DOCUMENT RESUME ED 310 957 SO 020 170 TITLE Folk Recordings
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On a Tropical Island, in the Caribbean Strategic Location in the Middle of the Americas San Juan, Condado, & Isla Verde
On a Tropical Island, in the Caribbean Strategic Location in the Middle of the Americas San Juan, Condado, & Isla Verde Old San Juan Condado Isla Verde PR Convention Center Luis Muñoz Marín International Airport (SJU) The travel distance/time from Luis Muñoz Marín International Airport (SJU) to Old San Juan is approximately 10 miles/15 minute drive Room Inventory around the Island Important Facts History 1493: Christopher Columbus lands 1508: Juan Ponce de Leon arrives 1521: San Juan was founded, forts built 1898: Puerto Rico becomes US territory 1917: Jones Act grants US citizenship 1947: Puerto Ricans elect own governor 1952: Puerto Rico officially becomes a commonwealth of the United States Convenience Currency: US Dollar No passport needed for US citizens US Postal Service Same US Telecommunication System Same US Banking System General 3.4 million population 82°F (28ºC) average temperature year round Unique Caribbean destination with security and commodities of home On a Tropical Island, In the Caribbean Only in Puerto Rico – Old San Juan Only in Puerto Rico El Yunque Rainforest Puerto Rican Parrot El Coquí Adventure Camuy Caves Zip Lines Bioluminescent Bays Science Arecibo Observatory The William E. Gordon Telescope Gastronomy Culture Notable Puerto Ricans El Gran Combo: Musicians Ricky Martin: Entertainer Sonia Sotomayor: Supreme Court Justice Joseph Acaba: Astronaut Jennifer Lopez: Entertainer Marc Anthony: Entertainer Benicio Del Toro: Actor Doing Business on a Tropical Island Existing and New Hotel Developments World-Class Accommodations Puerto Rico provides a range of incredible venues for any special event and meeting Over 14,500 guest rooms and more than 1.2 million sq. -
SMITHSONIAN INSTITUTION Music of the Indians of British Columbia by FRANCES DENSMORE
SMITHSONIAN INSTITUTION Bureau of American Ethnology Bulletin 136 Anthropological Papers, No. 27 Music of the Indians of British Columbia By FRANCES DENSMORE FOREWORD Many tribes and locations are represented in the present work, differing from the writer's former books,^ which have generally con- sidered the music of only one tribe. This material from widely sep- arated regions was available at Chilliwack, British Columbia, during the season of hop-picking, the Indians being employed in the fields. The work was made possible by the courtesy of Canadian officials. Grateful acknowledgment is made to Dr. Duncan Campbell Scott, Deputy Superintendent General, Department of Indian Affairs at Ot- tawa, who provided a letter of credential, and to Mr. C. C. Perry, In- dian agent at Vancouver, and Indian Commissioner A. O. N. Daunt, Indian agent at New Westminster, who extended assistance and co- operation. Acknowledgment is also made of the courtesy of Walter Withers, corporal (later sergeant). Royal Canadian Mounted Police, who acted as escort between Chilliwack and the hop camp, and as- sisted the work in many ways. Courtesies were also extended by municipal officers in Chilliwack and by the executive office of the Columbia Hop Co., in whose camp the work was conducted. This is the writer's first musical work in Canada and the results are important as a basis of comparison between the songs of Canad- ian Indians and those of Indians residing in the United States. On this trip the writer had the helpful companionship of her sis- ter, Margaret Densmore. iSee bibliography (Densmore, 1910, 1913, 1918, 1922, 1923, 1926, 1928, 1929, 1929 a, 1929 b, 1932, 1932 a, 1936, 1937, 1938, 1939, 1942). -
Mountains Book 5.Ppp
Far in the Mountains Volume 5 - Echoes from the Mountains Since their publication, back in 2002, the 4-CD set Far in the Mountains have been MT's best-selling production and they are a wonderful source of splendid songs, tunes and stories. So it is with great pleasure that I announce the publication of Far in the Mountains, volume 5. Mike Yates writes: Once these [four CDs] were issued, I set the original recordings aside and got on with a number of other projects. Over the years my interests began to change and I found myself devoting more time to art ... But the Appalachians were still there, in the back of my mind. Recently I found time to re-listen to some of the recordings that had not made their way onto the four CDs, and I was rather surprised to discover just how much good material had been left off the albums, and so I set about putting together Far in the Mountains - Volume 5. I am sure that many of the 425 people who bought the original 4-CD Set will want to add Volume 5 to their record collections ... in the current economic climate, I really hope so! And maybe a few others will remember that they had always wanted to buy them - but never got round to it. William Marshall & Howard Hall: Charlie Woods: 1.Train on the Island 1:15 22. Cindy 1:29 2. Polly Put the Kettle On 1:11 23. Eighth of January / Green Mountain 2:14 3. Fortune 1:13 Polka 24. -
