DOCSLIB.ORG

The Sixties: Dylan Plugs in and Sells out How One Moment Defined a Generation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Sixties: Dylan Plugs in and Sells out How One Moment Defined a Generation The Sixties: Dylan Plugs in and Sells Out How One Moment Defined a Generation Essential Question How did one moment in the 1960s come to symbolize the larger social changes of the era? Overview Students learn about Bob Dylan’s transformation from folk hero to blues rocker through excerpts from the Bob Dylan Guitar investigation. They then compare and contrast reactions to Bob Dylan’s playing electric guitar at the Newport Folk Festival in order to understand how that one event came to symbolize larger social changes. Related Episode: Dylan’s Guitar Investigation Dawn Peterson’s dad was a pilot in the 1960s. He flew many singers and music acts, including Bob Dylan. Shortly after Newport Folk Festival in 1965, someone left a guitar behind in the plane. Dawn Peterson - and her father - believe the guitar is not only Dylan’s, but the very guitar he played during his legendary set at Newport in 1965. Hosts Elyse Luray and Wes Cowan are out to find out if this is the guitar Dylan “plugged in.” Suggested Grade Level This lesson is written for grades 9-12 but could be adapted for use in grades 6-8 as well. Suggestions for adaption include: to provide students with the necessary background, before beginning task small groups with researching different aspects of the 1960s: Civil Rights Movement, Vietnam War, Cold War, counterculture/hippies, Feminism, last days of the Hayes Code/end of Old Hollywood, assassinations of major leaders (JFK, Martin Luther King, RFK, Malcolm X), and the British Invasion; limit the number of web resources students view; print web resources and highlight relevant information. Suggested Unit of Study This lesson is appropriate for American History units on post-World War II American society, the Cold War, and the Civil Rights Movement. © 2012 Oregon Public Broadcasting all rights reserved Materials Video: Dylan Plugs In History Detective Elyse Luray talks with Bob Dylan expert Andy Greene, who describes the historic night at the Newport Folk Festival in 1965 when Dylan first played electric guitar. Incredible Leaps Elyse Luray talks with Jonathan Taplin, one of Dylan’s roadies who was at Newport, and argues that Dylan did not sell out but made a gigantic artistic leap forward. Reproducible: Reactions to Dylan at Newport, 1965 Computers/Technology Lab with access to the internet Estimated Time Required 1-2 class periods Background Folk music in the 1960s was characterized by melodies performed on acoustic guitars and banjos and song lyrics dealing with progressive politics. Bob Dylan began his career as an acoustic troubadour, singing protest ballads that won over the folk music establishment. He became one of the most popular performers in the folk music scene and wrote the iconic song “The Times They Are A-Changing.” At the Newport Folk Festival, an annual performance festival, in 1965, Bob Dylan defied expectations and arrived with a backing band and electric guitar. The audience was disappointed and let Dylan know it by booing him off the stage. Others, however, saw Dylan’s electric performance as a gigantic leap forward in his artistic development. Dylan’s revolutionary act at Newport Folk Festival struck a chord in a generation struggling with its own loss of innocence. © 2012 Oregon Public Broadcasting all rights reserved Set Up Photocopy the Reactions to Dylan at Newport, 1965” reproducible Bookmark the websites listed in the Activity section of this lesson plan on the web browsers in the technology lab or create a web page (see tumblr.com or blogger.com to set up a class webpage) with links to these sites. Discussion Questions Have students watch the video Dylan Plugs In while taking notes on the following. Afterwards, use the questions to assess comprehension and prompt discussion: What was Bob Dylan’s role in the folk revival of the 1960s? What happened at Newport Folk Festival in 1965? How did Bob Dylan’s music change in 1965? Why was the folk movement upset with Dylan? Can you think of any other artists who drastically changed styles? How did people react to them? Activity After showing the episode excerpt from the History Detectives episode Bob Dylan Guitar, review with students the major events of the 1960s (Civil Rights Movement, Vietnam War, Cold War, counterculture/hippies, Feminism, last days of the Hayes Code/end of Old Hollywood, assassinations of major leaders (JFK, Martin Luther King, RFK, Malcolm X), and the British Invasion). Lead a discussion about the volatility of the decade: What was the mood of the country during the 1960s? What important events were taking place? What were the conflicts within the country? What were the international conflicts? What was the role of young Americans during this time? How were attitudes among the nation’s youth changing? Based