Joan Baez Has Maintained That She Is Not a Rock & Roll Artist
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Still on the Road 2000 Us Summer Tour
STILL ON THE ROAD 2000 US SUMMER TOUR JUNE 15 Portland, Oregon Roseland Theater 16 Portland, Oregon Portland Meadows 17 George, Washington The Gorge 18 George, Washington The Gorge 20 Medford, Oregon Jackson County Expo Hall 21 Marysville, California Sacramento Valley Amphitheater 23 Concord, California Chronicle Pavilion 24 Mountain View, California Shoreline Amphitheatre 25 Reno, Nevada Reno Hilton Amphitheatre 27 Las Vegas, Nevada House Of Blues, Mandalay Bay Resort & Casino 29 Irvine, California Verizon Wireless Amphitheater 30 Ventura, California Arena, Ventura County Fairgrounds JULY 1 Del Mar, California Grandstand, Del Mar Fairgrounds 3 Albuquerque, New Mexico Mesa Del Sol Amphitheater 6 Oklahoma City, Oklahoma The Zoo Amphitheater 7 Bonner Springs, Kansas Sandstone Amphitheatre 8 Maryland Heights, Missouri Riverport Amphitheater 9 Noblesville, Indiana Deer Creek Music Center 11 Cincinnati, Ohio Riverbend Music Center 12 Moline, Illinois The Mark of the Quad Cities 14 Minneapolis, Minnesota Target Center 15 East Troy, Wisconsin Alpine Valley Music Theater 16 Clarkston, Michigan Pine Knob Music Theater 18 Toronto, Ontario, Canada Molson Amphitheatre 19 Canandaigua, New York Finger Lakes Performing Arts Center 21 Hartford, Connecticut Meadows Music Theatre 22 Mansfield, Massachusetts Tweeter Center for the Performing Arts 23 Saratoga Springs, Saratoga Performing Arts Center 25 Scranton, Pennsylvania Coors Light Amphitheatre 26 Wantagh, New York Jones Beach Amphitheatre 28 Camden, New Jersey E-Centre, Blockbuster-Sony Music Entertainment Centre 29 Columbia, Maryland Marjorie Merriweather Post Pavilion 30 Stanhope, New Jersey Waterloo Village Bob Dylan: Still On The Road – The 2000 US Summer Tour 21820 Roseland Theater Portland, Oregon 15 June 2000 1. Duncan And Brady (trad.) 2. -
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. -
TEXAS MUSIC SUPERSTORE Buy 5 Cds for $10 Each!
THOMAS FRASER I #79/168 AUGUST 2003 REVIEWS rQr> rÿ p rQ n œ œ œ œ (or not) Nancy Apple Big AI Downing Wayne Hancock Howard Kalish The 100 Greatest Songs Of REAL Country Music JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #48 ROOTS BIRTHS & DEATHS s_________________________________________________________ / TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S "TURBINADO ri TEXAS ROUND-UP YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! #1 TMRU BESTSELLERS!!! ■ 1 hr F .ilia C s TUP81NA0Q First solo release by the acclaimed Austin guitarist and member of ’90s. roots favorites Loose Diamonds. Scrappy Jud has performed and/or recorded with artists like the ' Resentments [w/Stephen Bruton and Jon Dee Graham), Ian McLagah, Dan Stuart, Toni Price, Bob • Schneider and Beaver Nelson. • "Wall delivers one of the best start-to-finish collections of outlaw country since Wayton Jennings' H o n k y T o n k H e r o e s " -Texas Music Magazine ■‘Super Heroes m akes Nelson's" d e b u t, T h e Last Hurrah’àhd .foltowr-up, üflfe'8ra!ftèr>'critieat "Chris Wall is Dyian in a cowboy hat and muddy successes both - tookjike.^ O boots, except that he sings better." -Twangzirtc ;w o tk s o f a m e re m o rta l.’ ^ - -Austin Chronlch : LEGENDS o»tw SUPER HEROES wvyw.chriswatlmusic.com THE NEW ALBUM FROM AUSTIN'S PREMIER COUNTRY BAND an neu mu - w™.mm GARY CLAXTON • acoustic fhytftm , »orals KEVIN SMITH - acoustic bass, vocals TON LEWIS - drums and cymbals sud Spedai td truth of Oerrifi Stout s debut CD is ContinentaUVE i! so much. -
April May June
