DOCSLIB.ORG

NEW DEAL • Summer 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NEW DEAL • Summer 2014 Carry It On Carry It On Local 1000 Local 1000 Chorus D=170 ChorusG G /B C D G G D=170 Voice G G /B C D G G Voice Pay it for ward car ry it on! car ry it for ward 'til the day is done Pay it for ward Voice Pay it for ward car ry it on! car ry it for ward 'til the day is done Pay it for ward Voice Pre-Chorus 6 G /B C D G D Pre-Chorus V. 6 G /B C D G D V. car ry it on! car ry it for ward 'til the day is done. Car ry it on V. car ry it on! car ry it for ward 'til the day is done. Car ry it on Oh my Sis V. 12 G D Oh my Sis V. 12 G D Why didn’tCar ry it on we thinkCar ry itof on this earlier?Car ry it on V. V. by Steve Eulberg Car ry it on Car ry it on Car ry it on ters Oh myForBro the thirdthers time, members gathered Ohandmy JohnPar McCutcheon.ents for V. hat is the question I kept asking for a few days at the historic Highlander We dreamed of our near and long- myself afterters we completedVerse the Oh 1Center,my Bro in Newthers Market, Tennessee. Ohtermmy Parfuture as anents interwoven webfor T17finalG portion of our MembersG They came from across the continent, of musical artists, supportingD G and Retreat at Highlander this past May.Verse 1this time to ponder how to “Carry It On.” challenging each other to Carry It On. V.We are a union local composed of a 17 G G How do we learn from the legacy of our And we concludedD with a Ggroup song- great many song-singers and songwriters, brother, Pete Seeger, tilling the soil to bear writing exercise that was imagined after V. I was born with a pur pose in mind search the world ov er un til I find that but in my decade-plus as a member I his fruits in our work for this world. our brother, Si Kahn, called forth the don’t recall a time when when we have We were guided by our colleagues, necessary creativity for a performance V. written a song together. I was born whowith a werepur his colleaguespose in mind of differentsearch the earlierworldov thiser Spring.un til I find that But I’m gettingall ahead of my story. cohorts: Charlie King, Spook Handy, Together, we each had 15 minutes to V. 23 D G all V. 23 INSIDE: page 2–Fall Membership Meetings, Upcoming Election • page 3–Local 1000 Members Honored D with joe Hill GAward Executiveone Boardsim ple Meetsthing Inthat NewI York Citycould • pagecar 4–Membershipry on from Updateear •ly pagein 5–Letterthe morn Froming 'tilThethe Presidentnext • day'spage 6–Upcomingdawn. Don't V. Conferences, Peacebuilding Through Cultural Exchange • page 7- SERFA 2014, Membership Retreat 2015 V. New Deal is the official organ of Local 1000. Please read it carefully. one sim plething that I could car ry on from ear ly in the morn ing 'til the nextday's dawn.Don't V. Upcoming Meetings... Fall Membership Meeting, Upcoming Executive Board Meeting October 6-7, 2014 Election and Call For Nominations New York City, NY lections for President, Canadian Vice President, and Midwestern L1K Membership Meeting & Election Representative will be held during our upcoming Fall Membership November 13, 2014 Meeting for terms beginning in January 2015. The Fall Membership Kerhonkson, NY E Meeting will take place at 4pm EST on November 13th at NERFA in Kerhonkson, NY. www.local1000.org We are currently seeking volunteers for a nominating committee to Find Local 1000 recommend candidates for election. If you are interested in running for on Facebook & Twitter office, joining the nominating committee or recommending a candidate, 212-843-8726 please contact Colin Dean at [email protected] for more information. E-mail: [email protected] Co-Office Managers: Colin Dean [email protected] Why didn’t we... (continued) Richard Coombs [email protected] begin a song, or to begin a parody. echo that you and Jeni are adding!” LOCAL 1000 OFFICERS: When the alarm sounded, we came “Charlie, yours sounds like the last President: back to share these ideas with verse; Scott yours goes before that... TRET FURE each other. Steve Deasy, you’ve got the melodic 608-469-4007 • [email protected] From the parody of a sea shanty, bridge.” “Eulberg, you got anything? Canadian Vice-President: KEN WHITELEY to a work chant, to melodic ballads, Let’s weave that with the rapping part 416-533-9988 • [email protected] to rap and a fully-worked out guitar for the break-down.” Vice President: accompaniment, we were all amazed We ran through it a couple of times, DEBRA COWAN to hear what was released when we then recorded