on what you know about the 1960s, make a guess: Why did Dylan’s performance at Newport in 1965 provoke so much emotion? Watch the video Incredible Leap as a class, then direct students to investigate the varied reactions to Dylan plugging in at Newport by reviewing the following sources on the Internet: Open Letter to Bob Dylan In Defense of Bob Dylan From 33 Revolutions per Minute, pages 67-69 Sing Out! Highlights from the Folk Music Bible Bruce Springsteen on Dylan Dylan at Newport: Who Booed? Mods, Rockers Fight Over New Thing Called “Dylan” Dylan Conquers Unruly Audience © 2012 Oregon Public Broadcasting all rights reserved Using the Reactions to Dylan at Newport, 1965 reproducible to record their thoughts, have students consider: Who is writing this piece? Did they approve or disapprove of Dylan plugging in? What reasons do they cite? Then lead a discussion about how this one event came to be a defining moment for a generation. What did the people who were critical of Dylan’s plugging say about his artistic choice? What did the people who were excited by his plugging in say? What common threads did you see among the comments? What did folk music represent to its fans? What did rock music represent? What was it about this one event that touched so many young people in the 1960s? What change in America did this event come to represent? Going Further Have students consider and research iconic events or acts of cultural importance of the current generation or recent decades. Then, have them write an essay or give a visual presentation on the topic: What event in your lifetime has a similar importance or cultural value as Dylan’s plugging in? Why? More on History Detectives Use the following episodes or lesson plans from History Detectives to enhance the teaching of this lesson in your classroom. Suggestions Lesson Plan: Lunch Counter Closed: Examining the Strategies of the Civil Rights Movement Video: Hot Town Poster Investigation, Beatles Autographs Investigation Resources A Visual Journey: Photographs by Lisa Law, 1965-1971. Photo essay, with commentary, about the counterculture in the 1960s. Includes a timeline of important events. (Note: includes discussion of drug use and sexuality.) The Sixties. PBS website covering events of the Sixties, including politics, revolutions, pop culture, war and peace, and a timeline feature. The 1960s. Overview of the 1960s, with links to further articles and video, from History.com Bob Dylan: No Direction Home Lesson Plan. Lesson plan about Bob Dylan and the 1960s from PBS “American Masters” © 2012 Oregon Public Broadcasting all rights reserved Standards National History Standards Historical Thinking 2. Historical Comprehension: The student comprehends a variety of historical sources 3. Historical Analysis and Interpretation: The student engages in historical analysis and interpretation 4. Historical Research Capabilities: The student conducts historical research US History Content Standards, Grades 5-12 Era 9: Postwar United States (1945-1970s) Standard 1: The economic boom and social transformation of postwar United States Standard 2: How the Cold War and conflicts in Korea and Vietnam influenced domestic and international politics Standard 4: The struggle for racial and gender equality and the extension of civil liberties Common Core State Standards 6-8 CCSS.ELA-Literacy.RH.6-8.1 Cite specific textual evidence to support analysis of primary and secondary sources. CCSS.ELA-Literacy.RH.6-8.2 Determine the central ideas or information of a primary or secondary source; provide an accurate summary of the source distinct from prior knowledge or opinions. CCSS.ELA-Literacy.RH.6-8.6 Identify aspects of a text that reveal an author’s point of view or purpose (e.g., loaded language, inclusion or avoidance of particular facts). 9-10 CCSS.ELA-Literacy.RH.9-10.1 Cite specific textual evidence to support analysis of primary and secondary sources, attending to such features as the date and origin of the information. CCSS.ELA-Literacy.RH.9-10.2 Determine the central ideas or information of a primary or secondary source; provide an accurate summary of how key events or ideas develop over the course of the text. © 2012 Oregon Public Broadcasting all rights reserved CCSS.ELA-Literacy.RH.9-10.6 Compare the point of view of two or more authors for how they treat the same or similar topics, including which details they include and emphasize in their respective accounts. CCSS.ELA-Literacy.RH.9-10.9 Compare and contrast treatments of the same topic in several primary and secondary sources. 11-12 CCS.ELA-literacy.RH.11-12.1Cite specific textual evidence to support analysis of primary and secondary sources, connecting insights gained from specific details to an understanding of the text as a whole. CCSS.ELA-Literacy.RH.11-12.2 Determine the central ideas or information of a primary or secondary source; provide an accurate summary that makes clear the relationships among the key details and ideas.