May 2005 vol 40, No.5 April 30 Sat Songs and Letters of the Spanish Civil War, co-sponsored with and at the Peoples’ Voice Cafe May 1 Sun Sea Music Concert: Dan Milner, Bob Conroy & Norm Pederson + NY Packet; 3pm South St.Melville Gallery 4WedFolk Open Sing; Ethical Culture Soc., Brooklyn, 7pm 9 Mon NYPFMC Exec. Board Meeting 7:15pm at the club office, 450 7th Ave, #972D (34-35 St), info 1-718-575-1906 14 Sat Chantey Sing at Seamen’s Church Institute, 8pm 15 Sun Sacred Harp Singing at St. Bart’s, Manhattan; 2:30 pm 19 Thur Riverdale Sing, 7:30-10pm, Riverdale Prsby. Church, Bronx 20 Fri Bill Staines, 8pm at Advent Church ☺ 21 Sat For The Love of Pete; at Community Church 22 Sun Gospel & Sacred Harp Sing, 3pm: location TBA 22 Sun Balkan Singing Workshop w/ Erica Weiss in Manhattan 22 Sun Sunnyside Song Circle in Queens; 2-6pm 27-30 Spring Folk Music Weekend --see flyer in centerfold June 1WedFolk Open Sing; Ethical Culture Soc., Brooklyn, 7pm 2 Thur Newsletter Mailing; at Club office, 450 7th Ave, #972, 7 pm 7 Tue Sea Music Concert: Mick Moloney + NY Packet; 6pm South Street Seaport Melville Gallery 11 Sat Chantey Sing at Seamen’s Church Institute, 8pm 13 Mon NYPFMC Exec. Board Meeting 7:15pm at the club office, 450 7th Ave, #972D (34-35 St), info 1-718-575-1906 14 Tue Sea Music Concert: The NexTradition + NY Packet; 6pm 16 Thur: Sara Grey & Kieron Means; location to be announced 19 Sun Sacred Harp Singing at St. -
Case 1:16-Cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66
Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -------------------------------------- X : WE SHALL OVERCOME FOUNDATION and : 16cv2725(DLC) BUTLER FILMS, LLC, on behalf of : themselves and all others similarly : OPINION AND ORDER situated, : : Plaintiffs, : : -v- : : THE RICHMOND ORGANIZATION, INC. (TRO : INC.) and LUDLOW MUSIC, INC., : : Defendants. : : -------------------------------------- X APPEARANCES: For the Plaintiffs: Mark C. Rifkin Randall S. Newman Gloria K. Melwani Wolf Haldenstein Adler Freeman & Herz LLP 270 Madison Ave, 10th Floor New York, NY 10016 For the Defendants: Paul LiCalsi Ofer Reger Robins Kaplan LLC 601 Lexington Ave, Suite 3400 New York, NY 10022 DENISE COTE, District Judge: The defendants The Richmond Organization, Inc. (“TRO”) and its subsidiary and imprint Ludlow Music, Inc. (“Ludlow”) (collectively, the “Defendants”) possess two copyrights in the musical composition “We Shall Overcome” (the “Song” or the Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 2 of 66 “Copyrighted Song”), registered as a derivative work with the Copyright Office in 1960 and 1963. In this litigation, the plaintiffs We Shall Overcome Foundation (“WSOF”) and Butler Films, LLC (“Butler”) (collectively, the “Plaintiffs”) challenge through a putative class action the validity of the Defendants’ copyrights in the Song. The Plaintiffs have filed a motion for partial summary judgment in which they principally argue that the lyrics and melody in the first verse and its identical fifth verse (“Verse 1/5”) of the Song are not sufficiently original to qualify for copyright registration as a derivative work.1 For the reasons that follow, that portion of the Plaintiffs’ motion for summary judgment is granted. -
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. -
Joan Baez, Ira Sandperl, and Thomas Merton's Non-Violent Activism
21 Joan Baez, Ira Sandperl, and Thomas Merton’s Non-Violent Activism By Thomas Spencer In December 1966, Ira Sandperl, a teacher, Gandhi scholar, and outspoken advocate for peace and non-violence, and Joan Baez, the internationally known folk singer, visited Thomas Merton at the Abbey of Gethsemani. Merton’s close friend Wilbur “Ping” Ferry arranged the visit with the abbot, James Fox. Sandperl and Baez made a profound impression on Merton. As he later wrote Ferry, “They can help me just by being around: they are an inspiration.”1 Merton derived such inspiration from meeting people like Sandperl and Baez who not only shared common beliefs and principles but who also possessed eclectic interests that Merton could enjoy and appreciate. Sandperl, a self-taught scholar, and Baez, a talented and gifted singer, provided Merton with the type of fellowship and intellectual stimulation he found lacking at Gethsemani. Coming when it did, the visit was a welcome respite from the emotional turmoil Merton was experiencing in his personal life and from disagreements with his abbot. More importantly, their interest in visiting Merton attests to the far-reaching influence of what Baez describes as Merton’s “non-violent activism.” Although many might not think of Merton as an activist in the truest sense, others such as Baez and Sandperl certainly did. A close examination of Merton’s writings on peace and non-violence at this time shows that he did use the term activist in calling upon Christians of all faiths to further the cause of peace. Baez’s impressions of Merton’s importance and Merton’s writings confirm that activism is a term that can be defined in different ways. -
Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
THE SURVIVAL and MUTATION of Utoi
PHOENIX RENEWED: THE SURVIVAL AND MUTATION OF UTOi’IAN THOUGHT IN NORTH AMERICAN SCIENCE FICTION, 1965—1982 A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR TEE DEGREE OF DOCTOR OF PHILOSOPHY BY HODA MOUKHTAR ZAKI DEPARTMENT OF POLITICAL SCIENCE ATLANTA, GEORGIA DECEMBER 1984 ABS TRACT POLITICAL SCIENCE ZAKI, H01P4 MOURHIAR B.A. , American University in Cairo, 1971 N.A., Atlanta University, Atlanta, Georgia, 1974 Phoenix Renewed: The Survival and_Mutation_of Utopian Thought in ~urth American Science Fiction, 1965—1982 Adviser: Dr. Alex Hillingham The&is d~tei Decenber, 1984 This dissertation is concerned with the status of utoni en in rwdcra timas. As such it is concerned with a historic problem ir pci tial :hearv, i.e., how to visualize a perfect human community. Since the turn of the 20th century, we have seen a decline in utopian ~i tera.ture. A variety of commentators, including Mannhein: and Mumford, noted and decried this trend. It seemed ironic to those observers that utopia~s demise would occur when humanity was closest to realizing material abundance for all. My research evaluates this irony. The primary data of my work are drawn from the genre of science fiction. The new locus for utopian thought seems natural enough. Science fiction is a speculative activity and, in its emphasis on science and technology, concerns itself with an area of human activity that has been intimately connected with the idea of progress since the European Enlightenment. A number of scholars including Mumford, Sargent, Suvin, and Williams, have asserted that contemporary utopian thought could be found in science fiction. -
Joan Baez in Moscow. Photo by Grace Warnecke
Joan Baez in Moscow. Photo by Grace Warnecke. 10 | HARRIMAN FEATURED NEW BY GRACE KENNAN WARNECKE WATERS y new I rushed out and bought all of grad? Joan wanted to meet with the single Joan Baez’s records. As usual, I was famous physicist and political dis- life in flying blind. I did not know any sident Andrei Sakharov. Sakharov, San Russian folk singers, so I called all known as the father of the Soviet Fran- my Russian friends and one came hydrogen bomb, had shocked the cisco up with a song, “Circle of Friends,” Soviet government by coming out was by Bulat Okudzhava, a well-known against nuclear testing and was now Mjolted by a telephone call from John poet and bard. Often played and an intellectual hero in the West. Wasserman, the funny and outra- sung on the underground circuit, I accepted Joan’s invitation but geous music critic of the San Francisco Okudzhava’s works were just begin- realized that this was a very differ- Chronicle, whom I barely knew. “How ning to be officially published. He ent deal. In the original journey, would you like to go to Russia with was, like Joan, a popular protester. with Bill Graham making the Joan Baez?” he asked. Sitting at the press conference arrangements, there was a large He explained that Joan Baez was to when Bill Graham announced this staff seeing that everything was be part of a much-headlined con- concert, surrounded by musical done for us; now I was the staff. cert, with Santana and the Beach celebrities, I relished being part of John’s role was to write a series of Boys, in Winter Palace Square in the rock music scene. -
“Amarillo by Morning” the Life and Songs of Terry Stafford 1
In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. -
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.