the demo (which is 508-662-9746 • [email protected] reach for it. available to be heard on our website.) Secretary-Treasurer: SCOTT BERWICK Agreeing to trust each other, I used All of this happened in the final couple 518-734-3224 • [email protected] the technology of my smart phone to of hours of the retreat. Then Billy Midwestern Regional Rep capture all these “song seeds” before Kemp offered to transcribe it so you can AARON FOWLER we started trying to move forward on see it here! (And you can download it 316-207-4715 • [email protected] the group part of the creation exercise. and sing it—A song By Local 1000, for Western Regional Rep I originally imagined that we would Local 1000!) DANIEL BOLING 505-228-2530 • [email protected] choose one of the songs to complete, The song-singers and singer- Eastern Regional Rep but the gathered circle of collaborators songwriters of the AFM, wrote a song CHARLIE PILZER overruled that idea: “We have together, on demand, in a short period 301-891-9035 • [email protected] everything we need with ALL of the of time. This is the kind of bringing parts that have been shared.” our full selves to our art that our sister, New Deal Editor: Soon the ideas tumbled over each Holly Near, challenged and encouraged Scott Berwick other, coming from different voices us to do with her keynote in our second Contributing Editors: around the circle: “Tret, you’ve got retreat two years ago. Tret Fure, Debra Cowan, Joe Jencks, the chorus!” “What about this other Our next Gathering is scheduled for John McCutcheon, Steve Eulberg part as the pre-chorus?” “Steven and May 4-6, 2015 at the Ashokan Center Graphic Editor: Nick Bergwell Elise, you have verse 2, Aaron you in Olivebridge, New York. Member News Editor: have verse one!” “Sandy, yours is the Carry It On! Joe Jencks finish of verse 2; Renee—you’ve got MP3 available at http://local1000. NEW DEAL is the official organ of the the break-down, and we love that org/2014/09/carry-it-on/ North American Traveling Musicians Union, Local 1000, AFM 2 NEW DEAL • Summer 2014 Local 1000 Members Honored with Joe Hill Award by Elise Bryant of Congress to autograph her book and and the struggles for justice that they present them with a CD of her songs, created,” he says. “My experience is that or the past 36 years, labor-minded as well as a DVD recording of her labor unions are losing the power that musicians and other artists have labor chorus performing “The Great comes from songs of struggle. During Fgathered at the Great Labor Arts Migration, Motown, and Michael the rise of unions in the first half of Exchange to celebrate creativity and Moore.” “That was the most exciting the 20th century, there was never a solidarity. It is a weekend of workshops, experience to be there,” she says, adding. strike, march, picket line, or rally that films, discussion, poetry, jam sessions, “So now my whole chorus is in the wasn’t enlivened by songs. Music kept and open mikes, sponsored by the Labor Library of Congress.” the struggle alive. Can you imagine the Heritage Foundation. At this year’s Charlie King, who has been singing popular victories of the 20th century gathering, Local 1000(nongeographic) at labor conferences, rallies, and picket without ‘We Shall Overcome’ or members Pat Wynne of San Francisco, lines since 1970, says he was elated ‘Solidarity Forever’? I would love to see a California, and Charlie King of to receive the Joe Hill Award. “I’ve rebirth of interest by unions in song as a Shelburne Falls, Massachusetts, received been attending the Great Labor Arts weapon in the struggle for justice.” the Joe Hill Lifetime Achievement Exchange since 1981 and have seen the Both Wynne and King are founding Award for their work in labor culture. award presented to Pete Seeger, Utah members of AFM Local 1000. King, who A longtime labor activist and Phillips, Hazel Dickens, Joe Glazier, is a former Local 1000 secretary-treasurer, organizer, Wynne conducts the Bay and more recently, Anne Feeney, Joe is also a member of the Industrial Area Rockin Solidarity Labor Chorus, Uehlein, and Jon Fromer,” he says. “It’s Workers of the World Local 630. which she founded in 1999. Wynne also thrilling to be counted in that number.” For more information about the Labor arranges many of the pieces performed “My career has been built on Heritage Foundation, Great Labor by the group whose members represent singing and writing songs about the Arts Exchange, and Joe Hill Award visit many different unions.
