Hunter Davis Will Astound You
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Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
April CALENDAR of EVENTS
April CALENDAR 2013 OF EVENTS 2020 Addison Street • Berkeley, California • (510) 644-2020 • www.freightandsalvage.org SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY Concert for Sue Draheim eric & Suzy Thompson, Good Ol’ David Olive & Barbara Higbie, Jody Stecher & kate brislin, Freight laurie lewis & Tom rozum, kathy kallick, Persons Wilcox the Dirty Linda Tillery Open Mic California bluegrass the best of pop Gerry Tenney & the Hard Times orchestra, pay your dues, trailblazers’ reunion and folk aesthetics Martinis, & Laurie Lewis Golden bough, live oak Ceili band with play and shmooze Hills to Hollers the Patricia kennelly irish step dancers, Girl Named T album release show Tempest, Will Spires, Johnny Harper, rock ‘n’ roots fundraiser don burnham & the bolos, Tony marcus for the rex Foundation $28.50 adv/ $4.50 adv/ $20.50 adv/ $24.50 adv/ $20.50 adv/ $22.50 adv/ $30.50 door monday, April 1 $6.50 door Apr 2 $22.50 door Apr 3 $26.50 door Apr 4 $22.50 door Apr 5 $24.50 door Apr 6 Gautam UC Jazz Brittany Haas, Alan Celebrating House The Earl Songwriters Tejas Ensembles Paul Kowert Senauke with Jacks Brothers Zen folk musician, Caren Armstrong, “the rock band Outlaw Hillbilly Ganeshan Spring & Jordan Tice featuring Keith Greeninger without album release show Carnatic music string fever Jon Sholle, instruments” with distinction Concert from three Chad Manning, & Steve Meckfessel and inimitable style featuring the Advanced young virtuosos Suzy & Eric Thompson, Combos and big band Kate Brislin $20.50/$22.50 Apr 7 $14.50/$16.50 Apr -
The Annenberg Center for the Performing Arts Presents Two Performances Perfect for the Whole Family!
April 14, 2010 The Annenberg Center for the Performing Arts presents two performances perfect for the whole family! LA-based drum, music and dance ensemble STREET BEAT combines urban rhythms, hip-hop moves and break dance acrobatics into an explosive, high-energy performance Grammy ® nominated vocal ensemble Linda Tillery & the Cultural Heritage Choir share the rich traditions of African American Roots music (Philadelphia, April 14, 2010) — The Annenberg Center for the Performing Arts presents not one but two performances perfect for the whole family. First, the high-energy, LA-based drum, music and dance ensemble STREET BEAT combine urban rhythms, hip-hop moves and break dance acrobatics into one explosive performance on Thursday, April 29, 2010 at 7:30 PM at the Annenberg Center for the Performing Arts. Tickets for the performance start at just $10. On Friday, April 30, 2010 at 8:00 PM, Linda Tillery & The Cultural Heritage Choir, a Grammy® nominated, five member-strong a cappella ensemble embark on an illuminating and highly spirited journey of African American history. The ensemble’s mission is to help preserve and share the rich musical traditions of African American roots music with a repertoire that runs the gamut from spirituals, gospel, blues, jazz, funk, soul and hip-hop. Tickets for the performance are $25 or $40. For tickets or for more information, please visit AnnenbergCenter.org or call 215.898.3900. Tickets can also be purchased in person at the Annenberg Center Box Office. Both artists are also featured main stage performers during the 26th annual Philadelphia International Children’s Festival taking place at the Annenberg Center April 27-May 1, 2010. -
General Catalog 2019–2020 / Edition 19 Academic Calendar 2019–2020
BERKELEY GENERAL CATALOG 2019–2020 / EDITION 19 ACADEMIC CALENDAR 2019–2020 Spring Semester 2019 Auditions for Spring 2019 By Appointment Academic and Administrative Holiday Jan 21 First Day of Spring Instruction Jan 22 Last Day to Add / Drop a Class Feb 5 Academic and Administrative Holiday Feb 18 Spring Recess Mar 25 – 31 Last Day of Instruction May 10 Final Examinations and Juries May 13 – 17 Commencement May 19 Fall Enrollment Deposit Due on or before June 1 Fall Registration Jul 29 – Aug 2 Fall Semester 2019 Auditions for Fall 2019 By May 15 New Student Orientation Aug 15 First Day of Fall Instruction Aug 19 Last Day to Add/Drop a