Pete Seeger and Intellectual Property Law
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Toshi Aline Ohta Seeger(1922 - 2013) Toshi Aline Ohta Seeger
Toshi Aline Ohta Seeger(1922 - 2013) Toshi Aline Ohta Seeger Beacon - Toshi Aline Ohta Seeger 1922-2013 Born in Munich, Germany in 1922 to an American mother and a Japanese father, Toshi Seeger, loving wife to Pete Seeger, died peacefully at home at age 91 on the 9th of July 2013. Toshi's mother gave birth July 1st, 1922 while traveling in Germany. She entered this country at six months of age and took up residence with her mother, Virginia Harper Berry from Washington D.C. and father, Takashi Ueda Ohta from Shikoku, Japan. She lived in Greenwich Village and Woodstock NY in the 1920s, 30s , and 40s. Her parents and half sister Aline Dixon were a part of the theatre community and she grew up surrounded by art and theatre. Toshi attended The Little Red School House in New York City and graduated from the High School of Music and Art in 1940. She was a community volunteer, festival organizer, writer, filmmaker, road manager, potter, loving mother, grandmother, great grandmother and aunt. She met her husband, folk singer and activist, Pete Seeger in 1939. They married in NYC in 1943, while Pete was on leave from the army. Toshi passed away eleven days shy of their 70th wedding anniversary. Toshi and Pete were partners in every sense of the word. They collaborated on everything from building their log cabin and organizing festivals big and small. This was made possible only through Toshi's tireless work, creative mind and meticulous organizational skills. Toshi served on the New York State Council of the Arts and marched with Dr. -
Various Lonesome Valley (A Collection of American Folk Music) Mp3, Flac, Wma
Various Lonesome Valley (A Collection Of American Folk Music) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Lonesome Valley (A Collection Of American Folk Music) Country: US Released: 2006 Style: Country, Folk MP3 version RAR size: 1863 mb FLAC version RAR size: 1640 mb WMA version RAR size: 1961 mb Rating: 4.3 Votes: 913 Other Formats: ASF MIDI XM AIFF AUD APE AC3 Tracklist 1 –Pete Seeger, Bess Lomax, Tom Glazer Down In The Valley 2:35 2 –Cisco Houston The Rambler 3:18 3 –Butch Hawes Arthritis Blues 3:23 4 –Pete Seeger, Bess Lomax, Tom Glazer Polly Wolly Doodle 1:55 5 –Lee Hays, Pete Seeger, Bess Lomax Lonesome Traveler 1:55 6 –Cisco Houston On Top Of Old Smoky 1:35 7 –Pete Seeger Black Eyed Suzie 2:12 8 –Woody Guthrie Cowboy Waltz 2:06 9 –Cisco Houston and Woody Guthrie Sowing On The Mountain 2:29 Companies, etc. Copyright (c) – Folkways Records & Service Corp. Copyright (c) – Smithsonian Folkways Recordings Phonographic Copyright (p) – Smithsonian Folkways Recordings Credits Artwork – Carlis* Notes Professionally printed CDr on-demand reissue of the 1950/1958 10'' release on Folkways Records. The enhanced CDr includes a PDF file of the booklet included with the original release. © 1950 Folkways Records & Service Corp. ℗ © 2006 Smithsonian Folkways Recordings Total time: 21 min. Gatefold cardboard sleeve. Barcode and Other Identifiers Barcode (Scanned): 093070201026 Label Code: LC 9628 Other versions Category Artist Title (Format) Label Category Country Year FP 10 Various Lonesome Valley (10") Folkways Records FP 10 US 1951 FA 2010 Various Lonesome Valley (10") Folkways Records FA 2010 US 1958 FP 10 Various Lonesome Valley (10") Folkways Records FP 10 US 1951 Related Music albums to Lonesome Valley (A Collection Of American Folk Music) by Various Pete Seeger - Birds, Beasts, Bugs and Little Fishes Pete Seeger And Frank Hamilton - Nonesuch And Other Folk Tunes Lead Belly - Shout On (Lead Belly Legacy Vol. -
Pete Seegerhas Always Walked the Road Less Traveled. a Tall, Lean Fellow
Pete Seegerhas always walked the road less traveled. A tall, lean fellow with long arms and legs, high energy and a contagious joy of spjrit, he set everything in motion, singing in that magical voice, his head thrown back as though calling to the heavens, makingyou see that you can change the world, risk everything, do your best, cast away stones. “Bells of Rhymney,” “Where Have All the Flowers Gone?,” “ One Grain of Sand,” “ Oh, Had I a Golden Thread” ^ songs Right, from top: Seeger, Bob Dylan, Judy Collins and Arlo Guthrie (from left) at the Woody Guthrie Memorial Concert at Carnegie Hail, 1967; filming “Wasn’t That a Time?," a movie of the Weavers’ 19 8 0 reunion; Seeger with banjo; at Red Above: The Weavers in the early ’50s - Seeger, Lee Hays, Ronnie Gilbert and Fred Hellerman (from left). Left: Seeger singing on a Rocks, in hillside in El Colorado, 1983; Cerrito, C a l|p in singing for the early '60s. Eleanor Roosevelt, et al., at the opening of the Washington Labor Canteen, 1944; aboard the “Clearwater” on his beloved Hudson River; and a recent photo of Seeger sporting skimmer (above), Above: The Almanac Singers in 1 9 4 1 , with Woody Guthrie on the far left, and Seeger playing banjo. Left: Seeger with his mother, the late Constance Seeger. PHOTOGRAPHS FROM THE COLLECTION OF HAROLD LEVENTHAL AND THE WOODY GUTHRIE ARCHIVES scattered along our path made with the Weavers - floor behind the couch as ever, while a retinue of like jewels, from the Ronnie Gilbert, Fred in the New York offices his friends performed present into the past, and Hellerman and Lee Hays - of Harold Leventhal, our “ Turn Turn Turn,” back, along the road to swept into listeners’ mutual manager. -