Load more

Recommended publications
  • University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • MF 111 Folksongs in February Collection
    MF 111 Folksongs in February Collection Northeast Archives of Folklore and Oral History Number of accessions: 1 Dates when interviews were conducted: 1977 Finding aides: 8 page index Access restrictions: none Description: NA2596 David Mallett, David Ingraham, Charlie Nevells, Larry Kaplan, Edward D. “Sandy” Ives, Kendall Morse, Margaret MacArthur, Norman Kennedy, Louis and Sally Killen, Yodeling Slim Clark, Charlotte Cormier, Sparky Rucker, Sandy and Caroline Paton, Hazel Dickens, Tim Woodbridge, Joe Hickerson, Debby McClatchy, Gordon Bok, Sean Corcoran, Bill Shute and Lisa Null, by Maine Folklife Center, February, 1977, Orono, Maine. Tape: 8 reels (ca. 15 hrs.) Accession consists of 8 tape reels containing recordings of a folk music concert program called “Folksongs in February” held at the University of Maine in February, 1977. Accession includes 8 black & white contact sheets of 35 mm photos of the performances. Individual frames are unnumbered at the time of accessioning. Text: 36 pp. Recordings: T 2015-2022 / CD 0406-0419 (CD 0406 is MIA). Photographs: P00880, P00881, P01114 – P01399 Also see: NA2132 Susan Tibbets, hosts concert with 20 singer and songwriters, featuring Kendall Morse, Edward D. “Sandy” Ives, Lisa Null, and Slim Clark, deposited by Maine Public Broadcasting Network, fall 1989, Hauck Auditorium, UMaine, Orono, Maine. 11 pp. Cat. only. On February 11 and 12, 1977, a concert and a series of workshops called "Songs for February" held at the Hauck Auditorium UMaine. From the recordings made of the concert and series of workshops, the Maine Public Broadcasting Network produced an 8-part radio series as part of their “Roots and Branches” series.” Accession consists of a catalog of the radio program.
    [Show full text]
  • Bluegrass Music: a Toe-Tapping Exploration of an American Art Form a Smithsonian Folkways Lesson Designed By: Lesley Lopez Pennsylvania State University
    Bluegrass Music: A Toe-Tapping Exploration of an American Art Form A Smithsonian Folkways Lesson Designed by: Lesley Lopez Pennsylvania State University Summary: Students will be introduced to American Bluegrass music and Appalachian songs through singing, listening and conversation. A number of songs will be compared leading to a conversation on the characteristics of Traditional American music. Suggested Grade Levels: 3-5 Country: United States Region: Southern United States, Appalachia, North America Culture Group: Anglo-American Genre: Bluegrass Instruments: Voice Language: English Co-Curricular Areas: Social Studies, Theater National Standards: 1, 6, 7, 8, 9 Prerequisites: Knowledge of the string family of instruments Objectives: Identify the characteristics of folk music Identify Appalachia on a map of The United States Listen to two versions of the “Crawdad Song” and be able to compare and contrast the two recordings Sing a traditional Appalachian folk song Dramatize an Appalachian folk song Introduce the history of Bluegrass music Relate knowledge of folk music to the characteristics of Bluegrass music Identify the instruments used in Bluegrass music by sight and sound Become aware of “Newgrass” music (progressive Bluegrass) Listen to an example of Newgrass and compare it to Bluegrass music Materials: “Crawdad Song” by Woody Guthrie from Muleskinner Blues: The Asch Recordings, Volume 2 (Cat. # SFW40101_122) http://www.folkways.si.edu/woody-guthrie/muleskinner-blues-the-asch-recordings- vol-2/american-folk-struggle-protest/music/album/smithsonian
    [Show full text]
  • Mountain Stage Guest Artist List
    MOUNTAIN STAGE GUEST ARTIST LIST 1981 March Bob Thompson Jazz Trio, Putnam County Pickers 1983 December Larry Parson’s Chorale, Bob Thompson Jazz Trio, John Pierson 1984 January Currence Brothers, Ethel Caffie-Austin Singers, Terry Wimmer February Rhino Moon, Moloney, O’Connell & Keane, Alan Klein, Robert Shafer March Trapezoid, Charleston String Quartet, Bonnie Collins, April Stark Raven, Joe Dobbs/Friends, Alan Freeman, Joe McHugh May Hot Rize, Red Knuckles & Trailblazers, Karen McKay, Alan/Jeremy Klein June Norman Blake/Rising Fawn Ensemble, Appalachian String Quartet, Elmer Bird, Jeff and Angela Scott July Still Portrait, Everett Lilly/Appalachian Mountain, Sweet Adelines August Bill Danoff, Ann Baker/Bob Thompson Trio, Bob Shank, Alice Rice September Clan Erdverkle, Ron Sowell, Tracy Markusic, Shirley Fisher October Critton Hollow String Band, Tom Church, Marc & Cheryl Harshman November Turley Richards, Night Sky, Mountain Stage Regulars December (1 hr. Christmas special) West Virginia Brass, Bob Thompson, Devon McNamara 1985 January Turley Richards, West Virginia Brass, Bonnie Collins February Whetstone Run, Lucky Jazz Band, Alice Rice March Alex de Grassi, Nat Reese, Maggie Anderson April Guy Clark, Trapezoid, Marc Harshman May Bob Thompson, Ann Baker, Paul Skyland, Devon McNamara June 1 (Spoleto-Chas, SC) Hot Rize, Red Knuckles, John Roberts/Tony Barrand, Moving Star Singers June John McEuen, Mountain Thyme, John Rosenbohm, Bonnie Collins July Bill Danoff, Steadfast, Faith Holsaert August Buster Coles, Bing Brothers, Bob Baber