Load more

Recommended publications
  • 1960S Folk Ch 5 AU 14.Pptx
    The 1960s Rebellion with a Cause Rebel without a Cause James Dean - 1955 1 Rebellion with a Cause Civil Rights Movement and Popular Music • Though rock and roll had bridged some racial divisions, it was avoided by civil rights activists as an emblem for their movement – Commercial success seemed inappropriate to associate with struggle against authority • Early worker’s union songs of solidarity “moved the movement” (Civil Rights) not rock – International Workers of the World (IWW) – Labor movement (1905)organized protests to secure equality for all workers – protest songs served as unifying force – IWW closed after World War I because of fears that it was a Communist organization • The Civil Rights movement opened the door for many black artists and black-owned record labels Woody Guthrie (1912-1967) Pete Seeger (1919-2014) • Folk music - English, Irish and Welch music brought to US by immigrants in 19th century • Simple acoustic songs about common people and ordinary events • 20th century Woody Guthrie and Pete Seeger brought political material to traditional folk music Pete Seeger • Seeger sang with the band “The Weavers” If I Had a Hammer (1949) • Sang politically motivated songs to promote social action and support labor movements • Sang for peace, civil rights, and workers’ rights • Both Seeger and Guthrie “blackballed” as communists during McCarthy Hearings (1954) – Folk music popularity diminished until revival in early 1960s partially because of presumed connections to Communism 2 • Woody Guthrie - “This Land is your Land” (1940) written in part to show distaste for Irving Berlin’s “God Bless America” (1939) which he felt was unrealistic and did not represent all people • “I sing the songs of the people that do all of the little jobs and the mean and dirty hard work in the world and of their wants and their hopes and their plans for a decent life” - Woody Guthrie God Bless America Irving Berlin (1939) God Bless America, Land that I love.
    [Show full text]
  • David-Mallett-Press-Bio.Pdf
    DAVID MALLETT BIOS 150 Words David Mallett hails from a small town in northern Maine, and in a career that spans four decades, his music has traveled to all corners of the world. His songs have been recorded by more than 150 artists, including Pete Seeger, Alison Krauss, John Denver, Emmylou Harris, and even the Muppets, and his "Garden Song" has become an American folk classic. He has performed in town halls and folk clubs across America and Europe in addition to major venues such as Barns of Wolf Trap, Newport Folk Festival, and "Prairie Home Companion". The Bangor Daily News recognized him as one of the 58 most memorable Mainers of the 20th Century. The readers of FOLKWAX (www.folkwax.com) voted him 2003 Artist of the Year and "Artist in Me" 2003 Album of the Year. He has recorded 17 albums, including “The Fable True” (2007), based on Thoreau’s last expedition in 1857, a spoken word CD with accompanying music. 100 Words David Mallett hails from a small town in northern Maine, and in a career that spans four decades, his music has traveled to all corners of the world. His songs have been recorded by more than 150 artists, including Pete Seeger, Alison Krauss, John Denver, Emmylou Harris, even the Muppets, and his "Garden Song" has become an American folk classic. He has performed throughout America and Europe. The Bangor Daily News recognized him as one of the 58 most memorable Mainers of the 20th Century and the readers of FOLKWAX (folkwax.com) honored him with both 2003 Artist of the Year and Album of the Year for "Artist in Me".
