, or even improvement. For the purposes of this essay, I use etion to refer to the strategies, practices, methods, and techniques that African American dramatists deploy to transform or give new meaning to certain ideas, concepts, artifacts, and histories, thereby opening up fresh interpretive and defnitional possibilities and, when appropriate, prompting much-needed reckonings. -
Kennolyn Guitar Songbook
Kennolyn Guitar Songbook Updated Spring 2020 1 Ukulele Chords 2 Guitar Chords 3 Country Roads (John Denver) C Am Almost heaven, West Virginia, G F C Blue Ridge Mountains, Shenandoah River. C Am Life is old there, older than the trees, G F C Younger than the mountains, blowin' like a breeze. CHORUS: C G Country roads, take me home, Am F To the place I belong. C G West Virginia, mountain momma, F C Take me home, country roads. C Am All my mem'ries gather 'round her, G F C Miner's lady, stranger to blue water. C Am Dark and dusty, painted on the sky, G F C Misty taste of moonshine, tear drop in my eye. CHORUS Am G C I hear her voice, in the mornin' hour she calls me, F C G Radio reminds me of my home far away. Am Bb F C Drivin' down the road I get the feelin' that I should G G7 Have been home yesterday, yesterday. CHORUS 4 Honey You Can’t Love One C G7 Honey you cant love one, honey, you can’t love one. C C7 F You can’t love one and still have fun C G7 C So, I’m leavin’ on the midnight train, la de da, all aboard, toot toot! two…you cant love two and still be true three… you cant love three and still love me four… you cant love ofur and still love more five…you cant love five and still survive six… you cant love six and still play tricks seven… you cant love seven and still go to heaven eight… you cant love eight and still be my date nine… you cant love nine and still be mine… ten… you cant love ten so baby kiss me again and to heck with the midnight train. -
Conflicting Images of Land, People, and Nature of Native Americans and Euro-Americans Robert H
This Land Is Your Land, This Land Is My Land: Conflicting Images of Land, People, and Nature of Native Americans and Euro-Americans Robert H. Craig Abstract This paper explores varying dimensions of an enduring conflict between people of European origin and indigenous communities over land and land related issues. This means not only wrestling with differing understandings of land and natural world, especially as a visual landscape, but what we might learn from indigenous people that can lead to the creation of a common future that enhances both human and nonhuman life. Illustrative of some of the issues at the heart of white-Indian misunderstanding is a case-study of the conflict between Euro-Americans and the Lakota people over the Black Hills of South Dakota. The closing section of this paper concludes with an examination of the work of Wendell Berry and the myriad ways he can facilitate a needed dialogue between whites and Indians. 1. Introduction The title of this paper comes from a familiar American song composed by Woody Guthrie. The ballad was the theme song for George McGovern’s ill-fated 1972 presidential campaign and has been popularized by everyone from Pete Seeger and Peter, Paul, and Mary to United Airlines and the Ford Motor Company (Klein 1980:433). For many people this song is a romantic celebration of America that is embodied in refrains such as “from California to the New York Island, from the Redwood Forests, to the Gulf Stream waters, this land was made for you and me.” (Woody Guthrie Pages: 1). -
This Land Is Your Land © Jake Schlapfer a Mission to Preserve You Have Inherited Vast Treasures
This Land Is Your Land © Jake Schlapfer A Mission to Preserve You have inherited vast treasures. Some of these are close at hand, and others are located at the far corners of the country. These treasures are a link to your past and a legacy to leave for the future. Every fellow citizen shares them. These treasures are your national parks—all 392 sites. They are gifts from earlier generations, set aside not for a privileged few, but for all Americans to enjoy. These varied lands hold stories that tell the tale of our nation’s development and how we have evolved. Our national parks are part of a legacy that you, too, will pass on to future generations. Two groups are among those that can help you do this: the National Park Service and the National Parks Conservation Association. The National Park Service (NPS) www.nps.gov is a government agency established in 1916 that operates under the Department of the Interior. Its purpose is to protect and preserve our National Park System. The National Parks Conservation Association (NPCA) www.npca.org is an independent voice outside of government. Established in 1919, NPCA works to protect and enhance America’s national parks for current and future generations. Melissa Blair, NPCA Alaska Field Representative, with a wild silver salmon. Kenai Fjords National Park. As you can see, the two organizations have similar missions. “The mission of the U.S. National Park Service (NPS) is to conserve the scenery, the natural and historic objects, and the wildlife in the United States’ national parks, and to provide for the public’s enjoyment of these features in a manner that will leave them unimpaired for the enjoyment of future generations.” Ponder the Parks: National Parks Conservation Association’s (NPCA) mission is “To protect and enhance America’s National Park System 1. -