    [Show full text]
  • Roles of Women in Bluegrass Music
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 "You're pretty good for a girl": Roles of women in bluegrass music Jenna Michele Lawson [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Ethnomusicology Commons, and the Musicology Commons Recommended Citation Lawson, Jenna Michele, ""You're pretty good for a girl": Roles of women in bluegrass music. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/995 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jenna Michele Lawson entitled ""You're pretty good for a girl": Roles of women in bluegrass music." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music, with a major in Music. Rachel M. Golden, Major Professor We have read this thesis and recommend its acceptance: Allison S. Robbins, James Fellenbaum Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) “YOU’RE PRETTY GOOD FOR A GIRL”: ROLES OF WOMEN IN BLUEGRASS MUSIC A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Jenna Michele Lawson August 2011 ii Copyright © 2011 by Jenna Michele Lawson All rights reserved.
    [Show full text]
  • America's Roots Music
    FREE Volume 1 Number 4 July/August 2001 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY “Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers AMERICA’S ROOTS MUSIC NEW FILM EXAMINES THE LIFE & MUSIC OF APPALACHIAN PEOPLE ike O Brother, Where Art Thou, singing ballads Songcatcher is a movie where the and young folks plot is built to showcase the fiddling away on music. As with O Brother... the the corner. music being trumpeted is from Songcatcher Appalachia. The haunting songs attempts to give us a glimpse into life in the Songcatcher in the film, as well as on the mountains at the turn of the century. Dr. Lily L soundtrack, represent some of Penleric (JANET MCTEER) is an academic WRITTEN & DIRECTED BY America’s most powerful musical folklorist. When she is passed over again for MAGGIE GREENWALD influences - the roots that later sprout into blue- university promotion, she leaves the universi- WITH JANET MCTEER, EMMY ROSSUM, grass, country music, folk singing, and eventually, the Southern- ty and heads to the mountains where her sister runs a local PAT CARROLL, AIDAN QUINN influenced rock ‘n roll of Elvis Presley. Appalachia remains a schoolhouse. Once there, she “discovers” the treasure-chest hotbed of creative music with new stars such as Iris DeMent ris- of music, sung with such expression and depth that she is at ing out of the old traditions with the rarest of gifts: a high lone- once inspired to tell the world (and make her statement to the some voice and a simple song that can shatter a person’s heart.
    [Show full text]
  • The Life, Music, and Impact of Hazel Dickens Kelly Landers
    University of Richmond UR Scholarship Repository Honors Theses Student Research 2010 Freedom's disciple : the life, music, and impact of Hazel Dickens Kelly Landers Follow this and additional works at: https://scholarship.richmond.edu/honors-theses Part of the Leadership Studies Commons, and the Music Commons Recommended Citation Landers, Kelly, "Freedom's disciple : the life, music, and impact of Hazel Dickens" (2010). Honors Theses. 1066. https://scholarship.richmond.edu/honors-theses/1066 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. UNIVERS TY OF RICHMOND LIBRARIES \1\\1 \\\I\\\\\\ I\ I\\\\II \I\ I\\ I\\\\ I\I\ \\\\ I\\ \I\I\ \ \\\ I\\I\ \\II 3 3082 01040 2435 Freedom's Disciple: The Life, Music, and Impact ofHazel Dickens by Kelly Landers Honors Thesis in LeadershipStudies Universityof Richmond Richmond, VA April 29, 2011 Advisor: Dr. Gary McDowell Abstract Freedom's Disciple: The Life,Music, and Impact of Hazel Dickens Kelly Landers Committee members: Dr. Gary McDowell, Dr. Terry Price, Dr. Dorothy Holland The work of Appalachian musician Hazel Dickens sheds light on many of the musical and cultural changes in our country. Dickens used her music as a voice forthe disadvantaged, advocating for improvements in the lives of miners, working-class people, and women, and pushing forall to be treated equally. A wonderfulsongwriter, performer, and overall musician, Dickens saw her career, music, and beliefs as inextricably linked, and so this thesis will explore her leadership by analyzing her songs and her history.