Number 101 • Winter 2003
Newsletter Association For Recorded Sound Collections Number 101 • Winter 2003 th Philadelphia Hosts 37 ARSC Conference Events th The 37 annual ARSC conference will be held in Philadelphia, on the May 28-31, 2003. 37th Annual ARSC campus of the University of Pennsylvania, May 28-31, 2003. Founded by Conference, Philadelphia, PA. Benjamin Franklin in 1749, the University offered the nation’s first modern http://www.library.upenn.edu/ARSC/ liberal arts curriculum and now supports 4 undergraduate and 12 graduate and professional schools with a total enrollment of over 22,000 students. March 22-25, 2003. 114th 2003 AES Conven- Conference sessions will be held in Houston Hall, located in the center of tion, Amsterdam, The Netherlands. campus. The country’s first student union, Houston Hall was built in 1894 http://www.aes.org/events/114/ and was recently re- April 27, 2003. Mechanical Music stored, opening in Extravaganza, Wayne, New Jersey. 2000 with new stu- http://www.antique-sound.com/MME/show.html dent lounges, reno- vated meeting space, May 23-25, 2003. 23rd International AES and a food court. Conference—Signal processing in audio re- The opening recep- cording and reproduction, Helsinger, Denmark. http://www.aes.org/events/23/ tion will be hosted by the University of June 19-25, 2003. ALA Annual Conference, Pennsylvania Librar- Toronto, Ontario. ies and will be held in http://www.ala.org/events/annual2003/ the Van Pelt-Dietrich Library Center’s June 14-15 28th, 2003. Annual Phonograph Kamin Gallery, where & Music Box Show and Sale, Union, Illinois. University of Pennsylvania Campus. -
A Cultural View of Music Therapy: Music and Beliefs of Teton Sioux Shamans, with Reference to the Work of Frances Densmore
Butler University Digital Commons @ Butler University Graduate Thesis Collection Graduate Scholarship 5-1999 A Cultural View of Music Therapy: Music and Beliefs of Teton Sioux Shamans, with Reference to the Work of Frances Densmore Stephanie B. Thorne Butler University Follow this and additional works at: https://digitalcommons.butler.edu/grtheses Part of the Anthropology Commons, and the Music Commons Recommended Citation Thorne, Stephanie B., "A Cultural View of Music Therapy: Music and Beliefs of Teton Sioux Shamans, with Reference to the Work of Frances Densmore" (1999). Graduate Thesis Collection. 253. https://digitalcommons.butler.edu/grtheses/253 This Thesis is brought to you for free and open access by the Graduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Graduate Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. -- CERTIFICATE FORM Name of Candidate: Stephanie B. Thome Oral Examination Date: ___W=e",dn",e",s",d""aYz."",J",un",-e"--"2"-3,~1,,,,9 ,,,,9,,,9,---________ COmmUtteeChaUpe~on: __~D~r~.~P~enn~y~D~Urun~~i~c~k ______________________ Committee Members: Dr. Sue Kenyon, Dr. Tim Brimmer, Dr. Wayne Wentzel, Mr. Henry Leck Thesis Title: A Cultural View of Music Therapy: Music and Beliefs of Teton Shamans, with Reference to the Work of Frances Densmore Thesis approved in final fonn: """"" Date: ____________:::::~ _________ Major professor: __----'D"'r"' . ..!.P-"e"'nn"'y.L...!.D"'im!!.!!.m""'ic"'k~ ___________________________ II • A CULTURAL VIEW OF MUSIC THERAPY: MUSIC AND BELIEFS OF TETON SIOUX SHAMANS, WITH REFERENCE TO THE WORK OF FRANCES DENSMORE by Stephanie B. -
Can You Sing Or Play Old-Time Music?': the Johnson City Sessions Ted Olson East Tennessee State University, [email protected]
East Tennessee State University Digital Commons @ East Tennessee State University ETSU Faculty Works Faculty Works 2013 'Can You Sing Or Play Old-Time Music?': The Johnson City Sessions Ted Olson East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/etsu-works Part of the Appalachian Studies Commons, and the Music Commons Citation Information Olson, Ted. 2013. 'Can You Sing Or Play Old-Time Music?': The oJ hnson City Sessions. The Old-Time Herald. Vol.13(6). 10-17. http://www.oldtimeherald.org/archive/back_issues/volume-13/13-6/johnsoncity.html ISSN: 1040-3582 This Article is brought to you for free and open access by the Faculty Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in ETSU Faculty Works by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. 'Can You Sing Or Play Old-Time Music?': The ohnsonJ City Sessions Copyright Statement © Ted Olson This article is available at Digital Commons @ East Tennessee State University: https://dc.etsu.edu/etsu-works/1218 «'CAN YOU SING OR PLAY OLD-TIME MUSIC?" THE JOHNSON CITY SESSIONS By Ted Olson n a recent interview, musician Wynton Marsalis said, "I can't tell The idea of transporting recording you how many times I've suggested to musicians to get The Bristol equipment to Appalachia was, to record Sessions—Anglo-American folk music. It's a lot of different types of companies, a shift from their previous music: Appalachian, country, hillbilly. -