Bob Dylan and the Reimagining of Woody Guthrie (January 1968)
Woody Guthrie Annual, 4 (2018): Carney, “With Electric Breath” “With Electric Breath”: Bob Dylan and the Reimagining of Woody Guthrie (January 1968) Court Carney In 1956, police in New Jersey apprehended Woody Guthrie on the presumption of vagrancy. Then in his mid-40s, Guthrie would spend the next (and last) eleven years of his life in various hospitals: Greystone Park in New Jersey, Brooklyn State Hospital, and, finally, the Creedmoor Psychiatric Center, where he died. Woody suffered since the late 1940s when the symptoms of Huntington’s disease first appeared—symptoms that were often confused with alcoholism or mental instability. As Guthrie disappeared from public view in the late 1950s, 1,300 miles away, Bob Dylan was in Hibbing, Minnesota, learning to play doo-wop and Little Richard covers. 1 Young Dylan was about to have his career path illuminated after attending one of Buddy Holly’s final shows. By the time Dylan reached New York in 1961, heavily under the influence of Woody’s music, Guthrie had been hospitalized for almost five years and with his motor skills greatly deteriorated. This meeting between the still stylistically unformed Dylan and Woody—far removed from his 1940s heyday—had the makings of myth, regardless of the blurred details. Whatever transpired between them, the pilgrimage to Woody transfixed Dylan, and the young Minnesotan would go on to model his early career on the elder songwriter’s legacy. More than any other of Woody’s acolytes, Dylan grasped the totality of Guthrie’s vision. Beyond mimicry (and Dylan carefully emulated Woody’s accent, mannerisms, and poses), Dylan almost preternaturally understood the larger implication of Guthrie in ways that eluded other singers and writers at the time.2 As his career took off, however, Dylan began to slough off the more obvious Guthrieisms as he moved towards his electric-charged poetry of 1965-1966. -
An Investigation of the Perceived Impact of the Inclusion of Steel Pan Ensembles in Collegiate Curricula in the Midwest
AN INVESTIGATION OF THE PERCEIVED IMPACT OF THE INCLUSION OF STEEL PAN ENSEMBLES IN COLLEGIATE CURRICULA IN THE MIDWEST by BENJAMIN YANCEY B.M., University of Central Florida, 2009 A THESIS Submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC School of Music, Theatre and Dance College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2014 Approved by: Major Professor Dr. Kurt Gartner Abstract The current study is an in depth look of the impact of steel pan ensemble within the college curriculum of the Midwest. The goal of the study is to further understand what perceived impacts steel pan ensemble might have on student learning through the perceptions of both instructors and students. The ensemble's impact on the students’ senses of rhythm, ability to listen and balance in an ensemble, their understanding of voicing and harmony, and appreciation of world music were all investigated through both the perceptions of the students as well as the instructors. Other areas investigated were the role of the instructor to determine how their teaching methods and topics covered impacted the students' opinion of the ensemble. This includes, but is not limited to, time spent teaching improvisation, rote teaching versus Western notation, and adding historical context by teaching the students the history of the ensemble. The Midwest region was chosen both for its high density of collegiate steel pan ensembles as well as its encompassing of some of the oldest pan ensembles in the U.S. The study used an explanatory mixed methodology employing two surveys, a student version and an instructor version, distributed to the collegiate steel pan ensembles of the Midwest via the internet. -
MAATSKAPPY, STATE, and EMPIRE: a PRO-BOER REVISION Joseph R