Class Sep 1 Academic and Administrative Holiday Sep 2 Academic and Administrative Holiday Nov 25 – Dec 1 Spring 2020 Enrollment Deposit Dec 2 Last Day of Instruction Dec 7 Final Examinations and Juries Dec 9 – 13 Winter Recess Dec 16 – Jan 21, 2020 Spring Registration Jan 6 – 10, 2020 Spring Semester 2020 Auditions for Spring 2020 By Oct 15 First Day of Spring Instruction Jan 21 Last Day to Add / Drop a Class Feb 3 Academic and Administrative Holiday Feb 17 Spring Recess Mar 23 – 27 Last Day of Instruction May 8 Final Examinations and Juries May 11 – 15 Commencement May 17 Fall 2020 Enrollment Deposit Due on or before June 1 Fall 2020 Registration July 27 – 31 Please note: Edition 19 of the CJC 2019 – 2020 General Catalog covers the time period of July 1, 2019 – June 30, 2020. B 1 CONTENTS ACADEMIC CALENDAR ............... Inside Front Cover The Bachelor of Music Degree in Jazz Studies Juries .............................................................. -
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites – 750 Vallejo In North Beach, SF “The Jam” Mike Bloomfield and friends at Fillmore West - January 30-31-Feb. 1-2, 1970? Feb. 11, 1970 -- Fillmore West -- Benefit for Magic Sam featuring: Butterfield Blues Band / Mike Bloomfield & Friends / Elvin Bishop Group / Charlie Musselwhite / Nick Gravenites Feb. 28, 1970 – Mike Bloomfield, Keystone Korner, SF March 19, 1970 – Elvin Bishop Group plays Keystone Korner , SF Bloomfield was supposed to show for a jam. Did he? March 27,28, 1970 – Mike Bloomfield and Nick Gravenites, Keystone Korner ***** MICHAEL BLOOMFIELD AND FRIENDS 1970. Feb. 27. Eagles Auditorium, Seattle 1. “Wine” (8.00) This is the encore from Seattle added on the bootleg as a “filler”! The rest is from Long Beach Auditorium Apr. 8, 1971. 1970 1 – CDR “JAMES COTTON W/MIKE BLOOMFIELD AND FRIENDS” Bootleg 578 ***** JANIS JOPLIN AND THE BUTTERFIELD BLUES BAND 1970. Mar. 28. Columbia Studio D, Hollywood, CA Janis Joplin, vocals - Paul Butterfield, hca - Mike Bloomfield, guitar - Mark Naftalin, organ - Rod Hicks, bass - George Davidson, drums - Gene Dinwiddle, soprano sax, tenor sax - Trevor Lawrence, baritone sax - Steve Madaio, trumpet 1. “One Night Stand” (Version 1) (3.01) 2. “One Night Stand” (Version 2) wrong speed 1982 1 – LP “FAREWELL SONG” CBS 32793 (NL) 1992 1 – CD “FAREWELL SONG” COLUMBIA 484458 2 (US) ?? 2 – CD-3 BOX SET CBS ***** SAM LAY 1970 Producer Nick Gravenites (and Michael Bloomfield) Sam Lay, dr, vocals - Michael Bloomfield, guitar - Bob Jones, dr – bass ? – hca ? – piano ? – organ ? Probably all of The Butterfield Blues Band is playing. Mark Naftalin, Barry Goldberg, Paul Butterfield 1. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas. -
September / October
CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 5 Number 5 September-October 2005 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 THE TILT OF THE KILT Wicked Tinkers Photo by Chris Keeney BY RON YOUNG inside this issue: he wail of the bagpipes…the twirl of the dancers…the tilt of the kilts—the surge of the FADO: The Soul waves? Then it must be the Seaside Highland Games, which are held right along the coast at of Portugal T Seaside Park in Ventura. Highly regarded for its emphasis on traditional music and dance, this festival is only in its third year but is already one Interview: of the largest Scottish events in the state. Games chief John Lowry and his wife Nellie are the force Liz Carroll behind the rapid success of the Seaside games. Lowry says that the festival was created partly because there was an absence of Scottish events in the region and partly to fill the void that was created when another long-standing festival PLUS: was forced to move from the fall to the spring. With its spacious grounds and variety of activities, the LookAround Seaside festival provides a great opportunity for first-time Highland games visitors who want to experience it all. This How Can I Keep From Talking year’s games will be held on October 7, 8 and 9, with most of the activity taking place on the Saturday and Sunday. -
Building Multi-Racial Coalitions Through Women’S Culture the Roadwork Oral History and Documentary Project