    [Show full text]
  • A Singer Who Let That Big Light of Hers Shine by Dwight Garner Odetta Performing on Stage in London in 1963
    A Singer Who Let That Big Light of Hers Shine By Dwight Garner Odetta performing on stage in London in 1963. Ronald Dumont/Hulton Archive, via Getty Images In the biography of nearly every white rock performer of a certain vintage, there’s a pivotal moment — more pivotal than signing the ill-advised first contract that leads to decades of litigation, and more pivotal than the first social disease. The moment is when the subject watched Elvis Presley’s appearance on “The Ed Sullivan Show” on Sept. 9, 1956. For Black audiences and many future musicians, the crucial moment came three years later. On Dec. 10, 1959, CBS, in partnership with Revlon, broadcast a prime-time special called “Tonight With Belafonte,” produced and hosted by Harry Belafonte, the debonair and rawboned Jamaican- American singer. These weren’t easy years for Black families to gather around the television. As Margo Jefferson wrote in her memoir “Negroland,” they turned on the set “waiting to be entertained and hoping not to be denigrated.” Belafonte was given artistic control over his program. He told executives he wanted a largely unknown folk singer named Odetta to perform prominently. One executive asked, “Excuse me, Harry, but what is an Odetta?” Revlon was bemused to learn she did not wear makeup. The hourlong show was commercial-free except for a Revlon spot at the beginning and end. At the start, Belafonte sang two songs. In what is, amazingly, the first in-depth biography of this performer, “Odetta: A Life in Music and Protest,” the music writer Ian Zack picks up the story.
    [Show full text]
  • Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94
    Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94 By Jon Pareles, The New York Times, 1/28 Pete Seeger, the singer, folk-song collector and songwriter who spearheaded an American folk revival and spent a long career championing folk music as both a vital heritage and a catalyst for social change, died Monday. He was 94 and lived in Beacon, N.Y. His death was confirmed by his grandson, Kitama Cahill Jackson, who said he died of natural causes at NewYork-Presbyterian Hospital. Mr. Seeger’s career carried him from singing at labor rallies to the Top 10 to college auditoriums to folk festivals, and from a conviction for contempt of Congress (after defying the House Un-American Activities Committee in the 1950s) to performing on the steps of the Lincoln Memorial at an inaugural concert for Barack Obama. 1 / 13 Pete Seeger, Songwriter and Champion of Folk Music, Dies at 94 For Mr. Seeger, folk music and a sense of community were inseparable, and where he saw a community, he saw the possibility of political action. In his hearty tenor, Mr. Seeger, a beanpole of a man who most often played 12-string guitar or five-string banjo, sang topical songs and children’s songs, humorous tunes and earnest anthems, always encouraging listeners to join in. His agenda paralleled the concerns of the American left: He sang for the labor movement in the 1940s and 1950s, for civil rights marches and anti-Vietnam War rallies in the 1960s, and for environmental and antiwar causes in the 1970s and beyond.
    [Show full text]
  • Worldwide Movie Culture Returns at This Year's Rhode
    Worldwide Movie Culture Returns At This Year’s Rhode Island International Film Festival Entering its 18th year since its founding by George T. Marshall, the founder of the Flicker Arts Collaborate, RIIFF has become a focal point of international films by everyone from up-and-coming filmmakers to highly seasoned actors and directors. Between August 5 and 10 this year, roughly 270 films will be shown including Flavio Alves’ Tom In America, Marcelo Mitnik’s En las nubes (In the Clouds), and Selcuk Zvi Cara’s Mein Leztes Konzert (My Last Concert). Since 2002, the RIIFF has been a qualifying festival for the Academy Awards in short film categories. Numerous stars and celebrities have attended RIIFF over the past decade including Seymour Cassel, Andrew McCarthy, Kim Chan and Michael Showalter. Some have had the honor of receiving the Festival Lifetime Achievement Award. In 2001 it was awarded to Breakfast At Tiffany’s director, Blake Edwards, accepted by his wife, renowned actress Julie Andrews. In 2009, the honor went to the multi-Emmy and Golden Globe nominated Academy Award winner Ernest Borgnine. This year’s recipient is Theodore Bikel, known for originating the role of Captain Van Trapp in “The Sound of Music” on Broadway and Oscar nominated for 1958’s The Defiant Ones. Bikel speaks 10 languages, and will be presenting his film, “Journey 4 Artists” a multi-lingual, musical piece that seeks to bridge cultural gaps through folk music and stories, including Bosnian, Jewish and Arabic samples. It will be paired with Cara’s Mein Leztes Konzert, a short Yiddish film about a composer, which Quirk calls, “A visual poem.