MAATSKAPPY, STATE, AND EMPIRE: A PRO-BOER REVISION Joseph R. Stromberg* As we approach the centennial of the Second Anglo–Boer War (Tweede Vryheidsoorlog, or “Second War for Freedom”), reassessment of the South African experience seems in order. Whether the recent surrender by Afrikaner political leaders of their “central theme” and the dismantling of their grandiose Apartheid state will lead to heaven on earth (as some of the Soweto “comrades” expected), or even to a merely tolerable multiracial polity, remains in doubt. Historians have tended to look for the origins of South Africa’s “very strange society” in the interaction of various peoples and political forces on a rapidly changing frontier, especially in the 19th century. APPROACHES TO SOUTH AFRICAN FRONTIER HISTORY At least two major schools of interpretation developed around these issues. The first, Cape Liberals, viewed the frontier Boers largely as rustic ruffians who abused the natives and disrupted or- derly economic progress only to be restrained, at last, by humani- tarian and legalistic British paternalists. Afrikaner excesses, therefore, were the proximate cause and justification of the Boer War and the consolidation of British power over a united South Africa. The “imperial factor” on this view was liberal and pro- gressive in intent if not in outcome. The opposing school were essentially Afrikaner nationalists who viewed the Boers as a uniquely religious people thrust into a dangerous environment where they necessarily resorted to force to overcome hostile African tribes and periodic British harassment. The two traditions largely agreed on the centrality of the frontier, but differed radically on the villains and heroes.1 Beginning in the 1960s and ’70s, a third position was heard, that of younger “South Africanists” driven to distraction (and some *Joseph R. -
Redalyc.Bona Spes
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Gatti, José Bona Spes Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 61, julio-diciembre, 2011, pp. 11-27 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348699001 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative http//dx.doi.org/10.5007/2175-8026.2011n61p011 BONA Spes José Gatti Universidade Federal de Santa Catarina Universidade Tuiuti do Paraná The main campus of the University of Cape Town is definitely striking, possibly one of the most beautiful in the world. It rests on the foot of the massive Devil’s Peak; not far from there lies the imposing Cape of Good Hope, a crossroads of two oceans. Accordingly, the university’s Latin motto is Bona Spes. With its neo- classic architecture, the university has the atmosphere of an enclave of British academic tradition in Africa. The first courses opened in 1874; since then, the UCT has produced five Nobel prizes and it forms, along with other well-established South African universities, one of the most productive research centers in the continent. I was sent there in 2009, in order to research on the history of South African audiovisual media, sponsored by Fapesp (Fundação de Amparo à Pesquisa do Estado de São Paulo). -
1. Matome Ratiba
JICLT Journal of International Commercial Law and Technology Vol. 7, Issue 1 (2012) “The sleeping lion needed protection” – lessons from the Mbube ∗∗∗ (Lion King) debacle Matome Melford Ratiba Senior Lecturer, College of Law University of South Africa (UNISA) [email protected] Abstract : In 1939 a young musician from the Zulu cultural group in South Africa, penned down what came to be the most popular albeit controversial and internationally acclaimed song of the times. Popular because the song somehow found its way into international households via the renowned Disney‘s Lion King. Controversial because the popularity passage of the song was tainted with illicit and grossly unfair dealings tantamount to theft and dishonest misappropriation of traditional intellectual property, giving rise to a lawsuit that ultimately culminated in the out of court settlement of the case. The lessons to be gained by the world and emanating from this dramatics, all pointed out to the dire need for a reconsideration of measures to be urgently put in place for the safeguarding of cultural intellectual relic such as music and dance. 1. Introduction Music has been and, and continues to be, important to all people around the world. Music is part of a group's cultural identity; it reflects their past and separates them from surrounding people. Music is rooted in the culture of a society in the same ways that food, dress and language are”. Looked at from this perspective, music therefore constitute an integral part of cultural property that inarguably requires concerted and decisive efforts towards preservation and protection of same from unjust exploitation and prevalent illicit transfer of same. -
Music for the People: the Folk Music Revival
MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance. -
GCHC NEWSLETTER FEBRUARY 2017.Pdf