ORAL HISTORY AND DOCUMENTARY PROJECT BUILDING MULTI-RACIAL COALITIONS THROUGH WOMEN’S CULTURE THE ROADWORK ORAL HISTORY AND DOCUMENTARY PROJECT IF YOU FEEL SOMETHING MISSING, IT IS PROBABLY THE SOUND OF YOUR OWN VOICE. The roots of contemporary social justice movements in the United States are deeply intertwined. THE ROADWORK ORAL HISTORY AND DOCUMENTARY PROJECT illuminates and documents these roots by telling the story of a multi- racial, cultural-political collaboration among musicians, artists, poets and organizers that existed from the late 1970s to the 1990s. Roadwork was a unique cultural organization founded by women with extensive leadership experience in black civil rights, progressive, women’s, global justice, anti-war, and lesbian-feminist movements. It was led by women of color, and aimed at nothing less than the transformation of consciousness and the creation of a global social justice movement. Founded in 1978 by Bernice Johnson Reagon and Amy Musical Retreat, and Roadwork’s own Sisterfire festival). Horowitz, Roadwork was created to “put women’s culture Independent producers and distributors built alternative on the road” through tours, festivals, concerts and leader- economic models that challenged the mainstream music ship. ROADWORK was born in a context of profound business. sexism. Misogyny in music and entertainment industries ROADWORK emerged at a time when the US was severely limited women promoters, recording engineers engaged in widespread covert intelligence operations and independent artists. Despite these obstacles, an both domestically (against civil rights and anti-war move- underground women’s culture (poets, visual artists, film- ments) and globally (in places like El Salvador, Nicara- makers and musicians) flourishedin the 1970s- 90s, finding gua, Honduras, Chile and the middle east). -
For Immediate Release "Fta"
AMERICAN INTERNATIONAL PICTURES SPECIAL FEATURE July 10, 107;! UNDERGROUND "F.T.A." FOR IMMEDIATE RELEASE BY STEVE JAFFE "F.T.A.": THE SHOW THE PENTAGON COULDN'T STOP t The "F.T.A." Show was a problem to the Brass in the Pentagon. In all it's wit and anger, it's explosive satire, and powerful attack on racism, and all the other ills of the military, the show was something that had to be dealt with.. So the Pentagon said, "No." No, they couldn't perform on base. No,GI's couldn't go off base; to see it. No, ships could not go into port if the show was playing there. No, the troupe would not be permitted in Vietnam. NO, NO, NO, NO. Inequities aside (considering the hospitality shown the USO shows by the Pentagon,) "F.T.A." would not let that stop them. "F.T.A. is one of the most relevant kind of theater in existence today," says Jane Fonda, who, with actor Donald Sutherland and director Francine Parker produced the successful show which performed for thousands of GI's, servicewomen and men, near bases in the Pacific Rim (Hawaii, the Philippines, Japan and Okinawa.) "The Material for the show was taken from the more than 75 GI newspapers published by GI projects outside of U.S. Military bases all over America and around the world," Ms. Fonda continued. "We felt a film was the only way to bring tho show back to the American people but more importantly, to bring back the true feelings expressed by the GI's themselves." "What the soldiers wanted to communicate to the American people -continued- UNDERGROUND FEATURE - "F.T.A." - PAGE 2 is a .1.1 there in the film," Ms. -
“Our Silence Buys the Battles”: the Role of Protest Music in the U.S.-Central American Peace and Solidarity Movement
“Our Silence Buys the Battles”: The Role of Protest Music in the U.S.-Central American Peace and Solidarity Movement CARA E. PALMER “No más! No more!” “No más! No more!” Shout the hills of Salvador Shout the hills of Salvador Echo the mountains of Virginia In Guatemala, Nicaragua We cry out “No más! No more!” We cry out “No más! No more!”1 In the 1980s, folk singer John McCutcheon implored his fellow U.S. citizens to stand in solidarity with Central Americans in countries facing United States (U.S.) intervention. Combining both English and Spanish words, his song “No Más!” exemplifies the emphasis on solidarity that characterized the dozens of protest songs created in connection with the U.S.