Abstract Since 2016, the Commonwealth of Puerto Rico Has Experienced a Period of Political Challenges Along with a Severe Economic Austerity
Revista [IN]Genios, Vol. 7, Núm. 1, pp.1-16 (diciembre, 2020) ISSN#: 2374-2747 Universidad de Puerto Rico, Río Piedras © 2020, Copyright. Todos los derechos están reservados. ISLAND ARTSCAPE OF BANKRUPTCY: A NARRATIVE PHOTO-ESSAY OF SAN JUAN’S POLITICAL STREET ART OF RESISTANCE Medio: Fotografía Andrea D. Rivera Martínez Departamento de Psicología Facultad de Ciencias Sociales, UPR RP Recibido: 15/09/2020; Revisado: 16/11/2020; Aceptado: 29/11/2020 Abstract Since 2016, the Commonwealth of Puerto Rico has experienced a period of political challenges along with a severe economic austerity. Given the unpromising projections, voices of resistance, anger, frustration, uncertainty, and hope are becoming increasingly visible on the island’s cities’ walls and spaces. Thus, based on the current situation of fiscal crisis, this visual essay narrates and documents the continuum of interpretations and opinions regarding the Puerto Rico Oversight, Management, and Economic Stability Act (PROMESA) inscribed in the urban fabric over the past five years from now. Keywords: street art, bankruptcy, fiscal crisis, austerity, Puerto Rico Resumen Desde el 2016, el Estado Libre Asociado de Puerto Rico experimenta un período de desafíos políticos junto con una severa austeridad económica. Dadas las proyecciones, las voces de resistencia, ira, frustración, incertidumbre y esperanza son cada vez más visibles en las paredes y espacios de las ciudades de la isla. Por tanto, dada la situación actual de crisis fiscal, este ensayo visual narra y documenta el continuo de interpretaciones y opiniones sobre la Ley de Supervisión, Gestión y Estabilidad Económica de Puerto Rico (PROMESA) inscritas en el tejido urbano durante los últimos cinco años. -
Lightnin' Hopkins
Lightnin' Hopkins Samuel John "Lightnin'" Hopkins (March 15, 1912 – January 30, 1982) was an American country blues singer, songwriter, guitarist, and occasional pianist, from Centerville, Texas. Rolling Stone magazine ranked him number 71 on its list of the 100 greatest guitarists of all time. The musicologist Robert "Mack" McCormick opined that Hopkins is "the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act". Life Hopkins was born in Centerville, Texas, and as a child was immersed in the sounds of the blues. He developed a deep appreciation for this music at the age of 8, when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas. That day, Hopkins felt the blues was "in him".He went on to learn from his older (distant) cousin, the country blues singer Alger "Texas" Alexander. (Hopkins had another cousin, the Texas electric blues guitarist Frankie Lee Sims, with whom he later recorded.) Hopkins began accompanying Jefferson on guitar at informal church gatherings. Jefferson reputedly never let anyone play with him except young Hopkins, and Hopkins learned much from Jefferson at these gatherings. In the mid-1930s, Hopkins was sent to Houston County Prison Farm; the offense for which he was imprisoned is unknown. In the late 1930s, he moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s, he was back in Centerville, working as a farm hand. Hopkins took a second shot at Houston in 1946. While singing on Dowling Street in Houston's Third Ward (which would become his home base), he was discovered by Lola Anne Cullum of Aladdin Records, based in Los Angeles. -
Smithsonian Folklife Festival Records: 1968 Festival of American Folklife
Smithsonian Folklife Festival records: 1968 Festival of American Folklife by CFCH Staff 2017 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. Phone: 202-633-6440 [email protected] http://www.folklife.si.edu/archive/ Table of Contents Collection Overview......................................................................................................... 1 Administrative Information .............................................................................................. 1 Historical note.................................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 2 Introduction....................................................................................................................... 3 Festival speakers and consultants.................................................................................. 3 Names and Subject Terms ............................................................................................. 4 Container Listing.............................................................................................................. 5 Series 1: Program Books, Festival Publications, and Ephemera, 1968................... 5 Series -