    [Show full text]
  • Senator Carmichael, Mr. President, in the Chair.)
    ____________ Charleston, West Virginia, Monday, February 4, 2019 The Senate met at 11:07 a.m. (Senator Carmichael, Mr. President, in the Chair.) Prayer was offered by Seth Polk, Lead Pastor, Cross Lanes Baptist Church, Cross Lanes, West Virginia. The Senate was then led in recitation of the Pledge of Allegiance by the Honorable Chandler Swope, a senator from the sixth district. Pending the reading of the Journal of Friday, February 1, 2019, At the request of Senator Beach, unanimous consent being granted, the Journal was approved and the further reading thereof dispensed with. The Senate proceeded to the second order of business and the introduction of guests. The Clerk presented the following communication from a state agency as required by the provisions of law: Administration, Department of (Comprehensive Procurement Program for Recycled Products) (§22-15A-21) The Senate then proceeded to the third order of business. A message from the Clerk of the House of Delegates announced the concurrence by that body in the passage of Eng. Com. Sub. for Senate Bill 255, Relating to Emergency Medical Services Advisory Committee. A message from the Clerk of the House of Delegates announced the passage by that body and requested the concurrence of the Senate in the passage of 2 JOURNAL OF THE SENATE [February 4 Eng. Com. Sub. for House Bill 2001—A Bill to amend and reenact §11-21-12 of the Code of West Virginia, 1931, as amended, relating to exempting social security benefits from personal income tax; clarifying that tier one railroad retirement benefits are not subject to personal income tax; specifying an effective date; and removing obsolete language.
    [Show full text]
  • Ctba Newsletter 1105
    1 COPYRIGHT © CENTRAL TEXAS BLUEGRASS ASSOCIATION IBMA Member Central Vol. 33 No. 5 Texas Bluegrass May 1, 2011 Copyright © 2011 by Central Texas Bluegrass Association A Mournful Sound is Blowing Through Texas It was quite a shock to learn of the sudden and tragic death of Jake Jenkins, a native Texan and accomplished songwriter and banjo player for the “Karl Shiflett and Big Country Show” band be- tween 1993 and 2003. Jake (age 40) and his parents Dan and Dorothy Jenkins were killed early Sunday morning on March 27, 2011 when the small, single-engine vin- tage plane Jake was piloting crashed near his private air strip in rural Dickens County. I had the pleasure of meeting Jake and his young son Eli a year ago when CTBA brought Jake out of retirement--albeit briefly--to do a blue- grass show at Rice- Grass: An Old Timey and Bluegrass festival in Fischer, Texas on March 28, 2010. I remember making a cold call to Jake at his home in Dickens, Texas (near Lubbock) a few weeks prior to the festival to see if we could lure him away from his professional firefighting career in Lubbock, which he had begun in 2005 in order to be closer to his family. It wasn’t that hard to convince him--you could just tell he had music in his bones and was chomping at the bit to get back on stage. Jake enthusiastically agreed even though he claimed to be pretty “rusty” on the banjo. Although he had been playing occasionally with the Hicko- ry Hill Band, we invited Jake to come and perform at Ricegrass with an all-star cast of local musicians that we knew were sure to impress--Dennis McDaniel on mandolin, Chojo Jacques on fiddle, Tom Ellis on bass, and Jeff Robertson on guitar/vocals.