-Central American Peace and Solidarity Movement (CAPSM).2 McCutcheon’s song declared to listeners that without their active opposition, the U.S. government would continue to sponsor violence for profit. McCutcheon sang, “Our silence buys the battles, let us cry, ‘No más! No more!,’” urging listeners to voice their disapproval of the Reagan administration’s foreign policies, because remaining silent would result in dire consequences. One hundred thousand U.S. citizens mobilized in the 1980s to protest U.S. foreign policy toward Central America. They pressured Congress to end U.S. military and financial aid for the military junta in El Salvador, the military dictatorship in Guatemala, and the Contras in Nicaragua. The Reagan administration supported armed government forces in El Salvador and Guatemala in their repression of the armed leftist groups FMLN and MR-13, and the Contras in Nicaragua in their war against the successful leftist revolution led by the FSLN. -
Gilbert, Ronnie
Voices of Feminism Oral History Project Sophia Smith Collection, Smith College Northampton, MA RONNIE GILBERT Interviewed by KATE WEIGAND March 10, 2004 Cambridge, Massachusetts This interview was made possible with generous support from the Ford Foundation. © Ronnie Gilbert 2004 Sophia Smith Collection Voices of Feminism Oral History Project Narrator Ronnie Gilbert (b. 1926) grew up in and around New York City in a leftwing household. She is best known for her role the singing group The Weavers, which worked to popularize folk music in the U.S. from 1948 until it was blacklisted in 1952. In the 1960s and 1970s Gilbert worked as actor and a psychotherapist in New York, California, and Canada. In the 1980s she revitalized her singing career by touring on the women’s music circuit, independently and with artists such as Holly Near. She defines herself as a writer/teacher/activist who is particularly committed to the issues of feminism and global peace. Interviewer Kate Weigand (b. 1965) has a Ph.D. in women’s history and U.S. history from Ohio State University. She is author of Red Feminism: American Communism and the Making of Women’s Liberation (Johns Hopkins University Press, 2001). Abstract In this oral history Ronnie Gilbert describes her childhood in a leftwing Jewish family in New York City. The interview focuses on her musical education, her childhood experiences at large union rallies and at the progressive Camp Wo-Chi-Ca in upstate New York, her participation in the folk music revival and The Weavers, her personal experience of the anti-communist blacklist, and her feminist awakening and participation in women’s music. -
The Disappearing L
1 The Soundtrack of Our Awakening I seem to have spent my entire life listening to boys talk about music. And sometimes, no matter how smart or untrivial or mean- ingful the boy might be, the sheer aesthetic presence of a masculine voice in record talk can get on my nerves. Because there are so many males talking, all the time, about everything, on television and on the radio, that I just get sick of men. —Sarah Vowell, Radio On We were not the first feminist musicians to sing out, but this tour jump-started a cultural phenomenon that would change the lives of hundreds of thousands of women and men; it laid the ground- work so that a dozen years later, young independent women could dominate the music industry. At the same time, millions of people never even knew it happened. —Holly Near, Fire in the Rain . Singer in the Storm Not wanting to identify with women’s music is the same thing as not wanting to call yourself a feminist. —Kaia Wilson, The Butchies, Co-owner, Mr. Lady Records For more than thirty years, I’ve collected the work of feminist musicians and comedians who enjoyed cult status as lesbian stage performers in the 23 © 2016 State University of New York Press, Albany 24 The Disappearing L 1970s, ’80s, and ’90s. These groundbreaking artists, earning very little in return for what they gave to the women’s community, worked tirelessly as local and national activists. Against all odds, they made the subject of lesbian rights into dance music, whether on bass guitar, piano, banjo, drum kit, saxophone, horn, djembe, or flute.