I Ll Ino I University of Illinois at Urbana-Champaign
H I LL INO I UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN PRODUCTION NOTE University of Illinois at Urbana-Champaign Library Large-scale Digitization Project, 2007. 4.- ATA I II lolume 4, Number 1 (whole issue 16) kI_- October 7, 1963 HOBART SMITH AT U. OF I. Hobart Smith, a traditional fiddler, tions of us Smiths kindly took to music. )anjo-picker, guitarist, and singer Always picking on some instrument or from Saltville, Virgina, will appear in singing some ditty, that was the Smith Altgeld Hall, October 11, 8 PM, in the way. If we managed to marry somebody 3lub's first membership concert of the who didn't care for it, why pretty soon new school year. they'd dive up and get a divorce and leave, and then we'd marry somebody else Smith's repertoire, some of which is who did love music. That way it just available on the Atlantic "Southern kept a-runnin' through our family." Folk Heritage Series" recorded by Alan Lomax, includes dazzling fiddle hoe- "In the first generations of my family owns and breakdowns, guitar blues, the men were all fiddlers and the girls gospel songs, old ballads and rippling, all good singers. Drop on down and you rhythmic banjo pieces that sound equal- begin to get a banjo player or two in the Ly good as lyric songs or as dance crowd. Then they was mostly banjo pick- iccompaniment. ers, like my daddy, King Smith who learnt me to play. I took to it so natural Among his famous pieces are "John that when I come to the house, Mama would Brown", a lively dance tune for fiddle tell old King to put by his banjo and Ln modal tuning, "Bangin' Breakdown", let somebody handle it who could." a strangely beautiful rhythm exercise ln Afro-American banjo music, and "See Many Club members will remember Fhat My Grave Is Kept Clean", .a moving Hobart's appearance earlier this year at and powerful song that flows directly the University of Chicago Folk Festival. -
Country Music Goes to War Edited by Charles K. Wolfe and James E
Country Music Goes to War This page intentionally left blank Country Music Goes to War Edited by Charles K. Wolfe and James E. Akenson TIfE UNIVERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 2005 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Country music goes to war / edited by Charles K. Wolfe and James E. Akenson p. cm. Includes bibliographical references (p. ) ISBN-lO: 0-8131-2308-9 (hardcover: alk. paper) l. Country mUSic-History and criticism. 2. Country music-Social aspects. 3. Music and war. 4. Political ballads and songs-History and criticism. 1. Wolfe, Charles K. II. Akenson,James Edward, 1943- ML3524 C695 2005 78l.642'1599-dc22 ISBN-13: 978-0-8131-2308-0 (hardcover: alk. paper) ISBN-13: 978-0-8131-9204-8 (pbk. : alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. €9® Manufactured in the United States of America. ~"·"'I~ Member ofthe Association of ~~ _ American University Presses -----Contents ----- Introduction vii Charles K. -
Georgia Old-Time Fiddlers Conventions
Georgia Old-Time Fiddlers Conventions Centennial Celebration Veterans Memorial Hall and City Auditorium Welcome to Veterans Memorial Hall formerly known as Taft Hall (1909 - ), named in honor of President William Howard Taft who was the honored guest at the dedication of what was then known as the Atlanta Auditorium-Armory of which the hall named in his honor was a part. Taft Hall was the scene of square dances following the last night’s event of the annual Georgia Old-Time Fiddlers Conventions. Interior of the Auditorium, 1945 Atlanta Auditorium-Armory (later known as Atlanta City Auditorium) was built in downtown Atlanta, Georgia in 1909. It was renovated in 1938, and then partially destroyed during a fire in 1940. It reopened in 1943, and was later sold to Georgia State University in 1979. Exterior of the Auditorium, 1949 Demolition of the Auditorium, 1981 dates Source: Contemporary Issues of The Atlanta Constitution, The Atlanta Georgian, and The Atlanta Journal 1913 Tuesday – Thursday, 1924 Friday, Saturday, 1931 Friday, Saturday, April 1 – 3 November 7, 8 September 25, 26 1914 Wednesday – 1925 Friday, Saturday, 1932 Friday, Saturday, Saturday, February October 30, 31 March 18, 19 18 – 21 1926 Friday, Saturday, (Interstate Fiddlers’ 1915 Tuesday, Wednesday, September Convention) Friday, Saturday, 17, 18 (First All 1932 Friday, Saturday, February 2, 3, 5, 6 Southern Fiddling September 2, 3 1916 Wednesday – Championship) (Interstate Fiddlers’ Saturday, January 1927 Thursday – Saturday, Convention) 26 – 29 September 1 – 3 1933 No newspaper