    [Show full text]
  • Musics of STRUGGLE
    Musics OF STRUGGLE Anthony Seeger INTRODUCTION will present some of the music they have used in their If music were not a powerful resource in social and struggles, and you will have an opportunity to contrib­ political struggles it would not be so widely censored, ute your own songs of struggle to the archives of the controlled, and surrounded with restrictions. All around Smithsonian Institution's Office of Folklife Programs by the world music creates loyalties and galvanizes oppo­ singing them to collectors at the Festival. This short sition so well that music itself sometimes becomes an essay outlines some general features of music in social object of struggle, rather than an expression of broader struggles. By no means complete, readers can supple­ issues. Americans with long memories will recall the ment it with examples from their own experience and politically motivated artist blacklisting in the 1950s, the with the books and records cited in the bibliography. 1 moral furor over the Rolling Stones in the 1960s, and many other so-called "crises" that prefigured today's uneasiness about rap and heavy metal. As I write, How Is Music MEANINGFUL? several states are debating record labeling statutes, Music consists of structured sounds, including pitches Newsweek presents a cover story on rap music (March that are combined to form melodies, beats that are 19, 1990 with letters in subsequent issues), and Gary combined to form rhythms, and sound textures that are Trudeau's comic strip "Doonesbury" caricatures the combined to form what musicians call timbres. Repeti­ generational, exclusionary, aspects of American popu­ tive patterns are central to all music, and the patterns are lar music (Tbe Washington Post, March 5-10, 1990).
    [Show full text]
  • About the Band: Linda Lay and the Springfield Exit LFCC Shrimp Feast
    About the Band: Linda Lay and the Springfield Exit Bluegrass and acoustic country music in the Valley. Tight vocal harmonies and a dynamic rhythmic groove are the hallmarks of Springfield Exit’s sound. Vocalist Linda Lay heads an all-star ensemble of award-winning instrumentalists. She spent her early years with Janette Carter at the Carter Family Fold near Bristol, Virginia. With her husband and founding Springfield Exit guitarist David Lay, Linda has toured nationally with the masters of the Steel String Guitar and is the featured vocalist on the Virginia Foundation for the Humanities' "Taking the Crooked Road Home." A Master Artist in traditional singing for the Virginia Folklife Program, Linda has performed with singers across several genres of music, from country's Vern Gosdin and Carl Jackson to Piedmont blues singer John Cephas. Mandolin player David McLaughlin is Springfield Exit's third founding member. He's perhaps best known for his signature playing and harmony singing with the Johnson Mountain Boys, appearing on eight of their albums for the major indie label Rounder Records, two of which were Grammy finalists. The band's live album won the first International Bluegrass Music Association (IBMA) Album of the Year award. Numerous session credits include his work with Appalachian singer and National Heritage Fellowship winner Hazel Dickens. Singer and songwriter Marshall Wilborn is a 4-time IBMA Bass Player of the Year whose songs have been recorded by Alison Krauss, Rhonda Vincent, and Sierra Hull. Originally from Austin, Texas, Marshall is one of the most sought-after Bluegrass session and touring bassists, performing and recording with the Bluegrass super-group, Longview on all of their albums.
    [Show full text]
  • Second Annual Friends of the Festival Ralph Rinzler M~Morial Concert Saturday, July 6, 5:3B P.M
    Second Annual Friends of the Festival Ralph Rinzler M~morial Concert Saturday, july 6, 5:3b p.m. I Hazel Dickens: A Life's W~rk his concert series celebrates work anq to com­ 'T the achievements of the memorate the founding director of the fruits of thirty Smithsonian's Center for Folklife years of the Programs&: Cultural studies (for­ Fes9,val's advocacy merly the Office of Folklife of these artists and Programs) and of the Festival of mu-sical forms. American Folklife, Ralph Rinzler, Hazel Dickens, the who died in july 1994. Acco'tding featured artist at to Richard D. Smith in the August this year's concert, 1994 issue of Bluegrass- Unlimited, was a long-time Ralph was "one of t4e most i~flu­ friend of Ralph's · ential figures in bluegrass, folk and . and is a powerful old-time country music history ... singer, songwriter, [I]t isJargely due to Rinzler's efforts and spokesperson Hazel Dickens and-Ralph Rinzle-r; Deep Gap, NC, ca. 1963. / ... that folk festivals enrich the lives ' for women's and Photo prob'ably by Joan Shagan _ of hundreds of thousands ·of workers' rights seven !llajor concerts, from Americans; and that bluegrass and whom Ralph hel~ in high esteem. , - Philadelphia to Boston, which was " ./ old-time music delight millions Hazel Dickens grew up in my first exposure .to a large stage."* more around the world." Before Mercer County, West Virginia, the Her career took her to perfor- coming to the Sm1thsonian Ralph eightP- of eleven children. Her mances at the White House and had serv'ed as fieldworker for the (ather was a Primitive Baptist '\ the Grand Old Opry Newport Folk Festival, managed preacher who worked in the coal Hazel has been a frequen~ par­ Doc Watson and Bill Monroe, and mines and picked ola~time banjo.
    [Show full text]