Issue 2 Volume 3 Grimes County Historical Commission February 2017 Meetings of the Grimes County Historical Commission are held on the Second Monday of the Month at 7:00 pm in the Courthouse Annex in Anderson, Texas Contact Information Joe King Fultz [email protected] Visit us on Facebook https://www.facebook.com/Grim esCountyHistoricalCommission Grimes County Historical Commission Executive Board Photo of the Month Chairman Joe King Fultz Vice Chairman Vacant Secretary Vanessa Burzynski Treasurer Joe King Fultz COMMITTEES Historical Markers Denise Upchurch Historic Preservation Sarah Nash Newsletter & Publicity Vanessa Burzynski W. W. Meachum Law Office Anderson, Texas GRIMES COUNTY HISTORICAL COMMISSION NEWSLETTER FEBRUARY 2017 PAGE 2 History of the Town of Richards Richards is located on the Allen Vince one-half league RICHARDS, TEXAS. Richards is on Farm roads 1486 survey which the Mexican government granted him and 149 and the Burlington-Rock Island line in east on May 30, 1831. Vince, with his three brothers, central Grimes County. It was founded in 1907, when came to Texas in 1822 and settled on Sims Bayou in the residents of several communities in the vicinity present Harris County. His brothers settled along of Lake Creek moved to a newly constructed line of Vince’s Bayou and it was formerly thought the bridge the Trinity and Brazos Valley Railway where it across the Bayou was the one Sam Houston ordered crossed the road between Fairview (or Dolph) and destroyed before the Battle of San Jacinto, but today Longstreet. The area had been settled by Anglo- it has been proved to be the bridge over Sim’s Bayou American immigrants in the early 1830s, but no that had been built by Allen Vince. -
Creating a Roadmap for the Future of Music at the Smithsonian
Creating a Roadmap for the Future of Music at the Smithsonian A summary of the main discussion points generated at a two-day conference organized by the Smithsonian Music group, a pan- Institutional committee, with the support of Grand Challenges Consortia Level One funding June 2012 Produced by the Office of Policy and Analysis (OP&A) Contents Acknowledgements .................................................................................................................................. 3 Introduction ................................................................................................................................................ 4 Background ............................................................................................................................................ 4 Conference Participants ..................................................................................................................... 5 Report Structure and Other Conference Records ............................................................................ 7 Key Takeaway ........................................................................................................................................... 8 Smithsonian Music: Locus of Leadership and an Integrated Approach .............................. 8 Conference Proceedings ...................................................................................................................... 10 Remarks from SI Leadership ........................................................................................................ -
The Woody Guthrie Centennial Bibliography
LMU Librarian Publications & Presentations William H. Hannon Library 8-2014 The Woody Guthrie Centennial Bibliography Jeffrey Gatten Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/librarian_pubs Part of the Music Commons Repository Citation Gatten, Jeffrey, "The Woody Guthrie Centennial Bibliography" (2014). LMU Librarian Publications & Presentations. 91. https://digitalcommons.lmu.edu/librarian_pubs/91 This Article - On Campus Only is brought to you for free and open access by the William H. Hannon Library at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU Librarian Publications & Presentations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Popular Music and Society, 2014 Vol. 37, No. 4, 464–475, http://dx.doi.org/10.1080/03007766.2013.834749 The Woody Guthrie Centennial Bibliography Jeffrey N. Gatten This bibliography updates two extensive works designed to include comprehensively all significant works by and about Woody Guthrie. Richard A. Reuss published A Woody Guthrie Bibliography, 1912–1967 in 1968 and Jeffrey N. Gatten’s article “Woody Guthrie: A Bibliographic Update, 1968–1986” appeared in 1988. With this current article, researchers need only utilize these three bibliographies to identify all English- language items of relevance related to, or written by, Guthrie. Introduction Woodrow Wilson Guthrie (1912–67) was a singer, musician, composer, author, artist, radio personality, columnist, activist, and philosopher. By now, most anyone with interest knows the shorthand version of his biography: refugee from the Oklahoma dust bowl, California radio show performer, New York City socialist, musical documentarian of the Northwest, merchant marine, and finally decline and death from Huntington’s chorea.