    [Show full text]
  • Sit Back, Relax and Groove to This Playlist Curated by Jenni Muldaur and David Brendel
    Sit back, relax and groove to this playlist curated by Jenni Muldaur and David Brendel Joni Mitchell - "Big Yellow Taxi” - Live at Isle of Wight, 1969. Gilberto Gil - “Eu Vim Da Bahia” Ike & Tina Turner - Live in Ghana, 1971 - from the film “Soul To Soul.” Caetano Veloso - "Cuccurcucu Paloma” Van Morrison & Bob Dylan - “Crazy Love” Anita O’Day - “Tea For Two” - from "Jazz On A Summer’s Day.” Big Maybelle - “All Night Long” - from "Jazz On A Summer’s Day.” Sam Amidon - “As I Roved Out” Bob Dylan - “Mr. Tambourine Man” - from the film “Festival." Louis Armstrong - “Up A Lazy River” - from "Jazz On A Summer’s Day.” Anita O’Day - “Sweet Georgia Brown” - from "Jazz On A Summer’s Day.” Cello - Live from Newport - from "Jazz On A Summer’s Day.” Mississippi Fred McDowell - "Highway 61” - from the film “Festival. Joni Mitchell - “Coyote” Simon & Garfunkel - “America” Toquinho & Gilberto Gil - "Tarde em Itapoã” U2 - “I Will Follow” The Voices of East Harlem - “For What’s Worth” - from the film “Soul To Soul.” “Jazz On A Summer’s Day” Bruce Springsteen & Guest - “Growin’ Up” Gene Kelly, Debbie Reynolds, Donald O'Connor - “Singin’ In The Rain” Wilco & Billy Bragg - “California Stars” Notes On The Music from David Brendel •. Joni Mitchell - "Big Yellow Taxi” - Live at Isle of Wight, 1969. “They paved paradise and put up a parking lot.” What else is there to say? •. Gilberto Gil - “Eu Vim Da Bahia” - Gil is a mythic figure in Brazilian Popular Music. Musically and culturally he has the presence of a Stevie Wonder or a Bob Marley.
    [Show full text]
  • The Caravan Playlist Friday, November 15, 2013 Hour 1 Artist Track CD/Source Label Myshkin's Ruby Warbler Ruby Warbler Ro
    The Caravan Playlist Friday, November 15, 2013 Hour 1 Artist Track CD/Source Label Myshkin's Ruby Warbler Ruby Warbler Rosebud Bullets Double Salt Records - c 2002 Andrew Bird Souverian Noble Beast Fat Possum - c 2009 Michael Hedges When I Was 4 A Quiet Revolution Windham Hill - c 2005 Joanna Newsome On A Good Day Have One On Me Drag City - c 2010 One Mile An Hour Magpie Song One Mile An Hour Snowbird Records c 2012 Lizz Wright A Taste of Honey Dreaming Wide Awake Verve - c 2005 Odetta House Of The Rising Son Best of Odetta M.C. Records - c 2008 Myshkin Ruins Blue Gold Binky Records - c 1998 Odetta O Jerusalem Best of Odetta M.C. Records - c 2008 Maggie Koerner Dear Pril Neutral Ground 4 Mile Drive -c 2013 William Ackerman Visiting A Quiet Revolution Windham Hill - c 2005 Be Good Tanyas Scattered Leaves Collection Nettwerk Records - c 2012 Patty Griffin I Don't Ever Give Up Children Running Through ATO Records - c 2007 Amazing Grace Unknown Auto Harp Anonymous Private Recording - c 2002 Hour 2 Artist Track Concert Source Charles Bradley Mighty Mighty Newport Folk Festival 2012 NPR Music - c 2012 Charles Bradley Heartaches and Pain Newport Folk Festival 2012 NPR Music - c 2012 Charles Bradley No Time For Dreaming Newport Folk Festival 2012 NPR Music - c 2012 Charles Bradley Lovin' You Newport Folk Festival 2012 NPR Music - c 2012 Charles Bradley The World Newport Folk Festival 2012 NPR Music - c 2012 Charles Bradley How Long Newport Folk Festival 2012 NPR Music - c 2012 Charles Bradley Slip Away Newport Folk Festival 2012 NPR Music - c
    [Show full text]
  • The Caravan Playlist 252 Friday, June 15, 2018 Hour 1 Artist Track CD