7. Annie's Song John Denver
Sing-Along Songs A Collection Sing-Along Songs TITLE MUSICIAN PAGE Annie’s Song John Denver 7 Apples & Bananas Raffi 8 Baby Beluga Raffi 9 Best Day of My Life American Authors 10 B I N G O was His Name O 12 Blowin’ In the Wind Bob Dylan 13 Bobby McGee Foster & Kristofferson 14 Boxer Paul Simon 15 Circle Game Joni Mitchell 16 Day is Done Peter Paul & Mary 17 Day-O Banana Boat Song Harry Belafonte 19 Down by the Bay Raffi 21 Down by the Riverside American Trad. 22 Drunken Sailor Sea Shanty/ Irish Rover 23 Edelweiss Rogers & Hammerstein 24 Every Day Roy Orbison 25 Father’s Whiskers Traditional 26 Feelin’ Groovy (59th St. Bridge Song) Paul Simon 27 Fields of Athenry Pete St. John 28 Folsom Prison Blues Johnny Cash 29 Forever Young Bob Dylan 31 Four Strong Winds Ian Tyson 32 1. TITLE MUSICIAN PAGE Gang of Rhythm Walk Off the Earth 33 Go Tell Aunt Rhody Traditional 35 Grandfather’s Clock Henry C. Work 36 Gypsy Rover Folk tune 38 Hallelujah Leonard Cohen 40 Happy Wanderer (Valderi) F. Sigismund E. Moller 42 Have You ever seen the Rain? John Fogerty C C R 43 He’s Got the Whole World in His Hands American Spiritual 44 Hey Jude Beattles 45 Hole in the Bucket Traditional 47 Home on the Range Brewster Higley 49 Hound Dog Elvis Presley 50 How Much is that Doggie in the Window? Bob Merrill 51 I Met a Bear Tanah Keeta Scouts 52 I Walk the Line Johnny Cash 53 I Would Walk 500 Miles Proclaimers 54 I’m a Believer Neil Diamond /Monkees 56 I’m Leaving on a Jet Plane John Denver 57 If I Had a Hammer Pete Seeger 58 If I Had a Million Dollars Bare Naked Ladies 59 If You Miss the Train I’m On Peter Paul & Mary 61 If You’re Happy and You Know It 62 Imagine John Lennon 63 It’s a Small World Sherman & Sherman 64 2. -
I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent. -
Paul Green Foundation
Paul Green Foundation NEWS – October 2017 Native Son’s New Adaptation PAUL GREEN ANNUAL MEETING Playwright Nambi Kelley NOVEMBER 4, 2017 has written plays for NC BOTANICAL GARDEN Steppenwolf, Goodman Theatre and Lincoln Center CHAPEL HILL, NC and most recently was named playwright-in-residence at The 2017 the National Black Theatre in New York. Kelley’s adaptation of Native Son was National Theatre Conference presented to critical acclaim for the premiere December 1-3 in New York City production at the Court Theatre/American Blues Each year the National Theatre Conference Festival. Since that first production it has been Person of the Year names the Paul Green produced in New York, California, Georgia and Award winner. This year’s Person of the Year – Arizona, and published by Samuel French in 2016. Molly Smith selected June Schreiner, a highly The Green Foundation joined with the Wright acclaimed young actor. Since 1989, the Paul Estate to sanction these productions. Green Foundation has honored a “young theatre professional” with this Paul Green Award. A bit of history: Paul Green and Richard Wright’s Native Son that opened on March 24, Founded in 1925, the National Theatre 1941, at the St. James Theatre in New York City, Conference is a not-for-profit organization made was produced by Orson Welles and John up of distinguished members of the American Houseman. Of the very serious disagreement that Theatre Community; Green was instrumental in ensued between Green and Wright, Dr. Laurence the founding the organization and served as Avery, Professor Emeritus, UNC-Chapel Hill president in the early years. -
Prophet Singer: the Voice and Vision of Woody Guthrie
Prophet Singer Prophet Singer THE VOICE AND VISION OF WOODY GUTHRIE MARK ALLAN JACKSON UNIVERSITY PRESS OF MISSISSIPPI / JACKSON AMERICAN MADE MUSIC SERIES ADVISORY BOARD DAVID EVANS, GENERAL EDITOR JOHN EDWARD HASSE BARRY JEAN ANCELET KIP LORNELL EDWARD A. BERLIN FRANK MC ARTHUR JOYCE J. BOLDEN BILL MALONE ROB BOWMAN EDDIE S. MEADOWS SUSAN C. COOK MANUEL H. PEÑA CURTIS ELLISON DAVID SANJEK WILLIAM FERRIS WAYNE D. SHIRLEY MICHAEL HARRIS ROBERT WALSER www.upress.state.ms.us The University Press of Mississippi is a member of the Association of American University Presses. Frontis: An illustration of the vigilante actions of various “Citizens Committees,” c. 1946. Sketch by Woody Guthrie. Courtesy of the Ralph Rinzler Archives. Copyright © 2007 by University Press of Mississippi All rights reserved Manufactured in the United States of America First Edition 2007 ϱ Library of Congress Cataloging-in-Publication Data Jackson, Mark Allan. Prophet singer : the voice and vision of Woody Guthrie / Mark Allan Jackson. — 1st ed. p. cm. — (American made music series) Includes bibliographical references and index. ISBN-13: 978-1-57806-915-6 (cloth : alk. paper) ISBN-10: 1-57806-915-7 (cloth : alk. paper) 1. Guthrie, Woody, 1912–1967. 2. Folk singers—United States—Biography. 3. Folk music—Social aspects—United States. I. Title. ML410.G978J33 2007 782.42162Ј130092—dc22 [B] 2006020846 British Library Cataloging-in-Publication Data available Contents ACKNOWLEDGMENTS [ vii ] PROLOGUE [ 3 ] GIVING A VOICE TO LIVING SONGS CHAPTER ONE [ 19 ] Is This Song Your