    The Caravan Playlist 252 Friday, June 15, 2018 Hour 1 Artist Track CD/Source Label Myshkin's Ruby Warbler Ruby Warbler Rosebud Bullets Double Salt Records - c 2002 Andrew Bird Souverian Noble Beast Fat Possum - c 2009 Michael Hedges When I Was 4 A Quiet Revolution Windham Hill - c 2005 Joanna Newsome On A Good Day Have One On Me Drag City - c 2010 One Mile An Hour Magpie Song One Mile An Hour Snowbird Records c 2012 Lizz Wright A Taste of Honey Dreaming Wide Awake Verve - c 2005 Odetta House Of The Rising Son Best of Odetta M.C. Records - c 2008 Myshkin Ruins Blue Gold Binky Records - c 1998 Odetta O Jerusalem Best of Odetta M.C. Records - c 2008 Maggie Koerner Dear Pril Neutral Ground 4 Mile Drive -c 2013 William Ackerman Visiting A Quiet Revolution Windham Hill - c 2005 Be Good Tanyas Scattered Leaves Collection Nettwerk Records - c 2012 Patty Griffin I Don't Ever Give Up Children Running Through ATO Records - c 2007 Amazing Grace Unknown Auto Harp Anonymous Private Recording - c 2002 Hour 2 Artist Track Concert Source Emmylou Harris Live Six White Cadillacs Newport Folk Festival 2011 NPR Music - c 2011 Emmylou Harris Live Orphan Girl Newport Folk Festival 2011 NPR Music - c 2011 Emmylou Harris Live Red Dirt Girl Newport Folk Festival 2011 NPR Music - c 2011 Emmylou Harris Live Kern River Newport Folk Festival 2011 NPR Music - c 2011 Emmylou Harris Live Hello Stranger Newport Folk Festival 2011 NPR Music - c 2011 Emmylou Harris Live Michelangelo Newport Folk Festival 2011 NPR Music - c 2011 Emmylou Harris Live Pancho and Lefty Newport
    [Show full text]
  • 1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
    Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll.
    [Show full text]
  • What the Folk? a Few Takes on What Folk Music Means Today
    What the Folk? A few takes on what folk music means today Tuesday, September 08, 2009 By Andrew Illif Connecticut Folk Fest With Amos Lee, Caravan of Thieves, Jason Spooner Trio, Martyn Joseph, Professors of Bluegrass, Avi & Celia, Pamela Means, Lyndell Montgomery and Chris Pureka. Sept. 11–13. (203) 392-6154). ctfolk.com Folk music has endured a certain existential angst since at least Bob Dylan's infamous Newport electrocution of the form in 1965. These days, none but the most senior practitioners describe their music simply as folk — younger musicians always hedge their bets with at least one hyphenated modifier — freak-folk, say, or neo- folk. In its 17 year history, the Connecticut Folk Festival — which comes to Edgerton Park this weekend — has hosted many established folkies including Richard Thomspon, Bruce Cockburn and Steve Earle. But it has also seen a diverse array of the current generation of young, hybrid folk musicians, bringing in elements of country, blues, jazz and many other influences. In the process, the festival has diversified and hyphenated a little itself, expanding its focus to include a Green Expo highlighting environmentally-responsible projects and a bicycle tour of local farms alongside the music, which has been the festival's bread and butter. We talked with three of the performers who will be gracing the various stages this weekend. Caravan of Thieves incubated in Bridgeport's Fairfield Theater, the husband and wife duo of Carrie and Fuzz San Giovanni evolving into a quartet that borrows in equal measure from Django Reinhardt's arch and agile guitars and Tom Waits' junkyard percussion.
    [Show full text]
  • The Influence of the Folk Music Revival on the Antiwar Movement During the Vietnam Era
    Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 12-19-2019 A Different Master of War: The Influence of the olkF Music Revival on the Antiwar Movement during the Vietnam Era Isabelle Gillibrand Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Social History Commons, and the United States History Commons A Different Master of War: The Influence of the Folk Music Revival on the Antiwar Movement during the Vietnam Era Isabelle Gillibrand Salve Regina University Department of History Senior Thesis Dr. Neary December 6, 2019 The author would like to express gratitude to Salve Regina University’s Department of History for financial support made possible through the John E. McGinty Fund in History. McGinty Funds provided resources to travel to Memphis and Nashville, Tennessee in the spring of 2019 to conduct primary research for the project. “What did you hear, my blue-eyed son? What did you hear, my darling young one?” -Bob Dylan, “A Hard Rain’s a-Gonna Fall,” 1963 In the midst of victorious rhetoric from the government, disturbing insight from the news media, and chaos from the protests, people heard the music of the Vietnam War era. The 1960s was known as a time of change, ranging from revised social norms to changing political stances to new popular music. Everyone seemed to have something to say about the war, musicians being no exception. The folk revival in the 1960s introduced young listeners to a different sound, one of rebellion and critical thought about their country.
    [Show full text]
  • The University Seal 1934
    The University Seal 1934 This seal depicts Our Lady of Mercy enclosed in a circle and standing before a cross. Around Our Lady’s head is inscribed the motto: Maria Spes Nostra, Mary our Hope. On one side of the base is the lamp of wisdom, and on the other, the book of learning. This seal, according to the bylaws, shall be affixed to all official documents and decrees prepared by Salve Regina University. 1 Academic Procession CHIEF MARSHAL FLAG BEARERS DEGREE CANDIDATES Bachelor of Arts and Science Bachelor of Arts Bachelor of Science Associate of Arts ALUMNAE OF THE 50TH ANNIVERSARY CLASS OF 1967 DIRECTORS FACULTY MARSHAL FACULTY PRESIDENT’S MARSHAL PRESIDENT’S PARTY Elected Officials Class Dean Administrators Honorary Degree Recipients Members of the Board of Trustees Chancellor President 2 Order of Exercises PROCESSIONAL MASTER OF CEREMONIES Scott C. Zeman, Ph.D. Provost and Vice President for Academic Affairs THE NATIONAL ANTHEM INVOCATION Anna Mae Mayer, D.Min. Director, Mercy Center for Spiritual Life UNIVERSITY HYMN Salve Regina GREETINGS FROM The United States Senate The City of Newport AUTHORIZATION OF DEGREES Janet L. Robinson Chairman of the Board of Trustees CONFERRING OF DEGREES Jane Gerety, RSM, Ph.D. President of the University CONFERRING OF HONORARY DEGREES ADDRESS TO THE GRADUATES Jon Batiste Educator and Musician CONFERRING OF DEGREES MESSAGE FROM THE CLASS DEAN Martha McCann Rose, Ph.D. Dean of the Class of 2017, Professor of Education THE ALUMNI ASSOCIATION INDUCTION Michael Semenza Vice President for University Relations and Advancement MESSAGE TO THE GRADUATES Jane Gerety, RSM, Ph.D.
    [Show full text]